We make things move with a purpose: explainer videos that describe a product in under ninety seconds, interface animation that tells people what just happened, and social cuts built for feeds where sound is off by default.
Motion usually gets called in for one of two reasons. Either the product is hard to explain in text and people leave before they understand it, or the interface feels dead and cheap because everything snaps between states with no continuity.
Everything we produce is built for where it will actually run. Web animation ships as Lottie or CSS, not as heavy video files, so a page does not trade its load time for a moving logo. Social work is cut to platform aspect ratios and captioned as standard.
And it respects the people watching. Motion is timed to be readable, not showy, and reduced-motion preferences are honoured, because for some viewers unnecessary animation is not a flourish; it causes real discomfort.
Motion design is graphic design with time added. Instead of a fixed layout, elements enter, move, change, and leave, and the sequence carries meaning. It covers explainer videos, animated logos, moving text, product demos, loading states, and the small transitions inside an app or website.
The process is closer to filmmaking than to illustration. It starts with a script or a message, becomes a storyboard of key frames, then an animatic, a rough timed version used to judge pacing before detailed work begins. Only then is the final animation produced, with sound design or voiceover added where the piece calls for it.
Businesses need it wherever a static image is not enough. A product with a non-obvious benefit, a process with several steps, an interface change that would otherwise go unnoticed, or a feed placement where movement is the only thing that stops a thumb.
The problem it solves is comprehension under time pressure. People will not read three paragraphs to work out what you do, but they will watch a well-paced sixty seconds. Inside an interface, motion answers a different question: what just changed, and where did it go?
Short videos that make a product or service understandable to someone encountering it for the first time.
Animated graphic work for campaigns, presentations, events, and anywhere a static asset underperforms.
The motion inside a product: transitions, state changes, loading behaviour, and feedback on interaction.
Lightweight animation built for the browser, so movement does not come at the cost of load time.
Walkthroughs that show the product actually working, for sales conversations, onboarding, and support.
Short-form video cut for feeds, where the first second decides whether the rest is seen.
Animated identity assets for video intros and outros, app launch screens, and presentations.
Movement can show a process in seconds that would take several paragraphs to describe, and be understood by people who were never going to read those paragraphs.
Movement is what interrupts scrolling. A static post in a video feed is competing on unequal terms.
Transitions and feedback are much of the difference between software that feels premium and software that feels like a prototype, even when the functionality is identical.
A short demo answers the questions your team currently answers individually, and keeps answering them at no extra cost.
Lottie and CSS animation weigh kilobytes where video weighs megabytes. You get the movement and keep the load time.
One production yields cuts for site, social, ads, and presentations, so the cost is spread across several channels instead of one.
Captions, readable pacing, and reduced-motion support mean the work reaches people who would otherwise be excluded by it.
We build the sites and apps this motion runs in, so nothing is animated in a way that cannot be implemented or that wrecks performance on the way in.
Script, storyboard, and animatic are signed off before detailed animation starts. Changing pacing at animatic stage takes an hour; changing it at the end does not.
Web animation ships as Lottie or CSS, social work is cut per platform and captioned, and everything is exported in the formats each placement needs.
Every movement should express cause and effect. Animation that exists only to be noticed makes a product feel slower, not richer.
Reduced-motion preferences are honoured and pacing is set for readability. For some viewers, gratuitous motion is actively unpleasant.
You receive the project files and exports. Small future edits do not have to come back through us.
Products whose value is not obvious from a screenshot, where a short demo does more than any amount of feature copy.
Founders explaining a concept repeatedly to investors, partners, and early customers who each have about a minute of patience.
Retailers who need product video for listings, ads, and social, where movement demonstrates what photographs cannot.
Financial, healthcare, logistics, and B2B services where the offering takes several steps to explain and text is losing people.
Teams whose app works correctly but feels abrupt, where transitions and feedback are what is missing.
Advertisers whose static creative is being outperformed by video from competitors in the same feeds.
The goal is comprehension. Structure and pacing matter more than visual complexity. A plain video that is understood beats a beautiful one that is not.
The goal is the first second. Opening frames, captions, and vertical framing decide performance more than production value does.
The goal is continuity. Transitions that show where a thing came from and went to make an app feel coherent, not jumpy.
One production yields a hero video, social cuts, and ad variants, so a launch has consistent creative across channels without three separate shoots.
Where the same questions arrive repeatedly, short task-based demos answer them permanently and can be linked from support replies.
Where performance budgets are tight, animation ships as Lottie or CSS. A moving hero should not cost you the Core Web Vitals you paid to earn.
| Deliverable | What it covers |
|---|---|
| Creative brief | Written agreement on objective, audience, placement, duration, and tone before production starts. |
| Script | Written and revised script for narrated pieces, or a behaviour specification for UI animation. |
| Storyboard | Key frames showing composition and sequence, approved before animation begins. |
| Animatic | Rough timed cut with scratch audio so pacing can be judged and changed cheaply. |
| Final animation | Full animation produced in your brand assets, palette, and typography. |
| Voiceover & sound | Professional voiceover, music selection, and sound design where the piece calls for it. |
| Captions | Burned-in or separate caption files, since most feed viewing happens with sound off. |
| Format exports | Every aspect ratio and resolution needed for the agreed placements. |
| Lottie & web assets | Lightweight Lottie JSON, SVG, or CSS animation for work going into a site or app. |
| Implementation notes | Timing, easing, and trigger specifications so developers can implement motion exactly as designed. |
| Source files | Project files handed over so your team can make small edits without returning to us. |
Motion is priced by production effort, not by finished seconds, because a dense fifteen-second animation can take longer than a simple ninety-second one.
What drives the cost:
Where budget is fixed, we would rather reduce the number of pieces than thin the quality of each. One thing that works beats four that do not. Scope and price are agreed in writing before production begins.
Tell us what you need to explain and where it will run, and we will scope it.
Cost is driven by duration and density, animation style, whether assets are illustrated from scratch, and whether voiceover and sound design are included. We scope each piece and quote a fixed price in writing before production starts.
A straightforward explainer typically runs two to four weeks across script, storyboard, animatic, and animation. UI animation sets and heavily illustrated work take longer. Timelines are set in the proposal and worked to review stages.
Motion graphics animate graphic elements such as type, shapes, logos, and data to carry a message. Animation more broadly includes character and narrative work. Most business video is motion graphics, which is faster to produce and easier to keep on brand.
Not if it is built correctly. We deliver web motion as Lottie, SVG, or CSS, which are measured in kilobytes, not megabytes. Autoplaying video files in a hero section are what usually cause the damage.
Yes. Script is part of the process for narrated pieces, and it is where most of the effectiveness is decided. We can also work from a script you supply, with a pass for pacing and clarity.
Yes. Where brand guidelines and assets exist, we animate within them so the piece looks like it came from you. Where they do not, we can create the assets or work alongside branding.
Yes, where it is in scope. We arrange professional voiceover, select licensed music, and handle sound design. Multiple language versions are possible from a single animation.
Every format the agreed placements need: typically landscape, square, and vertical, at the resolutions each platform expects, with captions. Web pieces are also delivered as Lottie or source animation files.
Yes. We design transitions, micro-interactions, and loading states, and supply timing, easing, and trigger specifications so developers implement them precisely. We also implement them ourselves when we are building the product.
Revision rounds are agreed in the proposal, and the process is deliberately structured so most changes happen at script and animatic stage, where they take an hour instead of a day.
