Motion designer

A motion designer, also known as an animation designer, designs and produces animated graphic content from a brief. They combine graphic design, animation and storytelling to build audiovisual sequences for uses including communication and advertising. Depending on the project, they animate text, images and two- or three-dimensional elements, shaping their rhythm and their relationship with sound.

Their involvement may begin with analysing the need and exploring a visual style. They then prepare references, key frames and a storyboard that describe the visual intent and how the film unfolds. The animatic, an animated storyboard, then allows them to work on duration, transitions and framing before detailed production begins.

Production includes preparing and animating assets and, depending on the responsibilities assigned, assembling content, adjusting colours and exporting files. The role exists in studios, agencies, audiovisual production companies and communication departments. The reporting line and division of tasks therefore need to be specified for each position. A motion designer may take responsibility for a complete project or contribute at a specialist stage.

Motion designer, graphic designer and video editor: who does what?

• Motion designer: focus the role on designing and producing animated sequences, with explicit responsibility for the stages expected.
• Graphic designer: specify whether visual assets are supplied or whether creating them forms part of the role. Responsibility for a film’s visual style does not amount to responsibility for the entire brand identity.
• Video editor: define the final editing to be assigned to the motion designer and the contributions expected from other specialists.

Apply the same approach to art direction, sound and production coordination. Interface and product journey design fall outside the scope covered here.

The first challenge is to recruit for the sequences you actually need. Animating text and graphics does not necessarily require the same techniques as a 3D production involving modelling, textures and lighting. Looking for proficiency in every software package without distinguishing between them risks making candidates harder to compare. Describe the planned productions, then the capabilities needed to create them.

The second challenge concerns creative autonomy. Who turns the brief into a visual concept? Who prepares the storyboard and who approves the animatic? A candidate may be able to execute a specific animation without having designed a whole film before. Conversely, someone responsible for the concept may need other specialists for certain technical stages. Professional frameworks distinguish these possibilities without treating them as a hierarchy that applies to every role.

Final quality also depends on the handovers between design, animation and distribution. Key frames establish the style before animation begins. The animatic makes rhythm and duration visible. Export dimensions and bitrate must then match the intended use. Defining these deliverables helps identify the skills required and the people who will need to approve the work.

Hypothetical example: a company wants to adapt a film for several formats but only has visuals designed for a single composition. Before comparing candidates, it can specify who will adapt the assets, how readability will be maintained and when the adaptations will be approved.

Finally, collaboration deserves as much attention as the showreel. A motion designer needs to be able to explain a graphic choice, understand a request for changes and pass instructions to other contributors. Assigning someone to consolidate feedback and approve each stage is useful planning advice, particularly when several departments are involved in the project.

• Analyse the brief, communication objectives and production and distribution constraints.
• Propose a visual style through references, a moodboard and key frames.
• Set out the progression of the film, framing and movement in a storyboard.
• Produce an animatic to work on duration, rhythm and transitions before approval.
• Create, adapt and prepare the graphic, typographic, photographic or 3D assets needed for animation.
• Animate the assets and synchronise movement with the planned music or sound effects.
• Assemble content through compositing and adjust colours to achieve a coherent result.
• Plan tasks and intermediate approvals, specifying contributors’ responsibilities.
• Encode sequences for the intended media and hand over the agreed technical assets for their use.

Useful training in motion design combines visual culture, graphic design practice and the production of animated projects. When hiring, the aim is to connect this learning with the work the candidate can produce. A course title alone does not demonstrate their autonomy in creating a storyboard, animating or delivering technical files.

Documented routes include initial education, continuing training and recognition of prior experiential learning. For example, GOBELINS describes a route after the French baccalauréat and another accessible after studies in audiovisual creation, graphic design or visual arts. These options do not constitute a mandatory qualification for practising the profession. They offer a guide to possible learning, which should be considered alongside the candidate’s work.

Look for concrete learning outcomes: building a composition, explaining a choice of typography, preparing assets for animation and organising a sequence over time. For a specialist 3D role, add the techniques actually needed for the planned productions. For a role spanning more stages, also consider the continuity between the brief, design and delivered files.

Experience is best described through the responsibilities held. Did the candidate design the visual style, animate from instructions or take responsibility for several stages? Did they work alone or with specialists? The creative portfolios and films presented in certification assessments show the value of connecting the result with the choices that produced it. The interview can follow this principle, without automatically assigning a level based on the length of studies or years of experience.

To assess this profile, you can follow the stages below, adapting them to the productions and responsibilities of the role.

1. Define an assessment grid linked to deliverables

Select criteria that match the expected tasks: graphic design, storytelling, animation, finishing and preparation for distribution. Distinguish essential skills from specialisms useful for certain projects.

Describe an observable result for each criterion. For storytelling, look for a clear progression between shots. For distribution, examine readability and suitability for the intended medium.

A candidate suited to the role can explain the stages they can handle and those that require another contributor. An answer limited to a list of software calls for further exploration.

2. Examine the work and personal contribution

Watch the showreel, then look at complete projects. Ask the candidate to explain the brief, the assets supplied and their contribution at each stage.

Where these materials can be shared, compare key frames, the storyboard, the animatic and the final result. Ask about choices of composition, rhythm and transitions.

The ability to connect a decision to the communication need is a positive sign. Difficulty distinguishing their own work from that of others limits what you can conclude from the film presented.

3. Propose a case close to the role

If an exercise would be useful, choose a short, clearly bounded situation. Adapt the deliverable to the ability you want to assess, rather than systematically asking for a complete film.

Hypothetical example: provide a message, graphic assets and two distribution formats. Ask for a storyboard or animatic proposal with an explanation of the adaptations envisaged.

Observe how the candidate clarifies the need, prioritises information and prepares the movement. If 3D is essential, choose a technical problem representative of the planned productions instead.

Assess how well the proposal fits the stated constraints. An appealing animation whose text becomes unreadable should prompt questions about choices of composition and timing.

4. Discuss feedback and coordination

Present a request for changes and ask the candidate how they would approach it. Listen to their questions and how they explain the implications for the elements of the film.

Discuss intermediate approvals and the division of work with other contributors. Look for clear communication and the ability to restate feedback before changing the sequence.

If the role includes management, examine previous team responsibilities separately. Do not infer management experience from the quality of the animations alone.

5. Arrange technical input and references

Involve a professional able to assess the expected techniques if your company does not have this expertise. Give them the same grid and production constraints.

Leave assessment of suitability for the communication need to the person commissioning the work. Then compare observations rather than basing the decision on a single visual impression.

For references, prepare questions about responsibilities actually held, collaboration and deliverables. Stick to information that can be shared and is relevant to the role. Record the points established and those still requiring verification.