ADVERTISING FILM - INTERNATIONAL
CAMPAIGN (any client) - 3 or more executions (2026)
2026
ADVERTISING FILM
- INTERNATIONAL
(CAMPAIGN (any client) - 3 or more executions)
Scary Good - Nike
Gold
| Title: | Scary Good |
|---|---|
| Brand: | Nike |
| Production Company: | ProdCo |
| Entrant Company: | ProdCo United Kingdom |
| Director: | Ian Pons Jewell, Prod Co (Lead Director), featuring films by Rick Darge, Luna Carmoon, Alex Takács, Leonn Ward, Alice Kunisue, Mau Morgó, Thomas Ormonde, Lee Hardcastle, Panic Studio |
| Agency: | W+K London |
| Editor: | Cabin, Trim, The Quarry |
| Agency Producer: | Aurelie Livera, Lucy Edwards, Richard Adkins, Amy Leach |
| Client: | Nike |
| Post Production Company: | Time Based Arts |
| Production Company Producer: | Ian Pons Jewell, Zico Judge, Jon Adams, Sam Levene, Cathy Green |
| Creative Director: | Albert Pukies, Becca Pottinger, Phil Rosieur, Will Wells, Adam Crockett |
| Account Director: | Olli Rosicourt |
| Account Manager: | Conny Yan |
| Animation: | Panic Studio, Lee Hardcastle |
| Music: | Wieden + Kennedy Music, Half Sour |
| Sound Studio: | Harbor Picture Company, Caron.xyz |
| Notes: | Brief: The Nike Scary Good campaign was designed to showcase the skills of some of the world's top football players. The project grew from an initial 5 films to a series of 9, each featuring custom choreographed football tricks (no stock footage) tailored to the individual player's abilities in a horror-satire style. Challenges: The agency faced a tough challenge in finding a production company capable of taking on the project due to the time frame, budget, and amount of players. With only 4 weeks to prep and film all 9 spots the production team needed to overcome significant logistical challenges. They also had to adapt to ever-changing player availability while bidding. Approach: The production proposed all nine films—including two animated pieces—be directed by nine different directors (all separate productions) under the guidance of a lead director, with a dedicated sound designer for each film, ensuring every film had its own distinct identity, carefully curated and crafted with full attention. They pitched alongside a VFX company who brought in 2 other companies to tackle the massive scale of work on the same timeline. What also sold it was the clear communication system set up between key production heads and agency which all information was funneled through. A Sports choreography team was brought on to choreograph tailored football ‘tricks’ from scratch (no stock footage) and teach the player on the day of the shoot. Execution: Production only had a week and a half to bid all 9 films, with no time for rebids if the creative changed. All films had 2 shoot days, with the exception of a longform piece which was 4 days. Once awarded, there was only 2 weeks to prep all films simultaneously, all with different wardrobe teams, cinematographers, prod designers, producers, etc. The shooting schedule involved simultaneous shoots across Manchester, London, Barcelona and Madrid. On several occasions, shoot days had to be moved up based on player availability and some shoots took place at the same time in different cities. On one occasion, the entire production and agency team overnighted on a bus from one shoot in London to the next shoot in Manchester. With only 4 weeks of post, as soon as production wrapped, they went directly into post. This was another huge testament to the communication funnel created by production. Results: Fans went wild over the commercials citing the nostalgia of being excited over advertisements again and the timing of their release, like in the commercial break after a major play. Some even recognised the directors behind the work. |
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