Open source. One prompt to a finished video, music included.
npx skills add sunsiyuan/ultramotionLiquid Glass9:16, 120 BPM
Apple-style glass that pops, stretches, merges and bends the text behind it, on a soft gradient, cut to a beat.
Kinetic Type9:16, 128 BPM
Heavy condensed type slamming in on the beat, with full-frame colour-block cuts — for gig promos, quotes and countdowns.
Variety CaptionsOn your footage
Variety-show captions on your own footage: pop words, bursts, stamps, subtitles and sound effects, placed around the face.
Hand-drawn Explainer9:16, written stroke by stroke
Whiteboard, notebook or chalkboard explainers, written stroke by stroke as the camera moves across the board, with its own music.
Light Particles9:16, up to 1.6M particles
Hundreds of thousands of glowing particles that gather into products, vehicles, towns and titles, build up in order and light up — for reveals, launches and greetings.
Flat Explainer9:16, narrated
Kurzgesagt-style narrated explainers: the voice-over is timed word by word, things pop in as they are named, the camera travels across scales, flat shapes with soft three-tone shading.
Painterly9:16, oil paint that moves
A living oil painting in the manner of Van Gogh and Loving Vincent: thick brush strokes that follow the form, a sky that turns, impasto catching the light, the camera walking into the picture.
Ink Wash9:16, ink that spreads and lives
Chinese ink painting in the manner of the Shanghai Animation Film Studio: ink creeps across rice paper, the painting keeps living — rain, mist, a boat, a school of tadpoles — scenes dissolve through the ink, a seal at the end.
Event Replay9:16 or 16:9, real data
A moment in history replayed from real data, in the manner of Neil Halloran and the New York Times: start from the whole and narrow to the moment, a clock that stretches the decisive minutes, a line that carries time, maps on real relief, numbers turned into things you can count.
Data Story9:16 or 16:9, real data
Years of real data played as time, in the manner of Hans Rosling and the New York Times charts: decades fly and slow down where the story is, the axis grows as the data arrives, only the point being talked about is named, the number rolls with the line, and every number stands next to what it should be compared with — the market, deaths, the other way of counting.
Neon Sign9:16, 16:9, 1:1 · tubes that switch on
A real neon sign switching on: dark glass tubes, a few stutters, one tube that catches late, then the wall lit in its colours and the wet street reflecting it, with the hum and click of the transformer.
Glitch9:16, 1:1, 4:5 · breaks on the beat
Digital breakage, used sparingly: channel splits, tears, compression blocks and datamosh land on the one beat that matters while nine frames in ten stay clean, closing on a CRT switch-off.
Infographic9:16 or 16:9, real data
What something is made of and what is bigger, told with one crowd of units that lines up again for every question: one group lit at a time, a magnifying glass for the tiny, a pile that runs off the top for the huge, all from real data.
Title Sequence16:9 or 9:16, cinematic
Slow, quiet film titles: one card at a time in the empty part of the frame, letters spacing out as they fade in, a new shot every card or two, grain and a soft grade, a piano note under the title.