Motion
Graphics

We settle what one thing a viewer must remember, where the video will be watched and how long it runs, because duration is the main driver of cost in animation. A sixty-second explainer is not a thirty-second explainer with more detail; it is a different structure and roughly twice the production.

We write the script first and time it by reading it aloud, since roughly one hundred and forty spoken words fill a minute. Everything is decided here — the hook in the first seconds, the order of the argument, the single call to action — because this is the only stage where a rewrite is cheap.

The script becomes a storyboard of key moments plus two or three fully designed style frames that fix colour, type, illustration style and how your brand assets behave in motion. Approving stills instead of an animatic is what prevents the expensive conversation about look and feel from happening after the animation exists.

Illustrations, icons and UI elements are built as clean vector artwork in Illustrator or Figma, then animated in After Effects with rigged, reusable components rather than hand-keyed one-offs. Timing, easing and transitions are treated as craft: the difference between amateur and professional motion is almost entirely in the spacing between frames.

We add voiceover, licensed music and sound design, then design the silent version: on-screen text carrying the argument, open captions or an SRT file, and key information kept clear of the interface elements that overlay feeds and stories. Each master is recut to 16:9, 1:1 and 9:16 rather than letterboxed, so nothing important is cropped.

You receive delivery masters plus compressed web versions, and where the animation belongs in a product interface we export Lottie or animated SVG that weighs kilobytes instead of a video file. Project files and source artwork are handed over so another team can update the work later.