A few curves, one feel

You can usually spot generated video in under a second, and it is rarely the visuals. It is the motion. One element bounces, the next one slides linearly, a third overshoots and wobbles. Each choice is fine alone. Together they feel assembled rather than directed.

We went the other way. Every Orbit film, including every new scene the AI writes, moves with a deliberately tiny motion vocabulary. This post explains the rules and why we keep them strict.

The tell

Good motion design feels like one hand made every decision. That consistency is what people read as quality, even when they cannot say why. The fastest way to lose it is to let every element pick its own easing.

Settle, for things arriving

Text, cards and chips arrive fast and land softly. Most of the distance happens early; the last few pixels take their time. Nothing overshoots, so arrivals read as confident rather than playful.

Morph, for things changing

When a single element changes size or position, it eases in and out evenly. The symmetry matters because people scrub backwards too. A curve that feels great forwards and strange in reverse makes editing feel broken.

Timing is the other half

Curves only work with consistent timing. Orbit staggers related elements by small, regular steps, so a list of highlights ticks in with a rhythm rather than all at once or at random. Scene transitions overlap slightly, so cuts cross-fade instead of snapping.

2

Easing curves

0

Overshoots

12

Style packs, same rhythm

Why fewer is better

• Films made by different people on your team still feel related.
• Switching style packs changes the look, never the rhythm.
• Edits stay predictable: nudge a timing and the feel stays intact.
• New scenes written by the AI fit in with the ones that already exist.

Constraints are a feature. The fewer motion decisions a film needs, the faster it gets made, and the more it looks like it came from one place. That place is your brand.