Activision needed 5 looping cinemagraph animations for Call of Duty: Mobile — pieces that had to feel alive and polished while delivering across three aspect ratios for different placement types.
The discipline in cinemagraph work is selection: which element moves, and which elements hold completely still. One or two motion focal points — character breathe, fire flicker, hair — while the rest of the frame holds dead still. A cinemagraph that moves too much becomes a video loop. Too little and it stops reading as alive. The restraint is the craft.
5 cinemagraph animations delivered across all required formats. 15 total assets, covering every placement type in the brief.
Five cinemagraph animations built across Spine 2D, After Effects, and Cinema 4D. Character movement, VFX, and 3D elements composited into frames where most of the image holds completely still. The stillness is what makes the motion read as expensive.
The stillness is what makes it expensive.
Cinemagraph work at franchise scale requires technical precision across multiple tools and a compositional discipline that most motion designers skip. Selecting which element moves — and which elements hold completely dead — is the entire craft problem. One or two focal points. Everything else locked. That restraint is what separates these from generic looping content, and it's what makes them work in placement inventory where generic content disappears.
Placement creative
that reads premium.
30 minutes. No pitch deck. We'll talk platforms, formats, and what's actually working in your market.