Redefining Motion Design With Music-Driven Aesthetics Set Angle creates vibrant audio-visual experiences that spotlight the limitless potential of Maxon One.

Characterized by punchy 2D and 3D graphics and jazzy hip-hop beats, Set Angle creates animated and motion design content with a uniquely soulful style. Set Angle Founder and Creative Director Imsety Taylor, better known as Imsety, is an artist, technologist and motion designer bringing passion for music and a talent for beat-making to his creative approach. Inspired by jazz, hip-hop, EDM and reggae, Imsety’s work riffs on visual and musical styles from different eras, mixing strong graphic forms and bold colors with soulful rhythms.

Attributing his creative evolution to Maxon One, Imsety employs Cinema 4D, Redshift, Red Giant, and Universe to realize his multilayered concepts, with After Effects for animating and compositing.

Catching Maxon’s eye, Set Angle was commissioned to create the promo for Maxon One’s April 2025 release. Ahead of that, we asked Imsety to tell us more about his creative inspiration and the projects, tools, and techniques that have shaped his journey.

Creativity has always been Imsety’s playground, and he found his way to motion design, music, and beat-making early in childhood. A digital content creator since adolescence, he knew his journey was about creating content that captivates and inspires people. A chance meeting with Maxon’s Mathias Omotola at Atlanta’s 3D + Motion Design Show in 2019 opened his eyes to the breadth of possibilities in motion design, inspiring him to think big. Ambition and creative direction crystallized in Set Angle, the digital creative agency he opened in 2022. Today, he works independently and in collaboration with brands and agencies alike, creating brand videos, product ads, title sequences, immersive event graphics, and music visuals. Alongside eye-catching self-initiated projects, client work for Rock The Bells x Ford, Chick-fil-A, and Kaiser Permanente is growing Set Angle’s reputation and team.

Drilling into the inspiration and process behind the tight beats that inform his graphic animations, Imsety says it all begins with the soundtrack. “When I'm listening to music, I clearly see shapes and colors. It’s a kind of synesthesia that gives me a coded language in my head of how a song works,” he says. Employing this musical visioning, he begins by laying down a track that informs the visual direction and choreography of the content, which he quickly captures in rough pencil sketches before working up a rough flow in After Effects.

Moving into Cinema 4D, his fluid, experimental workflow begins by playing around with primitive shapes, different angles and perspectives, materials, and shaders. “I love playing around with the Sketch and Toon shader and even doing just really fun stuff with lighting in Redshift,” he says. Once he has a set of style frames and animation tests that fit his vision, he begins to stitch them together and polish them one at a time.

Unpacking the projects and tools that have shaped the creative energy and tone of his style, Imsety dives into “The Breakdown,” an immersive music visual created for Beeple Studios. 

Commissioned by digital artist Mike Winklemann, aka Beeple, for an Art Charleston event with Gibbes Museum of Art, Imsety’s music visuals were projected on Beeple Studio’s immersive 180-degree wall screens. The abstract nature of the project made it ideal for experimentation with the “magic toybox,” as he describes Maxon One.

Looking for a fresh and effective way to create dynamic elements, he experimented with Cinema 4D’s MoGraph effectors, which proved ideal for creating a dynamic cityscape that transforms into stacks reminiscent of graphic equalizers. Wanting a soft glow effect on the turntables and a few 3D graphics led him to Red Giant’s Magic Bullet Looks. The resulting party vibe was a game-changer for him. “I now use Magic Bullet in a unique and interesting way that I don't think it was technically designed for. I don’t use it for live-action footage but to create visually interesting colorways and looks for 2D compositions,” he says.

The process of creating the multilayered graphics in “ABSTRACT,” a visual tribute to mixtape producer and DJ J.PERIOD, offered another great opportunity to explore new techniques that he continues to employ.

A personal project inspired by the beats, rhythms and sample artistry of “The [Abstract] Best of Q-Tip”, Imsety refined a gritty graphic style for the 2D and 3D graphics by experimenting with a bump map grain material with the Sketch & Toon shader. Animated to J.PERIOD’s sampled soundtrack, the result caught the attention of the legendary producer and DJ, who spotlighted and shared it on his social media.

Finally, two self-promotional spots designed to spotlight Set Angle’s tagline “transforming the ordinary into the extraordinary” elevated the look of the iPhone’s Calculator and Clock apps, adding shine and elegance to UI details.

Using Cineware to add in a phone in the After Effects animation worked beautifully. Still, he felt it needed a bit more 3D to make it pop. “After shading it in Cinema 4D, I tried Magic Bullet Looks as a mask just on the phone. I began adjusting the colors and the contrast to get an interesting effect and that’s how I got the shimmer and little rim light effects in close-up shots,” he says.

Circling back to the April promo for Maxon One, Imsety hopes his experimental approach will showcase the best of each tool. Having assembled an Avengers-like team of artists to collaborate with, each one brings fresh perspectives and techniques that complement his repertoire. “It’s shaping up to be very snappy and ‘clicky’, thanks to the soundtrack we’ve chosen, and I think we’re creating something satisfying that will be watchable again and again.”

Five years into Maxon One, it’s clear that creativity continues to be  Imsety’s playground, offering him limitless ways to refine and evolve his unique style and voice.