Senior Motion Designer (Product & UI) – AI Systems (Dubai)

Make our products move. You will create the launch films, product reels, and in-product motion for AI systems used by governments and enterprises across the GCC, at the level of craft where a product announcement stops the scroll and the interface itself feels alive.

Xpin AI builds sovereign AI for governments, enterprises, and institutions across the GCC. Our products are bilingual at their core, spanning Arabic, English, and regional languages, and ship into both on-premise sovereign environments and cloud. Motion sits at two critical points for us, how the world first sees a product, and how the product feels in the hand. Both are yours.

You will be our dedicated motion designer, working alongside the Product Design Lead and the product designers, with a direct line into what gets launched and when. The pipeline is deep and constant, product launches, feature announcements, social reels, demo films for government and enterprise audiences, and the motion inside the products themselves. You will not spend time waiting for work to arrive.

This is a hands-on craft role. You will design the boards, rebuild the UI cleanly, animate it, cut it, and place the sound. The bar is the top of the field: typography that carries the story, easing that feels physical, interface sequences that look shippable rather than approximate, and the confidence to let a frame breathe.

• Product launch films and reels. Announcement videos in the modern product-launch language: typographic beats, macro close-ups of interface moments, choreographed screen sequences, device mockups, cut to sound. Vertical-first for social, adapted for web and events.
• UI motion at macro scale. Rebuild our interfaces pixel-clean and animate them as hero objects: input fields, streaming responses, voice waveforms, agent activity. The UI in your films must be credible enough that an engineer could ship it.
• In-product motion. Micro-interactions, transitions, and state changes delivered as production assets through Rive or Lottie, specified precisely enough to be implemented as designed, and light enough to run in offline, on-premise deployments.
• Bilingual motion. Arabic and English as equal experiences: kinetic type in both scripts, mirrored compositions for RTL, and timing that respects how each language reads.
• Demo and capability films. Longer-form product demonstrations for government and enterprise audiences, where clarity and credibility outrank flash.
• The motion system. Duration, easing, and choreography standards documented alongside our design tokens, so motion is a system the whole team draws from rather than a per-project invention.

• After Effects, expert level. Graph editor as a first instinct, with custom bezier easing rather than default keyframes. Expressions in the JavaScript engine: time remapping, valueAtTime, loop and wiggle, inertial bounce, expression controls, and rigs that survive being handed to someone else. 3D layers with camera rigs and null parenting, depth of field, shape layers with trim paths and repeaters, track mattes and roto, disciplined precomp structure and naming, and Essential Graphics templates for anything produced repeatedly.
• After Effects ecosystem. Fluency with the plugins the top of the field actually uses: Overlord or an equivalent Figma to AE pipeline, Flow or Ease and Wizz for easing, Motion by Mt. Mograph, Duik or RubberHose for rigging, Trapcode Particular and Form for particle work, Deep Glow, Optical Flares, and Newton for physics where the shot calls for it.
• Figma, expert level. Components, variants, auto layout, variables and modes, and Dev Mode. You work from our token library and rebuild interfaces pixel-clean, often at three or four times scale for macro shots, before a single keyframe is set.
• Rive. State machine authoring with inputs, listeners, and blend states; nested artboards; mesh and bone deformation; data binding; and clean runtime handoff to our React and Next.js frontend with file size budgets agreed upfront.
• Lottie. Bodymovin or dotLottie export, working within the real constraints of what the renderer supports, path and layer count budgeting, and delivery against lottie-web or lottie-react so animations perform on modest hardware inside on-premise deployments.
• Typography in motion. Text animators and range selectors, per-character and per-word animation, variable fonts, optical alignment. Arabic kinetic type is a distinct technical problem, because letterforms connect and reshape contextually and cannot be split like Latin, and AE's text engine needs deliberate handling to do it correctly. Experience here is rare and highly valued.
• Edit and sound. Premiere Pro with Dynamic Link into AE, or cutting in AE where the piece calls for it. Audition or equivalent for sound design, sync to transients, ducking, and loudness normalisation for social delivery. Music sourced from Artlist, Musicbed, Epidemic, or similar, and placed with intent.
• Device and screen pipelines. Mockup animation built in AE, or accelerated with Rotato or Jitter when speed matters more than bespoke camera work. Clean screen replacement, corner pinning, and realistic screen reflections and glass.
• AI asset generation. Current fluency with image and video generation for lifestyle plates, backgrounds, and concept frames, along with upscaling and consistency workflows, composited with judgment so the final result is deliberate rather than generated.
• 3D, a plus rather than a requirement. Cinema 4D with the MoGraph module, cloners, effectors, and dynamics, rendered in Redshift or Octane; or Blender with Geometry Nodes and Cycles. Multipass or Cineware compositing back into After Effects.
• Delivery and technical hygiene. ProRes masters and H.264 or H.265 delivery, alpha exports where needed, WebM for web, colour management across Rec.709 and sRGB with awareness of gamma shifts on export, correct frame rates including 60fps for UI motion, and aspect ratio versioning across 9:16, 4:5, 1:1, and 16:9.

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• Working practice. Organised, packaged project files another designer can open and continue, consistent naming and versioning, structured review through Frame.io or similar, and motion specifications written clearly enough for an engineer to implement without a conversation.

Mid to senior, roughly four or more years in motion design with a focus on product and UI work, as a guide rather than a gate. The showreel decides this role: we will hire fewer years with an exceptional reel over more years with a competent one. You own motion end to end, from boards to delivered files, and you will help define what our products look like in motion for years of work to come.

• A showreel of product or UI motion work at a high craft bar: physical easing, typographic confidence, credible interfaces, and restraint. This is the primary filter and we will watch closely.
• Expert After Effects, demonstrated in the reel rather than claimed on the CV.
• Real UI design competence in Figma: the screens in your work are clean, systematic, and believable.
• Edit and sound sensibility: your cuts land on the audio and your pacing is deliberate.
• Ability to run a piece end to end, from concept and boards through animation, edit, sound, and delivery, without a producer holding your hand.
• Comfort with volume and variety: launches, reels, demos, and product motion running in parallel, with the judgment to match polish to purpose.
• Based in the UAE or willing to relocate to Dubai, and comfortable working on-site.

• Arabic typography or RTL motion work. Arabic language ability is a plus but not required.
• Rive or Lottie assets shipped inside a real product.
• Motion for AI products: streaming interfaces, conversational UI, voice visualisation.
• Light 3D in Cinema 4D or Blender.
• Storyboarding and art direction strength, or a background in brand design.
• Sound design beyond selection and sync.
• Experience building or documenting a motion system alongside design tokens.

You will be a motion hire at a company where motion is treated as product, not decoration, with a launch calendar busy enough that your best work ships constantly rather than dying in review. The problems are genuinely rare: bilingual kinetic type across two scripts, motion for AI systems where the interface itself is the story, and production motion that must run inside government deployments. You will work beside a team that cares about craft at your level, with a learning budget and the room to define this discipline here from zero.

On-site in Dubai. Compensation is competitive and benchmarked to your experience and the UAE market. The package includes UAE employment visa sponsorship, medical insurance, and annual leave and flight allowance per UAE labour law and company policy. Relocation support is available for candidates joining from outside the UAE. Xpin AI hires on demonstrated ability and welcomes applicants from all backgrounds.

Send your showreel and two or three complete pieces you are proudest of, with a line on what you made versus what was handed to you: boards, UI, animation, edit, sound. Credit honestly; we will ask in the interview. Personal work that shows your ceiling is welcome. We watch everything submitted and will give you a real response either way.