Performance Marketing · 12 Motion Graphics & Animation
We produce 2D and 3D motion, explainers, kinetic typography and animated logos for teams across Canada and the United States. You get the project files, the templates and the brand rules, so your team can re-version every cut without us.
You own accounts, data and IP Monthly reporting Reply within one business day
Post-production
Brand film · cut 06
4K
Master format
6
Deliverable cuts
48h
Turnaround
OlDevs is a full-stack technology and marketing studio in Vancouver, BC that builds motion graphics and animation as a reusable system rather than a set of one-off renders.We produce 2D and 3D motion, explainer animation, kinetic typography, animated logos and stings, data and process animation, and UI motion for product demos. Each project ships editable project files, organised layer and composition naming, a documented motion language covering timing, easing and type behaviour, and templated compositions your team can re-version in-house. Work is delivered remotely from Vancouver to corporations, associations, government bodies, franchises and entrepreneurs across Canada and the United States, in English and French, with captions and reduced-motion variants that meet WCAG 2.2 AA. Every engagement is quote-based.
Key facts
12 · Motion Graphics & Animation
What we deliver in Motion Graphics & Animation
Scripted explainers, illustration systems and vector animation built in After Effects. We storyboard first, animate against an approved board, and hand back layered compositions with named precomps you can edit later.
Modelled product renders, exploded views and abstract environments for launches and trade stands. We supply the scene files, textures and render settings, plus turntable and loop variants sized for each placement.
Type that carries the message when there is no footage to lean on. Quote cards, figure builds drawn from your own data, lower thirds and end cards, set in your brand type scale so every cut stays on system.
A short animated signature for your logo, plus the stings and transitions that sit around it. Delivered with alpha channels, short and long cuts, and pre-rendered variants for every aspect ratio you publish in.
Charts that build, flows that step, and interfaces that move the way the product actually moves. We animate from your real numbers and real screens, and we label every figure on screen.
Motion as a kit rather than a deliverable. We build editable templates in After Effects and Premiere, document the motion rules, and train your team so routine re-versioning happens in-house.
Process
Brief and motion audit
We read your brand guidelines, watch what you have already published, and agree the job: message, length, channels, aspect ratios and the languages each cut ships in.
Script and storyboard
Copy first, then frames. You approve a written script and a storyboard before anyone animates, because a board takes minutes to change and a finished render does not.
Style frames and motion tests
Two or three static frames set the look, and a short animated test sets the timing and easing. Sign-off here fixes the motion language for the whole project.
Animation and weekly demos
We animate in passes and show progress every week: blocking, then refinement, then sound and captions. You give notes against a timecoded review link, not a call you have to remember.
Delivery, templates and handover
You receive masters, per-channel exports, captions and transcripts, the full project files, and the templates. We walk your team through re-versioning and leave the motion guide in writing.
How we work
Design, engineering, AI and marketing sit in the same studio, so a motion brief that turns into a web animation or an ad build does not need a new supplier.
Every project produces a reusable kit: named compositions, controllers for text and colour, and a written motion guide covering timing, easing, entrances and how your logo behaves.
We build one master composition and export from it: 16:9, 1:1 and 9:16, long and short cuts. The render presets ship inside the project, so your editor can re-export without us.
Projects are handed over collected: fonts, footage and assets packaged, layers named, no missing links. Another studio, or your own editor, can open the file and work in it on day one.
Motion can trigger vestibular discomfort, so we supply reduced-motion alternatives, avoid rapid flashing, keep text legible over moving backgrounds, and ship captions and transcripts as standard.
Bilingual work is planned into the layout, not retrofitted. Text layers are built to absorb longer French strings, and both language versions come from the same project file.
Who it's for
Motion work changes shape depending on who has to live with the files afterwards. These are the four situations we see most.
In-house teams with a brand guide, a review cycle and a queue of requests. We build the template set so the routine work stops arriving as a new project every time.
Public-facing explainers where accuracy and accessibility are not optional. Bilingual delivery, WCAG 2.2 AA captions and reduced-motion versions, and plain visuals that survive a legal or policy review.
Head offices that need every location to publish on-brand. Locked templates with editable fields for the address, offer and language mean franchisees change the message, not the motion.
Founders who need a product demo that shows the interface honestly. We animate from your real screens, keep the recording current as the UI changes, and hand over the source.
12+
Years of studio experience since 2014
1 day
Reply time on notes and questions, every business day of a project
EN/FR
Languages we storyboard, animate, caption and template in
Works well with
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FAQ
You do. Every engagement hands over editable project files, layered source artwork, and any stock, music or font licences, which we buy in your name rather than ours. That includes the After Effects and Premiere templates, the written motion guide and the render presets. Nothing is held on our storage or our licence as a condition of you continuing to work with us.
Against a measure we agree before the first frame. For paid placements that is hold rate at three and ten seconds, completion rate, and the conversion rate of the landing page behind it. For explainers it is support tickets deflected, demo requests, or the sales team's own read on whether prospects still ask the same question. Reporting runs on your own analytics property, and we say plainly when a result is inconclusive.
That is the point of the templates. Routine changes such as new copy, a different offer, another language or a fresh aspect ratio are made in an Essential Graphics template or a locked composition with exposed controllers, so an editor changes text and colour without touching the animation. We record a short walkthrough and run a live handover session. Structural changes, new scenes or a new visual idea come back to us.
Ownership is written into the agreement, not offered as a favour at the end. Files land in your storage as the work progresses rather than being held back until the last day. Accounts, licences and repositories are created in your organisation's name. If you stop working with us you keep everything, and another studio can open the project files and carry on.
It depends on scope, and we give you a dated schedule with the quote rather than a vague range. A single templated cut-down from existing material is fast. A scripted explainer with original illustration moves through script, board, style frames, animation and sound, each with a review gate. You see progress at a weekly demo, so slippage is visible in week one rather than at delivery.
We use it where it holds up and we tell you where. That means rotoscoping and matting, upscaling old footage, generating rough boards, and drafting scripts you then edit. Final frames are animated by our team from your assets, because we have not found generated video dependable on brand colour, logo geometry and product detail. Anything AI-assisted in a delivered file is labelled in the handover notes.
Yes, and it is often the sensible starting point. We audit the existing library, identify what is usable at the resolutions you need, and build motion around it: titles, callouts, transitions and end cards. Where a gap cannot be filled from the archive, we say what has to be shot or illustrated, and our production and photography teams can cover that in the same engagement.
Let’s connect
Tell us what you’re building. We’ll reply within one business day with next steps and a tailored quote — no obligation.