Loading video...

Video Failed to Load

There was a problem loading this video. This could be due to a temporary network issue or the video might be unavailable.

Thoughts on transferable skills. I was surprised reading the comments to Riley’s question about best UI animation tool for web. To anyone interested in diving into motion design I would strongly recommend - aim to become a motion expert, not Jitter/Rive/Lottie specialist. If you start from the foundations, jumping... into any animation tool will feel like a walk in the park. Keyframes, easing functions, transformations - same concepts are shared between all of them. Getting to know the foundations on the web means starting with CSS, Tailwind or React Motion. I’m often creating small motion concepts in Figma (see video) and then recreating them manually in code. Any language, it doesn’t matter because principles are the same. I recently made the switch to Swift and built a small animation tool for myself (see video) that I’ll discard after I’m done with the motion. This level of comfortableness with motion gives you unmatched flexibility. From that point, tools are just interfaces for expressing something you already deeply understand. This is not about performance or technical optimizations (Lottie files can outperform CSS equivalents), tools mentioned above really are great - it’s about developing transferable creative skill that lets you think across any medium, platform or tool.show more

Natko Hasic

9,436 subscribers

64,045 views • 1 year ago •via X (Twitter)

Science & Technology Education Arts

Anya Rossi• Live Now

Private livecam show

11 Comments

Natko Hasic1 year ago

For good motion work check out @alex_krasikau, he also has stream recordings of how he builds these step by step.

Dmitriy Bunin1 year ago

Amazing work! Congrats

Natko Hasic1 year ago

Thanks Dmitriy! Glad you liked it.

Abdussalam Popoola1 year ago

This is impressive, I’ve been learning motion with css and framer motion lately. Being a design first developer is both interesting and frustrating.

Natko Hasic1 year ago

Thanks Abdussalam. That's the correct approach in my opinion but for sure it can be frustrating. If you find the reward of "getting it to work" in code higher than doing it in a tool with presets and effect libraries, ignoring the frustrations becomes easier.

Kota1 year ago

So good

Natko Hasic1 year ago

Happy it resonated with you Kota, thanks for reading.

Charlie Joseph1 year ago

Great post, your work is phenomenal to be honest! Very inspiring to see your flow in how you build these

Natko Hasic1 year ago

Glad you liked it Charlie, really appreciate the kind words. 🙂

joshua 'navi 🪴1 year ago

100% agree. this is fundamentally how i think about design tools in general. i don't think there's a design tool i cannot learn so it's not what i aim for. tools always change.

Natko Hasic1 year ago

Great attitude Joshua, love it. The reply from Chris in the original thread actually made me write about this.

Related Videos

On Figma Motion, my demo & review. This is one of those updates that clicked swiftly into my workflow. Like in my 3D pipeline, using this stick shift animation, I emphasize hardware feedback with motion from Figma Motion. Assets are animated in Fig Motion and loaded into Blender as video textures for mesh and material control. It's advantageous since it is built into an ubiquitous ecosystem. A lot of work these days start in Figma even for someone like me that works outside the tool frequently. Can't over-emphasize my appreciation for the schema used to introduce motion to nearly all properties. Reminds me of how motion works in Blender - with better complexity management. Better than introducing more menus for those. Ease curves iD between keyframes is also an improvement over existing systems. Having spent some time on the tool, here are updates I'll like to see to Figma Motion. These are based on my immediate needs as at the time of working on this demo: • Using modifier keys (CMD, Shift, Ctrl) to jump / nudge across the timeline. E.g: holding down Shift key to make the playhead jump 100ms etc. • Jump to previous or next keyframe. • Better anchor point trails • Renaming layers from the timeline as well. • Editable custom bezier styles: after saving a style, I should be able to edit the curve - just as you can edit colour styles. • Enable transform on the timeline. I should be able to flip or scale keyframes. I hope to continue trying more ideas. Craft focused tools have had to take a backseat in recent times. Pleasing to see this come to light.

On Figma Motion, my demo & review. This is one of those updates that clicked swiftly into my workflow. Like in my 3D pipeline, using this stick shift animation, I emphasize hardware feedback with motion from Figma Motion. Assets are animated in Fig Motion and loaded into Blender as video textures for mesh and material control. It's advantageous since it is built into an ubiquitous ecosystem. A lot of work these days start in Figma even for someone like me that works outside the tool frequently. Can't over-emphasize my appreciation for the schema used to introduce motion to nearly all properties. Reminds me of how motion works in Blender - with better complexity management. Better than introducing more menus for those. Ease curves iD between keyframes is also an improvement over existing systems. Having spent some time on the tool, here are updates I'll like to see to Figma Motion. These are based on my immediate needs as at the time of working on this demo: • Using modifier keys (CMD, Shift, Ctrl) to jump / nudge across the timeline. E.g: holding down Shift key to make the playhead jump 100ms etc. • Jump to previous or next keyframe. • Better anchor point trails • Renaming layers from the timeline as well. • Editable custom bezier styles: after saving a style, I should be able to edit the curve - just as you can edit colour styles. • Enable transform on the timeline. I should be able to flip or scale keyframes. I hope to continue trying more ideas. Craft focused tools have had to take a backseat in recent times. Pleasing to see this come to light.

seyi

29,245 views • 2 months ago

I downloaded this sequence from The Great Moose Migration and made my own version, first showing the event at normal speed and then in slow motion. One detail I find interesting is that the animals in the forest seem to react at around the same time as this appears in the footage. Whether there is any connection, I honestly don’t know, but I think it’s worth noting. It could absolutely be something completely natural – a spider web close to the camera, insects, or something else creating this effect. I’m not a specialist in image or video analysis, and I’m not claiming to know what we are looking at. But when something like this appears, I think it’s worth letting more people take a look at the footage with fresh eyes. Maybe someone with experience in cameras, optics, insects, or video analysis can immediately explain what we are seeing. Watch the video, preferably several times and in slow motion, and make up your own mind. Spider web? Insects? Something else? I don’t know. But I definitely find it interesting.

I downloaded this sequence from The Great Moose Migration and made my own version, first showing the event at normal speed and then in slow motion. One detail I find interesting is that the animals in the forest seem to react at around the same time as this appears in the footage. Whether there is any connection, I honestly don’t know, but I think it’s worth noting. It could absolutely be something completely natural – a spider web close to the camera, insects, or something else creating this effect. I’m not a specialist in image or video analysis, and I’m not claiming to know what we are looking at. But when something like this appears, I think it’s worth letting more people take a look at the footage with fresh eyes. Maybe someone with experience in cameras, optics, insects, or video analysis can immediately explain what we are seeing. Watch the video, preferably several times and in slow motion, and make up your own mind. Spider web? Insects? Something else? I don’t know. But I definitely find it interesting.

Dennis Asberg

42,465 views • 10 days ago

Peter Jackson talks about AI in Hollywood. Calls it “a tool” like stop-motion or CGI before and what ultimately matters is “imagination, originality” of whoever uses the tool: “I think AI — used in the right way — is a tool like any other tool. [The original] King Kong…was stop-motion and done by a person moving a rubber creature. Why shouldn't somebody on a computer using AI software be able to create their own imagery? They should. It's a tool. It's no different from many other tools that have existed over the years. But the other side of it is that it's always going to come down to the imagination and originality of the person feeding the instructions into the AI program. It's not that you're going to type in an instruction and it's going to generate your shot, and that's that. The question is: is it actually interesting? Is it funny? Is it imaginative? And are you going to stitch it together to make a narrative, a story? Some people will make really great films that way. Some people will do exactly the same process and their film will be crap, just like in the normal film industry. Whether it's AI or anything else, it comes down to whether the person behind it — or the people behind it — have originality, imagination, and an ability to entertain people.”

Peter Jackson talks about AI in Hollywood. Calls it “a tool” like stop-motion or CGI before and what ultimately matters is “imagination, originality” of whoever uses the tool: “I think AI — used in the right way — is a tool like any other tool. [The original] King Kong…was stop-motion and done by a person moving a rubber creature. Why shouldn't somebody on a computer using AI software be able to create their own imagery? They should. It's a tool. It's no different from many other tools that have existed over the years. But the other side of it is that it's always going to come down to the imagination and originality of the person feeding the instructions into the AI program. It's not that you're going to type in an instruction and it's going to generate your shot, and that's that. The question is: is it actually interesting? Is it funny? Is it imaginative? And are you going to stitch it together to make a narrative, a story? Some people will make really great films that way. Some people will do exactly the same process and their film will be crap, just like in the normal film industry. Whether it's AI or anything else, it comes down to whether the person behind it — or the people behind it — have originality, imagination, and an ability to entertain people.”

Bearly AI

43,816 views • 4 months ago

I work with shadcn/ui every day. I design with it, I build with it, and I see a lot of projects built with it. And honestly? Many of them look the same. Or worse - they look broken. Colors that clash. Fonts that don't pair. Dark modes that feel like an afterthought. The components themselves are great. The theming that people or AI make? Not so much. So I built a tool to fix that. I just launched my shadcn theme generator that will allow you to ship beautiful shadcn/ui themes in just 3-4 clicks. What it does: - Creates your entire color palette from 1 color (your hex or any tailwind color) - Works for light and dark theme - Only includes fonts that actually look good in UI - Font pairings I curated myself - Works for any project - landing page, dashboard, store - Has a color contast checker for the entire palette Too lazy? Just use random theme feature Done? Copy and paste the CSS to your global.css file or import to our Figma kit.

I work with shadcn/ui every day. I design with it, I build with it, and I see a lot of projects built with it. And honestly? Many of them look the same. Or worse - they look broken. Colors that clash. Fonts that don't pair. Dark modes that feel like an afterthought. The components themselves are great. The theming that people or AI make? Not so much. So I built a tool to fix that. I just launched my shadcn theme generator that will allow you to ship beautiful shadcn/ui themes in just 3-4 clicks. What it does: - Creates your entire color palette from 1 color (your hex or any tailwind color) - Works for light and dark theme - Only includes fonts that actually look good in UI - Font pairings I curated myself - Works for any project - landing page, dashboard, store - Has a color contast checker for the entire palette Too lazy? Just use random theme feature Done? Copy and paste the CSS to your global.css file or import to our Figma kit.

Matt

77,902 views • 6 months ago

Rick Rubin describes how the same creative aesthetic is present in everything he does: “You're at Shangri-La and you walk through the space and you see it doesn't feel like other places you've been. It has the same aesthetic as the records I make, or the things that I work on, or things that I buy.” “It’s the same aesthetic. It’s all fitting into a [creative] worldview.” ——— And then Rick and I tied this to the same creative personality type you see in every field: David: “I've had my first podcast for a decade. And it started out just me reading biographies of people that build businesses. But over time I realized it’s the same personality type: The artist, the entrepreneur, the filmmaker, the musician. I've done podcasts on all of these kind of people and I don't see any distinction between them.” Rick: “It's the same. It’s the same. It's all the creative spirit.” “Most of what I do is not really about music. I happen to work in music but it's not about the music. Does that make sense?”

Rick Rubin describes how the same creative aesthetic is present in everything he does: “You're at Shangri-La and you walk through the space and you see it doesn't feel like other places you've been. It has the same aesthetic as the records I make, or the things that I work on, or things that I buy.” “It’s the same aesthetic. It’s all fitting into a [creative] worldview.” ——— And then Rick and I tied this to the same creative personality type you see in every field: David: “I've had my first podcast for a decade. And it started out just me reading biographies of people that build businesses. But over time I realized it’s the same personality type: The artist, the entrepreneur, the filmmaker, the musician. I've done podcasts on all of these kind of people and I don't see any distinction between them.” Rick: “It's the same. It’s the same. It's all the creative spirit.” “Most of what I do is not really about music. I happen to work in music but it's not about the music. Does that make sense?”

David Senra

15,872 views • 3 months ago

19 days after Figma FIGMA MOTION dropped and I was able to squeeze this out of it. For a software in Beta, not bad.. 🚀🔥💜 I did my best to pay as much attention to the original as I could😄. I've been seeing alot of fancy & cool stuffs done with it, but I actually wanted to see it do the hard stuff that brands could pay $$ for. Thank you all once again for your support, following the process from the day I started. It gets better from here🚀💜. UI design & Motion - Figma Sound & Video edit - CapCut

19 days after Figma FIGMA MOTION dropped and I was able to squeeze this out of it. For a software in Beta, not bad.. 🚀🔥💜 I did my best to pay as much attention to the original as I could😄. I've been seeing alot of fancy & cool stuffs done with it, but I actually wanted to see it do the hard stuff that brands could pay $$ for. Thank you all once again for your support, following the process from the day I started. It gets better from here🚀💜. UI design & Motion - Figma Sound & Video edit - CapCut

Khlaseek designer

16,243 views • 2 months ago

In this video I demonstrate #UnrealEngine5.4's brand new workflow to automatically retarget animations between common skeleton types. This tool makes it super easy to bring your animation into Unreal from outside sources. With just a few clicks, you can transfer animation two/from most industry standard skeleton types (Mannequins, Mixamo, Motionbuilder, Xsens etc...) with support for root motion and IK bones. If you want to make simple edits to the resulting motion on your character, you can optionally auto-generate an IK Retargeter to tune as desired.

Kiaran Ritchie

80,793 views • 2 years ago

Introducing TopoTaxi: A completely new approach to real-time character motion. TopoTaxi opens a game-changing direction for real-time animation. Instead of selecting from prebuilt animation clips or blending between fixed movement states, TopoTaxi generates a continuously evolving performance from the character’s current intent, movement, posture, style, and environment. Locomotion such as actions (walk, run, jump, etc.), idles, interactions, and much more can all be expressed through the same emergent motion system. Everything you see in this video is running through three models natively in UE5. There are no authored animation clips, no blending, and no fixed animation state machine driving the performance. New intent can arrive while motion is already being generated, allowing the character to continue moving, revise its future, and transition into new movement without a visible break. The result is motion that is more adaptive, expressive, and responsive to what is happening in real time.

Introducing TopoTaxi: A completely new approach to real-time character motion. TopoTaxi opens a game-changing direction for real-time animation. Instead of selecting from prebuilt animation clips or blending between fixed movement states, TopoTaxi generates a continuously evolving performance from the character’s current intent, movement, posture, style, and environment. Locomotion such as actions (walk, run, jump, etc.), idles, interactions, and much more can all be expressed through the same emergent motion system. Everything you see in this video is running through three models natively in UE5. There are no authored animation clips, no blending, and no fixed animation state machine driving the performance. New intent can arrive while motion is already being generated, allowing the character to continue moving, revise its future, and transition into new movement without a visible break. The result is motion that is more adaptive, expressive, and responsive to what is happening in real time.

TREE Industries

240,600 views • 16 days ago

During DLSS 5 Hands-On Video, YouTube creator Hot Hardware asked Nvidia employees this question about the computational cost of DLSS 5 when you move around in the game and it really caught my eye on how they hesitated on showing any DLSS 5 footage during motion. Every time that he moved the character, he would turn off DLSS 5 first then move to a different in-game location and then turn it on, or if DLSS 5 was turned on the movement was very slow and controlled. I know this is still work in progress, but it really begs the question "why wouldn't they show any this?" or "why show DLSS 5 this early?" I tried freezing some shots when another character is in motion to check if there are any artifacts when DLSS 5 is turned on. As suspected, I did come across some artifacts with UI elements, character popping out of the UI element and ghosting/artifacts behind the character. Its still not the best way to judge these small details that you can clearly see if a footage is recorded in-game, but then again its not like Nvidia provided any of them during DLSS 5 marketing campaign. Whenever this is still going to be present by the time DLSS 5 launches remains to be seen, however as of right now it doesn't look like it will handle fast-paced motion quite well and I don't know how well this "controlled AI-generated" rendering will scale to weaker GPUs in the RTX 50 series

During DLSS 5 Hands-On Video, YouTube creator Hot Hardware asked Nvidia employees this question about the computational cost of DLSS 5 when you move around in the game and it really caught my eye on how they hesitated on showing any DLSS 5 footage during motion. Every time that he moved the character, he would turn off DLSS 5 first then move to a different in-game location and then turn it on, or if DLSS 5 was turned on the movement was very slow and controlled. I know this is still work in progress, but it really begs the question "why wouldn't they show any this?" or "why show DLSS 5 this early?" I tried freezing some shots when another character is in motion to check if there are any artifacts when DLSS 5 is turned on. As suspected, I did come across some artifacts with UI elements, character popping out of the UI element and ghosting/artifacts behind the character. Its still not the best way to judge these small details that you can clearly see if a footage is recorded in-game, but then again its not like Nvidia provided any of them during DLSS 5 marketing campaign. Whenever this is still going to be present by the time DLSS 5 launches remains to be seen, however as of right now it doesn't look like it will handle fast-paced motion quite well and I don't know how well this "controlled AI-generated" rendering will scale to weaker GPUs in the RTX 50 series

NikTek

210,606 views • 5 months ago

Turning video into humanoid robot motion! 🤳🏼 Training humanoid robots needs huge amounts of motion data, but real-world capture doesn’t scale. Mocap is expensive, dangerous edge cases are rare, and you can’t ask humans to repeatedly fall or crash. Video2Robot tackles this by converting videos into physics-grounded humanoid simulations. Motion is generated to respect balance, inertia, ground contact, and joint limits, then directly retargeted to robot simulators. One prompt can generate a full humanoid motion sequence, including multi-agent interactions and failure cases like falls or collisions, scenarios that are hard or impossible to capture safely in the real world. The pipeline is model-agnostic and works with existing video generators, making it a practical way to scale data for robots. If robots are going to operate in the real world, they need to be trained on the failures too, not just the perfect demos. Here's the GitHub: ~~ ♻️ Join the weekly robotics newsletter, and never miss any news →

Turning video into humanoid robot motion! 🤳🏼 Training humanoid robots needs huge amounts of motion data, but real-world capture doesn’t scale. Mocap is expensive, dangerous edge cases are rare, and you can’t ask humans to repeatedly fall or crash. Video2Robot tackles this by converting videos into physics-grounded humanoid simulations. Motion is generated to respect balance, inertia, ground contact, and joint limits, then directly retargeted to robot simulators. One prompt can generate a full humanoid motion sequence, including multi-agent interactions and failure cases like falls or collisions, scenarios that are hard or impossible to capture safely in the real world. The pipeline is model-agnostic and works with existing video generators, making it a practical way to scale data for robots. If robots are going to operate in the real world, they need to be trained on the failures too, not just the perfect demos. Here's the GitHub: ~~ ♻️ Join the weekly robotics newsletter, and never miss any news →

Lukas Ziegler

59,835 views • 8 months ago

I just built a Claude skill that makes animated ads in any style (Stop Motion, Vox, Origami...) Paste any design you like. It replicates the whole style. Here's what it does: - You paste a reference image, or just a brief. - It breaks the look down into an editable spec. - It generates the on-brand stills with Nanobanana 2. - You approve the ones you like. - It animates them into stop-motion with Seedance 2.0. The frame opens empty. The cut-out pieces slide in and snap into place. Everything runs in Claude through the connector, so you never juggle models. Your only job is taste. Paste a reference, pick the shots. I'm giving the whole skill & workflow away. Comment "Skill" and I'll send it to you.

Raph Guilhem

61,821 views • 1 month ago

Right now, I have a few dozen tools to automate my life. Every single thing that I do more than once every week is now a tool: either a Claude Code skill, a scheduled workflow, or an application. • I spend the time doing this once. • I schedule it. • I forget about it (or at least, try to) CREAO is one of the platforms I've used extensively for building some of these automations. They are partnering with me on this post. They are one of the only platforms where you can go from a conversation to a scheduled agent that quickly. This is how it works: 1. You describe the problem you want to solve 2. CREAO's agent builds the logic and executes it 3. You can iterate with the agent to improve the solution 4. When you are done, you turn that solution into a mini app 5. You can schedule that app to run any time you need it Something important: These agents are deterministic. They don't use an LLM to generate answers, so they will always return the same output given the same input. This is critical: when you're automating something that runs every Monday at 9 am, you need it to return the same result every time, not a "creative" answer.

Right now, I have a few dozen tools to automate my life. Every single thing that I do more than once every week is now a tool: either a Claude Code skill, a scheduled workflow, or an application. • I spend the time doing this once. • I schedule it. • I forget about it (or at least, try to) CREAO is one of the platforms I've used extensively for building some of these automations. They are partnering with me on this post. They are one of the only platforms where you can go from a conversation to a scheduled agent that quickly. This is how it works: 1. You describe the problem you want to solve 2. CREAO's agent builds the logic and executes it 3. You can iterate with the agent to improve the solution 4. When you are done, you turn that solution into a mini app 5. You can schedule that app to run any time you need it Something important: These agents are deterministic. They don't use an LLM to generate answers, so they will always return the same output given the same input. This is critical: when you're automating something that runs every Monday at 9 am, you need it to return the same result every time, not a "creative" answer.

Santiago

13,727 views • 5 months ago

This isn’t a video. It’s a live, web-native prototype of work I designed for Trello. Real interface components. Real motion. Real interaction. It’s built in React and TypeScript—not rendered as a sequence of frames. I rebuilt the interface as live DOM so I could show the product work in motion, with panels, cards, and calendar elements layered independently in CSS 3D space. A custom browser timeline drives camera movement, rotation, depth, and pacing in real time, while responsive layouts and a Safari-optimized rendering path keep the experience smooth across devices. You can replay the sequence, switch views, and interact with selected parts of the interface directly on the page. It’s a front-end prototype, not a connected Trello product—but the interface, motion, and selected interactions are genuinely running in the browser. See it here: All built with OpenAI Developers Codex hosted on ChatGPT Sites.

This isn’t a video. It’s a live, web-native prototype of work I designed for Trello. Real interface components. Real motion. Real interaction. It’s built in React and TypeScript—not rendered as a sequence of frames. I rebuilt the interface as live DOM so I could show the product work in motion, with panels, cards, and calendar elements layered independently in CSS 3D space. A custom browser timeline drives camera movement, rotation, depth, and pacing in real time, while responsive layouts and a Safari-optimized rendering path keep the experience smooth across devices. You can replay the sequence, switch views, and interact with selected parts of the interface directly on the page. It’s a front-end prototype, not a connected Trello product—but the interface, motion, and selected interactions are genuinely running in the browser. See it here: All built with OpenAI Developers Codex hosted on ChatGPT Sites.

Levin Stanley

38,297 views • 12 days ago

I've been playing more with this depth map motion transfer workflow, and if you're trying to recreate really specific body movements from a reference video, this works surprisingly well. Here's the workflow: 1. Grab your reference video, then create your character and environment references. 2. Run the video through Depth Anything on fal to generate a depth map: 3. Drop that depth map into Seedance Omni as your motion reference along with your character and environment references. You don't even need the original video. I also tested this against using the original video as the motion reference in Seedance, and there's definitely a noticeable difference. One thing I found, though, is that this works much better for body movement than facial performance since the depth map can't really capture subtle facial motion. I'm running more tests to see if there's a good way to control both body movement and facial performance. If you have any workflows I should try, do share in the comments!

I've been playing more with this depth map motion transfer workflow, and if you're trying to recreate really specific body movements from a reference video, this works surprisingly well. Here's the workflow: 1. Grab your reference video, then create your character and environment references. 2. Run the video through Depth Anything on fal to generate a depth map: 3. Drop that depth map into Seedance Omni as your motion reference along with your character and environment references. You don't even need the original video. I also tested this against using the original video as the motion reference in Seedance, and there's definitely a noticeable difference. One thing I found, though, is that this works much better for body movement than facial performance since the depth map can't really capture subtle facial motion. I'm running more tests to see if there's a good way to control both body movement and facial performance. If you have any workflows I should try, do share in the comments!

Curious Refuge

16,487 views • 1 month ago

The Circle (2000, Panahi)/ Iran "Political movies have limited time. After that time, it doesn’t say anything anymore. But if the whole thing is said in an artistic way, then it doesn’t have an expiration date." --- Jafar Panahi Full Excerpt: "Interviewer: The subject matter of 'The Circle' (2000) is controversial. You mentioned that the film is still banned in Iran. In fact, when I was watching the film, I realized that through the characters, there’s a lot of fear about the system, the establishment, the police. The women can’t smoke; they have to wear the chador; they seem to want to hide every time. This is all very clear from watching the film. Did you deliberately want to make a statement about the political situation in Iran? Panahi: I have to tell you again that I’m not a political person. I don’t like political movies. But I take every opportunity to comment on the social issues. I talk about the current issues. To me it’s not important what is the reason for what has happened. Whether it’s political reasons or geographical reasons: these are not important—but the condition, the social issues. It is important to me to talk about the plight of humanity at that time. I don’t want to give a political view, or start a political war. I think that the artist should rise above this. Political movies have limited time. After that time, it doesn’t say anything anymore. But if the whole thing is said in an artistic way, then it doesn’t have an expiration date. So it doesn’t really serve a political purpose. Then it can be everlasting, for always, and it could be for anywhere. But I know that politically, with the film authorities, with any kind of film that has some political background in it, they would take issue with it. And for this reason, that is what the problem is. Interviewer: Still, your film makes a very strong statement about the problems that women face in Iran. Panahi: Yes, I agree with that. Interviewer: So that is humanitarian, of course, but it’s also political. Panahi: Yes, I agree with that. It has the elements. It all depends on how you look at it. If a person has only political views, then he will only see the political. But if you are a poet or an artist, then you see other things as well in the movie. If you are a socialist, you see political or economic or whatever different points of view. You mustn’t look at a film with only one point of view. If you want to see 'The Circle' (2000) as political, then it is one of the most political movies in Iran. By political, I mean partisan politics. But even the police, I didn’t want to show them as bad. In the first instance, you are afraid of the police. Because you are looking at them from the point of view of someone who is now in prison. And normally you see him in a long shot, but when they come nearer and you see them in a medium shot, you can see their human faces. Then it comes down to, “Do you need any help?” But he goes back again and becomes frightening. If I were being political, then I would always show the police as dangerous or bad persons." (Jafar Panahi's interview with Stephen Teo, Senses of Cinema, 2001)

The Circle (2000, Panahi)/ Iran "Political movies have limited time. After that time, it doesn’t say anything anymore. But if the whole thing is said in an artistic way, then it doesn’t have an expiration date." --- Jafar Panahi Full Excerpt: "Interviewer: The subject matter of 'The Circle' (2000) is controversial. You mentioned that the film is still banned in Iran. In fact, when I was watching the film, I realized that through the characters, there’s a lot of fear about the system, the establishment, the police. The women can’t smoke; they have to wear the chador; they seem to want to hide every time. This is all very clear from watching the film. Did you deliberately want to make a statement about the political situation in Iran? Panahi: I have to tell you again that I’m not a political person. I don’t like political movies. But I take every opportunity to comment on the social issues. I talk about the current issues. To me it’s not important what is the reason for what has happened. Whether it’s political reasons or geographical reasons: these are not important—but the condition, the social issues. It is important to me to talk about the plight of humanity at that time. I don’t want to give a political view, or start a political war. I think that the artist should rise above this. Political movies have limited time. After that time, it doesn’t say anything anymore. But if the whole thing is said in an artistic way, then it doesn’t have an expiration date. So it doesn’t really serve a political purpose. Then it can be everlasting, for always, and it could be for anywhere. But I know that politically, with the film authorities, with any kind of film that has some political background in it, they would take issue with it. And for this reason, that is what the problem is. Interviewer: Still, your film makes a very strong statement about the problems that women face in Iran. Panahi: Yes, I agree with that. Interviewer: So that is humanitarian, of course, but it’s also political. Panahi: Yes, I agree with that. It has the elements. It all depends on how you look at it. If a person has only political views, then he will only see the political. But if you are a poet or an artist, then you see other things as well in the movie. If you are a socialist, you see political or economic or whatever different points of view. You mustn’t look at a film with only one point of view. If you want to see 'The Circle' (2000) as political, then it is one of the most political movies in Iran. By political, I mean partisan politics. But even the police, I didn’t want to show them as bad. In the first instance, you are afraid of the police. Because you are looking at them from the point of view of someone who is now in prison. And normally you see him in a long shot, but when they come nearer and you see them in a medium shot, you can see their human faces. Then it comes down to, “Do you need any help?” But he goes back again and becomes frightening. If I were being political, then I would always show the police as dangerous or bad persons." (Jafar Panahi's interview with Stephen Teo, Senses of Cinema, 2001)

DepressedBergman

43,871 views • 8 months ago

Very Very Important (Must Read) If you’re a motion designer, this will be super useful for you. (Raw & Real) Coming to the point— This is my last post of 2025. Bad start but great ending—overall a good year. After creating so many motion ads and working with some really big brands. I want to drop a few hard-earned learnings: 1. Master the language of motion before flexing effects. Every ease, every transition has to feel intentional and purposeful. It must follow natural laws(Anticipation, Overshoot) and have personality. 2. Always create at least a rough storyboard to show your vision to the client. I made this mistake once, and we had to restart the entire motion video from scratch. 3. Undercutting your rates makes you forgettable. Premium pricing = smoother projects, deeper respect, and clients who value your craft. 4. Build your own taste. Most designers are copying others’ work—mostly Zelios-inspired right now. In the beginning it’s okay, but if you want to stand out and create great work, your motion must feel unique. You can achieve this with different structures, storyboards inspired by diverse areas, and fewer, more reasonable colors. 5. Don’t just practice—also analyze and study deeply. Note down what the best ones are doing, frame by frame. 6. Go into a niche. SaaS isn’t only niche. When people say “SaaS is the next big trend,” they often just want to sell you their course. There are so many more areas in motion: type animation, titles, UI animation, collage, mixed media, and many more. This isn’t all—I’ll share more and more value in the coming year. See you soon, guys.📡

Very Very Important (Must Read) If you’re a motion designer, this will be super useful for you. (Raw & Real) Coming to the point— This is my last post of 2025. Bad start but great ending—overall a good year. After creating so many motion ads and working with some really big brands. I want to drop a few hard-earned learnings: 1. Master the language of motion before flexing effects. Every ease, every transition has to feel intentional and purposeful. It must follow natural laws(Anticipation, Overshoot) and have personality. 2. Always create at least a rough storyboard to show your vision to the client. I made this mistake once, and we had to restart the entire motion video from scratch. 3. Undercutting your rates makes you forgettable. Premium pricing = smoother projects, deeper respect, and clients who value your craft. 4. Build your own taste. Most designers are copying others’ work—mostly Zelios-inspired right now. In the beginning it’s okay, but if you want to stand out and create great work, your motion must feel unique. You can achieve this with different structures, storyboards inspired by diverse areas, and fewer, more reasonable colors. 5. Don’t just practice—also analyze and study deeply. Note down what the best ones are doing, frame by frame. 6. Go into a niche. SaaS isn’t only niche. When people say “SaaS is the next big trend,” they often just want to sell you their course. There are so many more areas in motion: type animation, titles, UI animation, collage, mixed media, and many more. This isn’t all—I’ll share more and more value in the coming year. See you soon, guys.📡

KARN

20,245 views • 8 months ago

Warming up before coming back to YT. Today: the "clinical look" in web design. Sometimes a design feels too clean. Too perfect. Too digital. It looks polished, but also flat, with no depth, texture, or character. Making things feel less perfect in Figma can actually be pretty hard. In photography, people often switch to vintage lenses to get a softer, less digital look. In web design, we can do something similar by changing the tools we use. Here are some of the tools we use: Effect app - quick way to add depth of field, motion blur, CRT emulation, pixelation, and other effects. DaVinci Resolve / After Effects - better for motion blur, depth of field, lens simulation, and grain. More control, but more complex. Photoshop / Affinity Designer - useful for textures, brushes. Blender / Cinema 4D - great for natural light simulation, complex animation, and almost any visual effect you can imagine. WebGL - increasingly useful for building micro-apps that create a specific look. Try Gemini 3.1 Pro for that. If you like this format, let me know. I’m trying to find something useful for you, but easier to produce than the videos we were making a year ago.

Warming up before coming back to YT. Today: the "clinical look" in web design. Sometimes a design feels too clean. Too perfect. Too digital. It looks polished, but also flat, with no depth, texture, or character. Making things feel less perfect in Figma can actually be pretty hard. In photography, people often switch to vintage lenses to get a softer, less digital look. In web design, we can do something similar by changing the tools we use. Here are some of the tools we use: Effect app - quick way to add depth of field, motion blur, CRT emulation, pixelation, and other effects. DaVinci Resolve / After Effects - better for motion blur, depth of field, lens simulation, and grain. More control, but more complex. Photoshop / Affinity Designer - useful for textures, brushes. Blender / Cinema 4D - great for natural light simulation, complex animation, and almost any visual effect you can imagine. WebGL - increasingly useful for building micro-apps that create a specific look. Try Gemini 3.1 Pro for that. If you like this format, let me know. I’m trying to find something useful for you, but easier to produce than the videos we were making a year ago.

Alex Barashkov

11,951 views • 6 months ago

Naval on how to get a job in 2025: Learn how to use AI Naval on E215: "The fastest way to help somebody get a job right now: the best thing you can do is say, 'Hey, go download the AI tools and just start talking to them. Just start using them in any way.'" "And then you can walk into any employer in almost any field and say, 'Hey, I understand AI.' And they'll hire you on the spot." "AI is a productivity tool. It increases the productivity of a worker. It allows them to do more creative work and less repetitive work. As such, it makes them more valuable." "Yes, there is some retraining involved, but not a lot. These are natural language computers. You can talk to them in plain English, and they talk back to you in plain English." "I think we will see job creation by AI that will be as fast or faster than job destruction." "You saw this even with the internet. Like, YouTube came along. Look at all these YouTube streamers and influencers. That didn't used to be a job." "Go brush up on your AI. Learn a little bit. Watch a few videos. Use the AI." "Tinker with it and then go reapply for that job that rejected you, and watch how they pull you in."

Naval on how to get a job in 2025: Learn how to use AI Naval on E215: "The fastest way to help somebody get a job right now: the best thing you can do is say, 'Hey, go download the AI tools and just start talking to them. Just start using them in any way.'" "And then you can walk into any employer in almost any field and say, 'Hey, I understand AI.' And they'll hire you on the spot." "AI is a productivity tool. It increases the productivity of a worker. It allows them to do more creative work and less repetitive work. As such, it makes them more valuable." "Yes, there is some retraining involved, but not a lot. These are natural language computers. You can talk to them in plain English, and they talk back to you in plain English." "I think we will see job creation by AI that will be as fast or faster than job destruction." "You saw this even with the internet. Like, YouTube came along. Look at all these YouTube streamers and influencers. That didn't used to be a job." "Go brush up on your AI. Learn a little bit. Watch a few videos. Use the AI." "Tinker with it and then go reapply for that job that rejected you, and watch how they pull you in."

The All-In Podcast

164,054 views • 1 year ago