Digital doubles for advertising. Keep the likeness. Expand the scene.
Take a recognisable person into a campaign’s digital scenes. Mimic Advertising scopes digital doubles around talent likeness, movement, wardrobe and the creative partner’s pipeline. The brief defines which asset, capture and animation stages are required, together with the permitted uses of the person’s likeness.
Begin with the talent and campaign use
Identify the person, the planned scenes and how closely the audience will see the digital character. Include wardrobe, product interaction and movement references. A recognisable athlete in motion and a fashion portrait can place different demands on likeness and surface detail.
Confirm the talent’s permissions for likeness, performance and the intended campaign uses before scheduling production. State the media, duration, territories and any reuse restrictions that the production team must follow. An asset’s technical availability does not determine its usage rights.
Sports campaign briefsFashion and luxury campaign briefs
Separate the asset from the performance
The asset stage may include modelling, texturing, rigging, shading and agreed clothing or hair work. Capture, animation and simulation are specified against the planned shots. Confirm which stages Mimic delivers and which belong to the creative partner.
Supply reference material, shot plans, the receiving software and approval requirements. Agree a likeness review before downstream animation and final-image work. A campaign-ready handoff also needs scale, file conventions, rig requirements and a technical check in the receiving pipeline.
Plan the animated performanceReview the production processDigital-double contributions in campaigns
For Nike Air Max Dn8 with NEWFORMAT, Mimic Productions created Salma Paralluelo’s digital double and contributed full-body motion capture and animation. The Vodafone Wimbledon reference records Emma Raducanu’s digital double with modelling, rigging, animation and hair and cloth simulation in a wider production with Ogilvy and Technicolor.
For Burberry’s Monogram campaign with Frederik Heyman, Mimic’s Naomi Campbell contribution covered the digital double, modelling, texturing, rigging, shading and cloth simulation. The asset was prepared for the partner’s downstream animation and campaign production.
Nike Air Max Dn8 contributionVodafone Wimbledon contributionBurberry digital-double assets
Choose the right character brief
Use this service when the campaign needs a particular person’s likeness. The digital-avatars hub covers the wider character offer, including characters that do not reproduce a real person. This page does not offer an AI spokesperson platform or automatic influencer account management.
Send the talent reference, rights status, asset and shot list, planned formats and delivery dates. The studio is in Potsdam, Germany; US and UK campaign teams can include their review time zone and creative-partner contact. Scope and schedule follow the actual asset and performance requirements.
Explore digital avatarsDiscuss a digital-double campaignFrequently asked questions
01Is a digital double the same as a digital avatar?
A digital double is built around a particular person’s likeness. Digital avatar is a broader term that can also include invented, stylised or interactive characters.
02Does the digital-double brief include talent permissions?
The commissioning team must identify the permitted likeness and performance uses. Provide the relevant approval status and usage restrictions so that production and delivery can follow them.
03Can you deliver an asset to another animation team?
The asset can be scoped for a partner handoff. Confirm the model, texture, rig, software and technical requirements with the receiving team before production; final animation is a separate stage unless included.
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