Motion Graphics

Here is how the work lines up. New York is the centre of gravity for global motion design. Brooklyn DUMBO alone houses Buck — the motion-design giant whose work spans Apple, Google, Netflix and HBO — alongside Imaginary Forces (the Mad Men titles, Stranger Things logo lineage), Trollbäck+Firm (House of Cards), Charlex, Eyeball, Loyalkaspar and Roof Studio, with Big Block and Elastic's NYC ops extending the pool across Manhattan.

Here is what we have to work with. Our team lines up motion-design briefs across this corridor and into the Chelsea VFX houses when graphics need to integrate tightly with live-action VFX, scoping projects from person title cards and lower thirds through to full broadcast graphics packages for HBO promos, Netflix idents, Apple TV+ campaigns and the NBC Universal sports packages (NFL, NBA, MLB) and CBS Sports and ESPN NY graphics that ship out of New York facilities each season.

Here is the layout. The work runs on Adobe After Effects for 2D motion and design, Cinema 4D and Maya for 3D animation, Houdini for process-based simulation when the brief calls for it, and Substance Painter for textured 3D work feeding into the design.

Here is how the work shapes up. Project scope spans title sequences for theatrical features and streaming series shipped through HBO Hudson Yards, Netflix NY, Apple TV+ and Amazon Studios, broadcast graphics packages for NBC, CBS, ABC, ESPN, MSNBC and the news, sports and entertainment networks headquartered in Manhattan and Stamford, infographics and data visualisation for documentary and corporate clients, and branded explainer sequences for the New York fashion, finance and pharma sectors. We work directly from existing brand guidelines or develop new visual systems where the production needs a custom identity.

Here is how it adds up. We structure episodic graphics as flexible template systems so the show keeps visual consistency across episodes while fitting week-by-week types in talent, location and storyline reference. Turnaround scales with complexity — simple lower thirds or logo animations in days, full title sequences in weeks — and rush schedules can be fit by scaling team size on the New York side.

Here is the run-down. Final delivery covers broadcast-spec ProRes masters, DCP-ready elements for theatrical screening, IMF packages for streaming masters, captioned versions for FCC and ADA access compliance, and social-cut versions for delivery beyond the primary platform, with the NYS post-prod tax credit logged where qualifying budgets apply.