Ophelia & Company
× spring
01cover

ZURU Ophelia & Company

spring · production proposal
Prepared forSam Parsons
FromJeff Haskell
DateAugust 2026
ScopeProduction only
02a note
Dear Sam and Stu,

Thank you for the opportunity to bid on Spring. We went through the boards a few times... we're in. It's a funny, simple idea, and it needs nothing from us except good execution.

So this deck is less about the creative. It's more about how we can build a system to work together more efficiently while keeping the creative alive and thriving. Once we nail this process, we'll have the recipe for great productions moving forward. My aim is to make this one as seamless and easy-going as possible so that your experience is a great one.

We hope you enjoy our proposal as much as we enjoyed making it.

Jeff Haskell Executive Producer, Ophelia & Company
Woman in pink coat on a retro telephone under palm trees
Andrea Calvetti · OOF Wear
03contents

Contents

I
04project planningthe working session
05the processreviews, approvals, your tools
06how we workteam, non-union, LA, post
II
07the conceptfinished as boarded
08the briefdeliverables, media, dates
09the lookreference frames
10Andrea Calvettiour recommendation
11receiptshis reaction, verbatim
12Andrea's workselected frames
13castingopen sessions
III
14timelineoct/nov shoot, january delivery
15the budget$120,000 flat, all in
16deliverymasters, specs, stills
17selected workreceipts
18next stepshow to get started
04project planning

Most jobs, we grab the brief and run. This one has time on the front end, so before pre-production we'd sit down with you and Stu and plan how the project should run.

Project Planning

You tell us who reviews what, in what order, and what sign-off looks like on your side. From there we adjust as needed.

Operations Toolkit

Stages, owners, sign-offs, turnaround times.

Iterate

We work with you to figure out what works and what doesn't, so that projects get more seamless over time.

05the process

The process

Stu leads creative

Stu sees casting selects, frames, and cuts before anyone else, keeps a direct line to the director, and signs off before anything moves.

One review a day

Everything that needs a decision lands in one review at the start of your workday. If something can't wait, we call.

Always on call

Pre-pro, callbacks, and the shoot run live on a feed timed to your morning. You give notes, we adjust on the spot.

Embedded with your team

Your Slack, your links, your templates. We're ready to jump into your systems and become a part of your team.

Production Bible

Schedule, cast, frames, open questions, decisions made. This is what we'll keep updated so that you always have a record of where things stand.

Changes

We stay flexible. Recast, reorder the scenarios, split the :15 in two. If a change doesn't fit the plan or the number, we present the impact for your approval before anything moves.

06how we work

How we work

The team

You work with Jeff and the director. Decisions happen in one conversation.

Non-union

Crew and talent both. We keep flexibility on the day when a scene wants one more setup, and usage stays affordable on a digital-only buy.

LA connections

The crew, stylists, and locations on this job would be people we already work with. Your LA office is in the mix too, if it fits the director's plan, and the savings go into casting.

Post in-house

Post and VFX under our roof. Notes turn in hours because nothing waits behind another company's project.

07the concept
act two · the film

Everything we bring goes into casting, look, timing, and sound. The boards are the spec, and success is how much better they look on screen than on paper. If something won't cut together, we flag it early with a fix, and then we build what you decide.

A man at a wood-panelled desk in a warm, art-directed interior
08the brief
spring/26

The brief

Spots1 × :15 + 2 × :06 · with room to grow into 2 × :15
DialogueNone on screen, voiceover only
ScenariosBoardroom + elevator
MediaWalmart Media + YouTube · no linear
ShootLos Angeles · Oct/Nov 2026
FinalsJanuary 2027 · Walmart launch March
the tone

Familiar, warm, dead straight, like it belongs on the shelf it's selling from. The straighter everyone plays it, the funnier the sniff gets. Which is why so much of this deck is about casting.

09the look
reference frames · all Andrea Calvetti

The look

A cheesy American ad only works if it's shot beautifully and played straight. Saturated color, real sets, shot on film, faces that hold a beat too long. Every frame below is Andrea's, and it's the look we'd be bringing to the table.

Two women with luggage at dusk, faces lit by the sunset Man in a tan suit against a saturated blue sky, reaching toward camera Woman reading a newspaper on a suburban lawn, playing it dead straight Close portrait of a woman blowing a bubble of gum Young rider leaning on a saddled horse, looking into camera Three performers holding a beat outside a roadside diner Three women in saturated colour against a desert wind farm
10the director
Andrea Calvetti in a cowboy hat and yellow sunglasses, leaning out of a vintage convertible under LA palm trees
andrea · los angeles
our recommendation

Andrea Calvetti

director & dp · los angeles / treviso, italy

Italian director and DP, based in LA. Bold, saturated Americana, heavy art direction. He shoots film, builds his sets from scratch, and his frames stop thumbs mid-scroll, which is the whole job on Walmart Media and YouTube. A storyteller first, and the world he builds serves the joke.

His network

He brings a very high quality bench of actors and stylists to every job. The awkwardness only works if the performances carry it. With Andrea, that's the starting line.

Clients

golden goose · jacques marie mage · alanui · floyd × oye! · adobe × keith haring

rep: oye! agency · courage production, milan

11receipts

This is how it went down when I tapped Andrea for this spot.

He'd already worked out the shape of the job before we asked: the right location, the right cast, and it doesn't need to be expensive. Find me another director who's been waiting for his chance to show his love for laundry.

The full text thread from Saturday 8 August: Jeff shares the Spring boards, budget, and deliverables; Max Kuzin replies omg, let's goooo; Andrea Calvetti replies that it's awesome, that it absolutely doesn't have to be expensive, just a cute location and an awesome cast, calls it a fun agency, and adds: disclaimer, american laundry mats are an obsession of mine since day 1, public laundry's are fascinating spaces for me, in italy it's something new, last 15 years.
12andrea's work
Performer against a hand-painted fast-food sign Man in a midcentury living room, shot on film Woman stepping off a clapboard porch in a floral dress Woman in an orange sweater at golden hour
13casting
no dialogue, so the faces do everything

Casting

We cast this ourselves, through our own connections and Andrea's bench.

Deadpan portrait of a man in tinted aviators
Jacques Marie Mage
Two performers styled in black in a pine forest
Gobi
Black and white portrait of a young rider with a white horse
Gobi · Mongolia
Close portrait of a woman in a studded leather jacket
Golden Goose

Selects go out after every round, and ZURU can be as involved in casting as it wants to be, with callbacks running live and timed to Auckland's morning.

14timeline
oct/nov shoot · january delivery

Timeline

The buffer sits between our delivery and your launch prep, where late changes can't touch the Walmart date.

SepOctNovDec JanFebMar
Award
Pre-pro meeting
Final delivery
Walmart launch
Pre-production
Shoot
Edit, VFX, colour, sound
Final delivery
Buffer before launch
SeptAward & process sessionDirector locked, deposit in, playbook session with you and Stu.
Early OctPre-productionCasting, locations, wardrobe, art. Selects at every step.
Mid OctPre-pro meetingCast, sets, frames, schedule signed off. Nothing after this should surprise anyone.
Late Oct / NovShootOne day. Two if we go to 2 × :15. Live feed to Auckland.
NovOffline editFirst cuts within a week of wrap. Rounds turn in 24 hours.
DecFinishingVFX, clean-up, colour, VO record, music, mix.
Early JanFinal deliveryMasters and cut-downs to Walmart Media and YouTube spec, plus the archive.
MarchSpring launchesWith six clear weeks already banked before the Walmart date.
15the budget
flat, all in
$120,000 flat, all in.

You shouldn't have to audit a line-item bid to know your money is working. One number covers the whole job, and we'll walk you through where it goes on a call anytime. Anything that could push past it comes to you first, with a price and a recommendation.

what's included
  • Director, EP, full crew and gear
  • Casting sessions, talent fees, digital usage
  • Location, art department, set build
  • Wardrobe, hair, make-up, styling
  • Edit, plus every revision round
  • VFX, clean-up, color, sound design, mix
  • VO record, music, final masters
  • Walmart Media + YouTube deliverables
  • Insurance, permits, contingency
what we'd flag first
  • Named talent above the casting allowance
  • A second shoot day added after pre-pro
  • A new scenario after boards lock
  • Usage beyond digital, or beyond term
Terms — 50% on award, 25% after principal photography, 25% on delivery. Line items — available upon request at any time.
16delivery
january 2027

Delivery

Masters

1 × :15 and 2 × :06, or 2 × :15 and 2 × :06 if the scenarios go that way, delivered in ProRes plus web-ready H.264.

Platform specs

Cut and encoded to Walmart Media and YouTube requirements, aspect variants and captions included. We confirm the current spec sheets with your media team in pre-pro.

Stills

Frame grabs and on-set stills for social and retail, included.

The archive

Project files, textless masters, clean plates. All yours, so ZURU can re-version down the road without coming back through us.

17selected work
ophelia & company

Selected work

Recent jobs. Small senior team, one number up front, delivered on the date we said.

Black and white frame of an alarm clock at 6:00 watch →
David Protein
Motion-blurred runner watch →
adidas × Black Excellence · Keep Running
Fashion film still with a crowd of models watch →
Elena Velez · How's My Driving
A sheepdog pushes a stroller on a velvet stage, from the Croccante commercial watch →
Gran Pavesi · Croccante · commercial
18next steps
how to get started

Next steps

We'd love to make this one with you.

Say the word and we'll lock Andrea's dates and get a schedule, a start date, and the first draft of the playbook to you within the week. Excited to get the ball rolling!

Phone714.473.0540
Ophelia & Companynew york · los angeles · paris
Ophelia & Company
Ophelia, the studio's cat, sketched