Maxime Archambault · Motion design
Hello@maximearchambault.com
Got a project moving?
Tell me a bit about it.
When you reach out, include:
That’s all I need to get the conversation started.
About 80% of my work comes through creative agencies, design studios, and production companies. I'm used to plugging into an existing team, working alongside CDs and ADs, and delivering without needing a lot of setup time.
Direct clients and independent creatives are welcome too. If you're a brand needing motion, or a designer or illustrator who needs a motion partner on a specific project, the conversation starts the same way.
2D motion design is my main thing,
kinetic typography, logo animation, and story-driven type work rooted in graphic design. I love pushing into fake 3D elements to add depth and dimension without going full 3D.
I also collaborate with event studios and museums on projection mapping, a different scale, same design thinking. ,
Fun, funky, and colorful is where I do my best work! If a project isn't the right fit, I'll tell you straight.
Hourly and day rate are how I work most of the time. It's the most common setup for agency work and keeps things clean on both sides. Project rate is possible too, but it comes with a defined revision structure built in from the start..
If scope grows or more revisions are needed mid-project, we evaluate together. The goal is always to stay as close to the original budget as possible. No surprises. You are always kept up to date on where we are in the process vs budget.
I invoice cleanly at the end of each week or at project completion, whatever works for both of us.
Yes. I control my workload intentionally and don't take on more than my schedule can support. If I'm at capacity when you reach out, I'll tell you directly and give you a realistic start date.
On day rate, you're my only priority. If you book multiple days in a row, those days are yours.
Overbooking doesn't produce good work or good relationships.
Revisions are part of the work.
I work in phases. The first pass establishes the base movement, concept, and timing. From there I validate direction with the CD or AD before building up. That keeps feedback focused and avoids reworking something that wasn't aligned to begin with. I know my place in the pipeline and I'm not here to push my own vision. If something feels off I'll flag it early, privately, and we figure it out together..
For smaller budgets, we define clear revision rounds upfront, typically 2 to 3..
The sooner the better.
Larger or more complex projects need more runway. For smaller projects, ideally one week in advance. First collaborations especially. There's always some back and forth: availability, brief, questions, details, a call, NDA. All before any animation starts..
You're on the right page, send me a message, it's the best way to know.
Yes.
What makes a fast turnaround work isn't the timeline. It's a tight brief, fast decisions, and a short approval chain. I keep a spare laptop ready, technical issues don't stop the work.
Yes, no problem.
NDAs are standard for agency work. Send it over before we get into project details. If I have a question or two, I'll flag it quick so we stay aligned and keep moving.
Don't worry, I won't share any snippet on social if the project is not public yet.
Based in Canada near Montreal, Quebec (GMT-4).
Remote isn't something I adapted to, it's how I've worked since day one, long before it became the standard.
Most clients are Canadian or US-based. .
I work regular hours, typically 8:30 to 18:00, which aligns naturally with most North American time zones. Working with LA-based clients is seamless, renders are ready for review by the time the West Coast starts their day.
Before Day 1, I ask about your tools, workflow, and cloud setup so there's no ramp-up time when we start.
