About Motion Videos & Scott Green — An Award-Winning Motion Designer & Video Producer in Manchester UK

Find out about Motion Videos and meet Scott Green, its founder — a one-man studio crafting cinematic, story-driven video content for brands UK-wide and beyond.

Big Ideas.
Bold Visuals.
Built by One.

You’ve seen the work — sharp visuals, standout storytelling, always on point. But the person behind the scenes? That story’s stayed untold. Until now.

Hi, I’m Scott Green — a one-person creative studio, an award-winning motion designer, and the self-appointed Chief Movement Officer of Motion Videos. I’ve been pushing pixels for 30+ years, helping brands and agencies bring bold ideas to life — and this is where you finally meet the one who makes it all move.

+ Years Making Videos

+ Years in Business

+ Successful Projects

30. 5* Google Reviews

The next chapter is in motion.

MUVE isn’t just a new video brand — it’s a shift in pace and purpose. It’s about getting out from behind the desk and into the wild — chasing health, balance, and bolder stories on both sides of the camera. From drone-led visuals and outdoor filmmaking to creative experiments and YouTube storytelling, this marks the next chapter in my career.

Get to know your friendly neighbourhood Motion-Man.

Curious about how I work, what I believe in, or what a Chief Movement Officer actually does all day?

This is the behind-the-scenes bit — part practical, part philosophical, part just for fun. These days, I’m still pushing creative boundaries, blending motion design, animation, and storytelling to create work that’s not just seen — but remembered.

Not big on reading? (Same here.) Want a heads-up when the video drops?

Journey & Background.

The long road to motion — part passion, part persistence, all pixels.

How did you get started in motion design and video production?

Believe it or not, it started with Airfix kits — tiny planes, glued together with obsessive care, decals aligned with military precision. That love of craft grew into photography, illustration and graphic design. But video? That felt daunting. I’d spend hours perfecting a single frame — how was I meant to handle thousands?

At 25, I left full-time work, headed to university, and finally dove into motion design properly. That’s where I discovered After Effects — and it clicked. With my stills background, it felt like Photoshop on Wheels. I brought static frames to life, and that first spark turned into something real.

A scrappy little music video I made opened doors, got noticed, and helped launch the career I’ve built since. From that point on, I wasn’t just designing graphics — I was shaping moments in motion. And I’ve been pushing pixels in strange, satisfying ways ever since.

What were your first creative influences — films, music videos, or moments that sparked your passion?

Minority Report blew my mind. Those motion-tracked UI graphics — they didn’t just look cool, they felt possible. Same with The Matrix — future-facing, coded visuals that made the screen feel alive.

I’ve always been drawn to designs that feel ahead of their time. Title sequences like Se7en had this visceral, handmade feel, while the clean, conceptual overlays in Mark Coleran’s fictional UIs showed just how cinematic interface design could be.

I also remember discovering GMUNK’s early website — it felt like something from another dimension. That inspired me to push motion into interactive spaces, especially during my web design phase when I was learning Flash.

Later came films like Sin City and 300 — bold, graphic, unapologetically stylised.

And then there’s Ash Thorp — his work still inspires me to this day. The depth, detail, and cinematic scope of his motion design made me realise how far this craft can go when storytelling and style are in complete sync.

All of it sparked something: a desire to design motion that moves you — emotionally, visually, and sometimes literally.

Do those early influences still shape how you work today?

Absolutely — maybe too much. The biggest downside of doing this for 30+ years? Sitting. All. Day. Long. Sometimes even all night long.

If I’ve got any downtime these days, I’d rather be out — walking, running, or pedalling through the hills of Saddleworth, sometimes with a drone in the air, but mostly just soaking up the views and getting some fresh air. These days, I probably aspire more to Jimmy Chin than James Cameron.

Imagine if I could be out editing while hiking, Minority Report-style: swiping floating UI panels in the air as I move, scrubbing timelines mid-stride, grading shots with the flick of a wrist?

That future-forward aesthetic I loved back then? I still chase it. But these days, I’m just as interested in how I work as what I make. If I could design a FreeRangeEditing™ workflow system that lets me move as I create — well, that’d be my kind of motion design.

What’s changed most in the industry since you began over 30 years ago?

The internet, for a start. I spent years dreaming of being an illustrator — until a job in signwriting paid for my first Mac. That led to Photoshop, then cameras, and then countless hours of experimenting. No YouTube. No ChatGPT. Just trial, error, and stubbornness.

When I began, you couldn’t just Google how to fix a wonky mask. Now, tech changes weekly — and yes, I use AI for idea prompts and workflow boosts. But image generation? Honestly, it leaves me cold. I’ve spent decades honing this craft. Clicking a button doesn’t scratch the same creative itch.

And then there’s social media. I’ve never loved the self-promo side of things. I’d rather let the work speak for itself — and for almost ten years as a limited company, that approach has worked just fine. Consistency, trust, and giving a damn about the details. That’s how I’ve kept growing — even as the tools have changed.

What drew you to start Motion Videos as a solo studio rather than building a traditional agency?

Honestly? It started with a list of keywords. “Motion Videos” was a say-what-you-see kind of name — not exactly revolutionary branding, but a clear step up from Splurj (my old alias when I was making music videos… and constantly spelling it out to confused clients).

At the time, I was stuck in a web agency and knew I had to make a move fast. I’d already begun drifting into freelance work and going solo just felt right. I needed a name, so I picked something simple and got on with the work.

These days, around 99% of what you see is my own — from concept to delivery — and I like it that way. But when a project calls for a specific skill or style outside my wheelhouse, I collaborate with specialists: sound designers, illustrators, videographers… people I trust to bring something extra to the table. For now, I’m a one-person studio by choice. But who knows — maybe one day the studio will grow. It’s always at the back of my mind.

I do still build the odd website — in fact, you’re looking at the biggest one I’ve ever done — but truthfully, web design’s often felt more like a burden than a passion, so this will be the last version of the site. Then I can focus properly on what I love: making motion content that moves people.

And if you’ve got thoughts on the site, I’m all ears…

Skills, Style & Process.

How the magic gets made — from software choices to storytelling instincts.

What makes your approach to motion design different?

I don’t just add motion to make things “pop” — I design with intent. It starts with asking: what does this need to do? Whether it’s a fast-paced social post or a slow-burn brand film, every movement is grounded in story, rhythm and clarity. I avoid flashy transitions for the sake of flair. If a graphic doesn’t serve the narrative, it doesn’t belong. I’m here to build work that flows — visually and emotionally. Every frame has to earn its place. When motion is purposeful, it doesn’t just look good — it delivers the goods too.

Do you have a creative philosophy or signature style?

In the beginning, it was all about visual experimentation — making stuff that looked cool, moved well, and grabbed attention. But over time, I learned that style alone doesn’t last. Now, I’m story-first, with a strong preference for clean, cinematic, purposeful design. Simplicity over clutter. Substance over trend. I want motion that means something — that carries the viewer, not just dazzles them.

Of course, agency briefs or brand guidelines can sometimes put guardrails around the creative — but I always find a way to make it dynamic, stylish, and meaningful within those constraints. That doesn’t mean boring; it means considered. Whether it’s a slick title sequence or a subtle brand moment, I’m looking for truth, structure, and clarity. Design that speaks. Motion that moves. Story, always leading the way.

What tools, software or workflows do you swear by?

After Effects and Cinema 4D are still my home base. 3D has such a steep learning curve, but I love getting inspired, experimenting with new techniques, and refining my setup for both productivity and play — it floats my boat.

But honestly, the best tools are sharp thinking, a solid brief, and proper feedback. I keep my workflow lean: modular setups, space-saving trimmed clips, organised comps and folder structures — nothing bloated or chaotic. It means I can pivot quickly without losing the thread.

Tools like Notion and Dropbox keep things running smoothly between machines, especially with remote clients. Time for time tracking and ensuring I stay on track and within budget. Oh — and coffee. Always coffee.

The software matters, but it’s the system behind it that keeps the creativity moving forward.

What’s your typical creative process — from brief to final delivery?

It starts with listening. I want to understand the heart of the project — not just what it is, but why it matters. From there, I sketch ideas, explore tone, and build style frames or storyboards. Once we’re aligned, I move into capturing footage, producing graphics, animating — testing, refining, layering.

Every step is collaborative, not just transactional. I’m hands-on from the first scribble to the final render. No disappearing into a black box of mystery. Just a clear path from idea to impact, shaped by trust and good communication. When it works, the process feels less like production — more like flow.

How do you approach learning new tools or techniques in such a fast-moving industry?

Curiosity comes first. Then ChatGPT to bounce ideas or get quick answers, and of course… YouTube. After that, I dive in and play. I treat new tools the same way I did my first Mac — poke around, break things, fix them, improve, repeat.

But I don’t chase trends for the sake of it. I always ask: will this help me tell better stories — for myself or my clients — or is it just a shiny distraction? If it adds clarity, impact, or efficiency to future work, I’m all in. If not, I park it.

Over time, I’ve learned to trust my instincts on when to adopt and when to wait. Sometimes the best upgrade isn’t a new plugin — it’s a sharper idea or a better question. Learning never stops. And thankfully, neither does the fun of figuring it all out the long way.

Trust, Results & Clients.

Proof that this Motion-Man delivers — from those I work with to what we’ve achieved.

What types of brands and agencies do you usually work with?

I’ve worked with outdoor brands, purpose-led startups, creative agencies, and global names trying to sound less “global” and more human. If you value ideas, story, and emotion over endless polish, we’ll probably get on.

I’m not fussed about sectors — I’m fussed about soul. My skills adapt to any industry, as long as there’s a clear purpose and a good brief. Whether it’s high-growth tech or handmade chocolate, if the heart’s in the right place, I’m in.

Let’s make something that doesn’t just look good — but means something.

Have any of your projects won awards or been featured in notable places?

They have — but honestly, awards were never the goal. They’re a nice bonus, not the reason I hit render. Over the years, my work’s picked up a few industry nods, including Best Solo Creator and Best Short-Form Video Content, and it’s been featured in places like Computer Arts (back when it was still in print) and shared by creatives I’ve looked up to for years.

It’s not something I chase — more like a tick on the business plan that said, one day, I’d be an “award-winning video production studio.” That day came, I smiled and got back to work.

The best recognition? When a client comes back for round two. Or when someone drops a message to say a video stuck with them. That’s the real win: when the work lands — and lingers.

Still, I’ll take the trophy… It makes a nice bookend for the coffee mugs.

What kind of results have your videos helped your clients achieve?

That depends on what “results” mean to you. More engagement? Clients have seen 3–5x improvements in views, shares, and conversions. A stronger brand presence? One client said the film we made “put them on the map.” Some use the work to win new business. Others just want to be proud of what’s out there. Both are valid — and both matter to me.

One example that stands out: a video I created for Beaverbrooks to launch the Garmin Fenix 6. It dropped just as Covid hit — when we were all limited to an hour of outdoor exercise. Perfect timing. They were new to the smartwatch market at the time, and while I wasn’t given exact sales data, I was told the video made a significant impact. It helped drive real momentum in a crucial moment — and that’s what good timing, clear messaging, and sharp creative can do.

For me, results are about usefulness. Emotional doesn’t mean unstrategic. Story doesn’t mean soft. I make films that move people — and when you move people, they tend to move toward your brand.

How do you ensure your work delivers both creativity and ROI?

By starting with why. Not just “what do you want made?” — but “what do you want this to do?” From experience, I try to put myself in your audience’s shoes. What would hook them? What would keep them watching — right to the very end — and make them act on your message?

Every frame is a functional part of your bigger brand story. It has to look slick, yes — but it also has to earn its place. If a scene doesn’t serve the goal, it’s gone. I blend motion design, audience insight, and old-fashioned storytelling to create content that holds attention and drives action.

Done right, it pays for itself — because creative isn’t a luxury. It’s your edge in a sea of beige content.

Can clients trust you with tight deadlines, sensitive content, or niche sectors?

Absolutely — and they already do. I’ve delivered overnight edits, worked on NDA-heavy launches, and handled everything from mental health campaigns to engineering explainers. Some of the most exciting projects I’ve worked on — especially in the pharmaceutical space — are the ones I can’t talk about. Privacy and client confidentiality aren’t just a courtesy — they’re a commitment I take seriously.

Trust isn’t about ticking boxes. It’s earned by showing up, getting it done, and never dropping the ball. I communicate clearly, plan realistically, and adapt quickly when things shift. No drama. No ghosting. Just calm, capable delivery — even when the brief’s a bit bonkers.

Ethos & Personal Touch.

What drives the work behind the scenes — from big beliefs to the little things that keep me curious.

Why do you believe storytelling through motion is so powerful?

Because we’re hardwired for it. A good story bypasses logic and goes straight to the gut. Add motion — and you’ve got energy, rhythm, and emotion layered into every second. It’s not just about showing a product or idea; it’s about making someone feel something. When visuals, sound and pace work in harmony, they do more than inform — they linger. Whether it’s a brand film or a five-second loop, motion gives meaning shape. And when it’s done well, it doesn’t feel like content. It feels like a connection. That’s where the power lives.

What drives you to keep creating after 30+ years in the game?

Curiosity, mostly. I still get that kick when a cut clicks or a colour grade sings. Tech changes, trends shift, but that feeling stays the same. I’ve seen how motion design evolves — from broadcast to social, 4:3 to 9:16, and client decks to algorithm hacking. I love the challenge of making work that adapts but still feels true. And honestly? I’m not great at sitting still. Creating keeps me moving — mentally, creatively, physically. There’s always a new tool, a fresh format, a story that needs shaping. That drive hasn’t dulled. If anything, it’s sharper than ever.

What’s one thing clients are surprised to learn about working with you?

Probably how collaborative it is. Some expect a black box — brief in, video out. But I prefer conversations over assumptions. I’ll challenge an idea if it’s off, and I welcome pushback if something doesn’t feel quite right. We’re crafting something together, not lobbing files over a wall.

Clients are often surprised at how lean and focused the process feels. No bloated teams, no endless loops — just purposeful momentum. I won’t bombard inboxes with updates for the sake of it either. When the plan’s clear, I get to work. You might not hear from me for a day or two while I’m deep in the flow — but don’t worry. When I resurface, it’s usually with something that’ll blow your socks off.

And yes, you might still get the occasional late-night voice note when I crack something that’s been gnawing at me all day.

Do you ever collaborate with other creatives — or is everything handled in-house?

Both. Most projects? I handle them solo — and I like it that way. I rarely need to bring in backup. But when I do, I’ve got a tight-knit crew of experts I trust — sound designers, illustrators, colourists — people whose work complements mine and who get how I like to move.

They’re not random freelancers pulled off a list — they’re collaborators I’ve built a creative rhythm with. No weak links. No messy handovers. Just seamless integration when the brief calls for it. Whether it’s just me or a carefully assembled team, the vision stays sharp, the work stays cohesive, and you always know exactly who’s doing what — and why.

And when the stakes are higher — from NDA-heavy campaigns to full-scale productions — I can scale smart, keep things secure, and deliver with the same precision you’d expect from a much bigger studio. Just without the faff.

How do you stay inspired when working solo?

By not staying still for too long. I walk. I listen. I watch things way outside my niche. Nature’s a big one — the hills clear my head faster than any scroll ever could. Over time, I’ve built a rhythm that lets me move and think at once — FreeRangeEditing™, if you like.

When I hit a creative block, I shift the energy: sketch something, test a new tool, fly the drone, rewatch an old film that made me feel. Inspiration’s everywhere — but you’ve got to leave your echo chamber to find it.

Practical & Fun Extras.

The quirks, rituals, and gear that keep things moving.

What types of projects do you not take on — and why?

Anything that’s all fluff, no purpose. If a brief feels hollow — just content for content’s sake — I’ll probably say no. The same goes for anything ethically murky, manipulative, or soulless. I want to work with people who care about the why, not just the “can we make it look cool?” (Though yes, we can still make it look cool.) I’m also not your guy for ultra-corporate talking-head snoozefests. If it doesn’t move me, I won’t fake it. I’d rather pass and point you to someone who lives for that sort of thing.

What’s the weirdest or most unexpected brief you’ve ever worked on?

Easily the music video for Neiked’s “Sexual.”
The track was flying up the charts and they needed a psychedelic, innuendo-laced video turned around yesterday. I teamed up with illustrator Petra Zhivkova and we went all in: dinosaurs getting it on, vibrating rabbits, a T-Rex in a bikini — the works. It was colourful, chaotic, and full of cheek. We delivered it in under a week.

That one taught me a lot about fast collaboration, trusting your instincts, and embracing the weird when the brief calls for it. Because sometimes, the most unexpected projects are the most unforgettable — and the most fun to make.

What’s your dream project or brand to work with?

Something outdoorsy with real purpose — and real people. Recently, I had the chance to film with Mountain Warehouse, documenting the story of hiking hero Rhiane Fatinikun. It was the kind of project that reminded me exactly why I love this work — honest, physical, full of life and meaning. I’d jump at more of that with UK outdoor brands like Montane, Berghaus, or Ellis Brigham.

But the one that’s stuck with me? The Garmin Fenix 6 launch. It was fast-paced, creatively demanding, and came together right as the world went into lockdown. The video hit just as people were allowed outdoors again — and while I couldn’t get official stats, the client saw a serious spike in sales. As a thank-you, they gifted me the Fenix 6 Sapphire — a watch I’ve worn every day and night since.

Now? I’d love to revisit that brief for the Fenix 8 AMOLED. New tech. New kit. Better skills. A drone in the sky and a story on the ground. I’d even pitch the film at the cost of the watch — just to show what a fresh take could look like.

Dream project? Give me movement, mountains, and meaning — and I’m all in.

What does a “Chief Movement Officer” actually do all day?

Move. Think. Make. Sometimes in that order, sometimes all at once. I’m either out walking with an idea in my head, or at the desk stitching motion into meaning. One minute it’s storyboarding, the next it’s grading, then suddenly I’m deep in a pitch deck rewriting the intro. I wear a lot of hats — creative, technical, strategic — and I like it that way. No two days are the same, but they all revolve around the same thing: helping ideas move, literally and emotionally. Chief Movement Officer isn’t just a title. It’s how I work — and why.

Where can people see more of your work or get in touch?

You’re already here — so what are you waiting for You’ve seen the work. You’ve got a feel for how I think and what I make. So if there’s a project brewing — or even just a rough idea — head to the contact page and let’s talk. No pressure, no waffle. Just a quick hello, and we’ll take it from there.

And if you’re into cinematic storytelling with muddy boots, keep an eye out for my new outdoor video brand: MUVE (Making Unforgettable Visual Experiences). The site’s launching soon at madetomuve.com. Want to be the first to know? Subscribe for updates or follow along on YouTube: @madetomuve.

The Values Behind the Visuals.

I don’t just make videos — I craft stories with soul. These are the principles that guide how I think, create, and collaborate.

Impact – Why the end result always has to matter

I believe video should do more than just fill a screen — it should move people. Change minds. Spark action. That’s why I don’t just deliver “video content.” I craft stories with meaning. Whether I’m capturing a brand’s journey or filming in the wild, I focus on creating visuals that resonate. If we work together, expect work that brings pleasure, meaning, and beauty to our small world — one frame at a time.

Quality – Good enough isn’t good enough

Quality isn’t a bonus — it’s the baseline. Every frame, every cut, every decision is crafted with intent. I sweat the details from first concept to final delivery, holding myself to a standard that goes beyond “good enough.” If something doesn’t earn its place, it doesn’t go in. For me, quality means trust — and that’s not something I take lightly.

Leadership – Leading solo, not just following the brief

Leadership means showing up — not just to direct the work, but to guide clients through creative challenges with clarity and calm. I lead every project with care, whether I’m offering direction, strategy, or simply asking the right questions. Think of me as your creative co-pilot. (Or the Yoda, to your Luke, if that’s your thing.)

Authenticity – The best work feels honest

I don’t do fluff. If it doesn’t feel true, it’s out. Everything I make is rooted in honesty — to your story, to your values, and to the people it’s meant to reach. That means no gimmicks, no empty promises. Just work that speaks in a real voice and connects in a real way.

Play – Why fun has a place in every frame

Play fuels progress. I take the work seriously — but never myself. Some of my best ideas come from leaning into the process, experimenting, and letting curiosity lead. Whether I’m shooting on location or animating at my desk, I try to make space for spontaneity and joy. That energy always finds its way into the final cut.

Creativity – How original ideas keep the work fresh

Creativity is the engine. It’s what makes stories memorable, visuals impactful, and messages meaningful. I keep things simple, but never basic — stripping away the noise to find a concept that hits hard and holds attention. Every piece I make aims to connect on a human level first.

Curiosity – Staying open keeps the work alive

Curiosity keeps me moving. I’m always asking questions, chasing ideas, and pushing beyond what’s expected. Whether I’m tinkering with a new tool or exploring an unfamiliar brief, I treat every project as a chance to learn something — and to take the client somewhere new.

Growth – How motion helps brands evolve

For me, growth is a constant. I’m always refining my craft, testing new tech, and adapting my approach. But growth isn’t just internal — it’s shared. I want my clients to grow too. Whether that means clearer brand messaging, better results, or more confidence in their content, I’m here for it.

Collaboration – Working together makes the work better

The best stories aren’t told solo. I bring a collaborative mindset to every project, whether I’m working one-on-one or building out a creative team. I value open communication, mutual respect, and the kind of back-and-forth that makes the work stronger. No egos — just shared ambition.

Interaction – What makes an audience lean in

Great work starts with connection. Not just between me and the client — but between you and your audience. I dig into what matters to both sides, aiming to make work that feels deeply human. Because at the end of the day, that’s what video should do: connect us.

Real Stories.
Real Results.

When it comes to choosing a creative partner for video, nothing speaks louder than the words of those who’ve been there. From global campaigns to grassroots projects, this selection of testimonials offers a glimpse into what it’s like to work with Motion Videos — collaborative, passionate, and fully committed to making bold ideas move.