Brisa · AI video campaign

Directing a summer campaign with no film crew

One 15 second spot for a made up sparkling water, taken from a short brief to six finished formats with AI tools and a designer's eye. No camera, no actors, no video budget.

Client: Brisa, a sample brand
Role: Concept, art direction, motion and build
Industry: Drinks, social video
Scope: Brief and three hooks
Five frame storyboard with prompts
Look kit and house rules
15 second master in two casts
Six format variants
Campaign site, built in code
Year: 2026

The 15 second master. Play it, scrub it, jump to a scene or switch the cast. Open the full campaign site.

Overview

A workshop sample that had to prove the method

Brisa is a made up sparkling water, launching a new lime and mint flavour for summer. I created it as the sample project for a workshop on AI video for marketing and brand designers, to show what one designer can make from a short brief in two days, with no camera and no video budget.

The output is what a real launch needs. A 15 second master spot, a storyboard with the prompt notes behind every shot, a look kit that keeps it consistent, and six variants cut for where they run. It all lives on one page, built in code, so students can scrub the spot, compare the formats side by side and copy the prompts.

Problem

AI video is fast, but it drifts

Ask a video model for a shot and you get something impressive. Ask for the next one and the can changes shape, the light moves and the person becomes someone else. Ask for a square version and the whole thing drifts again.

Designers coming to AI video rarely need another prompt trick. They need a way of working that turns a brief into a campaign a brand manager would sign off, and they need to see it done end to end.

The brief

Who it's for

People in hot cities who want a cold drink without the sugar.

Goal

Launch the new lime and mint flavour on social this summer.

Limits

One designer, two days, no camera, no video budget.

Must show

The can, the flavour and the line Pause the heat.

Strategy

Treat it like a production, not a prompt

Every decision a film crew makes still has to be made. I split the work into the stages a production follows: plan the story, lock the look, then cut everything from one master.

One rule sits under all three. Shots stay consistent when the inputs stay the same, and nothing gets generated twice.

Brisa campaign system

One 15 second master

Generated once. Every format is cut from it.

Plan

Brief and audience
Three hooks, one pick
Five frame storyboard

Look

Palette and on screen type
Product and character references
Style line and house rules

Cut

Reframes for feed and landscape
A 6 second bumper and a still
Sound off and retargeting cuts

Explorations

Three decisions, and what each one cost

Exploration 01

A hook you can feel in two seconds

Constraint: The first two seconds decide whether anyone watches the rest, and most people scroll with the sound off.
Trade off: A question speaks to people who already know the brand. A silent shot looks beautiful but takes too long to say what it is.
Solution: The fact. "It's 34° in Málaga." Specific, local and on screen from the first frame. The question was not wasted. It became the retargeting hook.

The fact · Chosen
It's 34° in Málaga.
Specific and local. People stop for a number they can feel.
The question · Kept for retargeting
Still melting at 4pm?
Works for people who already know the brand, so it became the retargeting hook.
The silent one · Dropped
An ice cube drops. No words.
A strong picture, but slow to say who it is for and what it is.

Exploration 02

Consistency over variety

Constraint: Every shot is generated on its own, so the can, the light and the cast drift from one shot to the next.
Trade off: Locking the inputs narrows how far any single shot can go. Fewer happy accidents.
Solution: The same reference image and the same description, word for word, in every prompt, with one style line at the end. Light always from the top left, the camera locked or pushing in slowly, and shots of two to four seconds, because short shots drift less.

Exploration 03

Generate once, cut many

Constraint: Six placements, from a 6 second ad that can't be skipped to a 4:5 still for email.
Trade off: Generating each format separately gives perfect framing, and six more chances for the look to drift.
Solution: Every variant is trimmed or reframed from the master. The only new material is text, changed in the editor. The end card is not generated at all. It is built in the editor, so the logo stays exact.

System

A look kit that goes into every prompt

The kit is short on purpose. Five colours, one typeface for anything on screen, two reference descriptions and four house rules.

Anything a model is likely to get wrong, like the logo and the type, is added in the editor and never generated.

Colour palette

Saffron
#F7B32B
The hook, the heat and the band on the can
Coral
#F2545B
The problem, the melt
Sea
#0E4C63
The product, cold and deep
Foam
#BDF2DC
The can and the moment of relief
Deep sea
#0A3546
The end card

Typography, added in the editor and never generated

Use	Weight	Typeface
Wordmark	800	Bricolage Grotesque
Lines on screen	770	Bricolage Grotesque
Captions and calls to action	700	Atkinson Hyperlegible

Prompt kit

Product reference
“A slim 330ml can, foam green, with a saffron band and a lowercase brisa wordmark.”
Sent with the same reference image in every product shot.
Character reference
“A woman in her thirties with dark curly hair, a white tee and small gold hoops.”
Used instead of the product reference in the people version.
Style line
“Flat colour backdrop, hard sun from the top left, soft film grain, 35mm look, no people, no text.”
Added to the end of every shot prompt, every time.

House rules

Light always comes from the top left.
The camera is locked or pushes in slowly. Nothing else.
Shots are two to four seconds. Short shots drift less.
Any image or video model works. The method is what you keep.

Deliverables

From one brief to six finished formats

Deliverable 01

A five frame storyboard with the prompts behind it

Five frames, one job each. Every frame carries a shot description, the line on screen and the notes used to prompt it, so anyone can regenerate a shot and get the same result.

0 to 2s

Hook

A big sun fills the frame. You can feel the heat.

On screen: It's 34° in Málaga.

Prompt notesFlat saffron backdrop, low sun, slow push in, heat shimmer.

2 to 5s

Problem

An ice lolly melts in real time.

On screen: Your afternoon is melting.

Prompt notesCoral backdrop, top light, macro lens, drips fall slowly.

5 to 9s

Product

The can rises into frame through bubbles.

On screen: Cold. Sparkling. Botanical.

Prompt notesProduct reference attached, deep sea blue backdrop, cold drops on the can, locked camera.

9 to 12s

Moment

The can opens and a cool ring pushes the heat away.

On screen: Ahh.

Prompt notesHard cut from coral to foam green on the open, ring grows from the centre.

12 to 15s

End card

Logo, line and where to buy.

On screen: Pause the heat.

Prompt notesNot generated. Built in the editor so the logo stays exact.

Hover, focus or tap a frame to play its scene.

Deliverable 02

The 15 second master, in two casts

The brief had no actors, so the first version is all product: a sun, a melting lolly, the can. For brands that want a face, the same storyboard runs with a character.

Same timing, same type, same palette. Only the reference changes, from the can to a character described word for word.

Objects. The product does the acting.

People. Same storyboard, a character instead of a can.

Deliverable 03

A cut map instead of six separate edits

Every variant is planned against the master before anything is exported. Most are trims or reframes. The retargeting cut changes one line of text and keeps every frame.

Cut map, planned against the 15 second master

Master

15 seconds

HookProblemProductMomentEnd card

Bumper

6 seconds

Hook 2sCutProduct 2sCutEnd 2s

Retargeting

15 seconds

New lineProblemProductMomentEnd card

Still

One frame

Frame at 8s

Kept from the master
Cut
Changed in the editor

Deliverable 04

Six variants, shaped for where they run

The same spot in every shape a launch needs, from a square feed post to a still for email. This is what every student leaves the workshop with.

Feed

Square, 15 seconds. Instagram and LinkedIn feeds.

Product and text pulled towards the centre.

Landscape

16:9, 15 seconds. YouTube and website headers.

Text moves left, product moves right.

Bumper

Vertical, 6 seconds. Short ads that can't be skipped.

Hook, product, end card. Two seconds each.

Still

4:5 image. Feed ads and email.

One frame pulled from 8 seconds into the master.

Sound off

Vertical, 15 seconds. Anywhere people scroll muted.

The voiceover becomes captions, burnt in.

Retargeting

Vertical, 15 seconds. People who visited the site.

The second hook, swapped in. Everything else stays.

Deliverable 05

A campaign site that teaches the method

Instead of a PDF, the sample ships as a single page. The master can be played, paused and scrubbed, storyboard frames play on hover, the cast switches between objects and people, and the style line copies with one click.

Every shot is drawn in code as a stand in for generated footage. That keeps the page light, sharp at any size and quick to change between workshops. It respects reduced motion, works with a keyboard and needs no sound, because every line is on screen.

Visit the campaign site (opens in a new tab)

Reflection

What I would carry into the next one

The method is what you keep

Models change every few months. A short brief, a locked look and a master to cut from work with any of them.

Decide what not to generate

The logo, the type and the end card are built in the editor. Generating them only gives a model more chances to get the brand wrong.

Design for sound off first

Every line is already on screen, so captions became a variant rather than a fix. Most people will meet the spot in a muted feed, so that is where it has to work first.