Product Stories — Colin Peebles Christensen

The project

A series of campaign films for the global launch of reMarkable Paper Pro Move. Five films, covering four individual stories and a two-minute supercut, told in the voices of the people who built the product.

The cast consisted of two lead UX designers and a senior software engineer.

Shot over five days in Oslo.

The idea

The films are built around the designers and engineers who made the product. The aim was to tell each story in a voice and style that felt authentic.

This called for a research-led approach to scripting, which included interviewing all three before the writing began. Those interviews shaped which product features and functionality each film highlighted, how the product connected to each person’s own story, and the cadence and colour of their narration. The goal was to create films that felt warm, personal and grounded in real experiences.

The voice-over draws on three sources: lines taken almost verbatim from the transcripts, lines written from scratch but built on each person’s speech patterns and rhythm, and lines covering points the product or brand required, written to sit naturally inside the same voice.

A few reached the finished film near-verbatim.

Caterina — in the interview

“Our hypothesis for people that had both devices was that [the smaller one] was going to be kind of like the space shuttle… of [the bigger one]. So basically you sit on your desk, you have time to think… it’s more spacious. It gives you more time to think and kind of this focus bubble. But then the moment that you leave your desk is easier to carry the little one.”

Caterina — in the film

CATERINA (V.O.)

It's kind of like this space shuttle. You're at your desk with your computer. Then the moment you leave, you take it with you because it's easier to carry.

Andreas — in the interview

“I use it with the laptop all the time. So I like I when I coming for the day, I start writing my to-do list on my laptop, typed, and then I switched to having it on my tablet… and I often take like handwritten meeting notes and then I convert them and fix them up in the… app”

Andreas — in the film

ANDREAS (V.O.)

Sometimes I'll start on my laptop and continue on my paper tablet. Or I start by hand on the paper tablet and then convert and edit those notes in the reMarkable desktop app.

Interview quotes are raw auto-transcript; product codenames replaced in brackets.

My role

Original idea and concept
Research and pre-interviews with the cast, to tell a more authentic story
Five shooting scripts, covering story, scene and shot direction, and narration
The supercut, fully scripted as a paper edit from the four individual films
Script revisions with the director and production agency, against timing and budget
On set across five shoot days. Voice-over direction. Notes through the edit
Cutdowns at 30, 15 and 6 seconds, separately scripted, with hooks and CTAs written for conversion

The scripts

Note-taking on the go — opening

EXT. TRANSPORTATION HUB, MAJORSTUEN — DAY

CATERINA FORNO RIOS emerges out of MAJORSTUEN SUBWAY STATION, holding her REMARKABLE PAPER PRO MOVE in one hand.

She weaves through commuter traffic — cyclists, motorbikes, late-for-work power walkers, kids blocking the way, honking cars.

CATERINA (V.O.)

As a UX designer, a part of my brain is always problem solving... always observing.

We're watching the surroundings as we move through it with her. It's like we too are observing it from Caterina's POV.

CATERINA (V.O.)

I see user flows, navigation paths, decision points, and bottlenecks all over the place...

As Caterina talks, we FREEZE-FRAME on a few select moments. Rhythmically. Punctuating. Each. Example. With still images:

1. Waves of pedestrians queuing, crossing. Then freeze frame.

2. Traffic piling up at the traffic light.

3. A “No parking” sign on a one-way street.

4. The subway arrives. Doors open. People flow in... Freeze. And out... Freeze.

Images cut with rhythmic precision, moving to the beat of her narration, and the chugging, wheezing, coughing, thumping urban soundscape.

Connected workflows — opening

MONTAGE — RAPIDLY INTERCUT BETWEEN PARK AND OFFICE

EXT. PARK — EARLY MORNING

ANDREAS DØRUM, in motion, taking notes in the park. CLOSE ON: Handwritten scribbles on REMARKABLE PAPER PRO MOVE.

INTERCUT WITH: INT. OFFICE — ANDREAS'S DESK — DAY

ULTRA CLOSE ON: A glowing computer monitor. Up tight on a BLINKING CURSOR — hovering for a second, then moving, spawning a string of letters.

CUT WIDER to the full text on screen: It's a header in a document open in the REMARKABLE DESKTOP APP. It's connected to the notes we saw in the park.

(Note: We now cut rapidly between the two scenes, woven together to show Andreas's work taking shape.)

INTERCUT WITH: EXT. PARK — CONTINUOUS

CLOSE ON: A handwritten, chicken-scratch list.

INTERCUT WITH: INT. OFFICE — ANDREAS'S DESK — CONTINUOUS

Then, a neat, typed-up bullet list on the computer screen. Same words as those on the paper tablet, but now fully structured.

INTERCUT WITH: EXT. PARK — CONTINUOUS

Andreas writes a paragraph, all longhand. Then CLOSE ON: He taps HANDWRITING CONVERSION, but we immediately cut away before it converts.

INTERCUT WITH: INT. OFFICE — ANDREAS'S DESK — CONTINUOUS

CLOSE ON: His handwritten paragraph now as TYPED TEXT, with the cursor moving as Andreas edits that same text. We now see how easy it is to go from handwritten to editable, typed text that can be used in all kinds of ways.

ANDREAS (V.O.)

I, personally, work more in loops than in straight lines.

Excerpted from the final drafts, May 2025. Narration was revised again before and during the voice-over sessions.

The supercut

Scripted as a full paper edit by assembling scenes from all four individual films into a single flowing narrative.

From the supercut — scenes from three films, cut into one argument

INT. OFFICE — CATERINA'S DESK — DAY

Caterina in the office, at a desk, with reMarkable Paper Pro Move on the table.

CATERINA (V.O.)

It's kind of like this space shuttle...

(beat)

You're at your desk with your computer...

She picks up her Paper Pro Move and leaves.

CATERINA (V.O.)

Then, the moment you leave, you take it with you. Because it's easier to carry.

EXT./INT. PARK/REMARKABLE OFFICE — DAY

Andreas with his reMarkable Paper Pro Move.

ANDREAS (V.O.)

I love that it slips into my bag or jacket pocket, so I can carry it with me.

INT. OFFICE — MEETING ROOM — DAY

Caterina at the office, taking notes.

CATERINA (V.O.)

So this becomes the device you bring into meetings...

EXT. OUTDOORS — DAY

Caterina, on the move, is taking notes on her paper tablet.

CATERINA (V.O.)

...or take with you outside.

INT. REMARKABLE OFFICE — DAY

Andreas in meeting room, his scribbled words appear synchronously on the screen. (He's projecting his notes live with SCREEN SHARE.)

ANDREAS (V.O.)

But it also fits into a broader note-taking system...