Hiring a Motion Designer: Contract Terms for Video Marketing Projects

Motion design can turn a good campaign into a high-performing one—whether you’re explaining a product, launching a new feature, or building brand affinity with scroll-stopping social content. But for marketing directors, the biggest risk often isn’t creative quality—it’s misaligned expectations: unclear deliverables, surprise revision cycles, delays, and rights issues that show up when you’re ready to launch.

That’s where a solid contract becomes a strategic asset. This guide walks you through the essential terms to include in a hire motion designer contract (or when reviewing one), with a focus on marketing realities: fast timelines, multiple stakeholders, versioning, platform specs, and internal approvals.

We’ll cover what to include in a motion graphics contract, what to watch for in a video animation agreement, and how to structure a motion design services contract so both sides can deliver on time and on brand.

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Why motion design contracts go wrong (and what marketing leaders actually need)

Motion design projects are deceptively complex. Even a “simple 30-second animation” can involve:

• Script and storyboard iterations
• Style frames and visual exploration
• Asset creation (illustration, typography, icons)
• Audio licensing and sound design
• Multiple aspect ratios and cutdowns
• Versioning (languages, regions, product variations)
• Review cycles across marketing, brand, legal, and product

Most contract friction stems from vague language like “create motion graphics for campaign” without specifying what that means in practical terms. As the client/buyer, your goal is clarity on:

1. What you’re getting (deliverables)
2. When you’re getting it (timeline + approvals)
3. How many changes are included (revisions)
4. Who owns what (rights, source files, licensing)
5. What happens if things change (change orders, kill fees)

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1) Scope of work: define deliverables like a producer

The scope of work is the heart of any motion design services contract. The more specific you are, the fewer “that’s out of scope” surprises you’ll face.

Deliverables to specify

Include a deliverables table that outlines:

• Video length (e.g., 15s, 30s, 60s)
• Output formats (e.g., 1920x1080 ProRes, H.264 MP4)
• Aspect ratios (16:9, 1:1, 9:16)
• Frame rate (e.g., 23.976, 29.97, 30)
• Captions (burned-in or SRT files)
• Number of versions (e.g., 3 product variants, 2 languages)
• Cutdowns (e.g., 30s hero + three 6s bumpers)
• Thumbnails or end cards (if needed for platform packaging)

Creative components to clarify

Your motion graphics contract should also state whether the designer is responsible for:

• Scriptwriting or script polishing
• Storyboard creation
• Design exploration / style frames
• Illustration and iconography
• 2D character animation vs. kinetic typography
• Stock footage sourcing and selection
• Sound design and music selection
• Voiceover sourcing/recording

Buyer tip: If you need deliverables for paid media, specify platform requirements upfront (e.g., safe zones for TikTok/Reels, text legibility, max file size). Otherwise, you’ll end up paying for rework.

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2) Timeline, milestones, and the approval process (where delays really happen)

A good video animation agreement doesn’t just list a final due date. It maps the work into milestones so both sides can plan.

Common motion design milestones

Consider structuring the project like this:

1. Discovery / kickoff
2. Storyboard / animatic approval
3. Style frames approval
4. First animation pass
5. Revision rounds
6. Final delivery + exports

Add approval windows

Most delays happen when internal approvals take longer than expected. Protect the timeline by adding:

• Client review windows (e.g., client provides feedback within 2 business days)
• Consolidated feedback requirement (one voice / one document)
• Deemed approval language (optional): if feedback isn’t received by X date, the milestone is considered approved for scheduling purposes

Specify who can approve

Marketing directors often have multiple stakeholders. Your hire motion designer contract should name:

• The authorized client approver(s)
• The escalation path for conflicting feedback
• What happens if stakeholders request new directions after an approval

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3) Revision rounds: define what “revision” means

“Unlimited revisions” is a common trap. You need a clear revision framework that supports quality without turning your timeline into a loop.

Include:

• Number of included revision rounds per milestone (e.g., 2 rounds on storyboard, 2 on animation)
• What counts as a revision vs. a new direction
• Turnaround time for revisions
• Hourly/day rate for additional revisions beyond included rounds

Common definitions that avoid conflict

• Revision: adjustments based on approved direction (timing tweaks, text edits, color corrections)
• Change of scope: new scenes, new messaging, new design style, replacing VO, adding deliverables, changing aspect ratios not previously specified

Buyer tip: Require feedback to be consolidated and prioritized. Otherwise, you’ll pay for “revision churn,” where changes contradict each other across stakeholders.

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4) Pricing structure: fixed fee vs. day rate vs. phased pricing

Motion design projects can be priced several ways. Your contract should match your procurement and campaign needs.

Common pricing models

• Fixed project fee: Best when scope is well-defined (deliverables and revision limits).
• Day rate / hourly: Useful for ongoing support, quick turnarounds, or evolving scope.
• Phased pricing: Separate fees per phase (e.g., storyboard, design, animation, deliverables). Great for reducing risk early.

Payment schedule

A typical payment schedule in a motion design services contract might be:

• 30–50% deposit to start
• 25–40% at midpoint approval (style frames or first animation pass)
• Remainder on final delivery

Also include:

• Payment terms (Net 15/Net 30)
• Late payment provisions
• Whether final deliverables are released only after final payment (common)

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5) Ownership, IP rights, and licensing (the marketing “gotcha” section)

This is where many motion design projects get risky—especially when you’re scaling campaigns across channels and regions.

Key ownership questions

Your motion graphics contract should clearly state who owns:

• Final deliverables (the rendered videos)
• Working files (e.g., After Effects project files)
• Custom illustrations and design assets
• Templates / reusable components (MOGRTs)
• Fonts, plugins, and third-party assets

Most client-friendly approach (typical in marketing)

• Client owns final deliverables upon full payment
• Client receives working/source files if negotiated (often for an added fee)
• Designer retains rights to pre-existing tools, templates, and general know-how
• Third-party assets remain subject to their own licenses

Be explicit about third-party licensing

Contracts should address:

• Stock footage/photo/music licensing responsibility (designer or client)
• Whether music is royalty-free, rights-managed, or platform-specific
• Voiceover usage scope (duration, territory, paid media use)

Buyer tip: If you plan to run the video as paid ads, ensure the music/VO license allows commercial and paid media usage. “Royalty-free” doesn’t automatically mean “allowed in ads worldwide forever.”

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6) Source files and handoff requirements (avoid being locked in)

Marketing teams often need to update messaging, swap screenshots, or localize. If you want that flexibility, negotiate source files and a clean handoff.

What to request

In your video animation agreement, list whether delivery includes:

• After Effects (.aep) files
• Linked assets folder (AI, PSD, PNG, SVG)
• Project organization standards (named comps, labeled layers)
• A “read me” for missing plugins or expressions
• Fonts (or font list + license responsibility)
• Render settings and presets

Expect an additional fee

Many designers price final video delivery separately from source file transfer. That’s reasonable—source files have value and add support overhead. Decide upfront if you need them.

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7) Brand compliance and client-provided assets

Marketing directors live and die by brand consistency. Your contract should address what you will supply and what the motion designer will create.

Include:

• Brand guidelines and required elements (logos, colors, typefaces)
• Disclaimer/legal copy placement requirements (if regulated industry)
• Whether client provides:
  • Logo files (vector)
  • Product UI screenshots
  • Messaging hierarchy
  • Legal disclaimers
  • Existing illustrations or icon sets

Asset readiness clause

Add language stating the schedule assumes you provide assets by a certain date. Late assets often mean late delivery—and the contract should reflect that.

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8) Change orders: the mechanism that saves budgets and relationships

Campaigns evolve. Stakeholders change their minds. Product updates happen. A change order clause is essential.

What a change order clause should do

• Define what constitutes a scope change
• Require written approval (email is fine)
• Provide a method for pricing changes:
  • Fixed add-on fee, or
  • Time and materials at a set rate
• Adjust the timeline accordingly

Buyer tip: If you’re in a fast-moving environment, consider pre-negotiating a “flex bank” (e.g., 2 extra days at a set rate) for last-minute tweaks.

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9) Confidentiality, portfolio use, and launch timing

Most motion designers want portfolio rights. Marketing teams need control over pre-launch confidentiality.

Include:

• Confidentiality obligations (especially for unreleased products)
• Embargo dates (designer can’t post until you launch)
• Portfolio usage terms:
  • Allowed after public launch
  • Allowed only with written permission
  • Allowed with redactions (e.g., blur sensitive UI)

This clause prevents awkward situations where creative is posted before your campaign is live.

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10) Warranties and representations: protect against legal headaches

While motion design is creative, you still need baseline assurances.

Common warranties to request

• Work is original (or properly licensed)
• No infringement of third-party IP
• Designer has the right to grant the rights promised in the contract
• Work will not include unauthorized copyrighted material

Limitations to accept

Designers typically won’t guarantee performance metrics (CTR, conversion rate). That’s normal—keep warranties focused on ownership, licensing, and professionalism.

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11) Termination, kill fees, and suspension (because priorities change)

Marketing priorities shift. If a campaign gets paused, you need a fair exit path.

Key terms

• Termination for convenience (with notice)
• Payment for work completed to date
• A kill fee (optional) to compensate for reserved time
• Delivery of in-progress work upon payment
• What happens to deposits (often non-refundable)

Buyer tip: If you know projects may get paused, negotiate a “suspension” clause: you can pause for X weeks and resume without re-onboarding fees, subject to scheduling.

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12) Communication and project management expectations

This sounds operational, but it belongs in your hire motion designer contract because it directly impacts speed and outcomes.

Include:

• Primary communication channel (email, Slack, Frame.io)
• Meeting cadence (weekly check-in or milestone-only)
• File review tools (Frame.io, Vimeo review links)
• Time zone and working hours
• Response time expectations

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A practical contract checklist for marketing directors

Before signing a motion design services contract, confirm you have clarity on:

• Deliverables: lengths, versions, aspect ratios, file formats
• Milestones + approvals: review windows, consolidated feedback
• Revisions: number included + definition of “new direction”
• Fees + payment schedule: deposits, milestone payments, late fees
• Rights: final deliverables ownership, licensing, portfolio permissions
• Source files: included or priced separately, handoff requirements
• Third-party assets: who licenses music/stock/fonts/plugins
• Change orders: process, rates, timeline impact
• Confidentiality: embargo until launch
• Termination: kill fees, work-to-date, in-progress file delivery

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Sample language ideas (useful starting points)

Below are examples of the type of language buyers often include. (Have counsel review for your jurisdiction and situation.)

Deliverables clause (example)

“Designer will deliver: (i) one (1) 30-second animated video in 16:9 format, (ii) one (1) 15-second cutdown in 9:16 format, and (iii) one (1) 6-second bumper in 1:1 format, each exported as H.264 MP4 and ProRes 422. Deliverables include one (1) SRT caption file per video.”

Revisions clause (example)

“Fee includes up to two (2) rounds of revisions at each milestone (storyboard, style frames, first animation pass). Revisions are defined as modifications consistent with the approved creative direction. Changes in creative direction or additional deliverables will be handled via written change order at $___/hour.”

Portfolio clause (example)

“Designer may display the final work in their portfolio only after Client’s public launch date and with no disclosure of confidential performance data or unreleased features.”

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Final thoughts: contracts help you ship better creative, faster

Marketing directors don’t need contracts to “get legal.” You need contracts to protect timelines, budgets, and brand quality—and to create a shared understanding so your motion designer can do their best work without constant scope friction.

If you want a faster way to create or refine a motion graphics contract, video animation agreement, or motion design services contract (including clear scope, revision terms, rights, and change orders), you can generate a strong starting draft using Contractable, an AI-powered contract generator: https://www.contractable.ai

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Other questions you may ask next

• What should a motion designer contract include if I need multiple aspect ratios for paid social?
• How many revision rounds are standard in a motion graphics contract?
• Should I require After Effects source files—and how much extra should they cost?
• What’s the difference between owning final deliverables vs. owning source files?
• How do I handle music licensing and voiceover rights in a video animation agreement?
• What contract terms help prevent timeline delays from slow internal approvals?
• How do change orders work in a motion design services contract?
• Can a motion designer use my project in their portfolio, and when?
• What indemnity language is reasonable for marketing animation projects?
• How do I contract for ongoing motion design support (retainer vs. project-based)?