Motion systems + real-time + compositing
Motion design, 3D, and VFX built into the story.
I create motion design, 3D animation, Unreal Engine work, VFX, simulation, and compositing for films, campaigns, product stories, and screen environments. The visual craft is developed around what the piece needs to communicate, not as a detached effects reel.
I can own a focused motion or VFX scope, join an established production pipeline, or keep these disciplines connected to an edit I am already leading.
Where this fits
Use the right visual discipline without fragmenting the finish.
A project may need a complete motion system, one difficult VFX sequence, a real-time environment, or several techniques working together. The scope is built around the communication goal and the production reality.
A film needs a visual language
Create typography, titles, transitions, diagrams, and branded graphic rules that grow from the editorial direction.
A product or idea needs form
Use 3D, lighting, materials, animation, or simulation to explain, reveal, or dramatize something the camera cannot supply.
A shot needs technical problem-solving
Combine asset work, Unreal Engine, compositing, cleanup, tracking, rigging, or effects to complete a specific production need.
Typical scope
From graphic systems to shot-level technical work.
The disciplines can stand alone or support one connected post-production pipeline, with review frames and technical assumptions made visible before final rendering.
Motion systems
Typography, titles, explainers, transitions, brand motion, information graphics, templates, and modular campaign elements.
3D animation + look development
Modeling support, materials, lighting, product animation, cameras, rendering, and integration with live action or graphic design.
Unreal Engine + real-time
Environment work, sequencing, asset integration, real-time look development, previs, and render support for film or live-screen use.
VFX + compositing
Cleanup, tracking, screen replacement, keying, shot assembly, simulation, procedural assets, and final image integration.
How the work moves
Approve the direction before expensive execution multiplies.
Style frames, motion tests, previs, low-resolution renders, or representative composites establish the direction first. Final production advances after the relevant creative and technical decisions are approved.
- 01
Align the project
Define the goal, deliverables, stakeholders, decision owner, timing, and what already exists. A polished brief is not required.
- 02
Map the work
Agree the approach, milestones, approval stages, included feedback rounds, assumptions, and fee before production begins.
- 03
Build, review, and approve
I build the work and share it at agreed checkpoints, with feedback consolidated and approval recorded before the next stage begins.
- 04
Finish and hand off
Complete final checks, confirm approvals, and deliver organized assets in the agreed formats.
Relevant work
Selected projects for this kind of scope.
With Sardis Media for Motorola Solutions
Motorola: MOTOTRBO ION
Animation · Lighting/materials · Motion graphics
Animation, lighting and material work, and motion graphics for a product-focused Motorola MOTOTRBO ION film produced with Sardis Media.
View case study
With Skiesfall for Carthage College
Carthage College: Athletics Intro System
Editorial · Motion graphics · VFX · Camera · Color
A twelve-film sports intro system developed through pre-production, camera work, editing, motion graphics, VFX, and color.
View case studyPractical questions
What buyers usually need to know.
Can you work from an existing design system or edit?
Yes. I can extend supplied brand, design, editorial, and technical direction rather than replacing a system the team has already approved.
Do you take Unreal Engine-only roles?
Yes, when the responsibility, supplied assets, scene state, render expectations, and pipeline boundaries are clear. I can also combine Unreal work with compositing or a wider post scope.
How do you estimate render-heavy or effects-heavy work?
The estimate defines the shots or deliverables, quality target, supplied assets, technical assumptions, review stages, render expectations, and included revisions. Unknowns can be isolated in a paid test or development phase.
Can you collaborate with another editor, designer, or VFX team?
Yes. I can own a defined set of shots or deliverables and work inside the naming, color, review, and handoff conventions established by the lead team.
Start with what you know
Have a motion, 3D, Unreal, or VFX problem to solve?
Send the brief, reference, shot list, available assets, technical requirements, and target date. If the unknowns are meaningful, I will recommend the smallest useful test first.
Request a project estimateA polished brief is not required.