Geely

The starting point was a handful of product photos the brand sent us. The whole ICON launch campaign had to come out of that: a reel and two carousels, with the vehicle placed in locations that did not exist and situations that were never photographed.

Three social pieces: a 30-second vertical reel and two carousels, with two distinct lighting treatments inside one brand world.

The first carousel works the EX5 in daylight: concrete, a diagonal of sun coming through the roof, the vehicle read at three scales — the building, the full profile, the wheel detail. The second goes the other way: black, smoke, and the bodywork defined only by what the light decides to show. The reel carries the ICON's full narrative, from interior to open road.

None of it was filmed. No set, no location, no physical unit in front of a camera. Art direction, cinematography, animation and post — all generated from material the brand already had.

The hard part of AI automotive production isn't getting one good-looking frame. It's that the car has to be the same car in every shot. The same headlights, the same wheel pattern, the same hood line, frame after frame and across pieces. Without that continuity the illusion breaks and the brand can't publish it.

The photos they sent are the reference that anchors that continuity. The pipeline was Nano Banana, Gemini's image model, to build each still while keeping the product faithful to the original, and Seedance for motion. The directing calls — which light, which scale, which order — are the part we don't delegate: the model solves the image, not the campaign.