[{"data":1,"prerenderedAt":104},["ShallowReactive",2],{"insights-index-v2":3},[4,26,39,60,76,92],{"slug":5,"layout":6,"title":7,"excerpt":8,"category":9,"date":10,"image":11,"imageAlt":12,"content":13},"motion-and-video-work-better-together","half","Motion isn’t there to replace video.","It’s there to make it work harder.","Motion design","2026","\u002Fimg\u002Fportfolio\u002FBASE\u002FTUMB\u002FBASE1_TUMB_HORIZONTAL.webp","Motion and video working together in a launch film",[14],{"type":15,"paragraphs":16},"text",[17,18,19,20,21,22,23,24,25],"One of the first questions I get asked is: “Do we need a video or an animation?” The answer is often both.","Video captures what’s real. It builds trust through people, emotion, atmosphere, and authentic moments. It’s the fastest way to make something feel human.","Motion has a different role.","It explains what the camera can’t. It guides attention, simplifies complex ideas, reinforces a brand, and gives structure to a story. Not by replacing the footage, but by making it clearer. The strongest projects rarely rely on just one discipline. They combine both, each doing what it does best.","A launch video becomes easier to understand. A testimonial gains context. A product film communicates more with less. Motion doesn’t exist to make a video look more impressive. It exists to make the message stronger. That’s why I’ve never seen myself as just a motion designer.","Every project starts with the same question: What does this story need? Sometimes it’s motion. Sometimes it’s film. More often than not, it’s both.","Working across both disciplines means I don’t have to force a solution because it fits my skill set. Instead, I can choose the right tool for the story. Sometimes that’s a subtle animated title. Sometimes it’s a complete motion system. Sometimes the best decision is not to animate at all.","Projects like JOBR, Skedle, the Olympic Games, and BNP Paribas Fortis all required a different balance between video and motion. Each project asked for its own approach, but they all shared the same goal: communicate clearly, strengthen the brand, and create something people remember.","The best motion isn’t the most noticeable. It’s the motion people don’t realise they needed until it’s gone.",{"slug":27,"layout":6,"title":28,"excerpt":29,"category":9,"date":10,"image":30,"imageAlt":31,"content":32},"motion-with-a-job-to-do","Motion with a job to do","Why animation should always support the story.","\u002Fimg\u002Finsights\u002Fmotion-with-a-job-to-do\u002F01_MOTION-WITH-A-JOB-TO-DO.webp","Motion design work in progress",[33],{"type":15,"paragraphs":34},[35,36,37,38],"Animation has become easier than ever to create. With countless templates, plugins, and AI tools available, movement is everywhere. But not every animation adds value.","Good motion isn’t about making things move. It’s about helping people understand, remember, and feel something. Every transition, every easing curve, every animated element should serve a purpose. If it doesn’t, it’s probably getting in the way.","When I start a motion project, I rarely begin inside After Effects. I begin by asking a simple question: What should this motion achieve? Sometimes it’s about guiding attention. Sometimes it’s about explaining a complex product. Sometimes it’s simply about giving a brand more personality. The animation itself is never the goal. It’s a tool.","This becomes especially important when working with brand identities. Motion should extend an existing visual language, not compete with it. A logo animation shouldn’t exist because every logo \"needs\" one. It should exist because it reinforces the character of the brand. The same applies to explainer videos. The strongest animations aren’t necessarily the most impressive. They’re often the clearest. They remove friction instead of adding it. One project where this philosophy became central was the motion system for Bakker Klaas & Studio Mario. The identity, designed by Birrd, already had a strong handcrafted character. Our job wasn’t to reinvent it. It was to bring it to life through subtle movement, playful timing, and tactile transitions that felt like a natural extension of the brand. Motion should always have a job to do. When every movement has intention, people rarely notice the animation itself. They simply understand the story better.",{"slug":40,"layout":6,"title":41,"excerpt":42,"category":43,"date":10,"image":44,"imageAlt":45,"content":46},"shared-memories-award","From anonymous memories to a Henry van de Velde Award","How Shared Memories turned emotion into an immersive installation.","Process","\u002Fimg\u002Finsights\u002Ffrom-anonymous-memories-to-a-henry-van-de-velde-award\u002F01_HVDVA.webp","Shared Memories installation",[47,51,55],{"type":15,"paragraphs":48},[49,50],"Some projects begin with a client brief. Others begin with curiosity. Shared Memories started with a simple question: Can a deeply personal memory become a shared experience?","Together with Jens Demarest, I created an immersive installation that transforms anonymous memories into an abstract composition of light and sound. Visitors don’t immediately discover whose memory they’re experiencing. Instead, they’re invited to interpret the installation through their own emotions before revealing the original story.",{"type":52,"src":53,"alt":54},"image","\u002Fimg\u002Finsights\u002Ffrom-anonymous-memories-to-a-henry-van-de-velde-award\u002F02_HVDVA.webp","Shared Memories receiving a Henry van de Velde Award",{"type":15,"paragraphs":56},[57,58,59],"That order matters. Most storytelling explains first and lets you feel afterward. We wanted to reverse that. Experience first. Explanation second. Because the installation relied on abstraction instead of literal visuals, motion became one of the main storytelling tools. Every light movement, transition, and rhythm had to communicate emotion without words. The limitations became part of the design. Low-resolution LED panels forced us to simplify every visual decision. Rather than seeing that as a restriction, we embraced it. Less detail created more room for interpretation.","The project eventually received a Henry van de Velde Award, recognising both its emotional impact and its innovative approach to storytelling. Winning the award was incredibly rewarding, but perhaps the most valuable lesson was something else entirely.","People don’t always remember what they see. They remember what they feel.",{"slug":61,"layout":6,"title":62,"excerpt":63,"category":64,"date":10,"image":65,"imageAlt":66,"content":67},"filming-the-olympic-games","What filming at the Olympic Games taught me about staying flexible","Creating under pressure without compromising quality.","Videography","\u002Fimg\u002Finsights\u002Fwhat-filming-at-the-olympic-games-taught-me-about-staying-flexible\u002F01_olympics.webp","Filming at the Olympic Games in Paris",[68,73],{"type":15,"paragraphs":69},[70,71,72],"No matter how well you prepare, some productions refuse to follow the plan. Filming during the Olympic Games in Paris was exactly that kind of project. Working with Get In Touch, I helped create the launch film for an AI-powered visitor platform developed for the Belgian Olympic Committee. Preparation time was limited, locations constantly changed, and opportunities appeared and disappeared within minutes. There wasn’t much room to overthink.","Instead, the focus shifted toward observation. Rather than forcing shots, I looked for moments that already existed. Small interactions, spontaneous reactions, details that made the story feel authentic.","This type of filmmaking requires trust. Trust in your preparation, your equipment, and your ability to make creative decisions quickly. Ironically, those constraints often produce the most genuine work. The Olympic Games reminded me that flexibility isn’t about lowering your standards. It’s about finding another path toward the same result.",{"type":52,"src":74,"alt":75},"\u002Fimg\u002Finsights\u002Fwhat-filming-at-the-olympic-games-taught-me-about-staying-flexible\u002F02_olympics.webp","Olympic Games production detail",{"slug":77,"layout":6,"title":78,"excerpt":79,"category":9,"date":10,"image":80,"imageAlt":81,"content":82},"from-brand-to-motion-system","From brand to motion system","How motion gives a visual identity rhythm, consistency, and character.","\u002Fimg\u002Finsights\u002Ffrom-brand-to-motion-system\u002F01_MOTION-SYSTEM.webp","Bakker Klaas motion system",[83,88],{"type":15,"paragraphs":84},[85,86,87],"A strong brand doesn’t stop at a logo. It continues through every interaction.","Today, brands live across websites, social media, presentations, launch films, and digital products. Static guidelines alone are no longer enough. Brands need rules for movement as well.","That’s where a motion system comes in. Rather than creating one-off animations, a motion system defines how a brand behaves. How elements enter. How typography moves. How transitions feel. How fast something should animate. These decisions may seem small individually, but together they create recognition. Just like typography or colour, motion becomes part of the identity. I’ve had the opportunity to build motion systems for several brands, including Bakker Klaas, BNP Paribas Fortis, and ION, always with the same goal. Not to make motion louder. To make the brand feel more like itself. When movement becomes consistent, the audience stops noticing the animation. They simply recognise the brand.",{"type":89,"src":90,"alt":91},"video","\u002Fimg\u002Finsights\u002Ffrom-brand-to-motion-system\u002F02_MOTION-SYSTEM.mp4","Bakker Klaas motion system in use",{"slug":93,"layout":6,"title":94,"excerpt":95,"category":43,"date":10,"image":96,"imageAlt":97,"content":98},"why-the-first-five-seconds-matter","Why the first five seconds matter","What launch videos can learn from social media.","\u002Fimg\u002Finsights\u002Fwhy-the-first-five-seconds-matter\u002F01_JOBR.webp","JOBR launch video still",[99],{"type":15,"paragraphs":100},[101,102,103],"Attention has never been more valuable. Whether someone discovers your product on LinkedIn, Instagram, or during a presentation, the first few seconds decide whether they’ll keep watching.","That doesn’t mean every video needs fast cuts and loud music. It means every second should earn its place. A good launch video quickly answers three questions: What is this? Why should I care? Why now?","Everything else builds from there. One project where this became especially important was JOBR. The challenge wasn’t just introducing a new platform. It was creating enough curiosity within the first few moments for people to keep watching. Every design decision, transition, and animation supported that goal. The strongest launch videos don’t explain everything. They explain enough to make people want the next answer.",1785100084472]