MOTION &
BROADCAST

Motion work sits at the intersection of timing, hierarchy, and storytelling. It takes everything that makes static design work and adds one more variable — time — which changes everything.

Over a decade of motion work spans three distinct contexts: broadcast television, where on-air graphics have to work at broadcast specs across every display; campaign advertising, where motion assets carry brand consistency across social, digital, and OOH; and brand identity, where motion brings a visual system to life and gives it behaviour.

The thread across all of it is the same: motion has to be purposeful. Every animation decision — the timing curve, the hold, the ease — either serves the message or dilutes it. The reel below represents work across all three contexts.

Broadcast design is unforgiving. Assets go out live, specs are fixed, and the work has to read clearly on a 65-inch studio monitor and a mobile stream simultaneously.

At SportsMax TV, the role was design lead on sports broadcast creative — responsible for on-air graphics, lower thirds, sting animations, and digital marketing assets across multiple channels and platforms. Sports broadcast has a specific visual register: it has to communicate energy and urgency without ever losing legibility in motion.

Every asset was built to broadcast specification — correct colour profiles, correct safe zones, correct frame rates — and designed to be maintained and updated by a production team operating under tight turnaround pressures. The system had to be flexible without being fragile.

Campaign motion work requires a different discipline to broadcast. The goal isn't consistency of system — it's consistency of brand across a fragmented set of formats, platforms, and contexts.

At VantageOne Group, campaign motion work included major national advertisers — Pepsi, JN Bank, Seprod, Rubis, Red Stripe — each with their own brand standards, their own approval chains, and their own platform requirements. A Pepsi social animation has to feel right against Pepsi's global brand DNA while still working within a 6-second format. That tension between constraint and brand fidelity is where campaign motion work lives.

The work covered the full range: social media animations, digital display motion, broadcast commercials, and event screen content. Each format has different rules — different safe areas, different duration requirements, different looping behaviour. Building motion systems that work across all of them without needing to be rebuilt from scratch for each one is the practical challenge that most clients never see.

When a brand has a strong visual system, motion is how that system behaves. It's the difference between a brand that exists on a page and one that feels alive.

At Brandid Communications, brand motion work is integrated into the identity process from the start — not added at the end. Logo animations, transition systems, and motion guidelines are built alongside the static identity, so that when assets move, they move consistently with how the brand looks when it's still.

This means designing motion with the same principles that govern good static design: clear hierarchy, intentional timing, nothing happening without a reason. An animation that draws attention to itself has failed. The best brand motion is the kind people don't consciously notice — they just register that something felt right.