4 Lessons for Motion Designers

Motion designers bring ideas to life by using animation and filmmaking techniques to tell a richer story. The tools used for storytelling range from traditional art, to vectored graphics and 3D elements. They tend to work for small shops, advertising agencies, and film industries, but the rise in digital video has created a demand for motion designers at B2B enterprise companies like Spredfast — Fulfilling the goal of promoting the brand through engaging designs that get used in videos, gifs, and other storytelling mediums.

Motion designers must be well versed in a variety of projects for Social, Site, and Events:

The content I have created has ranged from social promotion GIFs, and bumpers for event videos and webinars, to composite designs for our homepage. There is a wide range of possible projects that continue to challenge me as I learn from online resources, as well as the design teams at Spredfast. Getting the chance to work with such a talented team has been an incredible experience. Not only have they helped me solve technical issues, but they have also provided me with insightful direction on how to tell stories in a more captivating way.

Editing for social is different than editing for other video projects

Social is quick, but you want to make sure that your end-results match the vision your team has set from the beginning. In social the creative restriction is balancing the quick turnaround with a high-quality production, all while staying on brand. The challenge is to find a solution that solves various creative and technical issues, while still meeting your deadlines. But you must also be open to the unconventional routes. For example, I was assigned to create videos for our Smart Social Report using pre-existing assets. I would normally use the designs from the report, but during pre-production, I saw that creating custom motion graphics was worth it, even though it was the longer route. I asked to push the deadline back so that we could approach the project differently, rather than use designs that were already made, and didn’t quite fit the story. Social is quick, but weighing out the pros and cons during the pre-production phase, either while conceptualizing or while storyboarding, will make sure you're story hits the mark in the end.

For new editors taking on work in social

Create a process that is open to your coworkers' ideas, but also make sure to factor in your expertise and prior knowledge into their input. I’ve learned that some things simply aren’t feasible in the amount of time that is given for a project. So take a step back and ask yourself, “How can my team help me with this problem?" This doesn’t discount your skills, but it opens up opportunities for your team to ultimately elevate your work. Experimentation is a big part of motion design, so push yourself beyond your expectations and try new techniques. The best part of working for social is that you’ll have many opportunities to test different designs, because the content machine runs 24/7. So don’t be afraid to fail in your experiments, and suggest an idea that will surprisingly benefit the company and your creative growth.

Balance being on-brand with experimenting in new styles

Honestly, finding that balance isn't always easy, it takes support from a collaborative team to do great work. Our design team provides creative direction and elements that align with our brand while the marketing team helps to make sure we speak in a consistent brand voice. If you are to experiment at your company you need a team unafraid to try and trust in the video process. Knowing we have this balance has encouraged me to experiment and push our storytelling forward.

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Annielyn Felux

Annielyn Felux is a motion designer at Spredfast. She loves to explore many different aspects of art and design. She's more than just a pixel pusher, she strives to find beautiful new ways to tell the stories by drawing inspiration from odd places, like mundane surroundings because that is where the imagination kicks in. It's this inspiration that drives her experimentation to push the visual bounds.