FOOH and CGI in the Sky: Airships, Balloons and Parachutes

Airships, hot air balloons and parachutes let FOOH use the sky as a stage: a branded object that isn't really there is added in CGI to real footage of a city or landscape, and viewers are left asking “is this real?”. FOOH in the sky works because the sky is the one part of a city that is always visible and never cluttered. Below we cover the three sky formats, why they grab attention, which brands they suit and five pieces from Clytech.

Production, formats and budget items for FOOH (fake out-of-home) are covered on our FOOH ad production page; here we stay focused on the sky.

What is FOOH in the sky, and how is it made?

FOOH in the sky is a type of FOOH in which an object drifts, rises or descends over a real skyline or landscape. The object is usually the brand itself: an airship carrying the logo, branded balloons or a giant product coming down on a parachute.

The workflow is the same as for any FOOH piece. On most of our projects our own team films the location; the camera move is tracked, the CGI object is lit to match the scene, and compositing settles it into the shot. The sky brings its own challenge: because the object sits far away, haze, the direction of the light and moving clouds all give its scale away, and a highlight that doesn't match the sun is spotted at once. For the bigger picture on why FOOH spreads, read What is FOOH, and why does it go viral?

Airship, balloon or parachute: what does each format say?

All three use the sky, but each tells a different story. An airship drifts and seems to hang over the city; a balloon rises from below; a parachute comes down and ends with an arrival. That movement sets the film's rhythm and shapes what the brand says.

The product's character usually decides. An airship offers a large surface, so the logo reads big and clear. A balloon brings the landscape into the story. A parachute pulls attention onto one object and makes viewers wait to see where it lands.

Why does the sky grab so much attention?

The sky is the empty space in a city that everyone knows and nobody expects an ad in. On the street, signs, shop windows and crowds blur together; in the sky, one object owns the frame.

• Readable scale: above a familiar skyline, an object's size is clear at a glance; a tower, a bridge or the fairy chimneys act as a natural ruler.
• A clean composition: against a simple background, the logo and product stay legible even in a vertical frame.
• A built-in story: drifting, rising or landing gives a short video a beginning and an end, so viewers keep watching to see where the object goes.
• The “is this real?” question: a giant object in the air sits between possible and impossible, and that doubt feeds comments and shares.
• A local connection: a skyline people recognise makes the video personal to those who live under it.

Which brands is FOOH in the sky right for?

Sky formats suit brands that want to speak through one strong image. They work especially well when:

• you're launching a product or campaign and want the brand to arrive big and visible,
• the moment is a national day or occasion the whole country is talking about,
• you're in a category like jewellery or luxury, where one object's value is the message,
• you're a gaming or tech brand bringing part of your product world into real life,
• you want local versions of one idea for different cities.

It isn't right for every product. If you need to show texture, packaging or engineering detail up close, the sky keeps the product too far away; a CGI ad film built on close-ups will serve you better. A message that needs explaining may also be too much for a single-image FOOH.

Examples from Clytech

All five pieces below use the sky, each with a different movement and purpose. Clytech is a CGI, FOOH and AI advertising studio based in Istanbul and London, and all five were cut in vertical 9:16.

In the Reis Kuyumculuk zeppelin film, a massive CGI airship carrying the jeweller's logo drifts above the city skyline. The scene blends the real and the imagined so that viewers ask whether it actually happened; its job was to draw attention, drive engagement and get people talking about the brand.

In the TECNO Cappadocia hot air balloon film, giant branded balloons rise above the fairy chimneys. A skyline already famous for its balloons becomes a stage for the brand, and the film was produced as a FOOH piece for social media.

The Payback zeppelin film opens the brand's campaign series. A giant branded CGI airship is composited with real sky and city footage to make a cinematic brand statement. Strictly speaking it's a vertical CGI commercial rather than FOOH, and it shows how well the sky works as the first chapter of a series.

In Reis Kuyumculuk's giant ring over Galata Tower, a huge golden ring descends by parachute onto the top of the tower. Blending imagination with the real fabric of Istanbul, the film gives jewellery marketing a cinematic voice and was designed to stop the scroll and get shared.

For PUBG Mobile's campaign for the 100th anniversary of the Republic, we brought the game's iconic supply drops down by parachute over six regions: İzmir, Ankara, Mardin, the Black Sea region, Antalya and Istanbul. Turning a familiar game element into a tribute to the centenary, the FOOH campaign passed 30M+ views.

What should you plan for in a sky FOOH?

A good sky FOOH starts with a few decisions made before the shoot:

1. Pick the skyline: a landmark or landscape viewers recognise instantly makes the scale readable.
2. Choose the movement: drift, rise or descent sets the start and end of the story.
3. Plan when the logo reads: the brand should be legible as soon as the object enters the frame.
4. Match the light: sunset, morning haze or midday sun; the CGI object is lit to match the footage.
5. Frame for vertical: the object's path is planned for 9:16 from the start.
6. Raise permits early: depending on the location and how it's filmed, permits may be needed; when they are, we obtain them, or on some projects the brand does.

Frequently asked questions

Is a real airship used in a zeppelin ad?

Not in the examples here: the airships were produced in CGI. In The Payback film, the CGI zeppelin was composited with real sky and city footage.

Do you need filming permits for sky FOOH?

It depends on the location and how it's filmed. When permits are needed, we obtain them, or on some projects the brand does; we settle this during planning.

Can the same idea be adapted for different cities?

Yes. For PUBG Mobile, we took the same parachute idea to the skylines of six regions.

Can you promise a number of views?

No, and no format honestly can. The sky makes it easier to get noticed; the clarity of the idea and the credibility of the production decide the result.

Airship, balloon or parachute: which should we choose?

It depends on what your brand wants to say: an airship for presence and scale, a balloon for lift and a link to the landscape, a parachute for surprise and arrival. We'll recommend one for your brief, with our reasoning.

If you have an idea that could use the sky as its stage, send us your brief and we'll come back within 24 hours with an approach.