Logo Reveal

Elements fly or drift in and converge to resolve into the final logo; distinct from a plain reveal because the logo is assembled at the end of the movement.

This is for a motion graphics video. Bring the logo into [scene] with a "Logo Resolve": separate elements fly or drift in from different places and converge until they lock together as the finished logo.
Keep the logo unreadable until the very end — unlike a plain logo reveal, where the mark is uncovered in place, here it only exists once the last piece has arrived. Start the pieces scattered, turned and at different sizes, and stagger their arrivals.
Spend most of [duration] on the convergence, then let the assembled logo settle and hold.

A name or title graphic slides, wipes or fades into the lower part of the frame, holds, then animates out without covering the main picture.

This is for a motion graphics video. Add a "Lower Third" (also called a chyron, name strap, super, aston or CG) to [scene]: a name and title graphic animates into the lower part of the frame, holds, then animates out.
Keep it in the bottom strip and off to one side so it never covers the main picture — unlike a callout, it does not point at anything inside the image. Bring it in with a slide or wipe, and take it out the same way in reverse.
Fit the in, the hold and the out into [duration], with the hold long enough to read both lines.

A line draws itself along a route between places on a map while a marker travels along it.

This is for a motion graphics video. In [scene], trace a journey with a "Map Route" (also called a map route animation or travel route): a line draws itself along the route between two places on a map while a marker travels along it.
Keep the marker on the leading tip of the line and turn it to face the way it is heading through every bend — unlike a line chart draw, there are no axes or data points, just one traveler moving from place to place.
Run the trip over [duration], easing out of the start and into the arrival, and mark the destination when the marker gets there.

A flat layer such as a screen or card is tilted back in 3D so it recedes toward one edge and gains depth; the layer tilts, not the camera.

This is for a motion graphics video. In [scene], give a flat screen or card a "Perspective Tilt": it leans back in 3D so one edge recedes into the distance and the layer gains depth.
Tilt the layer itself and leave everything behind it exactly where it is — unlike a camera tilt, the rest of the picture must not move. Let the far edge shrink and the near edge grow so the perspective reads clearly.
Ease the tilt in and out over [duration], and stop at an angle where the content on the layer is still readable.