Preparing the scene
Preparing the scene
CHAMMAGRAPHY · AI Ad Lab
Independent AI Advertising Experiments
Seven advertising films made to find out what a commercial can be when the image is generated and every decision after that is not.
Experiment 01 / 07
Blended scotch · bar film
Concept
Pouring a drink is normally a sequence: hand, glass, ice, liquid, label. This film refuses the sequence. It breaks the moment into vertical panels that live side by side in one frame, so nothing waits its turn and the whole pour arrives at once — as rhythm rather than as story.
Execution
The panels slide across the bar and trade their contents as they travel, which turns cutting into choreography: every edit is a movement instead of a break. Ruby abstractions of the whisky sit between the real bar footage, so the drink reads as material as much as product. When the panels finally clear, the bottle is alone on the marble — the one conventional product shot in the film, and it lands because nothing before it was.
Experiment 02 / 07
King's Day · alcohol-free beer
Concept
Alcohol-free advertising usually isolates the bottle to prove it belongs. This film does the opposite and never lets the product leave the crowd: the celebration supplies the colour, the noise and the reason to be there, and the bottle simply stays inside it.
Execution
It works by changing scale instead of changing subject — a street packed with orange, then a hand and a green neck, then faces, then the street again — so the product is always read against the energy around it. Light trails and drifting bubbles lift the middle section just off reality, enough to feel authored without breaking the documentary rush. The track carries the cutting: the picture changes on the music rather than on the action. There is no logo card at the end, only a man drinking in the middle of it all, which is the argument: he never had to step outside to enjoy it.
Experiment 03 / 07
Alcohol-free beer · vertical macro
Concept
The same bottle as Oranje, with the party, the place and even the act of drinking taken away, until the product becomes a landscape of its own. Glass, condensation and reflected light are the entire cast.
Execution
Macro framing pushes a familiar object past recognition: for most of the film you are reading surfaces — curvature, droplets, a printed star — rather than a beer. The grade carries what a script would normally carry, travelling from cold green to warm amber, so the piece has a temperature arc where an ad would have a message. Only at the end does it step back into a clean hero frame and let the object be a product again.
Experiment 04 / 07
Electric truck · night port
Concept
A heavy machine presented without a single aggressive cut. Scale and quiet are treated as the same argument: if the truck is this calm crossing a working port at night, it has nothing left to prove with speed.
Execution
The camera drifts instead of cutting and reads the vehicle as architecture — grille, star, the long flank of the trailer, a wheel turning through standing water. The port does the lighting: sodium lamps, crane silhouettes, reflections on wet asphalt, with the machine dark enough to stay a shape for most of its runtime. It arrives out of fog and hands over to one plain line of type, the only moment the film raises its voice.
Experiment 05 / 07
Golf driver · product film
Concept
A driver treated as a precision object rather than sports equipment. There is no course, no player and no ball, because the promise is engineering — so engineering is all the film shows you.
Execution
A black void and one gold edge light give the head the treatment usually reserved for watches: material, weight and geometry, read in macro. Then the club opens into a floating exploded assembly and closes again, which is the whole pitch in a single move — everything inside is designed, and it all goes back together. It ends on the assembled driver, because that is the object the film is about.
Experiment 06 / 07
The same driver · second execution
Concept
The same club, given a second visual language on purpose, to see how far the treatment can travel while the subject stays identical. GT3 argues through structure and components; this one argues through line, energy and measurement.
Execution
The loft number is held on the crown as a graphic element while a gold line draws itself around the head, so the film behaves like a diagram rather than a teardown. The exploded view returns, now as a ring orbiting a centre, and the strike is pure light instead of a ball. Faster and flatter, closer to motion design than to product photography — and it lands on the same club and the same mark, which is what makes the pair worth keeping side by side.
Experiment 07 / 07
Independent fashion film
Concept
Black forms moving through a black landscape. The clothing is not styled against the location — it is made of the same material as the storm, the sand and the water, and the film is about how little separation you can leave before a figure disappears altogether.
Execution
Everything sits in one palette, so the only things that cut through are skin, sky and the crystal at the ear. There is not a single hard cut: the looks dissolve into one another, so each figure seems to emerge from the last instead of arriving as a separate outfit. The sea stacks hold the frame while the figures move slowly enough to read as sculpture, with the heaviest sound in the lab underneath to keep that slowness from going inert, and the film signs itself at the very end — the one moment it admits to being made.
Method
Every experiment here takes the same route. An idea comes first, generated material second, and then a long stretch of rejection. What turns any of it into an advertisement — order, rhythm, sound, restraint — only happens once the pictures already exist.
The angle on the product, and the world it lives in.
Shots generated with AI tools, prompt after prompt.
Most of it goes. What stays has to cut together.
Order, rhythm, transitions and continuity, by hand.
Music and sound chosen and timed against the picture.
Grade, pacing, and the last frame before it is an ad.
AI makes pictures. A film is what the decisions after that turn them into.
Project Information
Independence
These films are independent experiments. None of them was commissioned by, produced for, or produced with the brands, products or logos that appear in them.
Trademarks and product designs remain the property of their owners and are shown here as the subject of unpaid creative work, not as approved advertising.
CHAMMAGRAPHY · Original