I talk a lot about motion design subscriptions.
And yes, I offer one.
But here’s the part people don’t always expect me to say:
A subscription is not the right solution for everyone.
Not for every team.
And definitely not for every motion designer.
In fact, there are some very clear cases where a subscription will make everyone miserable.
Let’s talk about those.
Subscriptions look simple from the outside.
In practice, they demand a very specific skill set.
If you are early in your career, still finding your footing, or learning how to manage clients, a subscription is probably a terrible idea.
This model only works if you are:
You are not just animating and pushing buttons.
The work doesn’t come with guardrails. You have to create them.
It is also a bad fit if you want full creative freedom.
Subscriptions reward consistency, not experimentation.
If your joy comes from chasing wildly different projects, taking long extended breaks, or only saying yes when something feels exciting, this model will feel restrictive.
And if you dislike marketing yourself at all, this will also fall apart quickly.
Subscriptions only work if you are intentional about who you work with and how many clients you take on.
Some limitations are not about how the freelancer works. They are about the nature of the work itself.
Subscriptions are not built for:
These projects require long timelines, multiple collaborators, and deep creative development.
Trying to force them into a 24–48 hour delivery rhythm is not realistic.
This is why I am very clear about what my subscription is not.
Big, cinematic work deserves proper scoping and space.
That’s not a failure of subscriptions. But everything has limitations.
If you only need motion design once every few months, a subscription will feel unnecessary.
Subscriptions shine when motion is ongoing but uneven.
If your needs look like:
You are better off booking a freelancer traditionally and moving on.
Subscriptions are about reducing friction when motion is a constant background need.
Not forcing a recurring payment where it doesn’t make sense.
This model works best when I am the sole motion designer on a project.
I collaborate closely with producers, creative directors, product teams, and designers.
But it only works when the workflow stays manageable for a solo animator.
If you need a motion designer deeply embedded across multiple parallel teams, attending constant meetings, or coordinating with several other animators, it simply won’t be successful.
This is not a staff role in disguise. It’s a focused partnership.
Subscriptions are not unlimited access to a human being.
I cap the number of active clients on purpose.
I plan vacation time (and subscription pauses) in advance.
I protect my schedule so quality stays high.
It’s about delivering consistently with the guard rails we’ve established.
If a team expects instant turnaround on everything at all times, they will be disappointed.
But when expectations are clear, subscriptions actually feel calmer than traditional freelance setups.
For the right fit, subscriptions are powerful.
They remove the constant question of: “Can we even book you for this?”
They turn motion into a dependable part of the workflow instead of the crippling bottleneck.
And compared to hiring a full-time motion designer, they are significantly cheaper, without the overhead or long-term commitment.
That is the real value: motion that stops being a blocker.
Motion Partner
