Streamer of the Edge: Banco Pichincha turned streamers into ball boys

Banco Pichincha gave some of Ecuador’s biggest streamers a new role during two major football matches. They became official ball boys.

Created with Delta MullenLowe, Streamer of the Edge placed the creators beside the pitch for the full 90 minutes. From there, they reacted to the game live and turned unscripted moments into content for their online communities.

The match supplied the action. The touchline gave them the closest possible view.

The Streamers Joined the Ball Crew

Banco Pichincha is a major sponsor of Ecuadorian football. That relationship gave the bank access to an area usually reserved for players, officials, coaches and match staff.

Delta used that access to place streamers inside the game.

The creators worked as part of the ball crew during two of the season’s biggest matches. Meanwhile, they followed everything happening a few metres away and shared their reactions in real time.

A throw-in, a disagreement or an unexpected exchange with a player could become content within seconds.

Furthermore, the streamers did not follow a prepared script. Their job was to respond as fans and creators while performing a real matchday role.

Ninety Minutes Became Social Content

Banco Pichincha wanted to reach younger supporters whose attention moved between football, social media and online creators.

Instead of shortening the match into a collection of clips after it ended, the campaign created another way to experience all 90 minutes.

The streamers remained at the edge of the pitch throughout the game. As a result, their content carried the uncertainty and emotion of live football.

Their position also changed the type of material they could produce. A studio commentator could explain the match. However, a creator beside the touchline could capture the sound, movement and reactions surrounding each moment.

At the same time, followers experienced the match through a familiar voice. The creators brought their personalities, humour and communities into the coverage without turning the game into a formal broadcast.

The Campaign Reached 4.1 Million People

Streamer of the Edge ran across two Ecuadorian football matches.

Together, the content generated 14.6 million impressions and reached 4.1 million people. Furthermore, it produced 654,000 interactions.

Those numbers came from giving creators a role inside the event rather than asking them to promote it from somewhere else.

Each streamer became both a participant and a media channel. Meanwhile, Banco Pichincha appeared through the access and experience it had made possible.

The project also extended beyond the stadium. Reactions from the touchline became social posts that could reach people who were not watching the full match or traditional television coverage.

Therefore, the bank’s football sponsorship gained another layer. It supported the event while also creating a version of it designed for the feed.

The Bigger Point

Streamer of the Edge used the creators’ main skill. Their ability to react quickly when something unexpected happens.

The ball-boy role placed them close enough to the game for those moments to occur naturally. Furthermore, it gave them a reason to be beside the pitch beyond simply filming sponsored content.

Banco Pichincha kept the full match intact. The campaign added another perspective without changing the football itself.

More importantly, the streamers were involved in producing the experience from the beginning. Their role was part of the idea, not an instruction to share a finished advertisement afterwards.

For 90 minutes, the edge of the pitch became a studio.

The game decided what happened next.

Credits

Streamer of the Edge (2026). Banco Pichincha, Ecuador. Agency: Delta MullenLowe. Banco Pichincha team: Sebastián Ricaurte, Tamara Espinoza, Ximena Decker, Nicole Guschmer, Iván Benavides and Patricia Villarruel. Agency leadership: Pablo Salazar Guerrero, Juan Ignacio Gallego, André Pedroso, Marco Tapia, Rodrigo Uribe, José Lizarzaburu, Leonardo Jurado and Eduardo Carvajalino. Creative Director: Alexandra Vaca. Art Director: Sebastián Echeverría. Copywriters: Jorge Poveda, Robert Pirela, Ana Lucía del Hierro and Ignacio Feliu. Design: Andrés Mendoza and Karina Tenorio. Accounts: Karen Ospina and Alejandra Pintado. Production: Julieta Kropivka, Gabriel Narváez and Margarita Rodas. Production company: Bang Motion & Films. Executive Producer: Alberto Tapia. Director: Julian Tapia. Influencer agency: Atis. Media agency: Right Angle Media. Market: Ecuador. Launch: January 2026. Results: 14.6 million impressions, 4.1 million people reached and 654,000 interactions.