Hire Motion Graphics Designer — animated content that explains and converts

A 60-to-90-second explainer typically runs three to four weeks from script to master, including voiceover and review rounds. Timelines compress if you arrive with an approved script.

Script-shaping is included — I will challenge and tighten your draft until the message is sharp. Full copywriting from zero is scoped separately.

Professional voiceover in your choice of voice and language is arranged as part of production, timed to the animation in the edit.

One story, many cuts. The master is produced, then platform-native versions — vertical, captioned, different lengths — are cut from it. Designing for all platforms from a single timeline is how quality dies.

Two structured rounds: one at storyboard, one at rough cut. Revisions after final animation are possible but priced honestly — which is why approvals happen at the right gates.

Pricing follows scope and complexity, not a per-second rate. A single animated explainer sits in a different band from a multi-variant ad campaign or an ongoing retainer, and 3D or heavy illustration adds to it. Before you hire me I give a fixed project quote tied to a defined deliverable list and revision rounds, so there are no surprise hourly invoices. For continuous output, a monthly retainer works out cheaper per asset than one-off briefs.

Yes. When you hire me, final masters and all delivery formats are yours outright, and I can hand over the editable After Effects project, Illustrator source and fonts list on request so you are never locked to me. I keep my internal rigs and expression setups tidy enough to pass on. I am clear upfront about any licensed stock, music or third-party plugin that carries its own terms so nothing you reuse later becomes a problem.

Both. Most marketing work is sharper and faster as 2D vector animation in After Effects, so I will not push 3D where it adds cost without impact. When a brief genuinely benefits — a product rendered in the round, a volumetric data visualisation, a camera flying through a scene — I build it in Cinema 4D or Blender and composite it back into the 2D system so the whole piece still feels like one coherent design.

This is one of the strongest reasons to hire a senior motion graphics designer rather than a cheap one. I build the animation as a data-driven template with editable text, logo and colour fields, so forty language versions or forty product SKUs come from one controlled master. Change the brand once and every variant updates. It keeps large campaigns consistent and dramatically cheaper than animating each cut by hand.

With a marketplace gig you often get a template reskin and no strategy; with an agency you pay for account managers between you and the person animating. Hire me and you work directly with the senior who does the storyboarding, design and animation, with fifteen-plus years and a hundred-plus projects behind the decisions. You get agency-level craft and process without the layers, and a single point of accountability from brief to master.

To start cleanly I need your brand assets — logo in vector, fonts and colour values — plus a rough idea of the message, the platforms it will run on, and any existing script or examples you admire. If there is no script I shape one with you first. The tighter the brief and the faster the approvals, the sooner you have the master; vague sign-off is what stretches timelines, not the animation itself.