Welcome To:

Nicolás Caicoya's Treatment

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The Idea

Funny enough, the day before our call I went with my kids to see Billy Elliot’s musical. A part of the great story istself and the excellent actors, what really  amazed and surprised them was the show of the moving sets. They where trully fascinated by all this mecanical magic. In our project, the idea is pretty clear and straightforward,  but if I am here is to make it… WOW. I want every viewer to have the same enthusiasm that my kids had the other day. As «simple» as that.

The challenge

The challenge here is to create a visual code that keeps the viewer glued for the entire duration of the ad, triggering a memory they will remember for a long time. I’ve been doing commercials for many years, and in the end what works is an ad that has personality, an ad that speaks to our hearts and brains in equal measure. The heart is key to have an emotional hook that awakes the brain to make a simple move: give to your kids something they will love, made of good ingredients.

I aim to focus all the energies in creating a fun commercial as the last  ad I shot for Klimaticket but instead of having stylized colorful backgrounds I would use cool kitchen sets that will look realistic and stunning..

I love cool transitions!


Warmth is the key in this commercial. A very cinematographic and morning light. We have to feel the heat of the sun through the image. Each kitchen, thanks to its different architecture, will have a different solar incidence but all will have a clear link: the coziness of the morning light.


In casting it always comes down to how well you read people, to be able to tell whom you can work with and who—even with little experience—can bring the best performance. But the key word is ‘work with’ – because it is much my responsibility to guide (especially young performers) and allow them to spontaneously be themselves. 

We want our protagonist to deliver an authentic but joyful performance. 

On shoots I’ve learned that it’s really essential to connect with the kids, to make them feel like a valuable part of the experience. I’m against over-directing children, I think they lose spontaneity really fast that way. I’d prefer for them to bring something of themselves to set, something unique that I can then work with. 

There are few “tricks” in addition to some good planning happening already during casting, that will allow us to gage the ability of the kids to be involved in the film, their reactivity and personality, and get the type of performance we need. 


Our leading character is a boy of 8-10 years, with specific features
and with leader attitude. A truly charismatic type, impossible to miss.
But above all a role model that in the imagination
of peers is an example to follow or even to look up to.
I love working with kids and will always push them to enjoy the shoot and deliver believable and playful performances.
Reproducir vídeo
Noura works a lot. Thats why she loves the time she spends with her son.


Finance Consultant

Ranya loves cooking and taking care of her family.


Works from Home

Ayah is very creative and we can see that reflected in her kitchen. Her daughter loves sciences .



Very serious guy but when it comes to eating creamy spreads, he goes wild.


He loves helping his mum to cook. Full of energy and funny guy.


She is so smart that will convince her mum (after one hour pitch) about the benefits of eating only what she loves.


Set Design

I work following a strict discipline so both agency and client, can feel safe before filming, because…


Real Set

It’s important to have spaces that look like very different. This way we will avoid having any doubts about being in different families. Modern kitchens but cool cause they look alive and reflect the different families character. Bare in mind we will do our renders in 3D and share them with you so we can adjust them untill everyone is happy.

Kitchen A


Lets focus here in the whites and the warmth of the wood.

Kitchen B


At leats one of them should be darker, which doesn´t mean sad nor boring!

Kitchen c


One of them should be more design. No family is the same!

Party room


An interesting space where the dance with the mascots can happen naturally. I imagine this set as the kids home during a party.

The Mascots

I did work in the past with mascots and it s something pretty fun to film. 
I ve  been collaborating with a great company who is able to deliver high quality puppets and puppeteers. Cause for a great result the animators inside are keys.  Their movements (considering the limitation of the sculpture they wear, its weight , the heat ect) should result fluid, in order e be choreographed and to enhance the joyfull moment of the commercial climax.


The hero is in bed. His hand reaches the table and pulls the table lamp which triggers a mechanical system that raises the bed into vertical position. On the ground the is a hutch   that opens after he smiles accomplice to the camera and disappears. Now we have the audience wondering what’s going to happen next. It’s a cool and fun trigger.
He lands in the first kitchen -still in his pajamas- and suddenly he rips it off. Don’t be afraid, underneath he is wearing his daylife wardrobe. 
Here he ask us ‘Are you tired of battling mom over breakfast?’ while we discover a mom and a kid having an arm wrestle on the kitchen’s table. He passes by and jumps on a  skate board sliding out of the set while the walls behind start to move and change the kitchen look and light.
‘…And trying to convince her to let you eat what you want?’ The hero goes on after jumping off the skate while discovering the new kitchen environment. A girl (this is open to discussion,  something we can change if it is not the target), dressed as a scientist is explaining to her mom what is good for her. She is using charts and drawings. Here we should discuss what is shown,  cause I think is a good moment to introduce the product. For example: a lonely slice of bread: sad icon. The same slice with our spread: happy icon.
He kneels down and opens a kitchen’s cupboard entering in it. It’s  a long corridor that takes us to another kitchen’s cupboard in another set up. He stands up in the third kitchen where the new mom is spreading Puck Sweet Cream on a slice of bread.  
‘Then look no further than Puck Creamy.’  The camera moves closer to enjoy the moment of the spread, once finished the woman hands it to her kid but our hero steals it from his hands and gets a bite.
‘It’s rich in milk and has 30% less sugar than other sweet spreads’ he mentions while chewing.  He is really enjoying the moment: ‘Which kind of makes it sweeter.. mmmm…’. 
It could be nice that this moment is reflected on camera having him levitating a bit from the floor. This is something we can discuss if you like the idea. ‘Later peeps!’
This floating moment can take our boy to the next location where we discover the three mascots. ‘And it comes in three delicious flavors… Chocolate, Vanilla and strawberry!’ 
The mascots are dressed as the Puck Sweet Spreads’ Jars in the three flavors. The three run up to our kid and lift him up. 
‘So say hello to a tastier, healthier breakfast spread that’ll make you, mom and everyone happy!’. 
The party starts. The place is fullfiled with balloons and other party elements. We could even use the billboard as an end tag for the supers. 
The rest of the cast will join the kid and the mascots. Here I imagine a nice choreography using theatrical lights and confetti to enhance the moment.


I am very picky with music and I love doing enormous researchs. Our music has to be vital and full of energy. I think it can accompany the hero during all the film. Until the edit, the door is open to try new and different options. This reference attached is cool and considering its a music we will have to do from scratch, we can add some arabic instruments like Mashrouh Leila does.

All these visuals transitions can be re-adapted or changed if you have any doubt, it’s easy & fun to do.

Hope you enjoyed the treatment. Thanks in advance.