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The tables below are edit recipes, not three finished campaign exports. The playable example shows a reaction followed by a product demonstration.
Hover or tap to see the motion. This is source footage, ready to combine with your own demo. Paid members can browse and download the originals.
What comes with a clipRead the source before trimming it
Watch the reaction from beginning to end. Find the moment before the expression, the moment it becomes clear and the point where it begins to settle. Those are more useful landmarks than an arbitrary clip length.
In the public demonstration, the reaction leads into a product recording after three seconds. That makes the sequence easy to inspect. In your own project, choose the cut point around the source movement and the time needed to read the line.
Mark the three landmarks on your timeline
Put markers on the source clip before you build any of the edits below. Step through the movement frame by frame around each change rather than relying on normal playback.
Once the markers are set, each edit becomes a choice about which part of the clip to use. Edit A uses the rise and peak, Edit B uses a short slice near the peak, and Edit C uses the settle.
- Lead-in: the last frame before the face starts to change. Starting a little earlier gives the viewer time to find the person.
- Readable peak: the first frame where a stranger could name the expression without context. Your hook text should already be on screen here.
- Settle: where the movement slows or the person looks away. Cutting just before this keeps energy; cutting after it can look like a freeze.
Edit A: question first
Use the expression to introduce a specific question. Keep the line short and remove it as the product takes over. The demonstration must answer the question without an unrelated transition.
| Suggested time | Picture | Text decision |
|---|---|---|
| 0–0.5s | Lead into the expression | Let the viewer find the face |
| 0.5–2.5s | The expression becomes readable | One short question |
| 2.5–8s | The matching product action | Remove the opening line |
| 8–10s | A settled result | Optional next step |
Edit B: result first
Start with the product’s finished state, then use a brief reaction to bridge into how it happened. This puts the evidence up front. Keep the reaction short enough that it does not feel like a detour from the promised explanation.
| Suggested time | Picture | Text decision |
|---|---|---|
| 0–2s | The actual result | Name what changed |
| 2–3s | A brief part of the reaction | No second competing headline |
| 3–8s | The action that produced the result | Only an essential instruction |
| 8–10s | Return to the finished state | A relevant next step |
Edit C: a quiet cutaway
Let the product begin the story. Insert a small reaction after the useful action, then finish on the result. The face behaves like punctuation rather than a dramatic promise.
Try this when the result is practical but not surprising. It can also help when the opening interface is already clear and adding a question would repeat what the viewer sees.
| Suggested time | Picture | Text decision |
|---|---|---|
| 0–5s | The product action | Name the task if needed |
| 5–6.5s | A short settled expression | Keep the face clear |
| 6.5–10s | The visible result | Leave enough reading time |
Compare the meaning, not just the pace
Watch each rough cut without sound and write what it seems to say. A face placed before a reveal creates anticipation; the same face after it can imply satisfaction. Check that the latter does not become an unsupported claim about the source creator’s personal use.
These structures change more than a single frame or word. If you compare them, treat them as complete editing approaches. To isolate caption wording, keep the structure and source timing fixed.
- The cut lands on a readable part of the expression.
- The hook has a visible payoff.
- Text does not compete with the product controls.
- The source person is not presented as an unverified customer.
- The ending remains clear in the exported file.
Timing problems and what usually fixes them
When a rough cut feels wrong, the cause is usually one of a few timing decisions. Change one thing at a time so you can tell which change helped.
| What you notice | Likely cause | Try this |
|---|---|---|
| The reaction feels late | Too much lead-in before the expression | Trim the start closer to the lead-in marker |
| The cut looks like a jump | The cut lands mid-blink or between movements | Move the cut a few frames to land on motion |
| The caption is gone before it is read | The line is longer than the peak lasts | Shorten the line or carry it into the next shot |
| The face looks frozen | The clip runs past the settle | End before the settle marker |
| The reaction feels like a detour | Too long in Edit B or C | Keep only the readable peak |
Watch the sequence
The reaction introduces the idea; the screen recording shows the action. This is an editing demonstration, not a customer result.
Hover or tap to play. The final edit starts with the reaction, then cuts to the demo.
Questions & answers
Are these exact timings required?
No. They are storyboard timings. Adjust them to the source movement and the time needed to understand the product.
Why not keep the reaction visible throughout?
A continuous overlay can make sense if both sources remain readable. A direct cut often gives a dense app interface more space.
Can I slow the reaction down to make it last longer?
A small speed change can help a caption fit, but heavier slowing often makes the movement look unnatural. Shortening the line or moving it onto the product shot is usually cleaner.
Which edit should I build first?
Start with the structure that matches your product shot. If the result is the strongest frame, try Edit B. If the action needs setup, Edit A is often easier to follow.
Find the opening for your next edit.
See the public samples, then unlock the library when you’re ready to work with the originals.
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