The One Show
The One Show is the world's most prestigious award show in advertising and design. For over 50 years, the Gold Pencil has been regarded as one of the top prizes in the creative industry. The One Show has a rich legacy of honoring some of the most groundbreaking ideas, created by some of the most remarkable minds in creativity.
Category
Innovation / Execution in Film
Annual ID
OS26_FI108M
Background
Oddset is Sweden's oldest betting brand and part of the state-owned Svenska Spel. Oddset’s communication is driven by the motto 'the more you know, the more you win'. Whenever possible, they aim to provide players with the latest insights and knowledge to help them win. The aim of the campaign in question was to launch Oddset’s new Bet Builder service.
Creative Idea
In order to create reactive and contextual ads for the half time TV break in a football game, we needed to create a framework for the system to work in. Here, the creative idea was to create modular scripts where we could outline the general story for each film, but where each specific line regarding the game in question could be generated on the fly.
A part of this idea was to film scenes where our characters held something in front of their mouths. This allowed our characters to talk about whatever we needed, without us needing to AI-generate whole characters and perfectly synced mouths. Thus we avoided creepy looking, uncanny valley vibes – while also creating something more honest and fun. If the characters have a stapler or a bunch of noodles in front of them when talking, it's obvious that we are “doing a trick”, and we get a visually more interesting film.
In fact, we filmed 60 different scenes with our characters having 60 different more or less strange things in front of their mouths, which gave each film something new-ish and surprising – what strange object will cover the character this time?
A part of this idea was to film scenes where our characters held something in front of their mouths. This allowed our characters to talk about whatever we needed, without us needing to AI-generate whole characters and perfectly synced mouths. Thus we avoided creepy looking, uncanny valley vibes – while also creating something more honest and fun. If the characters have a stapler or a bunch of noodles in front of them when talking, it's obvious that we are “doing a trick”, and we get a visually more interesting film.
In fact, we filmed 60 different scenes with our characters having 60 different more or less strange things in front of their mouths, which gave each film something new-ish and surprising – what strange object will cover the character this time?
Insights & Strategy
Many football fans look to enhance their viewing experience by placing a bet on the match they are watching, before kickoff or during play. But as the TV medium is cumbersome and technologically outdated, being relevant and contextual with advertising in connection to the match is something betting companies have struggled with for a long time. Until now!
Execution
When filming for this project, there were a lot of different things to solve in order to create an end result that's not just technically innovative, but also fun to look at. And we knew that we were going to talk about odds, which is a mathematical, analytical and not very fun aspect of sports.
We wanted the scenes to always fit the framework, while still offering something fresh each new view – not just regarding odds and data, but visually too. We didn't want each film to look the same.
So how do we create films in this modular way, talking about dry, statistical things, while still creating something that people will want to look at and actually find interesting and maybe even funny?
So we decided that the setting should be a typical, slightly stylized office cubicle with normal but interesting looking people. The office environment gave us a clear sense of orientation. It made it easier for us to shoot many different scenes with many different greetings, reactions and lines, without creating an impossible task for our system to create coherent, clear films. Remember – we didn’t put together the final films, the system did.
And by casting interesting looking actors and letting our characters talk in exaggerated and strange ways (as well as using different objects to cover their mouths) in an otherwise dry office environment, we created something that feels funny – despite the fact that the characters are just talking about who they think are gonna score the next goal.
We wanted the scenes to always fit the framework, while still offering something fresh each new view – not just regarding odds and data, but visually too. We didn't want each film to look the same.
So how do we create films in this modular way, talking about dry, statistical things, while still creating something that people will want to look at and actually find interesting and maybe even funny?
So we decided that the setting should be a typical, slightly stylized office cubicle with normal but interesting looking people. The office environment gave us a clear sense of orientation. It made it easier for us to shoot many different scenes with many different greetings, reactions and lines, without creating an impossible task for our system to create coherent, clear films. Remember – we didn’t put together the final films, the system did.
And by casting interesting looking actors and letting our characters talk in exaggerated and strange ways (as well as using different objects to cover their mouths) in an otherwise dry office environment, we created something that feels funny – despite the fact that the characters are just talking about who they think are gonna score the next goal.
Results
A new way to create ads for the regular old TV.
175 unique, reactive half time films.
The campaign was live throughout the fall of 2025. During that period, we saw a 22% increase in the number of bets placed on Bet Builder.
175 unique, reactive half time films.
The campaign was live throughout the fall of 2025. During that period, we saw a 22% increase in the number of bets placed on Bet Builder.
2026 Awards
Total Points: 3
Merit
Credits
Agency
Perfect Fools / Stockholm
Client / Brand
Svenska Spel Sport & Casino
Production Company
Flx
Art Director
Michael Wirthberg
Karl Nord
Chief Creative Officer
Klas Lusth
Copywriter
Daniel Berg
Petter Esbjörnsson
Design Director
Mattias Mattisson
Designer
Evelina Lindahl
Director
Bill Schumacher
Producer
Frida Heder
Alex Picha
Amit Raab
DoP
Jo Eken Torp
Executive Producer
Helena Eidvall
Brand Manager, Oddset
Ken Söderqvist
Casting Director
Klara Magneteg
Client Lead
Michael Davinder
Colorist
Sander van Wijk
Costume
Patrik Heder
Developer
Stefan Lagergren
First AD
Marcus Celikel
Head of commercial
Therese Pettersson
Make-up & hair stylist
Kristin Good
Marketing Strategist
Eva-Marie Röhl
Offline Editor
Peter Wendin
Online
Tomas Wall
PR manager
Jonas Nilsson
Production Manager
Alexander Peters
Project Manager
Susanna Wolmefelt
Sound
Edward Björner
Strategic planner
Petter Träff
Technical Director
Tony Sajdak
Related Awards
