Film Campaign · 2026 · Treatments & Storyboards

Five films for the pharmacies that keep their doors open.

A connected campaign for Strategic Pharmacy Partners — one flagship brand film and four product films, each with its own town, its own cast, and its own argument. Every frame below is a finished keyframe; every shot carries its voiceover cue and its motion design for animation.

5Films
45Shots
45Frames rendered
~10:30Total runtime
01
Video 1 - BRAND FILM

Why We Built Strategic Pharmacy Partners

RUNTIME 2:45–3:00 Netflix documentary / Apple keynote cinematography 12/12 FRAMES

Every morning, thousands of independent pharmacy owners unlock their doors — not because it is easy, but because their communities depend on them. This is the film that says: we see you, because we are you.

The World

THE OAKDALE FLAGSHIP — a brick corner pharmacy on an American Main Street: forest-green awning lettered in gold, black-steel glazing, a honey counter front, and the SPP office upstairs where the platform was built.

The Cast

MIKE, owner-pharmacist, fifties, the steady center of the store · THE FOUNDER, a twenty-year pharmacy veteran telling the story of why SPP exists.

The flagship world the client has already approved — expanded from eight to twelve shots: the counter consult, the founder’s photo wall, the listening tour, and the next-morning closing shot.

Storyboard

12 shots · editorial order
Sunrise over Main Street 01
BF-1
SCENE 1 · THE MORNING
Sunrise over Main Street
“Every morning… thousands of independent pharmacy owners unlock their doors. Not because it’s easy. But because their communities depend on them.”
MOTION — Slow aerial push toward the pharmacy corner as the sunrise brightens a stop and the first interior light flips on. Locked axis, no cuts, town stable, gentle drift only.
8s
The Unlock — lights come on 02
BF-2
SCENE 1 · THE MORNING
The Unlock — lights come on
No narration for the first 3–4 seconds. Just ambient sound. The music begins quietly.
MOTION — Static camera from inside the dark store. The owner opens the door, morning light floods across the floor, he reaches in and the first bank of lights comes on. No cuts, no morphing.
6s
The Opening Ritual 03
BF-3
SCENE 1 · THE MORNING
The Opening Ritual
“And every morning, many quietly wonder… how much longer can we keep doing this?”
MOTION — Slow lateral dolly past the counter as the team works the opening: coffee pours, baskets fill, a technician waves at the first patient through the glass. Natural motion, no cuts.
8s
Why They Stay — the counter consult 04
BF-9
SCENE 1 · WHY THEY STAY
Why They Stay — the counter consult
The answer in one gesture — the consultation a call center never gives.
MOTION — Static camera, warm. Mike leans on the counter explaining a label to the elderly patient; she pats his hand once as she leaves. No cuts, identity stable.
6s
The Reality — the desk at 6pm 05
BF-4
SCENE 2 · THE REALITY
The Reality — the desk at 6pm
“Reimbursements continue to fall. Costs continue to rise. Regulations become more complex.”
MOTION — Slow push over the desk through the paper battlefield; the phone rings and its light blinks; dust drifts in the lamp light. Locked frame otherwise, no cuts.
6s
After Close — how much longer 06
BF-5
SCENE 2 · THE REALITY
After Close — how much longer
“Yet every day… pharmacists continue doing what they’ve always done. They take care of people.”
MOTION — Ultra-slow push down the dark aisle toward the office window glow. The owner at his desk in the far pool of lamplight rubs his eyes once. Nothing else moves. No cuts.
8s
Twenty Years on the Wall 07
BF-10
SCENE 3 · OUR JOURNEY
Twenty Years on the Wall
“We’ve spent more than twenty years in pharmacy.” — a career told in framed photographs.
MOTION — Slow lateral dolly along the photo wall; each frame catches the light in turn; the two men's reflections ghost across the glass. No cuts.
6s
Twenty Years on the Floor 08
BF-7
SCENE 3 · OUR JOURNEY
Twenty Years on the Floor
“We’ve owned pharmacies… worked with pharmacy owners across America.”
MOTION — Documentary follow at walking pace behind the two men down the aisle; the owner gestures at the shelves as he talks; natural stride, no cuts, stable architecture.
6s
The Listening Tour 09
BF-11
SCENE 3 · THE LISTENING TOUR
The Listening Tour
The founder at a back-room roundtable — the listening that became the blueprint.
MOTION — Slow push into the roundtable; three owners talk over each other kindly, the founder writes one more line; coffee pours. Documentary energy, no cuts.
6s
@spp_office — the realization room 10
BF-6
SCENE 4 · THE REALIZATION
@spp_office — the realization room
“The biggest problems in pharmacy were never isolated. Purchasing affects profitability. Profitability affects staffing. Staffing affects patient care.”
MOTION — Slow dolly across the war room; the wall dashboard trend line draws; one team member pins a note; morning light crawls a few inches. No cuts.
6s
The Platform — everything connected 11
BF-8
SCENE 5 · BUILDING THE PLATFORM
The Platform — everything connected
“We didn’t need another product. We needed a better way to help independent pharmacies succeed.”
MOTION — Slow push to the counter as the four holographic nodes light in sequence and the connecting threads draw between them; the store holds still. No cuts, panels stable.
8s
The Next Morning — closing shot 12
BF-12
SCENE 5 · THE NEXT MORNING
The Next Morning — closing shot
The closing image: the same corner, the door opening on a store with a future. Endcard bed.
MOTION — Slow push to the storefront; the CLOSED sign flips to OPEN; the awning takes the sun; the day begins again — stronger. No cuts.
8s
02
VIDEO 2 - SKRY

The Hidden Cost of Pharmacy Purchasing

Treatment — “The 11:47 Problem”
RUNTIME ~2:15 Product film · deadline thriller restraint 8/8 FRAMES

Thirteen minutes before the wholesaler’s noon cutoff, Dana — owner, pharmacist, and the entire purchasing department — is still doing the math alone. SKRY gives her the morning back.

The World

LAKESHORE PHARMACY — a 1990s strip-mall store in a Great Lakes town: drop-tile ceilings, beige VCT, a drive-thru lane, grey lake light, and the office nook where the owner does the buying.

The Cast

DANA, 44 — auburn bob with first grey, readers pushed up into her hair, navy cardigan, Dansko clogs. The energy of a woman running two jobs at once.

An original world and cast for the SKRY story — the deadline made physical (the 11:47 clock), the hidden cost made visible (red ink on the invoice), and the product introduced as light entering the room.

Storyboard

8 shots · editorial order
Lakeshore — the strip-mall pharmacy 01
SK2-1
SCENE 1 · LAKESHORE
Lakeshore — the strip-mall pharmacy
“Every day, independent pharmacies make hundreds of purchasing decisions… most without knowing whether they’re making or losing money.”
MOTION — Slow lateral dolly across the storefronts; the pharmacy's window glows warm between a dark nail salon and a lit laundromat; one gull crosses the lot. No cuts.
6s
Dana — the owner who does the buying (ANCHOR) 02
SK2-2
SCENE 1 · THE BUYER
Dana — the owner who does the buying (ANCHOR)
“Meet Dana. Owner, pharmacist… and the entire purchasing department.”
MOTION — Static camera. Dana at the nook desk mid-morning: pen down, one hand flat on a wholesaler catalog, the other holding her glasses, looking at the math only she does. No cuts.
6s
11:47 — the cutoff clock 03
SK2-3
SCENE 2 · 11:47
11:47 — the cutoff clock
“Multiple wholesalers. Multiple contracts. Hundreds of thousands of products. And a cutoff that doesn’t wait.”
MOTION — Slow push over her shoulder to the catalog and the clock; the minute hand ticks to 11:47; her pen hovers over a line item. No cuts, identity stable.
5s
The Invoice That Pays Less Than It Costs 04
SK2-4
SCENE 2 · THE HIDDEN COST
The Invoice That Pays Less Than It Costs
“Sometimes the reimbursement is less than what the drug costs to buy. The pharmacy pays to fill the prescription.”
MOTION — Macro lateral dolly across the invoice columns; the focus lands on one red negative line and holds; her thumb enters frame and covers it — a small human gesture. No cuts.
6s
SKRY — the purchasing brain, introduced 05
SK2-5
SCENE 3 · SKRY
SKRY — the purchasing brain, introduced
“SKRY analyzes pricing, contracts, secondaries, and reimbursement — and recommends the best purchasing decision.”
MOTION — Static camera. The monitor comes alive: the SKRY dashboard draws its columns — price intelligence, gaps flagged, one order suggestion building. Text stable, no cuts.
6s
Two Minutes, Done — order placed 06
SK2-6
SCENE 3 · TWO MINUTES
Two Minutes, Done — order placed
“What to buy. Where to buy it. When to buy it. And most importantly… why.”
MOTION — Static camera, warm. Dana leans back, both hands leaving the keyboard, a breath out; the monitor shows one clean confirmation. The mug lifts. No cuts, identity stable.
6s
Back at the Counter — the point 07
SK2-7
SCENE 4 · THE POINT
Back at the Counter — the point
“The goal isn’t to replace your buyers. It’s to give them their mornings back.”
MOTION — Slow dolly at the pickup ledge: Dana mid-consult with a young mother, a carseat-carrier at her feet; the drive-thru tube whooshes softly behind. No cuts, identity stable.
6s
The Hidden Cost — endcard 08
SK2-8
ENDCARD
The Hidden Cost — endcard
THE HIDDEN COST OF PHARMACY PURCHASING — NOW VISIBLE.
MOTION — Static camera. The SPP mark resolves over the dark storefront twilight; the tagline types itself below; hold. No cuts, text stable.
5s
03
VIDEO 3 - GPO

The Money You’re Losing Before You Fill the Prescription

Treatment — “One Prescription’s Math”
RUNTIME ~1:30 Offer film · western plain-spoken 8/8 FRAMES

On a counter in mountain-west nowhere, one prescription’s whole economics in three objects: what the store paid, what it was paid, and the empty inch between them. Group purchasing closes the gap.

The World

CEDAR FALLS PHARMACY — a mountain-west Main Street institution: knotty-pine walls, a mounted trout, incandescent pendants, a rocking-chair waiting area, and real mountains beyond the rooftops.

The Cast

RAY, 63 — silver mustache, cream canvas cap worn indoors, quilted olive vest, turquoise ring. The unhurried authority of a man who has filled three generations’ prescriptions.

The GPO argument re-grounded in the rural west — where one wholesaler contract is the whole ballgame. The spread made physical, then the recovered margin made tangible: a new refrigeration unit and a third generation of customers.

Storyboard

8 shots · editorial order
Cedar Falls — delivery morning 01
GP2-1
SCENE 1 · DELIVERY MORNING
Cedar Falls — delivery morning
“Everyone talks about reimbursement. Almost nobody talks about purchasing.”
MOTION — Slow push down Main Street; the wholesaler truck idles at the curb, a hand truck of totes crosses the sidewalk, breath in the cold air. No cuts.
6s
One Prescription's Math 02
GP2-2
SCENE 1 · ONE PRESCRIPTION’S MATH
One Prescription's Math
“Before a single prescription is filled, the margin is already decided.”
MOTION — Macro top-down: the vial, the receipt, the invoice line — three objects laid in a row on knotty pine; Ray's weathered finger taps the gap. No cuts.
6s
Ray — the back counter anchor (ANCHOR) 03
GP2-3
SCENE 2 · RAY
Ray — the back counter anchor (ANCHOR)
“Meet Ray. Sixty-three. Three generations of this town’s prescriptions… and one wholesaler contract.”
MOTION — Static camera. Ray at the back counter with the wholesaler catalog and a mug of black coffee, cap on, glasses on their lanyard, mid-read. No cuts.
6s
What the Chains Pay vs. What Ray Pays 04
GP2-4
SCENE 2 · THE SPREAD
What the Chains Pay vs. What Ray Pays
“The money you’re losing… you’re losing before you fill the prescription.”
MOTION — Static camera. The comparison panel materializes over the back counter: two price columns, one gap bar growing between them. Text stable, no cuts.
6s
Four Hundred Stores, One Voice 05
GP2-5
SCENE 3 · ONE VOICE
Four Hundred Stores, One Voice
“We’ve negotiated purchasing agreements that give independents the buying power of much larger organizations.”
MOTION — Slow aerial drift over a dusk valley; scattered storefront dots brighten one by one across the dark geography; their pooled glow gathers above the valley like a second dusk. No cuts.
6s
The Phone Call — somebody in his corner 06
GP2-6
SCENE 3 · SOMEBODY IN YOUR CORNER
The Phone Call — somebody in his corner
“You can’t control reimbursement. But you can absolutely control acquisition cost.”
MOTION — Slow push on Ray at the back counter, phone to his ear, mid-laugh at something the SPP negotiator said; the pencil drops from his hand. No cuts, identity stable.
6s
Where the Money Goes Instead 07
GP2-7
SCENE 4 · REINVESTED
Where the Money Goes Instead
“And the money you recover goes where it belongs — back into your store, your staff, your town.”
MOTION — Documentary two-shot: Ray at the register handing a paper bag across to a young ranch-hand father; a NEW refrigeration unit hums behind the counter, its install tag still on. No cuts.
6s
Before You Fill the Prescription — endcard 08
GP2-8
CTA · FREE PURCHASING COMPARISON
Before You Fill the Prescription — endcard
“If we can’t improve it, we’ll tell you. If we can… you’ll know exactly what you’re leaving on the table.”
MOTION — Static camera. Main Street at full dusk, the pharmacy windows the last warm light; the SPP mark resolves; the closing line types. No cuts, text stable.
5s
04
VIDEO 4 - RPM

The Future of Pharmacy Isn’t More Prescriptions

Treatment — “Walter’s Week”
RUNTIME ~2:00 Program film · warm observational 8/8 FRAMES

Monday’s routine, Thursday’s wrong number, Friday’s pharmacist who already knows, Saturday’s rocking horse. One week of a widower’s life — and the quiet system that protected it.

The World

WALTER’S RANCH HOUSE — a single-story on a county road: a covered porch, a wood-paneled den, a kitchen with one place setting, and the garage woodshop where a rocking horse is taking shape.

The Cast

WALTER, 72 — widower, retired shop teacher, white stubble and still-strong hands. Dignity, never frailty. · PRIYA, 42 — his pharmacist, who knows his name and his numbers.

RPM told as days of the week, not features — the program’s value is the week it protects. The one holographic intrusion (Thursday’s flag) is deliberately small: the humans are the interface.

Storyboard

8 shots · editorial order
The Ranch House — Monday, 7:40 AM 01
RP2-1
SCENE 1 · MONDAY
The Ranch House — Monday, 7:40 AM
“The future of pharmacy isn’t filling more prescriptions. It’s taking care of patients between prescriptions.”
MOTION — Slow push up the county road toward the porch; kitchen light on, chimney smoke, one porch chair still rocking from the breeze. No cuts.
6s
Walter — the morning readings (ANCHOR) 02
RP2-2
SCENE 1 · THE ROUTINE
Walter — the morning readings (ANCHOR)
“Meet Walter. Seventy-two. His health managed the way he runs his shop — by routine.”
MOTION — Static camera, intimate. Walter at the kitchen table pricks a finger, waits, watches the meter; the radio murmurs; his wife's photo on the fridge. No cuts.
6s
The Shop — what the week is for 03
RP2-3
SCENE 2 · THE WEEK
The Shop — what the week is for
“This is what good weeks are made of.”
MOTION — Slow dolly through the woodshop; sawdust drifts in the work light; Walter's hands guide a board through the saw; the half-finished rocking horse waits on the bench. No cuts.
6s
Thursday — the number that changed 04
RP2-4
SCENE 3 · THURSDAY
Thursday — the number that changed
“Remote monitoring sees what the house can’t say.”
MOTION — Static camera. The morning routine again — but the meter's number is wrong, and Walter's face does one small thing; across the frame, the RPM dashboard flags it amber. No cuts.
6s
The Call Comes to Him 05
RP2-5
SCENE 3 · THE CALL
The Call Comes to Him
“Before Walter decided whom to call… the phone rang.”
MOTION — Slow push as the phone rings and Walter answers; his posture changes across the call — the frown unwinding as somebody who knows his name talks him through it. No cuts.
8s
Friday — Priya already knows 06
RP2-6
SCENE 4 · FRIDAY
Friday — Priya already knows
“Your pharmacy earns recurring revenue while strengthening the relationships it’s built on.”
MOTION — Documentary two-shot at a small-town pharmacy counter; Priya slides the bag across and holds it a beat, talking; Walter listens, cap in hand. No cuts, identity stable.
6s
Saturday — the rocking horse 07
RP2-7
SCENE 5 · SATURDAY
Saturday — the rocking horse
“The best part… we do almost everything.”
MOTION — Slow push into the shop; the grandson rocks the finished horse for the first time, Walter steadying it with one hand; sawdust still in the air. No cuts, identity stable.
8s
Isn't More Prescriptions — endcard 08
RP2-8
ENDCARD · SEE IF YOUR PATIENTS QUALIFY
Isn't More Prescriptions — endcard
THE FUTURE OF PHARMACY ISN’T MORE PRESCRIPTIONS.
MOTION — Static camera. The ranch house at dusk, every window warm; the SPP mark resolves; the closing line types. No cuts, text stable.
5s
05
VIDEO 5 - Consulting

The Most Expensive Problems Are Usually Invisible

Treatment — “The Fresh Eyes”
RUNTIME ~2:00 Services film · matched-pair before/after 9/9 FRAMES

A second-generation owner running four jobs alone, a consultant who has walked four hundred pharmacy floors, and the back room where twenty years of habit hid the store’s money.

The World

ALVARADO PHARMACY — an urban neighborhood institution: pressed-tin ceilings, terrazzo floors worn down the center path, a rolling ladder, and the father’s vintage neon Rx still burning in the window.

The Cast

MARIA, 38 — second-generation owner, her father’s lanyard around her neck. · DR. SIMONE, 52 — the consultant: silver-streaked twist-out, camel overcoat, a leather notebook, and fresh eyes.

Consulting sold through MATCHED PAIRS — the same shelf, the same counter, the same Tuesday, ninety days apart. Nothing renovated; everything seen. The camera itself gets calmer as the store gets healthier.

Storyboard

9 shots · editorial order
Alvarado — the neighborhood institution 01
CS2-1
SCENE 1 · THE INSTITUTION
Alvarado — the neighborhood institution
“Every pharmacy owner is busy. That’s exactly why problems hide in plain sight.”
MOTION — Slow push down the block; the neon Rx buzzes once in the window; the door bell jingles as a regular enters; morning deliveries crowd the curb. No cuts.
6s
The Back Room — where the money hides 02
CS2-2
SCENE 2 · THE INVISIBLE MONEY
The Back Room — where the money hides
“Inventory. Workflow. Labor. PBMs. The opportunities you can’t see from inside the business.”
MOTION — Slow macro dolly along the overstock shelves; dust on the top row, three bottles of the same slow-mover, a returns box never shipped. The camera sees what habit can't. No cuts.
6s
Maria — running it alone (ANCHOR) 03
CS2-3
SCENE 2 · MARIA
Maria — running it alone (ANCHOR)
“Meet Maria. Second generation. Four jobs, every day, alone.”
MOTION — Handheld documentary at the counter: Maria juggles phone, pickup line, and a wholesaler rep's invoice; the register tape curls; she never drops the thread. No cuts.
6s
The Fresh Eyes — Simone's first walk 04
CS2-4
SCENE 3 · THE FRESH EYES
The Fresh Eyes — Simone's first walk
“Every engagement starts with understanding your business first.”
MOTION — Documentary two-shot walking the center aisle; Simone pauses, notes something in the leather notebook without comment; Maria watches her see it. No cuts.
8s
The Findings — numbered, priced, kind 05
CS2-5
SCENE 3 · THE FINDINGS
The Findings — numbered, priced, kind
“The biggest gains almost never come from one big change. They come from dozens of small improvements.”
MOTION — Slow dolly across the table: Simone walks Maria through the findings binder, one tab at a time; Maria's pen moves; two cafecitos steam. No cuts, identity stable.
6s
Ninety Days Later — the same shelves 06
CS2-6
SCENE 4 · NINETY DAYS
Ninety Days Later — the same shelves
“Same shelves. Same light. Finally seen.”
MOTION — The same slow macro dolly along the SAME shelving run — now: front rows full and faced, one level of overstock, a returns manifest clipboard where the dead box sat. No cuts.
6s
The New Tuesday — time found 07
CS2-7
SCENE 4 · THE NEW TUESDAY
The New Tuesday — time found
“Revenue up. Expenses down. And a pharmacist with time to be a pharmacist.”
MOTION — Documentary two-shot at the counter: Maria, coat ON, mid-consult with the rolling-cart regular — unhurried for the first time in the film; the tech runs the register behind. No cuts.
6s
The Numbers — small fixes, compounded 08
CS2-8
SCENE 4 · THE NUMBERS
The Numbers — small fixes, compounded
“No single big change. Dozens of small ones.”
MOTION — Static camera. The findings panel draws over the counter: five small fixes, each with its recovered figure, one compounding total. Text stable, no cuts.
6s
Two Women, One Bell — CTA close 09
CS2-9
CTA · BOOK A PHARMACY PROFIT REVIEW
Two Women, One Bell — CTA close
“We don’t deliver reports. We build stronger pharmacies.”
MOTION — Slow push to the doorway at golden hour: Simone and Maria shake hands once, then Maria pulls her into the shoulder-pat the neighborhood does instead; the bell jingles over them. No cuts.
8s
45/45 FRAMES LIVE