Three hundred devotional songs, each one wanting its own visual treatment. By hand, that’s a year of work I didn’t have — so I built the treatment as a system instead. Every effect is generated from code: parameters in, rendered frames out. Because the pipeline is parametric (built in Remotion), the whole library re-renders, tweaks, and expands without redoing anything by hand. That’s the only reason a better three hundred was even possible — I improved the code and re-ran it, instead of remaking three hundred clips one at a time.
The film at the top isn’t a separate thing sitting beside the libraries — it’s the library put to use. The same effects you see as raw vocabulary in v1 and v2 are the ones sequenced, timed, and scored into the finished piece. The library is the raw material; the film is that material composed.