Disney+ DOOH Campaigns

Client: Disney+

Production Company: BIEN

Role

Motion Designer

Services

Design

Animation

Pipeline & Workflow Development

In my continuing collaboration with BIEN – the Inclusive Motion Design Studio, I worked on three DOOH campaigns for digital out-of-home (DOOH) ads for Disney+ (Blockbuster Offer, Halloween, Black Friday). I designed and animated for several sites that included the iconic Godzilla Screen in NYC’s Times Square, JFK Airport, and Big Outdoor in LA. I also developed a custom production workflow essential for streamlining the DOOH projects by analyzing past processes, and creating a folder structure and responsibility among team members.

01 The Challenge

Designing for one screen is easy. Designing for many is where it gets messy. In DOOH campaigns, no two canvases are the same. One campaign might stretch across towering verticals, ultrawide horizontals, or entire multi-screen arrays; each with its own specifications. Add in producers, creative directors, team members across time zones, last minute changes, and tight delivery window; and suddenly, you are not designing or animating, you are orchestrating a system. That’s where my real work begins.

02 Building the System

The system isn’t just visual, it’s human. On complex, fast moving projects like DOOH, clarity is not optional, it’s everything. I’ve found that aligning early on naming conventions for visual elements creates a shared language across teams. I document this precise, frictionless communication through callout sheets; annotated frames that label key assets, behaviors, and reusable components. This visual vocabulary then informs how I develop both the project and After Effects folder structures.

03 Workflow

More artists doesn’t always mean more ease. Sometimes, it means more chaos.
In these campaigns, at least three artists were working simultaneously — and at one point, the team expanded to five. But as the team grew, so did the complexity. We were managing countless moving parts across internal workflows and client feedback loops. Inconsistencies crept in: text animations didn’t match, parallax movements varied across compositions, and last-minute changes like legal updates only added to the friction. We even ran into rendering discrepancies caused by different operating systems. All of this while chasing deadlines. The details started to slow us down.

The solution was to rethink how we worked.
We adopted a CG-style pipeline and designated an Asset Wrangler — one artist responsible for preparing and pre-rendering key components like lockups, text builds, and IP animations. With the video broken into modular parts, the rest of the team could focus on assembling and finessing the motion, instead of building everything from scratch. This reduced overlap, clarified responsibilities, and allowed us to scale without losing consistency.