How Motion Designers Should Deliver Final Files to Clients

Motion designers should deliver a master file plus platform-specific exports for every project. The master is the high-quality source the client will use for future re-edits or broadcast use. The platform exports are the ready-to-publish files for web, social, and any other distribution channel. Delivering only one or the other creates problems. Delivering both, clearly labelled and organised, eliminates almost every post-delivery question.

This guide covers the full delivery process: which formats to use, how to name and organise the files, how to handle large file sizes, and what to include in the handover note so the client knows exactly what to do with each file.

This article is part of the complete guide to client file delivery for creative agencies.

Why motion delivery is more complex than other project types

A brand identity delivery has complexity in its range of asset types. A motion delivery has complexity in its technical depth. The same piece of motion work might need to be delivered in eight or more distinct versions, each with different resolution, frame rate, codec, and aspect ratio requirements depending on where it will be published.

A client who receives a single H.264 MP4 and then needs to put it on broadcast television has a problem. A client who receives only a ProRes master and asks their social media manager to upload it to Instagram has a different problem. The motion designer who delivers correctly anticipates these scenarios and covers them before the client has to ask.

Matching export settings to client specifications exactly matters because wrong settings create playback issues or rejected deliverables. The time to confirm those specifications is before the render, not after.

The master file and platform exports: understanding the distinction

Before building the delivery folder, it helps to be clear about what each file type is for.

The master file

The master is the highest-quality version of the finished work. It is not designed for immediate playback by a client or publication on a platform. It is designed for longevity: future re-edits, colour adjustments, format conversions, and broadcast delivery.

The correct codec for a master file is ProRes 422 or ProRes 4444 for most motion design workflows. Avid DNxHD or DNxHR is the equivalent in broadcast environments. Both are high-quality intermediate codecs that preserve detail and are designed for re-editing, not final playback.

A ProRes master file for a one-minute motion piece might be 2 to 8GB depending on resolution and frame rate. This is expected and correct. Do not compress the master.

Platform exports

Platform exports are the files the client actually publishes. They are compressed versions of the master, optimised for playback on specific platforms. H.264 in an MP4 container is the universal format for web and social. It is widely compatible, plays in every browser, and is accepted by every social media platform.

Each platform has specific technical requirements for resolution, frame rate, aspect ratio, and bitrate. Deliver a separate export for each platform the client has specified. Do not deliver one file and expect the client or their team to resize and reformat it themselves.

Codecs explained in plain English

This section is for the handover note as much as for the motion designer. Clients who receive files labelled ProRes 422 and H.264 with no explanation of what those mean will either ask, or worse, assume and use the wrong file.

H.264 (MP4) The standard delivery codec for web, social, and most client-facing uses. Plays in every browser, on every device, and is accepted by every social platform. Compresses efficiently while maintaining acceptable quality for most display contexts. Use for web delivery, social media, email, and client presentations.

H.265 (HEVC) More efficient compression than H.264, achieving similar quality at roughly half the file size. Not universally supported across older devices and platforms. Useful when file size is a constraint and the client is confident their platforms support it. Confirm compatibility before delivering H.265 as a primary format.

Apple ProRes 422 A high-quality intermediate codec used for editing and broadcast delivery. Large file sizes but excellent image fidelity and colour information. Use for master files and broadcast deliverables. Requires QuickTime or compatible post-production software to play, not suitable for direct web upload or social publishing.

Apple ProRes 4444 A higher-quality version of ProRes that preserves alpha channel information. Use when the motion work includes transparency, such as logo animations or motion graphics that will be composited over other footage.

Avid DNxHD / DNxHR The Avid equivalent of ProRes. Used primarily in broadcast and film post-production workflows. Deliver this format when the client or their broadcast partner specifically requests it.

GIF A legacy format for simple looping animations on web. Limited to 256 colours. File sizes can be large for complex animation. Use only when explicitly requested, usually for basic social media graphics or web banners. For most motion work, an H.264 MP4 with autoplay and loop settings is a better alternative.

Platform-specific export specifications

The correct frame rate depends on the destination: 24fps for cinematic feel, 25fps for PAL broadcast regions, 30fps (29.97) for web video and social exports, and 60fps for fast-moving UI animation or content where ultra-smooth motion is required.

The colour profile should match the delivery platform: Rec. 709 for web and broadcast, DCI-P3 for cinema.

Use the table below as a starting reference. Always confirm current platform specifications with the client before rendering, as platforms update their requirements regularly.

Folder structure

Organise motion deliveries by use case. The client or their social media manager needs to find the correct file for each platform immediately, without opening files to check their dimensions.

AgencyName_ClientName_ProjectName_2026/
├── 00_README/
│   └── AgencyName_ClientName_DeliveryGuide.pdf
├── 01_Master/
│   └── AgencyName_ClientName_ProjectName_Master_ProRes422_1920x1080_25fps.mov
├── 02_Web/
│   └── AgencyName_ClientName_ProjectName_Web_H264_1920x1080_30fps.mp4
├── 03_Social/
│   ├── AgencyName_ClientName_ProjectName_Instagram_Feed_H264_1080x1080_30fps.mp4
│   ├── AgencyName_ClientName_ProjectName_Instagram_Reels_H264_1080x1920_30fps.mp4
│   ├── AgencyName_ClientName_ProjectName_TikTok_H264_1080x1920_30fps.mp4
│   └── AgencyName_ClientName_ProjectName_LinkedIn_H264_1920x1080_30fps.mp4
├── 04_Broadcast/ (if applicable)
│   └── AgencyName_ClientName_ProjectName_Broadcast_ProRes422_1920x1080_25fps.mov
└── 05_Captions/ (if applicable)
    └── AgencyName_ClientName_ProjectName_Captions_EN.srt

Number folders from 00 to force the correct display order on every operating system. The README sits at the top because it is the first thing the client should open.

File naming

Every motion file should be named with enough information that a client or production team can identify the correct file without opening it.

Convention: AgencyName_ClientName_ProjectName_Platform_Codec_Resolution_Framerate.ext

Examples:

A client's social media manager who needs to upload the correct Instagram Reels file should be able to identify it from the file name in under five seconds, without opening anything or contacting the agency.

Captions and subtitles

Captioning demand increased by 254% in 2023 compared to 2022, and the trend has continued into 2025. Most social platforms now auto-generate captions, but auto-generated captions have accuracy issues, especially for branded content, technical language, and non-native accents.

If captions were part of the project scope, deliver them as a separate SRT or VTT file alongside the video exports. Do not burn captions into the video file unless the client has specifically requested open captions, as burned-in captions cannot be edited or turned off.

Name caption files with the same convention as the video files, adding the language code at the end: AgencyName_ClientName_ProjectName_Captions_EN.srt.

Handling large file sizes

Motion files are large. A one-minute ProRes 422 master at 1080p runs between 2 and 8GB. A 4K version of the same file can exceed 20GB. Platform exports are smaller but a full social media delivery package for a single project can easily total 5 to 10GB across all variants.

This creates a real delivery problem. Email cannot handle it. Google Drive works but puts Google's interface on the client-facing download. WeTransfer's free plan caps at 3GB per transfer.

The delivery tool needs to handle large files without compressing or degrading them, and without the client needing to create an account to download.

TrunkTransfer supports transfers up to 200GB on the Starter plan. The client lands on a branded page showing your agency logo and colours, not TrunkTransfer's interface. Delivery confirmation tells you when the client has accessed the files. No client login required.

For a full comparison of delivery tools on file size limits and branding features, see: Best file delivery tools for creative agencies.

The delivery handover note

A short PDF inside the 00_README folder explaining what is in each subfolder and which file the client should use for each purpose. For a motion delivery, this note should cover:

• Which file is the master and what it is for (re-editing, broadcast, archiving)
• Which file to use for each platform, with the platform name matching the folder and file name
• What codec each file uses and whether special software is needed to play it (ProRes requires QuickTime or a compatible player on Windows)
• What to do with the captions file if included
• Who to contact if a format or size variant is needed that is not included

Two to three pages is sufficient. Plain language. No technical jargon beyond what appears in the file names.

Pre-delivery quality check

Before building the delivery folder, run through this checklist on every export.

• Play each file in full on the intended playback device or platform preview
• Confirm resolution matches the platform specification
• Confirm frame rate matches the platform specification
• Confirm colour profile is correct (Rec. 709 for web and broadcast)
• Confirm audio levels are consistent and correctly mixed (target -14 LUFS for most social platforms, -23 LUFS for broadcast)
• Confirm captions are accurate and timed correctly if included
• Confirm the master file is uncompressed and plays correctly in a post-production application
• Confirm file sizes are within platform upload limits for each platform export
• Export a test file for any unfamiliar specifications before rendering the final batch

Frequently Asked Questions

Should I always deliver a ProRes master even if the client only asked for social exports?

Yes, unless the contract explicitly states otherwise. The client may not know they need a master file today, but the need will arise. A client who comes back six months later wanting to adapt the work for a new platform, or who needs to make a minor edit, has two options: they can use the master you delivered, or they can commission a re-render. Including the master in the delivery is a professional standard and protects both parties.

What if the client asks for a file format not in this guide?

Confirm the intended use case before rendering. Non-standard format requests usually come from a specific vendor or platform requirement. Understanding the use case helps you deliver the correct format rather than rendering multiple times based on guesswork.

What is the difference between a container and a codec?

A container is the file format wrapper: MP4, MOV, MXF. A codec is the compression algorithm used inside the container: H.264, ProRes, DNxHD. The same codec can sometimes be delivered in different containers. When clients or vendors specify a delivery format, they usually mean both: "H.264 MP4" means H.264 codec inside an MP4 container.

Do I need to deliver source files from After Effects or Premiere?

Only if the contract specifies it. Source files for motion work (AEP, PRPROJ) are working files that require the client to have the same software and any third-party plugins to open. For most client deliveries, rendered exports are sufficient. If the client wants the ability to make future edits themselves, source files need to be in scope and licencing for any third-party assets inside those files needs to be confirmed.

How do I handle alpha channel delivery?

If the motion work includes transparency, such as a logo animation that will be composited over other footage, deliver it as ProRes 4444 (which preserves the alpha channel) or as a PNG image sequence. Never deliver transparency-dependent work as H.264, which does not support alpha channels. Note in the handover document that the file contains an alpha channel and which software is needed to use it correctly.

What audio format should I deliver?

Audio is typically embedded in the video file rather than delivered separately. Confirm the audio level targets with the client before mixing. Most social platforms target -14 LUFS integrated loudness. Broadcast targets -23 LUFS (EBU R128) in most European markets, -24 LUFS (ATSC A/85) in North America. If the client needs a separate audio stem, deliver it as a 48kHz WAV file at 24-bit depth.

How large can a single delivery be before it becomes a problem?

With the right tool, there is no practical upper limit for most agency deliveries. TrunkTransfer supports transfers up to 200GB per transfer on all plans. For post-production teams delivering raw footage at multi-terabyte scale, MASV is the appropriate infrastructure choice. For motion design agencies delivering rendered exports, 200GB per transfer covers almost every scenario.

For the complete delivery workflow including pre-flight checks, file naming conventions, and post-delivery archiving, see: The Creative Agency Client Delivery Checklist.

For the complete guide to client file delivery, see: Client File Delivery for Creative Agencies: The Complete Guide.