Feature
Caption styles: a pack is a pace, not a font
Six caption packs ship here. Picking one is not picking a font. A pack sets how many words sit on screen, which transitions are allowed, how hard the camera pushes in, and how much of the ad gets covered with footage. This page walks through what a pack decides, which category each one belongs to, and what changes when you switch. By the end you will know which pack your next ad wants.
- Packs that ship, all included in a batch
- 6
- Words on screen at once, depending on pack
- 3 to 5
- Runtime covered with footage, by pace
- 40 to 52%
What a pack actually decides
The caption engine, which is the shape of the words on screen and where they sit.
The word ceiling per group, from three on the fastest packs to five on the calmest.
The transitions permitted, drawn from cut, whip, punch, glitch and sweep.
The pace, which sets how much of the runtime the compiler covers with footage. 40 percent on chill, 45 on normal, 52 on fast.
Whether sound effects are on. That is a bigger difference between two ads than the typeface is.
So a pack is a complete look and a complete rhythm. Calling it a caption style undersells what changes when you switch.
- clean-ugc: one soft line, up to 4 words, cuts and sweeps, normal pace
- bold-impact: condensed caps stacks, 3 words, whip and punch, fast pace
- karaoke-flow: a highlight sweeping the current word, 4 words, normal pace
- editorial: serif lower third, up to 5 words, crossfades, chill pace
- fast-native: meme strip on top plus captions below, 3 words, fast pace
- minimal-lux: small tracked-out lowercase, 4 words, chill pace, no effects
Words on screen at once, by pack
Three words reads as urgency. Five reads as a sentence. That single number changes how an ad feels more than the typeface does.
- bold-impact and fast-native3 words
- clean-ugc, karaoke-flow, minimal-lux4 words
- editorial5 words
The pack you pick sets how much of the ad is footage
Pace is not only a feeling. It is a ceiling on b-roll coverage that the compiler enforces.
Chill packs cap at 40 percent of the runtime. Normal packs cap at 45. Fast packs cap at 52.
So a fast pack shows the person speaking for slightly under half the ad, and a chill pack shows them for three fifths of it.
That matters most when the source take is weak, because coverage is what rescues a wandering middle section.
It matters least when the person on camera is the reason the ad works, in which case a chill pack keeps them on screen.
Change the pace in the editor and the whole piece re-cuts around the new ceiling.
Fast pace, and how much stops being the talking head
At fast pace the compiler covers up to 52 percent of the runtime with footage. At chill it stops at 40.
This is the whole editor
Highlight a phrase and a clip lands on those exact words. No timeline, no keyframes, no layers.
Match the pack to the category, not to your own taste
A price and a deadline want bold-impact. Three condensed words and a punch-in carry urgency.
Testimonial and creator-style ads want clean-ugc. A soft single line reads as native rather than produced.
Explainers want karaoke-flow. A sweeping highlight tells a viewer exactly where in the sentence they are.
Considered purchases want editorial. A serif lower third and a chill pace signal that nobody is rushing you.
Young, feed-native audiences want fast-native, with the meme strip above and captions below.
High price point and beauty categories want minimal-lux. Small, tracked out, lowercase, completely still.
Those six mappings cover almost every ad a small brand makes. Picking against them is usually a taste decision dressed as a strategy one.
The test is what a stranger would guess about the price from the first frame with the sound off.
If the guess is wrong by a factor of three, the pack is fighting the product and no amount of copy fixes it.
You are not stuck with the pack the batch drafted
The batch drafts your project in a pack. That draft is a starting point rather than a commitment.
In the editor you switch the caption style. Colour, weight, size and position change independently of it.
Emphasise a word so it pops in the captions, which works in every pack and does different work in each one.
Change how each clip enters, choosing between cut, whip, punch, glitch and sweep within what the pack permits.
Change the pace and the machine re-cuts the whole ad around the new coverage ceiling.
None of that costs another batch. The 100 credits already bought the project, and the export is 20 credits per output minute.
What one batch gets you
The pack is the draft. Everything after it is free to change.
Upload a take
Up to 3 minutes
Batch, 100 CR
Transcript, cut, captions, b-roll
Switch the pack
Any of the six, no extra cost
Adjust colour and size
Weight and position too
Export
20 CR per output minute
Six finished looks, one batch, and the limits worth knowing
Six complete looks arrive with the batch. You switch between them in a click and it costs nothing.
A caption generator gives you one look. A full editor gives you every look and a timeline to build it on. This sits between the two on purpose.
Four plain facts sit alongside that. No pack puts a logo, a fixed sign-off frame or a template lower third on the export.
No pack gives you a timeline, keyframes or layers. Caption position is a setting rather than a draggable object.
No pack changes the aspect ratio. Every export is 9:16.
And no pack fixes a weak opening line. A pack changes how a sentence looks. It cannot change whether the sentence was worth saying.
Published benchmarks put the share of creatives that become winners at roughly 5 to 8 percent, from Motion analysis of 550,000+ Meta ads.
At that rate the number of attempts matters more than the pack. Six good looks you can switch between in a click beat one perfect look you have to build.
That suits somebody making four ads a week. It does less for somebody making one ad a quarter.
Frame-level typographic control is a conventional editor's job. Everything short of that is already in the batch you paid for.
Questions people ask
- Do the packs cost extra?
- No. All six arrive with the batch you already paid 100 credits for, and switching between them in the editor costs nothing. The only other charge is the export at 20 credits per output minute.
- Can I change captions without redoing the cut?
- Yes. Switching the caption style, colour, weight, size and position are separate from the cut. Changing the pace is the one that re-cuts the ad, because pace sets the b-roll coverage ceiling.
- Which pack should I start with?
- clean-ugc if the ad is a person talking, bold-impact if there is a price and a deadline. Those two cover most first projects. Try a second pack on the same cut before you decide, since it costs nothing.
- Who will find this set too limited?
- Anybody needing a fixed brand template applied to every export, or frame-level control over type. Nothing of yours is stamped on the file and there is no timeline. A conventional editor is the right tool for that work.
Six looks, one batch, switchable in a click. Pick by category rather than by taste and the choice takes ten seconds.