Production Service
CINEMATIC CAMPAIGN PRODUCTION
Powered by AI — Directed by Humans
Most campaigns are a film and then a scramble. The hero piece gets the attention, the budget and the direction, and everything after it — the social cuts, the stills, the banners — gets made by someone else, later, from leftovers. The result is a campaign where the hero film is excellent and every other touchpoint quietly undermines it.
F5 Refresh builds campaigns as one cinematic system. The hero film, the social cuts, the stills and the motion graphics are directed together, from a single visual language, so a viewer who encounters the campaign on a billboard and then on their phone is encountering the same thing. Every asset holds the standard of the hero piece, because every asset was directed as part of it.
01 // Deliverables
What You Get
- Campaign architecture — visual language, key messages and format strategy defined before production
- Hero film, directed as the campaign's anchor
- Social cuts, reframed and re-paced per platform
- Cinematic stills pulled and finished from the campaign's visual world
- Motion graphics and titling built on a consistent system
- Every asset delivered in the resolution, aspect ratio and codec its placement requires
- A deliverable set scoped to the campaign — the count follows the media plan, not a fixed package
02 // Process
How We Operate
Campaign architecture
Before production, the campaign is designed as a system: the visual language it will hold, the messages each touchpoint carries, and the format strategy across every place it will appear. This is where most campaigns are won or lost, and it is the first approval gate. What gets agreed here is what every subsequent asset is measured against.
Hero asset creation
The hero film is produced under AI-directed production with a consistent visual identity carried across film, photo and motion. Because the campaign's world is defined and locked before this stage, the stills and secondary assets come out of the same world rather than being approximated from it afterwards.
Format adaptation and delivery
Every asset is adapted deliberately for its placement — billboard to social story, each one reframed, re-timed and finished for how it will actually be seen. Nothing is exported and hoped for. The campaign is delivered as a complete set, ready to launch.
03 // Work
Selected Work
cinematic campaign — 2026
The Alchemist
The encounter of the esoteric and the exoteric — the hidden knowledge and the world it surfaces into.
cinematic campaign — 2026
The Signal
The power of solitude — a lone operator, a signal buried in the noise, and the patience it takes to hear it.
04 // Coverage
Where We Work
Based in Beirut, producing campaigns for brands in Lebanon, across the Gulf — the UAE, Saudi Arabia and Qatar — and internationally. The studio also works as a production partner for agencies running the campaign strategy who need the assets produced to a cinematic standard. Distance is not a constraint on a campaign that is directed rather than staged.
05 // Questions
Cinematic Campaign — FAQ
What's included in a cinematic campaign?
A hero film, the social cuts adapted from it, cinematic stills, and the motion graphics and titling system that runs across everything. What is included beyond that is scoped to the campaign — a launch running across broadcast, social and out-of-home needs a different asset set to a single-channel digital push. The architecture stage defines the exact list before production starts.
How many deliverables come out of one campaign?
It depends on the media plan rather than a fixed package, and the count is agreed at the architecture stage. The principle is that every asset the campaign needs is directed as part of it, rather than a hero film being delivered and the rest being assembled elsewhere. The standard is that everything is ready to launch — nothing is delivered as a rough that someone else has to finish.
Can one hero film be adapted into social formats?
Yes, and it is adapted rather than cropped. A vertical cut is reframed and re-timed for a phone; a six-second piece is not the first six seconds of the thirty. Each format is directed for how it is actually watched, which is the difference between a campaign that holds across placements and one that only works in its original aspect ratio.
How do you keep visual identity consistent across formats?
Consistency is designed in at the architecture stage rather than enforced afterwards. The campaign's visual language — palette, texture, light, typography, pacing — is defined and locked before any asset is produced, and every asset is directed against it. Because the same director owns the hero film and the adaptations, there is no handoff where the standard drops.
Can you work inside existing brand guidelines?
Yes, and the process starts with studying them properly. The identity comes first — what the brand book actually mandates and what it leaves open. Then the target audience: who the campaign is speaking to, and a real read on the psychology of that audience, what they respond to and what they have learned to ignore. A brand book tells you what the brand looks like; it rarely tells you why any of it works on the people it is aimed at. The campaign is built on both.
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Tell us what the film has to do. The studio responds within 24 hours.
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