GRWM Travel Edition

Dynamic Template

# GRWM Sample — Travel Edition A six-scene get-ready-with-me reel. Every scene changes BOTH the text animation and where the lockup sits, so the pack reads as a set of entrances rather than one layout repeated: the hook types itself on, the packing line climbs into its own rows, the middle beat is outline lettering with the list arriving chip by chip, the three-rule scene wipes open line by line, the last check pops on word by word, and the sign-off lands a line at a time. Poppins ExtraBold in a sun yellow for every headline, Poppins Medium in white for everything small, over bright full-bleed placeholder stills. ## Scenes | scene | text animation | where the copy sits | | --- | --- | --- | | `cover` | typewriter, one character at a time | top left | | `packing` | masked word rise — each word climbs into its own line | foot left | | `simple` | none of its own; it rides the slide, and the chips stagger up | top centre over a defocused frame, chips at the foot | | `three-things` | line by line, each wiped open from the left | mid left | | `moment` | word by word, popping on from 70% | foot centre | | `ready` | line by line, each popping on from 86% | top right | ## Notes - Tops are DERIVED, not eyeballed: `top = capTop − size × [(lineHeight − (asc+desc))/2 + (asc − cap)]` against Poppins' own metrics, per ratio, against that ratio's canvas. - `simple`'s headline is hollow: `font.color` is fully transparent (`#FFFFFF00`) and the only paint is a heavy `stroke` in `ink`, the theme colour. Nothing fills the letterforms, so nothing can bleed out of them. The soft-focus look comes from the PHOTO — `style.blur: 55` on the media layer (0..100 → 0..20px), its box oversized to 106% so the filter's own soft edge falls outside the frame. A blur confined to the glyph interiors is NOT expressible: `backdrop-filter` does not composite on the stage (an `invert(1)` probe over the line boxes changes nothing), and every alternative is a coloured fill pretending to be one. - `packing`'s mask lives in the SCENE css (`[data-part="line"] { overflow: hidden }`), because a layer's own `css` is stored and never painted. The rise only masks per AUTHORED `<br>`, so its lines must not wrap. - Every entrance is a single `fromTo` with both ends stated. `op: "from"` captures its destination at build time and freezes the layer after a reload. - `packing`, `simple` and `three-things` carry the b-roll slots — each IS its scene's picture in a scene that narrates. The cover portrait, the shop window and the closing walk-away are held. - Eight palette variants. The first four are an accent on a near-black ground; the last four are TWO-TONE — `acid-noir` and `slate-sky` drop white entirely and tint the small copy into the accent's own hue, and `cream-oxblood` and `paper-graphite` invert `ground` to a light tone, so the scrims wash the photograph pale and every line of type goes dark. Check a light variant on a light photo, not just in the swatch row. - The placeholder stills are generated, not frames from a reference — swap them for real footage and every slot still fits.