Project

PUMA SPEEDCAT 王淨 2025 Commercial

Client

PUMA

Category

[CG/Product]

[Fashion]

[Sport]

Year

2025

2025

@puma x @_ginglebellaaa PUMA SPEEDCAT 王淨 Official Commercial 2025 - 1. STORY CORE — Polaroid x 2D World x Toy Box The Polaroid functions as a medium to connect the 3D and 2D worlds. Gingle begins in a 3D environment alongside a 3D SPEEDCAT model. Each Polaroid snapshot transitions her into a 2D space, where two versions of her interact in a fun, energetic way that reinforces the product’s playful personality. 2. VISUAL CONTRAST — Product-Centric Dimensional Play Introducing a toy-like 3D SPEEDCAT model enhances the playful tone while strengthening product visibility. The combination of dimensional 3D elements with flat 2D graphics creates a clear contrast that highlights the shoe’s design and silhouette. 3. Cinematography — Clear, Purposeful Framing The use of fixed angles—wide surveillance perspectives and flat, animation-style frontal shots—creates a simple and readable visual language. This approach makes the transitions between 3D and 2D worlds intuitive and engaging for the viewer. 4. COLOR & TEXTURE — Polaroid-Inspired, Brand-Aligned The color palette references PUMA’s tones while incorporating retro Polaroid textures: soft grain, instant-film edges, and warm highlights. This dynamic Polaroid look connects back to the story device and gives the campaign a unique, recognizable visual signature.

@puma x @_ginglebellaaa PUMA SPEEDCAT 王淨 Official Commercial 2025 - 1. STORY CORE — Polaroid x 2D World x Toy Box The Polaroid functions as a medium to connect the 3D and 2D worlds. Gingle begins in a 3D environment alongside a 3D SPEEDCAT model. Each Polaroid snapshot transitions her into a 2D space, where two versions of her interact in a fun, energetic way that reinforces the product’s playful personality. 2. VISUAL CONTRAST — Product-Centric Dimensional Play Introducing a toy-like 3D SPEEDCAT model enhances the playful tone while strengthening product visibility. The combination of dimensional 3D elements with flat 2D graphics creates a clear contrast that highlights the shoe’s design and silhouette. 3. Cinematography — Clear, Purposeful Framing The use of fixed angles—wide surveillance perspectives and flat, animation-style frontal shots—creates a simple and readable visual language. This approach makes the transitions between 3D and 2D worlds intuitive and engaging for the viewer. 4. COLOR & TEXTURE — Polaroid-Inspired, Brand-Aligned The color palette references PUMA’s tones while incorporating retro Polaroid textures: soft grain, instant-film edges, and warm highlights. This dynamic Polaroid look connects back to the story device and gives the campaign a unique, recognizable visual signature.

OOH TAIPEI, ZHONGXIAO EAST ROAD, PUMA LARGE-SCALE BILLBOARD BTS Shot in a art-designed studio set, extensive compositing was required to bring 王淨 (GINGLE WANG) into a 2D world. As a result, half of the scenes were also filmed against a green screen.

OOH TAIPEI, ZHONGXIAO EAST ROAD, PUMA LARGE-SCALE BILLBOARD BTS Shot in a art-designed studio set, extensive compositing was required to bring 王淨 (GINGLE WANG) into a 2D world. As a result, half of the scenes were also filmed against a green screen.

Credits

Credits

Credits

PRODUCTION HOUSE: PARA CREATIVE CO., LTD. @PARACREATIVECO CLIENT: PUMA @PUMA STAR: 王淨 GINGLE @_GINGLEBELLAAA FILM DIRECTOR: STANLEY KANG @STANLEYKANG.KSL DOP: @_CHENGPOYUN GAFFER: @_WSNIG2 EDITOR/COMPOSITING: STANLEY KANG @STANLEYKANG.KSL 3D MODEL/ARTIST: @_KANG___ COLORIST: @YUEGA.STE ART DESIGN: @WHYNOT_ADVERTISING @GIOVENNY_MIMI