In a way, it’s almost nonsensical to realize that the Super Bowl ad breaks feature some of the most expensive and anticipated commercials of the year. In a world where a 30-second film can cost double-digit millions, and the ad slot ranks not far behind, it’s easy to see just how influential these brands can—or have to—be in order to indulge in pure American football, ad-break, delight time.
But how good are these commercials, really?
Of course, the word good has many interpretations in this context. What makes up a good ad, after all? But for the purpose of this examination, let’s say a good commercial is one that:
1. Makes us feel something.
2. Hopefully, something good or hopeful—even if dramatized.
3. Is like candy for the eyes; it keeps you wanting more, waiting to see what kind of fireworks the next bite will bring, turning the whole experience into a wonderful visual journey.
I know, I know—it’s difficult to check all these boxes. Perhaps a good (meaning plain, average-but-effective) ad is one that at least ticks one of these boxes. That would already be enough, wouldn’t it? But for the sake of the grandiosity of the event—and what it means not just for the sports calendar but for the advertising one too—let’s consider the starting point of all the featured commercials, from Budweiser to GoDaddy, Meta (Ray-Ban) to Doritos, to be at least averagely good. Watchable.
So, which one tops the list?
It’s disappointing to say, from the perspective of someone who works hard to craft the most beautiful and compelling imagery and layouts for treatments of commercials of a similar nature, that only a single one checked all three boxes.
A single. One.
Isn’t that kind of sad?
But which one? Nike’s "So Win", by Australian director Kim Gehrig.
Let’s break it down in visual terms.
We’ve seen this technique for a few years now—shooting through glass to create the illusion that it’s the floor, in this case, marked by the starting line. Here, though, the shot doesn’t feel overused or misplaced; instead, it serves as a powerful way to open the film. What makes it clever is how it offers the audience a perspective of the athlete that would be impossible to see in an actual race. It’s a perfect example of taking a technique that might otherwise feel trendy or overdone and using it in a way that feels purposeful rather than gimmicky. Nailed it.
I really enjoyed the solutions for the backgrounds. They’re varied, they’re not lazy advertising—there’s real imagination at play. In this type of commercial, the treatment stage always involves a debate about what the backgrounds should look like. Should the talent be in a studio? Outdoors? If it’s a studio, what’s the setup? And so on.
What I appreciate here is how Gehrig played with different textures, lighting, and subtle props—without overusing them—to create a dynamic feel. This approach adds layers to the setting while allowing each athlete to stand out in their own way. The photography is top-notch, using shapes of light to interact with other elements in the frame. There’s even a possible nod to a higher power, like in the frame above (left), where a shine of light touches the athlete’s head almost as if she’s being blessed from above—but somehow, it doesn’t feel tacky. Even though, admittedly, it does sound like it could be.
Now, the match-cuts. Ahhh, the match-cuts. Is there a single director in this land, as far as the eye can see, who hasn’t asked for match-cut references? So yes, whenever treatments bring up the match-cut idea, I almost can’t read it—my eyes have already rolled to the back of my skull. Frankly, what could be (and perhaps once was) an interesting narrative coup has been used so many times, so cheaply and so needlessly, that the power of the transition has lost its punch over time. What I do like about the way it’s used here, though, is that it’s been sprinkled in just enough—taking advantage of the storytelling strength it provides without relying on it like a walking stick. Good job.
This ad had to be directed by a woman (for obvious reasons -- the message) but also because, here, these athletes look absolutely beautiful: feminine, in their element, gorgeous, yet strong and powerful. Having worked on projects like this before, I'm aware that the talent's appearance, especially in sports, is often not considered as much as it should be. There’s still this outdated misconception that female athletes aren’t girly or wouldn’t want to be portrayed that way in commercials. When the truth is, each is their own individual, but they’re not unlike any other Hollywood actress or artist—where the first thing producers check before moving ahead with production is whether a makeup artist and hairstylist are available.These women are stunning, and their beauty shines through here in a way that is authentic and empowered.
Now let's talk about the double edged sword that is shooting in black and white. If on one hand it lends a classic and striking look to any image, much like the match-cut effect, it has to be applied wisely, so that it doesn't feel like the easy way out for achieving an interesting look. Even though the B&W aesthetics is common sense for sports commercials at this point, this spot really benefited from the monochrome palette: it not only stood out among the over-saturated Gen Z aesthetic of the other commercials of the ad break, but it also added an edgy feel to the timelessness of the message.
Anyone who has worked on a treatment or the production of a B&W spot before knows it comes with its own challenges. The lighting has to be just right to enhance contrast; the costume and set design need a specific color code to make that contrast pop; and the use of light has to be meticulous to capture every contour of the face, the body, and the nuances of a diverse cast.
Not to mention the tricky part—matching the color of archival footage to the exact shades of B&W captured in the studio. Something that looks effortless usually isn’t. It actually requires a lot of planning behind the scenes to look this good. Details, details. And you can tell they were carefully considered here—because nothing is really left in the dark.
Keeping with this theme, let’s highlight a few photography moments that were particularly beautiful—the ones that make up the perfect frame.
What I love about these shots below is how they use unusual framings—again—without feeling like they’re trying too hard to “be different” or using unique angles just for the sake of looking fresh. Like the first shot of the finish line, there’s clear intention behind each frame. It helps tell the story, builds the narrative, and adds meaning beyond just aesthetics. Just like the athletes are portrayed here, these images are trying to convey more than just a pretty look. They have strength and power too.
Because this is a commercial, after all, it’s important to note just how well Nike’s attire is showcased here. It’s a great example of inserting the brand in an obvious yet non-distracting way. The costume design is interesting—it aligns perfectly with Nike’s edgy, contemporary-cool street aesthetic, making each piece feel both hand-picked and effortlessly chosen at the same time.
This is a win for Nike and Miss Gehrig. Smashed it.
