Finding gold in the outtakes.
Rest Super - Feel the Fairness Integrated Campaign Rollout
Feel the Fairness was an established Rest brand campaign built around a simple emotional truth: everyone knows what it feels like to get a fair go.
The hero film brought that feeling to life through movement, rhythm and body percussion. But when the campaign moved into rollout, there was a problem: the major out-of-home media had already been booked, the shoot was over, and we didn’t have the polished campaign stills needed to fill it.
My role was to find a creative way forward using what we already had.
Among the shoot assets were sequences of fast-burst photography capturing performers in motion. Individually, they weren’t the hero stills we needed. But viewed as a sequence, they had something much more useful: movement.
I turned those frames into animated executions that carried the rhythm and energy of the film into digital and out-of-home — transforming an asset limitation into a distinctive part of the campaign rollout.
No reshoot. No perfect assets. Just a different way of looking at what we had.
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The hero campaign was already established and the media plan was in place. Major out-of-home placements had been booked, but the photography captured during the TV production hadn’t been designed to work as polished standalone campaign stills.
There was no opportunity to simply start again.
The challenge was to work with the material that already existed and find a way to make it feel intentional, impactful and completely connected to the energy of Feel the Fairness.
The answer had to come from what we already had.
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Looking through the shoot assets, I noticed sequences of fast-burst photography capturing the performers in motion.
As individual images, they weren’t particularly useful for the large campaign placements we needed. But together, they revealed something that a single polished still couldn’t: movement, rhythm and personality.
That immediately connected back to the body percussion and physical energy at the heart of the hero film.
Rather than trying to force imperfect stills into conventional layouts, I started sequencing the frames into animated GIF-style executions — using the limitation itself to create something that felt fresh and deliberately connected to the campaign.
The assets hadn’t changed. The way I looked at them had.
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The movement between the individual frames became the creative device.
By sequencing the burst photography, we could bring the energy of the original film into formats that otherwise would have relied on static campaign imagery — giving the rollout its own sense of movement while remaining recognisably Feel the Fairness.
Working with the wider creative, motion and production teams, I developed the approach across digital and out-of-home placements, adapting it to different formats while maintaining the integrity of the established campaign.
It solved a practical production problem without another shoot, made better use of assets we already owned and gave the rollout something distinctive in its own right.
Sometimes the answer isn’t another asset. It’s seeing more in the ones you already have.
My Role
Senior Art Director
Creative problem solving
Art direction
Campaign rollout
Digital & out-of-home
Motion concept development
Asset adaptation
Cross-channel execution
Creative development
Production collaboration
TikTok content - body percussion tutorial
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Art direction, integrated campaign rollout, social campaign development, creative asset development, motion concepts and digital execution.
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Creative Agency: BMF
Chief Creative Officer: Alex Derwin
Creative Director: Lucy Kough
Senior Creatives: Janet Tyler and Alister McCann
Creatives: Mitchell Sutton and Josh Campbell