Motion that makes people stop scrolling.
I take on projects from A to Z, starting from nothing but a brief or a script, building the visual language, designing every element and delivering a polished final animation. Whether it's a fully animated explainer, a broadcast opener or a live-action film with motion graphics layered on top, I handle it all.
We define the look, feel and direction together before anything gets made.
I create all assets, animate every element and bring the world to life.
You get the files, we fine-tune together until it's exactly right.
Delivered artwork, brought to life. Full character animation from scene to scene.
Neon, hand-drawn frame-by-frame animation for a DPG Media youth campaign across socials and screens.
View project →A show about dementia, where archive photos dissolve into moving footage and the past meets the present.
View project →
Logos, show packages, title sequences: I build the motion layer that makes a brand instantly recognisable, episode after episode, format after format.
Let's work →
For Independer's street interview series, I built every visual from scratch: animated questions and A/B/C answers flying in, a custom logo animation, SFX, social formats and MOGRT templates for the editors. Every episode, instantly recognisable.
I take real music, full tracks sometimes three minutes long, and edit them into short punchy intro tunes that feel like they were always that length. The perfect hit, at exactly the right moment. Every show gets its own sound and energy. SFX included.
Three years running, Kwikfit has opened their annual employee event with a film made by us. Each year a new style, same energy, always built for an audience that needs to feel it from the first frame.
Creative direction: Dustin Douma
Animation, motion & editing: Melanie Hoffman
An explosive opening that speaks directly to the audience, full of energy and true to the Kwikfit brand.
Another high-energy animation to hype up the crowd, same explosive feel with a whole new look.
Edited film format with motion graphics, plus a triple-screen layout that used the stage setup as a creative canvas.
Triple-screen format ↔Lower thirds, title cards, transitions: all delivered as editable MOGRT templates so editors can work independently, episode after episode, without coming back to me every time. I've sold packages to creators and built full show systems for series.
lower third
title card
transition
social format
Broadcast idents, DOOH screens in odd shapes, TVC title cards, VFX on live footage: work that doesn't stay on a phone. It plays on walls, in stations, during ad breaks, and on screens nobody else knows how to fill.
Let's work →It started with a logo animation. Their existing one was outdated and flat, so I rebuilt it from scratch: colourful, energetic, and unmistakably theirs. That one project turned into a full visual overhaul: DOOH for screens across the country, TVC idents, VFX on shot footage, social formats, and a 1.5-minute homepage compilation.
before
after
before
after
before
after
360° wraps at Utrecht, ultra-thin banners at Amsterdam Centraal, portrait towers, landscape strips: DOOH means designing for whatever shape is actually on the wall. No standard templates. Every format is its own puzzle.
Amsterdam Centraal: ultra wide
portrait
landscape
square
360° · Utrecht
Title cards, idents, opening sequences and screen replacements for broadcast: the frames that set the tone before a single word is spoken. Also: the invisible fixes that make footage usable.
Let's bring it to life. Bold, weird, beautiful, all of the above.
Start a project →
Stop the
scroll.
Nine-by-sixteen, one-by-one, four-by-five: whatever the platform needs. Motion built for the feed, designed to work without sound, and adapted so every format feels intentional.
Let's work →One video. Every social format.
A 1920x1080 master doesn't just get cropped, it gets rebuilt. Every platform has its own timing, safe zones and energy. LinkedIn reads differently to Instagram Stories. TikTok is not Facebook. Each format gets its own version, re-composed from the source.
One explainer.
Fourteen weeks.
A fully animated explainer cut into 14 social pieces, published across LinkedIn, Instagram and Facebook. One per week for 14 weeks, all in 4:5 format, building up a consistent feed of content from one source animation.
Frame by frame.
Neon. Everywhere.
A youth campaign for DPG Media, blasted across socials, bus screens and spots next to schools. I made frame-by-frame hand-drawn neon animations over the director's cut, then adapted everything for every social format.
On the social cuts I added extra graphics on top too, because a lot of kids watch with sound off, and it keeps the energy going even without audio.
See the full project →Same shot.
New frame.
Three pieces reframed from 1920x1080 to 1080x1920. Different composition, same content, each one rethought for vertical.
Templates built
around a brief.
Leading Stories plans, films and edits full social series for their clients. With a wide range of clients comes a wide range of brand styles, so I built them a set of lower thirds and title cards with changeable backgrounds, colours and fonts. One package, infinite clients. Delivered with SFX included.
Different variants playing out
Looking for templates you can keep using yourself, again and again? I sell Motion Graphic Templates too. (MOGRT)
Fully custom made and built for Premiere Pro.
Corporate.
But make it feel something.
Title cards and motion graphics for Edufictie, a collective making fictional educational films. The subject is serious. The visuals don't have to be.
edufictiefilm.nl ↗Compositing, retouching and art direction: most of it is private, but ask me what I've done. From movie poster composites to detailed retouching, it's a quiet part of the toolkit that comes in handy more often than you'd think.
Get in touch →