Fictional brand · personal example/2026
éter
A 30-second vertical launch spot for «éter», a fictional eau de parfum, and the study of glass, light and surfaces that took its look further.
(01) Overview
«éter» is a perfume I invented, the third product spot in my launch kit series after a soda can and a skincare line. Like the others it is a working example of what I would make for a client: a short 3D spot of the product and, at the end, my studio's voice. I designed the bottle, the cap, the box and the floating ingredients for the brand, and every shot of the spot carries an «Example · fictional brand» tag.
Client
Fictional brand · personal example
Year
2026
Services
Motion, 3D
Deliverables
9:16 reel with music, Fictional brand, bottle and box, Premium finish variant, Material and light studies, Web cut
(A) The Challenge
Perfume is sold on glass and light. A thick glass block with coloured liquid inside had to bend what is behind it and catch hard highlights on its edges without looking like plastic. And a fragrance asks for few cuts, long shots and a close camera, so the viewer has time to imagine the scent.
(B) The Approach
- 01
Out of the dark
In total darkness a strip of light sweeps across and draws the bottle's outline. On the kick it lights up and «ÉTER» gathers letter by letter.
- 02
A pyramid in three notes
Top, heart and base notes follow, each with its own colour, its ingredients floating and a different close framing. Each one lands on the first beat of a bar of a 91 BPM lo-fi track.
- 03
The mist and the close
The cap comes off, the pump goes down and the mist comes out. It ends on bottle and box on a reflective floor, with the edges kept bright so the glass reads on a small screen.
- 04
A more photographic finish
Then I pushed the same scene toward a fragrance campaign: real thick walls, glass that bends the background, brushed gold and a linen board lit with raking light so the hot-foil stamp reads.
vertical spot, cut to a 91 BPM track
notes in the pyramid, each with its own colour and framing
box finishes tried before the linen under raking light
(02) The Product
v1: a reveal, a name and a pyramid
A single bottle and long shots: a strip of light draws its outline in the dark, it lights up on the kick and the name gathers above it. Then the three notes, each on its own colour. The liquid carries the colour and the edges stay bright, so the bottle reads as glass at phone size.
Toward a more photographic glass
The heart-note shot three ways: the published frame and two steps toward a campaign finish. With thick walls the liquid gains depth and the glass bends the petals behind it, which is what a fragrance photo does. The price was sparkles and lost texture, which is what the next studies were about.
Surfaces: the box under a raking light
The first box texture, a fine paper, did not read on screen. A linen board did, and a light entering almost parallel to its front brings out both the weave and the relief of the hot-foil stamp, as in product photography. Before, linen, linen with raking light.
The premium finish
Top note and product shot in the photographic finish, next to a close-up of the gold collar from the mist shot. Clear glass with real weight, gold that catches the light, the box in linen beside the bottle. I compared it with an even finer level and the difference did not justify it: this one already reads as a campaign.
(03) The Outcome
The published spot is a 30.4-second vertical reel with few cuts and long, close shots, built to feel slow and expensive. The more photographic finish is kept as a premium variant of the same spot, with the same edit and framing, for briefs where the glass has to carry the whole campaign. The same study went on to a set of liquids (oil in a bottle, a drop in water, melted chocolate and a pour) that feeds the later spots.