Warm & Fuzzy is a US-based creative company making animation, VFX, design, and live experiences for leading brands like Bose, Under Armour, McLaren F1, and Crocs. Almost every new client conversation now happens on a video call, which means the first sample of their craft a client sees is a deck. The studio has built a library of around 100 modular case studies in Pitch that any producer can assemble into a tailored presentation, and it runs the same system through every project from kickoff to final review.

That system didn’t happen by accident. It was built piece by piece to solve a specific problem: How do you make a deck feel like the work?

Presenting to a grid of faces

Most of Warm & Fuzzy’s work arrives by referral, with the rest coming from their own outreach and a couple of sales reps. Whichever route a client takes, the initial meeting looks the same. Cofounder & Creative Director Andrew Jerez shares that roughly 98% of client meetings are now on video calls.

“To be discussing something and not have a visual to present is very stale.”

This changes what a deck has to do. Presenting in a room, the conversation often carries itself. On a virtual call, it doesn’t.

“To be discussing something and not have a visual to present is very stale. We never have a presentation without a deck,” Andrew says.

For a studio whose product is motion, the visual expectations are high. The deck has to carry the work, playing animations at full quality so clients can judge what they’re buying.

A suite of case studies

Previous work is one of the best ways to show what an agency can do. This is why, upon completion of a project, Warm & Fuzzy builds a short case study deck for each client. Bose gets one. McLaren gets one. Pearl Jam gets one. Each is a self-contained mini story to inspire future collaborations: the brief, the process, and the finished work.

There are now around 100 case studies, organized in folders, from which the team can pick and choose which best to drop into their pitches for maximum impact. “The whole folder system is really helpful,” says John Bashyam, Cofounder & Creative Director. There are templates for each type of deck the studio produces, so a new case study starts from the right layouts, design patterns, and brand assets instead of a blank slide.

A library of case studies means nothing if the work inside them doesn’t play in high res on the slide. Before Pitch, the team was on Google Slides, exporting loops as GIFs and losing quality, or uploading a video and getting the player UI on top of it. “In hindsight, it was terrible,” Andrew says. “It would take forever to load in the presentation because you had to upload it to Drive, and there were permission issues.”

Grace Parsons, a producer at Warm & Fuzzy, assembles most of these on a weekly basis. “Being able to mute, loop, or autoplay really quickly saves a lot of time. I haven’t seen any other platform handle it like that,” she says.

“Being able to mute, loop, or autoplay really quickly saves a lot of time.”

Custom fonts matter for the same reason. “In Pitch, you can actually use your brand fonts,” John says, “instead of having to choose some random font that’d degrade the brand.”

Modular by design

When a pitch comes up, nobody starts from scratch, and nobody sends the whole library. The team opens their capabilities deck, goes to the work section, and pulls in five case studies from the folder based on who they’re presenting to. So a snack brand, for instance, sees different work than an F1 team does.

The rest of the deck stays modular too. Sometimes it’s a straight capabilities pitch covering who they are and what they do. Sometimes it’s a proposal built around a specific project, with ideas and references. The components stay the same while the assembly changes to fit the brief.

There’s a team of people for each of the decks, tagging each other with comments and tasks as they go. When it’s time to present, one person shares their screen and another can take over mid-call with Pitch’s co-present feature.

Winning the project is just the start. Every week, the client gets a review deck containing that week’s output: the VFX, animation, and cuts. The deck isn’t a summary of the week’s work; it contains it.

An educated follow-up

Warm & Fuzzy sends decks from links on their own domain, using Pitch’s custom URLs. “It makes things look more professional,” John says, “when it’s coming from our website.”

Producers check the analytics before reaching out. “We’ll see if clients have opened the presentations and if they’ve looked at certain slides,” Grace says. “If they’re not responding, but we know they’ve seen it, we’re in a better place to follow up.”

“The deck itself is part of our portfolio.”

“Clients will see our deck and say it’s really well-designed and well-made. The deck itself is, in a way, part of our portfolio,” John says. “And that’s us putting our best foot forward.”

Taking the pain out of a rebrand

In 2026, Warm & Fuzzy celebrated their tenth anniversary with a rebrand. Brand fonts, colors, and elements went into the library, and the templates were rebuilt around the new system.

Then came the back catalog. “We’re updating a hundred case studies,” John says. Andrew has been using Pitch’s AI capabilities for parts of the cleanup, including instantly renumbering pages across decks, which used to take forever.

A rebrand of this size usually means a freeze: nothing goes out until everything is updated. But because the new fonts, colors, and templates sit in the library, everything the team builds from here is on brand by default. And each case study is a separate deck, so the catalog can be rebuilt in the background while everything they’re actively pitching is already on the new brand.

Showing up the way the work deserves

Pitch has removed a lot of the friction that was getting in the way of Warm & Fuzzy showcasing their best work: “All the things Google Slides lacks, Pitch has fixed,” John says. “And it’s design-focused, which is important to us.”

For a studio that sells motion, a deck can’t just describe the work. It has to showcase it at full quality, tailored for the person receiving it. The team built a library so that showing up that way costs them minutes rather than days, and so every pitch meets the standard they’d put their name on. After all, when your craft is the product, a presentation is proof of what you’re capable of.

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