MARCO
FAVERO

The brand sells embroidery kits, so every visual decision had to feel tactile. The entire animation was built in AI with a wool-thread texture applied to the environment and character hair: a deliberate choice to make the material of the product present in the ad itself, not just referenced by it.

The colour palette was pulled directly from the brand's existing identity. Nothing invented, just carried through consistently into a new format.

The script came from a personal place: my mother and grandmother both embroidered. I brought that specific kind of affection (the warmth of watching someone you love make something by hand) into the narrative. The emotional entry point isn't "buy a kit." It's a memory.

This piece blends the structure of a Video Sales Letter with the feel of organic social content. Knowing how much timing matters in content strategy, I anchored it to Setembro Amarelo (Brazil's mental health awareness month) as a natural entry point to talk about self-care and its benefits. The campaign connection gave the message cultural relevance and emotional permission to go deeper than a typical ad.

This video reached 1.7M views on Conspiracy Central. The concept was built around real footage of the thieves escaping (used as a hook), while the video promised to break down the full story through a timeline.

The key creative challenge was the reconstruction. In traditional TV production, that kind of visual simulation would require 3D modelling or live dramatisation, both time-intensive and expensive. I produced the entire reconstruction using AI-generated imagery, which allowed me to build realistic, cinematic simulations quickly and at scale. That production efficiency directly contributed to the content's performance and reach.

Originally assigned to cover a state initiative to clear the Department of Traffic impound lot (hundreds of abandoned, seized vehicles being processed for destruction), I saw an opportunity to package the story in a way that could travel beyond the official communications bubble. Instead of a straight report, I put together a visual montage of the machinery at work, cut to Johann Strauss's The Blue Danube.

The tension is the point: heavy industrial equipment crushing cars, scored to a waltz normally associated with ballet. The contrast makes the mechanical movements readable as something almost choreographic, and that incongruity is exactly what gave the piece traction on social media. It performed well across the state's official channels, driven by the irony rather than the institutional message.