AndreCoelho

Apiaí celebrated its anniversary with four nights of shows in August 2026, and I took on the live broadcast of those nights, covering one artist and several others. Before the event I planned what a broadcast needed: budget, audio, structure, and the schedule of acts, interview slots and on-screen graphics. On the night the camera sat on a tripod in a very small spot, powered by an AC adapter because batteries do not last a whole show. Its HDMI output went into a capture card that sent a USB signal to my laptop, where OBS picked it up. The sound engineer gave me a clean P2 output from the desk straight into the laptop, and the stream went out on YouTube Live. People kept asking how it works, so I recorded a short video walking through the whole setup.

My own Instagram is where I test ideas in public. Most videos explain how I do something: how I animated a client campaign with AI, how a podcast becomes dozens of short cuts, how I painted my own version of a pair of jeans. Others are visits and moments, like an afternoon in a clothing brand’s atelier or a skate session. I shoot, edit, subtitle and add the motion graphics myself, always for the vertical feed.

In 2026 I worked on two Smartfit campaigns. For Valentine’s Day I animated an illustrated spot with Veo 3, my first character animation with AI, on a same-day deadline. I cleaned the art in Photoshop, generated the characters on a green screen, then rebuilt each scene in After Effects with text animation, and I recorded a tutorial of the process. For Smartfit Run São Paulo, 3rd edition, I animated the stories, added soundtrack and sound effects to the kit reel and animated the Run logo in two versions, playful and sober. I also animated a new-units reel and a post made with AI.

In 2026 I edited and animated a long run of Petronas pieces. For the Expopostos show I made the silent institutional film for the LED panel. From footage shot in Piracicaba with resellers and a Petronas employee, I cut the reseller message and the influencer client piece, then made a 30-second version for paid media. I animated the fill-up-and-win spot, the Mercedes-AMG technology film and the Primax high-octane ad, a montage with animated lettering that I reworked with Formula 1 car scenes. In Petronas Dynamic I used Veo 3 to animate the truck. Every month I also update the new-station address videos and caption the Formula 1 driver videos.

In 2026 I made motion for Totalpass events and out-of-home. For the CONARH HR event I animated the welcome and check-in films for an LED mirror panel and a large screen, and I recorded the screens running on the show floor. For the seafront campaign I made silent 10-second films for beachfront and elevator screens, including World Cup versions. I applied soundtrack and timing to the Uber rideshare spots, from 6-second remarketing cuts to the pre-event series. I also built WhatsApp stickers, adjusted them to read on white backgrounds and filmed how I made them.

In 2026 I animated and edited vertical content for Banco BMG. For the help! stores I cut a Customer Day reel from interviews with the store consultants, with lettering drawn stroke by stroke and animated textures, and revised it after client feedback. I animated fraud-awareness reels on the WhatsApp scam, the fake-relative scam and the loan scam, plus reels on BMG Med and financial planning. I cut the teaser for a TikTok webseries and animated a set of social posts. For the in-store TVs I adjusted the two spots of the mini-soap “It happens in the best families”, keeping the QR codes on screen five seconds longer.

In 2026 I made motion for Mapfre’s fan campaign around the CONMEBOL Libertadores final. I took the approved 15- and 6-second spots from 16:9 to 1:1 and 9:16, in two options, and animated an LED-wall piece for the sponsor read. I also animated two layouts for “Mapfre with you, wherever you go” in two ratios, a vertical out-of-home piece for life insurance and three pieces for Just Go Week.

In 2026 I made three kinds of work for Suzano. For Neve’s “Touch of the Waves” launch I rebuilt the closing end card of the Hero and Alfredo films, bringing back the air-bubble motion from the layered file, and fixed the edit and audio levels. For “Cellulose in your day” I animated a vertical series that shows where cellulose appears in everyday life, from tissue to toothpaste. For Mimmo, the tissue brand, I animated the “Where’s Mimmo?” post and the “Explaining it in tweets” post for TikTok.

In 2026 I worked on the launch of Sede, a line of functional drinks. I applied the animated lettering from the horizontal hero films to the vertical 30-second spots for each flavor: Calm & Balance, Focus & Drive and Social Energy & Charisma. I animated a reel and built five captioned teasers for the expert interview series, with name cards and the series title “Beyond the Label”. I also cut an interview for TikTok with a name card and color.

In September 2026 I finished two vertical videos for Domino’s Dominated Week. Both star talking marmot characters and both go to the app. One follows a crush who finally says yes to the date after a month of chatting. The other is about the unannounced visit of a grandma who always gave a generous allowance. I took the raw footage and the script, cut each video, added the motion and the subtitles and finished the voice-over mix for 9:16 social.

In 2020 I made a motion pack for Movimente, a professional consulting company, so its videos on social media would carry a visual identity of their own. It started with a meeting to capture the client’s expectations, then a storyboard. Once it was approved I built the style frames from vector illustrations, planned around the client’s palette, and animated the intro screen by screen, almost shape by shape, from the circular charts to the partly animated character. The intro follows a confused man whose Wheel of Life is out of balance. A hand brings it back into balance, he ends up happy, and the logo closes the film. I also made a lower third and a transition, mixed the sound and delivered everything in Full HD with instructions so the team could apply the pieces to their own videos. Many of the techniques were new to me, and I used Photoshop, After Effects and Premiere.