Motion design & Edit
Storytelling, one frame at a time.
Editing and motion design have always been closely connected in my work. Sometimes the story is already inside the footage and needs to be found. Other times, it has to be built from scratch through animation, typography, graphics and sound.
I move between both disciplines depending on what the project needs — shaping rhythm, directing attention and finding the right visual language to make an idea land.
Sometimes I cut the story. Sometimes I build it. Usually, it’s somewhere in between.
Editing is where I usually start thinking in rhythm. Performance, music, sound, graphics and timing all become pieces of the same structure. Whether it’s a commercial, an interview or a sizzle reel, I’m looking for the moments that move the story forward — and removing everything that doesn’t.
Dairy Queen – Media Sizzle
Editing · Motion Graphics · Music & Sound · Finishing
Autotrader – Fasterclass Series
Editing · Green Screen · Motion Graphics · Music & Sound · Finishing
Making the Product the Story
For Fluid, editing and motion worked together to turn a complex e-commerce platform into a clear, fast-moving product story. UI, live-action footage, typography and compositing were shaped into one visual flow — introducing features without losing the energy of the bigger idea.
Editing · Green Screen · Tracking · Motion Graphics · Music & Sound · Finishing
When there is no footage
Not every story starts with footage. Motion design can explain, simplify and give personality to ideas that would otherwise be difficult to visualize. Character animation, illustration, typography and transitions become the building blocks of the narrative.
Vital healt – Toxins & Inflammation Series.
Illustration · Character Animation · Motion Design · Editing
Designed to Move
Sometimes motion doesn’t support the idea — it is the idea. A transition, a looping character, a moving poster or a few frames of animation can completely change how a design feels.
DIFFERENT TOOLS. SAME INSTINCT.
I don’t really separate editing from motion when I’m working. Both are ways of controlling time, rhythm and attention. One might begin with a timeline full of footage and another with an empty composition, but the question is usually the same: What does the viewer need to see, hear or feel next?