Cut-paper silhouettes against a tinted, backlit screen, after the silhouette films of the 1920s. Pulse is a heron standing perfectly still in the river of a metric — the first to see the water fall — while a small human figure reaches for a glowing coral lantern.
The camera drifts up the dashboard towers (slow multiplane parallax, towers at 3 depths) while the lit windows flicker; the headline fades in on the 0:04 snare and the tiny figure turns its head on the last beat.
The tint shifts amber → teal on the drop; the moon (with the mark) rises and the heron snaps its wings open in 3 stepped poses on beats 1–2–3. ‘Acme Pulse’ fades up on beat 4.
The river line breaks on beat 1 and the coral glow blooms at the fall; the heron’s neck shoots forward on the next beat (the ‘noticing’ pose). The cartouche slides in from the right; the figure lifts the lantern on the bar downbeat.
The tint warms to dawn over one bar; the heron glides across the sun (3-pose flap cycle per beat) and the tagline and Start free fade up one beat apart.
Why: Silhouettes read at any size and feel crafted and calm — the opposite of a noisy dashboard. A heron is a natural metaphor for patient watching: motionless for ages, then one precise strike. Risk: Silhouette-only frames hide UI detail and can feel slow or melancholy; keep the data in the cartouche large and crisp, and keep the tempo up with stepped poses.
Adapt to your product: Cut your product’s key screens into silhouettes (towers, rivers, paths), pick a watchful animal for your agent, and colour the backlight with your palette to mark each story beat.
References: https://en.wikipedia.org/wiki/Lotte_Reiniger (the pioneer of silhouette animation; gesture instead of faces) · https://en.wikipedia.org/wiki/The_Adventures_of_Prince_Achmed (1926 feature: cut-outs under a camera, multiplane, colour tinting)