For about four years, Toby has had me work on a good bunch of his content, mainly going through the editing part of the process. He and I worked closely together to make sure all the content produced is top notch and then some.
If he desired, I made sure to keep him updated often, and sometimes received live feedback as I went along with the editing, to present to him instant corrections, ideas and drafts.

The final video I did for him was voice only. Meaning I had to craft all video visuals myself.

A cute minor project I wanted to make predominantly to joke around with some friends of mine. It turned out to be a great exercise in object physics created all by hand without reliance on physics engines.

Voices and ridiculousness by yours truly!

I was asked by the StoryFire founders to show them what I was capable of while at the same time needing a proper ident to spice up their official productions, thus this creation came to be.

Containing a bit of virtual camera movement, smooth 3D motion and a frame-by-frame masked flame to ignite the logo, this is one of my most sophisticated motion graphics productions. On top of that, I used a conventional glow effect on the logo, pushing the threshold up to pop the logo itself out of the glow in a way that makes it look like a flame going out.

Gave me an excuse to practice sound design as well.

I was forwarded to Mauler via a friend within the industry. He needed an updated layout for his podcast, so he brought in an artist to create the overall layout, and brought it to me, telling me to get creative.

This was great practice in glow and how one object might influence another with said effect. A prime example would be the shine lines underneath the logo. Through specific blending options I was able to phase them in and out seemingly at random by merely sliding a static image of the same effect through it from right to left and another from left to right.

All motion within this project, the background movement, the logo glow, the shine and the pulse travelling between borders, were all made by hand, by me.

The pattern noticed here is that I direct my attention to Youtubers a lot. Growing up with the internet by my side for most of my life has truly shown where my home is, not just as a person, but also as a media producer.

This was a commission for a Danish youtuber by the name of LasseVestergaard, who needed two ways of selling his channel. Through his Fortnite fanbase with this animation, as well as a simple but slick “Subscribe” pop-up animation.

Everything here has been made from scratch. The box layout, the formatting, the motion, etc.

So if you need anything similar of the sort, you’ll be happy to know that everything can be fully customized to your channel and/or your desires!

During a live-event. I was asked by a company to provide an animated 5 minute countdown and because 5 minutes is a long time to spend watching an animation on a portfolio, I took the liberty to trim it down to just the transition between two numbers.

They provided the art assets. I just had to perform my magic!

The countdown exhibits another wonderful example of smooth, organic, realistic motion made from scratch within my software.

But what was equally as important as the motion, was the element of realism I added to the numbers. So to the object, I added a drop shadow and a brightness & contrast effect, which I carefully animated accordingly, changing the opacity and blur factor of the shadows and increased/lowered the brightness, all in correspondence to where the object would locate itself within all three dimensions.

My friend Emil is a phenomenal artist, and I couldn’t help but add an extra dimension to one of his landscape paintings. And so, accompanied by a sound snippet from Adam Young’s Scores project, I conjured up this!

This is a great exhibition and combination of smooth motion as well as a practice in parallax animation, adding to the effect with a couple of blur effects to create a depth of field illusion. Then to top it off, I threw in a simple particle simulation to create snowfall.

I was approached by a client who wanted an animated phone wallpaper, so he asked me to work my magic on an art-piece he bought from the skillful @AtlasInu over on Twitter. They sent me the art and the very next day I came back with this!

This shows how I work with joints along with organic motion to make still characters come alive. Then I added a lens flare to simulate a sun, a particle simulated snowfall and wrapped it all up with a shine effect and some color correction, creating god-rays from every piece of movement as a cherry on top of the atmospheric composition!

If you’re a streamer, live producer or or anything in between, and you need any sort of animated overlay for your broadcasts, or for that matter, a transition stinger to really up your flare for your audience, then I’m definitely your guy!

Here’s an example of a stinger transition I made for my own Twitch channel a while back. It shows how clever one can use the glow effect. I added it on top of a pre-composed sequence in which I animated a hexagon, changed its’ opacity over time and then duplicated and displaced it to form its’ pattern. So when the hexagons lost opacity, the glow threshold would push the glow away from the object as if it exhibited a kind of glow surface tension, truly fortifying the fact that it’s an energy force-field being created and dispersed in-between sequences.

Aside from that, the animation and effects within the hub-screen, shown at the end of the clip was also animated by me.

For an April Fools video, Mauler needed a quick ident for a parody title, so I was asked to try my luck at basic 3D motion and lighting, along with some practice in fake destruction of objects.

So to any video game developers; This isn’t even my final form.