Kinder ‘Bar in Hand’ Campaign — work created at Preymaker. All imagery and materials are the property of Preymaker and are shown for portfolio purposes only.
Overview
For Kinder Bueno’s first-ever Super Bowl appearance, the brief was simple and chaotic in the best way: a bar-in-hand launches into space, the astronauts dive into a black hole, and time fractures into a wild Everything Everywhere All At Once–style jump cut sequence.
My role on the project was to help build the visual insanity of the interdimensional sequence, shape the alien design language, and create AI-assisted baby mouth-rig footage for the comedic beats. It was a project that demanded speed, originality, technical precision, and an appetite for the absurd.
01 — The EEAAO Jump-Cut Sequence
The Brief
The creative team wanted:
An Everything Everywhere All At Once–inspired time-warp moment
Frames that were wacky, unexpected, instantly readable
Visuals that made viewers feel like they were getting sucked into the black hole
A rhythm that hit fast but still felt deliberate and cinematic
These frames were only on screen for a split second — meaning concept clarity and impact had to be immediate.
My Role
I ideated, designed, and produced the EEAAO sequence frames from the ground up, developing over 50 polished concepts and hundreds of early ideas and tests.
How I Began
I used ChatGPT as an idea-starter — generating hundreds of bizarre scenarios.
Most were terrible (as expected), but they kicked my brain into the right creative chaos.
From those, I curated a solid list of 112 usable concepts.
Then I had ChatGPT structure YAML prompt sheets specifically tuned for Google’s Nano Banana Pro, which let me generate high-res concept frames at scale.
How I Built the Frames
My process was a mix of:
building a repeatable prompt template
designing style references and transformation anchors
using clean plates with and without astronauts
manually reconstructing scenes in Photoshop
color-grading to unify contrast and energy
exploring visual permutations based on CD/client notes
This gave me the ability to not only generate concepts —
but finely direct and refine them like modular cinematic beats.
One of my favorite approaches was adding unexpected twists, like:
“What if the astronaut becomes honeycomb and the
cockpit turns into a beehive dripping in honey?”
This blend of absurdity, narrative logic, and visual punch became a signature of the sequence.
The Challenges
Frames needed to be recognizable in a fraction of a second
The tone had to be fun, surreal, and still brand-safe
Legal shut down licensing-risk ideas (RIP LEGO frames)
The final edit needed coherence without losing chaos
Hundreds of iterations had to be generated and evaluated fast
With my producer Jacob Weeks and CD Angus Kneale, we built round-based review cycles where I’d present options, variations, and contingencies. If something died in review, I had backups instantly ready.
The Result
The client and CD absolutely loved the direction. With a few tweaks and alternate takes, the final frames landed in the Super Bowl cut exactly the way we hoped — energetic, chaotic, cinematic, and unmistakably EEAAO-coded.
This sequence is the part of the project I’m most proud of.
02 — Alien Conceptualization
My Role
I was involved early in defining the alien character’s look and feel.
I helped explore:
shapes
proportions
surface texture
skin sheen and specularity
color palettes
demeanor and expression
silhouette and head geometry
.
Character Exploration – Not Final Design
My goal was to find the balance between:
funny + uncanny + visually readable at a glance.
This early concept work influenced the final direction and helped unify the alien’s design with the larger Bueno universe.
03 — Baby Mouth Rigging
The Task
The babies needed to “talk” convincingly, but still feel exaggerated and cartoonish — not creepy or uncanny.
My Approach
Runway’s Act-Two to capture video-to-video facial motion, seeded with my own performed mocap tests (bloopers that WILL remain private)
fal.ai, which offered more precise phoneme-control
compositing techniques to blend realism with comedic exaggeration
Each tool had strengths and weaknesses —
Act-Two gave better movement, fal.ai gave better accuracy.
I created a hybrid workflow that allowed us to control:
mouth shapes
timing
comedic emphasis
exaggeration without breaking realism
In 10 days, we delivered the full baby-lip-sync pipeline.
04 — Workflow, Tools, and Technical Innovations
Tools Used
Google Nano Banana 3.0 / 2.5
Runway Act-Two
fal.ai
Adobe Photoshop
ChatGPT (ideation, prompt-building)
Seedream 4.5
Systems I Developed
multi-stage YAML prompt workflows
layered PSD templates for fast variations
color grading presets for frame cohesion
clean-plate transformation templates
backup-frame pipelines for legal/client swaps
05 — Pressure, Pace, and Production
This project happened fast:
45–50 hour weeks during Christmas
Two days off total
The EEAAO frames were produced in ~2 weeks
The baby lips were done in ~10 days
Deadlines moved, approvals bounced, legal stepped in often
And I still delivered everything ahead of schedule with full creative variation
This was the project where I learned to:
iterate at high speed
think cinematically
steer wacky concepts into brand-safe zones
pitch creative variations in rounds
collaborate fluidly under pressure
keep humor and clarity aligned with the Super Bowl tone
Seeing my frames in the final Super Bowl LVIII broadcast cut was surreal. It was my first national Super Bowl spot, and my work wasn’t just in it, it was a visual highlight.
06 — Personal Impact Statement
I helped build the chaotic heart of Kinder Bueno’s first Super Bowl ad — crafting the EEAAO jump-cut sequence, shaping the alien’s look, and developing the baby mouth-rig pipeline, all while driving visual originality, rapid iteration, and cinematic storytelling under extreme deadlines.
