Video Marketing

Motion Graphics Advertisement Examples: 17 B2B Video Ads

Introduction

A motion graphics ad draws what a camera can't film

Most tech products can't be filmed. A vector index has no face. A firewall rule has no color. A compliance process is a stack of PDFs.

So tech brands draw them. A motion graphics advertisement uses moving shapes, type and diagrams to show what a camera can't. But moving shapes alone sell nothing.

Your buyer watches with one question at a time. Do I have this problem? How does it work? How do I get there? What will it return?

The short answer: the motion graphics ads that work for tech and B2B brands each draw one thing a camera can't film. Overload Scene draws the problem before the product. Zoom Lens draws the hidden part that does the work. Route Line draws the process as one line. Tally Mark draws one number a buyer can check. The 17 B2B video ads below are sorted by what they draw.

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17 examples

Motion Graphics Advertisement examples

Move 1 · Overload Scene

If your buyer doesn't feel the problem yet, draw the overload first.

Nobody buys a filing cabinet while the desk is clear. They buy one the day the papers hit the floor. Your buyer's tool sprawl is that floor.

I call it the Overload Scene: the pile your buyer is under today, animated before the product appears. Five examples.

Asana Promotional video animation

Asana's ad opens on a flood of scattered tasks and alerts: the “work about work” that eats a team's week. Then the same work unfolds onto one clear canvas.

What works here:

  • The problem lands in the first scene. Tasks and alerts pile up while time drains away, and every team lead watching has lived it.
  • One motion turns the mess into order. The scattered work unfolds onto a digital canvas, where workflows and projects are visible to the whole team.
  • It ends above the task list. Work connects back to company goals, the line a buyer's boss actually cares about.

The move: Animate the pile your buyer is buried under before your logo appears. If a viewer can't name the mess within 5 seconds, redraw it.

Ceipal social media video ad

Ceipal sells recruitment software. Its ad opens on recruiters juggling tasks and tools, under one line: “the struggle is real.” Then dashboards take over the juggling.

What works here:

  • The chaos is the recruiter's own day. Candidate evaluations, job postings and skill tests start scattered, then animate into one automated flow.
  • Fit is shown, not claimed. A rotating globe and a wall of partner logos stand for integrations with hundreds of job boards, HR systems and AI platforms like ChatGPT.
  • The finish line has a name. Built-in tests, AI match percentages and evaluation templates lead to “the perfect hire.”

The move: Show the tools your buyer juggles today as logos on screen, then animate them into one flow. If they wouldn't recognize the logos, swap them.

Zscaler business continuity ad

Zscaler's ad sells cloud security built for business continuity. It opens on customers who expect apps and data around the clock, then shows what happens when systems go offline.

What works here:

  • The cost comes in a buyer's units: brand reputation, regulatory mandates, financial losses and penalties.
  • Scale is a number: over 160 public points of presence, and more than 16 years running its security cloud.
  • It names its own worst case. What if Zscaler itself becomes unreachable in an outage or an attack? The answer is customer-hosted and fully managed continuity options.

The move: Ask the question your buyer's security team will ask about you, and answer it inside the ad. If you'd cut that scene for being too honest, keep it.

Palo Alto Networks Prisma AIRS ad

Palo Alto Networks' ad for Prisma AIRS AI Red Teaming opens on a shift. AI is changing how attackers work, and every new model or agent opens a new attack surface.

What works here:

  • The threats get names: jailbreaks, prompt injections, bias exploits and agentic tool misuse. A security lead can match each one to a risk on their list.
  • 3D isometric scenes of servers and chips carry what nobody can film, while the voiceover describes a library of hundreds of known attack methods.
  • Setup is three steps: add a target endpoint, connect a platform, start scanning. Each report ends in a Risk Score.

The move: Name the threats your buyer already worries about, in their words. If their security lead wouldn't recognize the list, rewrite it.

Coterie Insurance short explainer animation

Coterie Insurance sells business insurance to small companies. This explainer-style ad teaches one product, the Business Owners Policy, by drawing each risk before the cover.

What works here:

  • Each risk gets its own scene: an electrical fire, inventory theft, a customer liability claim.
  • Each cover becomes a shield. Commercial property, general liability and business interruption appear one by one, then lock together into one policy.
  • The close is growth. With insurance handled, the businesses on screen multiply.

The move: If your product bundles several tools, draw each one as a separate object first. Then snap them together, so the bundle reads in one motion.

Move 2 · Zoom Lens

If your product works where nobody can see, zoom in until they can.

Once they feel the problem, the next question arrives. How does your fix work? Most tech products have nothing to point a camera at.

A doctor doesn't explain an X-ray. She points at the shadow on it. I call it the Zoom Lens: one close-up of the part that does the work, drawn so your buyer can point at it too. Four examples.

MongoDB vector search ad

MongoDB's ad explains vector search, a feature with nothing to film. 2D motion graphics draw how a business's data becomes searchable by meaning.

What works here:

  • It opens on the gap. Plain text search misses context in the multimodal data a business creates.
  • The mechanism is three steps: take unstructured data, turn it into vectors with an embedding model, then make those vectors searchable.
  • Uses come as a short list: semantic search, retrieval augmented generation and agentic systems. Then fit: it runs on AWS, Azure, GCP or a local environment.

The move: Draw your hidden mechanism as 3 steps a buyer could repeat to their team. If it takes 4, merge two.

Azure AI Visual brand identity animation

Microsoft Azure's 46-second ad shows AI Content Understanding at work for WPP. A funnel animation takes in video, images and audio and turns them into usable insight.

What works here:

  • The funnel is the whole idea. Raw files go in the top. Transcription, chapters and scene identification come out the bottom.
  • A named customer carries the proof. WPP is the case, so the claim is tied to a real marketing business.
  • It stays short. One shape, one customer and one result fit in 46 seconds.

The move: Pick one shape for your product's hidden work: a funnel, a filter or a pipe. If you need two shapes, you have two ads.

Rectorseal social media video ad

RectorSeal sells ClearDrain PVC to HVAC professionals. The ad zooms into the pipe wall, down to the pores where biofilm grows in ordinary PVC.

What works here:

  • The close-up is microscopic. Bacteria settle in the pores of traditional PVC, and you see why condensate lines clog.
  • The fix appears at the same scale. Zinc plugs the tiny pores and leaves a surface biofilm can't hold on to.
  • A side-by-side comparison carries the claim, “up to 1000x more effective,” with ISO testing cited.

The move: Zoom to the scale where your product does its work. If the buyer can't point at the difference on screen, zoom closer.

CareStack CS Conversations Product promotion video

CareStack's CS Conversations listens to calls at a dental practice's front desk. The ad makes a phone call visible: sound waves turn into scrolling text as the call happens.

What works here:

  • Keywords light up as they're spoken, such as “Root Canal” and “New Patient.” The call becomes data.
  • The money gets a label. Calls are flagged as “Missed Opportunities,” like unbooked treatments or insurance delays.
  • Summaries turn into follow-up tasks, and dashboards show call sources, topics and sentiment.

The move: Turn your input into a visible object: a waveform, a ticket, a row. Then show the same object as a result. Same shape, before and after.

Move 3 · Route Line

If the process looks long, draw it as one line from start to finish.

Seeing how it works isn't the same as seeing how to get there. Next they ask: how many steps, and where do I fit?

A subway map leaves out the streets. It shows the stops in order, and you always know where you are. I call it the Route Line: your buyer's process drawn as one line the eye can follow, with your product at the stops. Four examples.

Crank Storyboard Visual brand identity animation

Crank's Storyboard helps teams build user interfaces for embedded hardware. Clean isometric motion graphics draw the whole route, from design file to tested product.

What works here:

  • Design files come in from Sketch and Photoshop, so designers and developers work side by side.
  • One chip swaps for another on screen. The same interface deploys to lightweight MCUs and high-performance MPUs.
  • Testing sits inside the loop: design, develop, test, iterate, with a desktop simulator and hardware exports.

The move: If your product shortens a process, draw the whole loop first. Then show where your product cuts it. Buyers only see the shortcut against the full route.

Cardinal Health Animated promotional video

Cardinal Health Regulatory Sciences sells regulatory consulting to drug developers. One red line runs through the drug development process and branches at each stage.

What works here:

  • Minimal icons mark each service: nonclinical and clinical development, chemistry, manufacturing and controls, and scientific writing.
  • The end of the line is concrete. Documents are compiled, reviewed, published and submitted in eCTD format.
  • It keeps going past submission, to inspections by the FDA and global health authorities.

The move: If you sell a service, draw your buyer's process as one line and put your team at each stop. If a stop has no service, cut it from the line.

Synopsys HAV motion graphics ad

Synopsys sells hardware-assisted verification to chip design teams. 3D renders and UI panels carry a claim that's hard to picture: verification that keeps pace with AI-era designs.

What works here:

  • The route is the claim. It runs from data centers to the edge, and from silicon to system.
  • One phrase sums up the offer: software-defined. Improvements arrive “one software improvement at a time.”
  • The goal is named in the buyer's own terms, first pass silicon and time-to-market. It ends on one address: synopsys.com/hav.

The move: Name the start and the end of your buyer's route in the first line. If an engineer can't say where your product sits on it, redraw the line.

Borrowell Promotional video animation

Borrowell is a consumer fintech app, the one non-B2B ad on this page. It's here for one technique: Credit Builder explained as a three-step line.

What works here:

  • Progress bars, calendars marking payments and a piggy bank turn each step into an object you can follow.
  • The fears get answered on screen: “no hard credit check” and “cancel anytime.”
  • The line ends past the product, at a house or a car bought at better rates.

The move: Draw your setup as three steps, and put your buyer's main fear next to the step where it shows up. End the line at their goal, not your feature.

Move 4 · Tally Mark

If the buyer has to justify the spend, put one number on screen and hold it.

The last question belongs to the person who signs. What will this return?

A bathroom scale ends the argument about weight. Your buyer's CFO wants the same thing from your ad. I call it the Tally Mark: one number, animated big, held long enough to read. Four examples.

Amazon Redshift motion graphics ad

Amazon Web Services' 28-second ad sells Redshift RG instances, powered by AWS Graviton. Animated infographics carry one number.

What works here:

  • The claim is exact: better performance at 30% lower price per vCPU than RA3 instances. The buyer's current instance is the baseline.
  • Two short lines remove objections: “No separate engine, no scanning charges.”
  • The script runs 53 words and ends on one ask: “Get started with Amazon Redshift today.”

The move: Compare your number to what your buyer runs today, not to a rival. If the baseline needs explaining, pick another number.

Certara Online video advertising

Certara's ad explains Vyasa Layer, a deep learning data fabric. It starts with data scattered across an organization and ends on two numbers.

What works here:

  • The problem is drawn first: siloed data, much of it unstructured and hard to reach.
  • Then the fabric. Content connects across locations and formats without being copied, in a no-code environment.
  • The proof is animated: a 97% improvement in query accuracy and a 90% decrease in analysis time.

The move: Give each number its own scene. If two numbers share a frame, the viewer remembers neither.

Rx EDGE Online video advertising

Rx EDGE sells in-pharmacy marketing to pharmaceutical brands. The ad follows one patient, Dave, from the pharmacy shelf to his doctor, then closes on the numbers.

What works here:

  • The contrast comes first: crowded digital media against one booklet at the shelf, where a health decision gets made.
  • The path is short and visible. Take a booklet, ask the doctor, fill the prescription.
  • The end card speaks to the buyer: an “Average script lift” of 12.5% and an “Average ROI” of $8.12, across over 150 pharma brands.

The move: Put your result in the metric your buyer reports upward. For a pharma marketer it's script lift. For yours, use the word their boss uses.

Agilent Avida Duo Product promotion video

Agilent's Avida Duo ad speaks to cancer researchers. 2D motion graphics show DNA variants and methylation captured from one small sample.

What works here:

  • The problem is drawn as a split. Traditional methods divide a precious sample, while Avida Duo captures both targets in sequence.
  • The supernatant retrieval step is animated, so a lab buyer sees exactly where the data is kept.
  • An animated timeline lands the number: both analyses in as little as 8 hours.

The move: If your number is time saved, draw it as a timeline next to the old way. The gap between the two lines is the ad.

Pick your move

Which move does your motion graphics ad need?

The short answer: ask one question. What can't your buyer see yet: the problem, the mechanism, the process or the payoff? The answer picks the move. One move per ad. If two are missing, make two short ads instead of one long one.

If your buyer can't seeUseDo thisExample to copy
the problemOverload SceneAnimate today's pile before the product appearsZscaler
how it worksZoom LensOne close-up of the part that does the workMongoDB
how to get thereRoute LineThe process as one line, your product at the stopsCrank Storyboard
the payoffTally MarkOne number against the baseline they run todayAmazon Redshift

Now go back to the vector index with no face. MongoDB gave it three steps. Every ad above did the same for its own invisible product: it drew one thing, clearly.

The move: write down the one thing about your product a camera can't film. Pick the move that draws it. Storyboard that scene first, before the logo and before the music.

A camera shows what your product looks like. Motion graphics shows what it does.

FAQ

Motion Graphics Advertisement Examples FAQ

What is a motion graphics advertisement?
A motion graphics advertisement is a short promoted video that uses animated shapes, type, icons and diagrams instead of filmed scenes. For tech brands, it draws what a camera can't film, like data, code or risk. It's one kind of software advertising video, built for feeds, landing pages and sales follow-ups.
How long should a motion graphics ad be?
Long enough for one idea. 14 of the 17 ads on this page run between 1:00 and 1:59. The shortest is Amazon Redshift at 0:28, built around one price claim. The longest is Zscaler at 2:34, because it answers its own worst case. Feed cuts run shorter, and the right length changes by platform.
What's the difference between a motion graphics ad and a 2D animated ad?
Motion graphics animates shapes, type, icons and interfaces. Character animation tells the story through drawn people. Most tech ads mix the two: Rx EDGE pairs a character, Dave, with charts and an end card of numbers. For more character-led work, see these 2D animated advert videos.
How is a motion graphics ad different from a SaaS motion graphics video?
An ad has one job: move a buyer to one next step, usually in a feed or on a landing page. A product video can run longer and teach. This page covers ads from tech and B2B brands across many categories. For software companies' explainer work, see these SaaS motion graphics videos.
Should a tech ad use 2D or 3D motion graphics?
Use 3D when the product has physical parts or depth to show. Palo Alto Networks uses 3D servers and chips, and Synopsys uses 3D renders of hardware. Use 2D when the idea is a process or data, the way MongoDB draws vector search. For physical products, study these 3D product ads.
How do you advertise an AI or data product with no interface?
Draw what goes in and what comes out. Azure AI draws a funnel: video, images and audio go in, transcription and chapters come out. MongoDB draws data turning into vectors. Pick one shape and use it for the whole ad, so the buyer only has to learn it once.
Should a motion graphics ad use a voiceover?
Usually, yes, when the product is complex. A voiceover carries the explanation while the graphics carry the picture. Amazon Redshift fits a 53-word script into 28 seconds. Add captions either way, so the ad still works with the sound off.
How much text should a motion graphics ad put on screen?
As little as the idea needs. One claim or one number per scene is easier to read while things move, and reducing cognitive load is a design rule worth borrowing. When the words are the visual, study these animated typography ads, where type does the moving.
Which numbers belong in a motion graphics ad?
One number the buyer can check, with a baseline. Amazon Redshift compares price per vCPU with the RA3 instances a buyer already runs. Rx EDGE closes on average script lift and ROI. Certara shows two, query accuracy and analysis time, each animated on its own. Hold the number long enough to read.
How should a motion graphics ad end?
On one instruction. “Get started with Amazon Redshift today” is the whole close of a 28-second ad. Palo Alto Networks ends on “Probe for hidden AI vulnerabilities.” Decide the call to action before the storyboard, so every scene builds toward it.
How do you cut a motion graphics ad for social feeds?
Make one full version, then shorter cuts that each keep one move. A feed cut might keep the Overload Scene or the Tally Mark and drop the rest. Design for a small screen: big shapes, few words, strong contrast. For the shortest formats, see these 15-second animated ads.
Which animation principles matter most in a motion graphics ad?
Timing, easing and staging do most of the work. Timing decides how long a number stays readable. Easing makes movement feel natural instead of mechanical. Staging puts one thing in focus at a time. All three come from the 12 principles of animation, adapted for motion design.
How do you measure whether a motion graphics ad works?
Pick the goal first: demo requests, trial sign-ups or clicks to a landing page. Track that one action against the ad's spend. Then check watch time and where viewers drop off. The drop-off second is the scene to fix first. Test two openings on the same audience.

Patterns from the analysis

Motion Graphics Advertisement Best Practices

Five of the ads above were broken down from their full transcripts: Amazon Redshift, MongoDB, Palo Alto Networks, Zscaler and Synopsys. Five patterns showed up. Five is a small sample, so read each count as what these five did, not as market data.

First Frame

Should a motion graphics ad open on the problem or the product?

Observation
Palo Alto Networks opens on attackers using AI. Zscaler opens on round-the-clock demand and what an outage costs. MongoDB opens on text search missing context. Synopsys opens on AI changing chip design. Amazon Redshift opens on the product and its price claim.
Data
3 of 5 opened on the buyer's problem. 1 of 5 opened on a market shift. 1 of 5 opened on the product.
The move
If your buyer already shops the category, open on the claim, the way Redshift does in 28 seconds. If they don't, open on the problem.
Checkable Figure

Should a motion graphics ad include a number?

Observation
Amazon Redshift claims 30% lower price per vCPU than RA3 instances. Zscaler counts over 160 public points of presence. Palo Alto Networks cites research from over 18,000 community members. MongoDB and Synopsys give no figure.
Data
3 of 5 gave a specific number.
The move
Use one number with a baseline your buyer knows. “30% lower than what you run now” is a decision. “Faster” is a mood.
Known Platforms

Should a tech ad name the tools a buyer already uses?

Observation
MongoDB names AWS, Azure and GCP. Amazon Redshift compares itself with RA3 instances, the buyer's current option. Palo Alto Networks mentions popular platforms without naming them. Zscaler and Synopsys name none.
Data
2 of 5 named specific platforms. 1 of 5 referred to them in general.
The move
Name the 2 or 3 platforms your buyer already pays for. A logo they know answers “will it fit?” before anyone asks.
Failure Plan

Should a motion graphics ad admit a weakness?

Observation
Only Zscaler does. It asks what happens if its own security becomes unreachable in an outage or an attack, then answers with customer-hosted and fully managed options. The other four show no limits.
Data
1 of 5 named its own failure case.
The move
If you sell to security or IT buyers, name your worst case and your plan for it. They'll ask on the first call anyway.
Last Instruction

How should a motion graphics ad end?

Observation
Amazon Redshift ends on “Get started with Amazon Redshift today.” MongoDB sends viewers to mongodb.com. Synopsys gives synopsys.com/hav. Palo Alto Networks ends on “Probe for hidden AI vulnerabilities.” Zscaler ends on a statement instead of a step.
Data
4 of 5 ended on a direct instruction.
The move
End on a verb and one destination. If your last line could close any ad in your category, rewrite it.

How to plan

Where to use your motion graphics ad

Put each cut where your buyer meets the question it answers. That one rule decides most placements.

  • Paid social and LinkedIn. Short cuts that lead with the Overload Scene or one Tally Mark number.
  • Landing pages. The full version, above the fold, for buyers who clicked through from the ad.
  • Sales follow-ups. The Zoom Lens or Route Line cut, sent after a call where the mechanism or the rollout came up.
  • Events and trade shows. A silent loop on a booth screen, where the graphics have to work without sound.

How do you create a motion graphics ad?

Eight decisions, in order. Each one narrows the next.

  • Goal. Demo requests, trial sign-ups or clicks. Pick one.
  • Buyer. Who's watching decides every word and every shape.
  • Move. The one thing your buyer can't see yet: the problem, the mechanism, the process or the payoff.
  • Drawing. One shape or one line that carries that move through the whole ad.
  • Script. Write the last line first. Then the first line. Then the middle.
  • Style. 2D for processes and data, 3D for hardware and depth. Browse technical animation styles before you brief a designer.
  • Number. One figure with a baseline, held long enough to read.
  • Ask. One instruction and one destination, decided before the storyboard.

Motion graphics ad production process

Every motion graphics ad runs through the same three stages. Knowing them keeps a project from drifting.

  • Pre-production. Set the goal, the buyer and the move. Then the script, the storyboard, style frames, the budget and the timeline.
  • Production. Design every frame, animate the scenes and record the voiceover.
  • Post-production. Add music, sound and captions, get feedback in one round, then cut a version for each platform.

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