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Multiple Markets
Dstny operates across Europe each country with its own language, team, and content needs.
Dstny signed a two-year co-sponsorship deal with Lotto Dstny, one of the top professional cycling teams in the world. The partnership gave Dstny a global stage but a stage means nothing without content.
Consistent content. Across countries. For two full years.
This is what that looked like.
One creative working alongside a brand manager and an activation manager. Everything visual from strategy to final delivery under one roof. Flights across Europe Belgium, the Netherlands, France, Germany, Monaco with a camera and a laptop. Filming at every major event. Editing on location or on the flight home. Delivering before the next brief landed.
TV spots. Social media campaigns. Paid ads. Radio spots. Print ads for local newspapers. Everything that moved visually in this partnership came from one production pipeline. Systems That Scaled After Effects templates built for local Dstny offices across Europe. Their own language. Same brand rules. One system, multiple countries, consistent output — without depending on a single person for every asset.
This wasn’t a project with a start and end date. It was two years of continuous creative production adapting to new events, new markets, and new briefs every month.
Event aftermovies from races and activations across Europe. TV commercials and radio spots for local markets. Social media content and paid advertising campaigns. Print ads and event materials. After Effects templates for local content production.
Over two years, one production pipeline delivered the complete visual output for Dstny’s biggest brand partnership. The content reached audiences across TV, social media, paid advertising, print, and live events in multiple European countries.
But the deliverables weren’t the point. The system was. The templates and guidelines that came out of this meant local teams could keep producing on-brand content independently long after any specific event was over.
The sponsorship didn’t just produce videos.
It produced a creative infrastructure.
Dstny needed a campaign film. Not a product demo. Not a corporate video. A film that would make people actually stop scrolling, watch, and click through to local Dstny websites across Europe.
The campaign had to activate multiple offers across different markets. It had to work on the website, on social, and in paid ads. And it had to land with humor because the whole concept was built around something everyone has experienced: being stuck on hold.
The concept and script came first. A story about the eternal hold that moment when your entire day disappears into elevator music and “your call is important to us.” The punchline: Dstny’s communication platform makes that moment disappear.
From there, a production company and a strong director were brought in to bring the script to life. The creative direction, concept, and motion design stayed in-house. The cinematography and live-action production were handled by a team that could elevate the idea beyond what one person with a laptop could do alone.
The Result: A campaign film that ran across Dstny’s website, social media, and paid advertising in multiple European markets. Built on humor. Rooted in a real problem. Designed to drive traffic not just awareness.
A customer success story filmed in Monaco with one of the most decorated cyclists in the history of the sport.
Philippe Gilbert won 80+ professional races over 20 seasons. Four of the five Monuments. The World Championship in 2012. After retiring, he opened The Bike Shop in Monaco a destination for cyclists from around the world. He runs it on Dstny. This film tells that story. As a customer success story showing how a world champion uses Dstny’s communication platform to run a real business, in a real shop, in Monaco.
A customer success story built around one of cycling’s biggest names, designed to work across Dstny’s European markets. The focus wasn’t just the story. It was the details. Dstny’s product shown in context not as a screenshot on a slide, but as a living part of how this shop actually operates.
Dstny is built on cloud communication. Everything happens in the cloud. So the creative direction took that literally entrepreneurs and professionals working above the clouds. Not as a metaphor buried in copy. As the actual visual world of the campaign.
This was produced when AI filmmaking tools were still new. Midjourney, Runway, Krea, ComfyUI, local models all combined to build something that didn’t exist yet: a full campaign created with AI that could actually be used in production across multiple countries.
It started with images. A large set of AI-generated visuals people working above the clouds, connected through Dstny’s platform. Each image designed to function independently across websites, blogs, articles, and social media.
The challenge was technical. Early AI tools didn’t produce images at the resolution or consistency that a real campaign requires. New workflows had to be built from scratch upscaling techniques, consistency methods, detail correction to make every image production-ready.
From the images came the videos. Short social media films, produced in multiple languages so every Dstny market could use them directly. Built as templates so local teams could swap products, adjust messaging, or change direction without starting over. Everything distributed through the brand hub that served all countries. The campaign ran both paid and organic, tested across markets.
Dstny runs brand activation events across European markets. Partner events, product launches, customer gatherings each one a chance to show the brand in action.
The problem with event content is timing. Film it on Tuesday, deliver it three weeks later, and nobody cares anymore.
Every event started before the flight. Planning what to film, what each country needed from the footage, coordinating with Brand Activation and Group Marketing on deliverables, booking travel, mapping out shots. By the time the camera came out of the bag, the edit was already half-structured.
On location, the job went beyond filming. Motion design content running on event screens. Design support for whatever the activation needed. Then the event films themselves. Editing happened on location. In hotel rooms. On flights home. Finished films delivered to local Dstny teams within two to three days of the event.
Each event had different needs across different markets. Some teams wanted social cuts. Some needed internal recaps. Some wanted assets for their own local campaigns. One shoot had to produce multiple outputs and all of them had to land fast.
The planning, the filming, the travel logistics, the coordination across stakeholders and local offices that all happened in the same pipeline that delivered the final films.
One company. Seven markets. Zero creative pipeline.
Dstny operates across Europe each country with its own language, team, and content needs.
No agency at group level. No in-house creative team. Every market solving visual communication on its own.
Different look, different quality, different brand expression across every country.
Events, campaigns, and sponsorships don't wait. Content that arrives late is content that doesn't exist.
One pipeline. Every format. Every market.
One person owning strategy, concept, production, and delivery. Every asset aligned across markets without the overhead of multiple agencies or teams.
Editing on location, in hotel rooms, on flights home. Event films delivered within two to four days. Campaign assets ready before the next brief landed.
After Effects systems built for local offices across Europe. Their own language, same brand rules. Consistent output without depending on a single person for every asset.
Campaign, customer stories, AI-campaigns, event content, motion design, TV spots, radio, print, social, paid ads. All from the same production pipeline.
Creative infrastructure that kept producing.
| Project | Delivered | Markets Served | Impact |
|---|---|---|---|
| Lotto Dstny Sponsorship | Aftermovies, TV spots, radio, print ads, social content, AE templates | Belgium, Netherlands, France, Germany, Sweden, Denmark, UK | Local teams producing on-brand content independently via templates |
| The Eternal Hold Campaign | Campaign film, concept, script, motion design, paid ads | All European Dstny markets | Traffic driven to local websites across multiple countries |
| Philippe Gilbert Customer Story | Customer success film, script, post-production, UI integration | Monaco distributed across all markets | Product shown in real-world context through a world champion |
| AI Campaign + Event Films | AI visuals, multi-language templates, event aftermovies in 2-4 days | All European markets via brand hub | Scalable system local teams self-serving from templates and brand hub |