Motion Graphics

Chinese motion design sits at the intersection of the Beijing 798 art district's creator community, Shanghai's Anfu Road agencies and the academic pipelines feeding talent out of Beijing Film Academy, China Academy of Art Hangzhou, Sichuan Fine Arts, Tsinghua Academy of Arts and Design and the CAFA design programs. Our team coordinates motion-design briefs across studios and freelancers serving every major streaming platform — Tencent Video, iQIYI, Youku, Mango TV, Bilibili.

Here is how this works in practice. Alongside CCTV broadcast, theatrical features by Frant Gwo, Wuershan, Chen Sicheng and Zhang Yimou, and the global brand work routed through Shanghai's luxury and tech sectors. Designers move fluently between Simplified Chinese and English typography, handle the vertical-orientation and traditional-script briefs that occasionally surface for period features or Hong Kong and Taiwan co-deliveries, and bring a colour and rhythm sensibility shaped by both CCTV broadcast standards and the post-2020 streaming-shot visual language that distinguishes shows like Three-Body Problem, Joy of Life and The Long Season from prior-decade Chinese TV design.

Project scope spans title sequences for theatrical features and streaming series, lower thirds and broadcast graphics packages for CCTV, Hunan TV, Dragon TV and Zhejiang TV, infographics and data visualisation for documentary clients including those routed through CGTN and CICC, branded explainer sequences for Tencent, Alibaba, ByteDance, Xiaomi, Huawei and BYD, and game-cinematic motion-design crossover work where the Tencent Animation and NetEase pipelines bleed into broadcast and theatrical briefs.

The picture on the ground is more specific. The work runs on Adobe After Effects for 2D motion and design, Cinema 4D and Maya for 3D animation, Houdini for procedural simulation, and Substance Painter for textured 3D-type work, with Unreal Engine 5 increasingly part of real-time motion-graphics pipelines tied to virtual production at Hengdian and Qingdao Wanda. We work from existing brand guidelines or develop new visual systems where the production needs a custom identity, structure episodic graphics as flexible template systems for week-by-week variation, and final delivery covers broadcast-spec ProRes, DCP-ready elements, IMF packages for streaming masters, captioned versions meeting NRTA accessibility and content-review requirements, and social-cut versions for Weibo, Douyin, WeChat Channels and Xiaohongshu distribution.