Every SaaS video I cut — from the SaaS demo reel to the recent fisik.app promo — follows the same workflow. It is the only way I can deliver a sub-60-second promo in days instead of weeks without the edit feeling rushed. Here is that workflow, step by step.
Start with the hook, not the logo
The first two seconds decide whether anyone keeps watching, so I never open on a logo. I open on the product already in motion: a screen recording mid-scroll, a UI element slamming into frame, a diagram drawing itself. The brand lockup goes at the end, where it acts as a payoff instead of a barrier. If the hook does not work with the sound off, it does not work.
Speed graphs carry every cut
Nothing in my videos cuts at constant speed. Scene changes ride a slow, fast, slow ramp across position, scale, and rotation at the same time. Impact moments slam in fast and settle slow with motion blur. Diagram wipes use a whip-pan ramp with directional blur to hide the splice. I shape these curves in the graph editor until the playhead feels like it has weight, because weight is what makes motion feel expensive.
PosterizeTime for texture
Continuous motion feels digital, so I lay an adjustment layer running posterizeTime over diagram sections to make highlights and reveals tick in discrete steps. It gives technical content a tactile, textbook feel while the camera moves underneath stay smooth. Low step values read as stylized and snappy, higher values stay premium. One expression controls the whole texture of a section.
Type is a visual, not a label
Almost every headline I animate is a text animator, not hand-placed keyframes. Tracking animators slam words in from wide spacing, blur-rise animators float feature names out of mockups, and staggered overshoots give lockups their bounce. Range selectors with Ease High mean a single animator drives the whole word, so retiming to a voiceover never breaks the animation.
One camera, real depth
Product mockups, floating cards, and background grids live as 3D layers under a single one-node camera. Null-parented parallax layers drift at different depths on every push-in, and a touch of depth of field racks focus from the interface to the diagrams. Depth is what separates a flat slideshow from a video that feels like a place.
Sound is half the edit
Whooshes land exactly on speed-graph peaks, interface ticks fall on every stepped frame, and a soft low-end thump marks each equation locking into place. Then a final grade — crushed blacks, warm highlights — ties the video to the product website so both feel like one surface. You can see the whole approach applied across my motion design work.