Motion Design Agency

In practice the words overlap and buyers use them interchangeably. Motion design usually means bringing graphic design to life, logos, type, interface and brand elements in movement; animation more often means character and narrative work. We do both, and the right label matters far less than whether the work does its job.

The honest driver is approvals: script and storyboard sign off, then animation, then revisions. Short social motion moves in days; a full explainer takes weeks rather than days. We agree the timeline at briefing and flag anything that would move it, before it moves.

Shorter than most first drafts want to be. Sixty to ninety seconds suits most explainers; attention drops fast beyond that unless the story earns it. Ads and social motion work in seconds, not minutes. We cut to the length the destination rewards, not the length the script happens to reach.

3D generally costs more: modelling, texturing and rendering add real production time. Most marketing jobs are served brilliantly by 2D and motion graphics, and we recommend 3D only where the product or story genuinely needs it, not as a default upgrade.

Animation wins when the subject is abstract, digital or impossible to film, software, services, processes, and when brand consistency matters across many versions. Live action wins for people, places and physical products with texture. Plenty of strong work mixes both. We advise on the job, not the format we happen to sell.

What the video is for, who it is aimed at, and what you want a viewer to do afterwards. Brand assets help; a finished script is welcome but not required, writing it together is often where the message gets sharp. Everything else, storyboard, design, voice, sound, we bring.

Almost everywhere your brand appears: website headers and product pages, paid social and video ads, organic social, email, event screens, presentations and proposals. One well planned piece usually yields a family of cut downs, which is where the cost per use gets genuinely good.

An agreed number at each stage, set out in the scope before we start, with the big shaping decisions made at script and storyboard where changes are cheap. Late structural changes after animation are where budgets suffer, and our process exists to keep you from ever needing them.

Often, because one strong piece works hard in many places for a long time. The trap is over producing: a small business rarely needs a film, it needs clear, branded motion where its audience already looks. Start modest, measure, and scale what earns it.