Olivia
Online
Amadeus | Latent Art
@amadeus_NFT
AI artist
Joined March 2022
138 Following
51 Followers
276 Posts
Вот несколько вариантов перевода, от дружелюбного до более сленгового. Фразу «не по-детски» на английский дословно не перевести, поэтому мы заменим ее на подходящие по смыслу аналоги.
1. Естественный и живой (Отличный баланс)
"Looks like you were in the mood for some serious flying today lol! It would be cool if the story continued underwater. Like, with some Egyptian statues or something
@ivanka_humeniuk Looks really cool! The AI renders the cat much closer to photorealism, but leaves the woman with a semi-illustrated vibe.
@HannaHnatiuk So sweet how they care for our little buddies lol
@by_anastasiia You incorporated the motion graphics really well! For my taste, there's a bit too much of it, but there are some really cool moves in there
@asifalihunzai I'll do my best to create more helpful content that everyone can quickly recreate.
Continuing my deep dive into the capabilities of MiniMax H3. Today, I��m sharing my prompt for a clean logo animation. 🚀
Here is all you need to do:
1️⃣ Upload your logo image (I’ve attached the one I used so you can test it).
2️⃣ Copy & paste my prompt.
3️⃣ Run a 15-second generation in MiniMax H3.
Here's the prompt 👇
#MiniMaxH3 #KineticTypography #PromptEngineering #MotionDesign #LogoAnimation
@asifalihunzai ехtended one, lol
@amatalynner Haven't tackled the Claude-to-AE workflow yet, but I'll get there for sure
@ivanka_humeniuk It's an awesome model, and the open-source community is doing an amazing job pushing it forward. Every week, they're plugging in dozens of cool new solutions
@HatsCapsForYou Text in a wrong please, better it will be in bottom of frame, or may be semi
transparent
@nastassiavideo Maybe you should try animating your own logo?
Вот как можно органично вплести эту деталь в твой ответ. Я добавил твою фразу в сер��дину, чтобы логика повествования сохранилась идеально.
Вариант 1: Максимально естественный (Лучший для соцсетей)
"I actually attached the logo I used as a reference—take a look, it's totally recognizable. What's cool is that the prompt intentionally doesn't describe what the logo looks like; it even pulls the color palette straight from the image you provide. Maybe if a logo is super complex you might run into some issues, but MiniMax handled this one almost immediately
@amatalynner Awesome! Finding the extraordinary in the ordinary. As they say, it's all about seeing familiar things in a whole new light
integrated_multimodal_description:
For the target video, at 0.00 seconds into the target video, <Picture 1> (from [Shot 1]) is fully referenced. <Picture 1> also serves as the authoritative reference for the logo itself: throughout the entire video the logo is treated as a fixed brand asset and appears complete and unmodified in every single shot, its shapes, proportions, internal spacing, stroke weights and colours identical to the opening frame. It is never cropped by the frame edge, never partially hidden behind an object, never cut off, never simplified and never redrawn into a different mark. On every physical object and every screen it is applied whole, at a generous size, sitting flat and fully unobstructed within the visible frame, and it is the single brand mark present in the video. Every surface it is applied to is otherwise blank, clean and unmarked. The only letters, characters and numerals that exist anywhere in the video are the ones that belong to the logo in the opening frame; every shot is otherwise free of text, and there are no captions, titles, subtitles, watermarks, labels, measurement numbers, annotations or interface text at any point.
[Shot 1] The video is a fast-cut motion-graphics brand-identity reel in a clean flat-vector style, high in contrast and built around large areas of empty background. A perfectly centred composition holds the logo from the opening frame, unchanged, on a plain flat background with wide empty margins on all sides, and nothing else is present in the frame. The logo immediately breaks down into its individual outlined construction shapes, which spin around the centre point of the frame together, leaving faint overlapping ghost copies of themselves as they rotate, and then decelerate and lock back into the complete logo as a thin-outlined vector drawing with no fill. The camera stays locked off and the whole logo scales up slightly as it settles.
[Shot 2] At 00:01.4, the shot hard-cuts to a light neutral-grey studio background. The complete logo now exists as a thick three-dimensional extruded solid seen in three-quarter perspective, its front faces matte black and its side walls carrying polished bevelled edges. A hard white specular highlight travels across the bevels as the object rotates smoothly on its vertical axis, and the visible extrusion depth shrinks as it turns, until at the end of the shot the logo faces the camera dead-on and reads as a flat black silhouette with every element intact. The camera holds completely still.
[Shot 3] At 00:02.4, the shot hard-cuts to a background filled edge to edge with the dominant accent colour taken from the logo in the opening frame. The complete logo sits centred as a flat solid silhouette in the contrasting colour, entirely inside the frame with clear margins, and scales down steadily to about half its starting size while the camera remains locked off.
[Shot 4] At 00:03.3, the shot hard-cuts to a near-black background where the logo glows in its accent colour. Thin pale horizontal alignment guides sweep in from both edges and settle across the frame, touching the top, middle and bottom of the logo like a typographic baseline grid. These guides are bare hairlines and nothing more, plain unbroken strokes of light with clean empty space along their whole length. The logo loses its fill and becomes a grey outlined construction drawing, then shrinks and slides left until its graphic symbol sits small and complete on the baseline in the left third of the frame. The camera does not move.
[Shot 5] At 00:04.3, the shot cuts to the same near-black layout of bare hairline guides. A second identical copy of the graphic symbol appears beside the first one, to the right of it on the same baseline, and then that duplicate collapses and reshapes itself into the first letterform of the lettering that belongs to the logo in the opening frame, its strokes sliding and merging into the letter shape while the symbol on the left stays untouched and fully intact. The camera stays static.
[Shot 6] At 00:05.4, the shot continues on the grid as the remaining characters of that same lettering appear one at a time to the right of the first letter, each drawn as a thin outlined letterform matching the typeface of the opening-frame logo, until the complete outlined lockup stands beside the symbol in exactly the arrangement seen in the opening frame. These characters are the only writing in the shot and the space around them stays empty. The alignment guides pulse faintly with each character and the camera holds still.
[Shot 7] At 00:06.5, the shot cuts to the finished lockup on near-black, whole and centred with clear margins on every side and nothing else in the frame. The outlines fill in solid and the logo takes on exactly the colours it has in the opening frame. It deforms for a single frame as it snaps into place, then settles back into its correct shape, the alignment guides fade out completely, and the whole lockup scales up slowly and steadily without ever reaching the frame edge. The camera is locked off.
[Shot 8] At 00:07.5, the shot hard-cuts to a background filled edge to edge with the accent colour, carrying the same complete lockup inverted so that every part of it reads as a near-black silhouette. The lockup continues scaling up smoothly for the full length of the shot and stays entirely within the frame, alone against clean flat colour.
[Shot 9] At 00:08.0, the shot hard-cuts to a near-black background where the graphic symbol of the logo stands alone in the accent colour, complete and centred, large enough to fill about half the frame height, with the rest of the frame completely empty. At 00:08.5 it snaps instantly to a much smaller size and turns solid white. At 00:09.0 it returns to the accent colour at medium size and then flips fast on its vertical axis, its extruded side walls flashing into view as it turns, until it compresses into a thin edge-on sliver. The camera never moves.
[Shot 10] At 00:09.5, the shot hard-cuts to an extreme macro close-up of a smartphone screen, framed so tightly that only the upper corner of the display is visible and the black bezel runs diagonally out of the top of the frame. The circular dark app-icon avatar dominates the composition and fills roughly half of the frame height, and the logo symbol inside it is shown whole and razor sharp, centred within the circle with comfortable padding so that no part of it touches the circle's edge. It is the only mark visible in the shot. Everything around the avatar is either cropped outside the frame or dissolved into soft coloured blur by a very shallow depth of field, leaving smooth featureless areas of light with nothing readable in them. A coloured ring lights up and sweeps around the outer edge of the avatar, and the camera pushes in slowly.
[Shot 11] At 00:10.9, the shot hard-cuts to a pure black background holding nothing but the complete logo, centred with wide empty margins and clean darkness all around it. It reappears as a chrome iridescent object whose individual segments are separated into glassy rounded capsules carrying a pearlescent teal, white and violet gradient across their surfaces with thin bright outlines around their edges. Every segment of the original shape is present and accounted for, and a specular highlight sweeps horizontally across them as they drift a little apart and back together. The camera creeps in slowly.
[Shot 12] At 00:12.3, the shot hard-cuts to a close-up of a plain dark washed-cotton baseball cap lying against black. Its front panel is smooth blank fabric carrying one thing only: the logo symbol embroidered whole and large across the centre of the panel in the accent colour, with visible raised stitch texture and individual thread rows catching the light. The cloth around the embroidery is even and empty, and the framing keeps the entire symbol inside the frame at all times, undistorted by the curve of the fabric. The camera trucks slowly to the right, carrying the symbol across the frame and bringing the curved brim into view.
[Shot 13] At 00:13.2, the shot hard-cuts to a slim laptop standing half-open at an angle against black. Its closed lid is one continuous sheet of smooth brushed steel, uniform and seamless from corner to corner, a perfectly plain empty surface with a fine even grain running across it. The single element on that surface is the logo symbol, printed whole and large across the exact centre of the lid in the accent colour, and the bare metal extends cleanly and emptily in every direction around it, edge to edge. The camera orbits slowly around the machine so that the lid rotates towards the lens and the symbol grows and straightens until it faces the camera almost head-on, complete and unobstructed, a soft highlight sliding across the brushed steel as it turns.
[Shot 14] At 00:14.1, the shot hard-cuts back to black, empty except for the logo standing alone in clean darkness. It assembles itself from separated white metallic segments that fly in from the edges of the frame and snap together into the complete logo, every element locking into its exact position from the opening frame, its surface a soft brushed-silver gradient. In the final half second the metallic surface flattens into the flat solid colours it has in the opening frame, the logo scales down slightly and holds whole and centred, and the video ends on a static frame.
overall_soundscape:
A sharp airy whoosh and a short dry mechanical click land on every cut, and the gaps between them are filled by a soft rising air swell. Fine granular interface ticks accompany each character as the lettering builds on the grid. A brief close fabric rustle sits under the embroidered-cap shot and a low sliding metal tone under the laptop orbit. A single soft metallic clack marks the moment the segments snap together at the very end.
non_diegetic_music:
A minimal electronic instrumental at roughly 128 beats per minute built on a dry kick on every beat, a short plucked synth arpeggio, and a low sub-bass note that lands on each cut. The arrangement strips back to kick and sub alone under the phone mockup, then adds a bright bell layer from the chrome shot onward and stops dead on the final frame.
![amadeus_NFT's tweet photo. integrated_multimodal_description:
For the target video, at 0.00 seconds into the target video, <Picture 1> (from [Shot 1]) is fully referenced. <Picture 1> also serves as the authoritative reference for the logo itself: throughout the entire video the logo is treated as a fixed brand asset and appears complete and unmodified in every single shot, its shapes, proportions, internal spacing, stroke weights and colours identical to the opening frame. It is never cropped by the frame edge, never partially hidden behind an object, never cut off, never simplified and never redrawn into a different mark. On every physical object and every screen it is applied whole, at a generous size, sitting flat and fully unobstructed within the visible frame, and it is the single brand mark present in the video. Every surface it is applied to is otherwise blank, clean and unmarked. The only letters, characters and numerals that exist anywhere in the video are the ones that belong to the logo in the opening frame; every shot is otherwise free of text, and there are no captions, titles, subtitles, watermarks, labels, measurement numbers, annotations or interface text at any point.
[Shot 1] The video is a fast-cut motion-graphics brand-identity reel in a clean flat-vector style, high in contrast and built around large areas of empty background. A perfectly centred composition holds the logo from the opening frame, unchanged, on a plain flat background with wide empty margins on all sides, and nothing else is present in the frame. The logo immediately breaks down into its individual outlined construction shapes, which spin around the centre point of the frame together, leaving faint overlapping ghost copies of themselves as they rotate, and then decelerate and lock back into the complete logo as a thin-outlined vector drawing with no fill. The camera stays locked off and the whole logo scales up slightly as it settles.
[Shot 2] At 00:01.4, the shot hard-cuts to a light neutral-grey studio background. The complete logo now exists as a thick three-dimensional extruded solid seen in three-quarter perspective, its front faces matte black and its side walls carrying polished bevelled edges. A hard white specular highlight travels across the bevels as the object rotates smoothly on its vertical axis, and the visible extrusion depth shrinks as it turns, until at the end of the shot the logo faces the camera dead-on and reads as a flat black silhouette with every element intact. The camera holds completely still.
[Shot 3] At 00:02.4, the shot hard-cuts to a background filled edge to edge with the dominant accent colour taken from the logo in the opening frame. The complete logo sits centred as a flat solid silhouette in the contrasting colour, entirely inside the frame with clear margins, and scales down steadily to about half its starting size while the camera remains locked off.
[Shot 4] At 00:03.3, the shot hard-cuts to a near-black background where the logo glows in its accent colour. Thin pale horizontal alignment guides sweep in from both edges and settle across the frame, touching the top, middle and bottom of the logo like a typographic baseline grid. These guides are bare hairlines and nothing more, plain unbroken strokes of light with clean empty space along their whole length. The logo loses its fill and becomes a grey outlined construction drawing, then shrinks and slides left until its graphic symbol sits small and complete on the baseline in the left third of the frame. The camera does not move.
[Shot 5] At 00:04.3, the shot cuts to the same near-black layout of bare hairline guides. A second identical copy of the graphic symbol appears beside the first one, to the right of it on the same baseline, and then that duplicate collapses and reshapes itself into the first letterform of the lettering that belongs to the logo in the opening frame, its strokes sliding and merging into the letter shape while the symbol on the left stays untouched and fully intact. The camera stays static.
[Shot 6] At 00:05.4, the shot continues on the grid as the remaining characters of that same lettering appear one at a time to the right of the first letter, each drawn as a thin outlined letterform matching the typeface of the opening-frame logo, until the complete outlined lockup stands beside the symbol in exactly the arrangement seen in the opening frame. These characters are the only writing in the shot and the space around them stays empty. The alignment guides pulse faintly with each character and the camera holds still.
[Shot 7] At 00:06.5, the shot cuts to the finished lockup on near-black, whole and centred with clear margins on every side and nothing else in the frame. The outlines fill in solid and the logo takes on exactly the colours it has in the opening frame. It deforms for a single frame as it snaps into place, then settles back into its correct shape, the alignment guides fade out completely, and the whole lockup scales up slowly and steadily without ever reaching the frame edge. The camera is locked off.
[Shot 8] At 00:07.5, the shot hard-cuts to a background filled edge to edge with the accent colour, carrying the same complete lockup inverted so that every part of it reads as a near-black silhouette. The lockup continues scaling up smoothly for the full length of the shot and stays entirely within the frame, alone against clean flat colour.
[Shot 9] At 00:08.0, the shot hard-cuts to a near-black background where the graphic symbol of the logo stands alone in the accent colour, complete and centred, large enough to fill about half the frame height, with the rest of the frame completely empty. At 00:08.5 it snaps instantly to a much smaller size and turns solid white. At 00:09.0 it returns to the accent colour at medium size and then flips fast on its vertical axis, its extruded side walls flashing into view as it turns, until it compresses into a thin edge-on sliver. The camera never moves.
[Shot 10] At 00:09.5, the shot hard-cuts to an extreme macro close-up of a smartphone screen, framed so tightly that only the upper corner of the display is visible and the black bezel runs diagonally out of the top of the frame. The circular dark app-icon avatar dominates the composition and fills roughly half of the frame height, and the logo symbol inside it is shown whole and razor sharp, centred within the circle with comfortable padding so that no part of it touches the circle's edge. It is the only mark visible in the shot. Everything around the avatar is either cropped outside the frame or dissolved into soft coloured blur by a very shallow depth of field, leaving smooth featureless areas of light with nothing readable in them. A coloured ring lights up and sweeps around the outer edge of the avatar, and the camera pushes in slowly.
[Shot 11] At 00:10.9, the shot hard-cuts to a pure black background holding nothing but the complete logo, centred with wide empty margins and clean darkness all around it. It reappears as a chrome iridescent object whose individual segments are separated into glassy rounded capsules carrying a pearlescent teal, white and violet gradient across their surfaces with thin bright outlines around their edges. Every segment of the original shape is present and accounted for, and a specular highlight sweeps horizontally across them as they drift a little apart and back together. The camera creeps in slowly.
[Shot 12] At 00:12.3, the shot hard-cuts to a close-up of a plain dark washed-cotton baseball cap lying against black. Its front panel is smooth blank fabric carrying one thing only: the logo symbol embroidered whole and large across the centre of the panel in the accent colour, with visible raised stitch texture and individual thread rows catching the light. The cloth around the embroidery is even and empty, and the framing keeps the entire symbol inside the frame at all times, undistorted by the curve of the fabric. The camera trucks slowly to the right, carrying the symbol across the frame and bringing the curved brim into view.
[Shot 13] At 00:13.2, the shot hard-cuts to a slim laptop standing half-open at an angle against black. Its closed lid is one continuous sheet of smooth brushed steel, uniform and seamless from corner to corner, a perfectly plain empty surface with a fine even grain running across it. The single element on that surface is the logo symbol, printed whole and large across the exact centre of the lid in the accent colour, and the bare metal extends cleanly and emptily in every direction around it, edge to edge. The camera orbits slowly around the machine so that the lid rotates towards the lens and the symbol grows and straightens until it faces the camera almost head-on, complete and unobstructed, a soft highlight sliding across the brushed steel as it turns.
[Shot 14] At 00:14.1, the shot hard-cuts back to black, empty except for the logo standing alone in clean darkness. It assembles itself from separated white metallic segments that fly in from the edges of the frame and snap together into the complete logo, every element locking into its exact position from the opening frame, its surface a soft brushed-silver gradient. In the final half second the metallic surface flattens into the flat solid colours it has in the opening frame, the logo scales down slightly and holds whole and centred, and the video ends on a static frame.
overall_soundscape:
A sharp airy whoosh and a short dry mechanical click land on every cut, and the gaps between them are filled by a soft rising air swell. Fine granular interface ticks accompany each character as the lettering builds on the grid. A brief close fabric rustle sits under the embroidered-cap shot and a low sliding metal tone under the laptop orbit. A single soft metallic clack marks the moment the segments snap together at the very end.
non_diegetic_music:
A minimal electronic instrumental at roughly 128 beats per minute built on a dry kick on every beat, a short plucked synth arpeggio, and a low sub-bass note that lands on each cut. The arrangement strips back to kick and sub alone under the phone mockup, then adds a bright bell layer from the chrome shot onward and stops dead on the final frame.](https://pbs.twimg.com/media/HQZ0wYFWoAA4Rpq.jpg)
@BerdolaDesign wesome example of fashion kinetic typography
@BerdolaDesign I get the feeling you took some time to chill this weekend. But by the way, I'm a massive fan of Studio Ghibli. Really in the mood for that meditative vibe with tons of space and beautiful lighting
@Its_Saad_kkk Wow, I want to make one just like this! Can I borrow your prompt?!
@nastassiavideo Totally agree, that tiny knife with the little bow looks absolutely stunning!
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