Four video output nodes<\/strong>, which fill with finished clips when the graph runs, two per analysis.<\/li>\n<\/ul>\nThat layout is the thing to understand before touching anything else. The template is not making four guesses at one idea. It is pursuing two motion directions, each on its own video model, and rendering each one twice, which is why the outputs arrive in pairs rather than as four unrelated clips.<\/p>\n
Step 2. Replace the demo logo with your own<\/h3>\n
Drop your mark into the image node in place of the demo. Flat, high-contrast artwork on a plain background works best, with generous margin around the outside so components have somewhere to travel from. A logo exported tight to its bounding box leaves the animation no runway.<\/p>\n
Type size matters more than anything else here. A thin script that reads perfectly on a business card turns to mush in a square video, and the wordmark is the first thing a viewer checks for errors.<\/p>\n
Step 3. Read what the analysis says about your mark<\/h3>\n
The first text node catalogues the construction, and it goes further than a designer’s description usually does. On the demo mark it records four curved quarter-sections forming a pinwheel rotation pattern, a four-colour system at equal visual weight, and precise negative space carving the forms. It also notes a strong focal centre where all four quadrants meet, which makes a natural assembly point.<\/p>\n
That focal-centre line is the whole trick in miniature. Nothing has decided what the animation does yet, and the analysis has already found the spot where an assembly would resolve. Rewrite this section so it describes your geometry, and name your own assembly point while you are in there.<\/p>\n
Step 4. Fix the identity structure line<\/h3>\n
The second text node records the hierarchy: symbol plus wordmark, a dominant geometric symbol above a supporting wordmark, the symbol built from four distinct curved components. The wordmark gets its own note as clean and modern with wide letter spacing, supporting rather than competing.<\/p>\n
Correct this before running anything. A wordmark-only logo described as symbol-plus-wordmark hands the model a hierarchy that does not exist, and the animation ends up with nothing to attach to. Getting it right is what stops the two halves being animated as one blob.<\/p>\n
Step 5. Rewrite the motion personality<\/h3>\n
Motion personality turns geometry into temperament, and it is the highest-leverage sentence in the workflow. The demo reads as a confident assembly with rotational momentum, pieces converging with purposeful energy and settling with just enough spring to feel alive without undermining precision.<\/p>\n
It is plain English rather than a slider, so swapping it for something slower and heavier changes the whole character of the clip. Keep it tied to the construction: refined identities want restrained, precise motion, bold ones can move faster, geometric ones favour structured sequencing and softer ones smoother transitions.<\/p>\n
Step 6. Know the four phases the reveal runs to<\/h3>\n
The five seconds are divided into phases with hard boundaries, and knowing them is what lets you judge a result.<\/p>\n
\n- Fade, up to 0.7 seconds.<\/strong> The logo starts unrevealed and elements arrive through opacity and masking.<\/li>\n
- Build, 0.7 to 2.8 seconds.<\/strong> The real components assemble, and by the end the identity stands complete in its correct layout.<\/li>\n
- Shine, 2.8 to 3.5 seconds.<\/strong> One restrained light pass across the finished artwork, gone by the time the phase ends.<\/li>\n
- Hold, 3.5 to 5.0 seconds.<\/strong> A full second and a half of the supplied logo, completely still.<\/li>\n<\/ul>\n
Two rules keep that honest. Building is never drawing, so components can be revealed, moved or hidden, but a shape’s appearance cannot change. And the wordmark is locked artwork, revealed whole through a mask or a fade rather than re-set, which rules out font swaps and altered kerning.<\/p>\n
Step 7. Set the run bar<\/h3>\n
The run bar sits under the canvas and carries the generation settings, starting with the model picker. Two video models are wired into this template, one per motion direction: Flux 3<\/a>, which handles image, video and audio in a single model, and Seedance 2.0<\/a>, built for multimodal video. Two directions on two models, each returning two clips, is where the four results come from.<\/p>\nFive seconds is worth keeping. The phase boundaries are set in absolute seconds and the hold takes exactly 1.5 of them, so a longer clip pulls the structure away from the timing it was built for. Audio is on by default and worth leaving on, since muting a sound layer later takes a second and adding one takes another render.<\/p>\n
Step 8. Run it, then read the four outputs<\/h3>\n
Four clips come back, and they are the two directions rendered twice each rather than four separate attempts. Telling the two apart takes one glance at the opening frame.<\/p>\n
\n- A full build<\/strong> starts on black, assembles the segments and lands the wordmark last. It is the one that feels like a reveal, which suits intros, outros and launch posts.<\/li>\n
- A treatment pass<\/strong> starts on the finished mark and plays light and movement across it. It never takes the logo apart, so it carries less fidelity risk and fits profile loops, banners and anything playing on repeat.<\/li>\n<\/ul>\n
So the choice is a two-stage one. Pick the direction that suits the placement, then pick the better of its two renders. A treatment pass has effectively skipped the fade and build phases, which is worth knowing before comparing one direction against the other, and some clips come back with a subtle sonic accent while others come back silent.<\/p>\n
Step 9. Check the winner against your original<\/h3>\n
Open your source file next to the last frame of the clip you like and work a fixed checklist.<\/p>\n
\n- Shapes, component count and proportions<\/li>\n
- Colours, cutouts and negative space<\/li>\n
- Orientation, component positions and spacing<\/li>\n
- Typography, spelling, letterforms, kerning and word spacing<\/li>\n
- The relationship between symbol and wordmark<\/li>\n<\/ul>\n
Then check the hold. From 3.5 seconds the logo should be completely still, with no residual shine, glow or settling drift, and a render still easing into place at 4.5 seconds has not finished the job. Scrub through once more at the size the clip will actually be seen, since a square reveal often ends up as a small avatar.<\/p>\n
Step 10. Export the clip<\/h3>\n
Download the finished clip from its output node, keeping in mind that saving needs signing in. It comes out as a square MP4 at 5 seconds with its audio layer intact, ready for a social profile, the head of a video or the title slide of a deck.<\/p>\n
Re-running beats repairing. A clip whose final frame is wrong cannot be trimmed into shape, and another pass through the graph costs less than the time spent rescuing it.<\/p>\n
Where a 5-second square reveal earns its keep<\/span><\/h2>\nFive seconds and a 1:1 frame is a narrow spec that travels further than it looks. Social profiles take it as a looping banner or a pinned intro. Video content takes it as a top-and-tail. Decks take it as a title card that stops the first slide feeling static. Storefronts and email headers take it as motion in a space that is usually a flat PNG.<\/p>\n
The honest limit is worth stating. This workflow animates a logo you already own, and it does not design one. It also does not replace a motion designer building a full brand system with a documented animation language. What it does is cover the gap between having a static mark and needing it to move by this afternoon.<\/p>\n
\n Tips for a cleaner logo animation<\/h3>\n\n