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So you found the
Hi. I'm Marcello Amora. I founded Flying Eye in São Paulo, Brazil in 2014, packed it into a suitcase in 2023 and unpacked it in Lisbon. It kept the accent. It also kept the habit of reading a brief and asking what nobody had shown yet.
Before the studio I spent years inside advertising agencies and production companies, making film, motion and CGI for brands with big budgets and bigger meetings. I learned two things there. One: the idea is the only part the audience remembers. Two: the idea usually dies somewhere between the third revision and the fourth deck. Flying Eye exists to fix the second thing so the first thing survives.
Everything. I mean that as a job description. I direct. I art direct. I write. I pick the tools, and yes, some of them are AI. I sit in the edit. I sit with you. From the first sketch on a napkin to the master file in the right colour space, the same eye is on it. That is the boutique part. That is also the part a big studio can't sell you, because where they have a process, I have a chair. And I'm in it.
Small on purpose. Every seat on a Flying Eye project is a senior seat: 3D artists, motion designers, cinematographers, sound, colour. Most of them are people I've worked with for a decade. Some are in Lisbon, many are in Brazil, a few are wherever the project needs them to be. You get their names. You get to talk to them. That last part surprises more clients than it should.
With a question. What has nobody shown about this brand? We go into your universe, sometimes further than you're comfortable with, and we come back with one idea. Then the idea picks the technique. Live action if the world has to be real. 3D if it has to be built. Motion if the message has to move. AI if the idea has to go where a camera can't. Usually a mix. Always finished by hand, frame by frame, by people who can tell the difference.
Miyazaki for worlds. Tarantino for nerve. Jony Ive for restraint. Rick Rubin for knowing when to stop. Washington Olivetto for proving that Brazilian advertising can make the whole world laugh and then buy something. Football for the drama, and for the reminder that ninety minutes can change everything.
There's something with wings somewhere on this site. It's supposed to be there. You'll know it when you see it.
From São Paulo. In Lisbon. Available everywhere.
In Brazil, through HUB Studios. In Europe, with partners in Portugal, Spain and Germany.
Middle East and US when the story travels, which it does.
Portuguese, English or Italian. Pick one. I'll answer in it.
Then let's talk about the thing your last campaign failed to say.
I answer personally, usually within a day.
[About Us] button. Good eye. That usually means one of two things: you liked the work, or you want to know who to blame for it. Either way, the answer is the same person.Hi. I'm Marcello Amora. I founded Flying Eye in São Paulo, Brazil in 2014, packed it into a suitcase in 2023 and unpacked it in Lisbon. It kept the accent. It also kept the habit of reading a brief and asking what nobody had shown yet.
[Before the eye]Before the studio I spent years inside advertising agencies and production companies, making film, motion and CGI for brands with big budgets and bigger meetings. I learned two things there. One: the idea is the only part the audience remembers. Two: the idea usually dies somewhere between the third revision and the fourth deck. Flying Eye exists to fix the second thing so the first thing survives.
[What I actually do here]Everything. I mean that as a job description. I direct. I art direct. I write. I pick the tools, and yes, some of them are AI. I sit in the edit. I sit with you. From the first sketch on a napkin to the master file in the right colour space, the same eye is on it. That is the boutique part. That is also the part a big studio can't sell you, because where they have a process, I have a chair. And I'm in it.
[The people]Small on purpose. Every seat on a Flying Eye project is a senior seat: 3D artists, motion designers, cinematographers, sound, colour. Most of them are people I've worked with for a decade. Some are in Lisbon, many are in Brazil, a few are wherever the project needs them to be. You get their names. You get to talk to them. That last part surprises more clients than it should.
[How every project starts]With a question. What has nobody shown about this brand? We go into your universe, sometimes further than you're comfortable with, and we come back with one idea. Then the idea picks the technique. Live action if the world has to be real. 3D if it has to be built. Motion if the message has to move. AI if the idea has to go where a camera can't. Usually a mix. Always finished by hand, frame by frame, by people who can tell the difference.
[Influences, in case you're the type who asks]Miyazaki for worlds. Tarantino for nerve. Jony Ive for restraint. Rick Rubin for knowing when to stop. Washington Olivetto for proving that Brazilian advertising can make the whole world laugh and then buy something. Football for the drama, and for the reminder that ninety minutes can change everything.
[The creature]There's something with wings somewhere on this site. It's supposed to be there. You'll know it when you see it.
[Where]From São Paulo. In Lisbon. Available everywhere.
In Brazil, through HUB Studios. In Europe, with partners in Portugal, Spain and Germany.
Middle East and US when the story travels, which it does.
Portuguese, English or Italian. Pick one. I'll answer in it.
[Like what you see?]Then let's talk about the thing your last campaign failed to say.
[marcello@flyingeye.studio] · [+351 964 236 120]I answer personally, usually within a day.
[Oh. One more thing.]
WhatsApp - Day of the Undying Businesses 2026
Clio Awards • Bronze • Creative Strategy
Clio Awards • Bronze • Creative Business Transformation
Clio Awards • Bronze • MediaOne show • 5x shortlist
IKEA Monsters Not Included 2024
Dubai Lynx • Shortlist • Film Online
Dubai Lynx • Shortlist • Film Culture & Context
One show • 12x shortlist
Ketchup To The Rescue 2022-2023
Cannes Lions • Bronze • Direct
Cannes Lions • Shortlist • Brand Experience
D&AD • Shortlist • Digital
ADC Germany • Shortlist • B2B Crossmedia Campaign
ADC Germany • Shortlist • Activation B2B
NY • Shortlist • Collaborations & Partnership
Clio • Shortlist • Integrated • Curtice Brother
One Show • Bronze • Creative Use of Data • Social Media
One Show • Merit • Social Media • Stunts & Activation
Zart 2022
ADC Germany • Silver • Music
ADC Germany • Bronze • Live Action Film
ADC Germany • Bronze • Brand PR
ADC Germany • Shortlist • Brand PR
ADC Germany • Shortlist • Brand Advertising
Effies Germany • Bronze • Influencer Marketing
German Digital Awards • Silver • Branded Content Spotlight Awards • Bronze • Digital Campaign
Spotify Charthack 2022
ADC – Gold (Innovative Use of Media) ADC – Bronze (Live Action Film) | Universal MusicADC – Bronze (Branded Content) | Universal MusicADC*Europe – Silber (New use of media) Universal MusicADC – Auszeichnung | Universal MusicThe ONE Show – Gold (Innovation in Mobile) |ADC Global – Silver (Craft in mobile) | Clio Awards – Bronze (Mobile & Social Media Craft) Spotlight Festival – Silber (Digitale Innovation) Spotlight Festival – Bronze (Digitale Innovation) Deutscher Digital Award – Silber (Branded Content / ViralDeutscher Digital Award – Silber (Native Advertising & Content Marketing)Deutscher Digital Award – Silber (Digital Campaign)
Real Air Drop 2021 - 2022
Cannes - Silver - Creative Data - Use of Real-Time DataCannes - Silver - Media - Use of Real-Time DataClio - GP - Games Experimental Clio - Gold - Games Mobile AR Clio - Gold - Games PRCCSP - Silver - Promotional/Direct Marketing ActionD&AD - Wood - Experiential - Use of ARD&AD - Wood - Media - MobileD&AD - Shortlist - Gaming & Virtual Worlds - Use of AR
Nike Air Cloud 2020 - 2021
D&AD - Silver - E-Commerce D&AD - Shortlist - Digital Use of Technology
