Logo Collapse

One card holds the middle of the frame and cuts to the next shot, each one smaller and each held for less time than the last, so the sequence winds itself up rather than running at a constant clip. At the end of the run the card does not shrink away — it collapses onto a plain tile, the mark overshoots its resting size and settles, the tile goes, and the mark steps aside to make room for the word.

The cuts are cuts

Nothing cross-fades and nothing tweens between shots. The reference holds each card at a fixed size for its whole beat — measured, the box is constant to the pixel across every frame of a hold, and then a different size on the next one. A card that eased between sizes would read as a zoom; a card that cuts reads as a stack of prints being dealt, which is the whole idea.

That is why sizes and holds are parallel lists of literals rather than a ratio and a duration. Neither series is geometric, and a formula fitted to one would miss the other.

The collapse, frame by frame

The beat that is easy to miss and impossible to unsee: the photo card does not shrink into the mark. It cuts to a plain light tile with the mark sitting on it, holds two frames, and only then does the tile go. In the reference that tile is luma 233 against a page of 247 — faint enough that nothing thresholded at 200 finds it, and it is what makes the collapse read as a stack resolving into a logo rather than as a card that got small.

Then the mark lands: 32px, 25, 24, 23, on four consecutive frames. Two frames of overshoot is the difference between a mark that arrives and a mark that is simply smaller than the card was — and it is the only place in the scene where anything moves between frames instead of cutting.

Room for the word

The mark is centred alone, then steps to a waypoint for four frames, then to its place in the lockup as the word appears whole. Two steps, held, not an ease — the same grammar as the cards. Last, two brackets ping in above and below: each lands at 7px in full accent and settles to 4px and about a third of its ink over five frames, so by the time the lower one arrives the upper one has already quietened.

Notes

images and the two lists beside it are parallel — one entry each per shot. A size is a share of the frame height: 0.48 is a square card, 0.82x0.461 a 16:9 one. Real photo sets are not all one shape, and forcing a portrait print square crops it.

Cards cut at their own aspect and fill their box, so pick shots that read at the smallest size in the run — the last card is on screen for a sixth of a second at a third of the frame.

The default stack is the registry's own preview posters, so the sting says the thing snapcn says: a great many scenes, and one library they all came out of.

Installation

$ pnpm dlx shadcn@latest add @snapcn/logo-collapse

Component code

The exact file shadcn add copies into your project.

Usage

// src/Root.tsx
import { Composition } from "remotion";
import { LogoCollapse } from "@/components/snap-cn/logo-collapse";

const Sting = () => (
  <LogoCollapse mark="/logo/acme.png" wordmark="Acme" />
);

export const RemotionRoot = () => (
  <Composition
    id="LogoCollapse"
    component={Sting}
    durationInFrames={52}
    fps={30}
    width={1280}
    height={720}
  />
);

Props