Big Idea

The argument in one line.

Feeding an AI assistant inside DaVinci Resolve full footage context and a highly detailed brief lets it generate, iterate on, and sound-design motion graphics that used to take hours of manual Fusion work.

Who This Is For

Read if. Skip if.

READ IF YOU ARE…

You edit inside DaVinci Resolve Studio and want motion graphics without hand-building every node in Fusion.
You already use an AI coding assistant like Claude and want to point it at a video-editing task instead of code.
You make recurring branded content and want a reusable visual system instead of one-off graphics every time.

SKIP IF…

You're on the free version of DaVinci Resolve; the AI assistant integration requires Resolve Studio.
You want a fully manual, hands-on compositing workflow rather than delegating it to an AI.

TL;DR

The full version, fast.

DaVinci Resolve's new AI-assistant integration lets an editor hand Claude a full video and a detailed brief, then get back finished motion graphics, bar graphs, pie charts, animated icons, built directly inside the timeline. The workflow: connect the assistant in Resolve Studio's settings, feed it complete footage context, write the prompt like briefing a human motion designer, and run it on a high-effort model like Opus 5.5. The first build takes the longest, about 20 minutes here, but follow-up edits to individual graphics take seconds. A second pass adds matching sound effects, and a saved brand identity keeps every future graphic consistent.

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Chapters

Where the time goes.

00:00 – 00:51

01 · The problem: manual motion graphics eat hours

Jamie states the pain of building motion graphics by hand in Fusion, then teases that DaVinci Resolve's latest update changed that for him.

00:51 – 01:40

02 · Set up the AI assistant inside Resolve Studio

Connect an AI assistant (Claude) in Resolve Studio's settings; requires the Studio tier, not the free version.

01:40 – 02:26

03 · Write the prompt like briefing a motion designer, then pick a model

Hand over full context and a detailed brief, then run it on Opus 5.5 High with auto-run on; Fable 5.1 also works but is slower.

02:26 – 02:55

04 · Sponsor break: Envato

Ad for Envato's stock footage, music, LUTs, and AI tools bundle.

02:55 – 04:13

05 · Live test: sound effects pass, cut into an iPhone 18 Pro review

A second AI pass adds sound effects to match the motion graphics, then the finished graphics are shown cut into Jamie's iPhone 18 Pro review segment.

04:13 – 04:58

06 · Start simple, then iterate in minutes not hours

The first full build took about 20 minutes; after that, edits to individual elements took a minute or less.

04:58 – 05:55

07 · Build a reusable brand identity, one project per client

Ask the AI to define a brand identity once, keep it in a dedicated project, and reuse it across future videos or clients.

05:55 – 06:13

08 · Outro: the Prompt Pack plug

Jamie closes by pointing to his own paid prompt pack product.

Atomic Insights

Lines worth screenshotting.

DaVinci Resolve now lets an AI assistant like Claude build motion graphics directly inside the timeline, no manual Fusion node work required.
Treating an AI like a motion designer you've never met, and handing over full context up front, produces dramatically better output than a vague prompt.
A top-tier reasoning model set to its highest effort mode (Opus 5.5 on High) is the sweet spot for complex compositing prompts; faster models skip too much.
The first AI-generated motion graphics build took about 20 minutes; every edit after that took a minute or less.
Once a base motion graphics build exists, small edits are near-instant, so the real cost is the first pass, not the iteration.
A separate AI pass can add sound effects matched to on-screen motion, distinct from generating the visuals themselves.
Defining a reusable brand identity, colors and style rules, once means every future graphic gets generated on-brand automatically.
Keeping one dedicated project per client lets the AI carry forward what worked before instead of restarting from zero each time.
Output quality compounds: the more you prompt inside a well-defined project, the better and more consistent the AI's results get.
DaVinci Resolve's AI-assistant integration only works on the paid Studio tier, not the free version.
Starting an AI motion-graphics request with something genuinely simple, before asking for a complex multi-element scene, avoids wasting the slow first build on the wrong result.

Takeaway

Claude can build your motion graphics

AI EDITING WORKFLOW

A DaVinci Resolve editor got AI-generated motion graphics into his timeline in minutes by treating Claude like a motion designer: full context, a detailed brief, and a model set to its highest effort.

01The problem: manual motion graphics eat hours

Node-based compositors like Fusion have a real learning curve: what an experienced editor can do in Fusion by hand can take hours, even a full day, for something that looks simple on screen.
The pain point that pushes people to try an AI workflow is usually a single moment where the manual version visibly underperforms, not a general dissatisfaction with the tool.

02Set up the AI assistant inside Resolve Studio

Claude (or any compatible AI) has to be explicitly connected inside DaVinci Resolve's own AI-assistant settings before it can touch a timeline; it doesn't work as a bolt-on.
The paid Studio tier of DaVinci Resolve is a hard requirement for this kind of AI integration, not the free version.

03Write the prompt like briefing a motion designer, then pick a model

Treat the AI like a motion graphic designer you've never met: hand over every asset and every constraint up front, because a vague brief produces a vague result.
Model choice changes both quality and turnaround: a top-tier reasoning model set to its highest effort mode is worth the extra wait for genuinely complex compositing work.
Leaving the assistant on auto-run, no per-step confirmation, is what makes a multi-minute build feel hands-off instead of babysat.

05Live test: sound effects pass, cut into an iPhone 18 Pro review

A second pass focused only on sound design, matching effects to on-screen motion, is a distinct step from generating the graphics themselves, worth running separately.
Testing new tooling on a real, already-recorded segment, not a throwaway demo, is the fastest way to see whether the output is actually usable.

06Start simple, then iterate in minutes not hours

The first full build is the slow one, roughly 20 minutes in this case, because the AI has to construct the whole scene from nothing.
Once a base version exists, follow-up edits to individual elements take a fraction of the time; the fix is iteration, not a full re-run.
Starting with a genuinely simple ask before requesting a complex multi-element scene avoids wasting the slow first pass on the wrong output.

07Build a reusable brand identity, one project per client

Asking the AI to define a reusable brand identity, colors and style rules, once means every future graphic can be generated to match without re-explaining it each time.
Keeping a dedicated project per client, or per personal channel, lets the AI carry forward what worked previously instead of starting from zero on every video.
Output quality compounds with use: repeated prompting inside the same well-defined project produces more consistent results than starting fresh each time.

Glossary

Terms worth knowing.

Fusion: DaVinci Resolve's built-in node-based compositing page, used to build motion graphics and visual effects by hand-linking nodes rather than typing a prompt.
DaVinci Resolve Studio: The paid tier of DaVinci Resolve; AI-assistant integrations like the one in this video require Studio, not the free edition.
Opus 5.5 (High): A top-tier, high-effort setting for an AI model, chosen here for complex motion-graphics prompts over faster but less capable options.
Auto mode (AI assistant): A setting that lets the AI assistant carry out a multi-step task, like building several motion graphics, without stopping to ask for confirmation at each step.

Resources

Things they pointed at.

02:26toolEnvato ↗

05:55productJamie Fenn's 11 AI Prompts for DaVinci Resolve (Prompt Pack) ↗

00:00toolDaVinci Resolve Studio

02:11toolClaude (Opus 5.5)

Quotables

Lines you could clip.

00:14

“navigate different layers and nodes and creating this giant spider web”

vivid problem statement, good cold open for a Resolve/Fusion pain-point clip→ TikTok hook↗ Tweet quote

04:13

“I highly suggest that you start out really simple because what you just saw was not exactly what it gave me when I saw the final product.”

honest, undercuts the highlight-reel demo→ IG reel cold open↗ Tweet quote

04:58

“you want to make sure that your graphics for your videos are all the same”

clean actionable one-liner→ newsletter pull-quote↗ Tweet quote

The Script

Word for word.

Read-along

Don't just watch it. Burn it in.

See every word as it's spoken — crank it to 2× and still catch all of it. The same dual-channel trick behind Amazon's Kindle + Audible.

metaphoranalogy

If you've ever tried to do any type of motion graphics or animated titles in DaVinci Resolve, then you know how difficult it is. You have to know how to use Fusion and navigate different layers and nodes and creating this giant spider web. To create something that looks pretty simple might take you a few hours, a day, even up to a week to complete.

Well, with DaVinci Resolve's latest update, You can make crazy motion graphics like bar graphs or pie charts or cameras or, you know, maybe your favorite plant. And you can create animations just like what you just saw in just a few minutes.

And the reason I'm making this video is because I put out a video a couple days ago where I raced a couple AIs in an editing competition, but my intro was super boring. The day after I posted it, I was like, man, I wonder what would happen if I just tried to add some motion graphics. And it did amazing.

So I was like, oh my. god I need to teach you guys how to do it. So with that said let us begin.

So the first thing you want to do is make sure you set up an AI with your DaVinci. If you come up here to the top left and come down to where it says set up AI assistance go ahead and click on that and set up your AI that you currently use. A few caveats you need some type of AI that will work with DaVinci.

I use Claude and then the other caveat is you need davinci resolve studio in order to do this so once you've done so go ahead and hop over to your ai now i have a video of me talking about my brand new phone so i'm going to give it all of the context that it needs in order to create the best motion graphics possible so every prompt is different and all the assets you give it are different but for this i'm kind of just handing it all over to claude to see what it will do So this is the prompt.

I'm not going to read it to you, but essentially I gave it all of the context that I thought it needed in order to do the best job possible. This is where you need to give it every single detail. Pretend like you're speaking to a motion graphic designer and you're telling them exactly what you want.

So if you need them to create 3D worlds or make every transition and motion graphic flow into one another, you need to tell it to do so. I'm using Opus 5 .5 on high. I've made a couple videos.

I have found that this is the sweet spot. Fable 5 .1 does crush it, does a great job. It just takes a little bit longer and all the other previous models do not recommend.

I also have my settings on auto, so it just kind of runs without asking. All right, I'm going to click start and while it's working, can you do me a favor? Real quick, go count all of your creative subscriptions.

Stock footage, music, LUTs, fonts, an AI thing you've probably only used twice. You can probably replace all of that with just one. This is Envato.

Stock video, music, sound effects, LUTs, unlimited downloads, plus AI tools for video, music, images, and voice. So when a clip's close but not just right, I just riff on it. And everything is commercially licensed, which is the part that matters when clients are Once it was done with all the motion graphics, I then prompted it to go into my master folder and go into my sound effects and put sound effects to everything.

So, we'll see how that turns out.

I have the brand new iPhone 18 Pro. I'm super pumped on this because I had the 15 Pro before and as much as I love that phone, It was just time for an upgrade.

Now, this wasn't a huge year for the iPhone. There are a few things I want to talk about that I'm really pumped about. The biggest update for this phone this year is the main camera has a variable aperture lens.

If you guys don't know what that means, it essentially means that the camera can allow in more light or less light, which in result allows you to have real background blur. There's not much more to the phone that I can really talk about that I'm. really excited about.

I just needed it because my previous one, the battery was dying. It also lacked some features. And I also wanted to be able to use the Blackmagic camera app to record Apple ProRes RAW so I could have the best image quality possible if I needed to use my phone.

So with that said, what did you guys think about all the motion graphics while I talked? It probably turned out pretty cool. Now to be completely transparent with you guys, when you do this.

I highly suggest that you start out really simple because what you just saw was not exactly what it gave me when I saw the final product. But here's the thing. When you give it its first workload, it's going to take a little bit of time.

I think the first iteration took about 20 minutes, which is actually insanely good compared to if you were to have to do it by hand. It was not perfect. But with that said, once you get the foundation, you start to iterate and you give it little edits and you tell it what you want it to do, it quickly does it.

Instead of waiting 20 minutes to redo the whole thing or to work on one little motion graphic, it'll take just a minute, sometimes even less, to make a quick little adjustment. Something I highly suggest you do is you want to make sure that your graphics for your videos are all the same. So if you need to, you can ask Claude to somewhat create a brand identity for who you are and what you do.

That way, once you kind of narrow down what you like, you can keep it and reuse it. I highly suggest that you create a new project, do all of your research and development there essentially. And then when you want to work on new videos, always point it towards that folder and it will know what it did that worked and it will continue to do so on future videos.

If you have multiple clients and they have different graphics, Create different projects with their specific brand elements. And then that way, if you go to edit multiple videos for that one client, you can just continue to just crush it.

And the more you use it and the more you refine Clod or any AI that you're using, the better it's going to perform. Everything you just saw, I turned it into prompts plus six brand new styles. Paste one in and your AI builds the whole thing from scratch inside Resolve.

Timed to your voice. No templates, no presets. 11 styles one workflow it's an all -in -one motion graphics prompt pack links in the description anyways i hope you guys enjoyed the video if you have any questions comment down below and yeah have a lot of fun with your motion graphics thanks for watching see you guys in my next video

The Hook

The bait, then the rug-pull.

Jamie Fenn opens with the pain every Resolve editor knows: Fusion's node web can turn a simple-looking title animation into a multi-hour build. His fix wasn't to get better at Fusion, it was to stop touching it and hand the whole job to Claude instead.

Frameworks