Creator Spotlight: Murph Studio

Murph Studio’s first FOOH piece wasn’t planned as a campaign. While waiting for a flight in Barcelona, founder Ana Carolina Barbosa filmed a perfectly symmetrical street from above and later integrated a purse she had just designed, animating it like a car and adding subtle sound design. What started as a low-pressure test became the studio’s entry point into FOOH.

Since then, Murph Studio has focused on making CGI feel natural inside real environments — favoring integration, clarity, and tone over pure spectacle. That approach carried into their largest FOOH project to date, a launch campaign for Brazilian accessories brand Chenson, which reached nearly 140,000 views on Instagram.

Today, clients typically discover Murph Studio through social visibility and word-of-mouth. The studio works with tools like Blender, Cinema 4D, After Effects, and DaVinci Resolve, while using AI mainly in pre-production to validate concepts and align expectations

The full interview Q&A with Ana Carolina Barbosa follows below.

Interview Q&A

My first FOOH project came from a very low-pressure experiment. I was waiting for a flight in Barcelona and filmed the street from above — it was very symmetrical, with clean, linear traffic flow, which made it perfect for testing an idea. When I got home, I used a purse I had just designed in CLO and animated it like a car moving through the street. I added simple sound effects like horns, and the result felt surprisingly natural and fun. That experiment ended up becoming my first FOOH project.

In terms of FOOH, my biggest project so far was for Chenson, a Brazilian accessories brand. It was created as part of the launch campaign for a new collection and reached over 139,900 views on Instagram. It played a strong role in boosting visibility and engagement.

Mostly through exposure on platforms like Instagram and LinkedIn. Word-of-mouth also brings in new clients, especially after projects that perform well or launches that go smoothly. Which tools/softwares are you using for your CGI projects? For CGI work, I mainly use Blender, Cinema 4D, DaVinci Resolve, and After Effects. Each tool serves a different purpose depending on the complexity and requirements of the project.

The FOOH workflow is quite similar. Blender is my main tool for 3D integration, After Effects for compositing and effects, and sometimes Cinema 4D depending on the asset or animation style. The setup always adapts to the project.

I think authenticity comes from continuously refining your aesthetic and creative voice. I pay close attention to the market and draw inspiration from everyday life, photography, design, and research — but experimentation is key. The more you try, the clearer your creative identity becomes. It’s really about staying informed while also staying true to what feels original to you.

Not directly in FOOH creation, but yes — we use AI tools during pre-production. They’re especially helpful for concept validation and for aligning expectations with clients early on. That alone can significantly speed up the creative process.

Absolutely. AI is already part of the process, and that won’t change. The challenge is that the tools evolve so quickly it’s hard to predict exactly what things will look like even a year from now. At the moment, we’re all still experimenting and adapting.

By paying attention to everyday beauty — light, texture, composition, small moments. I record a lot of reference videos even when I’m not working on anything specific. I also consume a lot of art: films, photography, exhibitions. They spark ideas not just visually, but conceptually. When I’m in a more focused study phase, I dive into technical and commercial references to understand how things were executed and how to apply that knowledge.

Many people underestimate how much time, craft, and problem-solving goes into a strong FOOH video. Because the result is meant to feel seamless, it can look simple or quick — but behind the scenes there’s creative direction, modeling, animation, rendering, compositing, sound design, and storytelling. It’s layered and complex work.

Balancing originality with efficiency. Studios need a strong creative identity, but they also have to clearly communicate the value of that vision to clients — and how it connects to results and ROI.

Another challenge is helping clients understand that AI and 3D are complementary tools, not replacements. There’s still a misconception that if AI is involved, everything becomes instant or effortless, which isn’t the reality at all.

The core expectations haven’t changed much: clear storytelling, strong brand alignment, and creative work that stands out. What has changed is that clients are more visually educated, and there’s more pressure for speed and flexibility — especially when it comes to social-first content.

Definitely Oysho. I love their aesthetic, positioning, and overall brand identity. I’d love to create a 3D or FOOH project that plays with softness, movement, and their minimalist visual language.

FOOH is evolving into a narrative format. It’s no longer just about visual impact — it’s becoming a tool for storytelling, launches, and long-term brand positioning. I’d love to see more brands use FOOH strategically instead of purely chasing virality, which can lead to repetition and fatigue. The real value lies in creating moments that feel meaningful and reinforce brand identity.

Start with curiosity. Record small things that inspire you, test ideas, and don’t be afraid to experiment. Then take time to analyze what worked, what didn’t, and why. Creativity grows through observation and iteration.