RIVANT

RIVANTरायवंट

Version 1.0.0 · Updated

MotionRivant Media

Every Rivant Media film is different in the middle and identical at the ends. This is the standard for those ends and for the language underneath them: the curves, the frame budget, the shapes and the one rule about colour.

Play the endsBranding guidelines
Rate
24 fps, 1920 × 1080
Intro
34 frames, 1.42s
Outro
89 frames, 3.71s
Curves
Snap, Back, Out, Glide

Ends that repeat

Three beats in, three beats out. Every Rivant film is different in the middle and identical here, and all six of them are grey.

f0

Orbitf0–7

Two ellipse rings are already turning when the film cuts in. The logomark sits on a tilted paper disc at the centre; six brand shapes are thrown off it, one every frame or so, each popping to full size in five frames.

24 fps · intro 34 frames, 1.42s · outro 89 frames, 3.71s

  1. f0–78 frames, 0.33s

    Orbitintro

    Two ellipse rings are already turning when the film cuts in. The logomark sits on a tilted paper disc at the centre; six brand shapes are thrown off it, one every frame or so, each popping to full size in five frames.

  2. f8–169 frames, 0.38s

    Prismintro

    The void. One chromatic panel opens from the left in five frames, a paper sparkle pops beside it, a hatched tail runs beneath. The only colour before the work.

  3. f17–3317 frames, 0.71s

    Lockupintro

    The mark lands at centre in six frames, slides left while RIVANT wipes out of it left to right over seven, an arc closes round the mark, and both leave in two frames so the next cut lands on an almost empty frame.

  4. f395–41420 frames, 0.83s

    Cardoutro

    Light grey. RIVANT types on, one letter a frame. Under it the credit block builds three frames apart: what we do, the site, the tagline in ExtraLight Italic. The year at f408, the mark at the right at f410.

  5. f415–43824 frames, 1.00s

    Holdoutro

    Hard cut to graphite. Nothing moves. The ink flips to paper so the card still reads.

  6. f439–48345 frames, 1.88s

    Holdoutro

    Hard cut to paper. The card holds, still, to the last frame. The film ends on a picture, not a fade.

The ends never carry client colour and never carry a photograph. If a film has to name a client at the end, it goes in the credit block as type, not as artwork.

Four curves exactly

Everything that moves uses one of these. A film that mixes in a fifth stops feeling like one film.

Snapcubic-bezier(0.16, 1, 0.3, 1)

Arrivals. The default, and most of any film: fast in, dead stop.

Backcubic-bezier(0.34, 1.56, 0.64, 1)

Pops and stamps. Overshoots its mark and settles back onto it.

Outcubic-bezier(0.7, 0, 0.84, 0)

Exits. Holds, then goes, so the frame is clear before the cut.

Glidecubic-bezier(0.65, 0, 0.35, 1)

Long moves and drifts. Eased at both ends, never hurried.

Constant speed is not one of the four. It is what an orbit or a spin runs at, and nothing else moves on it: a thing that travels at a constant speed and then stops has no weight.

Frames not seconds

There is no room to ease. Six rules hold the whole discipline, and every one of them is a count of frames.

  1. A move is over in four to eight frames

    Then it is still. Motion running longer than a third of a second reads as drift, not as intent.

  2. Arrive moving

    The first frame after a cut already has something mid-move. Nothing starts from rest on a cut.

  3. Cut on the hit

    The edit lands on the track, not on the picture. Passage boundaries sit on measured onsets.

  4. Stagger, don't sync

    Elements of a group arrive one or two frames apart. Everything landing together reads as a slide, not a build.

  5. One idea a passage

    Half a second holds one shape doing one thing. If two things need saying, that is two passages.

  6. Leave faster than you arrive

    Exits run two to five frames on Out, so the frame is empty before the cut lands.

One frame at 24 fps is 42 milliseconds. A move of four frames is a sixth of a second, and that is the whole budget a shape gets to arrive, change and stop.

Shapes that morph

Seventeen forms sampled the same way, so any one morphs into any other. Morphing is the house move: prefer it to a fade or a swap.

The chain

  1. disc
  2. halfDisc
  3. triangle
  4. bar
  5. star
  6. ring
  7. disc

Ten frames still, seven frames moving on Snap, then still again. A morph that never stops moving reads as a lava lamp; a morph that lands reads as a decision.

The library · 17 shapes, all morph-compatible

  • disc

  • square

  • rounded

  • triangle

  • diamond

  • halfDisc

  • quarter

  • ring

  • arc

  • star

  • sparkle

  • cross

  • lens

  • capsule

  • bar

  • pentagon

  • hexagon

A shape used as a window counts as a shape. A reel or a piece of client work seen through a disc, a half-disc or a panel is the film's main way of showing work, and the window itself may morph while the footage plays.

Colour by client

The studio is nine greys. A passage takes colour only while it is showing a client's work, and then it takes that client's own.

The studio · 9 greys

  • Void, #0B0B0B
  • Carbon, #111111
  • Graphite, #171717
  • Slate, #232323
  • Smoke, #474747
  • Ash, #8A8A8A
  • Mist, #A7A7A7
  • Bone, #D7D7D7
  • Paper, #F7F7F7

The intro, the outro and every interlude are made of these and nothing else. A grey passage is how a film says the studio is speaking rather than a client.

The fields · 9 clients

A field is one client’s ground, its ink and two accents, sampled from that client’s own work. A passage showing their work takes the whole field and nothing from outside it.

The exception

The prism panel: #FF3B30, #FF9500, #FFE600, #45CB85, #00B8D4, #5B5BFF, #9121FE

The prism panel

A hard-edged spectrum belonging to no client, and the single exception to the field rule. It is the film's only chromatic element outside a client's palette, and it is what the intro uses before any work has been shown.

Type on screen

Montserrat set as ExtraBold against ExtraLight Italic, Inter for everything small. The same contrast the brand speaks in, at speed.

  • Montserrat ExtraBold

    800 · tracking -0.02em · uppercase

    Titles, the wordmark, and anything the film shouts.

    REDEFINING GROWTH

  • Montserrat ExtraLight Italic

    200 · tracking -0.01em

    The counter-voice under a title, and taglines.

    Redefining growth

  • Inter SemiBold

    600 · tracking 0.22em · uppercase

    Eyebrows and labels, always uppercase.

    Brands · Websites · Campaigns

  • Inter Regular

    400 · tracking 0.02em

    Credits and captions.

    rivant.in — a design and marketing agency.

Type in a film arrives the way a shape does: it stamps, it wipes out from behind something, or it types on a letter a frame. It never fades up.

Joins not dissolves

Four ways one passage becomes the next, in the order of how often they are the right one. None of them is a dissolve.

  • Hard cut

    0 f

    The default, and most of the film. Lands on a hit, into motion. Never a dissolve.

  • Flash

    4–6 f

    A whole passage of one saturated field with a single shape wiping through it. Punctuation between two dense passages.

  • Morph across

    4–8 f

    The outgoing shape becomes the incoming one through the cut, so the eye is carried rather than jolted.

  • Glitch

    8–30 f

    Sliced bars sliding apart and reassembling. Once a film, and it belongs to the passage that shows reels.

Where this lives

This page is documentation, not the source of truth. The standard is implemented frame for frame in the motion-graphics-rivant repository: the ends in src/showreel4/parts/Ends.tsx, the curves and the client fields in src/showreel4/theme.ts, and the shape library and the morph in src/showreel4/primitives/geometry.ts. Change them there, re-render at 24 fps, then bring this page up to match.