The full catalog.

The proprietary previsualization platform at the spine of every AIM production. Sign off on motion, not moodboards.

AIM operates a generative production pipeline that ships films, effects work, and full campaign systems on accelerated timelines. The studio combines proprietary tooling — anchored by AIM PREVIZ — with conventional post craft to hold a consistent quality bar while compressing the cost and schedule of traditional development.

L'Oréal × Maybelline. A three-concept TikTok drop for the Teddy launch — blocked in AIM PREVIZ, shipped native.

An AIM original music video — directed in AIM PREVIZ, finished on the studio's generative stack.

Hybrid music film for The Wendolls. Live action, VFX, and a generative pipeline — all blocked through AIM's in-house Previz.

Brand spot with W+K New York. One prompt — "make my perfect halloween" — staged into a full neighborhood block party.

Verizon × Wieden+Kennedy NY. Three vertical films, 350M+ views, still compounding live on X.

Brand spot with W+K New York. A 2002 Honda Civic gets the national-campaign treatment — cinematic craft applied to an everyday object.

Direct for Kiehl's. Six pop-up and storefront environments — pavilions, plazas, apothecary windows — resolved in AIM PREVIZ before fabrication.

Direct for Old Navy. Five Herald Square windows, Unreal Engine, day/night cycles, live models behind the glass.

Direct for Thurber Jewelry. Identity, editorial, and a full Shopify build for a fine-jewelry brand engineered to read as a Maison.

Toyota × Saatchi & Saatchi LA. Eight unhinged confessionals, one punchline — produced end-to-end through AIM PREVIZ.

Fifteen cities, fifteen gaming tribes, one Esports World Cup. With Havas Dubai: a global launch built tribe-by-tribe through AI, 3D, and VFX.

Three-film campaign. Same Previz-blocked ritual — spotlight, glass, sip — interrupted three ways: a dog, a friend, an announcer.

Brand spot. The first sip of Nescafé Espresso Concentrate quietly rearranges the room around her.

Brand and creative direction for Human Park, an Australia-based Web3 startup backed by Andreessen Horowitz. The engagement spanned roughly a year and rejected the prevailing template for the category: no synthetic scripts, no abstract diversity language, and a brand voice that committed to a point of view.

Kenzo Mundo is a brand film developed for the maison's cross-collection world-building program — a saturated, sculptural universe in which Kenzo's silhouettes inhabit a constructed graphic architecture rather than a runway. AIM partnered on direction and production, with the entire piece blocked, lensed, and pre-lit inside AIM Previz before a single set was painted.

A 10,000-mile campaign film for MG's flagship roadster. Live action, CG, and AI composited into a single visual register.

An end-to-end generative workflow for a Nike visual project. Model-agnostic, directable, production-ready.

An AR participation layer for the first all-civilian orbital flight, built with KNOWN and the Netflix documentary team.

Warner Bros. / DC. A full theatrical poster system — hero, characters, and street-scale hoarding.

Combate Americas. A full fight-poster system built to scale across markets, formats, and fight cards.

Key art systems for Netflix at platform scale — hundreds of titles, designed for the platform's algorithmic art-test framework.

A theatrical AR experience distributed through Snapcodes on standees in 3,000+ cinemas. 750k+ activations to date.

A season-long interactive digital experience for the second season of USA Network's The Sinner, produced in partnership with Super Toy Box and Digital Kitchen. The program extended the show's narrative across text messages, video calls, livestreams, and a custom community-board website modeled on Nextdoor for the fictional town of Keller.

An Instagram filter for Tubi, developed with Fox Studios, that used the audio-input capabilities then newly available in Spark AR to recommend horror titles based on the volume of a user's scream. Louder screams returned more aggressive picks, with monsters layered behind the user's shoulder in real time.

A brand campaign for Xfinity built around the colloquial Spanish call-to-action P'lante — roughly, 'let's go' — used as a unifying statement for the brand's Hispanic-market positioning. The line carries a posture rather than a tagline, and the work was constructed to extend that posture across surfaces.

A FIFA World Cup tournament campaign for Xfinity that wrapped the broadcast moment into a connected-living narrative for U.S. Hispanic audiences. The creative connects the product platform to the cultural weight of the tournament without treating either as a backdrop.

Following the launch of Xfinity's first bilingual remote, AIM contributed to a follow-on campaign for Comcast that turned a virtual American flag into an interactive archive of user-submitted stories. Each thread in the flag opened into a personal narrative, treating cultural diversity as the structural fabric of the product rather than a marketing theme.

An always-on social program for Xfinity targeting U.S. Hispanic audiences, run with the cadence and production discipline of a newsroom. The output covers cultural moments, product launches, and seasonal pushes inside a consistent voice and visual system.

For Univision Deportes' Sábado Fútbolero and Hyundai, AIM reimagined Lotería — the Mexican card game — as a football-themed social property. The campaign produced more than fifty original cards distributed across Giphy and the brand's social channels during the season.

Creative contribution to Wix.com's Super Bowl campaign, an annual broadcast slot the brand uses to establish category leadership against incumbent web platforms. AIM's work supported the spot through concepting and creative development under the broadcast's compressed production schedule.

An augmented reality activation for Toyota at HUBweek, Boston's MIT-anchored ideas festival, designed to introduce attendees to the hydrogen fuel-cell architecture behind the Mirai as Northeast U.S. refueling infrastructure was coming online. The build was produced with Super Toy Box.

A dealership-grade tablet application for Lexus, built with Juxt Interactive. The app runs on standalone tablets and on dealership screens, with two integrated layers: a guided interface for in-market buyers and a live tie-in to the dealer's real-time sales database that routes qualified leads directly to the sales floor.

AIM helped secure and execute the Starbucks SBS account at E/LA Advertising, an engagement that demanded production at scale across digital and premium print, including partner-facing work for Barnes & Noble and Hilton Hotels. The team delivered dozens of campaigns per week within tight resource constraints.

Visual system work for Tazo within the Starbucks SBS account at E/LA Advertising. The brief was to articulate the breadth of the tea portfolio without diluting the line's restraint, balancing variety and discipline within the broader Tazo identity.

An integrated campaign for the California Milk Processor Board, developed with Gallegos United. The brief asked Got Milk? to confront years of public-health skepticism without a defensive posture; AIM's contribution was a framework that aligned milk with the everyday things consumers value — and then theatrically 'cancelled' them to make the point.

A social-led campaign for Got Milk?, produced with Gallegos United, that handed the brand voice to children. The work captured unfiltered perspectives on the product and adapted them into a televised content format, calibrated to read as honest rather than scripted.

A campaign for Thermador, developed at E/LA Advertising, built around user-submitted recipes shared via a dedicated microsite and the brand's social channels. The program engaged a culinary audience directly while reinforcing Thermador's positioning at the premium end of the kitchen-appliance category.

A creative campaign for Western Digital's gaming SSD line. The work positions the product against the specific, measurable frustrations PC gamers experience around load times and frame consistency, written from inside the audience rather than at it.

Creative work for Activision Blizzard's World of Warcraft franchise, developed within the constraints of one of the most established creative bibles in the games industry. The contribution sits inside the existing canon rather than reinterpreting it.

AIM has shipped augmented reality work continuously since 2012, ahead of the hardware curve and across nearly every major platform. The studio's AR practice is grounded in shippable, device-tested experiences rather than tech demos, with a portfolio spanning entertainment, automotive, CPG, and live activations.

Goopy AR is an in-house authoring platform AIM has been developing with partners since 2017, well ahead of the current cycle of interest in spatial computing. The product is a cloud-based, drag-and-drop environment for building AR experiences for mobile devices.

A launch campaign for Obsidian Entertainment's Pathfinder Adventures mobile title, produced with E/LA Advertising. The creative leans into the visual vocabulary of late-eighties tabletop role-playing — character sheets, living-room sessions, household-light photography — to position the game against contemporary AAA aesthetics.

Product and interface design for PlayPal, a crypto-native social and services platform that sits between a social network and a peer-to-peer marketplace, with a gamification layer on top. AIM's work covered information architecture, interaction design, and the visual system across the product surface.

AI-assisted brand film for La Bru. Generative pipelines, conventional finish, theatrical scope at independent-brand cost.

A decade of theatrical, streaming, comics, and game one-sheets — led by Sam Valdez.