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Create your own doodle animations the magic combo here is a photoreal object that stays perfectly still while hand-drawn doodles animate around it with a wobbly "boiling line" effect (lines redrawn every few frames, like a sketchbook come alive). Perfect loops and soft paper/pencil sound design make these extremely... rewatchable. Reusable style block Minimalist surreal mixed-media animation on a clean white background. One photorealistic real object, highly detailed, blended into a hand-drawn black-and-white line art scene. Doodle elements animate with a hand-drawn boiling-line effect, redrawn every 2–3 frames like a living sketchbook. The real object remains crisp and photoreal; all motion in the doodles is playful and loose. Soft minimal audio: pencil scribbles, paper rustle, tiny cartoon sound effects. Seamless loop. I used gemini omni flash Google Flowshow more

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16,325 просмотров • 2 месяцев назад •via X (Twitter)

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Too much Spark? There’s no such thing. ⚡🍋 A funky, high-energy Mountain Dew Spark world where every sip brings the doodle chaos to life. 💥✨ Created with Seedance 2.0 on Fish Creative PROMPT: MOUNTAIN DEW SPARK — “TOO MUCH SPARK” Duration: 15 seconds Aspect Ratio: 16:9 Style: Premium live-action commercial + playful 2D hand-drawn doodle animation, funky, energetic, youthful, colorful, fast-paced. Visual Quality: Ultra-realistic cinematic 4K, crisp product photography, natural skin texture, vibrant commercial lighting, smooth motion, dynamic camera work. CHARACTER: A cool young male in his early 20s, confident and playful, short dark slightly messy hair, expressive face, trendy oversized graphic T-shirt, relaxed baggy cargo pants and clean sneakers. Maintain STRICT face, hairstyle, clothing and identity consistency throughout. 0–4s — THE SPARK Open with a stylish low-angle tracking shot of the boy casually walking through a colorful modern city street while holding a chilled Mountain Dew Spark can. Tiny cute hand-drawn doodles subtly appear around him: stars, lightning bolts, hearts and lemons. He stops. Cut to a macro close-up of the cold can covered in condensation. He cracks it open. PSHHHH! A tiny hand-drawn lightning bolt appears above the can and vibrates with the sound. 4–8s — TOO MUCH SPARK He takes a big sip. Instantly, colorful 2D doodles explode from behind him. Lightning bolts race across the screen, cute lemons bounce past camera, stars pop around his head and cartoon speed lines surround his body. He looks surprised, then grins. Use a quick punch-in camera movement. 8–15s — THE BOOST Suddenly, he launches forward at ridiculous speed. Use rapid whip pans, low-angle tracking shots, dynamic handheld movement and energetic speed ramps as he runs through the city. Every movement triggers a doodle: Footstep → star burst Arm swing → lightning bolt Jump → comic explosion Turn → curved hand-drawn speed lines Smile → tiny floating hearts The doodles physically interact with the live-action environment, wrapping around poles, bouncing off walls and following his movement. At 15 seconds, he races toward a city staircase, preparing to jump onto it. End with a fast forward-moving camera transition that naturally continues into Part 2. CAMERA & EDITING: Fast commercial editing with smooth continuous motion. Use whip pans, crash zooms, low-angle tracking, speed ramps and match cuts. Keep movement flowing naturally so the video feels like one continuous sequence, not separate clips. DOODLE ANIMATION: Cute hand-drawn 2D doodles with imperfect sketch lines, playful expressions and bouncy animation. Playful and cute, never childish. Doodles must interact naturally with the live-action environment. PART 2: MOUNTAIN DEW SPARK — “TOO MUCH SPARK” Duration: 15 seconds Aspect Ratio: 16:9 Style: Premium live-action commercial + playful 2D hand-drawn doodle animation, funky, energetic, youthful, colorful, fast-paced. Visual Quality: Ultra-realistic cinematic 4K, crisp product photography, natural skin texture, vibrant commercial lighting, smooth motion, dynamic camera work. CHARACTER: Continue with EXACTLY the same young male from Part 1. Same face, hairstyle, oversized graphic T-shirt, baggy cargo pants, sneakers and overall identity. STRICT IDENTITY AND OUTFIT LOCK. 0–6s — DOODLE CHAOS Continue directly from Part 1 as the boy jumps onto a city staircase and races upward. Hundreds of cute hand-drawn doodles chase after him. Animated lemons bounce down the stairs. Lightning bolts zigzag beside him. Tiny stars spin through the air. Cartoon flames briefly appear behind his sneakers. Rapidly alternate between: Low-angle running shot Side tracking shot Close-up of sneakers Close-up of his excited expression Overhead shot as doodles spiral around him Use energetic whip transitions synchronized with the music. 6–11s — PRODUCT HERO The boy suddenly stops. Everything freezes. The doodles freeze mid-air around him. He casually spins the Mountain Dew Spark can toward the camera. Transition into a premium macro product close-up: cold condensation, sharp label detail, vibrant commercial lighting and fizzy energy. Hand-drawn lemons and lightning bolts begin orbiting around the can. The camera slowly pushes toward the product while the background remains softly blurred. 11–15s — FINAL EXPLOSION He takes one final sip and smirks directly at camera. On the beat, every doodle in the scene rushes toward him: ⭐ ⚡ 🍋 ❤️ 💥 They explode outward into a giant colorful hand-drawn burst behind him. He stands confidently in the center, holding the Mountain Dew Spark can toward camera. End on a clean premium hero shot of the Mountain Dew Spark can surrounded by playful doodle lightning, stars and fruit. Final feeling: refreshing, energetic, mischievous, funky and irresistibly fun. CAMERA & EDITING: Fast commercial editing with smooth continuous motion. Use whip pans, speed ramps, macro product photography, orbiting camera movement, crash zooms and match cuts. Transitions should be motivated by the character's movement and preserve visual continuity from Part 1. DOODLE ANIMATION: Cute hand-drawn 2D doodles with imperfect sketch lines, playful expressions and bouncy animation. Doodles should physically interact with the live-action world rather than appearing as static overlays. Keep them playful and stylish, never childish. NEGATIVE PROMPT: No character identity changes, no outfit changes, no inconsistent face, no extra fingers, no distorted hands, no warped product, no incorrect can shape, no unreadable logo, no duplicate cans, no floating character, no stiff movement, no random scene changes, no disconnected clips, no excessive motion blur, no dull lighting, no childish cartoon environment, no photorealistic doodles, no messy compositing, no deformed facial features, no text artifacts.

Caden Flux

33,821 просмотров • 1 месяц назад

The pencil was never the point. They keep saying “just pick up a pencil” like it’s some noble gate. Like suffering with charcoal makes the art more real. Like the idea, the vision, the emotion the actual soul of creation doesn’t matter if it didn’t come from a bleeding hand. I picked up the pencil for years. I bled on paper, on canvas, on deadlines. And then I discovered a new tool. The tool didn’t replace my soul. It amplified it. Now I create faster, bigger, wilder, and deeper than I ever could with just my hands. The spark is still mine. The story is still mine. The emotion is still mine. The pencil was never the art. The human behind it was. To every AI artist still getting hate in 2026: Your art is real. Your voice is real. Your vision is real. We’re not cheating the system. We’re evolving it. The gatekeepers can keep clutching their pencils. We’ll be over here building entire worlds. Keep creating. Keep dreaming bigger. The future doesn’t need their permission. And neither do we. AI ART IS ART #AIart️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️ #AiArtist #Artist #Art

The pencil was never the point. They keep saying “just pick up a pencil” like it’s some noble gate. Like suffering with charcoal makes the art more real. Like the idea, the vision, the emotion the actual soul of creation doesn’t matter if it didn’t come from a bleeding hand. I picked up the pencil for years. I bled on paper, on canvas, on deadlines. And then I discovered a new tool. The tool didn’t replace my soul. It amplified it. Now I create faster, bigger, wilder, and deeper than I ever could with just my hands. The spark is still mine. The story is still mine. The emotion is still mine. The pencil was never the art. The human behind it was. To every AI artist still getting hate in 2026: Your art is real. Your voice is real. Your vision is real. We’re not cheating the system. We’re evolving it. The gatekeepers can keep clutching their pencils. We’ll be over here building entire worlds. Keep creating. Keep dreaming bigger. The future doesn’t need their permission. And neither do we. AI ART IS ART #AIart️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️ #AiArtist #Artist #Art

Toshi

11,985 просмотров • 2 месяцев назад

Concept: Tiny Chef, Giant Kitchen 👩‍🍳 Made using Seedance 2.5 Prompt : Subject A miniature hand-drawn 2D animated girl with curly black hair, a yellow apron, red sneakers, and a tiny wooden spoon, cooking inside a realistic full-sized kitchen. Style Mixed-reality hybrid animation combining playful 2D hand-drawn doodle character art with a photorealistic live-action kitchen. Whimsical stop-motion physics, expressive line animation, exaggerated scale, warm cinematic lighting, and playful cooking sound effects. Camera & Framing Macro close-ups, low-angle tracking shots, overhead kitchen perspectives, dramatic push-ins, and shallow depth of field emphasizing the tiny chef against oversized kitchen objects. Audio & Scene Breakdown Visual: The tiny chef stands beside a giant mixing bowl, struggling to climb onto a wooden spoon before using it as a makeshift ladder. Visual: She jumps into the bowl and rapidly mixes pancake batter while the whisk spins around her like a giant amusement-park ride. Visual: She slides down a stream of pancake batter onto a massive frying pan, narrowly avoiding a falling blueberry. Visual: The pancake suddenly flips into the air. She jumps onto it and rides it like a surfboard as it spins above the pan. Visual: She lands on a giant plate, then uses a strawberry as a trampoline to bounce onto a stack of pancakes. Visual: She proudly places a tiny strawberry on top, but the strawberry rolls away. She chases it across the enormous plate. Visual: The camera pulls back to reveal the finished pancake breakfast. The tiny chef sits on the edge holding her spoon proudly—then a giant fork suddenly enters frame and lifts the entire pancake stack away. She freezes in disbelief. Audio: Playful kitchen ambience, whisking, batter splashes, pancake flip, tiny footsteps, comedic impact sounds, subtle upbeat music, no dialogue.

Concept: Tiny Chef, Giant Kitchen 👩‍🍳 Made using Seedance 2.5 Prompt : Subject A miniature hand-drawn 2D animated girl with curly black hair, a yellow apron, red sneakers, and a tiny wooden spoon, cooking inside a realistic full-sized kitchen. Style Mixed-reality hybrid animation combining playful 2D hand-drawn doodle character art with a photorealistic live-action kitchen. Whimsical stop-motion physics, expressive line animation, exaggerated scale, warm cinematic lighting, and playful cooking sound effects. Camera & Framing Macro close-ups, low-angle tracking shots, overhead kitchen perspectives, dramatic push-ins, and shallow depth of field emphasizing the tiny chef against oversized kitchen objects. Audio & Scene Breakdown Visual: The tiny chef stands beside a giant mixing bowl, struggling to climb onto a wooden spoon before using it as a makeshift ladder. Visual: She jumps into the bowl and rapidly mixes pancake batter while the whisk spins around her like a giant amusement-park ride. Visual: She slides down a stream of pancake batter onto a massive frying pan, narrowly avoiding a falling blueberry. Visual: The pancake suddenly flips into the air. She jumps onto it and rides it like a surfboard as it spins above the pan. Visual: She lands on a giant plate, then uses a strawberry as a trampoline to bounce onto a stack of pancakes. Visual: She proudly places a tiny strawberry on top, but the strawberry rolls away. She chases it across the enormous plate. Visual: The camera pulls back to reveal the finished pancake breakfast. The tiny chef sits on the edge holding her spoon proudly—then a giant fork suddenly enters frame and lifts the entire pancake stack away. She freezes in disbelief. Audio: Playful kitchen ambience, whisking, batter splashes, pancake flip, tiny footsteps, comedic impact sounds, subtle upbeat music, no dialogue.

Synthia

16,078 просмотров • 2 дней назад

Tiny skateboarder, giant desk, endless tricks. A whole adventure in miniature Created with Seedance 2.5 on ImagineArt Prompt: Subject A miniature hand-drawn 2D animated girl with messy black hair, an orange shirt, teal shorts, striped socks, and a yellow backpack, riding a tiny orange skateboard across real-world office desk items. Style Mixed-reality hybrid animation combining 2D hand-drawn doodle character art with a realistic live-action desk environment. Features playful stop-motion physics, smooth line animations, and lighthearted background music layered with miniature skateboard rolling and grinding sound effects. Camera & Framing Close-up macro shots, dynamic low-angle tracking perspectives, and tilt-shift shallow depth-of-field focusing on the tiny skateboarder as she navigates large household objects. Audio & Scene Breakdown 00:00 - 00:02 Visual: Macro shot of the tiny 2D skateboarder balancing between two giant human fingertips on her miniature orange board before pushing off. 00:03 - 00:05 Visual: Low-angle tracking shot as she performs a kickflip off the edge and lands smoothly onto a wooden desk surface. 00:06 - 00:08 Visual: Side-profile shot grinding across the edge of an orange wooden ruler and launching up a curved piece of white paper like a halfpipe. 00:09 - 00:14 Visual: Dynamic camera angle as she drops into the rim of a ceramic mug filled with dark coffee, riding around the inner wall before launching back out. 00:15 - 00:20 Visual: Tracking shot following her as a human hand draws a green crayon path on notebook paper, grinding over a white eraser and hopping over spiral notebook rings. 00:21 - 00:24 Visual: Air shot as she jumps off an open notebook, performing a trick mid-air over a computer keyboard and desk surface. 00:25 - 00:30 Visual: Close-up as she launches into the air, does a 360 spin with her board, and lands precisely back onto the gap between the two giant human fingertips where she started.

Harboris

36,747 просмотров • 5 дней назад

Tiny chef and giant popcorn 🍿 Made on Frameo AI agent using Seedance 2.5 model #MadeWithFrameo Really smooth working with this agent the workflow feels fast and effortless. It understands the creative direction really well and follows the details accurately. Prompt : A miniature hand-drawn 2D animated girl with curly black hair, a pink apron, yellow sneakers, and a tiny wooden spatula, making a giant bowl of popcorn inside a realistic full-sized kitchen. Style Mixed-reality hybrid animation combining playful 2D hand-drawn doodle character art with a photorealistic live-action kitchen. Whimsical stop-motion physics, expressive line animation, exaggerated scale, warm cinematic lighting, playful food-preparation energy, and detailed cooking sound effects. Camera & Framing Macro close-ups, dramatic low angles, overhead kitchen perspectives, fast tracking shots, extreme close-ups, and shallow depth of field emphasizing the tiny chef against gigantic kitchen objects. Audio & Scene Breakdown Visual: The tiny chef struggles to drag a giant corn kernel across the countertop, finally pushing it toward an enormous glass bowl. Visual: She climbs onto a giant butter cube, slides down its smooth surface, and lands beside the bowl as kernels begin bouncing around her. Visual: She jumps onto a giant wooden spoon and uses it as a seesaw, launching herself directly into the bowl. Visual: The kernels suddenly begin popping around her. She dodges exploding popcorn pieces while using the spoon to push them into a growing pile. Visual: One enormous popcorn piece launches her into the air. She lands on top of it and rides it across the countertop like a tiny fluffy vehicle. Visual: She grabs a giant salt shaker, struggles to tilt it, and accidentally creates a huge shower of salt that covers the popcorn and sends her sliding across the counter. Visual: She reaches the finished bowl, climbs a giant popcorn piece, and proudly places a tiny piece of caramel on top. Visual: The camera pulls back to reveal the giant bowl of popcorn. The tiny chef sits beside it, exhausted and proud—until a huge hand suddenly grabs the entire bowl and walks away. She stares at the empty countertop in complete disbelief. Audio: Kernel rattles, spoon clinks, popcorn popping, tiny footsteps, bowl vibrations, salt shaker sounds, sliding effects, comedic impacts, playful upbeat music, no dialogue.

Tiny chef and giant popcorn 🍿 Made on Frameo AI agent using Seedance 2.5 model #MadeWithFrameo Really smooth working with this agent the workflow feels fast and effortless. It understands the creative direction really well and follows the details accurately. Prompt : A miniature hand-drawn 2D animated girl with curly black hair, a pink apron, yellow sneakers, and a tiny wooden spatula, making a giant bowl of popcorn inside a realistic full-sized kitchen. Style Mixed-reality hybrid animation combining playful 2D hand-drawn doodle character art with a photorealistic live-action kitchen. Whimsical stop-motion physics, expressive line animation, exaggerated scale, warm cinematic lighting, playful food-preparation energy, and detailed cooking sound effects. Camera & Framing Macro close-ups, dramatic low angles, overhead kitchen perspectives, fast tracking shots, extreme close-ups, and shallow depth of field emphasizing the tiny chef against gigantic kitchen objects. Audio & Scene Breakdown Visual: The tiny chef struggles to drag a giant corn kernel across the countertop, finally pushing it toward an enormous glass bowl. Visual: She climbs onto a giant butter cube, slides down its smooth surface, and lands beside the bowl as kernels begin bouncing around her. Visual: She jumps onto a giant wooden spoon and uses it as a seesaw, launching herself directly into the bowl. Visual: The kernels suddenly begin popping around her. She dodges exploding popcorn pieces while using the spoon to push them into a growing pile. Visual: One enormous popcorn piece launches her into the air. She lands on top of it and rides it across the countertop like a tiny fluffy vehicle. Visual: She grabs a giant salt shaker, struggles to tilt it, and accidentally creates a huge shower of salt that covers the popcorn and sends her sliding across the counter. Visual: She reaches the finished bowl, climbs a giant popcorn piece, and proudly places a tiny piece of caramel on top. Visual: The camera pulls back to reveal the giant bowl of popcorn. The tiny chef sits beside it, exhausted and proud—until a huge hand suddenly grabs the entire bowl and walks away. She stares at the empty countertop in complete disbelief. Audio: Kernel rattles, spoon clinks, popcorn popping, tiny footsteps, bowl vibrations, salt shaker sounds, sliding effects, comedic impacts, playful upbeat music, no dialogue.

Synthia

19,912 просмотров • 1 день назад

$this guy made >12 Million views with 2D basic long-form videos making these with AI is extremely easy here is how i’ve copied the channel with CalliopeLabs: 1- took 5 screenshots 2- sent them to gemini asking for a JSON 3- pasted this into the Visual Style lab: { "general_visual_style": { “2D Flat Digital Animation, Minimalist Storybook aesthetic, Webtoon Style tone Orderly, Structured, Calm, Slightly Melancholic, Routine”, "atmosphere": "atmospheric Flat colors, Clean line art, Cel-shading, No complex gradients, 2D Vector look, Extremely minimal faces: dot eyes, single-line mouths, simple hair shapes with no individual strands. Rigid or calm postures." }, the video u see below is a snippet from a vid automatically generated by Calliope i made a template and included: - a watermark - music “old/cartoon creepy” mood (no-copyright) - captions + vertical Pan effect obviously yo can play with those settings and/or delete them yo can also even animate the images there is still an opportunity: he/she keeps posting, getting views and monetizing meaning that the niche is still hot I made a short DEMO on how to i created this video with my own tool⬇️ drop a comment +fllw asking for it and i’ll send it to you :) (follow so i can DM!)$

this guy made >12 Million views with 2D basic long-form videos making these with AI is extremely easy here is how i’ve copied the channel with CalliopeLabs: 1- took 5 screenshots 2- sent them to gemini asking for a JSON 3- pasted this into the Visual Style lab: { "general_visual_style": { “2D Flat Digital Animation, Minimalist Storybook aesthetic, Webtoon Style tone Orderly, Structured, Calm, Slightly Melancholic, Routine”, "atmosphere": "atmospheric Flat colors, Clean line art, Cel-shading, No complex gradients, 2D Vector look, Extremely minimal faces: dot eyes, single-line mouths, simple hair shapes with no individual strands. Rigid or calm postures." }, the video u see below is a snippet from a vid automatically generated by Calliope i made a template and included: - a watermark - music “old/cartoon creepy” mood (no-copyright) - captions + vertical Pan effect obviously yo can play with those settings and/or delete them yo can also even animate the images there is still an opportunity: he/she keeps posting, getting views and monetizing meaning that the niche is still hot I made a short DEMO on how to i created this video with my own tool⬇️ drop a comment +fllw asking for it and i’ll send it to you :) (follow so i can DM!)

Sergio Gil

60,044 просмотров • 6 месяцев назад

طريقة انشاء Sketchnote أو تدوين للملاحظات المرئية كما تشاهدون بالفيديو المرفق بحيث تنشىء لكم تلك الطريقة ملخص تعليمي مختصر جذاب مرسوم للمحتوى التعليمي الذي تريدون تقديمة للطلاب والطالبات وبالمجان. رابط الموقع المطلوب: البرمبت المطلوب هو التالي: Create a hand-drawn sketch note written in Arabic only visual summary of these notes. Use a pristine white paper background (no lines). The art style should be 'graphic recording' or 'visual thinking' using black ink fine-liners for clear outlines and text. Use colored markers (specifically teal, orange, and muted red) for simple shading and accents. Center the main title in a 3D-style rectangular box. Surround the title with radially distributed simple doodles, business icons, stick figures, and graphs that explain the concepts. Use arrows to connect ideas. The text should be distinct, handwritten, all-caps printing, legible and organized like a professional brainstorming session. 16:9. the text is (

طريقة انشاء Sketchnote أو تدوين للملاحظات المرئية كما تشاهدون بالفيديو المرفق بحيث تنشىء لكم تلك الطريقة ملخص تعليمي مختصر جذاب مرسوم للمحتوى التعليمي الذي تريدون تقديمة للطلاب والطالبات وبالمجان. رابط الموقع المطلوب: البرمبت المطلوب هو التالي: Create a hand-drawn sketch note written in Arabic only visual summary of these notes. Use a pristine white paper background (no lines). The art style should be 'graphic recording' or 'visual thinking' using black ink fine-liners for clear outlines and text. Use colored markers (specifically teal, orange, and muted red) for simple shading and accents. Center the main title in a 3D-style rectangular box. Surround the title with radially distributed simple doodles, business icons, stick figures, and graphs that explain the concepts. Use arrows to connect ideas. The text should be distinct, handwritten, all-caps printing, legible and organized like a professional brainstorming session. 16:9. the text is (

م. عبدالعزيز إبراهيم الصنيع.

13,994 просмотров • 7 месяцев назад

Created with GPT Image 2 + Omni Flash / Seedance 2.0 Prompt: Create a clean, premium storyboard infographic for a product ASMR unboxing video. Design specifications: Background: White background with a modern, minimalist layout. Title at the top: STORYBOARD Product name in bold dark blue: HAN RIVER WET & DRY 2 IN 1 STEAM IRON Subtitle: ASMR UNBOXING (POV HAND) Information boxes below the title: Duration: 30 Seconds (3 Parts) Style: POV Hand, ASMR, Premium Product Commercial Audience: Home Users, Housewife, Young Adults Voiceover: No Voiceover (Pure ASMR) Audio Suggestion: Tapping, Crinkle, Cardboard, Click, Steam, Water Pouring Layout: Create 12 storyboard panels arranged in a 4 column × 3 row grid, divided into three horizontal blocks labeled PART 1 (0 to 10s), PART 2 (10 to 20s), and PART 3 (20 to 30s). Each panel should contain: A numbered dark blue badge (1 to 12) with its respective timestamp. A realistic cinematic image showing the scene. Handwritten white and orange doodle text sketched over the image. Four text sections below every image: VISUAL: ACTION: DOODLE: AUDIO: Aesthetic Style: Premium lifestyle commercial advertising style. Realistic product photography, light wood or beige table, soft warm studio lighting, shallow depth of field, POV hands only with no face visible. The product is a sleek, cream colored handheld steam iron with a gold rimmed ceramic base. Storyboard sequence: PART 1 (0 to 10s) 1 (0 to 2.5s) Visual: Product box placed flat on a wooden table. Action: Hands enter frame and tap the sides of the box. Doodle: NEW! Audio: Cardboard tapping. 2 (2.5 to 5s) Visual: Close up of the box lid, focusing on the brand logo. Action: Fingers gently trace the printed logo and illustration. Doodle: LET'S OPEN! Audio: Finger scratching on cardboard. 3 (5 to 7.5s) Visual: A box cutter slicing the sealing tape. Action: Blade slowly cuts through the adhesive tape. Doodle: SLICE... Audio: Tape cutting. 4 (7.5 to 10s) Visual: The box flaps are opened, revealing the wrapped product and manual inside. Action: Hands open the main flaps wide. Doodle: WOW! Audio: Box opening. PART 2 (10 to 20s) 5 (10 to 12.5s) Visual: Instruction manual being held up. Action: Hands flip through the pages of the manual. Doodle: MANUAL Audio: Paper flipping. 6 (12.5 to 15s) Visual: The iron is lifted out, still wrapped in its protective plastic sheet. Action: Pulling the wrapped unit completely out of the box. Doodle: CRINKLE~ Audio: Plastic crinkling. 7 (15 to 17.5s) Visual: Peeling away the protective plastic cover to reveal the premium body. Action: Hands slowly unwrap and twist the iron to inspect it. Doodle: SO CLEAN! Audio: Plastic removal. 8 (17.5 to 20s) Visual: Ultra close up of the pristine ceramic soleplate. Action: A single finger smoothly glides down the center of the soleplate. Doodle: SMOOTH Audio: Finger glide on ceramic. PART 3 (20 to 30s) 9 (20 to 22.5s) Visual: Rotating the ergonomic handle. Action: Hand twists the handle 180 degrees until it locks into place. Doodle: 180° Audio: Handle rotation click. 10 (22.5 to 25s) Visual: Water being added to the built in tank. Action: Pouring clean water slowly into the small inlet using a measuring cup. Doodle: FILL Audio: Water pouring. 11 (25 to 27.5s) Visual: The steam button being pressed. Action: Thumb presses the button, and a powerful burst of steam erupts from the base. Doodle: PSSSH~ Audio: Steam release blast. 12 (27.5 to 30s) Visual: Final hero shot of the steam iron standing upright next to its box and measuring cup. Action: Hand enters frame to give a confident thumbs up. Doodle: READY! Audio: Light tap on the table. Footer Infographic Sections: WHAT'S IN THE BOX: Small grid icons showing Steam Iron, Instruction Manual, Measuring Cup, and Power Cord. KEY FEATURES: Checkmarks for Wet & Dry 2 in 1 180° Swivel Handle 150ml Water Tank Ceramic Soleplate Powerful Steam WARRANTY: A prominent 2 YEARS WARRANTY shield badge. IDEAL FOR / WHY CHOOSE IT: Minimalist icons for Home Use, Travel, Small Spaces Bullet points: Lightweight Easy to Use Fast Heating Safe Metadata Text Line: Total Duration: 30 Seconds Format: Vertical (9:16) Style: POV Hand, ASMR, Premium Product Commercial Typography should resemble a professional creative agency storyboard layout featuring neat spacing, sharp dark blue accents, thin gray grid boundaries, and a highly polished presentation structure perfect for a client pitch.

Shore Lyn

32,855 просмотров • 2 месяцев назад

Motion graphics used to take me an hour per scene (or more) Now I'm creating them in 3-5 minutes — without After Effects, without Premiere, without writing a single line of code. I'm a former LA filmmaker (still PGA). My entire video stack is now 3 tools: Claude Code + HyperFrames (from HeyGen) + Descript Here's how the workflow runs: 1. Drop my brand style guide into a folder (colors, fonts, components Claude reuses forever) 2. Paste a line from my Descript transcript into Claude Code: "Create a scene for this part of the video" 3. Claude Code reads my brand, generates the HyperFrames scene, renders it to MP4 4. Drag the MP4 into Descript, drop it on the matching line of the transcript 5. Done. 3-5 minutes per scene. The unlock is the brand style guide. Once Claude has your colors, fonts, and reusable components, every scene inherits your look automatically. Bonus — you can take a Claude Design export (.zip), hand it to Claude Code, and it'll convert the HTML into a HyperFrames video you can render and edit. I built a GitHub repo with all the skills pre-loaded. Non-developers can clone it, open Claude Code, and be rendering scenes in under 10 minutes. Full walkthrough (20 min video) below Repo (skills + brand template + music-from-transcript plugin): Bookmark this if you make videos. The brand-style-guide pattern alone will save you hours every week. If you're a creator or operator using AI for content — share this with someone who's still living in After Effects.

JJ Englert

103,601 просмотров • 5 месяцев назад

I kept seeing #GPT-6 Astra modelling results on here and got curious enough to build the thing myself: an agentic pipeline that turns a plain RGB video into 3D assets. The living room for robots MIT CSAIL. Input: one handheld phone walkthrough of our lab kitchen (~20s). Nothing else — no depth sensor, no CAD, no asset library. ~1 day (I actually slept overnight), including human-in-the-loop. Live: It is still not perfect — thin and shiny things are still weak, a few objects are drafts, the room shell needs another pass. The loop, roughly: - Monocular video → metric scan (ViPE): camera poses + depth. This is the measuring instrument, not the output. - GPT-6 lists what should exist as separate objects, then open-vocabulary detection + tracking gives per-object masks; each object is fused and measured in metres. - For every asset, GPT-6 works in its own sandbox with tools: it writes the object as a program in a small Blender DSL (closed solids, PBR colours, hinges/drawers), builds it, renders it over the original video frames, compares it with the scan points in 3D, and iterates. - A separate GPT-6 session is the verifier — it can render the model on any frame it wants and must justify every complaint with a frame. The modeller never grades its own work. - A completeness pass renders the whole modelled scene from the video's own cameras, puts it next to the real frames, and says what's still missing. What the detector keeps missing (a row of identical cabinets) gets placed geometrically instead. - Out comes MJCF/URDF with joints. Now, adding simulation to this env.

I kept seeing #GPT-6 Astra modelling results on here and got curious enough to build the thing myself: an agentic pipeline that turns a plain RGB video into 3D assets. The living room for robots MIT CSAIL. Input: one handheld phone walkthrough of our lab kitchen (~20s). Nothing else — no depth sensor, no CAD, no asset library. ~1 day (I actually slept overnight), including human-in-the-loop. Live: It is still not perfect — thin and shiny things are still weak, a few objects are drafts, the room shell needs another pass. The loop, roughly: - Monocular video → metric scan (ViPE): camera poses + depth. This is the measuring instrument, not the output. - GPT-6 lists what should exist as separate objects, then open-vocabulary detection + tracking gives per-object masks; each object is fused and measured in metres. - For every asset, GPT-6 works in its own sandbox with tools: it writes the object as a program in a small Blender DSL (closed solids, PBR colours, hinges/drawers), builds it, renders it over the original video frames, compares it with the scan points in 3D, and iterates. - A separate GPT-6 session is the verifier — it can render the model on any frame it wants and must justify every complaint with a frame. The modeller never grades its own work. - A completeness pass renders the whole modelled scene from the video's own cameras, puts it next to the real frames, and says what's still missing. What the detector keeps missing (a row of identical cabinets) gets placed geometrically instead. - Out comes MJCF/URDF with joints. Now, adding simulation to this env.

Zhiyang (Frank) Dou

11,323 просмотров • 21 дней назад

I just cracked the code on AI animation ads 🤯 every one of these cost me 12 cents and under 20 seconds to make Gemini Omni + Claude Code is f*cking wild. i built a system that turns any product into an end-to-end AI animated ad in ANY style you want.. claymation, pixar-style 3D, anime, paper cutout, lego, you name it you drop in your product photo and a one line pitch and it handles everything end to end. images, video, voiceover, music, captions, all generated with AI inside Claude.. AI animation ads are crushing on Meta right now and everyone still assumes you need an expensive editor with a 3-week turnaround time to make one. you don't. you just need the right workflow. Im making full end to end high quality AI animation ads in under 3 minutes with this system and they work just as hard organically on TikTok, reels and shorts so i packaged the whole thing up… here's what you're getting: > every prompt i used across all 8 steps > the exact tool stack + the order to run it in > style recipes for claymation, pixar, anime, wes anderson, retro cartoon + CGI > one system that works for paid Meta AND organic built across Claude Code and Gemini Omni RT + reply 'STYLES' and i'll send it over (must be following so i can dm)

I just cracked the code on AI animation ads 🤯 every one of these cost me 12 cents and under 20 seconds to make Gemini Omni + Claude Code is f*cking wild. i built a system that turns any product into an end-to-end AI animated ad in ANY style you want.. claymation, pixar-style 3D, anime, paper cutout, lego, you name it you drop in your product photo and a one line pitch and it handles everything end to end. images, video, voiceover, music, captions, all generated with AI inside Claude.. AI animation ads are crushing on Meta right now and everyone still assumes you need an expensive editor with a 3-week turnaround time to make one. you don't. you just need the right workflow. Im making full end to end high quality AI animation ads in under 3 minutes with this system and they work just as hard organically on TikTok, reels and shorts so i packaged the whole thing up… here's what you're getting: > every prompt i used across all 8 steps > the exact tool stack + the order to run it in > style recipes for claymation, pixar, anime, wes anderson, retro cartoon + CGI > one system that works for paid Meta AND organic built across Claude Code and Gemini Omni RT + reply 'STYLES' and i'll send it over (must be following so i can dm)

Miko

115,784 просмотров • 3 месяцев назад

most people still don't comprehend how far AI video has come. no memory between clips used to mean every cut reset the scene, drifted, redrew itself. that's basically solved now if you build around it right this whole ad is one continuous WHITEBOARD, 9 chained clips, and the marker ink never moves, never redraws, never resets to a blank board. here's exactly how, so you can build your own version of this for any product the trick: OMNI flash has a hard 10 second limit per clip and zero memory of the clip before it. so you harvest the last frame of clip N, the board exactly as it looks at that instant, and feed it in as the starting frame of clip N+1. that's the entire mechanism. no cuts, no set, just a hand, a marker, and one continuous illusion the flow: - map your script to the arc: symptom, invisible cause, mechanism, solution, real product - write the VO as one continuous read, then split it into beats, ~20-25 words max per clip, one drawing action per clip - build a board map first, what's written and drawn on each row, so nothing collides as it fills up - generate clip 1, harvest its last frame, chain into clip 2, repeat - once the board gets dense (4-5 clips of ink in), "match the board" - stops being enough instruction. name every existing element explicitly, state a hard no-touch rule, and point at your target by position, not just by text, or the model will grab the wrong line - save the reveal for last: a real product photo beats a drawn one almost every time PROMPT: locked blocks, paste verbatim into every single clip STYLE: "Real documentary UGC footage, static locked camera on a dry-erase whiteboard, one real human hand and forearm only, never show a face or body. A single black marker is used for the entire clip, no color changes, no marker switching. Marker ink renders as genuine dry-erase marker, not a digital text or motion-graphic overlay. Handwriting is plain block capitals, legible at a glance. Icons stay minimal and schematic, one simple recognizable shape only. No captions, no subtitles, no on-screen text beyond what the hand physically writes or draws. ASPECT: 9:16 vertical." VOICE: "VOICEOVER (calm, warm, explanatory, American English, mid-30s):" opening clip, full prompt: "An 8-second locked-camera whiteboard explainer, vertical 9:16. Open on a blank white dry-erase board, static tripod shot, no camera movement, no zoom. 00:00-00:05: The hand writes your hook headline in black marker, plain block capitals, upper-left, then underlines it, natural handwriting speed, ink appears stroke by stroke, slight squeak. 00:05-00:08: The hand draws one small icon, upper-right. VOICEOVER: your hook line. AUDIO: marker squeak, quiet room tone underneath. No music. [STYLE LOCK]" every clip after that opens with "use the attached image, [clip N-1]'s final frame, as the opening frame, match the exact board state precisely" before describing the one new action for that beat

most people still don't comprehend how far AI video has come. no memory between clips used to mean every cut reset the scene, drifted, redrew itself. that's basically solved now if you build around it right this whole ad is one continuous WHITEBOARD, 9 chained clips, and the marker ink never moves, never redraws, never resets to a blank board. here's exactly how, so you can build your own version of this for any product the trick: OMNI flash has a hard 10 second limit per clip and zero memory of the clip before it. so you harvest the last frame of clip N, the board exactly as it looks at that instant, and feed it in as the starting frame of clip N+1. that's the entire mechanism. no cuts, no set, just a hand, a marker, and one continuous illusion the flow: - map your script to the arc: symptom, invisible cause, mechanism, solution, real product - write the VO as one continuous read, then split it into beats, ~20-25 words max per clip, one drawing action per clip - build a board map first, what's written and drawn on each row, so nothing collides as it fills up - generate clip 1, harvest its last frame, chain into clip 2, repeat - once the board gets dense (4-5 clips of ink in), "match the board" - stops being enough instruction. name every existing element explicitly, state a hard no-touch rule, and point at your target by position, not just by text, or the model will grab the wrong line - save the reveal for last: a real product photo beats a drawn one almost every time PROMPT: locked blocks, paste verbatim into every single clip STYLE: "Real documentary UGC footage, static locked camera on a dry-erase whiteboard, one real human hand and forearm only, never show a face or body. A single black marker is used for the entire clip, no color changes, no marker switching. Marker ink renders as genuine dry-erase marker, not a digital text or motion-graphic overlay. Handwriting is plain block capitals, legible at a glance. Icons stay minimal and schematic, one simple recognizable shape only. No captions, no subtitles, no on-screen text beyond what the hand physically writes or draws. ASPECT: 9:16 vertical." VOICE: "VOICEOVER (calm, warm, explanatory, American English, mid-30s):" opening clip, full prompt: "An 8-second locked-camera whiteboard explainer, vertical 9:16. Open on a blank white dry-erase board, static tripod shot, no camera movement, no zoom. 00:00-00:05: The hand writes your hook headline in black marker, plain block capitals, upper-left, then underlines it, natural handwriting speed, ink appears stroke by stroke, slight squeak. 00:05-00:08: The hand draws one small icon, upper-right. VOICEOVER: your hook line. AUDIO: marker squeak, quiet room tone underneath. No music. [STYLE LOCK]" every clip after that opens with "use the attached image, [clip N-1]'s final frame, as the opening frame, match the exact board state precisely" before describing the one new action for that beat

Lad

78,404 просмотров • 1 месяц назад

Tamanna Bhatia 🩷 Created this by using a movement sheet as a reference image to animate the dance using Seedance 2.0 + ChatGPT image 2.0 GPT Image 2.0 Prompt: Dance Sequence Instruction Sheet [VISUAL STYLE] A composition featuring a highly detailed 3D-rendered female dancer. Designed like a professional choreography guide with a technical, diagram-inspired layout. Clean white background, soft studio lighting, and strong contrast to highlight body movement and posture. [GRID LAYOUT] Structured 4×4 panel grid (16 frames total), evenly spaced with thin black divider lines. Each panel is identical in size and clearly numbered from 1 to 16 to show a continuous dance progression. [CHARACTER] Use image1 as the base character. The same female dancer appears consistently across all panels with accurate likeness and proportions. [WARDROBE] The dancer wears a stylish, performance-ready outfit: a well-fitted top paired with a short, flowy skirt. The look should feel modern and visually appealing while still practical for dance movement. Fabric should subtly respond to motion (slight flow and folds), even in grayscale. [PANEL STRUCTURE – EACH FRAME] Top-left: Step number + short dance move title (e.g., “Step 5 – Spin Transition”) Center: Full-body pose capturing a precise moment in the choreography Bottom-left: 3–4 lines of concise instruction describing the move Overlay: Motion arrows and directional guides illustrating how the dancer transitions [MOTION INDICATORS] Incorporate curved arrows for fluid motion, straight arrows for directional steps, and circular indicators for spins or turns. Emphasize rhythm, weight shifts, and body isolation. [RENDER QUALITY] High-detail sculpted 3D style with smooth grayscale shading, subtle shadows, and clean linework. Maintain a polished, concept-art level finish with clarity in every pose. [RESTRICTIONS] No color, no background scenery, no extra characters, no visual clutter, only the dancer and instructional elements..

Tamanna Bhatia 🩷 Created this by using a movement sheet as a reference image to animate the dance using Seedance 2.0 + ChatGPT image 2.0 GPT Image 2.0 Prompt: Dance Sequence Instruction Sheet [VISUAL STYLE] A composition featuring a highly detailed 3D-rendered female dancer. Designed like a professional choreography guide with a technical, diagram-inspired layout. Clean white background, soft studio lighting, and strong contrast to highlight body movement and posture. [GRID LAYOUT] Structured 4×4 panel grid (16 frames total), evenly spaced with thin black divider lines. Each panel is identical in size and clearly numbered from 1 to 16 to show a continuous dance progression. [CHARACTER] Use image1 as the base character. The same female dancer appears consistently across all panels with accurate likeness and proportions. [WARDROBE] The dancer wears a stylish, performance-ready outfit: a well-fitted top paired with a short, flowy skirt. The look should feel modern and visually appealing while still practical for dance movement. Fabric should subtly respond to motion (slight flow and folds), even in grayscale. [PANEL STRUCTURE – EACH FRAME] Top-left: Step number + short dance move title (e.g., “Step 5 – Spin Transition”) Center: Full-body pose capturing a precise moment in the choreography Bottom-left: 3–4 lines of concise instruction describing the move Overlay: Motion arrows and directional guides illustrating how the dancer transitions [MOTION INDICATORS] Incorporate curved arrows for fluid motion, straight arrows for directional steps, and circular indicators for spins or turns. Emphasize rhythm, weight shifts, and body isolation. [RENDER QUALITY] High-detail sculpted 3D style with smooth grayscale shading, subtle shadows, and clean linework. Maintain a polished, concept-art level finish with clarity in every pose. [RESTRICTIONS] No color, no background scenery, no extra characters, no visual clutter, only the dancer and instructional elements..

Sydney

11,457 просмотров • 5 месяцев назад

This is insane. Opus 5.5 made this entire video. Here's how I set it up in 10 steps: Every prompt I used is in my newsletter (free). Get the full walkthrough First, get Claude ready (both installs are free): 1. Open Claude Code and pick Opus 5.5 2. Install the HyperFrames video skill 3. Add my 13 free motion skills 4. Test it. Tell it to go all out It writes the animation as code, then renders an MP4. So you edit it by describing the change. Then make something people actually share: 5. Give it a proper brief, not one line 6. Give notes like you would a designer Mine was "Why do we dream?" (it found a source for every fact before it drew a thing). Now make it look like yours, not everyone else's: 7. Turn 5 frames you like into MOTION.md 8. Make Claude read them before every build 9. Add Apple's motion rules, then ask for an audit 10. Use real components from not drawn ones Step 8 is the one that makes it look like mine. Without it, the same prompt picks its own style. Repost ♻️ to help someone in your network.

This is insane. Opus 5.5 made this entire video. Here's how I set it up in 10 steps: Every prompt I used is in my newsletter (free). Get the full walkthrough First, get Claude ready (both installs are free): 1. Open Claude Code and pick Opus 5.5 2. Install the HyperFrames video skill 3. Add my 13 free motion skills 4. Test it. Tell it to go all out It writes the animation as code, then renders an MP4. So you edit it by describing the change. Then make something people actually share: 5. Give it a proper brief, not one line 6. Give notes like you would a designer Mine was "Why do we dream?" (it found a source for every fact before it drew a thing). Now make it look like yours, not everyone else's: 7. Turn 5 frames you like into MOTION.md 8. Make Claude read them before every build 9. Add Apple's motion rules, then ask for an audit 10. Use real components from not drawn ones Step 8 is the one that makes it look like mine. Without it, the same prompt picks its own style. Repost ♻️ to help someone in your network.

Charlie Hills

15,501 просмотров • 2 дней назад

Milton Friedman held up a 10-cent pencil in 1980 and said 0 people on Earth could make it. Not 0 people in the room. 0 people alive. The wood came from a tree in Washington, and to cut that tree you need a saw, and to make the saw you need steel, and to make the steel you need iron ore pulled out of the ground by men who will never see a pencil factory. The graphite came from a mine somewhere in South America, the eraser from Malaya, off rubber trees that aren’t even native to Malaya traders hauled those seeds over from Brazil with help from the British government, and then came the brass, the yellow paint, the black lines, the glue. 4 times on camera he says a version of the same line: I don’t know where this part comes from. He isn’t hedging, he’s setting the trap. Thousands of people made that pencil across 4 continents, speaking different languages, praying to different gods, and some of them would hate each other on sight if they ever met but not one of them woke up that morning wanting to make a pencil. No ministry assigned them, no central office sent orders, and nobody holds the blueprint because the blueprint doesn’t exist. You walk into a store and trade 2 minutes of your own life for a few seconds from thousands of strangers who will never know your name, and price is the only thing that arranged it. Friedman didn’t invent the argument he lifted it from a 1958 essay called “I, Pencil,” written by Leonard Read in the voice of the pencil itself, and his only edit was to pick the thing up and hold it in his hand. That’s the whole move: an abstraction shrunk down to 7 inches of wood. 46 years later the clip still travels because it never argues with you. It just hands you a pencil and waits.

Milton Friedman held up a 10-cent pencil in 1980 and said 0 people on Earth could make it. Not 0 people in the room. 0 people alive. The wood came from a tree in Washington, and to cut that tree you need a saw, and to make the saw you need steel, and to make the steel you need iron ore pulled out of the ground by men who will never see a pencil factory. The graphite came from a mine somewhere in South America, the eraser from Malaya, off rubber trees that aren’t even native to Malaya traders hauled those seeds over from Brazil with help from the British government, and then came the brass, the yellow paint, the black lines, the glue. 4 times on camera he says a version of the same line: I don’t know where this part comes from. He isn’t hedging, he’s setting the trap. Thousands of people made that pencil across 4 continents, speaking different languages, praying to different gods, and some of them would hate each other on sight if they ever met but not one of them woke up that morning wanting to make a pencil. No ministry assigned them, no central office sent orders, and nobody holds the blueprint because the blueprint doesn’t exist. You walk into a store and trade 2 minutes of your own life for a few seconds from thousands of strangers who will never know your name, and price is the only thing that arranged it. Friedman didn’t invent the argument he lifted it from a 1958 essay called “I, Pencil,” written by Leonard Read in the voice of the pencil itself, and his only edit was to pick the thing up and hold it in his hand. That’s the whole move: an abstraction shrunk down to 7 inches of wood. 46 years later the clip still travels because it never argues with you. It just hands you a pencil and waits.

West Lord

608,016 просмотров • 1 месяц назад

I vibe coded and built a sprite animation pipeline 🛠️ (Day 22 of making the engine+game) ⬇️ Watch the video if you don't wanna read the wall of text - it directly shows what I do. Shoutout to Jidé ✨ for showing me a paper on black/white combination to get alpha, it's the cleanest method yet, and to Cursor for enabling this entire journey. If you prefer the wall of text here you go: The hardest part of using general image models for 2D sprites isn’t getting a nice-looking frame, it’s getting consistent motion across a whole sprite sheet. You can fake a sheet, but frames won’t align, timing drifts, and you end up with weird artifacts. Even if you manually cut frames + interpolate, the animation often looks “off” because each frame is basically a new interpretation, not the same character evolving over time. This is especially noticeable with public API models like gpt-image-1.5 and Nano Banana. Some custom LoRAs for open models exist, but this is intended for less techy folks. My workaround: use a video model first, then post-process into a sprite sheet. Render the animation over a solid background (white/black/magenta/green), then chroma-key it out (my engine tool supports this). If the motion stays inside the silhouette, this works surprisingly well. You can do this in almost any video editing software too! The catch: keying almost always leaves an “aura” (edge spill). My best results come from interpolating the keyed animation with a clean base sprite, so you keep crisp edges and only “borrow” motion/detail where needed. If the animation extends outside the silhouette (tree branches, hair wisps, foliage), I usually skip “true sprite animation” and do it with shaders instead. Keying can’t fully remove halos there, no matter how much feathering/tuning you do. Another annoying issue: pixel corruption. AI rarely generates a perfectly flat background (pure #000000 or #FF00FF). That tiny noise breaks clean extraction and creates crawling garbage pixels around the subject. For clean base sprites (and even PBR maps), a useful trick is generating the same asset on white + black backgrounds and deriving alpha from the difference. This is basically a matte workflow: white = opaque, black = transparent. It fixes aura… but you’d need it per-frame to fix animation, which is still hard. For simple pixel art (single-digit frames), you can sometimes generate a sprite sheet, then ask the model to recreate it on black/white while preserving alignment… but it’s still manual-heavy. Honestly, at this point, for some projects it’s easier to go 3D → 2D and render clean sprites/maps directly. But I still love pushing “pure 2D” and seeing how far we can take it. Thanks for reading! Follow/bookmark/repost if interested in this kind of content!

I vibe coded and built a sprite animation pipeline 🛠️ (Day 22 of making the engine+game) ⬇️ Watch the video if you don't wanna read the wall of text - it directly shows what I do. Shoutout to Jidé ✨ for showing me a paper on black/white combination to get alpha, it's the cleanest method yet, and to Cursor for enabling this entire journey. If you prefer the wall of text here you go: The hardest part of using general image models for 2D sprites isn’t getting a nice-looking frame, it’s getting consistent motion across a whole sprite sheet. You can fake a sheet, but frames won’t align, timing drifts, and you end up with weird artifacts. Even if you manually cut frames + interpolate, the animation often looks “off” because each frame is basically a new interpretation, not the same character evolving over time. This is especially noticeable with public API models like gpt-image-1.5 and Nano Banana. Some custom LoRAs for open models exist, but this is intended for less techy folks. My workaround: use a video model first, then post-process into a sprite sheet. Render the animation over a solid background (white/black/magenta/green), then chroma-key it out (my engine tool supports this). If the motion stays inside the silhouette, this works surprisingly well. You can do this in almost any video editing software too! The catch: keying almost always leaves an “aura” (edge spill). My best results come from interpolating the keyed animation with a clean base sprite, so you keep crisp edges and only “borrow” motion/detail where needed. If the animation extends outside the silhouette (tree branches, hair wisps, foliage), I usually skip “true sprite animation” and do it with shaders instead. Keying can’t fully remove halos there, no matter how much feathering/tuning you do. Another annoying issue: pixel corruption. AI rarely generates a perfectly flat background (pure #000000 or #FF00FF). That tiny noise breaks clean extraction and creates crawling garbage pixels around the subject. For clean base sprites (and even PBR maps), a useful trick is generating the same asset on white + black backgrounds and deriving alpha from the difference. This is basically a matte workflow: white = opaque, black = transparent. It fixes aura… but you’d need it per-frame to fix animation, which is still hard. For simple pixel art (single-digit frames), you can sometimes generate a sprite sheet, then ask the model to recreate it on black/white while preserving alignment… but it’s still manual-heavy. Honestly, at this point, for some projects it’s easier to go 3D → 2D and render clean sprites/maps directly. But I still love pushing “pure 2D” and seeing how far we can take it. Thanks for reading! Follow/bookmark/repost if interested in this kind of content!

Startracker 🔺

20,181 просмотров • 8 месяцев назад

DRONE VIDEOGRAPHERS CHARGE $10K FOR THIS SHOT. HE PULLS IT FROM GOOGLE EARTH AND A PROMPT You never buy a drone, book a pilot, or leave the house. You pick any city on Earth, trace the flight path you want, and let Gemini render it as real-looking FPV footage. Clients pay thousands for this shot. You make it from a screenshot Here is the exact process: 1. Open Google Earth. Find the city or building you want. Frame the angle you'd want a drone to start from and take a screenshot 2. Draw the path. On that screenshot, draw a red line showing exactly where the drone should fly through the scene. This line is what the AI follows 3. Open Gemini and drop in the screenshot. Use the video generation in the Gemini app, the part that animates a still image into motion. Nano Banana handles images, the video engine is what turns your shot into footage 4. Paste the prompt. Tell it to follow the red flight path through the city, fast smooth motion, banking around buildings, golden-hour light, motion blur, 9:16 vertical, real FPV drone look. Full prompt is in the comments 5. Generate and clean it up. One clip is a few seconds. Stitch a couple together for a full flythrough and you have a reel Set the prompt once and you can re-run it for any location on the planet Who pays for this: Real estate agents, hotels, restaurants and event venues all need aerial b-roll and almost none can afford a real drone shoot Pull listings or venues with flat, ground-level photos and zero aerial footage. Send a free sample flythrough of their own location, then charge per clip or a monthly rate for ongoing reels One agent with ten listings is a recurring client, fully online Full prompt in the comments Bookmark this

DRONE VIDEOGRAPHERS CHARGE $10K FOR THIS SHOT. HE PULLS IT FROM GOOGLE EARTH AND A PROMPT You never buy a drone, book a pilot, or leave the house. You pick any city on Earth, trace the flight path you want, and let Gemini render it as real-looking FPV footage. Clients pay thousands for this shot. You make it from a screenshot Here is the exact process: 1. Open Google Earth. Find the city or building you want. Frame the angle you'd want a drone to start from and take a screenshot 2. Draw the path. On that screenshot, draw a red line showing exactly where the drone should fly through the scene. This line is what the AI follows 3. Open Gemini and drop in the screenshot. Use the video generation in the Gemini app, the part that animates a still image into motion. Nano Banana handles images, the video engine is what turns your shot into footage 4. Paste the prompt. Tell it to follow the red flight path through the city, fast smooth motion, banking around buildings, golden-hour light, motion blur, 9:16 vertical, real FPV drone look. Full prompt is in the comments 5. Generate and clean it up. One clip is a few seconds. Stitch a couple together for a full flythrough and you have a reel Set the prompt once and you can re-run it for any location on the planet Who pays for this: Real estate agents, hotels, restaurants and event venues all need aerial b-roll and almost none can afford a real drone shoot Pull listings or venues with flat, ground-level photos and zero aerial footage. Send a free sample flythrough of their own location, then charge per clip or a monthly rate for ongoing reels One agent with ten listings is a recurring client, fully online Full prompt in the comments Bookmark this

Yarchi

53,401 просмотров • 4 месяцев назад

Someone ran Claude Code on a beach where any device overheats and that spot suddenly turned out to be the best home for the most powerful AI in the world. This is the reMarkable Paper Pro. A paper tablet for notes with no browser and no social media and not a single app. He sat down right on the sand in the open sun and brought up Claude Code on Opus 4.6 over the Claude API on the paper screen and opened his project ~/repos/webs while the waves broke a few steps away. For years every device had the same trouble outside. In direct sun the screen glares and washes out and heats up and instead of your work you see your own reflection. But e-ink does not blast its own light into your face. It reflects the sunlight like the page of a book. And here is what came out of it. The very thing that kills any normal screen outside turned into fuel for this one. The brighter the sun the sharper the picture because it has nothing to glare with and nothing to wash out. And then comes the thing no laptop on a beach will give you. Your eyes do not get tired. You can watch Opus think on max effort for an hour and it reads like a book in the sun and not a backlight you squint into. The picture only comes alive. In bright light it does not fade but turns sharper and higher in contrast than it ever was in a room. The charge lasts for days. E-ink barely touches the battery so there is no outlet anywhere on the sand and the tablet does not care. It weighs as much as a notebook. The whole setup folds into a beach bag like a pad with a pen on top. Everything on the screen is for real. Claude Code v2.1.110 and Opus 4.6 on the Claude API and the project ~/repos/webs open right on the e-ink in the middle of the sand. In my opinion this is the most unexpected home for an AI this year. Not an office with the blinds drawn and not a monitor cranked to full brightness but a quiet sheet of paper on the sand that open sun only makes better and on it the most powerful Claude writes code right on the page like a pen.

Someone ran Claude Code on a beach where any device overheats and that spot suddenly turned out to be the best home for the most powerful AI in the world. This is the reMarkable Paper Pro. A paper tablet for notes with no browser and no social media and not a single app. He sat down right on the sand in the open sun and brought up Claude Code on Opus 4.6 over the Claude API on the paper screen and opened his project ~/repos/webs while the waves broke a few steps away. For years every device had the same trouble outside. In direct sun the screen glares and washes out and heats up and instead of your work you see your own reflection. But e-ink does not blast its own light into your face. It reflects the sunlight like the page of a book. And here is what came out of it. The very thing that kills any normal screen outside turned into fuel for this one. The brighter the sun the sharper the picture because it has nothing to glare with and nothing to wash out. And then comes the thing no laptop on a beach will give you. Your eyes do not get tired. You can watch Opus think on max effort for an hour and it reads like a book in the sun and not a backlight you squint into. The picture only comes alive. In bright light it does not fade but turns sharper and higher in contrast than it ever was in a room. The charge lasts for days. E-ink barely touches the battery so there is no outlet anywhere on the sand and the tablet does not care. It weighs as much as a notebook. The whole setup folds into a beach bag like a pad with a pen on top. Everything on the screen is for real. Claude Code v2.1.110 and Opus 4.6 on the Claude API and the project ~/repos/webs open right on the e-ink in the middle of the sand. In my opinion this is the most unexpected home for an AI this year. Not an office with the blinds drawn and not a monitor cranked to full brightness but a quiet sheet of paper on the sand that open sun only makes better and on it the most powerful Claude writes code right on the page like a pen.

Blaze

89,695 просмотров • 3 месяцев назад

I've been building on #threejs since 2015. Back then there was no InstancedMesh, no BatchedMesh. Most of the tools we take for granted today didn't exist. In 2017, while developing Jamir, I started building my own game engine on top of it. I've spent the years since profiling and optimizing that engine, often chasing performance problems line by line. That engine became X3JS. After all this time, the hardest part is still how deeply everything is connected. Even the best AI models today can make a change that looks completely correct, and quietly break something three systems away. An engine like this doesn't forgive that. So for this test I didn't want a synthetic benchmark. I wanted a real, AAA-looking game scene: cinematics, dialogue, characters, terrain, weather, a boss fight. The gameplay, the cinematics, the MIDI music, the music and sound selections, the animation choices: all of it was produced by AI through X3JS's MCP tools. Camera work, dialogue, voice casting, triggers, enemy behavior. Everything in the scene comes from the X3JS asset library and when X3JS releases, users will be able to use all of these assets freely in their own games. The video shows the exact same scene, side by side: - GTX 960M, a 2015 laptop GPU - RTX 4070, a desktop GPU Two separate gameplay runs never line up perfectly, so I made a few cuts to keep the cinematics in sync between the two sides. The scene, the settings, and the cinematics themselves are identical. The GTX 960M is still one of my favorite machines to test on and i am lucky to have that. If a heavy scene runs well there, the optimization work is real, not a number on a slide. And X3JS contributors; Terrain materials: Poly Haven Sound archive and AI meta: Selekt Audio

I've been building on #threejs since 2015. Back then there was no InstancedMesh, no BatchedMesh. Most of the tools we take for granted today didn't exist. In 2017, while developing Jamir, I started building my own game engine on top of it. I've spent the years since profiling and optimizing that engine, often chasing performance problems line by line. That engine became X3JS. After all this time, the hardest part is still how deeply everything is connected. Even the best AI models today can make a change that looks completely correct, and quietly break something three systems away. An engine like this doesn't forgive that. So for this test I didn't want a synthetic benchmark. I wanted a real, AAA-looking game scene: cinematics, dialogue, characters, terrain, weather, a boss fight. The gameplay, the cinematics, the MIDI music, the music and sound selections, the animation choices: all of it was produced by AI through X3JS's MCP tools. Camera work, dialogue, voice casting, triggers, enemy behavior. Everything in the scene comes from the X3JS asset library and when X3JS releases, users will be able to use all of these assets freely in their own games. The video shows the exact same scene, side by side: - GTX 960M, a 2015 laptop GPU - RTX 4070, a desktop GPU Two separate gameplay runs never line up perfectly, so I made a few cuts to keep the cinematics in sync between the two sides. The scene, the settings, and the cinematics themselves are identical. The GTX 960M is still one of my favorite machines to test on and i am lucky to have that. If a heavy scene runs well there, the optimization work is real, not a number on a slide. And X3JS contributors; Terrain materials: Poly Haven Sound archive and AI meta: Selekt Audio

mert

13,999 просмотров • 1 месяц назад