Out of all the assets we produce for DocuSign throughout the year, the customer stories are the production challenges we enjoy the most. These are shot on location in places as far flung as London and Brazil, and often feature executives who have a very limited amount of time. But with every great challenge, we find a lot of satisfaction in the finished product. Our goal is to be informative and showcase customers who utilize DocuSign products, but just as importantly, we like to make these visually compelling with motion graphics and storytelling that keep our clients coming back for more. To outline the Customer Story of the largest bank in South America, Caixa Seguradora, we had just a few weeks to come up with a storyline. Leaning on the popularity of Instagram stories and the look of social media posts, we came up with an idea to frame the video similar to a comic book story. With so much information and visuals to put on-screen, including the English translation, we ended up with a visually dynamic and fast paced story that requires more than a few viewings to take it all in. The Refinitiv Customer Story took place in New York. Instead of shooting interviews in boardrooms or challenging corporate offices, we opted for a very scenic location nearby. The Skylark is a beautiful location 30 stories above Manhattan, its backdrop creating some of the best-looking interviews we’ve ever shot. Finally, DocuSign does a lot more than show off their customers. They have products that need demos, walkthroughs of interfaces that outline a GUI the customer needs to navigate. It’s all part of their System of Agreement. Making these visually interesting can be challenging. That’s where it helps to have high-end motion graphics capability in-house. Strong visuals keep content informative and visually appealing; it’s how we roll. DocuSign’s partnership with Atomic is a great example of successful and impactful creative, coupled with both motion graphics and cinematography that seamlessly comes together to create quality productions.
2018 to present
The edits were done in Adobe Premiere, and composites and graphics were created in After Effects with finishing on the Autodesk Flame.