Motion Design Showreel

Where it ran

Motion work delivered for Tunisie Telecom, UBCI, Danette, Tunisair and Spectrum.

The most demanding of that work was broadcast. I built the title package and on-screen graphics for El Pitch, a startup pitch programme on El Hiwar TV, where the graphics had to sit behind presenters, hold up on a television chain rather than a web export, and be rebuilt week after week without drifting.

What I actually make

• Title sequences. Openers for programmes and documentaries, built to set the tone inside ten seconds and to be reusable across a whole series rather than rebuilt every episode.
• Lower thirds, subtitles and call-outs. The unglamorous layer that decides whether a film reads as professional. Consistent across an edit, legible at phone size, and set correctly in Arabic, French and English, which is where most templated graphics fall apart.
• 2D animation. Animated explanation for campaigns and corporate films, where a diagram has to move to make sense.
• Green screen replacement. Keying and background replacement when the location was never going to exist, matched to the plate so the shot does not announce itself.

Designed by the person who cut the film

Motion graphics fail in a predictable way. They are made by someone who never saw the edit, so they land a beat late, fight the cut, or use a typeface that was never in the brand. I design them inside the same timeline I edited, which is why a title lands on the cut it was meant for and the graphics read as part of the film rather than a layer added on top of it.

If you already have an editor, I work to their locked cut and deliver the project files, so the graphics stay editable after I hand them over.