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How Sony BRAVIA OLED Turned a German Forest Into a TV Screen
Sony's 'Window Into Daytime' is a 2018 film campaign created by DDB Berlin for the BRAVIA OLED AF8 television range, published in Germany in April 2018, using cinematic natural imagery shot in New Zealand to dramatise the screen's ability to render daylight, depth, and colour with OLED precision. The campaign ran for ten weeks across Europe, according to reporting by Little Black Book and thedrum.com, deploying creative formats across television, video-on-demand, YouTube, Facebook, digital banners, and point-of-sale channels.
Pre-orders for the BRAVIA OLED AF8 series opened on April 9, 2018, per avforums.com, with two promoted AF8 models reaching retail shelves by the end of April 2018. The television campaign itself was scheduled to launch on May 7, 2018, as reported by lbbonline.com and horizont.net. DDB Berlin produced three broadcast edits — sixty seconds, thirty seconds, and twenty seconds — alongside print advertising, giving the campaign a layered media presence suited to both premium brand storytelling and performance-driven digital placements. In Germany, where the campaign was anchored, the Electronics and Technology category demands that television manufacturers justify premium price points through demonstrably superior picture experiences, making the creative brief both commercially urgent and creatively ambitious. The Clapboard Score for this campaign is 60 out of 100, reflecting a technically accomplished execution that operates within a well-established Sony BRAVIA creative convention rather than redefining it.
Sony positioned the BRAVIA OLED AF8 against a global television market in which OLED remained a premium outlier in 2018. Approximately 2.45 million OLED televisions were sold globally in 2018, according to flatpanelshd.com, representing a narrow slice of overall shipments dominated by LCD technology. In Germany and across European markets, that scarcity made OLED a credibility signal rather than a mainstream proposition, and the campaign's strategy reflected that reality directly.
The competitive landscape at the time was concentrated at the top. Samsung, LG, and TCL together accounted for nearly forty percent of the global television market in 2018, according to tvbeurope.com, with LG holding a particular structural advantage in OLED panel supply. Sony's strategic response, executed through DDB Berlin, was not to compete on volume or specification lists but to establish an emotional language for what OLED picture quality actually feels like to a viewer. Rather than showing the television as a product, the campaign made the screen's output — forest light, atmospheric depth, natural colour — the entire subject of the film. This approach differentiated Sony from Samsung's performance-focused comparative advertising and from LG's panel-centric OLED messaging by grounding the technology in a sensory human experience. Alessandra D'Avino, Head of Creative Strategy at Sony Europe, guided the brand positioning that underpinned this approach, connecting the 2018 work to Sony's long-running BRAVIA strategy of using cinematic natural imagery to dramatise screen capability, a lineage that horizont.net and lbbonline.com trace back through earlier executions involving coloured balls, flower petals, and balloons.
Director Ben Tricklebank shot the campaign in a forest near Queenstown, New Zealand, using Sony cameras — a production decision that reinforced the brand's own imaging credentials while generating footage of sufficient technical quality to demonstrate OLED rendering on screen. The production company was Tempomedia, with post-production handled by Electric Theatre Collective, whose visual effects work shaped the film's signature transition between artificial enclosure and expansive natural light.
Gabriel Mattar served as Executive Creative Director at DDB Berlin, overseeing a creative team that included Senior Art Directors Alan Dindo and José Gomes, and Senior Copywriters Chiara Chessa and Pedro Lourenco, as documented by lbbonline.com and adruby.com. Bianca Dordea, Managing Director at DDB Berlin, led the agency's operational delivery of the campaign, while Account Director Milica Otasevic managed client relationship and production workflow. Jens Mecking served as Head of TV at DDB Berlin, coordinating the broadcast dimension of a campaign that required three distinct edit lengths to function across different media contexts.
The soundtrack was Tom Walker's 'Leave a Light On', a choice reported by thedrum.com that added emotional texture to imagery already calibrated for sensory impact. The music's thematic resonance with light, return, and revelation mapped directly onto the campaign's visual concept: a figure moving from darkness into a forest filled with the quality of light that only an OLED panel, the film implied, could faithfully reproduce. Jenny Cleeton, writing for The Drum on April 9, 2018, labelled the film Ad of the Day and described it as cinematic, mystical, and enchanting — a critical reception that affirmed the craft ambition DDB Berlin brought to the brief.
No verified performance data for the 'Window Into Daytime' campaign is publicly available in terms of sales uplift, view counts, or media recall scores specific to Germany or the broader European market. What the public record does confirm, through reporting by thedrum.com and horizont.net, is that the campaign received strongly positive critical reception at launch, with The Drum's designation of Ad of the Day on April 9, 2018 indicating immediate recognition within the advertising industry.
Structurally, the campaign's effectiveness rests on its alignment of medium and message. Deploying a film about luminosity and visual depth across video-on-demand, YouTube, and Facebook — channels where OLED's picture quality advantage is least visible — created a productive tension: the campaign had to convince viewers through composition, colour grading, and narrative atmosphere alone that the AF8 screen was worth seeking out in a showroom. The ten-week European duration, as reported by lbbonline.com, gave the campaign sufficient runway to build cumulative awareness ahead of the retail availability of both AF8 models confirmed by avforums.com. The Clapboard Score of 60 out of 100 reflects an execution that is technically assured and creatively coherent, but that operates within Sony BRAVIA's established visual grammar rather than expanding it — a campaign that does its strategic job well without redefining the category.
'Window Into Daytime' is a 2018 film campaign created by DDB Berlin for Sony's BRAVIA OLED AF8 television range. Published in Germany in April 2018, it ran for ten weeks across Europe using television, video-on-demand, YouTube, Facebook, digital banners, and print to dramatise the AF8's OLED picture quality through cinematic forest imagery shot in New Zealand.
Ben Tricklebank directed the film for Sony BRAVIA OLED. He shot the campaign in a forest near Queenstown, New Zealand, using Sony cameras. Post-production was handled by Electric Theatre Collective. The production company was Tempomedia, with Gabriel Mattar serving as Executive Creative Director at DDB Berlin.
The campaign promoted the Sony BRAVIA OLED AF8 television series. Pre-orders opened on April 9, 2018, according to avforums.com, with two AF8 models reaching retail by end of April 2018. The television broadcast campaign launched on May 7, 2018, as reported by lbbonline.com and horizont.net.
The soundtrack is Tom Walker's 'Leave a Light On', as reported by thedrum.com. The track's themes of light and return reinforced the campaign's central visual concept: a figure moving from darkness into luminous forest light, dramatising the OLED picture quality of the Sony BRAVIA AF8 television range.
No verified sales or media performance data for the campaign in Germany is publicly available. The Drum named the film Ad of the Day on April 9, 2018, describing it as cinematic and enchanting. The campaign earned a Clapboard Score of 60 out of 100, reflecting strong craft within an established creative framework.
Gabriel Mattar was Executive Creative Director at DDB Berlin. Senior Art Directors Alan Dindo and José Gomes and Senior Copywriters Chiara Chessa and Pedro Lourenco led creative development. Bianca Dordea served as Managing Director and Milica Otasevic as Account Director, per lbbonline.com and adruby.com.
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