A generic bank commercial that any bank can wear. MyPay is a swap slot: logo, colour and end line change per client, the film underneath stays. No branch, no banker, no paperwork. Just the two seconds after the payment - the face.
One master, recolourable for any bank
Banks buy the same emotion in different colours. Instead of pitching four films to four banks, we built one cinematic master with a placeholder brand and showed how it recolours for KB, ČSOB, Raiffeisen or Česká spořitelna. The idea came from Ondřej Hubálek’s “Blue isn’t a flavour”: three lines of dialogue spoken twice, thirty-eight years apart.
The first preview had one face close-up in forty-three seconds and a grey middle act. The rewrite kept the idea and changed the light: the film starts in the sun and never leaves it, and every payment is followed by the face that reacts to it.
“The blue one.”
“Blue isn’t a flavour.”
“It’s my flavour.”
Spoken by a boy at an ice-cream stall. Then by the same man, now a father, at the same stall. He isn’t answering his son - he is answering his dad.
THE BLUE ONE - 40 seconds, no crew, no location
Directed like a shoot, produced like software
Every frame of the storyboard was generated from a single look document - a style spec with lens grammar, grade and one saturated accent colour per scene. The whole cast came from one model so faces hold across forty years of story; a boy of seven, the same man at eighteen, thirty and forty-five. Characters, locations, props and the brand each got their own reference sheet, and all of them go into every generation. Nothing that isn’t locked by a sheet survives from shot to shot.
From the storyboard
Three ages of one man, one model
Character sheets in 3:2 from a single image model give the generations a face that does not drift. The boy, the father and the man at forty-five share the features a family shares and differ where a family differs - written down explicitly, so the model has nothing to invent.
A pitch you can watch, not read
Treatment & beat sheet
24 shots, ten face close-ups, four payment inserts. Coverage rules written before the first frame.
Storyboard with version history
Every frame kept in every version; the final pick is a human decision in the review sheet, never a script.
Four video generations
Two 18-second passes and two 5-second inserts, cut into one split screen and one 39-second master.
Recolour kit
Brand as a swap slot: logo, accent and end card change per bank, the edit stays.
What the spec cost, and what it didn’t
Two days from treatment to master. The same pipeline is now packaged as the Eden pitch pipeline and reused on every spec spot we make - the method, not just the film, is the deliverable.
Want your brand in the swap slot?
A spec spot like this one takes two weeks including your revisions.
