On screen, the W³ doesn’t just appear — it builds. The motion logo is a short, consistent animation of the mark that opens and closes WCN video, drawn from the same physics as the rest of motion.

LENGTH1–1.5 s BUILDW then ³ EXITHold · settle PAIRAudio logo

F01.1 · THE BUILD

W first, then ³.

The W draws or rises in first; the vermilion exponent lands last as the accent — the same hierarchy as the static mark. The build is brisk and eased, never a slow reveal.

F01.2 · SIGN-OFF

Hold, then rest.

After building, the mark holds still long enough to register, optionally with the wordmark beside it, then either cuts or fades. The end frame is calm — the brand at rest, not mid-motion.

F01.3 · WITH SOUND

Synced to the audio logo.

When sound is on, the build syncs to the audio logo — the exponent landing on the resolve tone. Picture and sound confirm the brand together in one short, deliberate beat.

F01.4 · DON’TS

Build it, don’t distort it.

The motion logo never stretches, spins, bounces, or morphs the mark into something else. It is the static mark, assembled — its construction and proportions hold throughout the animation.

Titles, headlines and lower-thirds are the brand’s typography moving. WCN sets them in the system fonts, on a safe-area grid, animated with the same restraint as everything else.

FONTSEB Garamond · Archivo LOWER-3RDName / role SAFETitle-safe grid IN/OUTFade · short rise

F02.1 · TITLES

Set in the brand voice.

On-screen titles use EB Garamond for display and Archivo for support — the same hierarchy as print, at broadcast scale. Type animates in with a short fade and rise, never a flashy build.

F02.2 · LOWER-THIRDS

Name and role.

Lower-thirds identify a speaker with name in Garamond and role in mono, with a vermilion keyline. They slide in from the leading edge, hold, and slide out — placed clear of the broadcast-safe margin.

F02.3 · SAFE AREA

Inside the margins.

All text sits within the title-safe area so nothing is clipped on any screen or crop. The same margin discipline as layout, applied to the moving frame.

F02.4 · RHYTHM

On long enough.

Titles hold on screen long enough to read twice at a comfortable pace — rushing them is the most common mistake. Timing follows the duration scale; legibility always beats speed.

Captions are not optional polish — they are how a large share of viewers actually watch. WCN captions every video in a consistent, legible style, treating them as a first-class part of the film.

COVERAGEEvery video STYLEArchivo · scrim LABELSSpeaker names DELIVERYSidecar preferred

F03.1 · STYLE

Legible, understated.

Captions use Archivo at a generous size, paper-white on a subtle dark scrim so they read over any footage. Two lines maximum, centred low, well inside the safe area.

F03.2 · SPEAKER LABELS

Who’s talking.

In multi-speaker video, captions label or colour-code speakers so the conversation is followable without audio. Sound effects and music cues are described where they carry meaning.

F03.3 · BURN-IN VS SIDECAR

Separate when you can.

Sidecar caption files (SRT/VTT) are preferred — they're toggleable, translatable and accessible. Burned-in captions are used only where the platform demands it, in the same style.

F03.4 · QUALITY

Accurate & in sync.

Captions are proofread for accuracy, timed to the speech, and never auto-generated and left unchecked. A wrong or lagging caption is worse than none — it misleads the viewer relying on it.

Treatment is everything that makes footage feel like WCN — the colour grade, the pacing, the transitions between shots. It carries the same warm, composed, evidence-first sensibility as the photography.

GRADEWarm · filmic PACINGUnhurried CUTSClean MATCHESPhotography

F04.1 · COLOUR GRADE

The photo grade, moving.

Video uses the same grade as stills — warm shadows, paper highlights, restrained saturation, vermilion only where it exists in-scene. A shared LUT keeps film and photography in one world.

F04.2 · PACING & RHYTHM

Room to breathe.

Edits hold shots long enough to absorb them — confident, unhurried pacing over frantic cutting. The rhythm matches the brand voice: it never rushes to seem exciting.

F04.3 · TRANSITIONS

Cut, mostly.

The default transition is a clean cut; cross-dissolves are used sparingly for time passing. No wipes, spins or flashy effects — the same restraint that governs UI motion governs the edit.

F04.4 · CONSISTENCY

One film, many shoots.

Grade, pacing and transition rules are documented so footage from different shoots and editors cuts together as one piece. The treatment is what makes a channel of videos feel like a body of work.

Most video work is repeated formats — an explainer, a product demo, a social cut-down. WCN ships templates for each so teams produce on-brand video fast, without rebuilding the look every time.

EXPLAINERLong form DEMOProduct SOCIALCut-downs CARDSTitle · end

F05.1 · EXPLAINER

The long form.

The explainer template structures a longer narrative — motion-logo open, titled sections, captioned narration, sign-off. It carries the editorial pacing of a good article, in video form.

F05.2 · PRODUCT DEMO

Show the product.

The demo template frames real screen-capture with consistent device framing, callouts and captions. The product is the star; brand framing stays minimal so the demo reads as honest, not an ad.

F05.3 · SOCIAL CUT-DOWNS

Short, vertical.

Social templates re-cut long content into short vertical (9:16) and square (1:1) pieces with burned-in captions, since social plays muted. The hook lands in the first two seconds.

F05.4 · TITLE & END CARDS

Open and close.

Reusable title cards and end cards bookend every format — consistent type, the motion logo, and a clear call to action on the outro. The bookends are where the brand signs the work.

The least glamorous part of video is where it most often breaks — wrong ratio, soft export, blown-out colour on one platform. WCN fixes ratios, resolution, frame rate and codecs so delivery is boring and correct.

RATIOS16:9 · 9:16 · 1:1 RES1080p min · 4K master FPS24 / 30 · consistent CODECH.264 · per platform

F06.1 · RATIOS

Three shapes.

Video is mastered 16:9 and delivered as 16:9 (landscape), 9:16 (vertical) and 1:1 (square) as needed — framed so the subject survives every crop. Safe areas are checked in all three.

F06.2 · RESOLUTION

Master high, deliver clean.

Projects master at 4K where possible and deliver at 1080p minimum. Footage is never upscaled to fake resolution; a sharp 1080p beats a soft, stretched 4K every time.

F06.3 · FRAME RATE

Pick one, keep it.

A project picks 24 or 30 fps and holds it end to end — mixing frame rates causes judder. Motion-graphics and live footage are rendered to the same rate before they're cut together.

F06.4 · CODEC & DELIVERY

The right file.

H.264 MP4 for web and social, higher-bitrate masters archived. Each platform gets its recommended bitrate and colour space, so the video that looks right in the edit also looks right once uploaded.