Motion Graphics Showreel

This reel features recent work across entertainment marketing, event promotion, and film production as both an art director and motion graphics designer.

The work spans studio campaigns, broadcast, and independent projects, with tools including After Effects, Cinema 4D, Redshift, and Photoshop. Motion graphics are central to how I think and lead creatively. I continue to find ways to be inspired by the medium and challenge myself always to be learning and making something new. A description of my role pertaining to each of these pieces continues below.

[00:00:00:00 - 00:00:03:07] Intro page. Created these dunes in Cinema 4D. The sand is actually able to be manipulated by objects, meaning that putting something on the surface, it piles up around it, as sand would. I rendered it using Redshift and added color grading in After Effects.

[00:00:03:07 - 00:00:05:20] Final Destination: Bloodlines “Running From Death” piece. This was created for the new Final Destination campaign. The pitch was how to avoid all the different ways of dying and showing death scenes, along with their cause of death. This was a tight turnaround, but I was able to create a facsimile of the type treatment used in the trailer in Cinema 4D. Then I used Voronoi fracture and a plain effector to crumble the text along the x-axis. I brought that render into After Effects and tracked the footage. In the sample shown, I also masked the destruction of the train going down the street so that the text appears to be destroyed by the train.

[00:00:05:20 - 00:00:06:18] I should probably give more time to this one! The agency Artists Equity hired me to design and animate an engine with pistons going extremely fast for Ford Racing. They needed this done in about 4 days total, including revisions. I used a CAD file as a base, but since this was a close-up shot, the model had to be a higher poly count than what was available. I don’t know a thing about cars, but I made these sleek metal textures that looked brand new, with just a little bit of grit. The pistons were just simple cylinders that I put on a cloner, then animated using Python. The center piston needed a Ford logo embossed on it, which I was able to attach separately.

[00:00:06:18 -  00:00:08:22] SLO Film Festival. One of the interstitials I designed for the San Luis Obispo Film Festival. These were shown between films and ads, as well as on social media, promoting the event. Created using artwork from their designer. I brought in assets from Illustrator and animated them. The stop motion quality allowed transitions between elements more easily. This was one of many things I made for the SLOFF, and more examples are up on my website.

[00:00:08:22 - 00:00:10:17] How Gross My Seances title treatment. I was asked by the publisher of this book to create an animated title treatment for the play. I painted the alphabet from scratch to make this, and scanned the India ink paintings to bring them into Illustrator to vectorize them. Once I laid it out how I liked it, I animated the letters to look like they were growing on, then I made the drips oozing out of the letters using Trapcode Particular. Trapcode has a halftone effect that I overlaid on the black-and-white title treatment. Then I added a stop motion effect using Posterize Time and a loop of changing construction paper.

[00:00:10:17 - 00:00:12:10] Ultimately, this wasn’t used by the client, but this is an original drawing of mine. I’m a pretty skilled illustrator, and I made this Wizard using my drawings and Photoshop, then did a similar process with halftone as the How Gross title treatment. When I was scanning the letters, I tried opening up the lid to see what it looked like, and I thought it was a neat effect - so I recreated the light passing over the image in After Effects. 

[00:00:12:10 -  00:00:14:07] Sinners spot using the famous monologue from the film. The part I am proudest of in this project is that all of the text is completely editable, and with each word, the burn affects it differently. This way, you don’t get any obviously looped effects. The effect is very multi-layered - using the film burn effect a lot as well as fractal noises. The fire and embers use a similar process as well as Trapcode Particular for the embers. Then I rotoscoped the characters and scene and tracked the camera movement so that the text feels integrated into the scene while the characters are talking. 

[00:00:14:07 - 00:00:16:11] I created the Amadeus title treatment using After Effects and Optical Flares from Video Copilot. This trailer ended up being number one on iTunes movie trailers for a bit. I made the gold texture using a gradient map, fractal noises, turbulent displacement, and other means. Then added a nice deep glow to it. This look was used for the trailer cards and preceding social media. 

[00:00:16:11 - 00:00:18:22] Pale Rider title treatment. Made this distressed title treatment and copy look for the re-release of Pale Rider starring Clint Eastwood. The title treatment was tracked and rotoscoped using Mocha, but the reviews were used with the standard After Effects built-in plugin. 

[00:00:18:22 - 00:00:22:19] Kickboxer 2025 Title treatment and cards. I made multiple versions of this title treatment. The client ended up picking a different one that I made, but I like this one a lot better, and it’s my showreel, so I used the one I wanted to. The words are animated using the After Effects opacity text animator, which I then put a threshold effect on, and then a solid composite with black. I made it so that the cracks come on based on the whiteness in the text. This way, they look brittle and cracked when they’re small, but then once they grow, the cracks are just along the edges. I put speckles along different planes of Z space to give the whole thing more depth, and used finisher, deep glow, and a gradient map to achieve the color. The reviews were kept white and are meant to crowd the screen with a lot of positive reviews.

[00:00:22:19 - 00:00:24:14] My favorite title treatment in my reel - Aztec Batman: Clash of Empires. I worked directly with the WB animation department to faithfully recreate their 2D title treatment in Cinema 4D and Redshift. The title treatment itself was used as a texture, and it gave it a lot more depth and weight by bringing it into the Z-axis. The embers were made in Trapcode, particularly. I made the Spanish version for this, too (Batman Azteca), and it was shown in theaters in Latin America.

[00:00:24:14 - 00:00:27:16] Created this steelbook and laptop in Cinema 4D to promote the 4K release of Mickey 17. This was pitched as an endcard template to be used universally, but the studio decided it didn’t have the ability to render 3D endcards for each spot. I modeled the steelbook myself, and its dimensions are the same as a standard steelbook. The Mickey 17 steelbook is identical to what I made.

[00:00:27:16 - 00:00:30:04] Warner Bros. released a film package titled “Armed and Fabulous,” which was a collection of strong female lead characters. I created the branding and title treatment animation. The sparkle effect is made using cell pattern effect, fractal noise, deep glow, and autofill. 

[00:00:30:04 - 00:00:33:20] CrossFit Games docs. Two different informational graphics I made for two different CrossFit documentaries. These needed to be highly graphical and contain information related to multiple athletes and events. The client needed these to feel dynamic while also being easily editable. I created MOGRTs that were able to be updated easily with changing info. These are part of a graphics package that I made for these documentaries.   

[00:00:33:20 - 00:00:35:15] This is a personal project I made in Cinema 4D and Redshift. A promotion for my graphic novel Hellgate. I modeled this to look like Metallica’s Master of Puppets album. The gravestones are in a cloner with subtle variations to the UV texture. 

00:00:35:15 - 00:00:43:02  A Minecraft Movie Crafting Table Unboxing animation. To market the specialty packaging release of the Minecraft crafting table, I modeled the piece in Cinema 4D and rigged it to fold identically to the actual product. I also added particle effects and dust to the transition with Jack Black in After Effects and Trapcode Particular. The video was shown with the cast in various spots for Walmart. The creation of this product was contingent upon me being able to do the animation and modeling of the product on my own, due to the limited budget at the time. The product sold out immediately, and the piece went on to win a bronze Clio award.