COMMERCIAL
I’ve always treated commercial work like quick laboratories — small canvases where instinct and curiosity can lead the way. In between writing and film projects, these spots let me stretch different muscles: trying out new visual styles, shaping comedic rhythm, or simply staying sharp with some trusted collaborators. I don’t think of them as side work so much as tiny short films — fast-moving, collaborative, and a chance to experiment with the tools that keep me growing.
Across the years I’ve directed more than 100 spots for brands like Netflix, McDonald’s, Metro by T-Mobile, the Texas Rangers, Sinclair Oil, PlayStation, SEGA, League of Legends, Riot, BP, and others. Each one had its own little universe, its own tone puzzle to solve, and its own crew of talented people who made the work a blast.
Here are a few pieces that stuck with me. To see more of my commercial work go to my Vimeo or you can e-mail me directly at ben@antrimstories.com.
DIRECTOR’S NOTES:
The spot drew big-time inspiration from Edgar Wright’s Scott Pilgrim, blending that kinetic, playful vibe with some very deliberate technical choices. We kept screen direction super tight—Trudy always facing right, her granddaughter always left—to make sure the audience was never thrown off across the fast cuts and split screens. We didn’t have the luxury of a motion control rig, so we pulled a little DIY magic with a metronome to lock in the camera move speed and perfectly stitch the final splitscreen together. The agency really indulged my inner Edgar Wright fanboy, which was just a blast. It was all about smart, creative solutions while leaving room for Trudy’s energetic performance.
CREDITS
Client & Medium: Tachus Fiber Internet, Broadcast
Director: Ben Davis
Production Company: Nice Content
Executive Creative Director: Isaac Murray
Executive Producer: Kent Bishop
Cinematographer: Jake Wilganowski
Production Design: Chad Yaro
Post, VFX & Editorial: Nice Content
Colorist: Cem Ozkilicci
DIRECTOR’S NOTES:
Directing the Fuller House spot on the Warner Bros. soundstage was a surreal experience, especially with a crew of just six running the full set. Collaborating with my childhood friend and Fuller House star Adam Hagenbuch (Jimmy Gibbler), we crafted a concept that merged nostalgia with a Stranger Things twist. Brian Campbell and Secret Powers handled the VFX, turning the iconic Tanner house upside down for that eerie, otherworldly feel. With no big team, we relied on tight coordination and smart visual effects to pull off the transformation. Netflix used the spot for viral marketing across both shows, and it racked up 250,000 views in its first 24 hours on Facebook. The mix of creativity, scale, and precision made it one of my favorite projects to date!
CREDITS
Client & Medium: Netflix, social media
Director: Ben Davis
Concept by: Adam Hagenbuch & Ben Davis
Cinematographer: Adam Coleman
VFX Supervisor: Brian Campbell
VFX: Secret Powers
Editorial: Ben Davis
Colorist: Andrew Finch
DIRECTOR’S NOTES:
This Sinclair spot was cinematic bliss. We had the thrill of shooting with a real NASCAR, and for the UFO portion, I channeled my love of Amblin movies. Inspired by Jaws, I crafted a billboard and we created our UFO’s out of VFX plates with re-arranged colored lights, just like they did for Close Encounters. We worked extensively with Secret Powers on a practical tractor beam gag and the matte painting for the opening that felt authentically retro. Shooting on anamorphics and scoring it with Vincient Oppido’s John Williams-inspired soundtrack brought that nostalgic, cinematic vibe to life. It’s one of my favorite spots and a heartfelt tribute to my favorite filmmaker, Steven Spielberg.
CREDITS
Client & Medium: Sinclair Oil, Broadcast
Agency: Balcom Agency
Director: Ben Davis
Executive Producer: Taylor Potts
Producer: Chris Rodriguez
Cinematographer: Aaron Youngblood
Original Music: Vincent Oppido
VFX: Secret Powers
Colorist: Aaron Youngblood
DIRECTOR’S NOTES:
This spot was pure joy to make — a fast-moving collaboration with PROZD (SungWon Cho), Cory Phillips, Sega of America, Secret Powers and RGG Studio that let us treat the whole thing like a quick laboratory for Yakuza-inspired chaos and charm. We built tiny slices of Kamurocho inside a Dallas living room, using playful production design and practical gags to mirror in-game moments fans would recognize instantly. SungWon and Cory brought an encyclopedic love of the franchise, and half the fun was watching them riff between takes as we layered in the humor and sincerity that make Yakuza so singular. With Secret Powers and Panther City Films backing every beat, it became one of those rare commercial days where everybody’s inner fan showed up, and the whole set felt like we were making a tiny, joyful love letter to the series.
CREDITS
Client & Medium: SEGA, Social Media
Director: Ben Davis
Production Company: Secret Powers
Creative Director: Jay Allen
Producer: Chris Rodriguez
Cinematographer: Aaron Youngblood
Post, VFX & Editorial: Secret Powers
DIRECTOR’S NOTES:
Working with my frequent collaborator, sketch performer/filmmaker Gregory Bordelon, and TikTok star Theresa Rowley was a blast. Knowing Gregory well, I cast him in the role, and we relied on our familiarity to let the energy flow naturally. We gave both performers space to riff and improvise, which brought a lot of spontaneous energy to the spot. One of the standout moments was Gregory’s yawns—we did 52 takes, to grab a wild assortment for the edit. Yes, 52. We had the time, but Gregory was genuinely tired as we finished.
The chemistry between Gregory and Theresa brought a unique dynamic to the project, and their ability to go off-script added a natural, comedic layer that really came through in the final cut. It was all about having fun and letting the talent shine.
CREDITS
Client & Medium: McDonalds, Broadcast
Director: Ben Davis
Production Company: Southern Sky Films
Creative Director: Steve Grimes
Producer: Kent Bishop, Zach Bush, Ray Courtin
Cinematographer: Aaron Youngblood
Production Design: Greg Butel
Post: Southern Sky Films
DIRECTOR’S NOTES:
Directing the live-action trailer for Dragon’s Crown 4 was one of my earliest collaborations with Secret Powers, who brought me on to direct after we hit it off on a Sinclair Oil campaign. Bringing the vibrant, intricate costumes of the game to life was a real treat, thanks to the brilliant work of our wardrobe designer, Janet Schwarz—she made sure every detail popped. Then came the fun part: running around Longhorn Caverns with a wizard and an elf, capturing the kind of snippets that make you feel like you’re in the game itself. It was the perfect fusion of VFX, cinematic techniques, and an epic practical location, all combining to bring the game’s fantasy world to life in a way that felt as playful as it was immersive.
CREDITS
Client & Medium: Sega / ATLUS, Social Media
Director: Ben Davis
Production Company: Secret Powers
Creative Director: Jay Allen, Brian Campbell
Producer: Taylor Barber, Jessica Espinosa
Cinematographer: Jake Wilganowski
Production Design: Michelle Bond
Post, VFX & Editorial: Secret Powers