Freelancers using Adobe After Effects in State of Santa CatarinaFreelancers using Adobe After Effects in State of Santa Catarina
ProjectsPeople
dennis ish's avatar
dennis ish
Florianópolis, Brazil
let's make your brand come into motion →
34
Followers
RIVE_EXPERT

expert

let's make your brand come into motion →
Cover image for Direct
Direct
0
20
Cover image for surreal app
surreal app
0
38
Cover image for daybreak studio
daybreak studio
0
51
Cover image for Dropbox Brand Guidelines
Dropbox Brand Guidelines
2
44
Adobe After Effects(3)
Joner Geanezini's avatar
Joner Geanezini
proState of Santa Catarina, Brazil
Strategic designer focused on brand experiences
$25k+
Earned
2x
Hired
5.0
Rating
207
Followers
Strategic designer focused on brand experiences
Cover image for Where Technology Meets Imagination at Synth
Where Technology Meets Imagination at Synth
7
35
Cover image for Brand Strategist Apolonio Alencar
Brand Strategist Apolonio Alencar
4
54
Cover image for Modern Banking Experience with Orbe Bank
Modern Banking Experience with Orbe Bank
25
126
Cover image for Akana Luxury Fashion Brand Design
Akana Luxury Fashion Brand Design
20
202
Adobe After Effects(3)
Jessica Leonel's avatar
Jessica Leonel
proFlorianópolis, Brazil
Video Editor | Short-Form, UGC Ads & Branded Content
$1k+
Earned
2x
Hired
4.8
Rating
11
Followers
Video Editor | Short-Form, UGC Ads & Branded Content
Cover image for This edit started with a
This edit started with a simple challenge: several different creators, different deliveries, different footage, but only one short ad to make it all feel cohesive. The first step was finding the strongest soundbites and figuring out how they could work together as one story rather than feeling like a compilation. From there, I built the structure around a clear hook, fast progression and a product-focused payoff, then used captions, product inserts, motion, transitions, music and sound design to keep the pace moving without losing the natural UGC feel. What I enjoy most about this kind of edit is that the real work happens before the polish. It is deciding which sentence opens the video, which reaction is worth keeping, when to change creator, when to show the product, and how to make every cut feel intentional. The goal was to keep the authenticity of UGC while giving the final piece the rhythm and clarity of a paid social ad.
1
113
Cover image for This was one of the most fun AI projects I’ve worked on late...
This was one of the most fun AI projects I’ve worked on lately. For Tecnofas, we created a full clay-style animation, literally building the visual language around that handcrafted, stop-motion look, but produced with AI. The video above is a compilation of some of the scenes we developed for the project. The creative challenge was to explain a very technical difference in a way that felt simple and visual: comparing a traditional retrofit construction process with a ventilated façade system, which can reduce the number of workers needed on site by up to 60%. Tecnofas is the kind of client that really enjoys experimenting with new visual languages, so we had a lot of freedom to explore the concept, test ideas and push the AI workflow beyond a standard corporate animation. That freedom made the process especially enjoyable. Instead of using AI only to make production faster, we used it to create a visual style that would probably never have been the obvious choice for this kind of industrial communication.
1
17
944
Cover image for For Junoo, we had already
For Junoo, we had already received real product samples for a separate UGC production. The AI piece came in as an additional creative route: a way to explore how much further we could take the campaign without depending on another traditional shoot. Using real product photography as our reference, we created a fully AI-generated UGC concept from scratch, including the creator, environment, styling and overall visual direction. The content was developed around the aesthetic the client wanted and adapted to feel relevant to the audience in the target city, while keeping the real product at the center of the piece. What I like about this kind of workflow is the flexibility it creates. Once the product is in hand and properly referenced, we’re no longer limited to a single casting, location or production setup. AI becomes a way to expand the creative territory of a campaign and produce additional content directions that would otherwise require a completely new shoot.
1
133
Cover image for One of the challenges with this Inplac project is that the c...
One of the challenges with this Inplac project is that the client doesn’t always have access to strong, current product photography. I don’t see that as a limitation. For this piece, we used AI to build highly detailed product visuals from the available references, then developed those images into animated scenes for social content and ads. The goal wasn’t to create something that simply looked polished. It was to make the product feel tangible, well presented and visually convincing even when the original production material was limited. A lot of the work comes down to art direction: defining the scene, lighting, materials, framing and movement in a way that still feels coherent with the real product. For clients with difficult or expensive product shoots, this opens up a lot of possibilities. Limited photography doesn’t have to mean limited content.
1
13
519
Adobe After Effects(12)
Andre Inacio's avatar
Andre Inacio
proNavegantes, Brazil
Video Editor | Motion Designer | AI Video Producer
1x
Hired
6
Followers
Video Editor | Motion Designer | AI Video Producer
Cover image for This is a motion design
This is a motion design project we created before generative AI tools really took off. The video presents an auto claims assistance platform, connecting people who had their car damaged with specialists who can help solve the problem. Today, with AI, we can create more ambitious things and explore visual directions that would have been much harder before. But I still really enjoy this kind of full motion project.
0
112
Cover image for In 2025, I started creating
In 2025, I started creating a few tutorials on Instagram showing how to use AI in video production. I was revisiting some files and found this video that I really enjoyed making. The idea was simple: to show how, starting from just a few reference images, it’s possible to create an entire product video using AI.
4
9
476
Cover image for For this project, the challenge
For this project, the challenge was to create a product video for automotive shock absorbers by combining different visual production techniques. We integrated 3D modeling, product animation and AI-generated images, including some elements of the shock absorber itself, to build a more dynamic and visual presentation. The most interesting part was blending these techniques in a way that made everything feel like part of the same visual universe.
1
148
Cover image for While revisiting some old projects,
While revisiting some old projects, I found this video I created in 2023 for X-Monitor, a management software for solar power plants and photovoltaic energy. The goal was to present a technical platform in a clearer, more visual and easier-to-understand way, using motion design, interface animations and a direct narrative structure. It was an interesting project because it combined technology, renewable energy and design to turn a complex system into a simpler and more accessible product presentation.
2
186
Adobe After Effects(21)
Rodney Pacheco's avatar
Rodney Pacheco
Florianópolis, Brazil
+20 Years Creating Impactful Visual Solutions
+20 Years Creating Impactful Visual Solutions
Cover image for Tote&Carry Black Friday Campaign
Tote&Carry Black Friday Campaign
0
3
Cover image for Cassol Institutional video 60 sec
Cassol Institutional video 60 sec
0
4
Cover image for Breinfuel All Day Focus #1
Breinfuel All Day Focus #1
0
6
Cover image for Tote&Carry Black Friday Campaign
Tote&Carry Black Friday Campaign
0
3
Adobe After Effects(4)