Explore Flipsnack. Transform boring PDFs into engaging digital flipbooks. Share, engage, and track performance in the same platform.
From magazines to catalogs or private internal documents, you can make any page-flip publication look stunning with Flipsnack.
Check out examples from our customers. Digital magazines, zines, ebooks, booklets, flyers & more.
Pre-made templates to create stunning publications in minutes
Here are eight reasons why you should consider choosing interactive, digital flipbooks instead of boring and static PDFs. Check them out!
Shot 8: side view of daughter’s bed, the bed is empty, with dolls and flowers laying where a child should be. Camera is placed at a high angle, the dad says “Now go to sleep little one.” and the lights turn out. There is a vacant sense of loss in a few seconds where the camera hovers on the bed – exemplifying the insanity of the father. 10 seconds. CUT Shot 9: wide of father walking out the door, his fake smile immediately drops and his eyes turn down the hallway. The camera pans to the door into the next room. It looks normal, blends in with other doors in the house. Long shot, pan stop as the second door is centred on the screen. Slow zoom up to frame, as it reaches an ECU an invisible transition to Shot 10. 8 seconds FADE DOWN TO BLACK, FADE UP FROM BLACK Shot 10: slow zoom continues. The room is closed off, stingy and vacant. A person is sat next to the wall, clothes ruined. There is a small bucket of water, a dirty plate with a ruined sandwich and some dirt and gross objects lying about (syringes, condoms etc.). The person has a pensive expression, there are claw marks on the wall. Face and clothes are splattered with blood. Contra zoom. The camera is placed straight-on to the victim sitting on the floor, low down to the ground. If not contra zoom, slow track until at a CU of the victim’s face, hidden by strands of hair. Skin muddy, greyed and dark. The lighting is too bright, making it uncomfortable viewing. 8-10 seconds Voice over in scene “I’ll do anything – I’ll do anything to get out of here. I’m sorry I’m so sorry.” His voice is jittery, confused and quick paced, as if he can’t understand what he’s saying and his head is in a bad state – the background noise blanks out at once, once the camera has reached a MCU heading to CU. His voice-over will become heightened at this point “but none of it matters, does it? Because I can’t take back what I’ve done to your daughter.” CUT TO BLACK
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