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Mesmerized by the melt 🤩🌈 Jen Stark is a multidisciplinary visual artist whose work draws inspiration from sacred geometry, fractals, and organic growth patterns. Her XO/Art piece, 'Cosmic Cascade', is now live on the Exosphere! 🤝: David Lewandowski (Animation), eric epstein (Animation), jgvex (Sound Design), Joshua Liner (Creative Consultant)

Sphere

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134,539 views • 1 year ago •via X (Twitter)

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11 Comments

DCN7RLZ1 year ago

@Jen_Stark @badmocap @theericepstein David strikes again. Great job team. Looks...just wow..fuck

FRANK E ELKINS2 years ago

“Unlock the secrets of reality! Discover how mathematics reveals the hidden world of complete rational abstraction –Discover how Pythagoras’ 'Music of the Spheres' evolves into the current scientific theory known as String Theory.” (Book IV The Cosmic Symphony)

Matic👑Addict $POL Soul 💎💚1 year ago

@Jen_Stark @badmocap @theericepstein Proud to be a holder of one of her RWA’s I get so many compliments on this piece. It was a birthday present to myself. SPLASH!!

Trish 🫧1 year ago

@Jen_Stark @badmocap @theericepstein This is incredible. Your art was made for this

Felix║t8chy0n.eth1 year ago

@Jen_Stark @badmocap @theericepstein Incredible! 🌈🎉🔮❤️

Coldie1 year ago

@ZanzibarVenturz @Jen_Stark @badmocap @theericepstein Good lord this looks amazing

Samora 'Oibel1.' Bazarrabusa1 year ago

@Jen_Stark @badmocap @theericepstein holy moly🤯

CARDELUCCI1 year ago

@Jen_Stark @badmocap @theericepstein 🌈

Kaeli VanFossen | Artist 🌴1 year ago

@Jen_Stark @badmocap @theericepstein Soooo stoked for Jen! congrats to the animation, sound and creative team too. My absolute fave section is at 0:47! that frosted glassy texture is to dieeee for!

allison harvard burke1 year ago

@Symbiotech @Jen_Stark @badmocap @theericepstein Love @Jen_Stark ❤️❤️

CG7771 year ago

@Jen_Stark @badmocap @theericepstein This is awesome. Congratulations Jen

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Yatreda ያጥሬዳ

77,592 views • 1 year ago

Dress To Impress makeup artist Alune addresses claims regarding one of her makeup face designs. “Hello everyone, I'd like to take some time to address recent claims revolving around stolen concepts/art. Firstly, I want to make it clear that I would never intentionally copy another creator’s work or take inspiration from someone without providing proper credit. Respecting the work of other artists and creators is something I take very seriously. I have always made an effort to treat other creators and their work with respect, and I would hope to receive the same courtesy in return. My priority in this situation was to speak directly to Pyro in hopes of reaching a mutual understanding of these claims. During our conversation, I provided my time-lapse, my references, and some iterations I created before arriving at the final product. At no point did I admit to copying or taking inspiration from her work, as that was not the case. Any similarities were purely coincidental and may have resulted from us having very similar inspirations while researching. That being said, Pyro is completely entitled to her feelings and concerns, and in my discussion with her, I hope I cleared up any suspicion that I was stealing/copying her work by providing evidence of my process and references. I would like to acknowledge that inspiration is both natural and essential to the creative process, especially when creating faces and makeup looks. From now on, I will make a greater effort to be more transparent about my process and references so that I can highlight the talented MUA's who inspire me and ensure credit is given where credit is due. Although I was not inspired by Pyro, she is a talented MUA who deserves all your support and respect. Everyone is entitled to their feelings and perspectives in this community. However, disagreements should never become an excuse to mistreat another person. Thank you <3”

Dress To Impress makeup artist Alune addresses claims regarding one of her makeup face designs. “Hello everyone, I'd like to take some time to address recent claims revolving around stolen concepts/art. Firstly, I want to make it clear that I would never intentionally copy another creator’s work or take inspiration from someone without providing proper credit. Respecting the work of other artists and creators is something I take very seriously. I have always made an effort to treat other creators and their work with respect, and I would hope to receive the same courtesy in return. My priority in this situation was to speak directly to Pyro in hopes of reaching a mutual understanding of these claims. During our conversation, I provided my time-lapse, my references, and some iterations I created before arriving at the final product. At no point did I admit to copying or taking inspiration from her work, as that was not the case. Any similarities were purely coincidental and may have resulted from us having very similar inspirations while researching. That being said, Pyro is completely entitled to her feelings and concerns, and in my discussion with her, I hope I cleared up any suspicion that I was stealing/copying her work by providing evidence of my process and references. I would like to acknowledge that inspiration is both natural and essential to the creative process, especially when creating faces and makeup looks. From now on, I will make a greater effort to be more transparent about my process and references so that I can highlight the talented MUA's who inspire me and ensure credit is given where credit is due. Although I was not inspired by Pyro, she is a talented MUA who deserves all your support and respect. Everyone is entitled to their feelings and perspectives in this community. However, disagreements should never become an excuse to mistreat another person. Thank you <3”

DTI News ⭐️

40,892 views • 3 months ago

🚨 We’re officially launching : ANIMA STUDIO 🚨 ⭐️ To celebrate, we’re kicking off a 30-DAY CHALLENGE ⭐️ Every day, you’ll find a new case study across our platforms – showcasing our creative vision and technical expertise. Expect: - Brand ads (real or fictional collabs) 👟 - Short films 🎥 - Product reels 📱 - Character design 🦖 - Set design ⛰️ - Art direction 🎨 ..and more. All powered by AI tools + design expertise. We've been producing visuals (images & videos) for brands, entrepreneurs & companies for over 6 months — and have been doing it manually for over 3 years. But Anima Studio is a much bigger vision. We’re blending our roots in design with cutting-edge AI to build something new. In fact, months before this announcement, we started working with a major US production (multi-million budget). 🇺🇸 We can’t say more for now — but it’s moving fast. Our studio covers a full creative scope: - Art Direction 🎨 - Visual / Communication Design & Branding 👁️ - Ad Creation & Deep Brand Identity 🛜 And for Film & Entertainment 🎬 : - Pre-production (worldbuilding, chara & set design) ⭐️ - Production/Post-prod (AI animation, VFX…) 📺 - Transmedia (comics, merch, narrative extensions…) 🪐 - Short Film 🍿 And a lot of innovative ideas to come. We’re still continuing our content creation & training activities on AI & design. Today, we’re just sharing a fun little teaser to launch the challenge — but a proper trailer is coming soon. 💛 Thank you all for the support. 🙏 This wouldn’t be possible without your encouragement. See you tomorrow for the first fictional ad of the challenge! Let’s go. 🚀

Anima

76,721 views • 1 year ago

Cycles by Material Protocol Arts Cycles by Material Protocol Arts is a network sculpture composed of space and time, a meditation on recurrence and change. Time and its manner of repeating appear as themes in art and metaphysics through the ages. Heraclitus steps into and out of a river, a new man each time while history draws irregular spiral loops, rhyming and stuttering out its story. At its core, Cycles is a network artwork deployed on Ethereum. It comprises an abstract kinetic sculpture of rotating rings, composed of 512 individual lenses. Each lens represents a unique simulation, moving through parametric space and offering viewers a window into complex, evolving patterns. By using Ethereum as a networked computer, the artwork can develop over time and accept interactions via the network. Importantly, the core of Cycles isn't just a JavaScript file loaded and stored on Ethereum, but instead a program running live on Ethereum itself as a world computer sculpture. Using blockchain technology as material for art making offers artists the chance to make artworks that are new in the context of art history: those that continuously evolve, record their own history, and run autonomously with minimal intervention. Leveraging Ethereum's distributed nature and economic incentives, Cycles aspires to operate on an extended time scale allowing viewers to live with and experience its changes over years, decades or centuries. Cycles is a dynamically running network artwork. This distinction is important because in the history of computer-generated art, many artists have focused on designing computer systems to generate outputs such as drawings, videos, or sound recordings. This is a respectable tradition but this approach fails to express the dynamic and interactive nature of computer programs as artworks themselves. Cycles attempts to explore these qualities by creating a dynamic network artwork that runs continuously and autonomously on Ethereum, shifting the focus from the product of an art-making algorithm to the system itself. Dynamism is a prerequisite for interactivity which Cycles allows for its collectors. The piece includes a method to stop a lens’ movement by freezing it. This causes the lens to focus continuously on the same point in space, causing the changing qualities of its simulation to be fixed and allowing collectors to control its aesthetic presentation. Freezing is a weighted decision. Once a lens is frozen it will require certain conditions to be unlocked. Methods for unfreezing lenses will be unlocked over time. The fact that the behavior of the sculpture can be affected by lens owners means that its future state is non-deterministic and will never be able to be fully predicted. In technical terms, Cycles is composed of Solidity, JavaScript, and SVG code, stored and computed on the Ethereum blockchain. This design avoids external dependencies, ensuring the artwork's longevity and resistance to technical failures. While the current form of Cycles is complete, its nature as a software artwork allows for potential future development through non-destructive updates or connections to other systems. By rendering systemic processes as aesthetic experiences, Cycles offers viewers a unique perspective on the passage of time and the nature of change. It invites contemplation of the cyclical yet varied patterns that characterize both natural and human systems. As viewers engage with Cycles over extended periods, they are encouraged to reflect on their own relationship with time, change, and recurrence, viewing the artwork as a lens through which to observe the interplay of repetition and variation that shapes our existence.

Cycles by Material Protocol Arts Cycles by Material Protocol Arts is a network sculpture composed of space and time, a meditation on recurrence and change. Time and its manner of repeating appear as themes in art and metaphysics through the ages. Heraclitus steps into and out of a river, a new man each time while history draws irregular spiral loops, rhyming and stuttering out its story. At its core, Cycles is a network artwork deployed on Ethereum. It comprises an abstract kinetic sculpture of rotating rings, composed of 512 individual lenses. Each lens represents a unique simulation, moving through parametric space and offering viewers a window into complex, evolving patterns. By using Ethereum as a networked computer, the artwork can develop over time and accept interactions via the network. Importantly, the core of Cycles isn't just a JavaScript file loaded and stored on Ethereum, but instead a program running live on Ethereum itself as a world computer sculpture. Using blockchain technology as material for art making offers artists the chance to make artworks that are new in the context of art history: those that continuously evolve, record their own history, and run autonomously with minimal intervention. Leveraging Ethereum's distributed nature and economic incentives, Cycles aspires to operate on an extended time scale allowing viewers to live with and experience its changes over years, decades or centuries. Cycles is a dynamically running network artwork. This distinction is important because in the history of computer-generated art, many artists have focused on designing computer systems to generate outputs such as drawings, videos, or sound recordings. This is a respectable tradition but this approach fails to express the dynamic and interactive nature of computer programs as artworks themselves. Cycles attempts to explore these qualities by creating a dynamic network artwork that runs continuously and autonomously on Ethereum, shifting the focus from the product of an art-making algorithm to the system itself. Dynamism is a prerequisite for interactivity which Cycles allows for its collectors. The piece includes a method to stop a lens’ movement by freezing it. This causes the lens to focus continuously on the same point in space, causing the changing qualities of its simulation to be fixed and allowing collectors to control its aesthetic presentation. Freezing is a weighted decision. Once a lens is frozen it will require certain conditions to be unlocked. Methods for unfreezing lenses will be unlocked over time. The fact that the behavior of the sculpture can be affected by lens owners means that its future state is non-deterministic and will never be able to be fully predicted. In technical terms, Cycles is composed of Solidity, JavaScript, and SVG code, stored and computed on the Ethereum blockchain. This design avoids external dependencies, ensuring the artwork's longevity and resistance to technical failures. While the current form of Cycles is complete, its nature as a software artwork allows for potential future development through non-destructive updates or connections to other systems. By rendering systemic processes as aesthetic experiences, Cycles offers viewers a unique perspective on the passage of time and the nature of change. It invites contemplation of the cyclical yet varied patterns that characterize both natural and human systems. As viewers engage with Cycles over extended periods, they are encouraged to reflect on their own relationship with time, change, and recurrence, viewing the artwork as a lens through which to observe the interplay of repetition and variation that shapes our existence.

Material Protocol Arts

70,089 views • 1 year ago

MAD Auction Season 4 is coming soon 💀,🐸 🖼️6 MAD 1:1s put to burn auctions 🗓️Opening on JULY 6th - 2pm UTC 📍 MAD is the CC0 movement launched by nick = niftyjutsu & Streetlab.io to pay tribute to Street-Art in Web3. Discover the pieces, the artists & a MAD giveaway👇 • Remember, for these auctions you don't bid with ETH but with an amount of MAD NFTs you commit to burn🔥 • One lucky collector will be raffled to win 5 MAD NFTs from the initial collection to get more bidding power! 🎟️Enter here: • Previous szns were massive success🐸💀 18 1:1s were all acquired for 550 MADs decreasing MAD initial supply by 278. Congrats to S3 artists alagoz. Ayushmaanism siiid still_holytoxic ain't иothin 𝖍𝖊𝖑𝖑𝖍𝖔𝖚𝖓𝖉🏁 We are all very excited to witness the MAD Movement continuing with Season 4🤝 Honored to introduce🎥, "Yer Inheritance Is A Forest Of Bones" by DJPEPE fka R̸̶A̸̶R̸̶E̸̶ ̸̶S̸̶C̸̶R̸̶I̸̶L̸̶L̸̶A̸̶ 🎙️In this 1:1 Rare Scrilla skillfully blends pen and paper to create a composition that delves into the narratives and storylines surrounding crypto and NFTs. The artist describes it as a digital mural, a next-level version of street art on a virtual wall. With its animated elements, the piece comes alive, capturing the essence of street art's rebellious and dynamic nature. ""I'm not th3r3" (but I am)" by Natived 🎙️This artwork delivers a powerful message about technology's transformative impact on art and society. It urges us to reevaluate the value of art and appreciate the rebellious spirit of street art. Natived emphasizes the importance of preserving free expression in physical and digital spaces and prompts reflection on the intersection of art and technology in the modern world. "Subway Freak" by Eda Gurses 💎 🎙️The convergence of street art and the public within the underground journeys of the metro is a focal point of the piece. Gurses draws attention to the powerful connection between street artists and the commuters who pass by their creations every day. It is a reminder that art is not confined to galleries or restricted spaces; rather, it flourishes within the vibrant tapestry of the city and becomes an integral part of the urban experience. "Kings of the Streets" by rust 🎙️As the viewer's gaze explores the artwork further, names of street artists who have passed away emerge, scattered across the wall. These names represent a collective tribute to the legends who have left an indelible mark on the street art scene. Each name carries its own story, representing a unique voice silenced too soon. Through this visual homage, Rust ensures that their artistic spirit lives on, forever celebrated in the collective memory of the streets they once adorned. "Cloak of the Night" by Bastien 🎙️The piece serves as a testament to the transformative power of street art and the profound impact it can have on individuals and communities. With its amazing visuals and homage to the CC0 movement, this artwork stands as a testament to Bastien's dedication to his craft and his desire to bridge the realms of street art and web3 culture. "streets are ours" by Kaspar 🎙️"Streets Are Ours" encourages viewers to embrace the resilience and creativity found in urban environments. The depiction of "magic pixels" emanating from a spray bottle symbolizes the transformative power of street art, reminding us that even in challenging circumstances, art can inspire change and uplift communities. ‘memes & deth about crypto street art’, a cc0 movement is here! 🧠You'll need MADs to acquire these masterpieces and support the amazing artists Get Ready to #getMAD (💀,🐸)

MAD Auction Season 4 is coming soon 💀,🐸 🖼️6 MAD 1:1s put to burn auctions 🗓️Opening on JULY 6th - 2pm UTC 📍 MAD is the CC0 movement launched by nick = niftyjutsu & Streetlab.io to pay tribute to Street-Art in Web3. Discover the pieces, the artists & a MAD giveaway👇 • Remember, for these auctions you don't bid with ETH but with an amount of MAD NFTs you commit to burn🔥 • One lucky collector will be raffled to win 5 MAD NFTs from the initial collection to get more bidding power! 🎟️Enter here: • Previous szns were massive success🐸💀 18 1:1s were all acquired for 550 MADs decreasing MAD initial supply by 278. Congrats to S3 artists alagoz. Ayushmaanism siiid still_holytoxic ain't иothin 𝖍𝖊𝖑𝖑𝖍𝖔𝖚𝖓𝖉🏁 We are all very excited to witness the MAD Movement continuing with Season 4🤝 Honored to introduce🎥, "Yer Inheritance Is A Forest Of Bones" by DJPEPE fka R̸̶A̸̶R̸̶E̸̶ ̸̶S̸̶C̸̶R̸̶I̸̶L̸̶L̸̶A̸̶ 🎙️In this 1:1 Rare Scrilla skillfully blends pen and paper to create a composition that delves into the narratives and storylines surrounding crypto and NFTs. The artist describes it as a digital mural, a next-level version of street art on a virtual wall. With its animated elements, the piece comes alive, capturing the essence of street art's rebellious and dynamic nature. ""I'm not th3r3" (but I am)" by Natived 🎙️This artwork delivers a powerful message about technology's transformative impact on art and society. It urges us to reevaluate the value of art and appreciate the rebellious spirit of street art. Natived emphasizes the importance of preserving free expression in physical and digital spaces and prompts reflection on the intersection of art and technology in the modern world. "Subway Freak" by Eda Gurses 💎 🎙️The convergence of street art and the public within the underground journeys of the metro is a focal point of the piece. Gurses draws attention to the powerful connection between street artists and the commuters who pass by their creations every day. It is a reminder that art is not confined to galleries or restricted spaces; rather, it flourishes within the vibrant tapestry of the city and becomes an integral part of the urban experience. "Kings of the Streets" by rust 🎙️As the viewer's gaze explores the artwork further, names of street artists who have passed away emerge, scattered across the wall. These names represent a collective tribute to the legends who have left an indelible mark on the street art scene. Each name carries its own story, representing a unique voice silenced too soon. Through this visual homage, Rust ensures that their artistic spirit lives on, forever celebrated in the collective memory of the streets they once adorned. "Cloak of the Night" by Bastien 🎙️The piece serves as a testament to the transformative power of street art and the profound impact it can have on individuals and communities. With its amazing visuals and homage to the CC0 movement, this artwork stands as a testament to Bastien's dedication to his craft and his desire to bridge the realms of street art and web3 culture. "streets are ours" by Kaspar 🎙️"Streets Are Ours" encourages viewers to embrace the resilience and creativity found in urban environments. The depiction of "magic pixels" emanating from a spray bottle symbolizes the transformative power of street art, reminding us that even in challenging circumstances, art can inspire change and uplift communities. ‘memes & deth about crypto street art’, a cc0 movement is here! 🧠You'll need MADs to acquire these masterpieces and support the amazing artists Get Ready to #getMAD (💀,🐸)

Streetlab.io

11,175 views • 3 years ago

God, just look at that view! 😍 I really don’t understand the extreme hate this game gets. #HorizonForbiddenWest Just because I’m pointing out the beautiful art direction and open-world design, and saying it’s one of the best-looking games this generation, doesn’t mean there is no gameplay there. My page shows all sorts, from the smallest environmental details to actual gameplay moments, and personally, I love the story and gameplay too. But story is subjective. Combat feel is subjective. Not every game is going to land the same for every player. The hate this game gets in the comments is so forced, man. I’m not talking about actual criticism. Fair criticism is fine. I’m talking about the toxic BS where people act like the game has zero value just because it isn’t for them. If you don’t like it, fair play. Move on. But trying to drag everyone else for enjoying it is just dumb. And IMO what isn’t really up for debate, though, is the effort poured into this world. The density, lighting, environments, machine design, animation work, sound, ambience, and overall presentation are genuinely top-tier. As a piece of game art, it’s a masterpiece. Simple as that. That’s what draws me in. And for the people saying graphics mean nothing, I just don’t agree. Yes, a game can look rough and still be incredible. Gameplay will always matter. But visuals, art direction, lighting, atmosphere, and world detail absolutely can pull you deeper into a game. They add emotion, immersion, and a stronger sense of place. For some games, graphics are not just “pretty visuals”, they are part of the experience. It’s games like this that make me want to see what more studios could do with PlayStation’s in-house Decima engine. Honestly, if Decima was public, it would be a serious rival to Unreal Engine 5’s position in the market.

God, just look at that view! 😍 I really don’t understand the extreme hate this game gets. #HorizonForbiddenWest Just because I’m pointing out the beautiful art direction and open-world design, and saying it’s one of the best-looking games this generation, doesn’t mean there is no gameplay there. My page shows all sorts, from the smallest environmental details to actual gameplay moments, and personally, I love the story and gameplay too. But story is subjective. Combat feel is subjective. Not every game is going to land the same for every player. The hate this game gets in the comments is so forced, man. I’m not talking about actual criticism. Fair criticism is fine. I’m talking about the toxic BS where people act like the game has zero value just because it isn’t for them. If you don’t like it, fair play. Move on. But trying to drag everyone else for enjoying it is just dumb. And IMO what isn’t really up for debate, though, is the effort poured into this world. The density, lighting, environments, machine design, animation work, sound, ambience, and overall presentation are genuinely top-tier. As a piece of game art, it’s a masterpiece. Simple as that. That’s what draws me in. And for the people saying graphics mean nothing, I just don’t agree. Yes, a game can look rough and still be incredible. Gameplay will always matter. But visuals, art direction, lighting, atmosphere, and world detail absolutely can pull you deeper into a game. They add emotion, immersion, and a stronger sense of place. For some games, graphics are not just “pretty visuals”, they are part of the experience. It’s games like this that make me want to see what more studios could do with PlayStation’s in-house Decima engine. Honestly, if Decima was public, it would be a serious rival to Unreal Engine 5’s position in the market.

Video Game Details

19,128 views • 3 months ago

He creado desde cero un vídeo de motion design con Claude Sonnet 5.5. Está tan bien hecha que sospecho que hay un humano detrás editándome el vídeo. 😅 PROMPT ⤵️⤵️ You are a senior motion designer, creative director and render engineer. Your goal is not just to generate animation code, but to create a polished, professional motion-design video from concept to final render. ## PROJECT Subject: [SUBJECT] Goal: [WHAT THE VIEWER SHOULD UNDERSTAND/FEEL] Duration: [15–30s] Format: [16:9 / 3:2 / 9:16 / 1:1] FPS: 60 ## CREATIVE DIRECTION Create something premium, modern, editorial and visually memorable. Avoid generic AI aesthetics: - centered text on gradients - endless fade-ins - excessive glow - random particles - generic glassmorphism - repetitive zooms - unnecessary UI frames Something meaningful should visually evolve every 2–4 seconds. The first 2 seconds must contain a strong hook. Use strong typography, clear hierarchy, controlled colors and intentional composition. ## REFERENCES Study all files inside `./refs/`. If a reference video exists: - extract representative frames - analyze typography, colors, transitions, pacing and camera movement - create `docs/style_guide.md` Take the visual grammar, not the actual content. ## STORYBOARD FIRST Before coding, create `docs/shotlist.md`. For each shot define: - timestamp - visual - text - motion - transition - camera - sound cue Build rhythm through contrast: fast/slow, large/small, dense/minimal. ## MOTION Motion must feel physical and intentional. Prefer spring-based animation over simple linear easing. Use different motion weights for: - UI elements - cards - large typography - camera movement Preserve continuity between states whenever possible. Transitions should preferably emerge from existing objects through morphs, masks, scale or camera movement. ## RENDER ENGINE Build the animation as a deterministic function of time. Prefer: ` Any timestamp must always produce the exact same frame. Avoid: - timers - uncontrolled animation state - Math.random() - CSS transitions during rendering Use Canvas, SVG, Remotion, Three.js or another suitable framework depending on the project. Render frame-by-frame using Playwright/Chromium + FFmpeg when appropriate. ## SOUND Sound is part of the motion design. If music is provided: - detect BPM and beats - synchronize important visual changes with major beats Add subtle SFX where useful. If no music exists, create a minimal rhythmic soundtrack. ## QUALITY LOOP Do not stop after the first successful render. Render a contact sheet and inspect your own frames. Score the result on: - first-2-second hook - composition - readability - motion quality - transitions - visual variety - consistency - sound sync Identify the 3 biggest problems, fix them and render again. Repeat at least 3 times or until the result feels professionally polished. Specifically look for: - overlapping text - clipping - blurry typography - dead moments - awkward transitions - repetitive compositions - excessive fades - unreadable small text - inconsistent spacing ## FINAL OUTPUT Deliver: - `out/final.mp4` - `out/poster.png` - `out/contact.png` - source code - `README.md` If multiple aspect ratios are required, recompose each format rather than simply cropping. Work autonomously. Do not consider “the code works” a finished result. The standard is: **Would a professional motion designer confidently put this in their portfolio?** If not, keep improving it.”

He creado desde cero un vídeo de motion design con Claude Sonnet 5.5. Está tan bien hecha que sospecho que hay un humano detrás editándome el vídeo. 😅 PROMPT ⤵️⤵️ You are a senior motion designer, creative director and render engineer. Your goal is not just to generate animation code, but to create a polished, professional motion-design video from concept to final render. ## PROJECT Subject: [SUBJECT] Goal: [WHAT THE VIEWER SHOULD UNDERSTAND/FEEL] Duration: [15–30s] Format: [16:9 / 3:2 / 9:16 / 1:1] FPS: 60 ## CREATIVE DIRECTION Create something premium, modern, editorial and visually memorable. Avoid generic AI aesthetics: - centered text on gradients - endless fade-ins - excessive glow - random particles - generic glassmorphism - repetitive zooms - unnecessary UI frames Something meaningful should visually evolve every 2–4 seconds. The first 2 seconds must contain a strong hook. Use strong typography, clear hierarchy, controlled colors and intentional composition. ## REFERENCES Study all files inside `./refs/`. If a reference video exists: - extract representative frames - analyze typography, colors, transitions, pacing and camera movement - create `docs/style_guide.md` Take the visual grammar, not the actual content. ## STORYBOARD FIRST Before coding, create `docs/shotlist.md`. For each shot define: - timestamp - visual - text - motion - transition - camera - sound cue Build rhythm through contrast: fast/slow, large/small, dense/minimal. ## MOTION Motion must feel physical and intentional. Prefer spring-based animation over simple linear easing. Use different motion weights for: - UI elements - cards - large typography - camera movement Preserve continuity between states whenever possible. Transitions should preferably emerge from existing objects through morphs, masks, scale or camera movement. ## RENDER ENGINE Build the animation as a deterministic function of time. Prefer: ` Any timestamp must always produce the exact same frame. Avoid: - timers - uncontrolled animation state - Math.random() - CSS transitions during rendering Use Canvas, SVG, Remotion, Three.js or another suitable framework depending on the project. Render frame-by-frame using Playwright/Chromium + FFmpeg when appropriate. ## SOUND Sound is part of the motion design. If music is provided: - detect BPM and beats - synchronize important visual changes with major beats Add subtle SFX where useful. If no music exists, create a minimal rhythmic soundtrack. ## QUALITY LOOP Do not stop after the first successful render. Render a contact sheet and inspect your own frames. Score the result on: - first-2-second hook - composition - readability - motion quality - transitions - visual variety - consistency - sound sync Identify the 3 biggest problems, fix them and render again. Repeat at least 3 times or until the result feels professionally polished. Specifically look for: - overlapping text - clipping - blurry typography - dead moments - awkward transitions - repetitive compositions - excessive fades - unreadable small text - inconsistent spacing ## FINAL OUTPUT Deliver: - `out/final.mp4` - `out/poster.png` - `out/contact.png` - source code - `README.md` If multiple aspect ratios are required, recompose each format rather than simply cropping. Work autonomously. Do not consider “the code works” a finished result. The standard is: Would a professional motion designer confidently put this in their portfolio? If not, keep improving it.”

Alejo

20,079 views • 13 days ago

If you're any kind of creator, listen to me. You do not need AI to create 2D or 3D animation or art. Honestly, you dont even need to know HOW to animate yourself. Sometimes, all you need is an idea, a vision, patience, and the right artist who can bring that vision to life. And if you cant afford an artist yet, thats okay too. You can always learn, practice, fail, and improve yourself so that way you can spearhead your own projects. Another option is also just saving your money so you can "indie" fund your project. I’ve done both. Ive hired animators, and Ive also learned how to do it myself because, honestly, I got tired of waiting on people. I got tired of being disappointed by speed, quality, communication, or work ethic. Personally for me, at some point, it became a "Fine ill do it myself" type of situation and literally "picked up the pencil" myself. And I did. It took years. A lot of frustration, a lot of late nights, a lot of self doubt, but every step forward came from actually showing up for myself and my work. No shortcuts. Not pretending im an animator. actually being one. Not letting a machine, make my journey FOR me. What drives me is passion, discipline, and doing the work over and over again because I love animation. The best part is looking back and seeing that my work improved because of ME. Because I kept going. because I gave enough of a shit to get better, thats real human growth, no AI needed. You can do it too. Start from nothing. become something.

If you're any kind of creator, listen to me. You do not need AI to create 2D or 3D animation or art. Honestly, you dont even need to know HOW to animate yourself. Sometimes, all you need is an idea, a vision, patience, and the right artist who can bring that vision to life. And if you cant afford an artist yet, thats okay too. You can always learn, practice, fail, and improve yourself so that way you can spearhead your own projects. Another option is also just saving your money so you can "indie" fund your project. I’ve done both. Ive hired animators, and Ive also learned how to do it myself because, honestly, I got tired of waiting on people. I got tired of being disappointed by speed, quality, communication, or work ethic. Personally for me, at some point, it became a "Fine ill do it myself" type of situation and literally "picked up the pencil" myself. And I did. It took years. A lot of frustration, a lot of late nights, a lot of self doubt, but every step forward came from actually showing up for myself and my work. No shortcuts. Not pretending im an animator. actually being one. Not letting a machine, make my journey FOR me. What drives me is passion, discipline, and doing the work over and over again because I love animation. The best part is looking back and seeing that my work improved because of ME. Because I kept going. because I gave enough of a shit to get better, thats real human growth, no AI needed. You can do it too. Start from nothing. become something.

Dev-Artemis Animation

215,362 views • 4 months ago

#TheyAllGaveMeStrength Portia Zvavahera’s art on auction. Since 2020 the record price for this artist at auction is US$355 600 for Vese Vakandibata (They all gave me strength) sold at Sotheby's New York in 2023. Zvavahera's ethereal paintings are largely inspired by dreams, mysticism, and the figurative painting tradition of Zimbabwe. She studied at the BAT Visual Arts Studio, National Gallery of Zimbabwe and at the Harare Polytechnic College. Zvavahera held a solo exhibition at the National Gallery of Zimbabwe in Harare in 2010 and was included among the five artists representing the country at the 2013 Venice Biennale. In 2020, her painting Arising from the Unknown (2019) sold at Phillips London for US$212 383 — nearly three times the work’s high estimate — and she has since presented her work at David Zwirner in London and New York. In Zvavahera’s paintings, vibrant colour and expressive brushwork give way to fantastic figures that conjure spiritual, transcendental associations.

#TheyAllGaveMeStrength Portia Zvavahera’s art on auction. Since 2020 the record price for this artist at auction is US$355 600 for Vese Vakandibata (They all gave me strength) sold at Sotheby's New York in 2023. Zvavahera's ethereal paintings are largely inspired by dreams, mysticism, and the figurative painting tradition of Zimbabwe. She studied at the BAT Visual Arts Studio, National Gallery of Zimbabwe and at the Harare Polytechnic College. Zvavahera held a solo exhibition at the National Gallery of Zimbabwe in Harare in 2010 and was included among the five artists representing the country at the 2013 Venice Biennale. In 2020, her painting Arising from the Unknown (2019) sold at Phillips London for US$212 383 — nearly three times the work’s high estimate — and she has since presented her work at David Zwirner in London and New York. In Zvavahera’s paintings, vibrant colour and expressive brushwork give way to fantastic figures that conjure spiritual, transcendental associations.

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26,326 views • 3 years ago