Case study 10 Motion graphics · Sport, outdoor & auto · Spec work

Motion Graphics a late night in the edit.

Six films were already finished, and they were good. Then we gave them one late night in the motion graphics editor in Fotyra Studio. Kinetic type, camera moves, product callouts, colour panels, product sequences, captions and end cards, all in each brand's own look. No motion designer, no keyframes. This is what it added, and how.

6finished films
3brands
7graphic families
10caption styles
0keyframes by hand
14min read

Try it on your store Read the afternoon

OnConditions change. Commitment does not.

Highlights

Five more films, finished with motion graphics

Two trail runs, a rainy tunnel and two off-road drives, each lifted with type, callouts, product moments and an end card in the studio. Press any one to watch it with sound.

9:00 pm

Six good films, and one more pass

Every film on this page was already done. They were made in earlier sessions for On, Gymshark and Scout Motors, and they were sitting in the Creative Library, approved. Good light, real weather, a voice-over that knew what it wanted to say.

And every one of them began with nothing more than a product link. There was no shoot, no crew and no agency brief. Fotyra E-Commerce Ad Studio read each brand's website to learn who the brand is and how it speaks, and built its Brand DNA. It read the product page to learn what the product is and why someone buys it. Then it planned the ad itself, the story, the cast, the place and the words, and directed and rendered every shot.

But a finished film and a finished ad are not the same thing. The ads you remember have a second layer. A line that lands on the beat. A quick push in on the face as the key word is said. The product's name, sharp and clear, while you're looking at it. A colour that belongs to the brand sweeping across the frame. An ending that tells you where to go next.

That layer is what post-production houses charge for, and it usually takes a motion designer days. It also does the job everyone talks about: a lot of people watch with the sound off, and the layer lets the film speak anyway. But that's the smaller part. Done well, it makes the whole film feel more expensive.

So the brief was short. Six films, three brands, one late night in the new motion graphics editor, and nobody setting a keyframe.

9:15 pm

Inside the motion graphics editor

You open any finished film in the motion graphics editor, choose captions or captions with motion graphics, and pick how bold it should be. Safe adds a graphic only at the strongest moments. Signature adds one wherever the film has something worth saying. Bold adds those, plus accents in between. You can type one line of direction if you like. We left that box empty all night.

Fotyra Studio's motion graphics editor on A Line Across the Ridge: the film with a Headline slam and a Pointer on screen, the list of graphics with the reason for each, and a timeline with lanes for captions, five layers of graphics and sounds — The editor on A Line Across the Ridge. The film up top, every graphic listed on the right with the reason it was chosen, and a timeline below with lanes for captions, graphics and sound. Press it to see it full size.

Then the studio does what a good designer does before drawing anything. It reads the brand: the colours, the typefaces, the logo, the product facts and the product page's own pictures. It listens to the voice-over word by word. It watches every cut. And it finds the clean space in each shot, the parts of the frame that stay clear of faces, the product and the captions. A graphic only goes where it fits.

What comes back is a real edit, not a filter. Captions, layers of graphics and a lane of designed sounds sit on one timeline. Every graphic can be dragged, trimmed, hidden or kept, and each one says why it's there. On the Ridge film, the headline's note reads simply: highlight the CloudTec agility benefit without making a claim the brand avoids.

A few things made us trust it quickly. Every word on screen comes from the product page, the voice-over or your own note, so the studio can't invent a feature. It uses the brand's own colours and fonts, checks that text is easy to read, and never puts the logo on a face. A safe-area switch shows the margins every platform keeps clear, so nothing lands under a like button.

It also looks after the footage. If a moment has a visible flaw, the studio can quietly cover it with a designed product card. Graphics can carry small designed sounds, mixed under the film's own audio. And nothing is ever lost: captions and graphics each switch off with one click, a run can be reverted for free, and the plain film is always one download away.

3
levels of boldness: 4
camera moves: 0
faces covered: 1
line of direction, if you want it

9:30 pm

The library, in seven families

The studio sorts its graphics by the job they do, not by how they look. Openers stop the scroll. Product and benefits explain. Numbers and proof back a claim. Accents keep a quiet stretch alive. Zooms move the camera. Product sequences show the range. Endings hand the viewer to the brand. Four of them deserve a closer look.

Camera moves, without a camera

This is the one that surprised us most. The zooms don't add anything on top of the film. They move the film itself, the way an editor would reframe a shot in post. A slow push-in while someone talks makes a line feel closer. A punch-in on the product's name makes it land. You can see it at the end of The Slick Coastline: the shot steps in twice as she says it holds steady, then snaps in on the wide road with each word of the last line. Because each move is timed to a spoken word, it feels cut, not applied.

Colour that takes the frame

Two of the boldest graphics are just colour. The colour band rises from the bottom of the frame and carries a line across it, word by word. The colour side panel slides in from one edge and pushes the whole film aside for a beat. Both use the brand's own colour, so they read as the brand talking, not as a template.

Product sequences from the stills you already have

Every product page already has good pictures: a side profile, a top view, the sole, the cabin. The product sequences turn them into motion. The studio picks up to five from the product page, or you choose, and builds them into a stack, a carousel or a grid that fills the screen. It's the shot a film shoot never has time for, made from photos the brand already owns.

Endings that hand off to the brand

Most AI video ends when the footage ends. Here the last seconds are designed. In The Slick Coastline, a small Discover Cloudrunner 3 Max panel rides through her last line, then hands off to On's logo on black, with the product's name docked beneath it and a thin green rule drawing in. The same family can type a web address into a box or build the logo out of particles. It's the difference between a clip and an ad.

9:50 pm

Any animation, at any moment, free

The studio's first pass is a starting point, not a verdict. Park the playhead anywhere in the film, press Add animation, and the whole library opens at that exact moment. Pick an opener, a callout, a zoom, a product sequence or an end card. The words are yours to write, the pictures come from the product page, and the studio designs the graphic around that shot's clean space and the brand's look.

Fotyra Studio's Add an animation screen at 0:03.6: the Cloudvista 3 with five product page pictures, the Safe, Signature and Bold switch, the words, and the Openers in the library — Adding an animation at 0:03.6. The product page's own pictures across the top, boldness and words on the left, the library on the right. Press it to see it full size.

This part costs nothing. On Fotyra's studio plans, adding a graphic at a chosen moment is free, with no credits, as many times as you like. The guide to adding an animation walks through it. Everything already on the film stays as it is. It's how a brand's team turns a good first pass into exactly the film they had in mind.

“Park the playhead anywhere, and the whole library opens at that moment.”

10:05 pm

Every graphic is yours to change

Select any graphic and the panel opens on everything it's made of. Its words. The font, which defaults to the brand's own. Case, alignment, an underline, a background or a shadow. Colours from the brand and from the product itself. The effect it enters with, like a glitch, a brush wipe or particles, and how long that lasts. Its exact place in the frame. And our favourite: the word in the voice-over it should arrive on. Changes are free.

Captions get the same care. There are ten styles in three moods, from a plain line with a soft shadow to karaoke words that fill with the brand's colour as they're spoken, to one big word at a time. Every style can change its font, weight, size, case and colours, how it enters, how the spoken word moves and how the key words bump. The captions export as a subtitle file too, and the language is detected on its own.

Editing the Headline slam in Fotyra Studio: the graphic outlined on the film, and the panel with its reason, size, a Glitch effect and its three lines of text — A headline, opened up: its reason, its size, its glitch and its words.

10:20 pm

Fourteen moments from six films

Here's the library at work. Each card is a real moment from one of our six films, cut to the few seconds where a single graphic does its job. Hover over a card to play it, or press it on a phone. Each one links to the whole film.

Hook words in Keep the Crossing — Fourteen graphics, from seven families, in six films. Hover to play, or press a card on a phone.

Headline slam in A Line Across the Ridge — Fourteen graphics, from seven families, in six films. Hover to play, or press a card on a phone.

10:40 pm

On, where the shoe has to explain itself

On went first, because a running shoe is one of the hardest things to sell in a film. Two shoes can look almost the same on screen. What makes one worth buying is underneath: the foam, the cushioning, the grip. None of it shows on camera, so the graphics have to point at it.

The Slick Coastline is the longest of the six, so it got the most. The opening line is set in black type against the grey sky, the second half glitching in. Then the road stops for a full-screen Up Close card: the shoe on dark navy, with two lines drawn out to the parts that matter. Back on the road, a frosted panel counts three reasons beside her, the corner marks find the shoe again in a puddle, and a quiet product card sits beside her while she talks. In the last few seconds the camera itself starts to move, snapping in on her words, before the logo closes it.

The Slick Coastline, finished with motion graphics. Press it to watch with sound.

The two Cloudvista films are shorter and wilder, so the studio held back. Each opens with a line that builds word by word in an empty corner of the frame. When the shoe hits the rock, corner marks snap onto it and name the outsole, right where the eye already is. Then one bigger beat each: a green side panel in Keep the Crossing, a glitching headline in A Line Across the Ridge. Both end on the logo and the words Explore Cloudvista 3.

Two Cloudvista 3 films, one at a time. Press a frame to hold it, or the film to watch with sound.

11:10 pm

Gymshark, a wordless film learns to talk

Asphalt Grit was made to be silent. Rain on a training tunnel, a player running cuts with nobody watching, and music instead of words. We loved it that way. But it was a beautiful film about a football player, and nothing else. You'd never guess it was selling a base layer.

With no voice to caption, the graphics carry the whole message, in the product page's own words. A short line glitches in over the wet field. When he stops in the tunnel, a band of blue rises and carries the fabric's promise: breathable, sweat-wicking, seamless. A small card with the shirt and a Shop Now button sits beside his shoulder, and the film ends on the wordmark. Watch the plain cut first, then the finished one. Same footage, same music, a different ad.

Before and after: the plain cut, then the same film with motion graphics. Press a frame to switch.

11:30 pm

Scout, where the graphics stay quiet

Scout Motors is a different kind of brand. It's an old American name coming back, and it talks like someone who doesn't need to shout. Green highlights and glitches would have felt wrong here, and the studio seemed to know it.

Both Scout films open with their first line in the brand's narrow, upright type, stacked in a corner like a road sign. The captions are the quietest of the night: grey words, with only the spoken one turning white. The bigger moves come from the truck itself. In The Crossing, a grid of product stills builds on warm brown and ends on the cabin, full size. In The Defiant Line, an Up Close card frames the cabin in thin orange corners, and a small card with the truck steps away so the Traveler has the last wide shot to itself. Both end on the script wordmark, alone.

Two Scout Traveler films, one at a time. Their plain cuts, Where Others Turn Back and The Hard Way, are in the Scout Motors study.

11:50 pm

What one late night buys you

6
films finished: 3
brands, three looks: 14
moments shown here: 0
keyframes by hand

Six films that now feel finished. Each one opens with a line that stops the scroll, names its product, points at the part that matters, and ends with a clear next step. They play beautifully with the sound on, and they still make sense with it off. None of them looks like a template: On got green and motion, Gymshark got a bold blue band, and Scout got almost nothing, on purpose.

A post house inside the studio. Kinetic type, camera moves, colour panels, product sequences, captions and end cards, all from one editor.
Directed, not decorated. The studio reads the brand, the voice-over and every shot before it places anything, and tells you why each graphic is there.
Free to make it yours. Add any animation at any moment, change any word, colour or timing, and switch any graphic off, without spending credits on a studio plan.
Every brand looks like itself. The fonts, colours and logos come from the brand, so three brands in one night look nothing alike.

If this were a real engagement, the next step would be quick. The brand's team would open each film in the Creative Library, keep the graphics they like, add one or two at the moments they care about, change a word here and there, and approve. One late night of ours would be one morning of theirs.

Products featured

01
Cloudvista 3
On's trail shoe for mixed ground, with a Missiongrip™ outsole.
02
Cloudrunner 3 Max
On's stable everyday road trainer, with CloudTec® cushioning and Helion™ foam.
03
Geo Seamless Long Sleeve
Gymshark's seamless compression base layer with a geometric knit.
04
Scout Traveler
Scout Motors' full-size SUV, the nameplate's return.

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Published 20 Oct 2026

Motion Graphics a late night in the edit.

6finished films
3brands
7graphic families
10caption styles
0keyframes by hand
14min read

Try it on your store Read the afternoon

Products featured

Cloudvista 3

On's trail shoe for mixed ground, with a Missiongrip™ outsole.

Cloudrunner 3 Max

On's stable everyday road trainer, with CloudTec® cushioning and Helion™ foam.

Geo Seamless Long Sleeve

Gymshark's seamless compression base layer with a geometric knit.

Scout Traveler

Scout Motors' full-size SUV, the nameplate's return.

Motion Graphics a late night in the edit.