Every drop,
on film.

Four films for Fabletics Women, Men and Scrubs, built in one afternoon from the product photographs already on fabletics.com.

ONE OUTFIT · :30

ONE OUTFIT · WOMEN · :30

One outfit.

The Fabletics Creative Engine made this film for Fabletics Women from three product photographs on fabletics.com: the Define PowerHold legging, a cocoa bra and the No Chill fleece half-zip. A woman gets through a half-past-six class, a desk, a walk in the rain and a dinner outside without going home to change. The zipper is the cut.

SAGE · the leggingCACAO · the bra and the half-zip

0:01 · the class at half past six, lacing a shoe in the sage legging and the cocoa bra

0:07 · the zipper of the half-zip pulled up the front track, the cut into the office

0:14 · the wet street, the hood up, the friend in the black raincoat

0:19 · the dinner under string lights, the bra as the top, the half-zip off her shoulders

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TWO GAMES · MEN · :30

Two games.

The Fabletics Creative Engine made this film for Fabletics Men from the One Short, the Go-To hoodie and the 24/7 tee. A father who came to watch the Saturday game from the couch ends up coaching the under-tens and playing the fathers' game after, badly, and scoring once. The couch is the same framing at noon and at dusk.

ADMIRAL BLUE · the shortCLASSIC GREY HEATHER · the hoodieBLACK · the tee

0:00 · the couch at noon, the remote in his hand, the daughter at the door with the whistle

0:04 · the whistle in his mouth at the edge of the grass, the children in yellow running past

0:14 · the slide that takes the grass, the black tee, the short

0:25 · the couch at dusk, grass on the shorts, the daughter asleep against his arm

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SEVEN · SCRUBS · :30

Seven.

The Fabletics Creative Engine made this film for Fabletics Scrubs from the Method scrub top and the On-Call scrub jogger in Cosmic Pink, September's drop. A night nurse counts the hours from two minutes to seven until four past seven while the scrubs never do: a run at two, the floor at three, coffee down the front at four, wiped away. The wall clock is cut to at every hour.

COSMIC PINK · the top and the jogger

0:02 · the locker and the wall clock at two minutes to seven, the Cosmic Pink scrubs

0:11 · the run down the corridor at two in the morning

0:17 · the paper cup tipping at four, the coffee down the front of the top

0:27 · the sliding doors at four past seven, the sun behind her

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DROP DAY · 9:16 · :30

Drop day.

The Fabletics Creative Engine made this one in the format your creators already shoot: nine women, nine mirrors, one drop, the morning it lands. Every body a different size and age, the same Cosmic Pink on each, a phone raised in every glass, cut like a compilation of members' own mirror videos. It was made vertical, not cropped.

COSMIC PINK · the top, the legging, the jogger

0:02 · the plain box on a kitchen counter, the pink inside

0:08 · a gym's wall mirror, the phone raised, the bra and the legging

0:24 · the store's mirror wall, the ninth woman in the scrub top, the phone in her hand

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Trained around Fabletics.

The Fabletics Creative Engine is a brand-specific workflow built from four things Fabletics already owns: its products, its people, its places and its identity. Nothing in the four films above was invented where Fabletics already had the truth of it.

Products

Every garment in the films is a Fabletics photograph first. The product photograph rides into the film as its reference, so the cut, the color and the F on the pocket are Fabletics' own, and the engine never invents a product.

FABLETICS.COM · the Method scrub top in Cosmic Pink, as photographed

SEVEN · the same top in the corridor at two in the morning

People

Your creators, your members and your talent stay real. Their footage comes in as footage and leaves as cut-downs, resizes and new edits; nobody is invented in their place. The people in these four films were cast by the engine for the demonstration; they belong to nobody.

FABLETICS.COM · the One Short in Admiral Blue, as photographed

Places

The class at half past six, the couch, the hospital corridor, the store's mirror wall: the rooms are written from Fabletics' own settings, held from frame to frame, and every room can be swapped for one of yours from a photograph.

Identity

The F and the wordmark come from fabletics.com's own files and land letter-perfect at the end of every film, made inside the film rather than pasted on after. The colorway is the drop's. The type in the cards is yours.

FABLETICS.COM · the lockup, from the site's own file

SEVEN · the end card as it lands in the film

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What stays real, and what the system makes.

Real, always

The product, from its own photograph
The colorway and the size range
Your creators, your members, your talent
Their footage, which only ever comes in as footage
The F, the wordmark, the type

Made by the system

The motion and the cut
The room, the hour, the weather
The sound and the score
The sizes: 16:9, 9:16, 4:5, 1:1
The variation: another colorway, another room, another cut of the same film

Five checks before any Fabletics film ships.

The garment matches its photograph in every frame.
The F sits only where the garment carries it, and nothing else in the frame carries lettering.
The end card is read letter by letter at full size.
The story is read from the frames and the sound alone, with the script closed.
Every size is cut from the film with a hand-set frame, never stretched.

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One drop, sixteen files.

From one drop the Fabletics Creative Engine makes a film for each line and cuts each film to the four sizes the channels take: 16:9 for YouTube, 9:16 for TikTok and Reels, 4:5 and 1:1 for the feed. Sixteen finished files from one drop, every one of them the same film, and every drop of the month the same again.

16:9 · ONE OUTFIT as made

9:16 · the same film, cut for the phone

4:5 · cut for the feed

1:1 · cut square

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The system that made these, on film.

RITUAL ENGINE · what the system is and everything it makes, in eighty seconds

THE GLOBE · one brief launched with creators in every market at once, the spot

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This page's own clock.

The Fabletics Creative Engine keeps the receipts. The request came in at 1:50 in the afternoon. The end cards were made and read letter by letter at 2:19. The first film landed at 2:28 and the fourth at 2:57. The page was live at 3:14. A shoot for the same four films is a production week and a post week; this was one afternoon, and every change from here is a note on this link that becomes a new version at the same address.

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October to January.

The Fabletics Creative Engine fits the window that is open: the next planning cycle runs from the fourth quarter into January. One drop is filmed first; the season follows drop by drop; the feed is carried through the holidays; January is the first review.

October

One drop, filmed in every size, in the feed the week it lands.

November

Every drop of the month, Women, Men and Scrubs, as each one lands.

December

The holiday drops and the gift edits, cut for every channel.

January

The first review, on the numbers, and the January drop already filmed.

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Built by RitualAds.

RitualAds made the launch commercial for Reebok's Angel Reese 1, the direct-response spot for Muscle Code and Martha Stewart's Times Square commercial, among others. Three from that record, each film playing here, each card opening its full case study.

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 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

Muscle Code

In · A 30-second direct-response commercial for a patented essential amino acid supplement backed by NASA and NIH-funded research.

Out · A spot engineered to convert cold audiences: it leads with the product's claim, up to 10X greater muscle synthesis than whey protein isolate gram for gram, and closes with a frictionless path to purchase.

Cost per order reduced from $120 to $31, a 74% decrease.

Open the case study

Martha Stewart

In · A national campaign to launch her new skin care product on Shopify, turning five years of clinical research into a luxury story, without a single practical set.

Out · The commercial, with not a single practical set used in production; midway through post-production she asked for a higher-resolution output for the largest screen in Times Square.

A Times Square debut on the largest screen, seen by 1.5 million people daily, and three major publications.

Open the case study

Brief in · campaign out · the houses above are the sportswear and fashion work on the record

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The ways in.

The Fabletics Creative Engine starts at the size of one drop and grows to the standing line. Each one is scoped with you, case by case.

One drop

One drop across Women, Men or Scrubs: its films, every size, a review at two weeks. The engine learns the brand on your own product first.

Ninety days

The fourth quarter into January: every drop as it lands, the holiday edits, the January review on the numbers.

Every month

The standing line: every drop, every line, every size, every month, with your creators' footage cut alongside. Stop any month.

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Before the call, send one drop.

The Fabletics Creative Engine films it before the call, so the call starts on your own product instead of on ours.

The dropThe product photographs, or the product names on fabletics.com, for one drop in one line.

One creator briefA brief you have already sent to a creator, so the films can answer the same brief.

The channel planWhich channels and sizes the quarter needs, so every file arrives cut for its place.

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