Jonathan Mercieca
Video Content Creator
Spotlight — a square social ad template that survives your content.
It’s for anyone launching a product, a menu item or an offer — a café, a studio, a shop — who needs it to move without hiring a motion designer. Every part you’d change is its own named element (logo, headline, subline, product-image, cta, badge): retype the text, drop in your photo and logo, swap the accent colour, and the motion follows untouched, because every movement is relative to the element rather than to its content.
Built entirely through the SVGator MCP from Claude: the full project — layers, live text, named elements, clip mask and the 6-second loop — was authored in one create_project call, verified with get_skeleton, refined with edit_part, then duplicated and re-texted for the second brand before the final swap by hand.
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Couples could hold a wedding date for free and forever; now a hold expires on its own and the date passes to the next couple, without the owner lifting a finger.
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The Salt Office — Ċensu Barbara keeps the register of everything the sea returns. Each episode someone comes to claim one object, and he decides whether their story holds. Forty years, eleven thousand entries, and one box he has never been able to fill.
I wanted a character whose job is a format: one claim, one object, one ruling, endlessly repeatable, with a private ache running underneath it. What's submitted here is the cold open. Creator Studio access never reached my account, so I could only generate single shots and couldn't assemble the full pilot.
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MELITA — a 30-second continuous shot down a single Maltese limestone street, travelling from 1565 to the present day without a cut.
It opens tight on stone. A mason is finishing a Maltese cross carved into a wall, brushing dust out of the grooves. He steps across the lens — and when the frame clears, four and a half centuries begin passing through the same street while the camera keeps pushing forward and never stops.
Knights running toward cannon fire in 1565. Gas lamps, ghonnella and a karrozzin in the 1890s. Rubble and a Spitfire overhead in 1942. Independence bunting and a boy with a football in 1968. Cafe tables and tourists today. Then the camera lifts over the rooftops and Valletta and the Grand Harbour open up in golden light.
Every era change happens behind something physically in the world — cannon smoke, a stone archway, falling plaster dust, a bedsheet on a washing line, the mason's own body. No dissolves, no transitions, nothing added in post.
Built in CapCut Video Studio as a single native 30-second Seedance 2.5 generation, directed entirely through a text prompt with second-by-second timestamp control. No reference images, no stitching, no editing.
Malta has been besieged, occupied, bombed and rebuilt more times than almost anywhere its size. The mason carves his mark and the film walks away from it, straight into everything that came after.
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