From Music to Motion

I started producing music when I was thirteen. Not just messing around—I mean fully obsessed. Hours after school spent in DAWs, chopping samples, layering synths, building full tracks in Ableton. That became my world for nearly two decades.

By the time I was thirty, I had hundreds of tracks under my belt. Some saw the light of day. Some didn’t. But what I really built over all those years was my ear. My sense of rhythm. Timing. Layering. Energy. I didn’t know it at the time, but those were the same instincts that would guide me into motion design.

When I first opened After Effects, it felt like opening a new DAW. A timeline. Keyframes instead of automation curves. Easing instead of velocity ramps. I wasn’t starting from zero—I was just applying the same thinking visually instead of sonically.

Typography felt like a beat. A bold main title slamming in felt like a drop. And just like I used to tune a snare or drag a kick a few milliseconds to feel right, I was now shifting type 3 frames forward to lock in with a sound cue.

Designing motion for movie trailers became the evolution of everything I already loved—timing, impact, building tension, and releasing it at just the right moment. It scratched the same itch as producing music but opened up a whole new visual world.

If you’re a music producer, trust me—you’re not far off. You already know more than you think. This world just speaks in keyframes instead of waveforms.

And for me, it became a new way to keep chasing that feeling—of making something hit hard, stick in your chest, and leave you with goosebumps.

MainTitle was born from that exact mindset. It’s not about switching careers. It’s about translating your creative language into a new medium. And if you’re wired like I was, it might just feel like home.