I'm John Stephen. For five years I've given fintech, entertainment, marketing and media teams a visual pulse — films and interface motion where every frame is cut to earn its place.
SaaS products
Rather than a gallery that ages the moment it ships, every finished piece goes to Dribbble the week it's delivered — product films, brand loops, UI studies and flyer sets, in full.
Concept, design, animation and sound handled by one person, so nothing gets lost in a hand-off — and the timing stays consistent from the first board to the final mix.
Interface films that make a product legible in thirty seconds — onboarding walkthroughs, feature reveals and launch films cut to the rhythm of the pitch, not the screen recording.
Logo behaviour, transitions and a timing language the rest of your team can reuse. Delivered as a short motion guide so the brand keeps moving the same way after I hand it over.
The small moves that decide whether an interface feels expensive: state changes, loaders, empty states and gesture feedback, specced with real curves and durations for your engineers.
Static key art turned into scroll-stopping social frames and stage-ready opens — sized, timed and colour-checked for the feed and for the room.
The process exists so you never see a surprise at the end. You sign off the rhythm before the polish, which is the only stage where changes are cheap.
One call, a short written brief back to you. If the idea doesn't survive being written in a sentence, animating it won't save it.
Frames and a rough animatic with real pacing. You approve the rhythm before a single asset is polished — that's where the cost lives.
Design, animation, type and colour built in one pass so the film holds together instead of being assembled from parts.
Sound design, final grade, then every cut and aspect ratio you need, named and packaged. Source files on request.
Most motion work fails on pacing, not polish. I come at it from the cut first — which is why the films read cleanly at 1× and still hold up frame by frame.
I work with small teams who need one film to carry a lot: a launch, a round, a stage. You get the same person on the concept call, the boards, the animation and the mix.
Five-plus years across fintech, entertainment, marketing and media — product films, brand systems, interface motion, flyers and event opens. Tools are After Effects, Cinema 4D, Figma and Premiere, but the tool is never the point; the timing is.
A logo animation or a set of flyer cuts lands in three to five days. A product or launch film runs two to three weeks end to end, most of which is boards and timing rather than render.
Always — and I'll extend them into motion. If there's no motion section in your guide yet, I'll write one as part of the project so the next person animating stays on-system.
The goal, where it will be seen, any brand assets you have, and a rough deadline. That's enough for a quote. Copy and script can be shaped together.
Yes. Sound design and mix are included by default — timing without audio is only half the craft.
For teams shipping motion every month, yes. A fixed monthly block is usually cheaper and faster than briefing project by project.
A deadline, a goal and whatever assets exist is enough. You'll get a straight answer on scope, price and timing — and an honest no if I'm not the right fit.