Cinemora Studio

The steepest drop in almost any long video happens inside the first thirty seconds, and losing more than about 40% of the audience there is a hook problem rather than an editing one. After that the viewer needs a fresh reason to stay roughly every ten to twelve seconds, a new angle, a graphic, a change of register. We work to the graph.

A feed gives you no title, no thumbnail and no patience. There is no first second, there is a first frame, and the swipe decision is taken before an intro could finish playing. Captions carry the whole thing on mute, sit inside the safe band at both ends, and are timed to the stress of the word rather than to the sentence.

These are not brand films with a logo at the end. An ad is judged first on hook rate, three-second views over impressions, where 25% is the baseline and 35% is something you can scale, and then on hold rate, the share of the video that actually gets watched. Every decision in the edit answers to one of those two numbers.

When there is no footage, it gets drawn, and then the timing is the craft. Easing, overshoot, anticipation, the difference between motion that reads as designed and motion that reads as a slide transition lives almost entirely in the curves, in fractions of a second either side of a move.

A thumbnail is the only part of a video that everybody sees, including the people who never watch it. Same for a carousel cover and a marketplace main image: they are deliverables with their own brief, their own spec and their own failure modes, not something exported at the end of a different job.