Video Marketing

Motion Graphics Storytelling Examples: 30 Stories, 4 Plots

Introduction

A motion graphics story needs something to change

Most motion graphics videos that promise storytelling are moving slides. An icon slides in. A counter ticks up. A logo spins. Then the next icon.

Nothing happens to anyone. So nothing sticks.

A story needs one thing a slide never has: a change you can watch. A parent who goes from worried to sure. A knot of wires that disappears. A pizza ingredient that crosses borders and still arrives fresh.

The short answer: the motion graphics stories that work run one of four plots. Stick Figure draws one person your buyer can stand in for. Tidy-Up draws the mess, then clears it on screen. Courier Run follows one thing through what your product does. Playground sets an abstract idea in a world your buyer already knows. The 30 examples below are sorted by the plot they run.

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30 examples

Motion Graphics Storytelling examples

Plot 1 · Stick Figure

If your buyer can’t picture using it, draw one person who does.

A crash-test dummy says more about a car than a spec sheet. You picture yourself in that seat. Your buyer needs the same seat in your video.

I call it the Stick Figure: one drawn person whose day changes because of your product. Six examples.

Natera Emotional motion graphics

Natera’s Horizon carrier screening video follows prospective parents from hopeful to informed. The genetics sit inside their story, not beside it.

What works here:

  • DNA strands, chromosomes and a family tree are animated, with glowing markers for carriers and affected relatives. Inheritance becomes something parents can trace.
  • The test gets a new role. Screening is shown as a planning tool, before pregnancy or early on, not as a source of worry.
  • The story doesn’t stop at the result. Board-certified genetic counselors appear as the next step, so the parents aren’t left alone with the data.

The move: Put your buyer’s feeling at the start and the end, and your product in the middle. If your last scene shows a feature instead of a person, redraw it.

PharMerica Brand message visual story video

PharMerica runs pharmacy services for senior living. Its 2D character animation takes medication management from confusing to calm, for residents and their families.

What works here:

  • Loose pills turn into organized blister packs and clear monthly statements. The whole change is one drawn transition.
  • The expertise has numbers: 30 years of experience, and 24/7 access to pharmacists trained in geriatric care.
  • Families get a scene too. The MyPharMerica.com portal lets trusted family members help manage medication.

The move: If someone other than the user worries or pays, draw them into the story. If they never appear, your second buyer has no reason to say yes.

Lendi Visual storytelling

Lendi tells a home loan story in 16 seconds. A whirlwind of paperwork resolves into a personalized loan shortlist, and the story ends on a “SOLD” home.

What works here:

  • The mess is one image: paperwork spinning in the air. Viewers know the feeling before any word lands.
  • Props carry the claims. A magnifying glass checks the options. Binoculars reveal “FEES,” “TAX” and “RATES” upfront.
  • The arc is complete in 16 seconds: confusion, choice, home.

The move: Write your story in 3 frames: the mess, the choice, the result. If it needs a fourth frame to make sense, cut the third.

AgilLink Audience connection animation story

AgilLink is City National Bank’s mobile app for paying bills and approving invoices. The animation follows people working on the move, not at a desk.

What works here:

  • It opens on a world in motion. Character animation turns everyday places into places where work gets done.
  • Then the app. Bill pay and invoice approval shrink to tap-and-approve actions, with cash balances on hand.
  • Confident narration and short on-screen text carry the claims, so the drawn scenes can stay simple.

The move: Show your product in 3 places your buyer actually is when the task arrives. If every scene is an office, you’ve drawn your team, not your buyer.

Earth Token Animated explainer narrative

Earth Token explains an Ethereum-based platform that funds nature. It moves from global ecological urgency to a community paid in tokens to keep a forest standing.

What works here:

  • One scenario carries the model: a community receives Earth Tokens to preserve a forest. The incentive is easier to follow than the mechanism.
  • The network is drawn, not described. Ethereum’s symbol sits at the center, linked to hexagonal icons for projects and participants.
  • Terms like natural asset tokenization and carbon sequestration get on-screen text, so the narration doesn’t carry them alone.

The move: If your model has a hard mechanism, tell it through one group of people it pays. If a viewer can’t say who benefits, the scenario is missing.

Ownr Brand message visual story

Ownr helps founders incorporate a business online. Its 15-second spot rests on one person’s testimony: incorporation took less than 10 minutes.

What works here:

  • The friction comes first: the legal steps that make starting a business feel heavy.
  • On-screen visuals walk through the process, so the claim has something to point at.
  • One human claim does the selling. A person saying it took under 10 minutes is more specific than any adjective.

The move: Find the one sentence a real customer said about speed, and build the spot around it. If you can’t quote anyone yet, you aren’t ready for this one.

Plot 2 · Tidy-Up

If your buyer lives with the mess, draw the mess, then clear it on screen.

A person isn’t the only thing that can change. Sometimes the change is the room they work in.

A before-and-after photo of a garage sells the shelving. Nobody asks for the bracket specs. Your buyer’s tool sprawl is that garage.

I call it the Tidy-Up: the buyer’s mess drawn first, then cleared in one continuous move. Ten examples.

Wirepas Emotional resonance animation

Wirepas sells a wireless network for asset tracking. The video draws traditional tracking as tangled wires, then takes them away.

What works here:

  • The pain spans industries, from warehouse inventory to hospital asset searches. Tangled wires stand for the cost and the infrastructure.
  • The fix is one action: “just put it where you need it and go.” The network is battery-operated and self-healing.
  • It lands on one word, “FREEDOM,” then names cost savings, better operations and scale without limits.

The move: Pick one object that stands for your buyer’s old way, and remove it on screen. If the mess has no single picture, the tidy-up won’t land.

airfocus Story arc explainer video

airfocus sells roadmapping for teams that run several products. In 47 seconds, scattered tasks and disconnected apps become one roadmap.

What works here:

  • Chaos first: disorganized product management, drawn as scattered pieces.
  • Then alignment. The Priority chart and the Priority Poker game show product managers and CPOs ranking the work together.
  • Jira and Azure DevOps stay connected, so the tidy roadmap doesn’t become a new silo.

The move: After the tidy-up, name 2 tools your buyer keeps. If the clean state looks like a rip-and-replace, buyers will picture the migration, not the result.

Google Cloud Visual Storytelling Video

Google Cloud’s Service Directory video starts with services scattered across clouds and tracked by hand. It ends with one fully managed directory.

What works here:

  • The cost is named: manual tracking eats engineering time.
  • The scattered system becomes an organized directory in one animated shift. Error-prone turns into findable.
  • Real-time information and rich metadata let teams define and group services, so the manual updates stop.

The move: Name the hours your buyer’s mess costs, then make the mess disappear. If your before-state has no cost attached, it’s just a messy picture.

Esper Narrative explainer video

Esper manages devices for retailers. Its 42-second 2D story opens on a frozen software update and an offline kiosk.

What works here:

  • Device failures link straight to frustrated shoppers and the retailer’s bottom line.
  • A shattering effect sweeps the headaches away. Esper’s benefits follow: reliable, easy, a better device experience.
  • The close widens to the store. Devices that work make shopping and staff work easier.

The move: Draw the failure from the customer’s side of the counter. If only IT would recognize the scene, the business buyer won’t.

VERITAS Kubernetes resiliency animation

Veritas sells Kubernetes data resiliency. The story opens on business-critical apps going offline, and on what that does to revenue.

What works here:

  • The threat has pictures: a darkening cloud, a ticking time bomb, a cascade of “OFFLINE” warnings.
  • Then fit. GKE, AKS, Nutanix, Rancher, OpenShift, EKS and Tanzu appear across private, hybrid and public clouds.
  • The calm state has names: migration between environments and elastic auto-scaling keep apps running.

The move: Give the risk a clock. If your problem scene has no sense of time running out, it reads as a diagram, not a story.

Jotform Enterprise Animated explainer video

Jotform Enterprise starts with an organization spread across the globe. Animated pins and lines pull its teams and data into one place.

What works here:

  • The world map is the before-state: teams scattered by geography.
  • Brand and security come next: white-labeled forms and URLs, plus Single Sign-On.
  • The admin console closes it, with user roles, activity logs and real-time support.

The move: If your buyer’s mess is distance, draw it on a map, then connect it. If the lines don’t meet at your product, redraw them.

BioStar 2 Building narrative arc animation

Suprema’s BioStar 2 pulls separate security tools into one platform. Visitor management, parking access and video surveillance merge into a single system.

What works here:

  • Network visuals show the pieces joining, so “integrated” is something you watch.
  • Dashboards show administrators running access control and monitoring from one place.
  • Credential options show the range: RFID, QR codes, face and fingerprint recognition, and mobile.

The move: Show every separate tool your buyer runs today, then merge them in one move. If they merge off screen, “integrated” is just a word.

Nalco Water Explainer video animation story

Nalco Water’s OMNI Analytics video starts with the hidden costs of reactive maintenance. It ends with operators catching heat exchanger problems before they hit profit.

What works here:

  • 3D models and animated data streams turn operating data into a picture of what’s coming.
  • Data meets people. 20 years of 3D TRASAR data and 24/7 monitoring work alongside on-site experts.
  • The payoff sits on a laptop and a phone: dashboards that track improvement and lower operating costs.

The move: If your product moves buyers from reacting to predicting, show the same failure twice: once after it happens, once before. The gap between them is your story.

Hitachi Message driven animation

Hitachi Energy’s video opens on rising electricity demand and the move to renewables. Its Power Conversion Products arrive as the control a changing grid needs.

What works here:

  • The before-state is the whole grid. Sustainability goals for 2050 demand far more power and a rethink of how grids work.
  • Distributed energy sources are the strain that existing infrastructure has to absorb.
  • Then the fix, in plain outcomes: more renewables, lower emissions, better reliability.

The move: If your buyer’s mess is coming rather than here, put the date on screen. A deadline turns a forecast into a story.

AXA Creative video production

AXA Switzerland’s climate strategy video turns climate impacts into a plan on 4 levels. 2D animation moves from problem to response, one level at a time.

What works here:

  • The 4 levels, in order: climate-friendly insurance products, risk management, ESG criteria in investments and net-zero operational emissions by 2025.
  • Split screens and scene morphing separate the problems from AXA’s answers.
  • It ends on a promise you can picture: one square meter of biodiversity for every customer by 2025.

The move: If your plan has levels, give each one its own before and after. If a level has no after frame, fix it or cut it.

Plot 3 · Courier Run

If your product works out of sight, follow one thing through it.

A tidy-up shows the result. But some buyers stop at a harder question: what actually happens inside?

A parcel tracker makes a 5-day wait feel short, because you can see where the box is. Your buyer’s data moving through your product is that box.

I call it the Courier Run: one thing, a molecule, a record or an ingredient, followed from start to finish. Eight examples.

Maersk Pizza supply chain story

Maersk explains its supply chain through one pizza. A 2D animated infographic follows the ingredients from farm to fork.

What works here:

  • The thing being followed is ordinary. Everyone knows a pizza, so global logistics have something to hang on.
  • Each ingredient gets its own card, and each one comes from a different country.
  • The promise sits in the title: ingredients kept fresh from farm to fork.

The move: Pick one everyday object your product touches, and trace it end to end. If a viewer can’t name the object afterward, it was too abstract.

Moderna motion graphics storytelling

Moderna’s video follows mRNA from delivery to defense. It shows how lipid nanoparticles carry a “code-carrying molecule” into cells.

What works here:

  • It starts with the body’s own immune system, then shows mRNA as the way to put it to work.
  • The courier has a size and a job: 100-nanometer lipid nanoparticles, described as “shipping containers.”
  • A mix of 2D and 3D animation in blue and white keeps a molecular process readable.

The move: Give the thing you follow a job your buyer already knows, like “shipping container.” If you need a glossary, find a better job.

Innovatrics DOT Animated infographic design

Innovatrics’ Digital Onboarding Toolkit follows one identity check through two steps. A document scan, then a face match, end in a Trust Score.

What works here:

  • Step 1 is the document. Multi-script OCR pulls the data and checks for tampering.
  • Step 2 is the face. It’s matched to the ID photo, with ISO-compliant liveness detection against presentation attacks.
  • The Innovatrics Trust Center adds it all up into one Trust Score, a number the business can act on.

The move: Follow one record through your product and end on the output your buyer acts on. If it ends on a feature, keep going until it ends on a decision.

FACTSET Explainer video production

FactSet’s case study follows a global wealth firm’s internal portal. Data and reports are broken into “individual web components” and woven into the system advisors already use.

What works here:

  • Holographic data and animated UI show portfolio analysis and market monitoring moving into the existing portal.
  • The scale is a number: over 10,000 employees get analytics without switching between applications.
  • The ending is about focus, not tech. The firm puts its effort back into client relationships.

The move: In a case study, follow the customer’s data, not your logo. If the customer’s own system never appears, the story is about you.

Talkdesk AppConnect Animated marketplace story

Talkdesk AppConnect is a marketplace of contact center apps. The video follows apps as they gather on the platform, install and go global.

What works here:

  • A circular animation pulls together over 90 partner offerings and Talkdesk’s own add-ons.
  • One-click installs in a stylized interface carry the claims “rapid time to value” and “minimal effort to launch.”
  • A world map fills with nodes, then icons name the outcomes: agent performance, customer satisfaction, lower costs.

The move: Follow one app from the shelf to a live customer. If the install takes more than one shot, simplify the shot.

ARNITEL Visual story animation

Envalior’s video for ARNITEL Care TPC follows two things through a membrane. Moisture vapor gets out. Bacteria and viruses don’t.

What works here:

  • 3D particle simulations set the monolithic membrane next to microporous materials, so the difference is visible.
  • The material then shows up in products: mattress protectors, surgical gowns and wound care films.
  • Comparisons with PVC and traditional TPU, plus 100% polyester recyclable designs, close the case on safety and sustainability.

The move: If your advantage is invisible, follow what gets through and what doesn’t. If both paths look the same, your viewer can’t see the claim.

PacketLight 400G animated explainer

PacketLight Networks shows network operators how 400G optical transport meets rising bandwidth demand. Flowing data animations carry a problem-solution story.

What works here:

  • The capacity is a number: 1RU muxponders and transponders reaching 4.8 Terabit.
  • A mix of services runs over 400G with fewer wavelengths. That’s where the cost saving comes from.
  • Layer-1 encryption and an equipment-agnostic design answer the security and lock-in worries.

The move: Follow the traffic, not the box. If the data never moves on screen, it’s a product shot, not a story.

Domino Explaining concepts visual story

This video follows ribbon through a Domino thermal transfer printer in four saving modes. Each mode runs side by side with a “Default Mode.”

What works here:

  • Split screens make the saving visible. Economy, Retraction, Column and Stop Mid Print each run against the default.
  • Short on-screen text names each mode, so operations managers can match a mode to their line.
  • The close combines the modes for more efficiency across packaging applications.

The move: Run your product next to the old way, in the same frame, at the same time. If viewers have to remember the before, they won’t.

Plot 4 · Playground

If the idea is abstract, set the story in a world your buyer already knows.

Some products have no person to follow and no object to track. Just an idea. So where does the story happen?

A board game teaches money faster than a finance class. Your buyer learns your category the same way, through a world they already know the rules of.

I call it the Playground: a familiar world, a stadium, a carousel, a road trip, where your idea gets played out. Six examples.

Alation Animated corporate storytelling

Alation marks 10 years in data catalogs by borrowing from sports. It asks who the “GOAT” is, then builds a Hall of Fame to answer.

What works here:

  • Sports figures introduce the Greatest Of All Time idea before Alation appears. The frame is familiar, so the claim lands faster.
  • Banners in a stadium carry the proof: analyst recognition from Gartner, Forrester and IDC, Snowflake, and Fortune 100 trust.
  • Sports-style commentary and a celebratory soundtrack keep the whole video in one world.

The move: If you’re selling a track record, pick a world where track records already matter. If the metaphor drops away halfway, the proof feels pasted in.

EU tax and customs Informational animated story

EU tax and customs explains VAT carousel fraud with an actual carousel. It isn’t a software brand, but the move fits any fraud, risk or compliance product.

What works here:

  • The cost is personal first. A €100 note vanishes from a pocket, then the loss climbs to €50 billion a year.
  • The carousel makes a cross-border fraud chain easy to follow. Company labels and percentages mark each step.
  • It ends with the carousel stopping, arrests made and money going back to citizens.

The move: Turn your buyer’s problem into a machine they’ve ridden, then stop the machine. If the metaphor can’t be stopped, it can’t show your fix.

Recruit CRM recruitment roadmap animation

Recruit CRM lays out a 12-month recruitment roadmap that turns effort into revenue. The 2D animation draws recruiter pain points along a road trip.

What works here:

  • The road trip gives a year of work a shape: a start, a route and a destination. The destination is revenue.
  • Recruiter workflow pain points sit along the route, so viewers meet the problems in order.
  • To be clear, the metaphor repeats and many frames carry a lot of text. It works as structure more than spectacle.

The move: If your story spans months, draw it as a trip with a destination. If the destination isn’t a number your buyer cares about, change it.

MSD Careers Digital story animation

MSD Careers uses this video to recruit for its Human Health marketing team. It’s a hiring video, not a product video, but the move works for any team or function page.

What works here:

  • It redraws pharma marketing as patient-focused work that “thinks beyond the pill.”
  • Flat illustration and visual metaphors do the explaining: a growing pyramid for initiatives, a globe for global collaboration.
  • The work is shown as teamwork across finance, forecasting and promotional budgets.

The move: If you’re explaining a team, give it one shape that grows. If the shape never changes, it’s a logo, not a story.

Labuan IBFC Visual narrative video

Labuan IBFC pitches itself as a financial hub in Asia. The plot is the thinnest here: expanding circle infographics do most of the work, and two familiar symbols carry the trust.

What works here:

  • Conventional, Shariah-compliant and digital offerings branch out from one center: banking, insurance and capital markets.
  • Company structures, from International Business Companies to Protected Cell Companies, plus tax incentives, appear as reasons to come.
  • A magnifying glass stands for transparency. A shield stands for security.

The move: If your platform has many modules, give each promise one familiar symbol. If you need more than 3 symbols, the list is too long for one video.

eSentire Animated storytelling video

eSentire’s 36-second brand segment maps a digital landscape full of threats. Glowing streams cross digital frontiers under watchful eyes.

What works here:

  • The world is a territory under watch, which makes a security service something you can see.
  • The promise moves past detection, to response, remediation and results.
  • It ends on a battle-tested presence that lets businesses scale securely.

The move: If you sell protection, draw the territory you watch. If the threat has no place on screen, the protection has nowhere to stand.

Pick your plot

Which plot does your motion graphics story need?

The short answer: ask one question. What does your viewer need to see change: a person, a mess, a hidden process or an abstract idea? The answer picks the plot. One plot per video. If two feel right, make two short videos instead of one long one.

If the change is inUseDo thisExample to copy
A person’s dayStick FigureDraw one person your buyer can stand in forNatera
A messy workflowTidy-UpDraw the mess, then clear it in one moveWirepas
A process nobody seesCourier RunFollow one thing from start to finishMaersk
An abstract ideaPlaygroundSet it in a world your buyer knowsEU tax and customs

Now go back to the moving slide: an icon, a counter, a spinning logo. Nothing changed for anyone. Each plot above fixes that by giving the viewer one thing to watch change.

The move: list the scenes in your current script. Next to each, write what changes in it. Any scene where the answer is “nothing” gets a plot, or gets cut.

Moving icons show what you built. One thing changing shows why it matters.

FAQ

Motion Graphics Storytelling Examples FAQ

What is motion graphics storytelling?
Motion graphics storytelling uses animated shapes, type, icons and drawn characters to show something change over time: a person, a workflow, a process or an idea. The change is the story. Wirepas draws tangled wires, then removes them. That’s a story. An icon list is not.
How is a motion graphics story different from a motion graphics ad?
Many motion graphics ads make a claim and show the product. A motion graphics story shows a before and an after, so the claim gets proven by the change. For the live-action side of the same idea, see these storytelling ads.
Does a motion graphics story need a character?
No. Only the Stick Figure plot needs one. Wirepas tells its story with wires, Moderna with a molecule, Alation with a stadium. A character helps most when your buyer can’t picture using the product. For drawn customers, see these animated SaaS customer story videos.
How long should a motion graphics story be?
Most run 1 to 2 minutes: 17 of the 30 on this page do. The shortest are Ownr at 0:15 and Lendi at 0:16, each with one change. The longest is Labuan IBFC at 2:52. Fit the length to the change, not the feature list.
Should a motion graphics story use a voiceover?
Usually, yes. A voiceover carries the meaning so the drawings can stay simple, the way AgilLink’s narration does. Add captions either way. Plenty of people watch with the sound off.
Should a motion graphics story use 2D or 3D animation?
Use 2D when the story is about people, workflows or ideas, like Natera, Esper and airfocus. Use 3D when the story happens inside something physical, like Nalco Water’s heat exchangers or ARNITEL’s membrane. Moderna mixes both.
Where should the product appear in a motion graphics story?
After the problem and before the result. Esper opens on a frozen update and an offline kiosk, then brings in the product. If your product appears in the first frame, the viewer has no reason yet to care about it.
How should a motion graphics story end?
On the changed state, not the logo. EU tax and customs ends with the carousel stopping. Lendi ends on a “SOLD” home. Natera ends with genetic counselors ready to help. Show the after, then the call to action.
What makes a visual metaphor work in a motion graphics story?
Three things. Your buyer already knows its rules. It lasts the whole video. And it can change when your product arrives. Alation keeps its stadium to the end. EU tax and customs stops its carousel. A metaphor that can’t change can’t show your fix.
Can a B2B software product tell a story without showing its interface?
Yes, for the first half. Google Cloud and airfocus draw the mess as shapes before any screen appears. But show the interface before the end. Buyers want to see what they’d actually use.
How many ideas should one motion graphics story carry?
One change, one plot. Lendi carries one in 16 seconds: confusion to a sold home. When a video stacks several changes, none of them sticks. Split extra ideas into separate short videos.
How do you measure whether a motion graphics story works?
Pick the goal first: demo requests, trial sign-ups or a page visit. Track clicks on the call to action against it. Then check where viewers drop off. A drop before the change lands means the setup is too long.

Patterns from the analysis

Motion Graphics Storytelling Best Practices

The 7 stories above that run under a minute were compared using their written breakdowns: Lendi, Ownr, eSentire, Esper, Maersk, airfocus and AgilLink. Three patterns showed up. Seven is a small sample, and none were broken down from full transcripts, so read each count as what these seven did, not as market data.

Problem Open

Should a short motion graphics story open on the problem?

Observation
Lendi opens on a paperwork whirlwind. Esper opens on a frozen update and an offline kiosk. airfocus opens on disorganized product management. Ownr opens on the legal steps of starting a business. eSentire opens on a landscape of threats. Maersk and AgilLink open on a setting instead.
Data
4 of 7 opened on a named buyer problem. 1 of 7 opened on a general threat. 2 of 7 opened on a setting.
The move
Under a minute, open on the problem. You don’t have time to build a world and then break it.
One Picture

How many images should a short motion graphics story rest on?

Observation
Lendi rests on spinning paperwork. Esper rests on a shattering effect. Maersk rests on a pizza. airfocus rests on scattered pieces becoming one roadmap. AgilLink rests on people working on the move. eSentire rests on a watched map. Ownr rests on a spoken claim instead.
Data
6 of 7 built the story on one central picture. 1 of 7 built it on one spoken claim.
The move
Pick one picture for your short cut and let everything else serve it. If you can’t name the picture in 3 words, you have more than one.
Hard Number

Do short motion graphics stories use numbers?

Observation
Only Ownr puts a number on its promise: incorporation in less than 10 minutes. Lendi names “FEES,” “TAX” and “RATES” without figures. The other five make their case with pictures and words.
Data
1 of 7 gave a specific number.
The move
If you have one number your buyer can check, put it at the moment of change. A drawn after-state plus a number is a promise. Without the number, it’s a mood.

How to plan

Where to use your motion graphics story

Match the plot to the place. A story that needs 2 minutes won’t survive a feed. A 16-second story can’t carry a sales call.

  • Landing pages. A Tidy-Up or Stick Figure story above the fold, so a new buyer sees the change before reading a word.
  • Paid social and feeds. A cut under a minute, built on one picture, like Lendi or Esper.
  • Sales follow-ups. A Courier Run that shows what happens inside, for the buyer who asked “how does it work?”
  • Category and brand pages. A Playground story, when the idea is newer than the buyer’s vocabulary for it.

How do you write a motion graphics story?

Start with the change, not the script. Write the last frame first: what does the world look like once your product is in it? Then write the first frame: the same world without it.

The middle is the story arc between them. Keep it to the moments that move the viewer from one frame to the other. The elements of a complete narrative still apply: someone or something, a setting, a conflict and a resolution.

  • Last frame. The after-state, drawn, with your product in it.
  • First frame. The before-state your buyer recognizes.
  • Plot. Stick Figure, Tidy-Up, Courier Run or Playground.
  • Middle. Only the beats that connect the two frames.
  • Words. Narration says what the drawings can’t. Cut every line that describes what’s already on screen.

For flat, character-led work, these 2D animated storytelling examples show the same structure in other categories.

Motion graphics story production process

Every motion graphics story runs through the same three stages. A clear plot keeps each one short.

  • Pre-production. Pick the goal, the buyer and the plot. Write the script, then a storyboard with one frame per change. Agree on the budget and the timeline.
  • Design. Build the style frames: the character, the mess, the object or the world. A Courier Run needs the followed object designed first, the way most animated process explainers start.
  • Animation and post-production. Animate the change, record the voiceover, add music and sound, then cut a short version for social.

Unlike many SaaS motion graphics videos, a story gets judged on one moment: the change. Spend the animation budget there.

About the author

About Jai Ghosh

Jai Ghosh
Video Producer at Advids · LinkedIn

Jai Ghosh is a Video Producer at Advids, where he has planned and produced videos for B2B software and technology companies for 7 years. He works on product demos, explainer videos and brand videos, from the first script to the final cut, for clients from startups to enterprises.

Before Advids, Jai spent over 11 years in freelance media consulting, after starting out in digital journalism. He writes the Advids blog's breakdowns of product and demo videos, sorting real examples by the question each one answers for a buyer.

  • Focus: SaaS product demos, explainer videos and brand videos
  • Experience: 7 years at Advids, over 11 years in media consulting
  • Background: digital journalism

Connect with Jai Ghosh on LinkedIn