When the bars disappear, the network is still there. A film campaign about the signal that follows you past the edge of the map.
Two thirty-second spots in the campaign's own world. One carries the human promise, one the quiet of the places no other network reaches. Boards beneath each.
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A man stranded past the last town cannot call anyone. He raises a small satellite messenger, and a thousand miles away a phone lights up on a kitchen counter.
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A hushed nature film. Across an immense cold wilderness, one person crosses, and the single signal the wild cannot swallow rises to the stars and is answered.
Move the marker out from the city. Watch where ordinary coverage gives up, and what stays.
Four posters that run alongside the films, in print and out of home. Each a single image and a single line.
Globalstar answers two silences. The human one, when a person needs to be found. The operational one, when a thing far from anywhere still has to report in.
The campaign never pretends the wild is friendly. The films are shot in the register of real distance: a broken road at dusk, a cold coast, a buoy alone on open water. The product does its quiet work, and the brand earns its promise.
Each one is scoped with you, case by case.
A single thirty-second story, finished with its stills, cut for broadcast and social. The fastest way to put the promise on a screen.
Both films, the four posters, and the cut-downs for every placement. One world, told two ways, running as a season.
New stories through the year as the network grows, each one landing on the same brand line and the same world.
The other half of the story has no one in it. A sensor on the open sea, a rig on a remote road, a fleet past the last tower. The third poster holds this quiet truth, and it can grow into its own film.
A simple arc across the launch window in 2026.
Work for brands and studios in technology and beyond. The films play here; open any case to read the whole story.
In · Quinn Halleck teamed up with Cuebric and Disguise to create two case studies in just two days.
Out · Layered 2.7D environments running in Disguise instead of fully built 3D worlds: real-time parallax and camera interaction with minimal setup.
Result · Two case studies in two days.
Open the case →In · One idea from the brand and its agency WORTHI, retire the word payday, and La La Anthony’s own real pictures.
Out · A culture-first campaign with La La playing one role, herself: her past as archival because it happened, her present as documentary because it still does.
Result · Carried by La La Anthony’s audience of 15.8 million Instagram followers, a #1 New York Times bestselling author with 25 years in culture.
Open the case →In · A big-budget family-adventure script that had been collecting dust: the magic of Amblin, the wonder of E.T., the scale of Jurassic Park.
Out · A trailer that gave decision makers something a script cannot.
Result · A bidding war between Netflix and Universal, ending with Universal landing the project with Jeff Robinov’s Studio 8 producing.
Open the case →RitualAds is the creative engine behind campaigns for brands from Coca-Cola to Reebok. This is the film campaign for a network built to be there when nothing else is.
Next · the full set runs as a season, the two films and four posters cut for every placement they land in.