Summary
You’ll have animation that matches your brand when it’s moving, hits the edit, and delivers in the formats your channels actually need, with timing and “finished” locked before final export.
I’ll handle motion design and animation from style frames through final masters, with timing lock and review points that stop late-stage churn. You’ll end up with spots that cut cleanly across formats. Next I’ll confirm specs, timing, and the first review date.
I run this like a post schedule. First I align look and motion with a few approved style frames and short motion tests, then I lock timing in an animatic before I build rigs and start full animation. You see progress in clear passes, and each pass has a specific approval.
Who you are working with
I’m Casey Rutledge, an animator and motion designer. I got into this work through edit bays and launch calendars, where a good idea still needs timing, type, and polish to land. Most of my projects start with a deck, a rough cut, or a batch of frames that need to become a finished piece people can watch and share.
Clients bring me in when the risk is drift. A single off-model character, an unapproved pace, or one wrong export can burn days. I prevent that with early look and motion approvals, a timing lock in the animatic, and delivery specs agreed up front. The goal is fewer surprises at the end because the big decisions happen earlier.
Recent projects
Here are a few motion design and animation projects where timing, brand fit, and delivery formats had to line up on the first release.
Portfolio
Explainer video refresh. Rebuilt an explainer from an outdated cut by updating style frames, tightening pacing in the animatic, and replacing key sequences with clearer 2D character animation. The final cut came in at 75 seconds and shipped with 3 social cutdowns.
3D product animation set. Animated a product line in 3D for a launch page and paid social. I matched lighting and materials to product photos, then delivered looping segments and a 15-second hero spot. Exports included transparent elements for web overlays.
Broadcast promo graphics. Built motion graphics for a locked live-action edit, including titles, lower thirds, map moves, and screen comps. Timing was reviewed directly against picture so the graphics hit beats without re-cutting the spot. Delivered 15s and 30s masters.
“The timing was nailed early, and the finals delivered exactly to spec.”
Marketing manager, a product launch team
My approach
The fastest way to keep animation from turning into endless tweaks is to decide the big things early. I start with look, then motion, then timing, and I only push into heavy production once those are approved against your delivery specs.
1. Specs and boards Days 1-2 I collect your rough cut, storyboard, brand guide, references, and any existing project files. I confirm aspect ratios, durations, frame rate, and where the final is going. Then I build a short set of style frames and a motion test so you can approve direction before timing work starts. 2. Animatic lock Days 3-5 I build an animatic that matches the intended pace, beats, and on-screen readability. This is where we lock timing, shot order, and major transitions. You review the animatic as video, and your approval here becomes the timing baseline for animation and renders. 3. Build and animate Week 2 I design and build the production assets needed for the approved animatic, including rigs for 2D character animation or 3D scenes for product work. Then I complete the primary animation pass against the locked timing. You review for motion, performance, and brand fit before I commit to finals. 4. Final and deliver Week 3 I polish, render, and QC against your spec list, including safe areas, legibility, and audio sync where applicable. You review a near-final export, then I generate the full set of delivery masters and cutdowns. The project closes with clean files and naming that match your handoff needs.
Approved style frames
A small set of key frames that lock the look, type treatment, and overall design direction before full production begins.
MOTION TESTS
Short clips that show how the design moves, including easing and transition style, so you can approve motion language early.
LOCKED ANIMATIC VIDEO
A timing-approved video that sets shot order, pacing, and beat points for production, used as the reference for animation.
Final animation masters
High-quality exported masters in the agreed formats for web, social, and broadcast use, ready to upload or hand to post.
SOCIAL CUTDOWNS
Alternate durations and aspect ratios built from the approved master, delivered as a set so placements stay consistent across channels.
PROJECT FILES ON REQUEST
Packaged working files for handoff when needed, with fonts and linked media handled in a way that opens cleanly on your side.
What it costs
Pick the tier that matches how much needs to be built before I can animate, and how many final versions you need for delivery.
Priced items
Next steps
If you’re ready to book the schedule, the next step is signing and choosing the start date for motion design and animation.
1. Sign this proposal to reserve time on my calendar. 2. Pay the 50% booking invoice within 14 days of its date. 3. Send your deck or cut and the delivery specs so I can start Day 1.
Signature
Fee summary
Payment
50% is due to book the work when you sign, and 50% is due when I hand over the finished work. Each invoice is payable within 14 days of its date.
Schedule and reviews. I’ll schedule review points for style frames, the animatic, and the primary animation pass. Each review stays on track when feedback comes back in one message by the agreed date.
Revisions. Each milestone includes up to two revision rounds. A revision round means one consolidated set of notes. New direction after approval, or new shots after timing is locked, is a change in scope.
Changes in scope. If the storyboard, timing, deliverable list, or specs change after we start, I’ll write up what changes and what it adds in cost or time. I won’t move forward until you approve it.
What I need from you
To start, I need brand guides (if you have them), any existing design files, your delivery specs, and references you want me to match. If you want me to build from scratch, I’ll base it on your notes and approvals.
Delivery formats. I’ll deliver masters in the formats we agree during Specs and boards, sized and timed to match your edit and delivery needs. Extra exports and late spec changes are billed as added scope.
Project files. Project files are available on request when the final invoice is paid. I’ll package the project so it opens cleanly, but I can’t guarantee it will relink to third-party plugins or fonts you don’t own.
Kill fees and holds. If you cancel after I’ve started, you’ll pay for time completed and any non-refundable costs, and I’ll hand over what’s been made so far. If you need dates held, tell me before booking so I can confirm the hold window.
