Crafted with Japanese soul – Cologne-based transport and lifestyle powerhouse duo Ben and Martin, or BAM for short, photographed and directed the global launch campaign for the new all-electric Mazda CX-6e. This extensive project was created in collaboration with the advertising agency Scholz & Friends.

The production – both photo and video – took place in sunny Spain under strict secrecy. The focus was on Mazda's striking new all-electric coupe-SUV in its distinctive Nightfall Violet paint finish. Peak Productions was the lead producer, with local support from the production company Falca.

In close cooperation with creatives André Huber (CD), Sven Klasen, and Tilo Richter, all from Scholz & Friends, BAM developed a visual world that exudes warmth, elegance, and a high-quality, cinematic flair, while remaining true to Mazda's emotional design philosophy.

The new Mazda CX-6e marks a new, innovative chapter for the Japanese brand. Inspired by Mazda's "Kodo – Soul of Motion" design language, the all-electric crossover combines sculpted surfaces with an elegant coupé silhouette, the proportions of rear-wheel drive, and a deliberately emotional approach to electric vehicle design.

With a WLTP range of up to 484 km, fast-charging capability, and a minimalist interior dominated by a 26-inch panoramic display, the CX-6e unites advanced technology with an intuitive and human driving experience.

Mazda describes the design approach as "Future + Soul x Modern," blending progressive electric mobility with the brand's signature sense of emotion and dynamism.

The campaign includes outdoor advertising, social media content, and cinematic video content, last one created by Tristan Siefert and Felix Ladewig. This publication here on gosee.news offers you a first glimpse of the much larger, imminent rollout.

The production was handled by art buyer Kerstin Mende and creative producer Julia Brand, with styling by Natalie Schneider.

The second part of the campaign will also be available soon on gosee.news – stay tuned !

 
22.05.2026 show complete article

With a striking new visual language, MINI enters the next phase of its brand communication. The campaign was created by photographer duo BEN & MARTIN, who, together with Jung von Matt Switzerland, developed a series of bold and playful campaign visuals.

At the center are several models from the current MINI family: the MINI Cooper, MINI Countryman, the all-electric MINI Aceman and the MINI Cabriolet. The campaign deliberately plays with the brand’s iconic imagery and a bold billboard aesthetic designed to capture attention instantly.

“For us, the whole campaign was about honoring MINI’s heritage as a true design icon while bringing car advertising back to a fresh and confident billboard attitude. Brave, charming and unmistakably MINI. Together with the creatives Sven Klasen and CCO Christian Kies from Jung von Matt Switzerland and the team around Raphael Jasinski and Hanno Holzer from MINI, we traveled to the beautiful landscapes of Argentina. Across more than 90 motifs including out-of-home hero visuals, social assets and lifestyle moments, the campaign became a true hybrid of real photography, CGI and AI, all orchestrated in close collaboration with the digital wizards at recom.” BEN & MARTIN

The entire MINI model family was realized as an AI/CGI production in 8K. First visuals are already appearing in large-scale outdoor placements – including a more than ten-meter-wide installation at Munich Airport.

“We also want to take the opportunity to say a massive thank you for your trust, your support and the incredible collaboration on this project. A big shout-out to recom and the whole crew, Andreas Hofmann at Peak Productions, Rene Steinvorth at Willson Project and the absolute local legend Guillermo Iriarte at Brite Productions, and to each and every one involved.”

BAM 😎😎🫶 Stay tuned.

 
16.03.2026 show complete article

Together with the photography duo BAM and Jung von Matt Switzerland, recom had the opportunity to create the launch visual for the major MINI campaign conceived by JvM Switzerland, using AI and 100% product-accurate CGI vehicles.

A short breakdown of the perspective explorations using a rough CGI dummy scene and a simplified summary of the production process are shown alongside the final visual. The visual was produced in high resolution (8K) and was therefore suitable for use as an advertisement in the Süddeutsche Zeitung (SZ) as well as a blow-up over 10 meters wide opposite BMW Welt in Munich.

For years, recom has been among the leading international specialists in high-end CGI, creative retouching, and content post-production for still and film. With studios in Stuttgart, Berlin, Paris, London, New York, Munich, Hamburg, and Sofia, recom often works simultaneously across different time zones at the highest level - combining the capacity of a global network with the attitude, creativity, and precision of a boutique studio.

In an era where AI is profoundly impacting visual production, recom occupies an exciting intersection: between classic CGI craftsmanship, real-world production, virtual worlds, and new, AI-powered workflows. Instead of viewing AI merely as an accelerator, recom understands it as an integral part of creative processes – with clear quality standards, technical depth, controllability, and responsibility towards clients, agencies, and brands – including ethical considerations.

As part of our AI Special, recom presents current AI projects (which, thankfully, are already being shown) and offers insights here on gosee.news into how post-production, CGI, and film are changing in the age of AI – internationally, practically, and from a first-hand perspective. Our questions were answered by Thorsten Jasper Weese, Managing Partner of recom.

recom is at the forefront of CGI and post-production internationally. In your opinion, where do we currently stand regarding the use of AI in high-end still and film productions – beyond hype and experimentation?
In my opinion, the huge hype is indeed waning a bit at the moment, but that doesn't mean AI is indispensable in any way, not even remotely, to our business or our lives. No, no... what I mean is that the experimentation and the "anyone can generate and blast out endless crazy content" is now being replaced by "professionalization and integration into real workflows and real user cases."

Is AI already firmly integrated into your daily workflows - or is it used selectively depending on the project? Which areas are currently benefiting the most?
AI is currently, and has been for some time, used daily in almost all projects (sometimes more, sometimes less), but very selectively. We generally work with a completely hybrid process – a mix of real-world, CGI, and AI – and use the tool where it makes the most sense and, most importantly, where it leads to the best result.

CGI and post-production are based on precision, experience, and control. Where does AI meaningfully complement your traditional craft – and where does it (still) reach its limits?
AI is used in a wide variety of situations, whether to replace retouching, to start retouching, or even to replace entire image elements. Currently, the only limit is one's own skill. Speaking of limits... the very high image and video resolutions that we almost always require are still tricky and difficult to achieve in some cases. In other words, a high-quality, detailed, and accurate 15k still image doesn't yet come "automatically" from any AI machine.

We currently see a very clear limit in the 100% product accuracy that is so important to us and our automotive clients. That's why we also rely on a hybrid process here and still replace the vehicles with full AI backgrounds using CGI.

You work with agencies and brands worldwide. Do you perceive differences in the use of AI between markets – for example, between Europe, the USA, or Asia?
The Asian market is certainly the least regulated in this regard, whereas across the EU, the EU AI Act and the imminent labeling and documentation requirements are somewhat more restrictive, or at least appear to be.

The lines between real footage, classic CGI, and AI-generated content are becoming increasingly blurred. How do you handle this question internally and with clients: What is real, what is built, what is prompted?
Quite simply, as already mentioned, if, for example, 100% product accuracy is required, then we currently either generate vehicles via CGI or photograph them in real life.

A sensitive topic: Will AI-generated content need to be clearly labeled in the future? What's your stance on this – technically, ethically, and from a brand perspective?
This is already a huge gray area, because when and at what percentage does AI content need to be labeled? Is removing a traffic sign from a photo using generative fill or similar techniques already considered AI? Strictly speaking, yes, but the ultimate question is when labeling is sensible, appropriate, and not just confusing.

AI can produce content quickly, but not automatically better. What new quality criteria have you developed to bring AI output up to recom standards?
AI-generated content is also prone to "many hidden errors." For example, the famous six fingers on one hand are quite obvious, but often the "errors" lie in the details, and in the worst-case scenario, these errors are only discovered on a 10-meter-wide trade show blowup. This can and must be checked and corrected beforehand by trained eyes.

Are you encountering increasingly unrealistic expectations of AI ("faster, cheaper, anything is possible")? How do you manage these expectations in your consulting and creative dialogue?
Yes, these expectations are unfortunately becoming more frequent, and with the pervasive price pressure in our industry, you need very good arguments to keep the value of our work at a fair level.

 
11.02.2026 show complete article