Love the characters.
Remember the bakery.

Stories at Butter & Bread revolve around Shelly and her colleagues, with regular customers joining their everyday moments. Noor follows rules earnestly; the Filipina colleague with glasses brings energy, while her cool-headed Filipino male colleague keeps his replies measured. Yousef, his son and an Indian regular turn ordinary orders into lively exchanges. Reem remains a familiar multilingual customer.

Shelly

Warm and capable, with a serious streak. She looks after customers and knows how to meet a colleague’s joke.

Noor

A new team member who is earnest and direct. She can read a rule too literally, then correct herself when she spots what she missed.

The colleague with glasses

Warm and energetic, with a distinctive low bun and black frames. Small misunderstandings between colleagues often begin with her.

The Filipino colleague

Calm and stylish. His measured one-liners can turn a counter conversation in a new direction.

Yousef

Good-humoured and gracious. He makes clear requests and takes a joke in stride. “One is enough, my friend.”

Yousef’s son

Curious and candid, he asks what comes to mind and often spots a flaw in the logic before the adults do.

The Indian regular

Warm and upbeat, he turns friendly bargaining into a little game. The humour comes from the deal and the reactions.

Reem

A multilingual regular who loves to help people communicate, sometimes making the moment even livelier.

Only filming products (cake close-ups, how they are made, and new arrivals) can sustain daily posts, but it is hard to make strangers stop, remember you, and share with others.

→ What this shows: light sketches with recurring characters have been proven to attract large amounts of organic traffic on both overseas and Chinese platforms.

Animation shapes the brand’s visual feel. Real product and health information uses materials and wording confirmed by the bakery.

(Each sample comes with 3–4 storyboard images, to be included in the layout.)

One person means a quick greeting. The other has three things to explain.

Story and setting are visual concepts. Actual products in the finished films use bakery-approved materials.

Reem is arranging a family photo on a call. Noor carefully lines up the people standing outside it.

Story and setting are visual concepts. Actual products in the finished films use bakery-approved materials.

His family says “open it later”; hers opens gifts in front of the giver. The polite words hide an impatient wish.

Story and setting are visual concepts. Actual products in the finished films use bakery-approved materials.

Her friend asked for a short text tomorrow. Noor sends a long voice note and defends it with a rule she wrote herself.

Story and setting are visual concepts. Actual products in the finished films use bakery-approved materials.

The humour comes from rules, needs and reactions—not accents or identity. Colleagues share everyday moments at the counter, regulars bring specific little situations, and a child’s question can reveal the logic the adults missed.

Shelly

Her signature updo and coral-pink band remain, paired with a cream uniform and bakery name badge. She steadies the counter and looks after customers.

Noor

Her glasses and headscarf remain, now in sage green with the shared uniform. Her earnestness can take a small rule all the way to its logical extreme.

The characters are fictional. Real bakery and product visuals will use materials approved by the shop.

The story starts with “On average, I’m on time.” Noor applies the same logic to a cake, coffee and croissants, before the pay-envelope reversal. These boards communicate composition and performance; the finished film will be edited as shots rather than shown as reference sheets.

Noor hurries into the bakery as the clock reads 9:10. Shelly says she is ten minutes late. Noor explains that she arrived ten minutes early yesterday, so “on average, I’m on time.” Shelly looks at her and offers an apron.

A visual and pacing sample for discussing the characters, setting and story direction.

All four passed the fourth-round review and are candidates for discussion. Filming plans depend on the direction both sides choose.

Selected work: I’m from Hunan · Open original video

The cross-platform reference shows the appeal of characters and stories. Shelly’s English dialogue and Dubai setting still need their own treatment.

Fees to be discussed in person

Review shares, profile visits and store enquiries together before deciding on the next phase.

When people remember those familiar faces, they remember Shelly.