Nicolas Caicoya Presents

Mega Campaign!

for City films & Wunderman Thompson





I love how positive, affirming, and upbeat these Jawwy films are. Immediately, I just feel in love with the ideas and the concept you have created. It has the potential to be fantastic. I’m really excited about collaborating with you to create a fresh, unexpected, playful, and fun experience for our audience. 

I see a lighthearted, playful and edgy touch running through the films and being this campaign speaking to young people we need to use quirky, fun and hype language.

Happy Audience

Everything should feel inspired by a colorful imagination, where inventive and unexpected things are possible, and the “quirkiness” will be realized with a highly artistic and innovative style.

The films should entertain and impress with a fresh and spectacle visual approach and character-centric storytelling.  
There is a lot to discuss here !

Have you ever imagined whats inside a phone?



Unseen direction

My mind has been racing with so many ideas cause these ads are full of visual stimulation. I want to ignite the viewer’s curiosity with a very clear artistic vision! I want to stimulate their senses and create a super fun, energized world going into an unseen direction.



What I want to do is create a colorful, playful mood, with movements and transitions that allow us to go from one situation to another virtually seamlessly.



Let’s dig in and start by framing the process. We have 8×15 seconds films and we need to combine many elements to achieve something uplifting and memorable.


I want to make something that feels a bit tricksy and elaborate that will make the audience WOWING about how I imagine the interior of a phone:  A cool universe made of micro worlds composed in an irregular perspective but all connected to each other.

These references will give you an idea of what I have in mind: You have one of the scenes in horizontal, the next one 90 degrees and the last one of the film upside down and our camera moves from 1 to 2 and from 2 to 3.

Cool isn't it?”

But how to incorporate live-action, camera movement and prospective?
Although I will explain this in more detail below, I can sum it up by saying that everything comes together seamlessly and makes complete sense.

something to say


 I want to create these films as beautifully complex puzzles that we have to approach in a thoughtful and clever way.  
We’ve found an interesting escamotage to keep things flowing: We’d build all of the sets in a big studio, then we will create a scaled miniature (around 40/50 cm tall) of a parallelepiped structure where in post production will be positioned our 3 situations (per ad) in an unusual perspective composition.
The live-action elements will be shot in situ with the intention of digitally inserting them into the parallelepiped world. 
The connection between sequence to the next sequence will be imperceptible and smooth.  We need to ensure that there’s a seamless play between the live-action elements and the optical illusion world.

A few words about the VFX:
I m always trying to reduce to minimal the post production in my films, shooting the most in camera.
Here we’ll need the help of VFX to do some compositing work to create an absolutely authentic prospective and some clean ups.  
As well we’ll have some multiplications like the top shots of the girls looking up in STC Network,  the monsters eyes popping up in the cave, the CGI for the sand 5G reception bars.  
But all the sequences will be shot live in real sets.

I m also planning to build an oversized cell phone in which we will inscribe the parallelepiped. 

Of course I will use a real mascotte costume for the SIM card to have real human movement and interaction.As well as I m planning to build for real the light bulb shaped head of the other character and the rocket.
This will definitely help your print campaign.  
Summarizing… 95% will be done on camera.



Art Direction.

We’ve got you covered

I am very picky with all of this. As you can tell from my work, the art direction gets a lot of my attention. I work closely with you to create the final product, and that starts by generating renders very early in the process. We can discuss those renders and land on something we’re all happy with. Then, what you see in 3D is what you’ll get on set.

On the left you have the RENDERS, on the right the a REAL SCREENSHOT.


I am aiming that our rooms have volumes even if they are living on a “limbo” background therefore the furniture in our sets should have volume and texture .

If we build a kitchen the wall cabinets will be floating, cause they are detached from the background. But wont be flat and just suspended 2D elements. Even if we wont have walls to define and contain each room we ll have structural elements that will give us the field depth , the volume and the richness in details.

...And Noes

Let ’s stay away from flatness, let’s avoid the cheap flat look

Who said...


Yes I love color! Here some samples from a few of my films.

& Styling

Our characters are the gateway to Jawwy world.
A world filled with bold characters. I love bold, unique looking faces, with it their own peculiarities and intrigue. The type of beauty that makes you want to be yourself more. Each person’s reaction is personal and endearing. You can feel it. Different faces. Eyes. Smiles. Body movements. How they fill the screen. That truth just shines through.


The styling should have a very special touch, I want every detail to matter, crafting a world that is really unique filled with visual fashion statement pieces, cool & vibrant color palette. Bearing in mind that we can make it equally interesting where abbajas are required. All in all we want it to be cool, edgy and fresh and talk to our young chill viewers/audience.

Knowledge is everything

The Story.

live tracker

Considering the structure is going to be the same in all the films I just wanted to drive you through one fo them. 
These 8 films must be fun and unexpected and there is a lot to do on each one of them , but let’s start with one.
Let’s dive in LIVE TRACKER subject then:

The cave.

The film opens on a character on a colored yellow limbo background holding an electric torch. 
We see the torch flickering. Here my idea is to build a yellow and a black set. Each time the torch goes off the yellow world turns into a pitch black set. 
Once the torch’s battery runs off charge we get to a close up of our hero’s face reinforcing the concept of being alone in a cave in the dark. 
We cut back to  a wider shot and monster eyes start appearing around our talent. 
I m aiming to have cartoonish 2D eyes animation on the black wall. 
Everything has to be fun and pop. 
Cut to the an oversized battery life calculator’ device, showing it’s completely discharged. 
I m planning to build a proper device using universal language but adding some design, pop and color to them. 
From here we track back and discover the parallelepiped. Our first set is getting smaller and the camera rotates 90 degrees and dives into the next one…



We are now into a cool kitchen with a young couple. The kitchen wall units are floating in the limbo.
Dinner is almost ready . Colorful dishes here and there. Medium shot of them while the husband taps the empty gas tank under an amused look of disapproval of her.
Cut to the close up of the gas gauge. In our iconic world we will understand straightaway that it’s empty.
Camera tracks back and our kitchen becomes smaller and smaller. Our transition device, the parallelepiped, appears.  Camera rotates again, taking us into a crazy topsy turvy situation, because the new room it’s actually positioned upside down being below the parallelepiped structure. This visual effect is going to be really cool and will dazzle the viewers. The camera dives again…


We are now into an amazing space set. Flickering stars. 

Our astronaut is floating in the space hitchhiking with one hand and holding a gas tank in the other. His super fun and cute spaceship run out of fuel.  
Alarm light is off. On top of couple of asteroids there are some warning triangles signs. 
Using common warning traffic sign we will definitely make this story engaging and straightforward.
Cut to a fuel meter indicating the rocket fuel tank it’s empty. 
Camera tracks back but instead of diving into a new “situation” it keeps tracking back to exit from a mobile phone.
It could be interesting to build a giant human size phone and from it we have all the characters coming out. This is something we can discuss if you feel it interesting.
Here we have the claim explaining all the mini stories: Track your data with Jawwy Live Tracker with our app. 

La la la!


The Music will play a huge role in setting up the tone of the films and add rhythm to what we see. If at all possible I would suggest trying to narrow down a track we like even before the shoot, so that we can bring it to set and have the feet move to its rhythm. And rhythm is precisely what we want in these films, 15” snappy seconds that take us through several situations in an upbeat and nimble way.

Wherever we land, the music should reinforce the spirit of the spots, and provide a tempo and strength that will draw us in and move us forward. I see the music as being very contemporary , as per the images, with an energetic and catchy vibe.

I do always try several and very different options during the edit so together we can find the right one.

I’m very excited about this JAWWY project.

I hope you know by now, the art direction and visual style as a whole are both very important to me, and that importance reflects well in my body of work.
I look forward to discussing my ideas in more detail and collaborating further with you going forward.