Claude motion graphics

• One easing curve for snaps, cubic-bezier(.7,0,.2,1). Linear only for lines being drawn.
• Entrances are wipes or clip reveals, never fades. Deletions are hard cuts.
• Exactly one element carries the signal colour per shot. That element is the subject.
• Every position lands on a 12-column grid with 4% margins.

Avoid: Overshoot, springs, drop shadows, more than one typeface, centred-everything layouts

• Entrances overshoot with cubic-bezier(0.34,1.56,0.64,1) and settle within 12 frames.
• Stagger groups by 2 to 4 frames, never all at once.
• Transitions are carried by an element: a shape grows to fill the frame and becomes the next background.
• Four to five flat colours, no gradients, no outlines thinner than 3px at 1080p.

Avoid: Stock-illustration people with tiny heads, gradients, crossfades between scenes

• There are no cuts. Every new idea grows out of the previous shape.
• Each morph takes 18 to 30 frames and passes through a readable in-between shape.
• Hold each finished shape at least 1 second so it reads.
• Liquid joins use smooth-min blending, never a hard overlap.

Avoid: Morphs that pass through a shapeless blob, constant motion with no holds

• The line draws at a steady speed, linear easing, about 800px per second at 1080p.
• The camera pans to keep the pen tip in the middle third of the frame.
• One fill moment: the closed line floods with colour on a downbeat.
• Constant stroke width, round caps.

Avoid: Many lines drawing at once, fades in, text typed letter by letter

• One reading per screen. Never show two charts at once.
• Bars grow from the baseline in 20 frames with ease-out; counters roll to the exact value and stop.
• Every number on screen comes from the data you were given.
• Axis labels at least 28px at 1080p so they read on a phone.

Avoid: 3D charts, rainbow palettes, decorative gridlines, numbers that are not in the source

• True isometric angles. The camera slides, it never rotates in perspective.
• Objects drop in from 40px above with a small bounce, staggered by 3 frames.
• Three tones per material: top light, left mid, right dark.
• Things open to reveal their insides instead of cutting to a new scene.

Avoid: Perspective cameras, realistic textures, labels floating without leader lines

• Slow, long-tail easing, cubic-bezier(.16,1,.3,1), 30 to 45 frames per move.
• One giant number per piece, 30% of frame height, counted up to its exact value.
• Reveals come from light: a soft sweep passes and leaves the object lit.
• The accent colour appears on one thing only.

Avoid: Lens flares, neon glow, particle bursts, more than one accent colour

• Rebuild the real UI with real copy and colours. Never use screenshots.
• The cursor moves on eased curves, 20 to 30 frames per move, and pauses 8 frames before each click.
• Zoom to 1.6x on the detail that matters, then pull back.
• One action every 3 to 4 seconds so the viewer can follow.

Avoid: Fake features, cursor teleporting, lorem ipsum, zooming on nothing

• All text is monospace and sits on a character grid.
• Numbers roll through random glyphs for 6 to 10 frames before settling on the real value.
• Brackets lock onto a target in 3 steps: wide, tighter, locked with a tick.
• Two colours max on the dark field, plus dim grid lines.

Avoid: Heavy glow and bloom, glitch tearing, unreadable tiny text

• Everything is painted with strokes. No plain vector shapes.
• Washes reveal over 15 to 25 frames and bleed 4 to 8px past the ink line.
• Paper texture is always visible; pure white and pure black never appear.
• Linework re-randomises 12 times a second from a seed, so it lives without flickering.

Avoid: Perfect geometric shapes, digital gradients, text labels on everything

• Two or three inks only. Where inks overlap they multiply.
• Each plate is offset 2 to 4px from the others and stays there.
• Tones are halftone dots, no smooth gradients.
• Motion steps at 12fps for a printed, hand-pulled feel.

Avoid: A fourth ink, perfect registration, glossy highlights

• Every piece has a white or cut edge and a small hard shadow on the layer below.
• Pieces move in stop-motion steps at 12fps; the camera can move at 24.
• Depth comes from 3 to 6 parallax layers.
• Joints pivot like split pins, they do not bend.

Avoid: Soft blurred shadows, smooth 60fps character motion, vector-perfect edges

• Animate on twos: the drawing changes every 2 frames at 24fps.
• Cycle 3 jitter variants of every line so it boils without strobing.
• Fast moves get a smear frame instead of motion blur.
• Anticipation before every big action: a small move the other way for 4 to 6 frames.

Avoid: Tweened vector motion at 60fps, perfect circles, text standing in for acting

• Draw at 320x180 and scale by 6 with image smoothing off. Never draw at full resolution.
• One fixed palette of 16 to 32 colours. Shading uses dithering, not blending.
• Sprites animate at 8 to 12fps; the camera snaps to whole pixels.
• Text uses a pixel font and types out in dialogue boxes.

Avoid: Mixed pixel sizes, blurry scaling, anti-aliased edges, smooth sub-pixel motion

• Pick one era and commit: 1920s film, 1980s VHS, or 1990s camcorder.
• Texture is seeded per frame index, so grain changes every frame but renders the same every time.
• Gate weave of about 1px and brightness flicker of about 5% for film. Chroma shift of 2 to 3px for tape.
• Keep it legible: the effect sits on top of a clear composition, it is not the composition.

Avoid: Stacking every retro effect at once, glitch tearing over important text

• Soft studio light from one big key and a fill. Matte or soft-gloss materials.
• Shallow depth of field keeps attention on one object.
• Objects arrive with weight: fast in, 2 small settles, no floating.
• Fixed random seed for every procedural shape.

Avoid: Chrome everything, hard black shadows, objects floating with no contact shadow

• 1080x1920. Keep everything inside the middle 80% so platform buttons do not cover it.
• Captions of 1 to 4 words, each popping in on its spoken beat with a 6 frame scale overshoot.
• The first second must hook with the sound off.
• Highlight one word per caption in the accent colour.

Avoid: Long sentences on screen, text in the bottom 15%, small type