{"id":6388,"date":"2026-05-11T18:51:21","date_gmt":"2026-05-11T18:51:21","guid":{"rendered":"https:\/\/lahuellastudio.com\/el-proceso-creativo-detras-de-un-spot-publicitario\/"},"modified":"2026-09-07T22:50:02","modified_gmt":"2026-09-07T22:50:02","slug":"el-proceso-creativo-detras-de-un-spot-publicitario","status":"publish","type":"post","link":"https:\/\/lahuellastudio.com\/en\/blog\/2026\/05\/11\/el-proceso-creativo-detras-de-un-spot-publicitario\/","title":{"rendered":"How a commercial is produced: from briefing to delivery"},"content":{"rendered":"
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A commercial starts with a question: what do we want the viewer to remember?<\/span> The answer changes the script, the casting, the lighting, and even the duration of a shot. A clinic, a fashion brand, and a jewelry store do not need to tell the same story.<\/p>\n\n\n\n

We will look at three La Huella Studio projects \u2014 Dental Company, ADLIB Ibiza and Mellado Joyas \u2014 to see how an idea becomes a sequence of images. Then we will go behind the scenes of a Caja Rural shoot and look at the decisions worth settling before production begins.<\/p>\n\n\n\n

Dental Company: show warmth without explaining it<\/h2>\n\n\n\n
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Dental Company Spot 2025. The shared gaze and gesture bring focus to the relationship between the two people.<\/figcaption><\/figure>\n\n\n\n

Notice the hand on the shoulder, the gazes, and the distance between them. The setting places the scene in a clinic, but the center of the shot is the interaction. There is no need to fill the screen with facilities for us to understand where we are.<\/p>\n\n\n\n

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Put it into your brief<\/p>\n\n\n\n

If your brand wants to convey trust, look for an action that makes it visible: listening, offering support or explaining something calmly. Writing that action into the script is more useful than simply asking for \u201ca warm, approachable video\u201d.<\/p>\n<\/div>\n\n\n\n

In a commercial like Dental Company\u2019s, first check whether the gesture reads clearly and feels believable. The visual finish supports the performance; it cannot replace it.<\/p>\n\n\n\n

ADLIB Ibiza: from garment to detail<\/h2>\n\n\n\n
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\"Model
The garment and its movement establish the visual world of the film.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"Portrait
The close-up reveals the make-up, knitwear and attitude.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

For the Consell d\u2019Eivissa, we produced ADLIB Ibiza \u2013 Runway 2022<\/a>, using footage from the runway and backstage. These two shots show why fashion films benefit from different shot sizes: one shows how a garment moves and is worn; the other brings us closer to its texture and character.<\/p>\n\n\n\n

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A sequence you can plan<\/p>\n\n\n\n

Try this combination: an establishing shot, a shot that follows the movement and a detail worth remembering. In the edit, ask what each cut adds. If two shots say exactly the same thing, you may only need one.<\/p>\n<\/div>\n\n\n\n

Mellado Joyas: texture matters too<\/span><\/h2>\n\n\n\n
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\"Mellado
The jewellery case, rock and reflections from the sea establish the setting.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"Detail
In the close-up, skin and metal take centre stage.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

In Between Sea and Skin, for Mellado Joyas<\/a>, the Ibiza landscape sits alongside close-ups of the product. Notice the contrast between rock, polished metal and skin. That relationship creates a sense of quality; adding more elements is not necessarily the answer.<\/p>\n\n\n\n

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What to check in a product image<\/p>\n\n\n\n

Is the shape clear? Do the highlights retain detail, or do they become solid white patches? Does the background support the product or compete with it? Answer those questions before adding contrast or saturation. An attractive reflection should still let us see the jewellery clearly.<\/p>\n<\/div>\n\n\n\n

From briefing to delivery: five decisions<\/h2>\n\n\n\n

The examples change, but the process requires order. At La Huella Studio, we coordinate creativity, production, and post-production with a team scaled for each campaign and professionals from our national and international network.<\/p>\n\n\n\n

1. What we want to communicate<\/h3>\n\n\n\n

Define audience, message, and expected action. \u00abWe want them to remember this benefit\u00bb gives a clearer direction than \u00abwe want something spectacular.\u00bb Add where the piece will be seen and the delivery date.<\/p>\n\n\n\n

2. What do we need to film it<\/h3>\n\n\n\n

The script, casting, locations, art direction and shooting schedule should serve the same idea. Careful planning for a location shoot<\/a> helps anticipate access, lighting, sound, and timing before gathering the team.<\/p>\n\n\n\n

3. What the shoot needs to deliver<\/h3>\n\n\n\n

In Caja Rural 25 Years<\/a>, the production included Luc\u00eda\u2019s commercial, testimonials filmed against a cyclorama and photography for other campaign formats. The campaign was made with Jumpers, directed by Hicham Yousra, with cinematography by \u00c1lvaro Paz.<\/p>\n\n\n\n