CLIENT:
HANTECH
Rooted in Bavaria’s obsessive engineering culture, Hantech builds whisper‑quiet, A+++ air‑conditioning systems for private residences, couture hotels, and mission‑critical industrial spaces. Think nano‑coated, self‑cleaning coils, app‑driven diagnostics, and surgical‑grade climate precision. Since 2018 Hantech has operated through ≈180 dealers across Türkiye and is racing toward 10 % commercial share + €200 million global turnover by 2025. Türkiye is the lynchpin, powered by: Scorching summers – 2.5 M split‑AC units sold in 2024. Youth dividend – median age 34.4; tech‑hungry, still growing. Resilient GDP – 4.5 % expansion in 2023, >3 % trajectory despite tighter policy.Add the country’s bridge location (Europe ⇄ MENA ⇄ Central Asia) and a forthcoming Istanbul plant, and you get a regional springboard, not a mere branch office.
PROJECT:
CAMPAIGN FILM
THE CHOICE:
- Award‑grade ATL craft
- Razor‑sharp comms strategy
- Full‑stack digital muscle
- In-house production that sprints from brief to screen while rivals are still price-shopping freelancers
THE BRIEFING:
- Explode awareness among 25‑40 urban earners.
- Seduce retailers into extra shelf real‑estate.
- Launch an idea that travels—Türkiye → Europe → Global
- Deliver dual edits: immersive long‑form (digital) + punchy :30/ :15 TVC.
- Create a talk‑trigger the category can’t copy without looking late.
“Move without the fear of sweating.” Category advertising keeps showing plastic boxes that cool rooms; we show what that cooling unleashes. Dance turns an invisible benefit into a kinetic spectacle, global in appeal, endlessly local in flavour, magnetic to every age bracket, and free of cultural baggage. It performs indoors (where the product excels) and keeps the focus on liberated human movement rather than product chrome, giving Hantech a distinctive, future‑proof storytelling platform without spilling strategic secrets.
THE TECHNICAL PERSPECTIVE:
Camera – ARRI ALEXA 35 (Super 35):
We chose ARRI’s latest Super-35 flagship for one reason: latitude equals luxury. Its 4.6 K sensor delivers a class-leading 17 stops of dynamic range—1½ stops more in the highlights and an extra stop in the shadows over previous ALEXAs—so steamy club lights and inky blacks live happily in the same frame. The new REVEAL Color Science pipeline adds truer hues, gentler skin roll-off and faster HDR/SDR grading, while the camera’s native 3:2 sensor records up to 120 fps without cropping, keeping choreography fluid and razor-sharp.
Glass – Leitz Cine SUMMILUX-C Primes
To match that sensor we bolted on a full set of T 1.4 Summilux-C primes. Averaging just 1.7 kg with a uniform 95 mm front diameter, these lenses stay nimble on gimbal or Steadicam yet render medium-format-level creaminess. Their multi-aspherical design all but eliminates breathing and distortion, and the telecentric optical path keeps colour and contrast perfectly consistent across focal lengths—critical when cutting fast-moving dance sequences.
Why it looks so good
The Alexa 35’s immense highlight headroom let us let practical strobes bloom without clipping, while the Summilux-C’s wide-open T 1.4 gave us sculptural depth of field even in cavernous interiors. Together they produced a fashion-film polish—rich color, silky bokeh, and texture that feels tactile rather than video-clinical—perfect for elevating an HVAC spot into a cinematic statement.
THE CREW
AJANS: HUNi Creative Studio
Creative Director: Kadir Öztoksoy (K.O.), Account Lead: Fatih Uçak, Head of Digital: Mete Kır, Art Group Head: Berç Çankar
Production House: HUNi Production, Executive Producer: Nazlı Öztoksoy, Director: Kadir Öztoksoy (K.O.), 1st Assistant Director: Gizem Özmen, Line Producer: Atilla Taban, Production Assistant: Baran Karadeniz
CAST -Dancer: Stella Sonetti, Movement Director: Can Tohma, Movement Assistant: Melis Atay
CAMERA - DOP: Murat Tuncel (GYD), 1st AC (Focus Puller): Doğaç Tuncel, 2nd AC: Mustafa Polat, 3rd AC: Berkant Bucaklıoğlu, DIT: Cemre Çobanlı, Trinity Operator: Yusuf İmamoğlu, Steadicam Operator: Anıl Arslan, Camera Rental: MTN Film
LIGHTING - Gaffer: Fatih Okur, Best Boy: Burak Yıldırım, Lighting Rental: İstanbul Işık
GRIP - Key Grip: Serdal Ateş, Key Grip Best Boy: Cesur Akyüz
ART - Art Director: Duygu Sönmez, 1st Assistant: Ceren Sönmez, 2nd Assistant: Eylül Güneş Onaran
WARDROBE & STYLING - Stylist: Gamze Çeber Özdemir, Styling Assistant: Meryem Baburoğlu, Make Up Artist: Berna Pala Tokat, Hair Stylist: Taner Özdemir, Hair Stylist Assistant: Gülten Güneysu
POST PRODUCTION - Post Production Office: Cutter Post, Head of Post Production: Umut Keri, Sound Designer & Composer: Ali Efe Dinç, Sound Designer: Kaan Gökman, 2nd Editor: Ebru Orta, Color Correction: Ahmet Güney, Online: Mehmet Eser
BTS - Video: Zeynep Sema Yıldız, Photo: Ayşe Kocakaya
SPECIAL THANKS - Co-Producer: Mustafa Karadeniz - Çınar Film, Location: Kemer Platoları, Camera Rental: MTN Film, Lighting Rental: Istanbul Işık, Cast Support: Wonder Yapım
MEDIA COVERAGE:
In July, we launched Hantech’s TV commercial across both national and thematic channels—including ATV, Kanal D, Now, Show TV, Star TV, TV8, A Haber, and CNN Türk.
The campaign secured a total of 6,060 seconds of prime TV airtime. While our GRP target for July was 152, we closed the month at 154 GRPs—surpassing expectations.
On the digital front, we set out with a strong media plan aiming for 5,361,035 impressions. We didn’t just meet that goal we exceeded it, delivering 6,188,351 impressions in our very first month. This translated to nearly 1 million in reach.
Performance was equally strong: 107,361 users clicked through to our website after engaging with the campaign. Our average click-through rate across products and placements hit 1.73%, turning visibility into measurable action.
