Changelog

What shipped, and when

Every Remotion component in snapcn, by the day it landed — new animations, captions, logo stings and scenes, each installable with the shadcn CLI. Everything unmarked installs with one command — the source lands in your repo and you own it from there. Entries marked Pro are the paid catalogue.

  1. 1 component
    • Font Shuffle

      A launch title that decodes out of scrambled glyphs, flashes the accent, then the product name tries on eleven typefaces while the line steps closer

  2. 1 component
    • Capture Reveal

      A toast counts a screenshot up to 100% over a browser window, the window drops away, "Copied to clipboard." pops and a headline rises out from behind it

  3. 1 component
    • Check Cycle

      A sentence that finishes itself over and over — the word beside a ticked checkbox rolls up out of a slot, Intros, Demos, Launches, Changelogs, Tutorials, And more — then the line steps back a little and rests

  4. 1 component
    • Agent ResultPro

      An agent asked for something, and what it hands back. A request types itself into a dark composer under a wave that trails the caret — each character lands in a washed accent and walks to ink on a Gaussian of its age — while the camera eases the field into place and pans left as the line outgrows it. The field's focus ring flares as the message goes, the camera lifts, and a hard cut lands on the run: two tool calls, each square arriving in the accent and blanching to white, a rail between them, and the transcript scrolling to follow its own last line as the answer builds underneath — a summary, a serif line, a source chip, and a one-row table with a tag, a detail and a link, over a toolbar. Replayed from a 60fps screen recording measured frame by frame: the typing clock, the wave, both cameras, the focus ring and every row's fade are tables and fitted curves, and the fonts were chosen by rendering thirty candidates each against the recording.

  5. 1 component
    • Orb Swarm

      A sentence told one beat at a time while glass orbs burst out of it, split into eight and sixteen, wind into a vortex, pay out as a chain and loop around the last words

  6. 3 components
    • Glass PromptPro

      A prompt typed into a pane of glass, and a dive through its send button into the ring of pictures it asked for. A glass pill floats over rolling hills and the request types itself in; an arrow pops in at its end. The shot cuts in close on the arrow with the hills gone soft behind the glass, a pointer rises to it and presses, and the pane rolls and rushes the lens — the arrow swelling into a band of light, the glass washing out to white — until the camera is through it and nine pictures fan out of the arrow's middle into a ring, each one developing out of a blue negative into its own colours as the ring comes round. Replayed from a 4.1s screen recording measured frame by frame: the camera is an affine per frame, the roll a similarity fitted on the pill's own edges, the glass a fixed window onto a small copy of the backdrop, and every tile tracked from its final rect.

    • Task StreamPro

      An agent's task list, streaming in and ticking off. A heading writes itself a word at a time and a chevron lands after it; a spinner slides in and each task streams in beside it, every word fading up as it drifts into place. A band of blue sweeps through the line while the task runs, then the spinner flashes into a glowing check that draws itself, cools from cyan to blue and settles into ink before the next task starts. The shot opens close on the first task and pulls back to the whole list as the work gets going. Replayed from a 60fps screen recording measured frame by frame: the camera, the rail, every word's arrival and the check's flash are tables and fitted curves, not taste.

    • Reel Collage

      A photo reel between two captions shuts like an eyelid, the captions fold into one line, then split as a collage blooms in on a peach flush

  7. 4 components
    • Files DropPro

      A handful of frames is dragged into a prompt and becomes five attachments. A stack of files sweeps in from off frame on an exponential settle — 161ms time constant, straight line, onto a rest point — with the other four trailing it up and to the left at a constant 21 degrees, each link closing on its resting offset one frame at a time, front to back, as the pointer slows. Then the release: the gathered pile is thrown 46px and collapses onto itself as it lands on the first slot's exact corner. Five empty slots appear out of order, each turning a 320-degree ring, and their pictures resolve in a different order again, because five files read in parallel do not finish in the order they were handed over. Nothing fades — a slot and a picture are each there on one frame and not on the one before, which is what an img does when it decodes. The pointer path, the four trails, the typing rate and every beat are measured tables on the recording's own 30fps grid.

    • Library FlightPro

      A title, a fly-through of the whole library, and the line it adds up to. "snapcn Pro" shrinks away, a cluster of screens flies at the camera and opens into a wall of snapcn components, the wall drifts and then whips aside to reveal the first word already sliding in, and the page cuts to "One subscription." then "Endless videos." — each second word landing as the first one moves over. The wall is 32 screens on their own measured tracks (a single 3D camera fits it to 2.7–6.7px, so none is used), with the fly-in cards drawn from their four corners because they are turned in depth; the lines are drawn at 4–8x and averaged down so a zoom of a quarter pixel a frame stays smooth. Built frame by frame against a screen recording: 4.6 of 255 mean per pixel over all 97 captures, 1.1–1.3 on the type.

    • Pack UpPro

      A line types itself, catches the light, and its last word is packed into a box. The sentence arrives one character per frame, each landing in the accent and cooling to the text colour behind a caret that never blinks, with a single five-frame hold after the first word that is the whole rhythm of the open. Then a highlight crosses the finished line — not a fade: every letter it touches is pushed up through the accent until almost nothing of it is left, and comes back down behind it. Then the line breaks. The leading words accelerate out of frame to the left, under constant acceleration onto a terminal speed, while the last word stays, rocks four frames backwards, and only then tips forward as an open slotted carton swings up from the bottom right — wider than the frame — and settles. A second copy of the word is thrown in from off frame to meet it, and the near flap passes in front of both as they go in: the carton is projected in this file rather than handed to CSS 3D precisely so that paint order is exact. The typing rate, the highlight's profile, the break-out curve, the tumble, the carton's seven shape parameters and its whole camera path are measured tables on a 30fps reference's own frame grid.

    • Wire FeedPro

      A live feed writing its newest item while the camera pulls back. Close on a title, a source types itself in beside a caret, its age fades up sliding into place and a rule draws out beneath it; then a cut to the wide shot seconds later, the headline most of the way written, as two older items slide in from the right out of a blur, nineteen frames apart, every age ticking up, the camera still easing out and drifting left as it ends. The camera, the typing, the caret, the fade, the rule and both entrances are replayed from tables measured frame by frame off a 60fps screen recording, and every line is placed with a transform rather than flow so a sub-pixel layout survives the zoom: 1.20 of 255 mean per pixel across 156 captures once the recording's blur is matched, 0.32 on the close shot. Ships as a snapcn changelog — pass your own copy and it re-wraps, re-stacks and types on the recording's frames.

  8. 4 components
    • Comment StormPro

      The comment section under a launch everyone is waiting for, burying the frame. One question types itself into a pill; then the replies pile in — pills tossed in with an overshoot and a tilt, cards that open downward and type their own lines — faster and faster while the camera pulls back the whole time, starts to shake, and folds the pile into its centre before a cut to black. Every arrival, its position, its entrance and how fast it types is replayed from a screen recording measured frame by frame; nothing is random. Ships asking when snapcn Pro drops — pass comments for your own crowd.

    • Lockup RevealPro

      A logo lockup opening on a construction grid, then turning out to be a window. The mark starts alone in the middle of a dark card and slides aside while the name slides out of a slot behind it, the whole lockup settling from 1.1x, with dashed hairlines riding every edge. A gradient rises inside the letterforms, and the card cuts to that same gradient full-frame with the lockup knocked out in paper. The fill is not a second gradient: it is the light scene itself shrunk to the mark's height, and one rise carries across the cut. Built frame by frame against a screen recording and verified at its own capture timestamps: 0.6 of 255 mean per pixel over all 80 frames. The name is set as outlines, because a browser will not put a baseline between two pixel rows and this one slides two pixels under the settle.

    • Orbit FlowPro

      Three dashed orbits round a line of type, with three labelled stops riding the inner one. The scene settles in from 0.86x while the line rises, clears and sharpens a word at a time; the outer orbits drift apart at a constant 0.187 degrees a frame, and the inner one coasts down from its entrance and then winds up until its dashes, markers and labels are a blur. Nothing is left to the browser's rasteriser: the rings are the fitted stroke model evaluated at every pixel on a canvas (a Gaussian across the ring, a square wave along it blurred by the capture and by the shutter), and the labels and line are drawn at 4-8x and averaged down, so every baseline moves by fractions of a pixel. The line is Archivo at weight 350, picked by fitting all 1,804 Google families to the recording. Built frame by frame against a screen recording: 0.37 of 255 mean per pixel over all 77 frames.

    • Word MontagePro

      Photos gathering round a line that keeps changing its mind, then collapsing into the sentence it was building to. Seven pictures arrive in four clusters round "Your ___" as the word cycles, each sliding the last few pixels into place while its colour develops out of a two-tone print; then every picture drains back through the same inks and falls toward the middle, the page cuts to night and the ending types itself word by word behind paper slugs. The colour is one shared grade timeline — a 17-point curve per channel on the picture's own luminance plus some of the picture — fitted over all seven photos and drawn as an SVG filter so any image goes through it; the exit is rigid, each photo scaling about its own centre while its centre runs a straight line, fitted to 677 edges at 0.14px, with motion blur of 0.14 of a frame's travel. Built frame by frame against a screen recording: 2.0 of 255 mean per pixel over all 113 frames.

  9. 44 components
    • Agent ChatPro

      An agent conversation, from the empty field to the answer. Five beats on one clock: the prompt types itself into a compose field while the camera pushes in, the field scrolls under a soft left edge as the text outgrows it, the message goes and becomes a bubble, an avatar and a typing indicator arrive, and the reply streams back a word at a time — each word grey for a moment before it sets. Only the typing rate is a real decision; every later beat is derived from it.

    • Agent OpenPro

      A line assembles a word at a time, resolves to your product's name, and becomes a prompt somebody types. Each new word's letters arrive at their own heights and fall into the baseline together; the name cuts in hard under a colour ramp that sweeps across it; then a caret types the wrong thing, deletes it, and types the right thing, with the last words landing inside a highlight that sweeps off to the right and hands them back at full size. Four acts in 4.8 seconds. Every beat is a prop.

    • Card Rail

      A rail of cards flicked sideways across a tilted plane — pushed three times, each flick leaving at speed and decelerating for over a second into the next, while the plane's foot runs a fifth wider than its head

    • Logo Collapse

      A stack of shots flicked through, collapsing into your mark, and the wordmark landing beside it — each card smaller and held for less time than the last, cutting rather than tweening, until the stack resolves into a logo

    • Agent RunPro

      A prompt typed, sent, and answered by an agent that shows its work. A composer opens, a request types itself into it under a colour wave that rides the caret — the last dozen characters run accent into ink behind it — and a round button appears when there is something to send. The shot cuts in close on that button: one frame, 1.9×, with no intermediate value anywhere in the recording, because a zoom onto a button the viewer has watched for four seconds says nothing. A pointer climbs to it and stops dead for three frames before it presses, the field floods, and a second cut hands the frame to the run — a dotted rail with one step lit at a time, each arriving from below, typing two lines about what it is doing, and passing the frame on at a measured 31.4 frames. The composer's scale came off the card's own sub-pixel width, whose edge is five levels of luminance and needs a derivative rather than a threshold; the step cadence off the frames each title's accent burst begins. The field's wash and bloom were fitted to sixteen samples across the frame.

    • Channel Thread

      A work chat filling itself in — faces, a name in bold, a quiet timestamp and messages as plain lines on a dark stage; three dots hold a line until the words arrive, and the transcript scrolls once per arrival and is perfectly still in between

    • Agent ToolsPro

      The moment somebody hands an agent their tools. A spark writes a line word by word, each new word arriving in the accent and setting to ink behind it; the line is whipped away on three frames of horizontal blur and the next one is written back the other way, the spark walking left and laying words down behind it. A composer fades up underneath, a pointer arrives and presses into the field, the prompt types itself, the attach menu drops from the plus, the connectors submenu opens beside it, and the connectors switch on one at a time before the pointer leaves for send. The reply is deliberately not here — @snapcn/agent-chat already streams one and this hands off to it.

    • App RevealPro

      A wordmark that folds into an app, and a camera that flies around it. The mark holds the frame alone, shrinks into the header of a card that builds around it, then the camera dives past the card, rolls, and backs off into a settled front-on framing — while the greeting types, the suggestion chips land one at a time and the input bar arrives. The camera is keyed off the reference's own measurements: its distance from the card's apparent width frame by frame, its roll from a straight-line fit to the card's top edge. Every surface the card paints comes from the design system.

    • Word Wheel

      A column of words that spins like a reel and stops on one of them — the lead-in holds the left of the line while the answer rolls into the slot beside it, decelerating over a second and three quarters

    • Brief SendPro

      An empty project page pulls away, and the brief that fills it gets sent. Two shots on one clock with a hard cut at 1.633s: the page slides 65px right and settles, then lifts 125px out of the top while it is still accelerating — motion blurred, because a 15px-a-frame exit rendered sharp strobes into eight copies of the headline. The cut lands on the bottom of the same page, where the composer rises 210px into place and keeps going past its resting position, because the page is already scrolling again. The brief types at 60 characters a second under a half-second per-character fade, so its leading edge is a gradient eight characters long rather than a caret; every character is in the DOM from the first frame at zero opacity, so the paragraph is laid out once and the second line never re-wraps. An attachment chip sits inline at its head and a scene mention lands at its tail, then a pointer crosses in from off-frame, decelerates onto the send button and presses it to 0.72. Pan, lift, rise, the ink ramp and the pointer's approach are all sub-pixel measured tables.

    • Build OutPro

      A send button that fills the frame, and the app that comes out of it. The shot opens inside the button — the arrow alone, forty times life size, still turned — and the camera falls back off it onto a prompt that is being typed at seventy-nine characters a second. A pointer arrives edge-on to the lens, rotates flat as it lands, presses, and holds. Then a hard cut, and the app the prompt asked for is already there: drawing itself in block by block, backing off into the frame, and being worked on by people who are not you — two presence labels pop, the wordmark is selected and re-set in a serif, the artwork in the grid is swapped. The camera in each half is a measured table: act one is a pure scale about the send button's centre, which is the one thing on screen that never moves, and act two is read off the workspace's left edge and the ratio of its two vertical sides, which is what recovers a turn from a flat recording. The field's blob geometry was fitted to the reference's own corner samples rather than guessed.

    • Chat ThreadPro

      A chat thread sending itself — the moment a demo video actually gets shared. Bubbles arrive one at a time and fade up in place; the stack is bottom-anchored so each arrival displaces everything above it, eased, while the whole thread creeps upward underneath so it never looks frozen between messages. The camera pulls back gently across the clip. Messages are a `;`-separated string, so the customizer can edit them.

    • Checkout PushPro

      A phone paying for something, pushed through the camera. The device stands still while the last digit lands on the amount — in one frame, the way a keypad press does — and then the camera walks into it, accelerating the whole way and laying the device back as it arrives so you end up looking up the screen. Fitted on the device's four silhouette edges in every frame of a reference, which is what separates the dolly (×1.35, accelerating) from the tilt (a pure rotateX from frame 18, no yaw or roll). The device is built from the design system and the screen is snapcn's own checkout.

    • Cross OutPro

      Cross out the advice, then name the thing it was standing in for. A headline sits on a card; two marker strokes cross it out, hold, and are wiped back off the way they came — and as they go the two words drift apart and the card grows to hold them. Hard cut to black, and the real sentence builds a word at a time over a dashed diagram. The marker is geometry, not a picture: a measured centreline, a width that swells and tapers along it, and an edge that is seeded value noise, so drawing on and wiping off are the same operation — ask for the polygon of an arclength range — rather than a dash offset, which cannot taper and cannot chop an end. The card is not animated at all: solved back out of the recording its left edge sits 52.7px left of the headline's first glyph on all 25 frames of the first beat, ±0.2, while its top never moves, so it is width: max-content around a line whose word gap runs 19px to 76 and everything you see it do is the text doing it. The headline's baseline is not a table either — it climbs 4.5px while the type grows 1.7%, and the two are one event about a pivot 90px below the frame, which is also what stops a growing line from walking off its own baseline.

    • Focus PullPro

      A phrase at a time, resolving out of a moving colour field. Each line arrives from the right, oversized and defocused, and pulls into focus a glyph at a time while the whole line decelerates into place and keeps creeping. At the end of its beat it goes back out the way it came in, and the next line is already resolving over the top of it — so the cut never reads as a cut. Everything blue about the type is the field showing through a glyph that has not finished arriving: the ink is plain white, and there is no blend mode, no glow and no second colour anywhere in it.

    • Gallery PushPro

      A wall of screenshots that opens one column at a time. The columns rise into place from below, the one you are being shown first and the wall building outward from it, on a white page washed with the accent in two corners. Then the focus walks: the open column hands its width to its neighbour, the strip slides to keep whichever is open in the middle, and the whole wall creeps forward. Width is the whole trick — each column is a fixed-height box with the screenshot cropped to fill it, so narrowing a column does not shrink the picture, it crops it, and a site at rest reads as a tall slice of itself while the open one reads as a page.

    • Hex TallyPro

      A metric card that lands while a hex unit chart fills in under a running total. The card settles up 19px onto its resting place; 150 hexagons out of a 22×15 field light up one at a time in a measured scatter — faster through the middle of the run, seeding the blob's rim before its interior — and the headline counts flat, 217 a frame, landing a tenth of a second before the chart does. The legend under it never moves: it is the still thing the two moving clocks are read against, and every percentage in it is counted off the grid rather than typed beside it, so a share can never be a number somebody forgot to update. Card settle, per-cell reveal times and the blob itself are measured tables.

    • Laptop OpenPro

      A laptop opening out of focus, holding, and then swallowing the lens. The shot starts a hand's width from the glass with everything but the line blurred out of it, pulls back until the whole machine is on the page, holds while whatever is on the screen plays, and then pushes back in until the screen is the frame — and comes out the other side as a field of colour with a line typing itself across it. The pose is four numbers a frame: the lid is symmetric about x = 354.5 on all 93 frames it is measurable on (±0.5), so the projective pose of a rectangle facing the lens collapses to the half-width of the glass's top edge, the half-width of its bottom edge, and the two rows they sit on. Which edge is the wider one changes sign partway through — the lens starts above the glass and ends under it — and that is the whole of the perspective, and the reason this cannot be a scale and a rotateX: the tilt and the camera distance trade off exactly, and solving for both is solving for a number the recording does not contain. Everything else on the machine is that quad again — the lid is the glass plus a bezel in the glass's own plane, which is what makes the chin come out deeper than the brow the way a real machine seen from below does — and only the deck is a second plane, hinged on the glass's bottom edge.

    • LCD TypePro

      A type specimen on a screen you can see the pixels of. A title accelerates up and out of frame, then lines type themselves a word at a time — each laid out centred at its finished width and revealed left to right while the whole line slides slowly left, so it grows without ever drifting from the middle. Over all of it sits an RGB subpixel grid and a scanline, applied to the whole frame rather than to the glyphs, which is what makes the type read as displayed rather than drawn.

    • ManifestoPro

      Three statements, three different arrivals, hard cuts between them. The first is wiped on left to right behind a magenta edge that cools to white, then pushes slowly toward the viewer and slides away mid-motion. The second arrives from the right with its words held apart and the gaps close as it lands — nothing scales, only the spacing moves. The third starts larger than the frame and falls back to a line, losing a fixed share of the remaining distance every frame. Give it three strings; every timing is a prop.

    • Metric MorphPro

      The control becomes the number it produces. An export button settles from the press that opened the shot, its label dissolves, and the pill collapses inward into a square that runs from black through brown into the accent — the tallest cell of a chart that then fades up around it. The collapse is an ease-in that arrives at full speed, so it slams into the grid rather than settling into it, and the chart rises on one clock with no stagger, as one object. Every curve fitted frame by frame against a reference from sub-pixel edges.

    • Phone PitchPro

      A headline and a phone: the pitch shot. The device is put down from the right — not slid, put down: it keeps 77% of the remaining distance every frame, so it covers half the move in two frames and eases the last few pixels. Beside it a two-line headline says itself a word at a time, each word arriving a little right of its place, a little small and a lot lighter, and settling into the line. On the screen, a thread somebody is having, with the reply landing on its own beat.

    • Phrase SwarmPro

      One phrase comes apart and another gathers out of the pieces. The opening line holds, its letters fly outward, and at the peak the scene cuts — identity, position and size all change on one frame — then the closing phrase gathers back over twice as long, its letters arriving at different depths and a couple of them landing late. Two phrases in, 51 frames out. Any two strings, any two lengths.

    • Picker CommitPro

      A picker wheel that flings, settles on one row, and commits it into a button. A cylinder of glass rows spins past a night backdrop and coasts to a stop with one row on the axis; that row's glass fills to ink; a white circle opens out of it and takes the frame — the rest of the wheel stays legible through it, because what changed is the ground and not the rows; and the row left standing shrinks into a call to action, its own label pushed out sideways by the new one. The pill is never re-created, which is the only reason the commit reads as one gesture. Wheel spacing, scale, fade and every beat are measured tables, and the list wraps so the fling never runs out of rows.

    • Prompt DivePro

      A prompt typed into an assistant, and then a dive into the send button. The placeholder clears, the request types itself a character at a time, the field grows to a second line, and the camera walks into the screen until the send button fills the frame and turns over. The dolly is the quiet part — the device grows 1.1% in the first second — and is the difference between a shot and a screenshot. Measured off a recording resampled to a clean 30fps first, since it was captured at 60 and then 30.

    • Proof LinePro

      Five pieces of shipped work collapse, one at a time, into the sentence that describes them. Every card on the stage is a demo you already made; one by one each slides away, and on the very next frame a small coloured square is standing exactly where it was. The square travels to its place in a headline and becomes a word, and when the last one lands the sentence is finished and the stage is empty. The whole scene is one scale about one point — fitting scale and centre to the four tracked cards frame by frame put the pivot at (355, 202.3) on a 712×390 stage with a residual under 0.4px, and the headline's own left edge and baseline obey the same number, so nothing here drifts independently of the camera. That camera dips before it pushes: 1.000 → 0.978 over the first two thirds of a second, then out to 1.372, and the dip is the reason the push reads as a push. Nothing cross-fades. Measured, every card is at full opacity on the last frame it exists and gone on the next, and the same is true of square → word: every handover is a hard cut on one frame, because softening any of them turns a substitution into a dissolve.

    • Read ThroughPro

      A sentence set enormous and read a word at a time. Three lines pan left together in eased steps — each step carries the next word to a fixed reading position, decelerating hard into it, dwelling, then accelerating away, the way an eye moves along a line rather than a marquee crawling past. Colour does the reading: a word arrives in the accent and resolves to the text colour as the pan carries it through, so any frame says what has been read and what has not. The lines above and below travel with it in grey, clipped by the frame.

    • Render WallPro

      A field of loose code that resolves into a wall of finished work, and then the wall backs away. One phrase holds the middle of the frame and never moves; everything else is three layers on one clock. Seventeen punctuation marks cycle for two frames and then hold — measured, the mark in the top left occupies the same nineteen pixels on every frame for half a second, so the first two thirds of this scene are pure opacity and nothing drifts. Nine code fragments fade up as the marks fade out. Then five posters arrive at full size as saturated gradient plates, staggered a thirtieth of a second apart, and the artwork cross-fades over each about 0.13s later — a loading state, kept deliberately, because it is the only thing on screen that says the picture was made rather than placed. Finally the wall recedes: scale + rotation fitted frame by frame to the five tracked cards put the pivot at the exact centre of the stage with a residual under 3.6px, so it shrinks to 0.52 and turns 31° about that one point while every card stays upright. Both curves are measured tables, and neither arrives — the clip ends while the wall is still turning.

    • Say ItPro

      A word that comes apart, leaves a control behind, and gets pressed. One line of type: its last word scrambles itself into nothing — punctuation for letters, characters reordered, two frames a state — and a control is standing where it was. A pointer walks up and presses it; the camera is thrown at the control in a single frame, 1.09× to 2.47×, which is why that frame smears; the control opens into a bar of level with a caption under the pointer. Then the camera tracks left, leaves the control behind, finds the second line already waiting, and the closing line arrives a word at a time. The camera's scale came off the headline's cap height — the one signal in the scene that cannot be confused with a layout change — and its track off the icon's own silhouette, which holds at 99×143px for thirty frames while its left edge runs 324 to 3. The box the word sits in collapses continuously rather than in steps at the frames it loses characters, which is the difference between a line that flows and a line that twitches five times.

    • Scatter BloomPro

      A scatter plot that blooms onto a tilted plane while the camera drifts along it. Thirteen hundred points arrive over three and a quarter seconds — most on schedule, one in fourteen long before its turn, anywhere along the axis — while the plane rolls a third of a degree, pushes in a tenth and overshoots on the way, and tracks two hundred pixels left. Nothing cuts and nothing lands; the only event in it is data. The roll was recovered by following one rule across a frame that carries five parallel ones inside eighteen levels of luminance; the scale off the perpendicular thickness of the table's header strip, which is a length on the plane and so is immune to both the pan and the roll; the pan off phase correlation on the one band the arriving points do not touch. The cloud climbs and widens together and is skewed up, which is what a duration looks like: nothing is faster than fast and anything can be slow.

    • Screen WallPro

      Four phones down a tunnel around a sentence, and the shot backing out of them. The camera starts inside the wall — one device is all you can see — and eases out until the four of them frame the line in the middle; the line shrinks with it, and then it is gone and the real one builds a word at a time, each word shoving the ones before it left hard enough to smear. The rig is a frustum and not a picture frame, which is the whole shot: each device projects to a trapezoid, the aperture's own side at the far end and the same side of a 2.35× mouth at the near one, with the seams between neighbours running from the aperture's corners straight out through the frame's — so no two walls can overlap and none of them can leave a gap. It is handed to the browser as a measured square-to-quad matrix3d rather than a perspective and a pair of rotations, because the quad is what the recording gives you and solving for a camera that would produce it is solving for numbers that are not there. The camera itself is one scale: the aperture divided by a 336 × 275 rectangle runs 2.21 → 1.00 and lands the recording's own walls within two pixels on every frame it can be read on. The pivot is not shared and that is the thing you cannot guess — the rig's centre pans 224 → 351 while the headline's holds on 353.5, so the line borrows the ease and none of the travel. The build is a shove and not a fade: each word lands at the right already in place, the line it lands on is thrown 24px in a single frame, and it blurs horizontally and only horizontally.

    • Sentence SetPro

      A sentence setting itself, a word at a time. Each word arrives grey and a few pixels right of where it belongs, then darkens to black as it closes the gap — one settle driving both. The cadence decelerates, gaps doubling as the line goes on, so the sentence opens in a rush and lands hard on its last word before the next line starts the rhythm again. Laid out and centred once, so nothing already set moves under the reader.

    • Showcase DriftPro

      A wall of work sliding to a stop behind a headline. The whole scatter arrives from the right and settles, losing a fixed share of the remaining distance every frame — no overshoot, just something heavy coming to rest. The headline never moves: it sits in a band the cards are laid out to avoid, so the type is readable on every frame. The cards are drawn rather than photographed, so the component ships with no hosted assets to break.

    • Stretch WordPro

      A word that will not stop, and the line that follows it. "And more" says itself normally, then the letter you name starts repeating — moore, mooore, moooore — until the line is wider than the frame and drags itself off the left edge. Then the closing line arrives a word at a time, sliding back to centre as it goes. The repeat happens inside the word, not appended: "moooore" is somebody leaning on a key, "moreooo" is a typo.

    • String HeroPro

      A line of code being typed, and then the string inside it becomes the headline. Two shots on one clock. The first is an editor window pushed from 0.91× to 4.24× over two and a half seconds — not an ease, a table, one knot per frame, read off the sub-pixel centroids of the window's own chrome dots and the black body's edges so the scale and the position cannot drift apart. It sits almost still for the first two thirds of a second while the comment is typed at 17.5 characters a second, then pushes hard into the quoted argument until the title bar has left the top of the frame. Then a hard cut, and the argument is alone on black at 108px, drifting up-left out of an exponential settle. It swaps monospace for the display face one letter at a time, left to right, with the hot colour trailing the boundary: 36 letters a second at the start and 16 at the end, because a hand slows into the last letter and a linear sweep lands it a sixth of a second early. The boundary is one letter wide on every frame — no letter is ever caught half way, which is what makes it read as a substitution rather than a cross-fade.

    • Tally RisePro

      A currency figure climbing on a bloom that dies under it. One number, one label, one light: the figure counts, the frame pushes in on it, and the blue the whole scene is lit by drains away over the second half so that what is left is the figure alone on near-black. Everything on the type layer — both cap tops, both baselines, both left edges — is a single uniform scale about one point, fitted to 0.19px over all 28 measured frames, and each line is scaled about its own baseline so the push never puts a baseline on the pixel grid. The figure is anchored by its left edge and not centred, which is measured and is also the argument for it: a live number that re-centres itself every time a 1 rolls into a 4 shimmies sideways on every tick. The light is a fifteen-stop radial gradient taken off the reference's own radial profile ring by ring, with a flat core and a falloff that bends through three measured waypoints — and it fades by weight rather than by opacity, because that is the path the reference's own colours take down.

    • Tap ThroughPro

      Somebody's feed, the button they press, and the line that press was for. A phone hangs in the dark with a wall of posts on it; the camera falls down the glass until the two actions at the bottom are the only thing left; one of them is tapped; the fall keeps going until the frame is the phone's own milled edge — and then the picture is gone and only the sentence is left. Four beats, three hard cuts. The whole thing lives on one plane, so the camera is a projective map and the useful fact about a plane under perspective is that screen y is affine in the magnification: fitting that to the buttons' own trapezoid (they are rectangles on the device, so their taper is the perspective) gives a magnification, a framing and a camera distance per frame, and leaves the device's geometry falling out as constants — the button is 71.3 units tall on all 29 frames it can be measured on, ±0.5, and the phone's bottom edge sits 150.5 under the button's top, ±0.6. It is handed to the browser as one matrix3d rather than a perspective and a rotateX, because the tilt angle and the perspective distance trade off exactly and solving for both is solving for a number that is not there. The cut moves the camera, it does not cut it: the distance runs 36700 → 3800 through the first beat and 4030 → 175 through the second, one fall all the way in. The tap is a scale and a colour together — 0.87 over two frames and back inside four, a white that peaks at 0.36 and is gone eight frames later — and the closing lines do not scale at all: both hold their width to a twentieth of a pixel while their centres climb.

    • Thank You SwarmPro

      A notification row of supporters that tears off under its own motion blur and comes back as a wall of them. The marquee accelerates exponentially rather than easing, so the row winds up before it goes; then four rings of avatars arrive from the middle outward, one every five frames, each counter-rotating onto its final angle. Nothing flies outward — every face fades up where it lands — and one line of serif holds the centre. Pass your own faces, or your own images.

    • Ticker ClimbPro

      A claim, and then the live number that proves it. A headline settles out of a push over a climbing line; the scene cuts; and the same line is now a running ticker — a symbol card counting up, a dot riding the leading edge, a "now" rule that follows it, and a card that flashes when somebody's install lands on the curve. The join is a hard cut and nothing about it is softened: measured, the headline goes from 5484px of ink to 2 between one frame and the next while the symbol card arrives at full strength on the same frame, and the curve on either side is not even the same data. The opening is one camera at two depths — the line settles 1.189 → 1.000 and the headline takes exactly 0.42 of that, which is the only reason the beat has any depth — and both layers share the whip-out, because a parallax on the exit reads as the type sliding off the picture rather than the picture leaving. The green under the line decays to nothing 95px below the stroke wherever the stroke is, so it is built from copies of the stroke and not from an area fill with a gradient, whose ramp is anchored to a box and would be twice as deep at the bottom of the frame as at the top. Two circles ride the curve and they are different objects: the leading dot is the tip of the series and moves every frame, and the marker is a fixed world point dropped where the trade happened, which arrives as the accent and turns to bone over twelve frames while the camera slides it out of shot.

    • Vault CountPro

      A balance ticking up while the payments that fed it drift past. The device never moves; all the motion is the number and the cards behind it. The counter does not tick on a fixed interval — its gaps run 5, 4, 3, 3, 2, 2 … frames, starting hesitant and settling into a steady 15 a second — and each card loses contrast and gains blur as it rises, so the stack reads as depth rather than a list scrolling. Measured frame by frame against a reference; the line items are snapcn's own.

    • Version DropPro

      A name typing itself across two shots, and the number it was all for. Three shots on one clock: the name starts large and left-aligned, jump cuts to a smaller framing that pushes in as the words finish arriving, then cuts again to the version — set at the height of the frame, one glyph at a time, each arriving with a ramp through it that resolves to flat. The cuts are cuts; easing between the sizes turns a deliberate edit into a camera that could not make up its mind.

    • Wall CutPro

      A sentence read out on an LED wall, cut from the pixels to the room. The camera opens so close to the panel that one word fills the frame; each word drops in deep blue and warms to white as it is spoken; a band of light sweeps across the wall and the panel's dot grid comes up inside it; and on the frame the band reaches the middle the picture cuts to a wide shot where the whole sentence is a small bright line and the same band is still travelling. Both shots are one wall through one camera, so the words and the sweep carry across the cut.

    • Word RushPro

      A field of words the camera flies through, one line of it that runs at the lens, and the line that answers on the other side. Words hang at random depths, tinted and mostly out of focus; the camera moves forward so they grow, sweep outward and pass either side while new ones fade up behind. One line holds the focal plane, resolves out of the blur, then accelerates at the camera and is gone in seven frames — and the closing line arrives a word at a time, each coming up out of defocus the same way. Position, size and blur are all the same 1/z projection.

    • Word SettlePro

      A sentence that arrives a word at a time, hot, and cools as it lands. Two clocks running at different speeds: words appear left to right every couple of frames, and a colour head crosses the line more slowly behind them, turning the accent into the text colour as it passes — so the newest words are always warm and the oldest always settled. The whole sentence is laid out and centred once and unrevealed words are hidden rather than removed, so the line never reflows under the reader.

  10. 1 component
    • Word Gather

      A sentence that arrives one word at a time, out of order, and gathers — the first word holds the frame alone, then the rest drop in around it in the accent colour and slide the last of the way home

  11. 2 components
    • Roster Grant

      Three rows of roster cards stream past a call to action, a pointer walks in and clicks it, and the monograms start turning to the accent one every seven frames — top, middle, bottom, top, bottom, middle

    • Wordmark Cut

      A wordmark twice the width of the frame, cooling from a lit gradient to ink as it settles, then a hard cut onto its last letters and the dot — nearer, shallower, and pushing in

  12. 1 component
    • Count Grid

      A grid of cards rushes in under a horizontal smear and settles on five, then the camera pulls back a fraction while every empty cell fills in from the middle out and the count jumps from five to five hundred

  13. 1 component
    • Punch Lines

      Full-frame title cards that cut hard between beats — a statement flicked in line by line and rushed past the camera, then a hero line whose words punch up from a third of their size

  14. 2 components
    • Screen Recording

      Crops the browser and OS chrome off a raw screen capture, fits what is left to the frame, and runs a keyframed camera that pushes in on whatever matters

    • Cursor Track

      A synthetic cursor that walks a path of waypoints over any children and pulses a click ring on arrival — for sims, and for recordings whose cursor never made the file

  15. 2 components
    • Answer Highlight

      A question, an answer that writes itself a word at a time, then a caret lands mid-sentence and drags a selection across the one statement that matters — and settles onto one word inside it

    • Agent Steps

      An agent narrating its own work — a log that writes itself one line at a time, always on the centre line, then swells and clears until only the answer is left

  16. 4 components
    • Text Rewrite

      A line writes itself, is selected, then has its opening swept away by a clip that cuts letters in half — and a new ending written on while it slides to its new centre

    • Text Select

      A line that writes itself a word at a time — each arriving in the accent and cooling a beat later, so one word is ever coloured — then pushes forward to full size and gets selected under a shining gradient

    • Logo Drift

      A field of stack tiles drifting past a headline while the camera pulls steadily back, so the wall of things-it-works-with keeps arriving from every edge

    • Prompt Send

      A composer that unrolls from a hairline, writes a brief while the camera cuts in and rides the caret, then cuts back out as a pointer arrives and sends it — with typing that eases in and out instead of ticking

  17. 1 component
    • Type Morph

      A headline that types itself under a glowing caret, sheds its lead, morphs letter by letter, and ends under a colour flood

  18. 1 component
    • Block Wordmark

      A square scales in, a deck of coloured cards fans out around it and winds back, then the stack stretches into one block per letter and each block flashes a colour and swaps for its real letterform

  19. 2 components
    • Announce Title

      A four-shot launch title — the eyebrow rushes past the camera on a receding type plane, the name assembles on paper, and a macro pan cuts wide as the tagline builds itself last word first

    • Status Cycle

      A status pill whose label rolls behind a hard clip while its width springs past the target and back, then the field crossfades to a column of chips stepping up from below

  20. 1 component
    • Answer Stream

      The beat after send — a macro shot on the button cuts hard to the answer building itself, while the camera pulls back about a focal point above the frame to keep up with it

  21. 1 component
    • Prompt Zoom

      An assistant landing screen that offers its suggestions, then cuts hard into the caret — a measured 2.547× push anchored on the text insertion point — where the prompt types itself

  22. 18 components
    • Text Reveal

      A cinematic zoom-out title reveal — the lead word appears large, then scales down and slides into place as the sentence sweeps in and settles

    • Text Swell

      The lead word floats toward you and hangs there while the sentence assembles around it, letters bouncing up off the baseline — then the whole line falls back

    • Text Highlight

      Animated emphasis on one span inside a static sentence — marker, color, underline, strikethrough, or shimmer

    • Text Swap

      Replace one line of text with another using exit-then-enter scheduling and five transition presets

    • Text Build

      Words enter one at a time while the already-placed words reflow to stay centered — as a line or a stack

    • Word Flip

      A headline types itself out, then one word cycles on a 3D flip — anticipation dip, motion-blurred throw, zero reflow

    • Word Captions

      Burned-in captions in the styles big channels use — the YouTube box by default (white Roboto on a per-line black box), plus outlined and accent presets

    • Karaoke Captions

      A caption line over any footage — the YouTube per-line black box by default, with karaoke fill, highlight-bar, and pill presets

    • Logo Assemble

      A ring of image cards revolves and drains to the centre, giving birth to a simple logo that slides left as the brand name reveals to its right

    • Logo Flicker

      Images flip across the screen very fast, the flicker decelerates and fades, and the logo and brand name resolve underneath

    • Phone Frame

      iPhone-style device frame with a dynamic island — sways in 3D showing off a glowing ride-summary map that draws itself

    • Laptop Frame

      MacBook that opens, runs a notch notification, then dives into the screen until an image or video fills the frame

    • Terminal Simulator

      Terminal window with chunked command playback, freeze-frame pauses, step scrolling, and an optional cursor-pinned zoom

    • Follower Rush

      An X-style follower notification that piles up — avatars stack in and the count explodes, then the row bends into an undulating wave of faces

    • Product Hero

      Cinematic product-launch hero — two cards slide into formation as the headline reveals above

    • Orbit Gallery

      A ring of feature cards orbits a central product mark, each rotating upright as it swings to the front

    • Moodboard Reveal

      A kinetic headline with a swapping inline image, then a scattered photo gallery flies in and the camera pushes through it — dark to light — onto a hero image

    • Search Typing

      A search field wider than the shot — it comes forward, types across its left half, then pages to its right half

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