Fathom
Exceptional
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- NewAssemblyA cinematic gallery that builds itself. On load a large, slowly-rotating globe of photographic squircle cards fills the screen — front cards big and bright, back cards small and dim, like a turning world of images — then the sphere spins down and the cards migrate off it, converging inward to lock into a tight, hand-arranged rounded-diamond bouquet that visibly SHARPENS as it forms: the depth-of-field tightens as the pieces gather, so you watch a single composed object come into being rather than a pile stack up. At rest the cluster breathes on a per-card idle drift and parallaxes on the cursor, near cards swimming more than far ones, so the flat wall reveals real layered depth. Click any card and it dollies to the centre and full sharpness while every other card spreads into an even ring around it, and the whole room floods with a soft radial bloom in that card's own dominant colour, re-lighting for every card. Esc, the close button, or a click on the empty stage re-gathers the exact same bouquet. The demo deck is a set of warm, cinematic photographic plates; any card can instead fall back to a bold procedural plate, so it still works with zero assets. One requestAnimationFrame clock writes every transform, filter, opacity and depth grade straight to the DOM; a single depth number per card drives scale, blur and dimming through one shared lens equation, so the fly-in, the settle and the click rack-focus all fall out of the same maths. GSAP eases the entrance and the focus open-close (power3.inOut); the rAF loop still owns every card transform. Theme-aware, keyboard-operable, honours prefers-reduced-motion, DPR-capped, and pauses when hidden or off-screen. Ships as a reusable component that takes any array of image cards as data.
- NewHelixA hero built from an endless descending spiral of portraits — a single winding strand, like a coil of DNA. Thirty cards are wound onto a helix around a vertical axis; each card's place comes from a single parameter that drives both its angle around the drum and its height, so every card rides one smooth spiral path — down and around at once. Scroll (or drag, or the arrow keys) and the whole spiral winds downward with heavy, critically-lerped momentum, fresh faces curving up to the front as spent ones sink away; a patient idle drift keeps it turning until you touch it. The loop is truly infinite: the card whose turn wraps past the bottom teleports back to the top, but its opacity is faded to zero at both extremes so the wrap always happens off-screen — the spiral never ends and never seams. Cards face outward along the strand, so the near side is large and sharp while the far side of the ribbon shows through, dimmed and recessed by depth — the strand crosses over itself like a coil of DNA. The strand is bowed into a spindle: the front-facing cards ride a bright, sharp band across the vertical centre and bulge toward you, while the top and bottom curve away, dim and soften into the background — a wound DNA-spiral shape rather than a straight cylinder. A soft background blur keeps the centre-front cards sharp — full colour and contrast — while a card only gently softens as it turns away, or as it climbs toward the top and bottom, the far ones easing into the dark (a per-card blur, not one filter on the whole scene). A page-load entrance rises them in from a soft blur, staggered down the strand. Each card shows a real photograph, cover-fit with a soft vignette so it sits in the dark stage — drop a folder of images and they cycle across the spiral; any card without an image falls back to a self-contained, procedurally-painted dream-plate, so it works with zero assets. Click a sharp front print and it opens into 'The Loupe on the Lightbox': the whole spiral racks out of focus and sinks into fog while the chosen print lifts flat off the spindle onto a warm lightbox, leaving a faint socket where it sat; a glass loupe glides in and, as you slide it across the print, magnifies a live crop re-sampled from the photo's full-resolution original — real grain the rest of the page never shows — while a caption (title, place, and a camera line for the genuine photographs) etches onto the dark room behind the print. Scroll, Esc, or tap away and the print walks back into its exact slot on the still-turning strand. Responsive to phone/tablet/desktop, keyboard-openable, and honours reduced motion. One requestAnimationFrame clock owns the live motion; GSAP owns only the entrance. Theme-aware (light paper or dark shadow stage), honours reduced motion, pauses when hidden or off-screen, and caps device-pixel-ratio.
- NewAliveA full-bleed agency manifesto — a heavy serif headline ("WE BELIEVE / BRANDS SHAPE THE / FUTURE") holding dead-centre over a warm off-white stage, framed by editorial chrome: a { Menu } / wordmark / { Work° } top bar and a bottom { Selected Projects } rail with a numbered counter and a shortlist of thumbnails. The moment the cursor moves, project photographs SURGE UP from below — each image is born under the pointer offset downward, blurred and small, and springs up on real spring physics to meet the cursor, then keeps drifting upward past it as it un-blurs, holds, and dissolves. Emission is distance-thresholded along the pointer path, so a slow drift leaves a sparse rising trail while a fast sweep flings a dense, overlapping collage that buries the headline — and flings it higher, each image leaning into the direction of travel with a velocity-seeded launch, sideways drift and tilt. Newest always stacks on top; the whole scene leans a few degrees toward the cursor for depth. Sixteen curated photographs (architecture, portrait, product, still-life, landscape) cycle through varied aspect ratios so the wall never repeats a size; every URL is buyer-swappable. A recycled DOM pool keeps it crisp with true rounded corners and cast shadows; one raw-rAF clock owns every spring and the scene tilt, GSAP drives only the letter-by-letter entrance. Theme-aware (warm greige ↔ near-black), pauses off-screen and in hidden tabs, and honours prefers-reduced-motion with a composed still collage.
- NewPixelsA full-viewport 'what we offer' values scroller staged on faint graph paper, shipping with Motion's own brand values as the demo copy. One big procedurally-generated pixel sprite (a ghost, a robot, a heart, a star — each drawn from disc/rect/heart-curve/star-polygon primitives and auto-outlined, no external assets) sits centred on the grid; a 5-link top nav and a 4-link footer frame it, each evenly divided. Scroll and ONE full-width line defines the whole change: it rises from just below the description, up through the icon, to just above the heading, and everything it passes flips from offering A to B. The sprite replaces itself ROW BY ROW across the line (glitch-torn right at it), and the heading and description are CUT by the same line — the old offering keeps the slice above it, the new one takes the slice below — so nothing overlaps the line and the copy moves in lockstep with it, the number, title and copy never desyncing. It reverses exactly on scroll-up. Everything is driven purely by scroll — nothing auto-plays, and the list does not loop (scroll down to the last offering, scroll up to return to the first); wheel/touch is captured only while the cursor is over the section (the page scrolls normally elsewhere), and it holds exactly where you leave it — even mid-change, with the sprite half-changed and the line parked in the middle. The graph-paper grid stays perfectly static; only the coloured pixels change on it. One rAF clock owns the canvas and every per-frame text transform under a pure-easing scrub driver; GSAP drives only the entrance fade. Hover the icon and the pixels float away from the cursor — each a little spring pushed out of its radius — then re-assemble when you leave; click and a soft decaying force breathes every pixel outward — slowly and smoothly — before the home-spring eases them back into place. Theme-aware (the sprite keyline flips light↔dark), pauses off-screen, honours prefers-reduced-motion.