Motion & Interactive

What motion and interactive work includes

Motion built out of the identity rather than laid over it. That means the type, colour and shape rules that govern the static work also govern how things enter, hold and leave, so the brand does not change character the moment it moves.

In practice that is title sequences and stingers, broadcast and stream packages, lower thirds and score graphics, 3D and look development, and the social cutdowns the same assets have to survive being reduced to.

The Weekly Respawn ran a weekly show from one asset set. That is the difference between a package and a video: a package keeps working next week without me.

A single piece is possible and often right. Carvs 1M was one milestone animation, not a system, and it did not need to be.

What it costs, and what moves the number

Motion work runs from roughly $2,000 to $25,000 and above, in Canadian dollars. Four things decide where a project lands.

• Length, and how much of it is unique. Thirty seconds of continuously new animation costs more than ninety seconds built from a system that repeats.
• Whether it is 2D or 3D. Modelling, lighting and render are a different order of work from motion applied to existing artwork, and the Carvs and Gana888 pieces sit on the other side of that line from a title card.
• How many deliverables come out of it. A stinger is one file. A broadcast package is a set that has to hold together across every screen a show uses, which is what UKCS and The Weekly Respawn each needed.
• Whether an identity already exists to build from. If it does not, that work comes first, because animating a mark that has not been resolved just makes the problem move.

Where the identity has to be built first, why brand identity quotes vary covers what drives that side of the number.

Tell me the band you are working in and I will tell you what fits inside it.

How long it takes

A single piece can be days. A package that has to cover a whole broadcast is up to a couple of weeks. 3D adds time that is mostly render and revision rather than design.

The reason it is quick is structural: no account layer, no internal review round, and the judgement calls get made while the work is in progress rather than at the next scheduled meeting.

Live dates are the exception worth naming early. A tournament or a launch does not move, so tell me the date in the first message and I will say honestly whether it fits.

What you receive at handoff

Final files in the formats the people using them actually need: broadcast and stream resolutions, alpha channels where something has to sit over live video, and the loops and transitions cut to the durations a show runs.

Social versions are part of it rather than an afterthought, because the same asset will be reduced to a square and a vertical and should still read.

Where the work is a system rather than a one-off, it comes with the rules for using it, so a producer can put next week together without commissioning anything.

Who this is not for

If you need a stream overlay for under a few hundred dollars, that is a real need and the template shops serve it faster and cheaper than I can. There is no sense pretending otherwise.

It is also the wrong order if the brand itself has not been decided. Motion makes an identity more visible, including the parts that are not working, so it is worth resolving those first.