Reveal & destruction

What this group is for

A cut is a decision. These effects make the appearing and disappearing of a layer into an event — the image burns, electrifies, assembles out of noise, or irises shut around a single point.

Most of them ride segment progress, so the destruction is timed to the beat instead of dumped all at once. The frame doesn’t leave the room; it makes an exit.

The effects

• paper-burn — The layer burns to transparency from an origin you pick, a thin flame edge marching outward as the segment progresses. It has the smell of a Tarkovsky photograph curling on a stove — reach for it when something must be destroyed, not removed.
• decode-reveal — A reveal front walks across the frame on segment progress, turning code into the source behind it. The image arrives as if it were being deciphered — cold, deliberate, a little surveillance.
• glyph-assemble — The picture builds itself out of scattered glyphs as the segment advances, particles finding their place. Use it for an entrance that earns its arrival rather than just cutting in.
• iris — A circular reveal or hide mask that opens or closes around a point. The oldest grammar in cinema — the silent-era iris-out that ends a chapter with a held breath.
• shutter-wipe — A clean directional reveal mask sweeping across the frame. Decisive and architectural — the wipe that means we are leaving this place now.
• radial-wipe — An angular sector reveal that sweeps like a clock hand. It carries a sense of time elapsing on screen — a countdown made visible.
• film-burn — A warm radial light leak applied source-atop, blooming from a point. The frame catches fire the way old stock does at the end of a reel — an honest, accidental-feeling out.
• letterbox — Animated cinematic bars that close or open on the frame. Drop them in to declare “this is a film now” — or to seal the final image inside a widescreen frame.
• aperture-scan — A travelling visibility slit that exposes the frame as it passes. The image exists only inside a moving window — a scanner, a searchlight, a held suspicion.
• threshold-bloom — A bright-pass bloom: only pixels above a threshold blow out, while glyph sharpness is preserved underneath. The highlights overload like an overexposed climax without melting the text into mush.
• shutter-slice — Multiple strips reveal with stagger, each opening and closing independently like a mechanical shutter. It has the percussive, machined feel of a camera firing — great for a hard, rhythmic reveal.
• electric-shock — Cells above an alpha threshold invert while jagged bolts arc outward from the alpha contour, flickering frame to frame. The layer doesn’t leave — it short-circuits, the most violent way to end an image.

How to reach for it

Add these from the effects rail and let them run across the segment’s duration so the burn or assembly is timed to the cut. Every effect here is maskable, so the destruction can be confined to one region while the rest of the frame holds steady — useful when only the subject should burn and the background should survive.