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Nestle’s Tango Campaign by Levector brings Cinema Studio into Hybrid Production

2026-09-25 · other · Higgsfield · original

Topic: Productions (case studies) (also: Studio work & business, Cost, credits & plans, Pre-production & story, Post-production & finishing) · mode: Case study · tags: vendor claims

This Higgsfield case study follows the Ecuadorian studio Levector on Tango's "Liberá tu cocodrilo" campaign, which joined a live shoot in Quito with AI character and environment work. The directors shaped the dancers' performances first and AI then turned them into crocodiles, an approach tested with a phone-recorded dancer before filming and finished with compositing, VFX, motion graphics and color. The job used about 18,000–20,000 credits, and Levector estimates it saved three weeks or more of character development against a 3D route costing over USD 6,000–7,000 for one lead character.

What is said

  • Levector: about the studio

What is said

★ — how much it matters to the source.

  • ★★★ For Tango's "Liberá tu cocodrilo" campaign, the Ecuadorian production company Levector combined a live shoot in Quito with AI character and environment work. · Higgsfield AI
  • ★ Levector has more than 17 years of experience in production and post-production; when competing for a project it develops a treatment with the director, investing in the creative proposal before the job is awarded.
  • ★★ Levector's proposal for "Liberá tu cocodrilo" ("Set Your Crocodile Free") needed to show a human becoming a dancing crocodile, with supporting characters and a city that changes around the performers, which film references and static illustrations could only partly explain.
  • ★★ Higgsfield says that traditionally an illustrator might take two or three days to deliver a first character concept, changes extend that, and even an approved illustration does not show how the character would move in a live-action scene.
  • ★★★ Levector built the Tango campaign around directed human performances: dancers provided the movement and energy, and AI transformed the characters and their surroundings. · motion transfer
  • ★ The Tango film opens in a black-and-white city; orange appears in the Tango packaging and a crocodile display before the lead takes a bite, and the transformation spreads into a group dance in a city covered in orange graphics and glowing outlines.
  • ★★★ During the treatment stage Levector used Higgsfield to explore crocodile designs, character views, environments and movement, generating and comparing variations within hours and bringing a more developed visual proposal to client discussions. · Higgsfield AI
  • ★★★ Before filming, Levector tested the approach with a dancer recorded on a phone: a side-by-side of the performer and a crocodile version following the same movements let the team judge the transformation while it could still adjust.
  • ★★ For the live production Levector cast the performers, scouted locations, developed art direction and wardrobe, planned camera work and rehearsed the movement; the commercial was shot on the streets of Quito.
  • ★★★ After filming, Levector transformed selected performances into crocodile characters and integrated the results with compositing, VFX, motion graphics and color. · motion graphics, Color grading

  • ★★★ Levector says the goal was never to ask AI to decide how the character should perform: the directing team first defined and directed the performance, then AI transformed it.

    “The goal was never to ask AI to decide how the character should perform.”

  • ★ The Tango breakdown shows three stages: the live-action frame of the actor against the original wall, the crocodile character in that setting, and the composited version with the campaign's orange environment.

  • ★★ Levector's environment work also started from the filmed location: in the sidewalk sequence the street stays recognisable as orange patterns and lit lines spread across pavement, trees and storefronts.
  • ★★★ Levector used Higgsfield in creative treatment, pre-production and post-production for character concepts, visual variations, environments, movement tests and video generation, naming GPT Image 2 and Seedance among the models used. · GPT Image 2, Seedance
  • ★★★ The Tango project used approximately 18,000–20,000 Higgsfield credits across image generation, tests, iterations and video generation. · credit
  • ★★★ Levector estimates Higgsfield saved about three weeks or more in certain character-development stages against a traditional 3D pipeline, and some concept and development work took roughly half the time; the shoot, edit, compositing, directing and color stayed. · Higgsfield AI
  • ★★★ Levector estimates that a traditional 3D route (concept art, modeling, texturing, rigging, animation, lighting, rendering) for one lead character with its motion across about ten shots could have cost more than USD 6,000–7,000, before revisions, rendering, compositing or other characters.
  • ★★ At Levector, compositors could help develop characters, editors could explore environments and motion designers could carry visual proposals into compositing, so more work ran in parallel with artists involved earlier. · motion graphics
  • ★★ Levector says AI changed its artists' role, not only its speed: people who used to wait for their stage now take part from the start, conceptualising characters and worlds, giving a more flexible pipeline.
  • ★ Levector, based in Ecuador, works across production, directing, editing, VFX, motion graphics, compositing and color; David Pimentel Velasco, Partner and Postproduction Director, and Evelio Cuenca, Co-Director of Postproduction, develop its workflows combining traditional production and AI. · motion graphics

Threads in this video

Mentioned

Central: Levector · Liberá tu cocodrilo

Also: Color grading · credit · David Pimentel Velasco · Evelio Cuenca · motion graphics · motion transfer · Quito

Only in the description or credits: Cinema Studio · GPT Image 2 · Nestle · Seedance · Tango

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