Some days everything starts with a challenge: the Prat's PRO+ walking script

Fifteen seconds is the time it takes to tie a sneaker calmly. It is the time water from the filter takes to fill half a glass, the time an elevator takes to go down two floors, the time someone takes to work up the courage to get off the couch. It was in that space that I needed to show the moment a woman who chose to walk leaves her house. In the script, she opens the refrigerator, takes the little bottle of Prat's PRO+ and heads out. In the published film, she appears outdoors, in a cap, under the sun. The film was named "Tem dias que tudo começa com um desafio" (Some days everything starts with a challenge), and this article shows how it was written.

How to write a 15-second film

The Prat's PRO+ campaign has a main film and a series of 15-second spots, each dedicated to a moment of the daily routine. Writing this format requires a watchmaker's discipline. I always start with the simplest question there is: what does this person do? The answer needs to fit into a single verb. Here, the verb was to walk.

With the verb chosen, the rest of the script organizes itself around it. The character needs a starting point, and I gave her the same refrigerator that opens the main film. This choice saves screen time, because a viewer who has already seen the campaign recognizes the door and immediately understands they are in the same universe. It also keeps the little bottle at the center of the story from the very first frame.

Then comes the voiceover, and here the stopwatch rules. Fifteen seconds hold only a few sentences spoken calmly, and each sentence needs to leave breathing room for the image. That is why the walking voiceover is short and fits in the announcer's mouth in a single take. A test I recommend to any brand manager: read your film's text aloud, with your phone's stopwatch running, at a conversational pace. If you had to speed up, the text is too long.

The film published on Prat's channel on August 17, 2026 runs about 21 seconds. The edit has the final word on duration, and it is normal for the timing of the text and the timing on screen to adjust to each other when the footage reaches the editing room.

The Prat's PRO+ walking script, scene by scene

The walking spot was written to be easy to understand at first glance and enjoyable to watch again.

Notice the verb in the voiceover: accompany. I chose that word carefully. The little bottle enters the scene as company for a moment the character had already decided to live, and the decision to leave the house belongs entirely to her. All of the campaign's spots end with the same line, "The Prat's juice you already know, now in the PRO+ version", followed by the packshot. The repetition works like a friend's signature at the end of every note.

In the published film, the woman walks outdoors, in a cap, under the sun, and the piece closes on the packshot with oranges. The natural light I had asked for in the campaign's very first concept, when I wrote that every scene should be sunny and outdoors, appears in full here.

The little dog who lives in the script

Now I need to talk about the little dog, because he is one of the details of the script I like most. In the script, he appears at the exact moment the refrigerator door closes, as if he had been waiting behind it the whole time. It is a small cut with the effect of a good joke: the person closes the door and finds someone eager to go out.

I wrote the little dog for reasons of craft. He gives the character a life that continues outside the frame, because anyone who has a walking partner has a schedule, a familiar street and a commitment that wags its tail. He also brings light humor to a 15-second film and turns the walk into an outing for two, with affection built in.

The finished film followed the path the edit found best, as happens in every campaign. The little dog I am talking about here is the one in the script, and I tell his story because it shows something every brand manager should know: a good text arrives on set loaded with ideas about the character, and each of them helps the crew understand who she is.

Age representation in advertising: the mature character at the center

The walking character is a mature woman, and she was already in the main film's script as the first person to appear in the match cut after the refrigerator. The script opens the door to many ages, and the first one to walk through that door is her.

I like to imagine the person on the other side of the screen. Let's say she is fifty or sixty years old, walks around her neighborhood and carefully chooses what she carries in her bag. When she sees someone like herself in a brand film, the recognition is immediate, and recognition is the gateway to emotion. That is where the chin starts to move, and it is because of this muscle that my company is called Mentoniano.

Moments of life and everyday routine include the lives of people who have already lived a lot. A mature woman's walk in the sun is one of those moments, beautiful in itself, and the little bottle only needs to be there with her.

Natural pause: the product at the character's pace

In the main film's script, I left a direction that applies to the entire campaign: "Characters consume during natural pauses, with no competitive sports context." The walk is the purest example of this rule. The character walks for the pleasure of walking. In the script, she takes the little bottle from the refrigerator and heads out, and the rest happens at her pace, as it does for anyone who leaves the house with a juice in hand.

This direction protects the brand from a tone I wanted to avoid, that of a performance promise. The little bottle accompanies the day and stays beside the person who decided to get moving. The label is what states what the product contains, and the script mentions only what is on it.

Claque Filmes and ARTT: the team that brought the walk to the screen

A 15-second script only gains sun, a cap and a street when it finds a production company that knows what to do with it. Claque Filmes has been registered as a company in Maringá since December 2011, according to the company's public registry, and since then it has built a long track record in set design, art direction and production of commercials. It was Siandre and Marcelo who trusted me with these scripts, and I hold both of them in the respect of someone who learns by watching their work.

The partnership with ARTT Creative Works completed the team that brought the scripts to life. For me, writing with people like this nearby is a privilege, even more so for a brand I consume. And I confess that the walk speaks to my own day: I love PRO+, I never go without it, and every time I open the supermarket freezer to grab a little bottle I remember the slogan, "The nutritional boost for your everyday life".

In the next article, the camera turns around. The script for the behind-the-scenes video called for a character showing the set where "everyone grabbed a Prat's PRO+ to try", from the camera crew to wardrobe. The published video was shot on the soccer field, in selfie format, with the women's team holding the little bottles. I will tell that story and, with it, take the time to introduce Claque Filmes, the production company that turned script pages into a campaign.