Motion Designer Service Agreement: Project Rates and File Deliverables (Service Provider Guide)

A strong Motion Designer Service Agreement does two things exceptionally well: it sets expectations around project rates (so you get paid what you’re worth, on time) and it defines file deliverables (so you don’t end up handing over editable working files you never intended to sell). For freelance motion designers and animation studios, these two sections are where most disputes and scope creep begin—and where a well-drafted agreement prevents them.

This post walks through how to structure pricing and deliverables in a motion design contract from the service provider perspective, with practical language and negotiation tips you can adapt into your own motion graphics designer agreement or video design service agreement. If you’re searching for a motion design contract template, animation contract template, or you’re revising your current terms, this is the framework you want.

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Why rates and deliverables are the “pressure points” in motion design

Motion design projects have unique variables that don’t always exist in other creative services:

• Revisions are nonlinear (one “small change” can ripple through a 60-second timeline).
• Deliverables are multi-format (16:9, 9:16, 1:1, versions, languages, codecs, social cutdowns).
• Source files are valuable IP (After Effects project structure, expressions, rigs, presets, custom assets).
• Clients often assume ownership of everything unless you clearly say otherwise.

The contract’s job is to make your commercial terms explicit, especially:

1. How you price the work, and
2. Exactly what you hand over (and what you don’t).

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Part 1: Project rates—choosing a structure that protects margin

There’s no single “best” pricing model. The right one depends on client maturity, your process, and the level of uncertainty in the scope.

Common pricing models in motion design agreements

1) Fixed project fee (flat rate)

Best when: scope is stable and you have a clear pipeline.

Pros: predictable revenue, easier client approval, less time tracking.
Cons: risky if scope is vague; revision creep can kill margin.

Contract must include:

• scope definition (length, style, number of deliverables, included rounds)
• assumptions (client supplies script/VO/brand assets by X date)
• change order process

2) Day rate (or hourly)

Best when: scope is uncertain, client wants flexibility, or you’re embedded with a team.

Pros: protects you from endless “quick tweaks.”
Cons: clients may fixate on hours; budgeting friction.

Contract must include:

• what counts as a billable day (e.g., 8 hours)
• overtime and weekend rates
• minimum billing increment (e.g., half-day)
• payment schedule cadence (weekly/bi-weekly)

3) Hybrid: fixed fee + hourly “overages”

Best when: you want the simplicity of a flat rate but need guardrails.

Typical setup:

• Flat fee covers defined scope + X revision rounds
• Additional revisions / new requests billed hourly/day rate

This hybrid approach often feels fairest to clients and is easier to enforce in a video design service agreement.

4) Retainer / monthly package

Best when: ongoing content, social variants, campaign support.

Include:

• number of deliverables per month or hours included
• rollover policy (use-it-or-lose-it vs limited carryover)
• response time SLA (optional)
• term and cancellation notice

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How to present “competitive” rates without racing to the bottom

Clients want “competitive.” Providers want “profitable.” A service agreement helps justify your pricing by tying it to defined outputs and process. Consider separating your quote into:

• Creative / Design / Styleframes
• Animation / Production
• Compositing / Sound (if applicable)
• Deliverable versions (formats, aspect ratios, cutdowns)
• Project management / meetings (if significant)

Even if you keep a single line item in the final proposal, this internal breakdown helps you defend scope boundaries in the contract.

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Essential rate terms to include in your motion graphics designer agreement

1) Payment schedule (milestones)

A common, provider-friendly structure:

• 50% deposit to book the start date
• 50% due on delivery of first master / prior to final delivery

For longer projects:

• 30% deposit
• 30% after styleframes/animatic approval
• 40% before final deliverables release

Tip: Tie “final file release” to payment. Your contract can state that final deliverables are delivered after final invoice is paid.

2) Late fees and suspension rights

Many creatives skip this, then regret it. Consider:

• interest or late fee after X days
• the right to pause work if invoices are overdue
• revised schedule impacts caused by late payment

3) Kill fee / cancellation

Motion design work often blocks your calendar. If the client cancels midstream, you need coverage.

Common approaches:

• Deposit is non-refundable
• Client pays for work completed to date + a cancellation fee (e.g., 10–25% of remaining balance)
• If cancellation occurs after a key milestone, a larger portion becomes due

4) Expenses and third-party costs

Spell out what’s included and what’s billed separately:

• stock footage/music licenses
• font licenses
• plugins
• AI tools subscriptions (if used)
• render farm costs
• shipping drives

Add approval requirements: “Client must approve third-party purchases over $___.”

5) Rush fees and out-of-scope turnaround

If a client needs a 48-hour turnaround, your agreement should let you charge appropriately:

• 1.5x day rate for rush
• weekend/holiday premium
• expedited delivery fee

6) Taxes and withholding

If you work cross-border, include language that fees are exclusive of taxes, and the client is responsible for withholding unless required by law (and must provide documentation).

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Part 2: File deliverables—define what the client gets (and what they don’t)

“Deliverables” isn’t just “a video.” It’s: format, codec, resolution, frame rate, color space, versions, and whether source files are included.

This section is where a good animation contract template prevents the classic conflict: the client expecting editable After Effects files when you priced only for final renders.

Deliverables you can define with precision

1) Final exports (the default deliverable)

Be explicit:

• Resolution: 1920×1080, 3840×2160, etc.
• Frame rate: 23.976, 24, 25, 30
• Codec/container: ProRes 422 HQ .mov, H.264 .mp4
• Audio: mixed / unmixed, -14 LUFS (if relevant)
• Alpha channel: ProRes 4444 with alpha (if needed)
• Color: Rec.709 vs HDR (if applicable)

If the client needs “all formats,” list them and price them—otherwise define the included set.

2) Versions and cutdowns

This is where scope creep hides. Define:

• number of aspect ratios included (16:9 only? plus 9:16?)
• number of durations (15s, 30s, 60s)
• number of language versions
• “versioning” rules (e.g., text-only swaps vs re-animating scenes)

A clean clause: “One master deliverable plus up to ___ derived versions as listed in Exhibit A.”

3) Working files vs source files (After Effects / C4D / Blender)

Working/source files can include:

• After Effects project (.aep) with precomps
• C4D/Blender project files
• layered Photoshop/Illustrator files
• rigs, expressions, scripts, custom templates
• project folder structure and proxies

Provider-friendly standard: source files are not included unless explicitly purchased.

If the client asks for source files, treat it as:

• a separate deliverable
• priced higher (because it transfers leverage and reusability)
• potentially limited (clean-up fee + license restrictions)

4) Project archive and retention

State how long you’ll retain files:

• e.g., “Provider will retain project files for 30/60/90 days after final delivery.” Beyond that, archival retrieval fees may apply.

This avoids “Can you resend the files from last year?” surprises.

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Ownership and licensing: connect deliverables to rights

A motion design contract template should clearly address what happens to IP—especially if you’re delivering design systems, reusable assets, or templates.

Typical provider-friendly approach

• You grant a license to use the final delivered video for agreed purposes.
• You retain ownership of:
  • working files
  • project files
  • templates, rigs, expressions, plugins, and general know-how
  • pre-existing tools and assets

When clients want “full buyout”

If a client wants:

• exclusive rights,
• unlimited usage,
• or ownership assignment,

…that’s a different price. Your agreement can present buyout as an option, not an assumption.

Tip: Tie IP transfer to payment: rights transfer only upon full payment.

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Revision rounds: the bridge between rates and deliverables

Revisions are where budgets blow up. Your contract should define:

• Included rounds: e.g., “Two rounds of revisions at animatic stage and two at first animation pass.”
• What counts as a revision: changes to existing work vs new concepts.
• Consolidated feedback: one collected list per round.
• Revision window: feedback must be provided within X business days.
• Overage rate: additional revisions billed at $/hour or $/day.

Define revision scope by stage:

• Styleframes: big creative direction changes allowed
• Animatic: timing and structure approvals
• Animation: smaller adjustments; major changes trigger change order
• Final: only technical fixes unless otherwise agreed

This protects both timeline and margin.

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Change orders: your best tool for scope control

A motion graphics designer agreement should include a straightforward change order mechanism:

• If the client requests work outside scope, you provide a written estimate.
• Work starts after client approval (email approval counts).
• Schedule shifts accordingly.

Keep it simple—clients accept change orders when the original scope is clearly documented.

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Practical “Exhibit A” checklist (what to attach to your agreement)

A strong video design service agreement often includes an exhibit or statement of work (SOW). Here’s what to include:

Project Overview

• project name
• creative brief summary
• timeline milestones

Deliverables (list format-by-format)

• Master: 1 × 60s 1920×1080 ProRes 422 HQ .mov
• Social: 1 × 60s 1080×1920 H.264 .mp4
• Cutdowns: 2 × 15s (same specs)
• Alt versions: 1 × captions-burned version

Included Source Files (if any)

• “Not included” (default), or
• “After Effects project file included (cleaned) excluding third-party plugins and stock assets”

Revisions

• number of rounds + stage definitions

Client Responsibilities

• provides script, VO, brand guidelines, logos
• consolidated feedback
• timely approvals

Third-party licensing

• stock/music budget and who purchases licenses

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Common deliverables disputes—and how contract language prevents them

Dispute #1: “We need the editable After Effects files.”

Prevent it by explicitly stating:

• source files are excluded unless listed as deliverables
• if provided, they may be “as-is” or “cleaned” for a fee
• third-party assets may be excluded or require the client to re-license

Dispute #2: “Can you export every format for every platform?”

Prevent it by listing included formats and defining “additional exports” pricing.

Dispute #3: “We changed the script—why is there an extra charge?”

Prevent it by defining script/VO lock milestones and change order triggers.

Dispute #4: “We thought revisions were unlimited.”

Prevent it by specifying revision rounds and what qualifies.

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Sample clause ideas (plain-English guidance, not legal advice)

You can adapt these concepts into your animation contract template or motion design contract template:

• Deliverables clause: “Provider will deliver the files listed in Exhibit A. Any additional versions, aspect ratios, file types, or exports not listed are out of scope and will be billed at Provider’s standard rate.”
• Source files clause: “Project/source files are not included in the Deliverables unless expressly stated in Exhibit A. If source files are requested, Provider may quote an additional fee for file preparation and transfer.”
• Payment/rights link: “Client’s license to use the Deliverables begins upon full payment of all invoices.”
• Revisions clause: “Fees include __ rounds of revisions per milestone. Additional revisions and scope changes are billed at $/hour (or $/day) and may affect delivery dates.”

For enforceability and local compliance, have a qualified attorney review your template—especially around IP assignment, liability, confidentiality, and indemnities.

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How to use a contract template without looking “template-y”

Clients don’t mind templates—they mind confusion. To make your motion design agreement feel professional:

• Put business terms in a clear SOW/Exhibit A
• Use definitions (Deliverables, Source Files, Revision Round)
• Keep change order and payment terms easy to follow
• Align your proposal/estimate language with the agreement

When your contract matches your workflow, it becomes a sales asset—not just a legal document.

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Conclusion: pricing and deliverables are your leverage—write them like it

If you want fewer awkward conversations and more predictable profit, tighten the two sections that matter most: project rates and file deliverables. A well-structured motion graphics designer agreement protects your timeline, your IP, and your ability to scale—whether you’re a solo freelancer or an animation studio managing multiple clients.

If you’d like a faster way to generate a polished motion design contract template, animation contract template, or a tailored video design service agreement with clear deliverables and payment terms, you can use Contractable, an AI-powered contract generator, at https://www.contractable.ai.

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More questions to keep learning

• Should motion designers charge separately for pre-production (styleframes/boards) vs animation?
• What’s a fair fee for delivering After Effects source files to a client?
• How do I define “commercial use” vs “internal use” in a motion design license?
• What revision structure works best for brand teams with multiple stakeholders?
• How should I handle client-provided assets that aren’t licensed properly?
• Do I need a separate NDA, or can confidentiality live inside the service agreement?
• What clauses help protect me if the client delays feedback and approvals?
• How do studios handle subcontractors and ownership of work product in the agreement?
• What’s the best way to price aspect ratio versions (16:9, 1:1, 9:16) without undercharging?
• When should I require a retainer instead of a project-based fee?