Live for the Story – Canon

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From the source:

Working closely with VCCP, directing collective MEGAFORCE and Riff Raff, The Mill helped to create this feel-good piece for Canon which uses the power of light and darkness to explore the concept of living life to the full.

The spot depicts a variety of settings from a residential street to a water slide, a hospital and an open field as they transform from darkness into light as the protagonist in each scene moves through.

This bold transition makes for a compelling and stylish ad that brings to life Canon’s message ‘Live for the story’.

Using complex VFX techniques, The Mill’s 2D and 3D teams we able to enhance this unique look, whilst ensuring a sense of authenticity using hidden effects.

Mill Shoot Supervisor on the job Ben Turner explains, ‘This was a thoroughly challenging job but a true collective effort which saw everyone working together to create something original and distinctive.

On shoot, we worked closely with Director Of Photography Kasper Tuxen and MEGAFORCE to determine how best to represent this shift, deciding at what time of day to shoot. We decided to shoot at dusk to give us more flexibility later, enabling us to play with light and shadows. We also knew how important the grade would be so we wanted to leave as much room for Mill Colourist Mick Vincent to really bring it all together.

Many of the original shots were altered due to various set backs on the day of the shoot, meaning we had to all work creatively together to reinvent parts of the original concept, building a lot of the scenes in 3D, including the water slide scene and hospital shot.

It was a tight turnaround with many challenges but a real pleasure to work with MEGAFORCE so closely and Director Of Photography Kasper Tuxen who all made it a really enjoyable process.’

Mill Colourist Mick Vincent explains, ‘This was a technically complex grade that required all parties in the process to work closely to get the final result.

Great attention was paid to balancing the shades to give the impression of dark and light, whilst not a classic ‘day for night’ grade.

We started with the idea of two passes but it soon became obvious that I needed to mock up the grades to balance the illusion, imagine looking into a bright light and guessing what was behind it. It was quite surprising how I ended up having to grade each element.’

Agency – The Mill


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