Frequently asked questions

Pro is built for brands with a steady flow of motion work — product teams shipping features, brands with a real content calendar, agencies who need a reliable motion partner. If you have brand assets, someone who can approve work, and more than a couple of pieces a quarter, the subscription pays for itself. If you need one animation this year, Starter is the honest answer, and I'll tell you that rather than sell you a plan you'd pause in month two.

Better said now than on a call. I'm probably not your person if you need live-action production, long-form video editing, rigged character animation, or someone to build your brand from scratch. I'm also not a fit if the work has to be creatively decided by committee — the queue runs on fast feedback from one owner.

Ideally yes — logo, fonts, colors, and any product footage or screen recordings. I animate brands; I don't invent them. If your assets are thin, I'll tell you what's missing at kickoff instead of guessing and billing you for it.

A small number, deliberately. One active request at a time per client is what makes 3–5 day turnaround real rather than aspirational, and that math only works with a capped roster. When Pro is full there's a waitlist — and Starter clients get first call on the next open slot.

You get a queue, not a quote. Add as many requests as you want, ordered however you like. I work one at a time, and the moment one is approved I pull the next off the top. You always know what I'm on and what's next — no scoping calls, no estimates, no negotiating each piece.

One motion piece scoped to a single final deliverable — one animation, one edit, one graphics pass. A campaign isn't one request; it's several, and I'll help you split it into a queue that actually moves. If a brief is really three requests in a trench coat, I'll say so before starting, not after.

No limit on the queue. The limit is one active at a time. That's the whole design — it's what keeps quality consistent and turnaround honest.

Starter is 7–10 business days from kickoff. Pro is 3–5 business days per request, counted from when a request becomes active — not when you add it to the queue. Add ten requests on day one and the 3–5 days applies to whichever one I'm actively building. Heavy 3D or Notch work can run longer; I'll tell you the estimate before it goes active, never after the deadline.

Staged and sequenced through the queue. A product launch becomes a hero piece, then cut-downs, then loops — each moving through as its own request, with previews as I go. You see progress continuously instead of waiting three weeks for a reveal.

Pause anytime. Your remaining time stays on your account and picks up when you're ready. You're never paying through a quiet month.

Product animation, UI/UX motion and app demos, logo reveals and brand bumpers, looping visuals, social cut-downs, title and lower-third systems, and 3D or Notch-based visuals for product and event work.

Being clear here saves us both a call:

• Live action — no filming, directing talent, on-set work, or location production. I'll happily animate over footage you already have.
• Character animation and long-form 3D — no rigged character performance or cinematic sequences measured in minutes. My 3D is product-, object-, and abstract-led.
• Long-form editing — no podcast edits, webinar cut-downs, YouTube episode assembly, or multi-hour footage. I work in seconds, not hours of timeline.
• Brand strategy, naming, logo design, copywriting, scriptwriting — I animate an existing identity and an approved script. I'm not the one inventing them.

If a request lands in one of these, I'll tell you within a day and either scope an alternative or point you to someone better suited. I won't quietly take on work I can't do excellently.

Yes — product showcases, immersive visuals, cinematic effects, real-time looks. Complexity affects timing, so 3D-heavy requests may run past standard turnaround. You'll have that estimate before the request goes active.

Primarily After Effects, Cinema 4D, and Notch, plus AI tools for concepting and previsualization where they genuinely speed things up. Final craft is always hand-directed.

Yes — some of the best work comes from being handed a clear board or script and asked to make it move. Just make sure one person owns final approval.

I do. Every frame, directed and produced by me — Mauricio Talero. No account managers, no handoff to a junior, no outsourced overflow. That's the point of working this way.

You subscribe, and within one business day you get a Notion board: request forms, asset uploads, queue status, and delivery links in one place. A short walkthrough and you're submitting on day one.

Both tiers run through a shared Notion board, async by design — no Slack, no live chat desk. That focus is what keeps turnaround fast.

Brief, references, assets — and a Loom if talking is faster than typing. The clearer the input, the faster the output. I'll ask questions before starting rather than guess.

Brand assets (logo, fonts, colors), any footage or screen recordings, approved copy or script if there's text on screen, and one named approver. A request missing assets stays in the queue but can't go active — I'll always tell you exactly what's blocking it.

Within one business day, async. I don't run a live chat desk — uninterrupted focus is what makes 3–5 day turnaround possible in the first place.

Business days, US Eastern. Weekends and holidays don't count toward turnaround. Rush work outside those hours isn't part of either plan, but ask and I'll tell you honestly whether it's possible.

Starter includes 2 rounds. Pro includes unlimited revisions within the original scope of the request — the queue regulates scope, not a round counter. A request isn't done until you approve it.

A revision refines what we agreed on: timing, color, pacing, copy fixes, small restructuring. A new direction is a new request — a different concept, a new format, a rebuilt scene, or a brief that changed after work started. I'll tell you which one it is before doing it, never after. On Pro that's rarely a problem: a new request just goes in the queue.

Whatever your platforms need — MP4, MOV with alpha, GIF, platform-specific exports. Pro includes aspect ratios and social cut-downs as part of the request rather than as extras.

Yes — included on both tiers, alongside final delivery. You're not locked into me to make a small change two years from now.

You do. Full commercial rights to approved deliverables transfer once the project is complete and paid. I keep the right to show the work in my portfolio and reels — if your project is confidential or under embargo, tell me and I'll hold it.

Starter is a single $2,500 payment for one project. Pro is $5,900/month, billed in advance, renewing until you pause or cancel.

Yes. Pro is month-to-month with no lock-in — pause or cancel whenever, and you keep access through the end of your billing cycle. Starter has nothing to cancel; it's a one-time project.

Because the work is creative and starts immediately, subscription payments and started projects aren't refundable. If something's gone wrong, tell me early — I'd far rather fix the work or pause your plan than have you feel stuck.

I'll keep refining until it's right — that's what the revision terms are for. If it's still not landing after a full round, I'll say so honestly, and either reset the brief or part ways cleanly.

Yes — that's exactly what Starter is: one polished piece, production-ready, source files included. Plenty of clients start there and move to Pro once the work keeps coming. And Starter clients get priority when a Pro slot opens.

A mid-level motion designer costs more than Pro once you count salary, benefits, software, and the months where there isn't enough work to fill. An agency costs more per piece and adds a layer between you and the person animating. Pro is a senior motion partner at a predictable monthly number, with no scoping calls and no minimum commitment.

Then you likely need a team, and I'll tell you that rather than overpromise. For high simultaneous volume I can recommend collaborators — I'd rather send you somewhere honest than take money for capacity I don't have.