Free from the duration, format, and censorship restrictions associated with mainstream TV or cinema advertising, brand films allow for a refreshing range of techniques, narratives and visual styles.

At Stash, brand films include marketing-driven motion work appearing online, in-store, out-of-home, or on any other screen not identified as broadcast TV or cinema.

These films were all added to The Stash Permanent Collection in 2017 and are listed here in reverse chronological order from the date of publication.
 
 

 
FREITAG “BIG BUDDY BLUE”
Stash 126

Director Benjamin Morard at Team Tumult in Zürich: “The brief was very short. Basically all it said was that we should tell the Story of Freitag ‘From Truck Till Bag’.

“We were invited to see the production of the bags in the Freitag Factory, which was a great inspiration. At no point did the client want to see or know what we were up to. It was a really refreshing experience.”
 
 

 
GATORADE “G ACTIVE: WATER MADE ACTIVE”
Stash 125

Giacomo Vigliar, business director at UNIT9 Films in London: “The whole process for this campaign was unlike any other.

“We had to develop a completely new technology capable of generating a visual and literal representation of active water. An installation that combines art, photography and science to synchronize thousands of droplets of G Active.”
 
 

 
ADULT SWIM “RICK AND MORTY EXQUISITE CORPSE”
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Director Matt Taylor at Titmouse in Los Angeles: “The assignment was to pull together a team of artists to create animated segments featuring Rick and Morty that would all connect into a promotion for season three.

“The opportunity to select artists whose work I enjoy personally was a great thing and I’m thankful to Adult Swim and Titmouse for trusting in my creative tastes.”
 
 

 
SPRINKLR “SQUARE PEG”
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Executive producer Luke Youngman at Nexus Studios in London: “Sprinklr is a social media management platform with offices across the globe.

“They required a brand story that was not only informative, but also visually spectacular, engaging and non-verbal to ensure communication across all types of business, industries, countries and languages.”
 
 

 
WELLBELOVED “MEGA CITY”
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Passion Animation Studio directors againstallodds: “A particular challenge was bringing the character of the dog to life, bridging the gap between an anthropomorphic character and a realistic, believable animal.”
 
 

 
SEMCON “THE INTERNET OF SH*T SONG”
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Director Daniel Warwick at Camp David in Stockholm, Sweden: “We received the lyrics to the cover version of the old ‘Dem Bones’ song with the challenge to portray the ridicule of the internet of things.

“Anything would have been possible, graphic animation, live-action etc. but the budget was tight and I loved the symbolism of strings and all of us becoming marionettes of our self-made crazy world.”
 
 

 
STRAVA “MY YEAR IN SPORT”
Stash 124

At the beginning of 2017, the social network for athletes called Strava gave each of its 1.2 million members a personalized CG film displaying their individual training achievements for the previous year.

Douglas Bowden, director/owner at Visual Assembly in London: “The brief was to create a film that would give users a glimpse at the inner workings of the Strava app. So we had to pull apart a digital product and give it a physical presence.

“We needed to incorporate as much of the UI as possible while maintaining a clean and modern aesthetic. It needed to reinforce user behavior and incorporate materials from Strava’s core sports: running and cycling.”
 
 

 
NASA “CASSINI’S GRAND FINALE”
Stash 123

In September 2017 NASA’s Cassini spacecraft ended its 20-year mission observing Saturn and its moons and commenced a heroic, one-way dive into Saturn’s atmosphere.

Directed by Swedish digital artist (and space junky) Erik Wernquist for NASA’s Jet Propulsion Laboratory, the film strikes a genuine emotional tone – rare in science films – by successfully casting Cassini as a fearless, faithful, and selfless explorer.
 
 

 
CNN “BLUE”
Stash 121

Marie-Margaux Tsakiri-Scanatovits, animator at MOTH in London: “CNN producer Sarah-Grace Mankarious approached us with the idea to create the first part of an animated series about color, based on the documentary series by Dr.James Fox ‘A History of Art in Three Colors’.

“At some point we also decided we wanted to do it in 4K, so we discarded everything we had done and started from scratch. We think it was worth it though!”