Netflix Latin America launched Moria, a series centered on Moria Casán. VertexCGI built a 360 campaign that mixed AI content with real giant installations. The campaign used both layers together: people encountered real objects in the city, then saw hyperreal installations continue the same visual world on social.
The challenge
Vertex had to make the generated work sit next to physical installations without breaking the illusion. That meant matching real locations and current conditions while keeping logos, key visuals, and campaign elements accurate through generation.
The idea
Vertex mixed real and synthetic OOH instead of treating them as separate formats. A giant shoe, lipstick, and a wig installation existed physically. AI executions added 3 more installations, including oversized nails, a rooftop intervention, and a Planetarium execution.
The mechanism was simple: real elements established the campaign in the city; hyperreal synthetic elements followed audiences on social. The two layers were designed to be experienced together.
“People see real elements in the city, then on social media they’re followed by unreal, hyperrealistic installations. It all comes together into one giant experience.”
How it was built
Vertex started the AI executions from real location references and coordinates. The team matched environmental details such as weather and what people were wearing so the generated scenes fit what was happening at the location.
Existing campaign assets featuring Moria were used as references. Key visuals were composited in Photoshop where needed, then passed back through the generative workflow to blend them into the scene and improve realism. The finished compositions were animated afterward.
The team also focused on preserving logos, key visuals, and other branded elements accurately through the process. The generative image and animation stages were run inside Higgsfield.
The products
Vertex built the AI installations from real-world location references.
The team used Nano Banana Pro to generate the scenes, matching details such as the location, weather, and people’s clothing to make each installation feel grounded in the real environment.
Existing Moria campaign assets were used as references, while key visuals were composited in Photoshop and then passed back through Nano Banana Pro to blend them into the scene and improve realism.
Once the final compositions were locked, Kling was used to animate them. The generative workflow ran inside Higgsfield.
The result
One campaign post in Instagram reached 1.7M views. Nikita also reported additional earned-media distribution, reposts, and audience reactions around the campaign. People filmed the installations and reacted to what they were seeing, extending the campaign beyond the original post.
by Higgsfield
