DeleteMe

DeleteMe came to RSAC with a new chapter of the business: expanding from individuals protecting themselves online to enterprises protecting their workforce. One exposed employee can compromise an entire company, and the threats are getting smarter — deepfakes, targeted phishing, attacks aimed at executives by name. They needed a film that could stop traffic on the show floor, make the stakes legible in seconds, and signal that DeleteMe belongs at the enterprise table.


How do you make an invisible threat feel real without tipping into fear-mongering? The tone we landed on, in Barret's words: "A welcoming threat." Stakes are high, but the film doesn't leave you frozen. 
One step back from doom, one step toward agency.


We built a mixed-media language around a single idea: fragmented data, made visible.


The centerpiece is a mosaic system Milan developed early on. When the client saw an iteration of it, they pulled it forward as the brand-level treatment for the entire film. From there we layered motion design, typography, still imagery, and selective 3D into a hybrid that felt modern without leaning on the usual cybersecurity shorthand of locks, shields, and glowing grids. Smart efficiencies kept the timeline honest. Instead of building full 3D environments, the team used depth maps and compositing to fake scale. Tyler and Bueno did sneak one fully 3D shot in that wasn't on the boards, and it earned its keep.

The face-morph sequence. Adrian Parat, motion graphics artist, built it using time displacement driven by the mosaic animation — a face scanning itself, blending into other faces, identity dissolving in real time. It's a technical move and a thematic one in the same frame.


The client was laid-back and trusting,. Twice-weekly syncs gave the project a rhythm. When notes came back, they were sharp. The script tightened around the language that lives inside the threat — doxed, targeted, swatted — words that name the thing instead of dancing around it. Strong storyboarding from Gaby and Barret meant a multi-artist team could each go deep on their pieces without the cuts feeling stitched together.