Case StudyEYEWEAR2025

OAKLEY — PRISME

Sport eyewear is usually filmed from the outside. We put the camera where the lens is: the mountain arrives already tinted, already sharpened, and the product never has to be explained.

A woman wearing white Oakley sunglasses looking out towards a vast, sunlit mountain range, shot from front.

Client: Oakley — Global
Campaign: Oakley — Prisme
Year: 2025
Format: Film 40″ · Cutdowns 20″ / 6″ · Social 9:16

Watch the film

UNITS RUNNING: 2
POST FLARES: 0
ROTATING RIG: 1
SECONDS AHEAD: 30

01THE PRISM

IN-CAMERA EFFECTS

We shot the prism breaks entirely in-camera using a custom rotating rig. Absolutely nothing in the film is a digital flare or a VFX element added in post-production.

By positioning the camera exactly where the physical lens sits, the mountain arrives already tinted and sharpened, instantly communicating the product's value without a single word.

A rugged mountain peak with physical glass prism shards shattering and floating dynamically in mid-air against a bright sky. — Capturing practical prism breaks in-camera using a custom rotating rig. Zero digital flares.

02THE AERIAL UNIT

THIRTY SECONDS AHEAD

To capture the pure speed and scale of the mountain, we deployed two separate camera units. One stayed tight on the runner, grounding the viewer in her physical effort.

The second, an aerial unit, flew the exact same line thirty seconds ahead. This relentless tracking translates the visceral feeling of the environment directly to the screen, matching the athlete's unyielding pace.

Dynamic, heavy motion-blurred shot of a female athlete sprinting through a vast, grassy mountain landscape under a cloudy sky. — Deploying an aerial unit thirty seconds ahead of the runner to capture pure, unbridled speed.

Two units — one on the runner, one flying the same line thirty seconds ahead. The prism breaks were shot in camera on a rotating rig; nothing in the film is a flare added afterwards.
Sofia Almeida, Director

The Craft

Creative Direction: Reframing the sports film genre by placing the viewer's perspective directly through the product's lens.
Film Production: Coordinating a complex dual-unit shoot, pacing an aerial drone precisely with a mountain runner.
Cinematography: Designing custom rotating rigs to capture physical prism light breaks entirely in-camera.
CGI & VFX: Strictly avoiding digital flares; ensuring every light distortion is a captured, practical element.
Colour Grading: Matching the vivid, tinted reality of the eyewear lens without relying on heavy post-saturation.

On the Bench

ARRI Alexa 35
Custom Rotating Prism Rig
DJI Inspire 3
DaVinci Resolve Studio