When you pro­duce a video with motion graph­ics, you need a good sto­ry, good illus­tra­tion, and well, some inter­est­ing motion to bring your ideas to life. Under­neath all that though is great sound. It’s easy to over­look, but it makes the dif­fer­ence between some­thing that’s just pret­ty to look at, and some­thing tru­ly immer­sive.

When some­thing flies onto screen, you expect it to whooosh as it appears, and thump when it lands. These sounds aren’t always easy to come by though, espe­cial­ly when you want the same high qual­i­ty and atten­tion to detail you’ve giv­en every oth­er aspect of the pro­duc­tion.

That’s why we made Motion Sound.

It’s a new kit of hand-craft­ed sound effects we’ve assem­bled in part­ner­ship with the foley artists at Impos­si­ble Acoustic and the motion graph­ics experts at MoGraph Men­tor.


Backstory

We met with Michael Jones, the founder of MoGraph Men­tor, late last year. He runs an online school teach­ing the fun­da­men­tals of motion design, and leads select projects of his own. He’d just met with the guys at Impos­si­ble Acoustic who had been amass­ing a stock­pile of orig­i­nal sounds, all painstak­ing­ly record­ed by hand in the wild or syn­the­sized in their stu­dio. With their expe­ri­ence doing foley and sound work for a range of agen­cies and films, Michaels’ expe­ri­ence decon­struct­ing the ele­ments of suc­cess­ful motion work, and ours in pack­ag­ing and dis­trib­ut­ing prod­ucts on the web, we knew we had a recipe for some­thing cool.

We spent the next cou­ple months pour­ing Invis­i­ble Acoustic’s cat­a­log of work, break­ing things out into what would become a peri­od­ic table of sound design. And once the first ver­sion of our col­lec­tion start­ed com­ing into view, we got to work plan­ning for the launch.


Launch

We start­ed with a sim­ple splash page, accom­pa­nied by a video Michael pro­duced that demoed a hand­ful of the sounds all work­ing togeth­er in cho­rus show­cas­ing their vari­ety and flex­i­bil­i­ty. We left an email signup box on the site, and start­ed reach­ing out to folks on Twit­ter. By tap­ping into Michael’s com­mu­ni­ty of motion design­ers and enthu­si­asts, we start­ed amass­ing a fol­low­ing pret­ty quick­ly.

Then we got to work on the full web­site. We start­ed by break­ing down the prod­uct from all angles, look­ing at all the ways it could pro­vide val­ue, and all the things that might get in the way of peo­ple want­i­ng to grab a copy for them­selves. From there we cre­at­ed an out­line of key talk­ing points, and used that to define the flow of the website’s home­page.

We also want­ed to prop­er­ly com­mu­ni­cate the scope of the prod­uct. With over 2,100 sounds, and with our fair­ly rig­or­ous cat­e­go­riza­tion sys­tem, we felt like we’d devel­oped a grand uni­fied the­o­ry of motion sound, and we want­ed a visu­al pre­sen­ta­tion that made this clear.

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Tech­nol­o­gy-wise, we kept it sim­ple, lean­ing on Gumroad’s fan­tas­tic tools for man­ag­ing pay­ment and ful­fill­ment right from with­in the site.

After iter­at­ing on the prod­uct, pack­ag­ing, and pre­sen­ta­tion for a bit, we were ready to launch.


Reception

We launched a month ago and sales have been good enough so far that our ini­tial invest­ment has already been recouped. So in that regard, it’s a suc­cess. But we’re just get­ting start­ed.

New sales are com­ing in every day, which are lit­tle moments of cel­e­bra­tion when they post in Slack. NAB is approach­ing and we have some fun things in store around that. And we’ve got some inter­est­ing con­tent in the works to demon­strate how these can be used in real projects for use in con­tent mar­ket­ing. Not to men­tion we have new pack­ages in the works for upcom­ing releas­es.

We like releas­ing fun, free prod­ucts like Force Block and Purrmo­ji, and we also love work­ing with clients on in-depth, bou­tique web and video projects. But this was our first stab at some­thing square­ly in between. We’ve learned a lot already, and are excit­ed to do more like this in the future.

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