Opus 5.5 is pretty good at motion graphics
A cat, a bird, four inks and zero footage. Opus 5.5 wrote all of it.
Last week I asked Opus 5.5 for a short animation. A cat chasing a bird, printed like a risograph.
It came back with PURRSUIT. Twenty-five seconds. Four inks. Its own soundtrack. Not one frame from an image or video model.
Everything was code:
- Every drawing is a canvas, split into ink plates the way a real riso print is.
- A WebGL2 shader prints the plates, with the grain and the slightly-off registration of a real drum.
- The score is sample math. No loop library, no stock track.
- About 87 KB of scene code across a handful of files.
A motion designer, a printer and a composer in one sitting. Pretty good.
So we put it in the Agent
Pick Smart in the IMABIRD Agent and you're working with Opus 5.5.
Ask for a hook title that lands on the beat. A lower third. A logo reveal, a counter, a chart, a map. It writes the scene and puts it on your timeline.
It does the riso look too. And it can write a soundtrack from code.
Nothing gets baked in. Every graphic stays a scene you change with a sentence. Bigger. Slower. Make the bird pink.
Why it works
Motion graphics are code now. And code is what Opus is best at.
The other half is looking. The Agent renders frames from every graphic it makes and checks them. Is the headline big enough for a phone? Does the text clear the buttons and the captions? Does it stay up long enough to read? Then it fixes what fails and looks again.
That loop is where a strong model earns its keep.
Spend it on the first second
Smart isn't the cheap one. For trims and captions, pick Cheap.
Save Smart for the first second of your video. That's the part that decides whether anyone watches the rest.