The rules before the renders
Timing, easing, entrance and exit behaviour, safe areas, sound design and end-card structure agreed and written down first, so pieces made months apart by different hands still match.
Fractional Teammates · Creative & Content
Motion built as a system, a few days a week
An animated identity, explainers, data and kinetic type, plus templates your editor can re-version without booking anyone. A senior animator from the OlDevs studio works in your brand, your files and your review cycles.
A senior specialist, not a junior placement You own the work and the accounts Reply within one business day
Post-production
Brand film · cut 06
16:9 · 24 fps
00:00:14:08
V2Titles
V1Video
A2Music
A1Dialogue
OpeningEnd card
InterviewCutawayB-roll
Score bedOutro
VO take 3Room tonePickups
4K
Master format
6
Deliverable cuts
48h
Turnaround
What a motion graphics designer is
OlDevs supplies a fractional motion graphics designer: a senior animator from our Vancouver team who takes a defined slice of their week inside your organisation, ongoing.The point is a motion language rather than a stack of unrelated videos. Timing, easing, safe areas, sound and end-card rules get agreed first, then the animated logo set, explainer and data animation, kinetic type, lower thirds and transitions are built on top of them. Templates go to your editor and marketing team so routine re-versions never wait on an animator. Captions and a reduced-motion version ship with each piece, and every project file, font and licence sits in your accounts.
Key facts
- 01Role group
- Creative & Content
- 02Engagement
- Ongoing, a defined slice of the week
- 03Typical stack
- After Effects, Premiere Pro, Figma, Lottie
- 04Languages
- English and French
- 05Typical commitment
- Half to 1 day a week
- 06Judged on
- Templates delivered · Re-versions done in-house · Render turnaround
Creative & Content
The motion work this covers
What this teammate takes off your plate
An animated identity set
Logo builds and reveals, show opens, lower thirds, name plates, transitions and end cards, in the ratios you actually publish, delivered as source projects as well as rendered masters.
Explainers signed off before they are animated
Storyboard, style frames, then an animatic with scratch voiceover. Screen recordings rebuilt as clean vector animation. Changes happen at the sketch stage, not three days into rendering.
Numbers and processes made watchable
Annual report figures, survey results and process diagrams animated so the point lands before the narration explains it, built from your real data, labelled clearly and contrast-checked.
Kinetic type and feed cuts
Type-led pieces for feeds and event screens, vertical and square versions, and a caption treatment that stays readable at phone size with the sound off, which is how most of it is watched.
A re-version kit for your own editor
Essential Graphics templates, After Effects projects with the controls exposed, and Lottie or CSS motion for the site and product, so text, logo and colour swaps never come back to us.
Benefits
The difference a dedicated animator makes
01
The answer is sometimes no animation
You get an animator who has worked to broadcast and paid-media specifications, and who will tell you a still frame would do the job better. Few organisations produce enough motion work to occupy that person's week.
02
Your templates keep working without them
Project files, expressions, fonts, plugin lists and stock licences sit in your own accounts, and the reusable compositions are built to be opened by someone else. Nothing about how your animations are made leaves with a contractor.
03
Improvised animation disappears from your decks
The looping GIFs built in slide software and the templates bought on somebody's personal account stop appearing in decks and posts, because there is now a queue for motion work with a turnaround people can plan around.
04
Rejected exports stop delaying media buys
Frame rate, safe areas, file weight and burnt-in captions are checked against each placement's specification before delivery, and the message still reads with the sound off, so nothing waits while a file is remade to spec.
05
Outside suppliers work to your rules
Agencies, editors and freelancers are briefed against a written motion standard, covering timing, easing, type behaviour and logo endings, rather than guessing at it, so work made outside the building matches what you make inside.
06
One explanation the whole company uses
The animation that explains how your product works ends up in sales calls, onboarding and support replies, so the same idea is told the same way everywhere instead of being redrawn on a whiteboard each time.
How it works
How a motion engagement starts and continues
A call about what is already in the pipeline
The launch film, the recurring social cuts, the conference reel, the annual report. That conversation decides whether a fractional animator is the right answer at all.
A motion audit before a plan
We watch your existing videos, read the brand guidelines and open the source files where they exist, then send what should be built, in what order, and the days that needs.
A quote, a start date, a notice period
You approve the scope, the cadence and how the arrangement ends before anyone joins a channel. Every engagement is quoted against your situation; nothing is picked off a list.
Onboarding into your files and your reviews
Seats in your chat, tracker and asset library, and a place in the standup. Projects live in your storage under your naming from the first composition onwards.
A weekly demo of moving work
Every week you watch animatics and work-in-progress renders instead of reading a status line. Feedback comes back timecoded, in one place, so notes are not lost between tools.
Who it's for
Who gets value from this
Fractional motion works where there is a steady drumbeat of moving work and no honest case for a full-time animator. One film with a deadline is a project, not a seat.
Product teams with something hard to explain
Every release needs a demo, sales needs the same thing shorter, and the site needs it as a loop. Interface animation done properly is a specialist job, not an editor's extra task.
Organisations that publish reports and research
Annual reports, survey findings and public information pieces where a number has to be understood in ten seconds and has to be exactly right in both official languages.
Broadcast and paid-media advertisers
Spots needing one ownable look across every placement and cutdown, plus end cards and legal supers that change per market without the whole piece being rebuilt each time.
Franchise networks with head-office standards
One motion language, dozens of local versions, and a clear line about which parts a location may change. Templates and permissions matter more here than another bespoke video.
12+
Years of studio experience since 2014
Half
Typical commitment — Half to 1 day a week
EN/FR
Languages this engagement can be delivered in
Other fractional roles
Often paired with
01
Video Editor
One shoot becomes the website film, the vertical cuts, the ad variants and the internal version.
Explore02Graphic Designer
Ads, decks, print, packaging, and the templates that stop your team redrawing them.
Explore03Content Producer
Pillars, a calendar sized to real capacity, batch capture days, briefs the makers can work from, and a review chain with named owners.
ExploreFAQ
Before you commit
Yours, for anything that has to outlive the engagement. Fonts, stock, music and plug-ins are licensed to your organisation and listed in a licence file kept beside the projects. The animator can work on studio Adobe seats, but the delivered project opens on yours, with a note of everything it depends on, so your team can re-render a version without calling us.
That is the test we build against. Controls are exposed for text, logo, colour and duration, and everything else is locked so a swap cannot break the timing. Each template ships with a short written note and a walkthrough with whoever will use it. If a request keeps coming back to the animator, the template is wrong and gets rebuilt.
As a supplier of parts, not a competitor. The animator gives your editor graphics packages, Essential Graphics templates and end-card sets built to their sequence settings, and asks for the plates and clean frames the animation needs before the shoot. Where the editor also sits with OlDevs, that conversation happens in the same standup. Approval stays with whoever owns the film.
A studio quotes, builds and hands over one piece, then the next piece starts the conversation again, often with different people and a slightly different look. A fractional animator carries your motion rules forward, so the tenth video takes less effort than the first and looks like it belongs. For one ambitious film with a real deadline, a studio is still the better buy.
No. Views, watch time and conversion are decided mostly by the offer, the audience and the media buy, and nobody can honestly promise them from animation alone. What is committed is process: a weekly demo of moving work, a reply within one business day, WCAG 2.2 AA with captions and a reduced-motion version, and templates that make the next piece quicker.
When you need one film with a hard deadline and nothing after it, buy the project. When you already have a full-time animator and want extra hands at peak, that is contract overflow rather than a seat. And when there is no settled brand or product direction to animate against, motion only makes the confusion move.
Let’s connect
Let’s talk about the motion graphics designer gap.
Tell us what is not getting done and roughly how much of a week it needs. We’ll reply within one business day with who would cover it and a tailored quote — no obligation.