Disney - Hoppers DOOH
Launching a brand new Disney and Pixar original is different. There is no nostalgia to lean on. No built-in fan base. You have to introduce an entirely new world and make it feel iconic overnight.
For Hoppers, the goal was clear. Drive mass awareness ahead of the March 6 theatrical premiere and turn unfamiliar characters into must-see big screen heroes. The campaign spanned the US, with dominant placements in Times Square, a takeover of The Grove in Los Angeles, a major presence at Westfield Century City, and a global push anchored by a custom-built 3D anamorphic screen in Toronto.
The challenge was clarity at scale. We had access to the entire file and a deep library of custom marketing assets, but only :08 - :15, to communicate the main plot point of the film: an animal lover (Mabel) “hops” her consciousness into a robotic beaver to save the wild from a human threat. Human Mabel becomes Beaver Mabel. Comedy, heart, and high stakes, instantly.
Instead of one concept stretched across formats, we built 14 distinct creative concepts. Each lived in the same visual world but was purpose-built for its environment. In NYC, we created a full JFK Terminal 8 tunnel takeover, a 60-second narrative-meets-music-video experience cut to “Lose Control” by Missy Elliott. It opened with an introduction to the thesis of the film, then pulsed through comedic character beats and high-stakes moments, layering dialogue, music, and motion graphics to land the premise clearly.
The Toronto 3D anamorphic screen was built from scratch. In the sweet spot, characters appeared to leap out into the street, turning passersby into participants.
Behind the scenes, speed was the real antagonist. We received final production counts in early January and had to present every creative concept at the filmmaker meeting on 1/21. Every concept moved through layers of approvals. Our proprietary BIEN DOOH system kept 160+ deliverables organized, versioned, and delivered on time and to spec.
The result was a coast-to-coast, and global, launch moment that made a brand new franchise feel everywhere at once.
Why it mattered? Because originals need belief. And belief starts with visibility.
Launching a brand new Disney and Pixar original is different. There is no nostalgia to lean on. No built-in fan base. You have to introduce an entirely new world and make it feel iconic overnight.
For Hoppers, the goal was clear. Drive mass awareness ahead of the March 6 theatrical premiere and turn unfamiliar characters into must-see big screen heroes. The campaign spanned the US, with dominant placements in Times Square, a takeover of The Grove in Los Angeles, a major presence at Westfield Century City, and a global push anchored by a custom-built 3D anamorphic screen in Toronto.
The challenge was clarity at scale. We had access to the entire file and a deep library of custom marketing assets, but only :08 - :15, to communicate the main plot point of the film: an animal lover (Mabel) “hops” her consciousness into a robotic beaver to save the wild from a human threat. Human Mabel becomes Beaver Mabel. Comedy, heart, and high stakes, instantly.
Instead of one concept stretched across formats, we built 14 distinct creative concepts. Each lived in the same visual world but was purpose-built for its environment. In NYC, we created a full JFK Terminal 8 tunnel takeover, a 60-second narrative-meets-music-video experience cut to “Lose Control” by Missy Elliott. It opened with an introduction to the thesis of the film, then pulsed through comedic character beats and high-stakes moments, layering dialogue, music, and motion graphics to land the premise clearly.
The Toronto 3D anamorphic screen was built from scratch. In the sweet spot, characters appeared to leap out into the street, turning passersby into participants.
Behind the scenes, speed was the real antagonist. We received final production counts in early January and had to present every creative concept at the filmmaker meeting on 1/21. Every concept moved through layers of approvals. Our proprietary BIEN DOOH system kept 160+ deliverables organized, versioned, and delivered on time and to spec.
The result was a coast-to-coast, and global, launch moment that made a brand new franchise feel everywhere at once.
Why it mattered? Because originals need belief. And belief starts with visibility.
Launching a brand new Disney and Pixar original is different. There is no nostalgia to lean on. No built-in fan base. You have to introduce an entirely new world and make it feel iconic overnight.
For Hoppers, the goal was clear. Drive mass awareness ahead of the March 6 theatrical premiere and turn unfamiliar characters into must-see big screen heroes. The campaign spanned the US, with dominant placements in Times Square, a takeover of The Grove in Los Angeles, a major presence at Westfield Century City, and a global push anchored by a custom-built 3D anamorphic screen in Toronto.
The challenge was clarity at scale. We had access to the entire file and a deep library of custom marketing assets, but only :08 - :15, to communicate the main plot point of the film: an animal lover (Mabel) “hops” her consciousness into a robotic beaver to save the wild from a human threat. Human Mabel becomes Beaver Mabel. Comedy, heart, and high stakes, instantly.
Instead of one concept stretched across formats, we built 14 distinct creative concepts. Each lived in the same visual world but was purpose-built for its environment. In NYC, we created a full JFK Terminal 8 tunnel takeover, a 60-second narrative-meets-music-video experience cut to “Lose Control” by Missy Elliott. It opened with an introduction to the thesis of the film, then pulsed through comedic character beats and high-stakes moments, layering dialogue, music, and motion graphics to land the premise clearly.
The Toronto 3D anamorphic screen was built from scratch. In the sweet spot, characters appeared to leap out into the street, turning passersby into participants.
Behind the scenes, speed was the real antagonist. We received final production counts in early January and had to present every creative concept at the filmmaker meeting on 1/21. Every concept moved through layers of approvals. Our proprietary BIEN DOOH system kept 160+ deliverables organized, versioned, and delivered on time and to spec.
The result was a coast-to-coast, and global, launch moment that made a brand new franchise feel everywhere at once.
Why it mattered? Because originals need belief. And belief starts with visibility.
Launching a brand new Disney and Pixar original is different. There is no nostalgia to lean on. No built-in fan base. You have to introduce an entirely new world and make it feel iconic overnight.
For Hoppers, the goal was clear. Drive mass awareness ahead of the March 6 theatrical premiere and turn unfamiliar characters into must-see big screen heroes. The campaign spanned the US, with dominant placements in Times Square, a takeover of The Grove in Los Angeles, a major presence at Westfield Century City, and a global push anchored by a custom-built 3D anamorphic screen in Toronto.
The challenge was clarity at scale. We had access to the entire file and a deep library of custom marketing assets, but only :08 - :15, to communicate the main plot point of the film: an animal lover (Mabel) “hops” her consciousness into a robotic beaver to save the wild from a human threat. Human Mabel becomes Beaver Mabel. Comedy, heart, and high stakes, instantly.
Instead of one concept stretched across formats, we built 14 distinct creative concepts. Each lived in the same visual world but was purpose-built for its environment. In NYC, we created a full JFK Terminal 8 tunnel takeover, a 60-second narrative-meets-music-video experience cut to “Lose Control” by Missy Elliott. It opened with an introduction to the thesis of the film, then pulsed through comedic character beats and high-stakes moments, layering dialogue, music, and motion graphics to land the premise clearly.
The Toronto 3D anamorphic screen was built from scratch. In the sweet spot, characters appeared to leap out into the street, turning passersby into participants.
Behind the scenes, speed was the real antagonist. We received final production counts in early January and had to present every creative concept at the filmmaker meeting on 1/21. Every concept moved through layers of approvals. Our proprietary BIEN DOOH system kept 160+ deliverables organized, versioned, and delivered on time and to spec.
The result was a coast-to-coast, and global, launch moment that made a brand new franchise feel everywhere at once.
Why it mattered? Because originals need belief. And belief starts with visibility.
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BTS Reel
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