How to make an ad, start to finish

Starts at: The object type, numbered — Image 1, Image 2

What this object is called in the object list, and in every dropdown that asks you to pick an object — event actions, animation targets, playable pieces. Press Enter to commit, Escape to cancel. Two objects cannot share a name: ask for one that is taken and a number is added.

Text objects only. The words that are drawn. Press Enter inside the box for a new line — it does not commit. Click away, or press Escape to throw the edit away.

Starts at: Get Started

Buttons only. The label drawn on the button. Enter commits, Escape cancels.

Range: 0 to the artboard width minus this object's width

Horizontal position of the object's left edge, in pixels from the left of the artboard. Larger moves right. It is clamped so the object stays fully on the artboard — type a number past either end and it settles at the furthest it can go.

Range: 0 to the artboard height minus this object's height

Vertical position of the top edge, in pixels from the top of the artboard. Larger moves down, not up. Clamped the same way as X.

Range: 20px to the full artboard width

How wide the object's box is. What the box does with that width depends on the object — an image obeys its Fit setting, a text object reflows if Word Wrap is on, a shape simply redraws itself to fill it. The 20px floor is there so an object can never be shrunk to something you cannot grab again.

Range: 20px to the full artboard height

How tall the object's box is.

Starts at: Left

The constraint that decides what X and Width do when the screen is a different shape from the artboard. Options are Left, Right, Left & right, Centre and Scale.

Starts at: Top

The same rule for Y and Height. Options are Top, Bottom, Top & bottom, Centre and Scale.

Starts at: Off

Draws a crosshair on the canvas while this object is selected, so you can see where the pin is. You can drag that crosshair directly instead of typing numbers.

A three-by-three grid of dots, laid out the way they sit on the object. Click one to snap the anchor to that spot — the corners, the edge midpoints, or the centre. The active one is filled in blue.

Range: 0 to 1, in steps of 0.05Starts at: 0.5

How far across the object the pin sits. 0 is the left edge, 0.5 the middle, 1 the right edge. The anchor cannot leave the object.

Range: 0 to 1, in steps of 0.05Starts at: 0.5

How far down the object the pin sits. 0 is the top edge, 1 the bottom.

Range: 0–360°Starts at: 0°

Turns the object clockwise about its anchor. 0 and 360 look identical standing still.

Range: 0–300%Starts at: 100%

Stretches the object horizontally. 100% is its natural width, 200% double, 0% invisible.

Range: 0–300%Starts at: 100%

Stretches the object vertically. Set both to the same number to grow it without distorting it.

Starts at: On

Whether the object is drawn at all. Off removes it from the canvas and the exported ad, but keeps it in the project — it is still in the object list and can still be switched back on mid-ad by a Show/Hide Object action. That pairing is how a reward popup that appears on a win is built: place it, switch it off, and have the win turn it on.

Range: 0–100%Starts at: 100%

How solid the object is. 0% is fully transparent — still there, still tappable by an event, just not drawn. This is the value a fade animation moves.

Starts at: #FFFFFF

Multiplies the object's colours by this one. White leaves it untouched — that is what the default means, not 'tint it white'. A grey darkens everything evenly; a strong colour pushes the whole object toward that hue. Best on white or pale artwork, where it acts as a recolour.

Starts at: Normal

How this object's pixels mix with whatever is behind them. Normal simply covers. Multiply darkens and is how you paint a shadow. Screen and Linear Dodge lighten and are how you paint a glow or a flare. Overlay and Soft Light boost contrast without flattening the layer underneath.

Accepts PNG, JPG, WebP and GIF. Once a file is chosen the box is replaced by a preview thumbnail with the filename and size in KB beneath it — watch that number, it is what your export budget is made of.

Swaps the artwork and keeps everything else — position, size, animations, events all stay. This is how you re-export a piece of art without rebuilding the object.

Clears the artwork and puts the upload box back. The object stays where it is with all its other settings.

Starts at: Fill

How the picture is sized inside the object's box when the two are different shapes. Fill stretches it to the box exactly, distorting it if the shapes disagree. Contain fits the whole picture inside, leaving gaps. Cover fills the box completely and crops the overflow. None draws it at its true pixel size. Scale Down is None or Contain, whichever comes out smaller.

Starts at: Normal

All twenty-four modes. See the shared chapter for what each group does.

Range: 0–100%Starts at: 100%

How solid the image is.

Starts at: #FFFFFF

Multiplies the artwork by this colour. White leaves it alone.

Range: 0–100pxStarts at: 0px

Rounds the corners, and clips the artwork to that rounding — so this is also how you get a circular avatar out of a square photo. Set it to half the width on a square image and you have a circle.

Range: 0–20pxStarts at: 0px

Thickness of the outline. At 0 no border is drawn, whatever the colour is set to.

The outline's colour.

Range: 0–50pxStarts at: 0px

Softens the whole image. Useful for pushing a backdrop behind the thing you want looked at.

Range: 0–100%Starts at: 0%

Lays black over the image. The reliable way to make white text readable on a busy photo — 30 to 40% is usually enough.

Starts at: Inter

Ten typefaces: Inter, Arial, Helvetica, Verdana, Tahoma, Trebuchet MS, Georgia, Times New Roman, Courier New and Impact. All of them are drawn into the export, so none of them depends on the viewer's device having the font.

Range: 8–400px

Height of the letters. On a phone-sized artboard a headline is usually 40–72, body copy 16–24. Below about 14 is unreadable on a real phone.

Range: −20 to 100pxStarts at: 0px

Extra space between letters. Negative tightens. A little positive spacing — 1 or 2 — makes all-caps text much easier to read.

Starts at: Regular

Light (300), Regular (400), Medium (500), Semibold (600), Bold (700) or Black (900). Not every typeface has every weight — the closest available one is drawn.

Starts at: Normal

Normal or Italic.

Starts at: None

None or Strikethrough. Strikethrough is what you want for a crossed-out original price beside a discount.

Range: 0.8–3×, in steps of 0.05Starts at: 1.2×

Spacing between lines, as a multiple of the font size. 1.2 to 1.4 suits most copy; tighten toward 1 for a big headline, open up past 1.5 for small print.

Starts at: None

Re-cases the text as it is drawn without changing what you typed. None, UPPERCASE, lowercase or Capitalize. Because it does not touch the content, you can switch it off later and get your original casing back.

Starts at: Left

Left, Center, Right or Justify — horizontal alignment within the box.

Starts at: Top

Top, Middle or Bottom — where the block sits in the object's height. Set Middle plus Center align and the text is centred in its box no matter how many lines it runs to.

Starts at: On

Breaks lines so the text fits the object's width. Switch it off and the text runs in one line, ignoring the box edge.

Starts at: Visible

What happens to text that does not fit the box. Visible lets it spill out. Clip cuts it off hard at the edge. Ellipsis cuts it off and adds a … so it reads as deliberately shortened.

Range: 0–200pxStarts at: 0px

Inner margin between the text and the box edge, on all four sides. Raise it when text is sitting on a coloured panel and touching the sides.

Colour of the letters themselves.

Range: 0–20pxStarts at: 0px

An outline drawn around each letter. 2 to 4px of a dark stroke is the standard trick for keeping white text legible over artwork you do not control.

The outline's colour. This control only appears once Stroke Width is above 0.

Range: 0–100%Starts at: 100%

How solid the text is.

Starts at: Color

Color paints a flat colour. Image uses artwork — for a button drawn by your artist. Both draws the image over the colour and mixes them with a blend mode.

The surface colour. Shown for Color and Both.

The button's artwork, handled exactly like an Image's asset. Shown for Image and Both.

Starts at: Fill

How the artwork is sized inside the button — Fill, Contain, Cover, None or Scale Down, same meanings as on an Image. Shown once artwork is chosen.

Starts at: Normal

How the image combines with the background colour beneath it. Shown only when Fill Type is Both — it has nothing to mix otherwise.

Starts at: Inter

The same ten typefaces as a Text object.

Range: 8–400px

Label size. 16–20 suits most call-to-action buttons.

Range: −20 to 100px

Space between letters.

Light through Black. A call to action usually wants Semibold or Bold.

Normal or Italic.

Range: 0.8–3×

Line spacing, for labels that run to two lines.

Starts at: None

None, UPPERCASE, lowercase or Capitalize, applied as it is drawn.

Label colour. Keep it well clear of the fill colour — this is the single most common contrast failure in an ad.

Range: 0–20pxStarts at: 0px

Outline around each letter of the label.

The outline colour. Appears only when Stroke Width is above 0.

Left, Center, Right or Justify.

Top, Middle or Bottom, within the button's height.

Range: 0–200px

Gap between the label and the button's edge. Raise it if the text is crowding the sides.

Wraps a long label onto a second line.

Starts at: Visible

Visible or Ellipsis — a button is a fixed surface, so a label that does not fit is shortened with a … rather than cut mid-letter. There is no Clip option here for that reason.

Three presets: Square (0), Rounded (12px) and Pill (fully rounded ends). Pill stays a pill when you resize the button, where a fixed radius would drift back toward a rectangle.

Range: 0 to half the button's shortest side

Corner rounding. The slider's top end moves with the button's size, because a radius beyond half the shortest side cannot be drawn — so the number shown is always the one actually in effect.

Range: 0–20pxStarts at: 0px

Outline thickness around the button.

Outline colour. Appears only when Width is above 0.

Starts at: Off

Turns the shadow on. Everything below appears only once this is ticked.

Shadow colour. A dark version of the background it falls on reads better than pure black.

Range: 0–100%

How strong the shadow is.

Range: 0–60px

Softness. 0 is a hard-edged offset shape; higher values give the soft lift most buttons want.

Range: −60 to 60px

Horizontal displacement. Positive moves the shadow right.

Range: −60 to 60px

Vertical displacement. A small positive value — 2 to 6 — reads as the button floating above the screen.

Range: 0–100%Starts at: 100%

How solid the whole button is.

Starts at: #FFFFFF

Multiplies the surface — background colour and image both. White leaves it unchanged. The label is deliberately not tinted, so your copy stays legible whatever you do here.

Starts at: Rect

Eleven shapes in a four-across grid: Rect, Circle, Tri, Star, Polygon, Diamond, Heart, Arrow, Chevron, Cross and Ring.

Range: 0 to half the shortest side

Rounds the corners. Rect only. Push it to the maximum on a square and you get a circle.

Range: 3–20

How many points the star has. Star only. 5 is the classic star.

Range: 3–12

How many sides the polygon has. Polygon only. 6 gives a hexagon, 8 an octagon.

Range: 0.05–0.95, in steps of 0.01

How deep the star's points cut in. Star only. Low values give long spiky points; high values give a fat, nearly round star.

Range: 0.05–0.95, in steps of 0.01

How big the hole in the middle is, as a fraction of the shape. Ring only. A thin ring is a progress track; a fat one is a donut.

Range: 0.05–0.9, in steps of 0.01

How heavy the band is, as a fraction of the box. Arrow, Chevron and Cross only.

Starts at: On

Whether the inside is painted. Switch it off and add a stroke to get a hollow outline — which is how you draw a highlight ring around something.

The interior colour. Appears only when Fill is on.

Range: 0–40pxStarts at: 0px

Thickness of the outline around the shape's edge.

The outline colour. Appears only when Stroke Width is above 0.

Range: 0–100%Starts at: 100%

How solid the shape is.

Starts at: Normal

How the shape mixes with what is underneath. Multiply darkens, Screen lightens.

A flat colour painted under everything else. It shows wherever an image does not reach, so it is worth setting even when you are using a picture — pick something from the artwork and letterboxed edges stop looking like a mistake.

Starts at: Normal

How the background image mixes with the colour beneath it. Twenty-four modes, same set as elsewhere.

The background picture. Removing it puts the fill back to colour only. Since this image covers the entire screen it is usually the largest single file in the ad — compress it hard before uploading.

Starts at: Cover

Cover fills the screen and crops the overflow — right for almost every background. Contain fits the whole image in, showing the colour at the edges. Stretch distorts it to fit exactly. Auto draws it at its natural size.

Starts at: Center

Which part is kept when Cover crops: Center, Top, Bottom, Left, Right, Top Left, Top Right, Bottom Left or Bottom Right. If your artwork's subject is near the top, set Top and it survives the crop on tall screens.

Range: 0–360°Starts at: 0°

Turns the image. Watch the corners — a rotated image leaves triangles of background colour showing unless it is scaled up to compensate.

Range: 0–300%Starts at: 100%

Stretches the image horizontally. Also how you zoom past the edges after rotating.

Range: 0–300%Starts at: 100%

Stretches the image vertically.

Range: 0–100pxStarts at: 0px

Softens the whole background. A blurred photo is one of the easiest ways to get a rich backdrop that does not compete with your copy.

Range: 0–100%Starts at: 0%

Darkens the background so text laid over it stays readable. Between blur and this, almost any photo can be made to carry white text.

Starts at: Frame by Frame

Frame by Frame takes one image per frame. Sprite Sheet takes a single image holding every frame in a grid. Both play identically — switching between them keeps whatever the other one holds, so you can try one and go back.

Frame by Frame mode. Pick several images at once — they are sorted by filename before being added, so an export numbered frame_01 to frame_24 arrives in the right order. Each frame becomes a row you can drag to reorder, replace, or delete.

Sprite Sheet mode. One image containing all the frames. Cells are read left to right, then top to bottom — the layout every exporter produces.

Range: 1–64

Sheet mode. How many cells across the grid is.

Range: 1–64

Sheet mode. How many cells down the grid is.

Range: 0 to columns × rowsStarts at: 0

Sheet mode. How many cells to actually use. Leave at 0 to use the whole grid. Set it when the last row is only partly filled — a 5×5 sheet holding 22 frames would otherwise play three blank cells.

The blue round button. Runs the sequence on the canvas with your current Playback settings applied.

The square button. Halts playback and returns to the start.

Drag to hold any single frame. The counter at the right reads Frame n / last. This is the way to find the exact frame number you want to use as a Start or End Frame.

Range: 1–60 FPSStarts at: 12 FPS

Frames shown per second. 12 reads as game-like, 24 as film-like. Past 60 the frames go by faster than most screens refresh, which is why the slider stops there.

Starts at: On

Starts as soon as the scene is entered. Switch it off and the sprite waits on its first frame until a Play Sprite action fires — which is how you make an explosion happen on a tap rather than on arrival.

Range: 0–10000ms, in steps of 50Starts at: 0ms

Holds the first frame for this long before playing. Give a group of sprites different delays and they stop looking mechanically synchronised.

Range: 0 to the last frameStarts at: 0

First frame of the range to play. Numbering starts at 0, so a 24-frame sequence runs 0 to 23.

Range: 0 to the last frame

Last frame of the range, included in the play. Use these two to pull a single move out of one long sheet.

Starts at: Off

Plays the range back to front. A chest opening becomes a chest closing without a second set of art.

Starts at: Off

Runs forwards then backwards, returning the way it came. Good for a breathing or hovering idle, where a plain loop would snap back at the end.

Starts at: On

Repeats when it reaches the end. Off plays once and holds the last frame — right for an explosion or a one-shot reveal.

Range: 0 and upStarts at: 0

How many times to repeat. 0 means forever. Appears only when Loop is on.

Starts at: Stretch

Stretch fills the box exactly. Contain fits the whole frame in, leaving gaps. Cover fills the box and crops.

Starts at: Normal

How the sprite mixes with what is behind. Screen on a black-background effect sheet drops the black out entirely.

Range: 0–100%Starts at: 100%

How solid the sprite is.

Starts at: #FFFFFF

Multiplies the frames by this colour. One white sprite sheet plus four tints gives four coloured variants at no extra file size.

Opens the audio picker, where you can browse the built-in library or upload your own file. Once chosen, the card shows the filename with its size in KB and its length.

Swap the sound keeping every other setting, or clear it back to the picker.

Hear it and find a moment in it. The position readout is what you use to work out Trim points.

Starts the sound when its scene is entered. With it off, the sound waits for a Play Audio action.

Repeats from the start point on reaching the end. What a music bed wants; what a sound effect does not.

Plays silently. The volume you set is remembered for when it is unmuted, so this pairs with a mute button wired to the Mute Video style actions.

Range: 0–100%

Loudness. Keep a music bed well under your effects — around 30 to 40% — so taps still register over it.

Range: 0.25–4×, in steps of 0.05Starts at: 1×

Playback rate, which changes the pitch with it. Slight changes on a repeated effect stop it sounding identical every time.

Range: 0 to the file length, in steps of 0.1sStarts at: 0s

Where playback begins. Trims silence off the front of a file, which is the usual reason an effect feels late.

Range: 0 to the file length, in steps of 0.1sStarts at: 0s

Where playback stops. 0 means play to the end of the file. A line under the fields tells you how much of the file will actually play.

Range: 0–5000ms, in steps of 50Starts at: 0ms

Ramps up from silence at the start. A few hundred milliseconds removes the click a hard start can make.

Range: 0–5000ms, in steps of 50Starts at: 0ms

Ramps down before the end. It needs an end to aim at, so it waits until the file's length is known.

How much is fetched before the sound is asked to play. None keeps the ad lightest but may delay the first play. Metadata fetches just the header. Auto fetches the file up front, so the first play is instant. Use Auto for a sound that must land exactly on a tap.

Starts at: On

Off silences the sound entirely. It is the same switch as the eye icon beside the object in the list.

Range: 1s and up

How long the timer runs for, in seconds.

Starts at: Down

Down starts at the duration and falls to zero — urgency. Up starts at zero and climbs — elapsed time, like a stopwatch on a challenge.

How the number reads: Seconds (plain, like 90), mm:ss (01:30), hh:mm:ss (00:01:30) or 1m 30s (compact). A line under the field shows the opening reading in the format you chose, so you can pick by seeing it.

The same ten typefaces. Pick a monospaced face like Courier New — in a proportional font the digits are different widths, so the whole timer jiggles sideways every time a number changes.

Range: 8–400px

Size of the digits.

Light through Black.

Colour of the digits.

Starts at: Off

Draws a panel behind the digits. Off leaves them sitting on whatever is behind them.

The panel's colour. Appears only when the background is on.

Range: 0 to half the shortest side

Rounds the panel's corners. At maximum on a wide box you get a pill. Appears only when the background is on.

The copy that scrolls. It repeats end to end forever, so write one phrase rather than a paragraph.

Drawn in the middle of the gap between repeats — a bullet, a star, a dash. Leave it empty for a plain gap. Without one, a repeating phrase can read as one run-on sentence.

Starts at: None

None, UPPERCASE, lowercase or Capitalize, applied as it is drawn.

The same ten typefaces.

Range: 8–400px

Size of the copy.

Light through Black.

Normal or Italic.

Colour of the copy.

Range: −20 to 100px

Space between letters.

Range: 0–20pxStarts at: 0px

Outline around each letter.

The outline's colour. Appears only when Stroke Width is above 0.

← Left, → Right, ↑ Up or ↓ Down. Left is the conventional ticker.

Range: 0–400 px/s

How fast the copy travels. 40 to 80 is readable; above about 150 it becomes texture rather than text. At 0 the copy stands still and the panel says so in amber.

Range: 0–400px

Space between the end of one repeat and the start of the next. The separator sits in the middle of this gap.

Starts at: Off

Stops the scroll while a pointer rests on it. Applies to the exported ad only — in the editor it keeps moving so you can still judge the speed.

Starts at: Off

Draws a band behind the copy. Off leaves it travelling over whatever is behind it.

The band's colour. Appears only when the background is on.

Range: 0 to half the shortest side

Rounds the band's corners. Appears only when the background is on.

The colour washed over the canvas. Black for a dim, white for a flash, a brand colour for a tint.

Range: 0–100%Starts at: 100%

How strong the wash is. 50 to 70% black is the usual setting for dimming a scene behind a dialog so the dialog reads clearly.

Starts at: Normal

How the wash mixes with the scene. Multiply darkens richly without flattening to grey; Screen lifts everything toward the colour.

Range: 0–360°Starts at: 0°

Turns the wash.

Range: 0–300%Starts at: 100%

Stretches it horizontally.

Range: 0–300%Starts at: 100%

Stretches it vertically.

The image that repeats. A narrow strip tiles just as well as a big square and costs far less in the export.

Starts at: Fullscreen Off

Fullscreen On locks the layer to the whole canvas, like a background. Fullscreen Off gives it its own box, which is what you want for a band of scrolling scenery partway up the screen.

The layer's box. Shown only when fullscreen is off. Turning fullscreen on keeps the box you had and gives it back when you turn fullscreen off again.

Starts at: On

Off holds the tiles still, so the layer becomes a static repeating pattern — a useful way to use this object as wallpaper.

← Left, → Right, ↑ Up, ↓ Down or ↘ Diagonal presets. Typing speeds by hand lights none of them up, which is deliberate — a custom speed is not pretending to be a preset.

Range: Any value, in steps of 5 px/s

Horizontal scroll rate. Negative reverses the axis, 0 holds it still.

Range: Any value, in steps of 5 px/s

Vertical scroll rate. Same rules.

Range: 0.05 and up, in steps of 0.05Starts at: 1

Tile width relative to the image's own size. 1.0 is its true size, below 1 packs in smaller tiles, above 1 blows them up.

Range: 0.05 and up, in steps of 0.05Starts at: 1

Tile height, same scale.

Range: Pixels, in steps of 5Starts at: 0px

Where the repeat starts horizontally. Two layers cut from the same image look like the same picture twice until one of them is offset.

Range: Pixels, in steps of 5Starts at: 0px

Where the repeat starts vertically.

Range: 0–100%Starts at: 100%

How solid the layer is.

Starts at: #FFFFFF

Multiplies the tile by this colour; white leaves it alone. Washing the far layers toward your sky colour is what makes them sit behind the near ones — the trick landscape painters call aerial perspective.

Twenty-eight effects: Confetti, Sparkle, Snow, Fire, Rain, Coins, Stars, Bubbles, Explosion, Impact, Smoke, Embers, Leaves, Waterfall, Tap Burst, Pixie Dust, Hearts, Gold Rain, Win FX, Electric, Level Up, Fireworks, Aurora, Cursor Trail, Hover FX, Vortex, Galaxy and Portal. The active one is outlined in blue.

Runs the effect on the canvas so you can judge it without playing the whole ad.

Clears every live particle and starts again from nothing. Use it after a change — otherwise particles born under the old settings are still on screen confusing the picture.

The region particles are born in. Point — all from one spot, for a fountain or a burst. Rect — anywhere in the object's box, for rain or snow across the screen. Circle — anywhere in a disc. Cone — from a point within a spread of angles, for a jet or a spray. Edge — along a line, for a waterfall lip. Ring — around the rim of a circle, for a portal.

Range: 0–180°Starts at: 30°

How wide the spray is, measured out from the centre line — so 30 gives a 60° spread in total. At 180 the cone is a full circle and stops being a cone. Cone only.

Range: 0–600pxStarts at: 200px

How long the birth line is. Edge only.

Range: 0–600pxStarts at: 100px

How wide the birth ring is. Ring only.

Starts at: Off

Emits a fixed number all at once and then stops, instead of emitting steadily. This is the difference between an explosion and a bonfire.

Range: 1–1000Starts at: 40

How many particles the burst throws. Appears only when Burst Mode is on.

Range: 0–500 per second

How many particles are born each second when emitting steadily. Hidden when Burst Mode is on.

Range: 1–1000Starts at: 250

The ceiling on how many can be alive at once. When it is reached, nothing new is born until something dies. Hidden when Burst Mode is on.

Range: 0–10s, in steps of 0.1Starts at: 0s

Waits this long after the scene is entered before the first particle.

Local — particles follow the emitter, so moving it drags the whole effect along. World — particles stay where they were born, so a moving emitter leaves a trail behind it. World is what makes a rocket's exhaust hang in the air.

Starts at: Constant

Constant emits evenly. Sine swells and fades smoothly, good for a flickering fire. Ramp Up starts slow and builds. Ramp Down starts strong and tails off — the shape most celebrations want. Burst Wave emits in repeating pulses.

Range: 0.1–10s, in steps of 0.1

How long one pass through the curve takes. Hidden when the curve is Constant.

Repeats the curve. Off runs it once and holds where it ended. Hidden when the curve is Constant.

Starts at: Off

Runs the effect forward before its first frame is shown, so a scene opens on snow already falling rather than on an empty sky with flakes starting at the top.

Range: 0–10s, in steps of 0.2

How much time to simulate in advance. Set it to roughly how long a particle takes to cross the screen. Appears only when Prewarm is on.

Starts at: Circle

What each particle is drawn as: Circle, Square, Star or Image. The three built-in shapes cost nothing and are tinted by the Color card.

Your own artwork per particle — a petal, a coin, a logo mark. Appears only when Shape is Image. The image is tinted too, so white artwork takes colour best; a red image cannot be tinted blue.

Solid — one colour for life. Gradient — fades from a birth colour to a death colour as it ages, which is how an ember cools as it rises. Random — each particle picks from a pool you define, for confetti. Multi-Stop — a full gradient with as many stops as you like.

The single colour. Solid mode only. Only opacity changes as the particle ages.

Start and end colours. Gradient mode only.

A list of swatches; each particle picks one at random. Add and remove entries with the buttons beside them. Random mode only.

A gradient with positioned stops, for a colour path more complex than birth-to-death. Multi-Stop mode only.

Starts at: Normal

Four options, named for what they are used for: Normal, Add (bright / fire), Screen (soft glow) and Multiply (shadow). Add stacks brightness where particles overlap, which is exactly what makes fire and sparks glow.

Range: 0–400px

How big a particle is when it appears.

Range: 0–400px

How big it is when it dies. Larger than birth for smoke that billows; smaller for a spark that shrinks away.

Range: 0.2–5×, in steps of 0.05Starts at: 1×

Width against height. Below 1 gives tall thin particles — rain. Above 1 gives wide flat ones.

Starts at: Linear

How the size travels between the two: Linear, Ease In, Ease Out, Pop, Bounce or Pulse. Pop and Bounce overshoot on the way, which gives a satisfying snap to a burst.

Range: 0–1, in steps of 0.01

Opacity when it appears. Start at 0 to have particles fade in rather than pop into existence.

Range: 0–1, in steps of 0.01

Opacity when it dies. Set this to 0 in almost every case — particles that vanish abruptly at full opacity are the single most common thing that makes an effect look unfinished.

Range: 0.05–20s, in steps of 0.1

Shortest a particle can live.

Range: 0.05–20s, in steps of 0.1

Longest it can live. Keep a gap between Min and Max — identical values make every particle die in lockstep, which reads as mechanical.

Range: 0–2000 px/s

Slowest launch speed.

Range: 0–2000 px/s

Fastest launch speed. A range rather than one number is what keeps a burst from looking like a solid expanding ring.

A circular dial showing the arc particles are launched into, drawn between the two angles below. Easier to read than the numbers.

Range: 0–360°

One edge of the launch arc. 0° is to the right, 90° is down, following screen coordinates.

Range: 0–360°

The other edge. Set 0 and 360 to fire in every direction; set both to 270 to fire straight up.

Range: 0–8×, in steps of 0.05Starts at: 0×

Stretches each particle along the direction it is travelling, in proportion to its speed. A little of this turns round dots into streaks and sells speed instantly — it is how rain and sparks are drawn.

Range: −360 to 360°/sStarts at: 0°/s

Makes particles circle the emitter instead of flying straight out. This is the whole of a vortex or a galaxy effect. Negative reverses the spin.

Range: −2000 to 2000 px/s², in steps of 10Starts at: 0

Constant sideways pull. Use a little to suggest wind.

Range: −2000 to 2000 px/s², in steps of 10

Constant vertical pull. Positive pulls down — confetti and coins need this. Negative pulls up, which is what makes smoke rise and embers float.

Range: 0–8 per second, in steps of 0.005Starts at: 0

Slows particles the faster they are going, as air resistance does. A small amount makes an explosion decelerate convincingly instead of flying off at full speed forever.

Range: −2000 to 2000, in steps of 10

A sideways push that builds as the particle ages, rather than acting from birth. Good for smoke that starts straight and then drifts.

Range: −2000 to 2000, in steps of 10

The same, vertically.

Range: −1440 to 1440°/s, in steps of 5

Slowest spin rate.

Range: −1440 to 1440°/s, in steps of 5

Fastest spin rate. Set Min negative and Max positive and particles tumble both ways, which is what confetti does.

Starts at: Off

Switches the whole system on.

Range: 0–300

How hard the field pushes. Small values give a gentle drift — the difference between falling snow and a blizzard.

Range: 0.0005–0.05, in steps of 0.0005

How large the swirls are. Small numbers give big, slow swirls; large numbers give tight, chaotic jitter.

Range: 0–3, in steps of 0.01

How fast the field itself churns. At 0 the field is frozen and particles follow fixed paths through it.

Starts at: Off

Switches trails on. This is one of the more expensive options — each particle becomes a short ribbon rather than a single dot.

Range: 2–64 segments

How far back the tail reaches. More segments is a longer, smoother tail and more work per frame.

Range: 0.5–20px, in steps of 0.25

How thick the ribbon is.

Thins and dims the older end, so it reads as trailing away rather than as a line being dragged along. Leave this on in nearly every case.

Starts at: Off

Adds a soft halo around each particle.

Range: 0–2, in steps of 0.05

How bright the halo is. Pairs naturally with the Add blend mode for fire, magic and electricity.

Starts at: Off

Switches the attractor on.

Attract pulls particles in — how coins fly to a wallet, or sparks converge on a logo. Repel pushes them away, for a shockwave clearing the screen.

Range: Plus or minus the canvas width

Where the attractor sits horizontally, measured from the emitter.

Range: Plus or minus the canvas height

Where it sits vertically.

Range: 0–1000

How hard it pulls or pushes.

Range: 0–2000px

How far its influence reaches. Particles outside this distance ignore it entirely.

Starts at: Off

Particles are pulled toward wherever the viewer is touching.

Range: 0–1000

How strongly the touch point pulls.

Range: 0–2000px

How close a particle must be to be affected.

Starts at: Off

Switches the second stage on. This multiplies your particle count — 100 particles each spawning 20 is 2000 — so keep both numbers modest.

Range: 1–30

How many children each dying particle produces.

Range: 1–100px

How big the children are.

Circle, Square or Star. There is no Image option for children.

One colour for all the children.

Range: 0–1000 px/s, in steps of 10

How fast the children fly outward.

Range: 0.05–10s, in steps of 0.05

How long the children live. Keep it short — a secondary burst that lingers muddies the effect.

Moves in from the left edge.

Moves in from the right edge.

Moves in from the bottom.

Moves in from the top.

Fades into view from transparent. The safest entry there is — it never fights the layout.

Scales up from a smaller size. Good on a button you want noticed.

Bounces while appearing, overshooting and settling. The most attention-getting entry, and the easiest to overuse.

Smooth drifting movement. A character that floats gently reads as alive at almost no cost.

Small rapid vibration. Signals urgency or a thing that wants tapping.

Repeated scaling in and out. The standard treatment for a call-to-action button.

Continuous rotation. Set the anchor before using this — it turns about the anchor point, not the centre, unless the anchor is centred.

A soft glow that pulses around the object.

Animated transition between two colours.

Slides out to the named edge. Four separate entries in the library.

Fades away before disappearing.

Scales down out of view.

Range: 0ms and up

How long one run takes. 200–400ms suits most entries and exits; much longer and the ad feels sluggish. An idle loop can be far slower — a float of 2000 to 3000ms reads as gentle rather than nervous.

Range: 0ms and up

How long to wait before starting. Giving several objects increasing delays — 0, 100, 200 — staggers them into a sequence instead of everything landing at once.

How the speed changes through the run. Linear is a constant rate and looks mechanical. Ease In starts slow. Ease Out starts fast and settles — the most natural for something arriving. Ease In Out does both, which suits movement between two resting points.

Repeats the animation. Idle animations are looped by default; entry and exit animations normally should not be.

Alternates direction, so it plays forwards then backwards rather than snapping back to the start. Appears only when Loop is on. Nearly always worth ticking on a float or a pulse.

Range: Pixels

Where the movement starts and ends, for the slide animations. These are offsets from the object's placed position, so a Slide Left entry starts at a negative X and ends at 0.

Range: 0–2, in steps of 0.01

Start and end size multipliers, for Pop In, Bounce In, Pulse and Shrink. 1 is the object's normal size.

Range: Degrees

Start and end angles, for Spin. For a continuous rotation set From 0 and To 360 with Loop on.

Range: 0–1, in steps of 0.01

Start and end transparency, for Fade In and Fade Out. 0 is invisible, 1 fully solid.

The drift range for Float — how far it wanders on each axis, and optionally how much it tilts as it goes. Small numbers: 4 to 12 pixels is usually plenty.

The vibration range for Shake. A few pixels with a degree or two of rotation reads better than a large purely horizontal shake.

Range: Strength 0–10, in steps of 0.1

The glow's colour and how far it pulses between. Pair a low From with a moderate To for a breathing halo.

The two colours Color Shift moves between.

Starts at: On

Every effect has this at the top of its settings. Switching it off keeps the effect and all its settings but stops it drawing — the quickest way to see what an effect is contributing.

How the shadow mixes with what is behind it.

The shadow's colour.

Range: 0–1, in steps of 0.01

How strong the shadow is.

Range: 0–100px

Softness of the edge. 0 gives a hard offset copy.

Range: 0–100px

How far the shadow is thrown from the object.

Range: 0–100px

How much the shadow expands beyond the shape.

Range: 0–360°

Which direction the shadow falls. Keep it consistent across every object in a scene — mismatched light directions are noticeable even when nobody can say why.

The outline's colour.

Range: 0–1, in steps of 0.01

How solid the outline is.

Range: 0–100px

How heavy the line is.

Range: 0.01–1, in steps of 0.01

How smooth the outline is. Lower is cheaper and more angular; there is rarely a visible difference above about 0.5.

Hides the object and keeps only the outline, leaving a hollow silhouette.

The glow's colour.

Range: 0–20×, in steps of 0.1

How far the glow spreads outward.

Range: 0–20×, in steps of 0.1

How far it bleeds inward over the object.

Range: 0–100px

The overall size of the halo.

Range: 0.01–1, in steps of 0.01

Smoothness against cost.

Keeps only the glow, hiding the object itself.

Range: 0–1, in steps of 0.01

Overall strength of the glow.

Range: 0–100px

How deep the edge appears.

Range: 0–360°

Which direction the light comes from.

Colour of the lit edge.

Range: 0–1, in steps of 0.01

How bright the lit edge is.

Colour of the shaded edge.

Range: 0–1, in steps of 0.01

How dark the shaded edge is.

Flips the reflected copy, as a real mirror would.

Range: 0–100%

How much of the object is reflected, from the bottom up.

Range: 0–100px

How much the reflection ripples. A little suggests water.

Range: 0–100px

How far apart the ripples are.

Range: 0–1, in steps of 0.01

How visible the reflection is. Keep it well under half — a reflection as strong as the object reads as a mistake.

Range: 0–2×, in steps of 0.01Starts at: 1×

Below 1 darkens, above 1 lightens.

Range: 0–2×, in steps of 0.01Starts at: 1×

Below 1 flattens toward grey, above 1 deepens darks and brightens lights.

Range: 0–2×, in steps of 0.01Starts at: 1×

0 is fully grey, above 1 intensifies the colour.

Range: −180 to 180°

Shifts every colour around the colour wheel. How you get a blue variant of a red asset without new artwork.

Removes all colour.

A cool, darkened night-time grade.

A warm brown vintage grade.

Inverts every colour to its opposite.

A solid colour laid over the object.

Range: 0–1, in steps of 0.01

How strongly it covers. At 1 the object becomes a flat silhouette of that colour, which is a quick way to make a shadow shape.

Linear or radial — a directional sweep, or one that radiates from a centre.

The two colours of the gradient.

Range: 0–1, in steps of 0.01

Each stop's transparency. Setting one end to 0 gives a fade-out rather than a colour change.

Range: 0–1, in steps of 0.01

Where each colour sits along the gradient. Moving them closer together sharpens the transition.

Range: 0–360°

Direction of the sweep. Linear type only.

Range: 0–1, in steps of 0.01

Overall strength of the gradient.

Replaces the object's colours entirely rather than tinting over them.

The colour in the artwork you want to replace.

What matching pixels become.

Range: 0–1, in steps of 0.01

How close a pixel must be to count as a match. Raise it until shaded areas of the same colour are caught too, but not so far that it starts eating neighbouring colours.

Range: 0–100px

How heavy the blur is.

Range: 1–8

How many passes are used. Higher is smoother and more expensive; 2 to 4 is usually indistinguishable from 8.

Blur both axes together, or each one separately.

Range: 0–100px

Per-axis amounts. Appear only when Direction is set to the separate mode. Blurring one axis only gives a convincing motion streak.

Stops the blur pulling transparency in from outside the object, which otherwise darkens or fades the edges.

Range: −100 to 100px

Horizontal smear amount and direction.

Range: −100 to 100px

Vertical smear.

Sampling detail against cost.

Range: −1 to 1, in steps of 0.01

Shifts the smear so it trails behind the object rather than being centred on it.

Range: −1 to 1, in steps of 0.01

How far the streaks reach. Negative pulls inward instead of pushing out.

Range: 0–1, in steps of 0.01

Where the zoom originates, as a fraction of the object. 0.5, 0.5 is the middle.

Range: 0–500px

A protected zone at the centre that stays sharp. Use it to keep a logo readable while everything around it streaks.

Lets the effect reach with no outer limit.

Range: 1–1000px

Where the effect stops. Appears only when Infinite Radius is off.

Range: −180 to 180°

How far around the smear travels.

Range: 0–1, in steps of 0.01

The point it spins about.

Sampling detail.

Removes the outer limit.

Range: 1–1000px

Where it stops. Appears only when Infinite Radius is off.

Range: 0–50px

How heavily the backdrop is blurred.

Range: 1–8

Smoothness against cost.

Avoids edge darkening at the object's boundary.

Range: 0–1, in steps of 0.01

How bright a pixel must be to bloom. Lower catches more of the image; too low and everything glows into mush.

Range: 0–5×, in steps of 0.1

How intense the bleed is.

Range: 0–3×, in steps of 0.1

Overall brightness of the result.

Range: 0–30px

How far the glow spreads.

Range: 1–8

Smoothness against cost.

Range: 0–30px

How much the bright areas spread.

Parallel rays coming in at an angle, or rays radiating from a point.

Range: −180 to 180°

Direction the rays travel. Parallel mode only.

Range: 0–1, in steps of 0.01

Where the rays originate. Radiating mode only.

Range: 0–1, in steps of 0.01

How bright the rays are.

Range: 0.5–10, in steps of 0.1

How many rays there are.

Range: 0–1, in steps of 0.01

Overall visibility of the effect.

Range: 0–10, in steps of 0.1

How much the picture bows outward.

Range: 0–10px, in steps of 0.1

Thickness of the horizontal lines.

Range: 0–1, in steps of 0.01

How dark the lines are against the picture.

Draws the lines vertically instead.

Range: 0–1, in steps of 0.01

How much static is mixed in.

Range: 1–20px

How coarse the static grain is.

Range: 0–1, in steps of 0.01

How far the corner darkening reaches in.

Range: 0–1, in steps of 0.01

How dark the corners get.

Range: 0–1, in steps of 0.01

How soft the vignette's edge is.

Range: 1–30

How many bands the image is cut into.

Range: 0–300px

How far the bands are pushed sideways.

Range: −180 to 180°

Which way the bands are displaced.

What fills the space a displaced band leaves behind.

Makes every band the same height rather than random ones.

Range: 1–64px

The thinnest a band may be.

Range: −50 to 50px each

Six sliders that offset each colour channel independently, producing the coloured fringing that sells the glitch.

Range: −100 to 100px

Displacement of the red channel.

Range: −100 to 100px

Displacement of the green channel.

Range: −100 to 100px

Displacement of the blue channel. A few pixels in opposite directions on red and blue is the classic look; more than that becomes a glitch.

Square pixels, or separate width and height for rectangular ones.

Range: 1–100px

How large each block is. Square mode.

Range: 1–100px

Block width and height separately. Rectangular mode.

Range: 0–1, in steps of 0.01

How visible the grain is.

Range: 1–100

How coarse the grain pattern is.

Which noise pattern is generated.

Range: 0–1, in steps of 0.01

Cuts the noise to hard on-or-off rather than a smooth range. Appears for the patterns that use it.

Range: −100 to 100

Shifts the pattern across the object.

Range: −100 to 100

How far into the pattern is sampled.

Range: −10 to 10, in steps of 0.1

How hard the twist is. Negative twists the other way.

Range: 0–1000px

How far out the twist reaches. Beyond this the image is untouched.

Range: 0–1, in steps of 0.01

The point it twists about.

Range: −1 to 1, in steps of 0.01

Positive bulges the middle outward, negative pinches it inward. A small bulge is a cheap cartoon exaggeration on a face or a button.

Range: 1–1000px

How far the distortion reaches.

Range: 0–1, in steps of 0.01

Where the distortion is centred.

Range: 0–3s, in steps of 0.01

How far through its travel the wave is. This is the value that animates — at 0 the wave has not started, at 3 it has passed.

Range: 0–100px

How strongly the wave displaces pixels.

Range: 1–500px

How wide the ring of distortion is.

Range: 0–5×, in steps of 0.05

How much the wave front brightens as it passes, which sells it as energy rather than a lens artefact.

Range: 0–2000 px/s, in steps of 10

How fast the ring expands.

Range: 0–1, in steps of 0.01

Where the wave starts.

Lets the wave expand without limit.

Range: 1–2000px

Where it stops. Appears only when Infinite Radius is off.

A Text object whose copy is replaced with the score each frame.

Seconds remaining. Left alone when the round has no clock.

Only written while lives are limited.

One slot per game event, the set depending on the mechanic — a hit, a miss, a win, a combo. Click a slot to open the audio picker, or the × beside it to clear it. Sound is what makes a move feel like it landed, and a hit with no sound feels broken even when it works.

Range: 1–6

How many rows the spawn grid has.

Range: 1–6

How many columns. Rows times columns is how many places a target can appear.

Range: 1–100

Hits needed to win the round.

Range: 5–120s

How long the round lasts. Running out of time below the target score loses it.

Range: 0.3–4s, in steps of 0.1

How long a target waits to be tapped before vanishing. Shorter is harder.

Range: 0.2–3s, in steps of 0.1

How often a new target appears.

Range: 1–8

How many can be on screen together. More than a couple turns the round hectic.

Pulses a hint pointer over a waiting target. An ad that looks like it is doing nothing gets closed — leave this on.

Range: 0.5–6s, in steps of 0.5

How long to wait before hinting. Appears only when the nudge is on.

Range: 0–60%

How often a target that must not be tapped appears instead. Adds risk to what is otherwise pure speed.

Range: 1–4

Rows in the tray items appear in.

Range: 1–6

Columns in the tray.

Range: 1–100

Correct drops needed to win.

Range: 0–120s

Round length. 0 runs with no clock at all, which suits a puzzle you want thought about rather than rushed.

Range: 0.2–3s, in steps of 0.1

How often a new item appears.

Range: 1–8

How many items may be waiting to be moved.

Runs a hint pointer from a waiting item to the zone it belongs in — which also teaches the mechanic without a word of instruction.

Range: 0.5–6s, in steps of 0.5

Delay before hinting.

Range: 0–10

Wrong drops allowed before the round is lost. 0 is unlimited.

How the covering comes off — scratched away with a brush, or broken off in tiles. The cards below change with this choice.

Range: 4–40%

Brush width, as a share of the panel's shorter side. Brush style only.

Range: 8–60

How finely the covering is divided. Higher is smoother to look at and heavier to draw. Brush style only.

Range: 1–8 each

The tile grid. Tile style only.

Range: 0–30%

The line left between tiles. Zero butts them together. Tile style only.

Range: 10–100%, in steps of 5

How much has to come off before the round is won. Around 60% feels complete without becoming a chore.

Range: 0–120s

Round length. 0 runs with no clock.

The wedge the wheel is fixed to stop on. The outcome is decided, not random — which is the point. The viewer should win the thing your ad is selling.

Range: 1–8s, in steps of 0.5

How long the spin lasts. Around 2 to 3 seconds is enough tension without testing patience.

Range: 1–12

How far it travels before it starts slowing. More reads as a harder throw.

Range: 1–5

How many presses the player gets.

Range: 0.5–6s, in steps of 0.5

How long before the spin button starts pulsing for an idle viewer.

How the marker moves along the track.

Range: 0.1–4×, in steps of 0.05

How fast it travels.

Range: 0–1×, in steps of 0.02

Added after every hit. Zero runs the whole round at one pace. A small amount makes a round that gets harder as it goes.

Bouncing reads as a meter being watched. Switched off the marker starts over from the beginning each time, which reads as something passing by.

Range: 4–60%

How much of the track counts as a hit.

Range: 0–100%

Where the zone's middle sits along the track.

Off, the round is a rhythm — the same spot, learned. On, it is a test of reaction.

Range: 40–100%

Of its previous size, after every hit. 100% leaves it alone.

Range: 0–80%, in steps of 5

The middle of the zone, worth two points instead of one. Zero turns the distinction off.

Range: 0 to the number of questions

Below this the round ends as a loss. The score is shown either way.

How the answer cards are arranged. The rows follow from how many answers a question has.

Range: 0–3s, in steps of 0.1

How long the right answer is highlighted before moving on. Long enough to register, short enough not to stall.

The message shown on a pass. {score} and {total} are filled in — so "You got {score} of {total}!" becomes "You got 4 of 5!".

The message shown when the pass mark was missed.

Range: 0.5–6s, in steps of 0.5

How long before idle answers start blinking.

Range: 3–12 each

The board size. Bigger boards need more taps to show progress — keep it small for an ad.

Range: 0–30%

Between cells, as a share of one cell, so the board reads the same at any size.

Range: 2 to however many tiles you bound

How many different tile colours are in play. Fewer makes big groups easier to find.

Range: 0 to a quarter of the cells

Obstacles that cannot be tapped; they break when a group clears beside them. Needs a blocker piece bound on the Pieces tab.

Range: 2–5

How many touching tiles are needed to clear.

Range: 0–99

Total taps allowed. 0 for a round that cannot be lost.

Range: 2–15

A group this size or larger stamps the combo banner.

Range: 1–100

Multiplied by the group's size again, so one big group beats three small ones.

What ends the round — a score, or clearing a certain colour.

Which tile the goal is asking for. Appears only for a colour goal.

How much of it is needed.

Range: 3–12 each

Board size.

Range: 0–30%

Space between cells, as a share of one cell.

Range: 3 to however many gems you bound

How many gem colours are in play.

Range: 3–5

How many in a row are needed to clear.

Range: 0–99

Total swaps. A swap that makes no line is free. 0 for a round that cannot be lost.

Starts at: Off

A line of four leaves a rocket, five leaves a bomb. Off by default, deliberately — the plain three-in-a-row is the mechanic, and an ad that opens by teaching two extra rules has spent the seconds it had.

Range: 1–100

Multiplied by how deep into a cascade the match landed, so a chain beats the same gems cleared one at a time.

A score, or clearing a certain colour.

Which gem the goal asks for. Only gems cleared in a line count — a rocket's row does not.

Range: 1–999

How many are needed.

A hand mimes a swap that would actually work, once swapping stops.

Which way your units travel. Vertical reads as a card battler, horizontal as a tower defense.

Range: 1–4

Parallel corridors units walk down. Deploys go to the emptiest one.

Range: 0–20

How much deploy meter the player has the moment the round begins.

Range: 1–20

The meter's ceiling.

Range: 0–4 per second, in steps of 0.1

How fast the meter recharges. This is the main difficulty dial.

Range: 1–500

What the player is knocking down. Reaching zero wins the round.

Range: 0–500

0 means your tower cannot fall — a pure attack round with nothing at stake, which is often right for an ad.

Range: 0–180s

0 runs with no clock — the round then ends only when a tower does.

A list you add to. Each wave has Sends (which unit), At (0–180s, when), Lane (counted from the left, or the top when marching across) and How many (1–6).

Hints a deploy when nothing has happened.

Range: 0–5000, in steps of 5

What the player begins with. Enough to afford the first plot immediately — an idle game that opens with nothing to do has lost already.

Range: 1–500, in steps of 5

What one collectable note is worth.

Range: 1–12

How many notes a building drops at a time.

Range: 0–4

How many times a plot can be improved.

Range: 10–160, in steps of 2

How close the collector must get to sweep a note up. Generous is better — precision is not the fun here.

Range: 120–3000, in steps of 20

How fast the collector chases the finger.

What finishes the round — a number of plots built, or an amount of money earned.

How many plots, or how much money. The range follows the goal you picked.

The scene's name, shown read-only here. Rename it from the scene list instead, by double-clicking its row.

Range: 0.5–30s, in steps of 0.5

How long this card is held when the ad is exported as a video. End cards only — a normal scene has nothing to time, and a video segment's length comes from its footage. It counts toward the total duration networks cap the whole ad at.

Starts at: None

Twelve types: None, Fade, Slide, Zoom, Rotate, Blur, Pixelate, Bloom, RGB Split, CRT, Glitch and Flash. Set once for entry and once for exit.

The button beside the dropdown. Replays the transition on the canvas — a transition lasts under a second, so seeing it once is rarely enough to judge it.

Range: 0.1–3s, in steps of 0.1

How long the transition takes. Every type has this. 0.3 to 0.5s suits almost every case; longer makes the ad feel slow, and you have very little time to spend.

Which way the scene slides — Left, Right, Up or Down. Slide only.

Range: 0.2–1, in steps of 0.05

How far the scene zooms from. Lower means a bigger zoom. Zoom only.

Range: −360 to 360°, in steps of 5

How far the scene rotates. Rotate only.

Range: Blur 0–50px · Bloom 0–5

How heavy the effect is. Blur and Bloom.

Range: 1–50px

How large the blocks grow before the scene changes. Pixelate only.

Range: 0–50px

How far the colour channels separate. RGB Split only.

Range: 0–10, in steps of 0.1

How strong the scanline effect is. CRT only.

Range: 0–10, in steps of 0.1

How broken the picture goes. Glitch only.

White or Black — the colour the screen flashes through. Flash only.

Accepts MP4, WEBM and MOV. Drop a file on the box or click to browse. Once loaded, the card shows a preview of the footage with its size and duration.

If the file is large enough to threaten your export budget, an amber note appears here and stays. It is deliberately persistent — the toast is long gone by the time the export dialog tells you the build is too big.

Swap the footage, or clear it.

Fill crops the footage to the artboard, filling it completely. Fit keeps all of the frame and leaves a gap.

What goes in the space Fit leaves. Blurred video repeats the footage blurred behind itself — the treatment vertical video gets everywhere, and it always looks intentional. Solid colour uses the backdrop colour from Appearance. Appears only when Fit is selected.

Range: 1–80px

How heavily the filler copy is blurred. Enough that it reads as texture rather than as a second video. Appears only with Blurred video.

Restarts the footage instead of holding on the last frame when it ends.

Starts at: On

Leave this on. Mobile browsers refuse to autoplay video with sound, so an unmuted ad may not start at all. The runtime turns sound on at the viewer's first tap.

Range: 0–100%

How loud the footage plays once unmuted.

The colour painted beneath everything — the whole artboard before a video is attached, and the gap filler afterwards. Labelled Background Colour while there is no video.

Range: 0–100%Starts at: 0%

Darkens the footage so copy laid over it stays readable. Essential over bright or busy video.

Range: 0–100%Starts at: 100%

How solid the footage is.

Range: 0 to the footage length, in steps of 0.001s

The moment in the video the break fires, in seconds from the start of the source file. Times are measured against the whole file, not the trimmed clip, so moving a trim handle never silently rewrites a time you set on purpose.

Starts at: Off

Off means the break fires once per view. On means looping footage stops here on every pass.

Five ways out of the break. Each one is explained by a line under the dropdown once selected.

Any tap on the ad resumes it. The lowest-friction option, and the one that works before you have placed anything.

Only a tap on the object you pick resumes it. Use it when the break is asking for a choice between two things.

Which object must be tapped. Appears only with Tap an object.

The viewer holds for a moment; letting go early does not resume it. Good for charging a shot or drawing a bow.

Range: 0.1–10s, in steps of 0.1Starts at: 1s

How long the hold must last. Appears only with Press and hold.

No input at all — the video resumes on its own. A beat to let something be read, rather than an interaction.

Range: 0.1–30s, in steps of 0.1Starts at: 3s

How long the pause lasts. Appears only with Wait.

Nothing in this card ends the break. Wire a Resume Video action to any object's event and that is what continues the ad. Use it when the break contains a small interaction of your own.

Offers a way past the break. A break with no way out is the fastest way to lose a viewer, and several networks require one — leave this on unless you have a specific reason not to.

What the skip control says. Appears only when skipping is allowed.

Range: 0–15s, in steps of 0.1

How long the skip stays hidden before appearing. Zero offers it the moment the break opens. A second or two gives the viewer a chance to engage before being handed an exit.