Opus drives After Effects from a dancer’s skeleton
aicreataro had Opus 5.5 operate After Effects. Suno wrote the song, MiniMax H3 danced to it, and the skeleton of that dance drives type, light, and camera, frame by frame.
This is aicreataro’s third test of Opus 5.5 operating After Effects, and the pipeline is unusually legible. Suno wrote the song. MiniMax H3 listened and danced — two clips, fifteen seconds each. Then the model pulled a full-body skeleton out of the dance, frame by frame, and poured that data into After Effects so type, light, and camera move with the body.
That is a motion-design job with the tracking done by the same system that is cutting the piece. A human version is a shoot, a track, a designer, and a long afternoon of offsets. Here the offsets are the point: letters and light that are late or early by a frame would look like a template.
The song, the body, and the graphics have to feel like one decision. The skeleton is the contract between them.
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aicreataro
@aicreataro
Opus 5.5にAfter Effectsを操作させるテスト、その3。 ■ベース ・曲はSunoで作成 ・MiniMax H3に曲を聴かせて、女の子を踊らせる（15秒×2本） ■AEでやらせたこと ・踊りの映像から全身の骨格を1コマずつ取り出して、AEに流し込む ・その骨格データで、文字・光・カメラを動かす https://t.co/NtflCFYG4M
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Captured when this was curated, not live. —
