About me
About me
About me
Jeremy Rosart-Brodnitz
Cinematic Motion Designer
Austin, TX
Thematic Focus
Thematic Focus
• Luxury Products
• Industrial Systems
• Procedural Visualizations
My Philosophy
My Philosophy
Precision Design.
Rhythmic Motion.
Emotional Impact.
Jeremy Rosart-Brodnitz
Cinematic Motion Designer
Austin, TX
Client Specialties
• Luxury Products
• Industrial Systems
• Procedural Visualizations
My Philosophy
Precision Design.
Rhythmic Motion.
Emotional Impact.
About me
BACKGROUND
BACKGROUND
I’m Jeremy, a 3D motion designer focused on cinematic visuals, procedural FX, and technical storytelling.
I grew up between Asia and the States, which probably shaped the way I approach motion:
part precision, part atmosphere, part controlled chaos.
It all changed when my late grandma took me to see James Cameron’s Avatar (2009) in 3D.
Something about the atmosphere, movement, and worldbuilding completely rewired my brain.
I walked out obsessed with the idea that visuals could make people feel something that deeply.
Since then, the path has evolved through a lot of different forms:
motion graphics, video editing, environment concept art, introspective reflection paintings, game design and level building, 3D prop and character art, industrial animation, fluid simulations, and eventually back toward cinematic motion design and editing again.
Looking back, all of it was really pointing toward the same thing:
building immersive worlds, emotionally resonant visuals, and movement that feels alive.
Most of my recent work has lived in the industrial and engineering world, including simulations, product visuals, and large-scale technical animations.
Somewhere along the way, I became mildly obsessed with making technical things feel cinematic instead of sterile.
I’m Jeremy, a 3D motion designer focused on cinematic visuals, procedural FX, and technical storytelling.
I grew up between Asia and the States, which probably shaped the way I approach motion:
part precision, part atmosphere, part controlled chaos.
It all changed when my late grandma took me to see James Cameron’s Avatar (2009) in 3D.
Something about the atmosphere, movement, and worldbuilding completely rewired my brain. I walked out obsessed with the idea that visuals could make people feel something that deeply.
Since then, the path has evolved through a lot of different forms:
motion graphics, video editing, environment concept art, introspective reflection paintings, game design and level building, 3D prop and character art, industrial animation, fluid simulations, and eventually back toward cinematic motion design and editing again.
Looking back, all of it was really pointing toward the same thing:
building immersive worlds, emotionally resonant visuals, and movement that feels alive.
Most of my recent work has lived in the industrial and engineering world, including simulations, product visuals, and large-scale technical animations.
Somewhere along the way, I became mildly obsessed with making technical things feel cinematic instead of sterile.
Current Focus
My current pipeline involves Houdini, 3DS Max, PhoenixFX, TyFlow, Redshift, After Effects, & Premiere Pro.
Lately I’ve been especially focused on strengthening animation fundamentals, motion language, pacing, and visual clarity, pushing the motion itself to match the level of polish I aim for visually.
My current pipeline involves Houdini, 3DS Max, Phoenix FX, TyFlow, Redshift, After Effects, & Premiere Pro.
Lately I’ve been especially focused on strengthening animation fundamentals, motion language, pacing, and visual clarity, pushing the motion itself to match the level of polish I aim for visually.
Outside of Work
When I'm not animating, I'm usually behind a camera somewhere; chasing good light, interesting places, and occasionally making questionable decisions in deserts, mountains, and foreign countries.
Also really into performance training, piano, and neuroscience.
Despite the name, I don’t actually own any bunnies.
The ghosts part is a little more complicated.
When I'm not animating, I'm usually behind a camera somewhere; chasing good light, interesting places, and occasionally making questionable decisions in deserts, mountains, and foreign countries.
I'm also into performance training, piano, and neuroscience.
Despite the name, I don’t actually own any bunnies.
The ghosts part is a little more complicated.
When I'm not animating, I'm usually behind a camera somewhere; chasing good light, interesting places, and occasionally making questionable decisions in deserts, mountains, and foreign countries.
I'm also into performance training, piano, and neuroscience.
Despite the name, I don’t actually own any bunnies.
The ghosts part is a little more complicated.
Let's Talk!
If you’re in Austin or building something ambitious, feel free to reach out.
If you’re in Austin or building something ambitious, feel free to reach out.