Off Mountain

Off mountain.

Product films for every product The North Face makes, at the size of the feed, from your own product photographs. Nothing outdoors and nobody in these films is invented.

FOUR PRODUCTS BELOW. PRESS PLAY, SOUND ON.

Seven hundred.

1996 Retro Nuptse Jacket. A black studio, one top light. The jacket lies flat and empty on a reflecting floor. The fill arrives from the collar down, one baffle at a time, with a sound like a long inhale, until it stands on its own with nobody in it and turns once. The quilting settles into the Half Dome, and the lockup. The film was made once. Every swatch under it is the same take, edited by the system to that colorway: the same light, the same fill, the same turn, a different jacket. Press one while it plays and the film keeps its place. The same edit runs on the :15, the :06 and the still.

PRESS PLAY. LISTEN FOR THE FILL. PRESS A COLORWAY WHILE IT PLAYS.

SEVEN HUNDRED · 1996 RETRO NUPTSE JACKET · :30 · THE PRODUCT IS THE ONLY ACTOR

The Nuptse jacket flat and empty on a black floor — **THE FLOOR** · the jacket flat and empty under one light

One filled baffle beside one empty baffle — **THE BAFFLE** · one chamber full, the one below it empty

The Nuptse shoulder beside the lockup and the line — **THE CARD** · the quilted shoulder, the lockup, the line

Why it works. The product's one true fact, seven hundred fill, becomes the whole film, and the jacket you already photographed is the only thing in it. No mountain, no model, no shoot.

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The throw.

Base Camp Duffel. A concrete studio, one side light. The bag is thrown into the frame by nobody the film shows, lands, skids and tumbles, is thrown again from higher, slides into a puddle and takes a full rain rig, then rocks upright, packed and zipped, dripping, unharmed. The end panel fills the frame with the print.

PRESS PLAY. COUNT THE LANDINGS. PRESS A COLORWAY WHILE IT PLAYS.

THE THROW · BASE CAMP DUFFEL · :30 · THE PRODUCT IS THE ONLY ACTOR

The red duffel on wet concrete after a skid — **THE FLOOR** · the duffel on wet concrete, one strap out

THE PANEL · the end panel, wet, the print worn at the edges

The end panel filling the frame with the lockup and the line — **THE CARD** · the panel as the card, the lockup, the line

Why it works. The duffel's reputation is that it gets thrown. The film does the throwing, in a room, on the bag from your own photograph, and the product sells itself by surviving.

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The rain.

Antora Jacket. A white studio, a rain rig above it. The jacket holds a person's shape with nobody in it. Rain beads on the shell and rolls off, the hood sheds it, the storm flap sends it away, the floor pools bright. The rain stops. One drop hangs from the hood and falls. The jacket is dry. The water on the floor runs into the lockup.

PRESS PLAY. WAIT FOR THE LAST DROP. PRESS A COLORWAY WHILE IT PLAYS.

THE RAIN · ANTORA JACKET · :30 · THE PRODUCT IS THE ONLY ACTOR

The Antora on an invisible form in a white studio, the first drops — **THE ROOM** · the jacket on an invisible form, first drops

Water beading on the black shell and the storm flap — **THE SHELL** · beads on the shell, the storm flap, the logo

Water on the white floor running into the black lockup — **THE CARD** · the water on the floor, the black lockup, the line

Why it works. A rain jacket's only claim is made by rain. The rig is in a room, the jacket is yours, and the film ends on the one word a shopper is looking for: dry.

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The day.

Borealis Backpack. A wooden floor, soft daylight, stop-motion. The pack sits open. A notebook slides into its sleeve, a steel bottle drops into the side pocket, a beanie stuffs itself into the top pocket, and a rolled jacket, too big, pushes at the mouth of the main compartment until the pack takes it. The zip runs closed. The pack stands up, full.

PRESS PLAY. THE JACKET BARELY FITS. PRESS A COLORWAY WHILE IT PLAYS.

THE DAY · BOREALIS BACKPACK · :30 · STOP-MOTION · THE PRODUCT IS THE ONLY ACTOR

The Borealis open on a wooden floor with four objects around it — **THE FLOOR** · the pack open, four things waiting their turn

A rolled jacket wedged in the mouth of the pack — **THE PUSH** · the rolled jacket wedged halfway in

The pack's front panel with the embroidered lockup and the line — **THE CARD** · the front panel, the lockup stitched, the line

Why it works. The best-selling backpack in the lifestyle range has one job, and the film shows it doing the job with no hands in the frame. A different medium from the other three, from the same system, in the same day.

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The same four, at the size of the feed.

Every product film on this page was made a second time on a fifteen second clock at nine by sixteen, for the feed that drives the lower funnel. Not a crop of the wide film. Its own take, on the same product, from the same photograph. Scroll the phone.

SEVEN HUNDRED · 1996 RETRO NUPTSE9:16 · :15
THE THROW · BASE CAMP DUFFEL9:16 · :15
THE RAIN · ANTORA JACKET9:16 · :15
THE DAY · BOREALIS BACKPACK9:16 · :15

THE FEED PLAYS MUTED UNTIL A THUMB SAYS OTHERWISE. THE FIRST SECOND HAS TO WORK WITHOUT SOUND, AND THESE DO.

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What stays real. What we make.

The North Face is right to be careful. An outdoor brand's authenticity is its mountains, its athletes and its product, and none of them should be invented. So the system never invents them. It works from what you shot, and it makes the parts a shoot cannot afford to make fifty times a season.

Real, always

The mountain. Every landscape on a North Face page was photographed by a person who was there. The athlete and the model. Never invented, never replaced. The product. Every film begins with your product photograph, and the product in the frame is that product: its panels, its zips, its logo where you put it. The colorway and the price. Yours, exact.

Made by the system

The motion. The fill, the throw, the rain, the pack that packs itself. The room. A floor and a light in a studio; never a trail. The cut, the sound, the type. A film per product, a :15 per feed, a card per product, every colorway. The variation. Four hooks for one product in one morning, so the feed always has a fresh one.

The product

Read against your photograph at full size: panel count, zip, logo placement. An invented cousin is a failed frame.

The mark

Letter-perfect against the official lockup, at full size, every time it appears.

The color

The colorway as you ship it, checked against the swatch, not the screen.

The physics

Cloth folds, water beads, nothing floats, nothing passes through anything.

Nobody

No person, no hand, no shadow of a person in any product film unless you shot them.

THIS PAGE'S OWN RECEIPT · TWELVE PLATES, EIGHT FILMS, FOUR PRODUCTS, MADE IN ONE DAY FROM SEVEN PRODUCT PHOTOGRAPHS

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The campaign carries a handful. The season is fifty-plus.

The North Face ships more product every season than its brand campaigns can carry, and the products that do not get a film get a product page and a still. In your own words, fifty-plus product campaigns a season do not get made. A meaningful share of the business runs on lower-funnel media that has to sell those products anyway.

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The feed asks for new creative every week.

TikTok's own guidance is three to five creatives per ad group, refreshed about every seven days, and it calls refresh frequency the first factor in how long an ad group lives. Meta's shopping campaigns test up to a hundred and fifty creative combinations at once. For fifty products over a thirteen-week season that is thousands of pieces, and a shoot day makes a few dozen.

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Set the season.

Slide to the products a season, pick the formats and how often the feed gets a fresh piece, and what one product's film costs The North Face today. The board prices itself, both ways.

$2M

WHAT 50 PRODUCTS COST TO FILM THE OLD WAY
ONE SHOOT EACH AT $40K A PRODUCT

$45K

A MONTH, ALL IN · THE STANDING LINE
$68 PER PIECE

2,000 PIECES A SEASON

50 PRODUCTS × 5 FORMATS × 8 REFRESHES

PRODUCTS A SEASON 50

THE BRAND CAMPAIGN, THIS SEASON · SIX PRODUCTS GET A FILM · THE REST GET A PRODUCT PAGE AND A STILL

AGAINST THE ADVERTISING LINE · $45K A MONTH IS 0.064% OF VF'S $70.8M A MONTH · $849.3M A YEAR IN THE FISCAL 2026 10-K

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Built by RitualAds.

RitualAds is the engine behind campaigns and previsualizations for Reebok, Champion, Oakley, Patagonia and Guess Jeans. The shape of the work never changes: a brief goes in, boards and finished film come out, and the result goes on the record. Three product stories from that record, each film playing here, each card opening its full case study.

THE ROSTER · REEBOK · CHAMPION · OAKLEY · PATAGONIA · GUESS JEANS

Featured · footwear · a product launch

Reebok

In · Reebok’s signature-shoe launch for Angel Reese, the most followed WNBA player across all social media.

Out · A production-ready previsualization delivered within 90 minutes, then the cinematic commercial built on that roadmap for the global launch.

The result · The Angel Reese 1 sold out globally within hours of going live, all three colorways, one of Reebok’s fastest product launches in recent history. “This could rewrite the playbook for sports marketing.” Marla Tellez, Fox News

Open the case study →

Retail · fashion · four spots for CTV

Minty

In · A national CTV campaign to introduce a new mascot, a new positioning and a new way to shop, with four :15 spots ready for Swim Week in Miami on May 28.

Out · Minty Dog as a hero character across fashion, beauty, pet and streetwear: one visual system, four spots as chapters of one story, each mastered for CTV and cut down for vertical social.

The result · Four cinematic CTV spots on air in time for Swim Week Miami, introducing the mascot, the shopping experience and the new brand identity.

Open the case study →

Retail · a product catalog on film

Temple & Webster

In · Australia’s largest online furniture retailer imagined its first cinematic brand campaign as magical realism: a woman steps through a door in her living room wall and the world begins to answer her.

Out · Every room, move and transition mapped before cameras rolled; the actress’s real performance stayed untouched while the Temple & Webster world grew around her, furnished entirely from the brand’s catalog of over 200,000 products.

The result · The brand’s first cinematic brand campaign launched nationally in July 2026 across broadcast, CTV and digital, in 30 and 15 second cuts. “Without you guys, this ad is not even going to air. You’ve smashed it!” Temple & Webster

Open the case study →

BRIEF IN · CAMPAIGN OUT · THREE CAMPAIGNS ON THE RECORD · EACH FILM PLAYS HERE · EACH CARD OPENS ITS FULL CASE STUDY

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One number: $45K a month.

All in. That is the standing line: every product that ships gets its film, at every size the feed asks for, in every colorway. Fifteen or more finished originals a month with their cutdowns and stills, unlimited takes, every frontier model, no meters. Start with one month. Stay for the season. Scale to the brand.

Month one

$45K

ONE MONTH · JANUARY 2027 · YOUR REVIEW AT TWO WEEKS AND AT FOUR

The system learns the brand from the product photography you already have. Ten products have their films by the two-week review, fifty by the end of the month, every format, every colorway, in your feed. If a review misses your bar, it ends there and nothing more is owed.

The season

$45K

A MONTH, ALL IN · FROM $35K FOR A SMALLER LINE · STOP ANY MONTH

Every product, every season, every feed, for the Americas. Fifteen or more finished product films a month plus their cutdowns, stills and colorways, fresh hooks every week, one innovation drop a month. Your calendar, your reviews. Eight months is $360K, inside the budget you named, with a review before every one of them.

The brand

Scoped

WITH YOUR TEAM · ALL OF THE NORTH FACE AMERICAS

Lifestyle and performance, one line. One set of checks, one archive that learns from every season, and a product range that never waits for a shoot again.

ALL IN MEANS ALL IN · THE TAKES, THE MODELS, THE CHECKS AND THE LINK · NO METERS · FIFTY PRODUCTS FILMED THE OLD WAY, $2M. THE SAME FIFTY ON THE LINE, $45K A MONTH.

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Seven hundredths of one percent.

The whole standing line, every product, every season, every feed, against VF's advertising line, month for month: $45K against $70.8M. The money will not notice. The products will.

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Spring 2027 starts in January.

You are planning the fourth quarter now and evaluating partners for the first. The system can learn the brand in the first week of January and have the season's icons in the feed by February. The films above were made in one day. The first month gets thirty.

JAN 4 the system learns the brand
JAN 18 the first ten products
FEB 1 fifty products, your review
FEB 15 every colorway, every :15
MAR 1 the season in the feed

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Every product ships with its film.

RitualAds is a creative studio for brand film: from a single line of brief we build the whole campaign world, concepts, boards and finished moving pictures, made end to end under one roof. For The North Face that means every product in the season gets its own film, its feed cut and its colorways, made from the photograph you already have, with nothing outdoors and nobody invented, at a cost the advertising line will not notice.

The meeting takes thirty minutes.

RITUALADS · CARLOS@RITUALADS.COM

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