Win the brief.
Deliver what you sold.

Pitch deck, mood, shot list, and deliverables on one canvas. The brand sees the same story the crew shoots.

The brief

mule (e-cargo bikes) wants a film that proves the product without an ad voice. case study, real small business.

The idea

follow one flower shop that swapped its delivery van for two bikes. a week in their mornings. the bike stays in the background.

Deliverables

:90 hero film, three verticals for reels, a square cutdown for the feed.

✦ Campaign Brief

Mule — “Morning Route”

A week in the mornings of a corner flower shop that traded its delivery van for two cargo bikes, told so the bike is the quiet hero and never the pitch.

The arc

The van that didn’t fit the city, the switch, the morning it finally flows. Problem, turn, result.

Deliverables

:90 hero film, three 9:16 verticals, one 1:1 cutdown. One shoot, every cut planned from day one.

Three steps. Then you are ready to shoot.

Pitch the idea

Build the deck on the canvas: references, mood, deliverables, talent. Wire it into a Brief node and Shotwright drafts the pitch the brand reads.

✦ Campaign Brief

Morning Route

The idea

The arc

Deliverables

Plan the shoot

Once the brand approves, the same canvas becomes pre-production. Add the shot list, schedule, and gear, with nothing re-typed.

Mule — pre-pro

ref_01Flower shop, dawn

ref_02Back streets, 6am

Schedule

One day, 5am call. Catch the real deliveries.

Gear

Two bikes, gimbal, a follow-van.

✦ Shot list

Ship the cuts

Tag deliverables on the canvas: long version, vertical for Reels, square for the feed. The edit room knows what to cut from day one.

Ship the cuts

16:9

Hero · :90

9:16

Reels · ×3

1:1

Feed

A pitch, a plan, and a delivery list the brand can read.

One project, three documents. The brand sees the through-line from pitch to final video, and so does your team.

Campaign Brief

Mule — “Morning Route”

A week in the mornings of a corner flower shop that traded its delivery van for two cargo bikes, told so the bike is the quiet hero and never the pitch.

The idea

Mule does not need us to say the bikes are good. It needs us to show a morning that only works because of them. So we spend a week with one flower shop, the kind with buckets out on the sidewalk, and we film the part nobody sees: the deliveries, before the city is awake.

The bike is never the subject. It is the thing that lets the subject happen. You notice it the way you notice good shoes on someone walking easily.

The arc

We open on the old way. The van double-parked, the ticket, the box of peonies wilting in traffic. Then the switch, told in one cut. Then the rest of the film is the new morning: two bikes, the back streets, flowers arriving cold and bright while the avenue is still gridlocked.

We end with the owner back before the coffee is even out, unloading the last order. No tagline. The logo is on the bike, where it already was.

The take

A case study that never sounds like one. We earn the product by filming the work it makes possible, not the product itself. If it feels like an ad, we cut it.

Look

Handheld and warm, fast in the streets and still in the shop. The grade of a real morning.

Talent

The actual shop owner and her one employee. No cast. The realness is the campaign.

Schedule

One shoot day, 5am call to catch the real deliveries. Every cut storyboarded first.

Music

One upright bass, light. It gets out of the way of the city sound.

What ships