​01.03.2025

100 Years of Smiles: How Havas and Seven.One Use Artificial Intelligence to Enable a Time Travel Experience

by Eyes & Ears of Europe

The new Lacalut commercial, created in collaboration with Seven.One Media, Seven.One AdFactory, Havas Media, and Havas Play, takes a completely new approach: The entire spot consists of AI-generated content. Instead of real actors, only generated characters are used to represent the brand’s history. This fusion of a traditional brand and modern technology not only excites the creative industry but also sparks discussions about the future of AI in advertising. In this interview with Heiko Brantsch (Senior Art Director Video, Seven.One AdFactory GmbH), we take a closer look at the creative process and key learnings from working with AI.

Luise Flügge (Editorial Team, Eyes & Ears of Europe): What was the core idea behind the Lacalut AI spot? How did you decide to use AI instead of real people?

Heiko Brantsch: Seven.One Media introduced its AI initiatives in a workshop, showcasing how artificial intelligence can enrich the advertising industry. One example is our "AI Knowledge to Go" concept. Havas agency specifically approached us for our AI expertise.

Lacalut wanted to try something new for its 100th anniversary. We decided on a TV campaign that fully leveraged the possibilities of AI. It quickly became clear that each decade should be represented individually with nostalgic recognition value. This campaign idea would have been extremely complex with traditional production methods: casting fourteen lead actors plus extras, eleven locations, multiple shoot days, dozens of vintage cars, historical costumes and props, and even closing off entire streets. A real production would have required compromises for logistical reasons. However, with AI, we could execute our vision exactly as intended.

LF: What technologies and tools were used in developing the spot? Were there any particular technical challenges?

HB: The core of the spot was the creation of people and environments using text-to-image AI. This technology now delivers very high-quality results. Nevertheless, I used "inpainting" to fine-tune details, retouch small AI image errors, and precisely place additional elements.

Once all scenes were completed as still images and approved by the client, I transformed them into moving images using image-to-video AI. This is where the biggest technical challenges arise: complex hand movements, background details like small faces, consistent facial features from different camera angles—all of this still struggles and requires a lot of patience. The most difficult shot was the skatepark. Realistically moving skaters in the background were a true stress test for the AI. The technology is not as advanced as many assume. Creating truly realistic videos requires experience and extensive testing.

Finally, I used AI music tools to generate a nostalgic soundtrack—a mix of gramophone sounds, jazz, and swing. For the virtual voice-over, I selected a friendly older male voice. These aspects were surprisingly straightforward. While AI-generated speech requires multiple attempts to sound natural and match the intended tone, the process is quite similar to working with human voice actors. The key advantage of AI is its immediate availability and maximum flexibility when wording needs to be adjusted later.

LF: What were the biggest creative challenges in executing this project, and how did you overcome them?

HB: I designed each scene with great attention to detail to achieve realistic and vibrant results. AI now understands long, complex prompts, offering exciting creative possibilities. However, to make the most of this, research is essential. For the Lacalut spot, I researched hairstyles, outfits, and environmental details to craft precise prompts that best represented each decade. A simple prompt like "a woman in 1925 smiling at the camera" leaves too much to chance and would not have met our aesthetic standards. This demonstrates that creativity in AI-driven productions is not automatic—the spot contains a lot of human creativity and meticulous design.

LF: What feedback have you received on the spot, both internally and from the audience?

HB: The reactions have been overwhelmingly positive. Viewers appreciate the nostalgic atmosphere, and the innovative technological approach generates curiosity and attention. We are already in discussions with several clients about similar projects and have many additional ideas beyond traditional TV commercials!

Of course, there are also some critical voices—AI is a polarizing topic, especially in the creative industry. I encourage creatives to approach these new possibilities with an open mind. Right now, while the technology is still evolving, we have the opportunity to become experts in using it. AI content doesn’t have to look generic. In the hands of experienced creatives, AI can and will be a highly valuable tool.

LF: What role do you see AI playing in the future of advertising? Do you think this technology will become even more prevalent in the industry?

HB: This technology is definitely here to stay. Even before our campaign, AI tools like inpainting and outpainting with Firefly enriched our daily work and became an integral part of our workflows for both traditional live-action and animated commercial productions.

Some commercial concepts and ideas are particularly suited to AI-driven production, especially when a real-life shoot would be too complex or simply impossible. AI will complement traditional production tools and open up new creative possibilities.

We don’t aim to replace traditional methods with AI; instead, we want to use AI to bring ideas to life that might have otherwise remained in a drawer.

LF: Was there anything during the project that surprised you or anything new you learned from working with AI?

HB: I am constantly amazed by how quickly this technology evolves. Things that seemed nearly impossible a few months ago are suddenly feasible. The process requires a lot of trial and error—you have to stay engaged. New AI tools emerge almost weekly, and while some fail to deliver on their promises, others impress with unexpected capabilities. The future remains exciting, and my colleagues and I will continue exploring new possibilities!

LF: Thank you for sharing these insights into your work. We at Eyes & Ears of Europe look forward to seeing what follows the Lacalut spot from you and the Seven.One AdFactory!

Heiko Brantsch is an Art Director at Seven.One AdFactory, an in-house creative agency of the ProSiebenSat.1 media group that closely collaborates with the sales team at Seven.One Media. For many years, he has been producing TV commercials for clients from various industries, primarily focusing on post-production. He also frequently works as an editor and motion designer directly on commercials.

Before joining Seven.One AdFactory, Heiko Brantsch worked as a videographer for several years, producing marketing videos and gaining extensive experience in cinematography and lighting design.

For about a year, he has been intensively exploring the possibilities of generative AI—initially out of personal interest, later with increasing support from his colleagues and supervisors. Through numerous experimental tests, he gained deeper insights into the potential of this technology, ultimately leading to the request from Havas and the creation of the Lacalut AI spot.