The House Lights

The house lights.

AEG Global Partnerships. Ten thousand nights a year. Every one of them gets the film.

MOVE ACROSS THE RIBBON · THE HOUSE LIGHTS FOLLOW THE CURSOR

Eight things you asked to see.

Your list for the demo, in order. Each one has its proof on this page, and every proof is finished work: five films with sound, the company film and the wave demo, six of your houses as stills, two fly-throughs, and every note this page has taken since August. Press a row to go there.

02

Two films about the system.

RITUAL ENGINE is the company film: what RitualAds is and the range of what it makes, in eighty seconds. THE WAVE DEMO is a brief becoming a page: the request for the five films below, typed on the desk in August, the boards landing, the films landing, this page, a note and its change, recorded as it happened.

RITUAL ENGINE · THE COMPANY FILM · 1:20

THE WAVE DEMO · A BRIEF BECOMES THIS PAGE · 1:29

TWO FILMS · BOTH WITH SOUND · PRESS PLAY

03

Sold by morning.
Gone by midnight.

More than ten thousand events a year, across more than a hundred and thirty-five houses, for more than a thousand partners. Every one of them is a moment somebody paid for, and every one of them is over by the time the film that should carry it gets briefed. The night is the product. The film arrives after the night.

This page is one system that knows every AEG venue, every mark, and every note it has ever been given, making the film before the night, during it, and after it, at event speed.

YOUR OWN NUMBERS · AEGWORLDWIDE.COM, GLOBAL PARTNERSHIPS · AEGGP.COM

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10,000+events activated and sold a year

135+houses across sports, music, facilities, media

1,000+brand partners

Three numbers from your own page, and one that is not on it: the number of those nights that got a film of their own. Set it below.

05

The night board.

Every dot is a night. The lit ones got a film. Set the dials to your own numbers and watch the board fill.

NIGHTS A YEAR 10,000

NIGHTS THAT GET A FILM TODAY 40

AT 10,000 NIGHTS · 40 FILMED · 9,960 NIGHTS WITH NO FILM · ONE SYSTEM MAKES THE BOARD READ 10,000

THE SECOND DIAL IS YOURS TO SET · NOTHING ON THIS BOARD IS A CLAIM ABOUT AEG, ONLY ABOUT THE GAP

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Say the change.

Any word, any frame, any film on this page: point at it, say the change in plain words, and the house repaints it. The link never changes. Every note is kept. Every version stays on the record.

MOVE ACROSS THE BOWL · LEFT IS THE WORK LIGHT, RIGHT IS THE FULL HOUSE

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The house remembers.

The arena · two in the morning. Ray has mopped up the last of twenty years of nights, and tonight the building will not let the night end. The ribbons light by themselves, every seat glows, and every night the house has ever held comes back at once. He sits down in the front row and the house plays him one more encore.

PRESS PLAY. THE HOUSE PLAYS FIRST.

THE HOUSE REMEMBERS · THE ARENA · :30 · EVERY NIGHT STAYS

The empty arena at two in the morning — **THE FLOOR** · one machine, work lights

The custodian's cart — **THE CART** · keys, thermos, the bucket

The arena awake, every seat lit — **THE HOUSE AWAKE** · ten thousand seats lit

The ribbon board writing AEG — **THE RIBBON** · the house says its name

Why it works. The largest live company on earth sells the most perishable thing there is. This film gives the house a memory, and the mark is the last light left on.

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The aria.

LA Kings · a stoppage in the second period. Dario has sold hot dogs on the aisle steps for eleven seasons and never been heard. The bowl falls silent for an injury, and into that silence he sings. Row by row the house turns, stands, and joins his last note. A kid two rows down says the only review that matters.

PRESS PLAY. THE SOUND IS THE FILM.

THE ARIA · LA KINGS · :30 · LONG LIVE THE NIGHT

The full bowl at game lighting, the crest in the ice — **THE BOWL** · eighteen thousand, one breath

The vendor's tray on the aisle steps — **THE TRAY** · section 114

The Kings crest on the scoreboard cube — **THE CROWN** · the cube, silver on black

Why it works. A full house is the one thing a screen cannot fake. The film puts the whole bowl inside one voice, and the crest is where the light lands when it is over.

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Sand.

Coachella · Friday to Sunday. The whole weekend drawn and erased in sand on a lightbox by two hands. Nell arrives alone with one wristband. By Saturday night a crowd has been drawn around her. On Sunday the hand sweeps everything away except a line of figures holding hands, and writes the name in the sand.

PRESS PLAY. THE HANDS DO THE CUTTING.

SAND · COACHELLA · :30 · WHAT VANISHES IS WHAT STAYS

The festival field drawn in sand — **FRIDAY** · the field, drawn

The sand crowd at night — **SATURDAY NIGHT** · the crowd, cleared out of the dark

Coachella written in sand — **SUNDAY** · the name, before the wind

Why it works. The festival is made of a desert and three days. A film made of sand is the festival's own material telling its own truth: it goes, and it stays with you.

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The planetarium.

LA Galaxy · a night match. Ines is eight, on her father's shoulders, and a planetarium voice explains the stadium as a solar system: the pitch a lit disc, the crowd a galaxy, the ball a comet. The comet crosses the disc into the net and the galaxy stands up at once. She learns the one thing the voice never says.

PRESS PLAY. THE VOICE BEGINS.

THE PLANETARIUM · LA GALAXY · :30 · THIS IS OUR GALAXY

The stadium at night as a sky — **THE SKY** · the stadium from the upper corner

The ball on the grass with a comet tail — **THE COMET** · the ball, waiting

The Galaxy crest made of the crowd's lights — **THE CREST** · written in the crowd's light

Why it works. The team's name is the film's whole grammar. Awe explained is awe doubled, and the crest arrives as the thing the crowd was all along.

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The count.

Five houses · one night. A man in a grey suit and a hi-vis vest has been sent to count the moments. The O2 at dusk, the arena at the horn, the field at the drop, the stands at the goal. He refuses every beer and every chorus, clicking. At 9,999 a kid's goal makes it ten thousand, the counter jams, and he looks up, and for the first time we see his face.

PRESS PLAY. COUNT WITH HIM.

THE COUNT · AEG GLOBAL PARTNERSHIPS · :30 · TEN THOUSAND NIGHTS. ON THE RECORD.

The dome at dusk with the auditor — **THE DOME** · moment 4,112, verified

The auditor at the rail during a goal celebration — **THE HORN** · the one man not cheering

The auditor in the festival crowd at the drop — **THE DROP** · the desert exhales

The counter reading ten thousand with the AEG mark engraved — **THE RECORD** · 10,000, engraved

Why it works. Proving the value of a moment is the hardest job in the building. This film makes the measurer the hero, and the mark lives on the instrument.

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Good enough for a partner. Here is why.

Nothing above is a mock-up. Every film is finished, with sound, at 1280 by 720, and every one passed the same six checks before it was allowed on this link. The same checks run on every still, every ribbon and every fly-through on this page.

Real houses

Every arena, field, plaza and dome is built from a real photograph of the real building. The geometry is the venue's own, never a generic stadium.

Real marks

AEG, the Kings, the Galaxy and Coachella enter from the official artwork, letter-perfect, and live only where a mark would live: the ribbon, the ice, the cube, the screen, the sky.

Every frame looked at

Each film is stepped through frame by frame before anyone else sees it. A frame that fails is remade at the source, never patched.

Every contact checked

Hands, trays, buckets, counters: every moment a body touches an object is checked at four frames a second. The two films that failed this in August were remade.

Every line heard

Every spoken line is transcribed back from the finished film and checked against the script, word for word.

The crowd is light

Crowds are texture and light, never a sea of invented faces. One protagonist per film, and the faces you see are the ones the story needs.

SIX CHECKS · EVERY FILM · BEFORE THE LINK

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Made for the house. Never generic.

Every film above belongs to one property: the arena, the Kings, Coachella, the Galaxy, the partnerships business itself. The same holds for a still, a ribbon, a marquee or a plaza screen. Six of your houses, each made from its own photograph. Press one to see it large.

The arena bowl awake at two in the morning — **CRYPTO.COM ARENA** · the bowl awake

The Kings crest in the ice at game light — **LA KINGS** · the crest in the ice

The L.A. LIVE plaza before doors with the AEG mark on the screen — **L.A. LIVE** · the plaza before doors

The Galaxy's stadium at night — **DIGNITY HEALTH SPORTS PARK** · the stadium at night

The O2 at dusk — **THE O2** · the dome at dusk

A partner's name goes where the light is. Type a partner, a night or a line below and the ribbon writes it, the way the arena's ribbon wrote AEG in THE HOUSE REMEMBERS. In the finished work the mark rides the ribbon, the ice, the cube, the marquee or the plaza screen the same way, from the partner's own artwork.

THE RIBBON READS

THE RIBBON · THE ICE · THE CUBE · THE MARQUEE · THE PLAZA SCREEN · EVERY SURFACE IN THE HOUSE TAKES THE MARK

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The house, flown through.

You have looked at digital twins and drone work. This is the end product of both, from one photograph of the house to a flight through it. THE BOWL lifts off the concourse rail and lands on the arena floor. THE PLAZA crosses L.A. LIVE to the doors. Each took about three minutes to make, and the mark rides where a partner's would.

THE BOWL · CRYPTO.COM ARENA · :10 · FROM THE RAIL TO THE FLOOR

THE PLAZA · L.A. LIVE · :10 · ACROSS THE SQUARE TO THE DOORS

TWO FLIGHTS · TEN SECONDS EACH · FROM ONE STILL OF EACH HOUSE · PRESS PLAY

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Your team's idea. Your team's call.

The system does not write your strategy and it does not replace your creative director. Your team writes the brief; the system boards it, makes it, takes the note and keeps every version, on one link that never changes. Here is how a day with it runs, and what happened when this page took its first notes.

1The brief

A paragraph and the reference links, filed in a minute.

2The slate

The ideas and their boards, on the wall in minutes, for your team to pick from.

3The films

Finished :30s with sound, made from the boards your team approved.

4The review

This page, sent as one link, to the room or to the partner.

5The note

Point at any word, frame or film and say the change in plain words.

6The change

A new version on the same link. The old one is kept.

7The screens

The :15, the :06, the vertical, the stills, the ribbon, the marquee, the cube.

The note, August 25Watch the second shot of the first and second films. There are moments that defy physics.

What changed. Both films were remade at the source: the camera stands still, one solid bucket moves only when Ray moves it, and the vendor's tray rests on the step from the first frame. The versions above are the remade ones.

The earlier take, the bucket doubled and reshaped under the camera move — **BEFORE** · the bucket doubled under the move

The remade take, one bucket, the camera still — **AFTER** · one bucket, the camera still

The note, August 25Include a Black character, and not in a typical role.

What changed. The Auditor, the hero of THE COUNT and the man who verifies ten thousand nights, was recast in the boards first and then in the film. The film reveals his face once, at the ten thousandth moment.

The counter at 9,999 in the earlier board — **BEFORE** · the counter at 9,999

The counter at 9,999 in the recast board — **AFTER** · the same moment, recast

The note, August 25A slider at the bottom that quantifies value and output, what we propose, and the monthly fee.

What changed. SET THE LINE, below: one slider for the nights a month that get the film, the cost of the slow way, the fee, and now how the fee passes to partners.

THREE NOTES · THREE CHANGES · EVERY VERSION KEPT · THE LINK NEVER CHANGED

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Brief to first draft in minutes.

This page is its own receipt. The brief for the five films was filed one afternoon in August at 4:26. Eighteen boards were on the wall by 4:39. Five films were rendering at 4:44. At 5:10 the page was live on this link with four of them, and the fifth landed minutes later. Today's additions kept the same clock.

4:26

The brief filed

4:30

The plan

4:39

Eighteen boards

4:44

Five films rendering

5:03

The films watched

5:10

The page live

36 seconds

The L.A. LIVE plaza still, from the plaza's photograph

About 3 minutes

Each ten-second fly-through, from one still

One afternoon

Five films, eighteen boards and this page

ONE AFTERNOON · FIVE FILMS · EIGHTEEN BOARDS · THIS PAGE

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Five ways it goes into a pitch.

A sponsorship pitch is built from moments the partner has not bought yet. Each of these puts the moment in the room before it exists, in the partner's own house with the partner's own mark.

The mock

The partner's moment in the house before it is sold: their mark on the ribbon, the ice, the marquee or the plaza screen, as a still or a ten-second film, from the venue's own photograph.

The flight

The venue fly-through for the deck and the room, from one photograph, in minutes, with the partner's integration in place.

The story film

A finished :30 the partner could run, like the five above, so the pitch shows the campaign instead of describing it.

The screens

Every size the house needs from one film: the :15, the :06, the vertical, the stills, the ribbon loop, the cube, the marquee.

The recap

After the night, the film for the renewal meeting: what the partner's moment looked like across the house, on the record.

ONE BRIEF IN · THE DECK, THE ROOM AND THE RENEWAL OUT

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Built by RitualAds.

RitualAds is the studio behind campaigns and pitch films for Reebok, Pizza Hut Australia and a Super Bowl hype trailer, among others. The shape of the work never changes: a brief goes in, boards and finished film come out, and the result goes on the record. Three from that record, each film playing here, each card opening its full case study.

Sports · a signature-shoe launch

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 result · 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 →

A pitch · won in the room

Pizza Hut

In · Agency jnr. and production company Clockwork had to win one of Australia’s boldest campaign pitches: how do you win a pitch for setting people on fire, before a single frame is shot?

Out · The pitch script previsualized from script to screen before production began, selling the tone rather than the description.

The result · The pitch won in the room: the Creative Engine gave jnr. and Clockwork the confidence to pitch at full strength and the client the confidence to say yes. “You know you are on to something special when you can tell the creatives are having fun along the way & the board room’s reactions are quiet (& loud!) sniggers & snorts... pure joy!” jnr. / Clockwork

Open the case study →

Live sports · a hype trailer

Super Bowl

In · A first-of-its-kind Super Bowl hype trailer, co-directed by Ritual Ads director Steve Davis and Sam Joos.

Out · AI visuals blended with live-action elements in a cinematic hybrid, set to 2WEI’s ‘History in the Making’.

The result · Produced in under two weeks.

Open the case study →

BRIEF IN · CAMPAIGN OUT · THREE CAMPAIGNS ON THE RECORD · EACH FILM PLAYS HERE · EACH CARD OPENS ITS FULL CASE STUDY

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Set the line.

Slide to the number of nights a month that get the film: what comes out, what it costs the slow way, what we propose, the fee, and how the fee passes to partners. The line prices itself.

NIGHTS A MONTH THAT GET THE FILM 20

PARTNERS SHARING THE LINE 6

OUT20 NIGHTS A MONTH · 20 FINISHED :30S · 160 PIECES ACROSS THE HOUSE · 240 NIGHTS A YEAR

THE SLOW WAY20 FILMS AT $25K = $500K A MONTH · $6M A YEAR

WE PROPOSEA SEASON · A STANDING LINE ON THE HOUSES YOU CHOOSE, EVERY PARTNER MOMENT MADE AHEAD OF THE CALENDAR, ON ONE LINK

THE FEE$45K A MONTH, ALL IN, FROM $35K · $2,250 A NIGHT · $455K A MONTH KEPT AGAINST THE SLOW WAY

PASSED ON$45K A MONTH ACROSS 6 PARTNERS = $7,500 A PARTNER A MONTH · OR $2,250 A NIGHT, BILLED TO THE NIGHT’S PARTNER AS A LINE ITEM

EIGHT PIECES A NIGHT: THE :30, THE :15, THE :06, THE VERTICAL, THE STILLS, THE RIBBON, THE MARQUEE, THE CUBE · THE SLOW WAY IS PRICED AT A FLOOR, $25K PER FINISHED FILM WITH ITS CUTDOWNS, BELOW A ONE-DAY SHOOT AND ITS POST IN LOS ANGELES · PASS IT ON TWO WAYS: SPLIT THE MONTH ACROSS THE PARTNERS, OR BILL EACH NIGHT TO ITS PARTNER

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Three ways in.

A night

$95K

A SPRINT · FROM $45K · NINETY DAYS

One house, one partner, the nights on your calendar, and ninety days of the line running up to them: the film, its cutdowns, every screen in the house, live before the doors open. Any review that misses your bar, stop paying.

A season

$45K

A MONTH, ALL IN · FROM $35K · STOP ANY MONTH

A standing line on the houses you choose: every home night, every partner moment, every market, twenty or more finished originals a month, made ahead of the calendar and kept on one link. Unlimited takes, every frontier model, no meters. Your calendar, your reviews, your team’s call on every frame.

The portfolio

Scoped

WITH YOUR TEAM · EVERY HOUSE

Every house in one system. The marks, the venues and the notes of a hundred and thirty-five properties, so any partner’s film starts from the whole record. One review, one archive that learns from every night.

ALL IN MEANS ALL IN · THE TAKES, THE MODELS, THE REVIEWS AND THE LINK · NO METERS · STOP ANY MONTH · BILLED TO AEG, OR ITEMIZED PER PARTNER

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Every night gets the film.

RitualAds is a creative studio for brand film: from a single line of brief we build the whole campaign world, concepts, boards and finished moving pictures, made end to end under one roof. A full engagement delivers the finished :30 and :15 suite for every night, the stills, the cutdowns for every screen in the house, and one working link that never changes.

Bring one brief to the demo: the house, the partner, the night. The first draft lands while we talk.

The demo takes thirty minutes.

RITUALADS

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