This single prompt covers the connected teaching sequences from revisiting rotating arms through the final quick-think comparison. Copy and paste it as one prompt. Do not submit each internal sequence separately.
Reference image A — acute-angle concept guide. Attach this image to the master prompt as a geometry reference, not as a title card.
Reference image B — right-angle concept guide. Attach this image to the master prompt as a geometry reference, not as a title card.
Reference image C — obtuse-angle concept guide. Attach this image to the master prompt as a geometry reference, not as a title card.
Reference image D — straight-angle concept guide. Attach this image to the master prompt as a geometry reference, not as a title card.
Create one continuous, coherent Grade 6 mathematics teaching animation about rotating arms and special angles. This is the main instructional video, not a collection of separate clips. Follow the learning progression below smoothly, with connected transitions and no abrupt resets. Use precise, clean animated geometry as the main visual focus. Do not generate spoken dialogue, subtitles, labels or written text; the exact narration and on-screen wording will be added in the editor. Do not include clip-duration estimates.
VISUAL STYLE AND GEOMETRY RULES
Use a clean, bright, premium educational-graphics style with a light uncluttered background, consistent line thickness and clear coloured arms. Keep every rotating model’s pivot fixed. Make all arm movement smooth and mathematically accurate. Use the attached acute, right, obtuse and straight angle reference images only to guide geometry. Do not imitate or display their reference-image headings as generated text.
CONTINUOUS TEACHING PROGRESSION
A. REVISIT ROTATING ARMS
Begin with two arms joined at one clearly visible common point. Keep one arm fixed and rotate the other through a small opening, a medium opening and a wider opening. Show the three positions side by side. Make the relationship clear: a greater amount of turn creates a wider opening. Show two angle models being superimposed by matching their vertices and one arm, to demonstrate comparing openings.
B. ARM LENGTH DOES NOT DETERMINE ANGLE SIZE
Show three angle models with different arm lengths. Make at least two openings exactly equal even though the arm lengths differ. Extend and shorten the arms without changing their directions or the opening. Keep the angle arc visible so attention remains on the opening, not the length.
C. HALF TURN AND STRAIGHT ANGLE
Reset to a clear starting position. Rotate the movable arm smoothly through a half turn until it points in the exact opposite direction. Finish with both arms on one straight line, with the pivot between opposite rays. Pause visually on this straight angle. Then show the same straight-angle relationship in horizontal, vertical and diagonal orientations. The arms must remain collinear in every example.
D. QUARTER TURN AND RIGHT ANGLE
Return to the starting position. Show a half turn as a reference, then divide it into two equal parts visually. Animate a quarter turn to form an exact right angle. Add a small square corner marker at the vertex. Briefly connect this shape to a familiar notebook or table corner using a simple clean visual, then return to the geometry model. Do not show numerical degree values.
E. RIGHT ANGLES IN DIFFERENT ORIENTATIONS
Show the same exact right angle in four orientations: opening upward, downward, leftward and rightward. Rotate the entire angle without changing its opening. Keep the square marker at the vertex in every position. The visual must communicate that the direction can change while the angle remains the same.
F. PERPENDICULAR LINES
Show one straight line, then a second line meeting it at exactly a right angle. Place small square markers in the corners at the intersection. Briefly connect the idea to a simple grid and a window frame, then return to the main intersecting-line diagram. The lines must remain exactly perpendicular.
G. CLASSIFY FOUR TYPES OF ANGLES
Introduce the four angle forms in this order, using the attached reference diagrams to preserve accuracy:
1. Acute: an opening smaller than a right angle.
2. Right: an exact quarter-turn opening, marked with a small square.
3. Obtuse: an opening greater than a right angle but smaller than a straight angle.
4. Straight: opposite rays lying on one straight line.
Arrange the four examples in a clean, consistent visual progression from the smallest opening to the straight angle. Do not classify by orientation. Do not include reflex angles or any extra angle category.
H. TARA’S CLASSIFICATION CHALLENGE — GEOMETRY ONLY
Show four angles one at a time, each in a different orientation. First show a small acute angle; then an exact right angle with a square marker; then an obtuse angle; then a straight angle. Leave clear visual pauses for a learner to think before the next angle appears. Do not show answers or generated labels; these will be overlaid in editing.
I. BIG-PICTURE TURNING CONTINUUM
Use one fixed-pivot rotating arm. Open it smoothly from acute to exact right, then to obtuse, and finally to a straight angle. Pause at each correct position. Keep the right-angle marker only at the right-angle position. Finish with all four types displayed side by side.
J. QUICK THINK COMPARISON
Finish the teaching sequence by showing Angle A with a narrow acute opening and Angle B with an obtuse opening that is greater than a right angle but less than a straight angle. Use similar arm lengths so the difference in opening is the main visual cue. First show both without answers, then highlight each angle separately to allow editor-added answer labels.
STRICT EXCLUSIONS
No degree numbers, no protractor, no measurement demonstration, no generated words or captions, no watermarks, no extra characters, no decorative particles, and no geometry errors. Never change the pivot while an arm rotates. Never change an angle’s opening when only its arm length or orientation is being changed. End on a clean still frame with the four angle types and the two comparison angles arranged neatly for the editor to add labels.
Voiceover/editor note: use the source script’s teaching dialogue in order as one narration track, synchronised to the continuous visual progression above. Do not add Mili/Tara dialogue to the TomoMotion prompt. The introduction dialogue is already in the separate character clip.
