Start here
Ten picks across all platforms. Finished, striking work first, verified before unconfirmed, tutorials left for the full grid.
Everything
One card per item. Filters are saved in the address bar, so a filtered view can be bookmarked.
What they teach
Rules and techniques that keep coming up across the items. The tags jump to the cards they come from.
Map the beats before anything moves
Pick a tempo, count the bars and give every beat an action. Cuts and sound hits are placed on the grid, not tuned by eye afterwards.
Write a banned effects list
Negative constraints (no crossfades, blur-ins, 3D flips, particles, glows or long holds) are what keep a run from the averaged AI look.
One continuous take
Every scene morphs out of the previous one with shared elements, and the last frame matches the first so the piece loops.
A reference scene beats a text prompt
One well-built scene, a reference video or a snippet of your own footage lifts the output far more than adjectives. Few-shot examples beat describing tone.
Many prompts, not one
Finished films took 26 to 100 rounds. Iterate scene by scene, ask for the plan before code, and git-diff each change because fixes regress.
Put a critic before the render
A separate judge agent reviews the plan or the rendered frames (contact sheets, screenshots, a reference clip) before anything ships.
Keep a brand or MOTION.md file
Tokens, type, easing and a component registry live in a file the agent reads every session, so a channel or product keeps one look.
Deterministic frames, rendered headless
Compute every frame from time, never from CSS transitions or timers, then capture with Playwright or headless Chrome and encode with ffmpeg.
Closed-form springs, varied tension
Springs solved per frame give physical motion that renders the same every time. One curve everywhere reads as bouncy, so vary tension by role.
Audio first, cut on words
Write the script, generate the voice, get word timestamps, then place every cut and caption on a spoken word.
Storyboard long pieces, split the work
Long films come from a written storyboard and an animation guide handed to parallel subagents, or a very long dictated brief.
Measure, then finish for the platform
Plot velocities instead of guessing at motion bugs. Keep text in mobile safe zones, export H.264 High with grain tuning for Safari, and use alpha renders for overlays.
How this maps to our studio
Where each lesson already lives in the video studio repo, relative to Documents/me/video-studio.
skills/motion-director/Brief, three directions and the timestamped storyboard. Add the beat map and a banned effects list to every brief (lessons 1, 2, 3, 11).skills/motion-review/The independent critic: contact sheets, phone sheets and the hits-vs-waveform check before a final render (lesson 6).prompts/INDEX.mdThe staged pipeline. See02-deterministic-rule.md(8, 9),20-reference-analysis.md(4),30-design-system.md(7) and53-final-render-delivery.md(12).skills/prompt-motion-search/Pulls the exact prompts behind the @twoclipping films and the showreel runs from prompt-motion.com, ready to rewrite into a brief (lesson 4).skills/motion-studio/Voice-first films where every cut lands on a spoken word (lesson 10).