Watch film↗Starbucks
Refreshers
The manifesto and two beverage films from the Starbucks Refreshers project, presented through close-ups, colour and texture.
Selected work.
Commercial films. Real campaigns. A few different ways to make you look.
Beyond the frame.
Films, recurring series and digital experiences. Creative direction that carries across formats.
Web / scroll-world
danielferreira.adv.br
A site built as a single scroll-scrubbed flight, generative video driven by the reader's own scroll rather than a play button.
Visit site
Platform
openyourais.com
Built and operated end to end, from the publishing pipeline to the editorial. Over 100 signed articles in English.
Visit site
Archive, before AI
Fourteen years of commercial work
Seven campaigns for Starbucks Brazil, Yamaha Red Dragon Fly, Disney's Making of Marvel, Benefit Cosmetics. Shot, directed and cut the traditional way. This is where the finish comes from.
View on Behance
Original series, in production
A Saga de Toninho Sagatiba
A hybrid, not a generated film. For years I sent friends voice notes in character. I took those recordings, my own voice and my own stories, and built a pilot around them with generative image and video. The performances are real. The world is made. Press kit ready, release pending.
Available on request
Always in motionBack to the films ↗
Directed and produced for
DisneyStarbucksNestlé
YamahaCarrefourBenefit CosmeticsOutback
CNAForno de MinasOggi Sorvetes × Stranger ThingsItaú BBA
A little recognition.
Independent coverage and credited work.
- Galo Dourado AwardsWinner, Collab of the Year, Oggi Sorvetes x Netflix/Stranger Things, 24% of the vote2025
- Meio & MensagemCampaign coverage crediting Pichorra Filmes as producer28 Nov 2025
- Aqui Tem DiversãoCredited writer, Ronald Rios Talk Show, Paramount Network3 Jul 2024
- Marcas Pelo MundoCredited by name as Director, LUZ Energia campaign8 Nov 2022
- Juicy SantosNamed among "7 Audiovisual Talents to Watch"12 Sep 2016
- Mobile Film FestivalFinalist, Paris COP21, jury presided by Fernando Meirelles2015
Archive
Commercial work directed before the generative pipeline, on set and in the edit room.
The point of view
The tools changed.
The eye didn’t.
Fourteen years directing films for brands. Today, I bring the same instinct to AI — shaping the image, the performance and the final cut.
Meet the director ↗Behind the images.
I started directing commercials in 2012, when I co-founded Pichorra Filmes in São Paulo. Fourteen years of sets, edit rooms and clients who needed the thing to work on air, not in a demo.
Then the tools changed, and most of my field split into two camps: the ones who refused them, and the ones who let the model decide. Neither one is direction.
What I do now is put the crew structure back into the machine. The model generates options at a speed no team could match. Knowing which option is the right one is still the job, and it is the same job it always was.
I write about it every week at openyourais.com, and I use it on paying work every day.
- Orchestration
- Claude Code, Claude Cowork, Codex
- Video
- Kling 3.0, Seedance 2.0 and 2.5
- Image
- GPT Image 2.0, Nano Banana 2 and Pro, Midjourney
- Hubs
- Higgsfield, Magnific
- Post
- Premiere Pro, After Effects, Photoshop, DaVinci Resolve
- Languages
- Portuguese, English, Spanish