an excerpt of my work

AD Sound

Early to mid June, Jetway Amsterdam approached me about a rebrand they were doing. AD Sound, a DJ label in Amsterdam that wanted to renew their brand for their 20th anniversary, I was to make their brand reveal video.

At its core, the new branding was pretty minimalistic, they wanted to spotlight their artists as much as possible, and take a backseat whilst still providing a solid basis. The old AD logomark was reworked into the new version, one that is just as much two shapes as it is the letters "AD", a small set of contrasting colors were chosen, and a tightly tracked and spaced Avenir typeface would cover 99% of the typography in clean & simple layouts.

All that said, this was their brand reveal, and for once it was more so about the aspects of their brand rather than the artists, so I was given all the more freedom to explore different styles, movements and layouts for the video.


In my eyes the logo rework was clearly the first piece of the puzzle in the rest of the rebrand, so I wanted to showcase the advantages of such a minimal design, and highlight how the logo was reworked, not thrown out and replaced. Together with Jetway I landed on a set of boards that was driven by the morphing of the old logo into the new, in tandem with shots that showcase the alternate style.

To emphasize how a minimalistic design like this can form a backbone for wild styles and aesthetics (and to just look kinda cool) I created multiple styles for the logo to be applied to the relatively simple movements of the morph. In contrast, I wanted the alternate style to not do too much, show off the range of possibilities without getting boring. A little AE 3D and a classic motif of drawing on lines was all that's necessary to help out with pacing the video.

Together, that covers the logo reveal and leaves room to sprinkle in some shots that showcase AD Sound's brand as a whole, things like artist lineup, auxiliary branding assets, and generally bits and pieces of the brand guideline that I was working off of myself. We cut those shots inbetween the logo reveal shots to break things up a little and off we went.

Execution & challenges

Most of the movements themselves were fairly simple, the challenge was more-so in handling the workload that came with creating all these different styles. Call it a lack of experience, but imagining distinctly different styles and recreating them in After Effects afterwards is a process of experimentation for me, a rather time investment heavy one at that. Luckily for me, Jetway trusted me to bring it home in the end when I presented little more than a set of proof of concepts on our first check-in.

What follows below is a little breakdown of how my two favorite shots were created, although admittedly not particularly complex, they function as a good example of the time investment heavy experimentation I was talking about, I don't typically work with tons of effect stacking, blending modes and the likes. It's the process of experimentation and discarding failures that really ate up most of my time, even if they are relatively simple in the end
Getting relatively comfortable, cranking shots out quickly since all the hard work was ready to go and just needed assembly, I was slightly blindsided by a hiccup when creating the grid shots that resulted in a lot of extra work.

For a change of pace, In the coming section, I thought it'd be fun to dive into specifics, I will try to present the problem and my solution, partially to give potential outsiders to the world of motion graphics a peek behind the curtains, but secretly more-so in hopes someone will read this and message me about a much simpler solution. Feel free to skip or skim this if you're not particularly interested, I get pretty nitty gritty with it and start at the basics. The case study resumes at the paragraph "Retrospective", no hard feelings, I promise.

A little background

Starting at the absolute basics, this is a rectangle shape layer in After Effects. It's what I'll be "matting" my desired image on, meaning my image will only display where the rectangle is currently visible, in this case, it will be my frame.

This shape layer has plenty of different controls, but I'll be focusing on its scale controls. It has an X and a Y scale, which -unsurprisingly- scale the square in the horizontal and vertical dimensions. As you can see in the GIF on the right, it does so from the anchor point, the crosshair in the middle or at its edges.
Normally, to ensure the image I want to display is constantly in the same position as the rectangle its matting on, I would "parent" them to the rectangle, essentially tying the position of my image, to the position of the rectangle together at its anchor point. When the parent moves 100 pixels to the left, the child stays with it.
Fig. A (hover)

The problem

The problem arises with the movement I'm looking for, as you can see on the left in figure b showcasing some isolated movement that can be found in the grid shot, I need to be able to scale all sides of the rectangle simultaneously, and disproportionally.

Simplified, using the scale control from an anchor point I can scale only 2 sides out of 4 simultaneously. Theoretically, I could place the anchor point in a corner, use the scaling control to tackle scaling to 2 out of 4 sides, and use the position controls in tandem with scaling back down to create the illusion that I'm scaling 4 sides simultaneously and disproportionally. In my experience though, it's near impossible or at least horribly time consuming and 10x more frustrating to achieve precision with this method, not something I was willing to give up on given the rigid nature of grids.
Fig. B (hover)

The solution

Gaining control of all 4 sides of a rectangle by itself is pretty easy, nowadays After Effects comes with a script that allows you to tie the points on a path to "null objects", new layers with no contents, basically existing only to give you an independent set of controls. All I need to do is turn my rectangle into a path, tie the points of that path -in this case the corners- to null objects, and now I can individually control those corners.
It's never quite that easy though, having gained control over all sides of the rectangle, a new problem arises: this rectangle is no longer a shape layer, it's been converted to a path shape layer, in the shape of a rectangle. An annoyingly minor detail that has cost me the ability to simply parent my image to the rectangle and call it a day. You might've spotted it in figure b, but the anchor point has gone all out of whack and is now nowhere near accurate. Once again, theoretically I could adjust the position of my image matting on my rectangle manually, but it would be incredibly time consuming, imperfect, and any shortcuts would stick out like a sore thumb. It seems like some "expressions" -essentially scripting for After Effects- are in order.
Fig. C (hover)
In some cases, you could find the center of a rectangle despite complicating factors by calling on the "sourceRectAtTime()" function. I'm no master of expressions, but as far as I know, essentially you're asking After Effects to detect the furtherst edges of a rectangle and work with the information it returns. However, the minor detail from before pops up again, my rectangle is no longer a rectangle in the eyes of After Effects, it's a path (shaped like a rectangle)

Luckily for me, I have four null objects with position properties, and since it's a rectangular shape, even my limited math skills can figure out where the middle of those four layers is. I can simply take the X coordinate of one null on the left and one null on the right, add those values together, and half that, same goes for the Y coordinate by taking a top and bottom null. That leaves me with the X and Y coordinates that my image need to always be in the center of my rectangle, and wraps this thing up.
Fig. D
No real need to pay any mind to the first 4 lines, they specify what layers I want to look at, and to take their true position, not the relative one. The "meat" of the expression is in the final line, and is very simple.


Of course there's always things I'd like to do differently next time, repeat any project and you'd never get the same result (hopefully anyway), but realistically, there's no techniques, movements or designs that are particularly tough in this project, yet I still struggled. Looking back at it, even though I think I would do well to be more conscious of potential pitfalls in the form of time-sinks, iterations, and a degree of uncertainty that comes with experimentation, I don't think this struggle could be entirely avoided.

At the end of the day I learned a lot about how I could and should improve the way I work, lessons that I think can only really come through experience. I'm a sucker for a good productivity hack or system optimization, but there's no shortcut to simply getting your miles in, and even though I am now sick of seeing this video, I'm glad I did.

Het Koffielokaal

Het Koffielokaal and I worked together on making the cafe's online presence move. To do so we settled on two main components, a logo animation, and a motion graphics template to easily create slick, brand consistent, animated content for social media.

Logo Animation


Immediately after getting the green light I started work on some concepts, rough and relatively simple, but different versions of how the logo could be animated.

Doing this with a wide range of different concepts normally helps the client with narrowing down to a direction if they are unexperienced with having animation work done. In this case though, I was lucky as one of the concepts resonated with the Cafe owner.


Despite the animation being fairly simple, we went through 2 rounds of Iterations, considering the clients inexperience with animation and its' possibilities and limitations I opted to break the animation I had added since the concept down into separate parts and ask the client which options he thought added to, or cluttered the animation. That way he could still effectively guide me despite not being familiar with animation.

Perhaps detrimental to keeping my ego in check, but good news overall, the client thought all the new additions were valuable to the animation. In response I kept the text animation relatively simple, as the animation had to be quick, but was at risk of becoming too cluttered.
Finally I created a final set of iterations by adding in some anticipatory animation, even though i was expecting them to be shot down, I wanted to be sure that I was not leaving the logo unfinished in the eyes of the client.

Extra deliverables

Due to the vector based look of the logo and the relative simplicity of the animation, the logo could easily be delivered as a Lottie file too with some very minor alterations on the back end. On top of that a text animation that was originally discarded due to it being too busy for the logo animation was also converted to a Lottie animation and added to the deliverables.

Social media templates

The ask

The Café, like most cafe's with an online presence, is relatively active on Instagram, and with a decent chunk of its' clientele following them on there too, it makes sense to make announcements regarding the café on there. To help them make these posts more fun and attention grabbing I created a set of Mograph templates that they could easily use despite inexperience with video editing or design. More than anything else, these templates had to all work alongside each other, practically creating a design system for quick social media videos, one that was hard to break.

The execution

To achieve this level of compatibility, I created a grid system as the backbone of the designs, and kept the animations simple. In exchange for these simple animations I could give the users of the template more control and customisation options, without breaking the design.
On the back end, this boils down to a lot of expressions (although mostly relatively simple ones) and a control layer triggering and altering animations that are then pulled into the essential graphics panel.

I was lucky to discover that the Flow Plugin has an option to bake movement into expressions rather than keyframes, without that function, directional controls would have been exponentially more painful for me to work out on the back end, if not impossible without creating hundreds of individual templates.

On the right is the effect controls panel of one of the controller nulls, filled with conditionals or effects that influence multiple layers at once, some compositions may have more options, and a couple are more simple.
A panel full of options to be linked up with expressions
The end result, I would argue, can be used by absolutely anyone with very minimal adobe premiere knowledge and some instructions, but also allows a level of customization to make creating a new video a rewarding & fun experience.

Render explainer

Originally I had planned to enter the world of motion graphics freelancing with a different approach. The plan was to give a price estimation alongside the video, which would serve as both an example of what to expect, as well as a sales pitch.

After speaking with multiple freelancers and agencies I chose not to follow this route, but I believe the video and the process behind it are still worth sharing.


The goal of the video was to sell people on the service I provide, I wanted to visualise the added value of an explainer video, and sell the viewer not only on explainers as a whole, but on the process I had planned specifically -one that would live and die by its modularity-

That said I had never written a script like this myself, attempting to was another reminder of why it's an entire profession as I stumbled upon all kinds of problems with every new iteration, but taking a step back and being real about the impact of minor changes in my script had me going with a final version.

Concept & Sketches

The video was intended to not only function as a sales pitch, but as a blank template example for viewers to project their vision onto as well. I wanted to mirror all the stages in the process whilst still driving the video forward in a way that didn't feel forced. To allow for this I felt like a more muted look was in order since there would be quite a lot going on information wise, also the visual analogies were to be expressed through animation fundamentals more-so than through succinct imagery.

Animatic & Storyboards

Normally, after sketching is finished there's several steps of checking & tweaking before committing to the most time intensive phase, I always start by sketching some rough boards, and timing everything out with a scratch voice-over, as I mentioned before the process was a bit more back & forth this time than it would normally be, but after some tweaks I had something I was happy with. From there -even though it felt redundant considering I was my own creative director- I bracketed out some styleframes since I was trying to force a good habit, and got working on polished storyboards.
three images displaying different styles of the same frame of a video


Animation wise this project was relatively straight forward, This being the first time I was writing a voice over script and directing a voice over myself I put alot of effort in timing things out, doing scratch voiceovers and rough animation passes first before getting the artist in, and trying to make the whole thing flow. Somewhat notably I got very friendly with Z-depth in After Effects for the shot that zooms out, but would vow to take a different approach to working with it in future projects.


Because this was a personal project I wanted to reach out to the communities I am a part of and give people with very little or no prior experience a shot at doing paid VO work. Partially I just wanted to give back to the communities that have helped me out, but it was also a great trial by fire for me to try and step up my director skills in the voice call (it was also just really fun)

I ended up landing the voice of Mica, an internet friend that was either very talented or a super quick learner.