Once everything’s clean, I prep the assets for motion. I color-code layers, label them clearly, and sometimes green-screen certain elements so editors can easily extract them in post. If I know I’ll need fog or magic effects later, I might even prep placeholder elements for glow, particles, or lighting cues. At this stage, everything’s built for flexibility — clean shapes, transparent backgrounds, and grouped assets that can be reused across frames. The final PSD is tidy and production-ready, like a stage with every actor and prop waiting in the wings.

Then I move into After Effects, where the actual magic happens. I import the PSD as a composition with layer sizes intact, and immediately start building depth: pushing background layers further in Z-space, pulling foreground objects forward, and placing the virtual camera. From there, I use subtle keyframe animations to bring it all to life: a slow parallax scroll, ambient fog drifting sideways, hair shifting slightly, or embers rising. I animate with an understanding of motion curves, easing in and out naturally, using acceleration arcs to mimic physics and gravity.

Once the sequence is roughed in, I fine-tune the motion to match the pacing of the script or voiceover. Timing is everything; each frame has to land with intention. I’ll exaggerate easing curves, stretch anticipation, or offset layers to add punch. If a moment needs more impact, I’ll build custom particles, distortions, or camera shakes to heighten the emotion. It’s not just motion—it’s choreography. Every panel moves like a beat in a rhythm, guiding the viewer through the narrative flow without them ever noticing the craft.