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Five vertical frames side by side: orange kinetic type, a particle globe, a gold medallion, an editorial page with an orange dot and a flock of dashes forming a number

Ten vertical motion films for our Instagram, each built on a different technique: a particle globe, a murmuration, a machine that plays music by collisions, a 3D medallion. Every frame and sound is code.

Labels
Internal VITON13's own product
Year
2026
Disciplines
Film, Design
Languages
English

Overview

We wanted a run of Reels for the studio’s own Instagram that would look like the work of ten different motion designers, about three things we make: the studio’s services, VITON13 SCHOOL and VJOURNAL. The account and the brief are ours; no client commissioned them.

As references we took public prompts collected on prompt-motion.com under the tag “particles” and answered each with a different idea, one per film.

  • 10

    films

    Source: Rendered on 12 October 2026

  • 152 s

    total running time

    Source: Sum of the ten files

  • 0

    stock clips, AI images or licensed tracks

    Source: Everything is drawn and synthesised in code

  • 1 day

    from brief to ten finished films

    Source: 12 October 2026

Films

From $13.01 — 14.1 s — A three-colour kinetic-type hype edit at 128 BPM: the studio’s offer in fourteen seconds.
The history of AI in 16 seconds.02 — 16 s — One spark flies along a timeline from 1950 to 2026; each milestone snaps into a particle symbol. For VITON13 SCHOOL.
Ten desks. One newsroom.03 — 15 s — A particle globe with VJOURNAL’s ten country desks, arcs between them and the journal’s numbers.
Seven directions. One rhythm.04 — 16 s — A machine where every note of the melody is a visible ball-on-bar collision: seven bars, seven studio directions.
Three programmes. Thirteen skills.05 — 14.5 s — Three engraved 3D medallions drawn on canvas, with gold dust, for the school’s three programmes.
VJOURNAL, counted.06 — 15 s — A murmuration of ten thousand dashes pours into the journal’s numbers: 957, 4, 1,069 and 2.
It starts with a dot.07 — 15 s — One dot grows into seven living interface windows, the camera pulls out until the desktop is a point, then dives into a phone.
Same model. Different result.08 — 16 s — A noisy prompt cloud passes the four gates of the school’s method and comes out ordered.
Full stop.09 — 14 s — An editorial page typesets the newsroom’s rules; an orange ball lands as the full stop of each sentence.
Seven stages.10 — 16 s — A black ball travels through the studio’s seven stages on paper, with hand-written animation notes.

Approach

Each film is one HTML scene whose every frame is a pure function of time, so it can be rendered out of order and always comes out the same. A shared engine gives springs, a 3D camera, particle batching, depth of field, bloom and type that rises on the beat; a second one synthesises the music and every hit, tick and whoosh from the scene’s own cue list, so picture and sound cannot drift.

The ten scenes were written in parallel from one brief with a fact sheet read from our live sites, then checked one frame per beat. Headless Chrome renders three sub-frames per frame for motion blur and ffmpeg encodes them.

Results

Ten finished films, 152 seconds in total, made in one day and scheduled one a day from 13 October 2026.

A reusable engine: a new film is one scene file, one soundtrack file and one command.

What this does not prove

These are our own Reels, not client work, and they have only started to publish: there are no reach or sales figures yet.

The sound was balanced by measurement, not mastered by ear. The reference prompts are public and belong to their authors; we took the ideas of the techniques, not footage or code.

Planning something similar? Our founder, Tarasov Vitalii, reads every message himself.

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