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willinnessmith
Will Innes Smith
Director | BAFTA Member | Creative Director | Representation @armourylondon
That time a few folks from Zurich turned up with the World Cup. Yep, the actual World Cup... a job that spanned months, pushed my resolve creatively and at times physically… where to start?
First and foremost, with a long list of amazing people without whom this project simply wouldn’t have been possible.
Top of that list, our producer Mark Gibbons, who picked up the baton without hesitation, constantly lifted spirits and kept us afloat on the choppiest of seas. To Chris Clarke, who treated this job with the craft, care, and attention to detail of a film with ten times the budget.
To Jamie Sims and the team at Mars Studios, who facilitated the use of their Volume Studio, an incredible space that far exceeded what I imagined at the start of the project… not to mention their support, dedication, and professionalism throughout pre-production and the shoot itself.
To Nancy Kane – our stylist – for her imagination and creativity in fusing vintage shirts from the 80s and 90s with a twist of what’s to come in 2026. Big thanks also to Classic Football Shirts for supplying the vintage kits that brought this vision to life. Can’t express how grateful I am for their involvement.
To the best stylist out there, Tom Lipop, for making it all happen.
To the wonderful Charlie Hippsley, our production designer, who over-delivered on every set-up while spinning a thousand other plates – all with his trademark smile.
To Lucas Harding, for sticking with me, supporting everyone, and keeping everything on track when it needed to be.
To my brother Tommy Smith for his macro attention to detail with the footage, to Dunc East and the team at Buzz 16 for the opportunity.
To the team at FIFA for their trust and for allowing us all to meet the trophy.
To John Green for the brilliant sound design and to the team at Universal Production Music for the amazing track.
And finally, to the cast – I’ll mention you all individually in further posts, but thank you for being so wonderful. You brought a level of production value far beyond what I thought we could muster. Thanks for your trust, patience, and in most cases, the chance to work together again. You lit it up.
That time a few folks from Zurich turned up with the World Cup. Yep, the actual World Cup... a job that spanned months, pushed my resolve creatively and at times physically… where to start?
First and foremost, with a long list of amazing people without whom this project simply wouldn’t have been possible.
Top of that list, our producer Mark Gibbons, who picked up the baton without hesitation, constantly lifted spirits and kept us afloat on the choppiest of seas. To Chris Clarke, who treated this job with the craft, care, and attention to detail of a film with ten times the budget.
To Jamie Sims and the team at Mars Studios, who facilitated the use of their Volume Studio, an incredible space that far exceeded what I imagined at the start of the project… not to mention their support, dedication, and professionalism throughout pre-production and the shoot itself.
To Nancy Kane – our stylist – for her imagination and creativity in fusing vintage shirts from the 80s and 90s with a twist of what’s to come in 2026. Big thanks also to Classic Football Shirts for supplying the vintage kits that brought this vision to life. Can’t express how grateful I am for their involvement.
To the best stylist out there, Tom Lipop, for making it all happen.
To the wonderful Charlie Hippsley, our production designer, who over-delivered on every set-up while spinning a thousand other plates – all with his trademark smile.
To Lucas Harding, for sticking with me, supporting everyone, and keeping everything on track when it needed to be.
To my brother Tommy Smith for his macro attention to detail with the footage, to Dunc East and the team at Buzz 16 for the opportunity.
To the team at FIFA for their trust and for allowing us all to meet the trophy.
To John Green for the brilliant sound design and to the team at Universal Production Music for the amazing track.
And finally, to the cast – I’ll mention you all individually in further posts, but thank you for being so wonderful. You brought a level of production value far beyond what I thought we could muster. Thanks for your trust, patience, and in most cases, the chance to work together again. You lit it up.
That time a few folks from Zurich turned up with the World Cup. Yep, the actual World Cup... a job that spanned months, pushed my resolve creatively and at times physically… where to start?
First and foremost, with a long list of amazing people without whom this project simply wouldn’t have been possible.
Top of that list, our producer Mark Gibbons, who picked up the baton without hesitation, constantly lifted spirits and kept us afloat on the choppiest of seas. To Chris Clarke, who treated this job with the craft, care, and attention to detail of a film with ten times the budget.
To Jamie Sims and the team at Mars Studios, who facilitated the use of their Volume Studio, an incredible space that far exceeded what I imagined at the start of the project… not to mention their support, dedication, and professionalism throughout pre-production and the shoot itself.
To Nancy Kane – our stylist – for her imagination and creativity in fusing vintage shirts from the 80s and 90s with a twist of what’s to come in 2026. Big thanks also to Classic Football Shirts for supplying the vintage kits that brought this vision to life. Can’t express how grateful I am for their involvement.
To the best stylist out there, Tom Lipop, for making it all happen.
To the wonderful Charlie Hippsley, our production designer, who over-delivered on every set-up while spinning a thousand other plates – all with his trademark smile.
To Lucas Harding, for sticking with me, supporting everyone, and keeping everything on track when it needed to be.
To my brother Tommy Smith for his macro attention to detail with the footage, to Dunc East and the team at Buzz 16 for the opportunity.
To the team at FIFA for their trust and for allowing us all to meet the trophy.
To John Green for the brilliant sound design and to the team at Universal Production Music for the amazing track.
And finally, to the cast – I’ll mention you all individually in further posts, but thank you for being so wonderful. You brought a level of production value far beyond what I thought we could muster. Thanks for your trust, patience, and in most cases, the chance to work together again. You lit it up.
That time a few folks from Zurich turned up with the World Cup. Yep, the actual World Cup... a job that spanned months, pushed my resolve creatively and at times physically… where to start?
First and foremost, with a long list of amazing people without whom this project simply wouldn’t have been possible.
Top of that list, our producer Mark Gibbons, who picked up the baton without hesitation, constantly lifted spirits and kept us afloat on the choppiest of seas. To Chris Clarke, who treated this job with the craft, care, and attention to detail of a film with ten times the budget.
To Jamie Sims and the team at Mars Studios, who facilitated the use of their Volume Studio, an incredible space that far exceeded what I imagined at the start of the project… not to mention their support, dedication, and professionalism throughout pre-production and the shoot itself.
To Nancy Kane – our stylist – for her imagination and creativity in fusing vintage shirts from the 80s and 90s with a twist of what’s to come in 2026. Big thanks also to Classic Football Shirts for supplying the vintage kits that brought this vision to life. Can’t express how grateful I am for their involvement.
To the best stylist out there, Tom Lipop, for making it all happen.
To the wonderful Charlie Hippsley, our production designer, who over-delivered on every set-up while spinning a thousand other plates – all with his trademark smile.
To Lucas Harding, for sticking with me, supporting everyone, and keeping everything on track when it needed to be.
To my brother Tommy Smith for his macro attention to detail with the footage, to Dunc East and the team at Buzz 16 for the opportunity.
To the team at FIFA for their trust and for allowing us all to meet the trophy.
To John Green for the brilliant sound design and to the team at Universal Production Music for the amazing track.
And finally, to the cast – I’ll mention you all individually in further posts, but thank you for being so wonderful. You brought a level of production value far beyond what I thought we could muster. Thanks for your trust, patience, and in most cases, the chance to work together again. You lit it up.
That time a few folks from Zurich turned up with the World Cup. Yep, the actual World Cup... a job that spanned months, pushed my resolve creatively and at times physically… where to start?
First and foremost, with a long list of amazing people without whom this project simply wouldn’t have been possible.
Top of that list, our producer Mark Gibbons, who picked up the baton without hesitation, constantly lifted spirits and kept us afloat on the choppiest of seas. To Chris Clarke, who treated this job with the craft, care, and attention to detail of a film with ten times the budget.
To Jamie Sims and the team at Mars Studios, who facilitated the use of their Volume Studio, an incredible space that far exceeded what I imagined at the start of the project… not to mention their support, dedication, and professionalism throughout pre-production and the shoot itself.
To Nancy Kane – our stylist – for her imagination and creativity in fusing vintage shirts from the 80s and 90s with a twist of what’s to come in 2026. Big thanks also to Classic Football Shirts for supplying the vintage kits that brought this vision to life. Can’t express how grateful I am for their involvement.
To the best stylist out there, Tom Lipop, for making it all happen.
To the wonderful Charlie Hippsley, our production designer, who over-delivered on every set-up while spinning a thousand other plates – all with his trademark smile.
To Lucas Harding, for sticking with me, supporting everyone, and keeping everything on track when it needed to be.
To my brother Tommy Smith for his macro attention to detail with the footage, to Dunc East and the team at Buzz 16 for the opportunity.
To the team at FIFA for their trust and for allowing us all to meet the trophy.
To John Green for the brilliant sound design and to the team at Universal Production Music for the amazing track.
And finally, to the cast – I’ll mention you all individually in further posts, but thank you for being so wonderful. You brought a level of production value far beyond what I thought we could muster. Thanks for your trust, patience, and in most cases, the chance to work together again. You lit it up.
That time a few folks from Zurich turned up with the World Cup. Yep, the actual World Cup... a job that spanned months, pushed my resolve creatively and at times physically… where to start?
First and foremost, with a long list of amazing people without whom this project simply wouldn’t have been possible.
Top of that list, our producer Mark Gibbons, who picked up the baton without hesitation, constantly lifted spirits and kept us afloat on the choppiest of seas. To Chris Clarke, who treated this job with the craft, care, and attention to detail of a film with ten times the budget.
To Jamie Sims and the team at Mars Studios, who facilitated the use of their Volume Studio, an incredible space that far exceeded what I imagined at the start of the project… not to mention their support, dedication, and professionalism throughout pre-production and the shoot itself.
To Nancy Kane – our stylist – for her imagination and creativity in fusing vintage shirts from the 80s and 90s with a twist of what’s to come in 2026. Big thanks also to Classic Football Shirts for supplying the vintage kits that brought this vision to life. Can’t express how grateful I am for their involvement.
To the best stylist out there, Tom Lipop, for making it all happen.
To the wonderful Charlie Hippsley, our production designer, who over-delivered on every set-up while spinning a thousand other plates – all with his trademark smile.
To Lucas Harding, for sticking with me, supporting everyone, and keeping everything on track when it needed to be.
To my brother Tommy Smith for his macro attention to detail with the footage, to Dunc East and the team at Buzz 16 for the opportunity.
To the team at FIFA for their trust and for allowing us all to meet the trophy.
To John Green for the brilliant sound design and to the team at Universal Production Music for the amazing track.
And finally, to the cast – I’ll mention you all individually in further posts, but thank you for being so wonderful. You brought a level of production value far beyond what I thought we could muster. Thanks for your trust, patience, and in most cases, the chance to work together again. You lit it up.
That time a few folks from Zurich turned up with the World Cup. Yep, the actual World Cup... a job that spanned months, pushed my resolve creatively and at times physically… where to start?
First and foremost, with a long list of amazing people without whom this project simply wouldn’t have been possible.
Top of that list, our producer Mark Gibbons, who picked up the baton without hesitation, constantly lifted spirits and kept us afloat on the choppiest of seas. To Chris Clarke, who treated this job with the craft, care, and attention to detail of a film with ten times the budget.
To Jamie Sims and the team at Mars Studios, who facilitated the use of their Volume Studio, an incredible space that far exceeded what I imagined at the start of the project… not to mention their support, dedication, and professionalism throughout pre-production and the shoot itself.
To Nancy Kane – our stylist – for her imagination and creativity in fusing vintage shirts from the 80s and 90s with a twist of what’s to come in 2026. Big thanks also to Classic Football Shirts for supplying the vintage kits that brought this vision to life. Can’t express how grateful I am for their involvement.
To the best stylist out there, Tom Lipop, for making it all happen.
To the wonderful Charlie Hippsley, our production designer, who over-delivered on every set-up while spinning a thousand other plates – all with his trademark smile.
To Lucas Harding, for sticking with me, supporting everyone, and keeping everything on track when it needed to be.
To my brother Tommy Smith for his macro attention to detail with the footage, to Dunc East and the team at Buzz 16 for the opportunity.
To the team at FIFA for their trust and for allowing us all to meet the trophy.
To John Green for the brilliant sound design and to the team at Universal Production Music for the amazing track.
And finally, to the cast – I’ll mention you all individually in further posts, but thank you for being so wonderful. You brought a level of production value far beyond what I thought we could muster. Thanks for your trust, patience, and in most cases, the chance to work together again. You lit it up.
That time a few folks from Zurich turned up with the World Cup. Yep, the actual World Cup... a job that spanned months, pushed my resolve creatively and at times physically… where to start?
First and foremost, with a long list of amazing people without whom this project simply wouldn’t have been possible.
Top of that list, our producer Mark Gibbons, who picked up the baton without hesitation, constantly lifted spirits and kept us afloat on the choppiest of seas. To Chris Clarke, who treated this job with the craft, care, and attention to detail of a film with ten times the budget.
To Jamie Sims and the team at Mars Studios, who facilitated the use of their Volume Studio, an incredible space that far exceeded what I imagined at the start of the project… not to mention their support, dedication, and professionalism throughout pre-production and the shoot itself.
To Nancy Kane – our stylist – for her imagination and creativity in fusing vintage shirts from the 80s and 90s with a twist of what’s to come in 2026. Big thanks also to Classic Football Shirts for supplying the vintage kits that brought this vision to life. Can’t express how grateful I am for their involvement.
To the best stylist out there, Tom Lipop, for making it all happen.
To the wonderful Charlie Hippsley, our production designer, who over-delivered on every set-up while spinning a thousand other plates – all with his trademark smile.
To Lucas Harding, for sticking with me, supporting everyone, and keeping everything on track when it needed to be.
To my brother Tommy Smith for his macro attention to detail with the footage, to Dunc East and the team at Buzz 16 for the opportunity.
To the team at FIFA for their trust and for allowing us all to meet the trophy.
To John Green for the brilliant sound design and to the team at Universal Production Music for the amazing track.
And finally, to the cast – I’ll mention you all individually in further posts, but thank you for being so wonderful. You brought a level of production value far beyond what I thought we could muster. Thanks for your trust, patience, and in most cases, the chance to work together again. You lit it up.
That time a few folks from Zurich turned up with the World Cup. Yep, the actual World Cup... a job that spanned months, pushed my resolve creatively and at times physically… where to start?
First and foremost, with a long list of amazing people without whom this project simply wouldn’t have been possible.
Top of that list, our producer Mark Gibbons, who picked up the baton without hesitation, constantly lifted spirits and kept us afloat on the choppiest of seas. To Chris Clarke, who treated this job with the craft, care, and attention to detail of a film with ten times the budget.
To Jamie Sims and the team at Mars Studios, who facilitated the use of their Volume Studio, an incredible space that far exceeded what I imagined at the start of the project… not to mention their support, dedication, and professionalism throughout pre-production and the shoot itself.
To Nancy Kane – our stylist – for her imagination and creativity in fusing vintage shirts from the 80s and 90s with a twist of what’s to come in 2026. Big thanks also to Classic Football Shirts for supplying the vintage kits that brought this vision to life. Can’t express how grateful I am for their involvement.
To the best stylist out there, Tom Lipop, for making it all happen.
To the wonderful Charlie Hippsley, our production designer, who over-delivered on every set-up while spinning a thousand other plates – all with his trademark smile.
To Lucas Harding, for sticking with me, supporting everyone, and keeping everything on track when it needed to be.
To my brother Tommy Smith for his macro attention to detail with the footage, to Dunc East and the team at Buzz 16 for the opportunity.
To the team at FIFA for their trust and for allowing us all to meet the trophy.
To John Green for the brilliant sound design and to the team at Universal Production Music for the amazing track.
And finally, to the cast – I’ll mention you all individually in further posts, but thank you for being so wonderful. You brought a level of production value far beyond what I thought we could muster. Thanks for your trust, patience, and in most cases, the chance to work together again. You lit it up.
That time a few folks from Zurich turned up with the World Cup. Yep, the actual World Cup... a job that spanned months, pushed my resolve creatively and at times physically… where to start?
First and foremost, with a long list of amazing people without whom this project simply wouldn’t have been possible.
Top of that list, our producer Mark Gibbons, who picked up the baton without hesitation, constantly lifted spirits and kept us afloat on the choppiest of seas. To Chris Clarke, who treated this job with the craft, care, and attention to detail of a film with ten times the budget.
To Jamie Sims and the team at Mars Studios, who facilitated the use of their Volume Studio, an incredible space that far exceeded what I imagined at the start of the project… not to mention their support, dedication, and professionalism throughout pre-production and the shoot itself.
To Nancy Kane – our stylist – for her imagination and creativity in fusing vintage shirts from the 80s and 90s with a twist of what’s to come in 2026. Big thanks also to Classic Football Shirts for supplying the vintage kits that brought this vision to life. Can’t express how grateful I am for their involvement.
To the best stylist out there, Tom Lipop, for making it all happen.
To the wonderful Charlie Hippsley, our production designer, who over-delivered on every set-up while spinning a thousand other plates – all with his trademark smile.
To Lucas Harding, for sticking with me, supporting everyone, and keeping everything on track when it needed to be.
To my brother Tommy Smith for his macro attention to detail with the footage, to Dunc East and the team at Buzz 16 for the opportunity.
To the team at FIFA for their trust and for allowing us all to meet the trophy.
To John Green for the brilliant sound design and to the team at Universal Production Music for the amazing track.
And finally, to the cast – I’ll mention you all individually in further posts, but thank you for being so wonderful. You brought a level of production value far beyond what I thought we could muster. Thanks for your trust, patience, and in most cases, the chance to work together again. You lit it up.
And so it comes around again. The biggest tournament in sport, steeped in a history etched in the memories of millions. The world's game on the biggest stage.
High Volume has been the definition of a labour of love. Conceiving the idea, writing it-up and persuading everyone to get on board over several months wasn’t easy, but looking back, it does feel worth it.
This film is a personal celebration of football and the World Cup as we approach the next in 2026 in Canada, Mexico, and the USA... a World Cup Story if you’ll allow. For this one, we went big. Big on detail, big on scale, and big on impact.
The approach takes inspiration from the bold look and feel of the World Cup 2026 brand, as well as the #WeAre26 manifesto. It celebrates both the past and the future—combining people, places, iconic memorabilia, and FIFA archive in a vibrant mash-up of everything World Cup.
What makes this film unique is how it weaves the history of the tournament into every frame, with a focus on 1994 and 1986. Balancing retro nostalgia with forward-facing energy mirrors the excitement already building for 2026.
The film is a visual feast—cutting-edge aesthetics, bold colour, and modern art direction. We took over a Volume Studio, projected stunning World Cup 2026 graphics and FIFA archive footage, and set up scenes with colourful fans and props to capture the excitement and energy of the tournament. Every frame filled with admiration for the beautiful game.
But the detail didn’t stop when the cameras cut. I worked tirelessly over the last three months to add layers of detail and football-flavoured easter eggs to the final film, often with a twist for those in the know out there.
The tone is upbeat and celebratory, with a passionate voiceover recounting the heart of the World Cup in a North American accent. This film is for the fans—a dynamic mix of iconic footage, unforgettable goals, and classic celebrations.
There's no doubt 2026 will break boundaries and attract fans both old and new but at heart, High Volume is a tribute to the beautiful game and the excitement that lies ahead for 2026.
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
These types of DCs take a lot of time, and the more of them I pour my energy into, the harder it is to compromise on any detail.
But at the same time, they’ve become a key part of my personal style—something I’m really focused on refining. Like so many directors out there right now, hustling to find, win, and create work we’re truly proud of, is tough. But I think it’s essential to at least aim for distinction in everything we do.
With that in mind, I want to take a moment to pay tribute to the cast—Alec, Maya, Montel, Irwin, Linus, Sam, and Miranda—a huge, heartfelt thank you to each of you.
Client: FIFA / The World Cup 2026
@fifa @fifaworldcup
Clients: Tim Tschiersch / James Reilly / Pete Spring
Agency: Buzz 16
Executive Producers: Duncan East / James Leith
Production Company: gotgotneed
@gotgotneed
Producer: Mark Gibbons @onegibbon
D.O.P.: Chris Clarke
@chrisclarkedop
1st AD: Lucas Harding
@photolucas
Studio: Mars Volume
@mars_volume
Virtual Productions Projects Manager: Jamie Simms
Co-Founder Mars Volume: Rowan Pitts
VP Supervisor: Cameron Bishop
Camera Op: Ben Casciello
@ben_casciello
Focus Puller: Chaz Lyon @chaz_lyon
Gaffer: Chris Dowling
Electrician: Bernie Prentice
Footage Technician: Tom Smith
@tcksmith
Production Designer: Charlie Hippsley
@hip_charlie
Construction: Richard Craddock
Art Assistant: George Gunn
HMUA: Helen Asher
Wardrobe Stylist: Nancy Kane / Tom Lipop
@nancykanex @t.lipop
Wardrobe Supplied By: Classic Football Shirts
@classicfootballshirts
Production Co-ordinator: Rossella Romano
Cast: Alec Hopkins / Maya Forcione / Montel Bowen / Irwin Chan / Linus Hellgren / Sam Sharma / Miranda Chambers
@alechopkins_ @mayagemma @montel @irwinsychan @linushellgren @theshasam @mirandajadec
Edit: Will Innes Smith / Jonathan Cassey
Grade: Will Innes Smith
GFX: Will Innes Smith / Nick Tarte
@nicktarte
Sound Design: John Green Odyssey Audio
@johnodysseyaudio
Music: Alice Lane / Alex Mearns / Universal Production Music @universalproductionmusicuk
Track: "Light It Up" by David Thomas Connolly & Mark Nervy
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
These types of DCs take a lot of time, and the more of them I pour my energy into, the harder it is to compromise on any detail.
But at the same time, they’ve become a key part of my personal style—something I’m really focused on refining. Like so many directors out there right now, hustling to find, win, and create work we’re truly proud of, is tough. But I think it’s essential to at least aim for distinction in everything we do.
With that in mind, I want to take a moment to pay tribute to the cast—Alec, Maya, Montel, Irwin, Linus, Sam, and Miranda—a huge, heartfelt thank you to each of you.
Client: FIFA / The World Cup 2026
@fifa @fifaworldcup
Clients: Tim Tschiersch / James Reilly / Pete Spring
Agency: Buzz 16
Executive Producers: Duncan East / James Leith
Production Company: gotgotneed
@gotgotneed
Producer: Mark Gibbons @onegibbon
D.O.P.: Chris Clarke
@chrisclarkedop
1st AD: Lucas Harding
@photolucas
Studio: Mars Volume
@mars_volume
Virtual Productions Projects Manager: Jamie Simms
Co-Founder Mars Volume: Rowan Pitts
VP Supervisor: Cameron Bishop
Camera Op: Ben Casciello
@ben_casciello
Focus Puller: Chaz Lyon @chaz_lyon
Gaffer: Chris Dowling
Electrician: Bernie Prentice
Footage Technician: Tom Smith
@tcksmith
Production Designer: Charlie Hippsley
@hip_charlie
Construction: Richard Craddock
Art Assistant: George Gunn
HMUA: Helen Asher
Wardrobe Stylist: Nancy Kane / Tom Lipop
@nancykanex @t.lipop
Wardrobe Supplied By: Classic Football Shirts
@classicfootballshirts
Production Co-ordinator: Rossella Romano
Cast: Alec Hopkins / Maya Forcione / Montel Bowen / Irwin Chan / Linus Hellgren / Sam Sharma / Miranda Chambers
@alechopkins_ @mayagemma @montel @irwinsychan @linushellgren @theshasam @mirandajadec
Edit: Will Innes Smith / Jonathan Cassey
Grade: Will Innes Smith
GFX: Will Innes Smith / Nick Tarte
@nicktarte
Sound Design: John Green Odyssey Audio
@johnodysseyaudio
Music: Alice Lane / Alex Mearns / Universal Production Music @universalproductionmusicuk
Track: "Light It Up" by David Thomas Connolly & Mark Nervy
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
These types of DCs take a lot of time, and the more of them I pour my energy into, the harder it is to compromise on any detail.
But at the same time, they’ve become a key part of my personal style—something I’m really focused on refining. Like so many directors out there right now, hustling to find, win, and create work we’re truly proud of, is tough. But I think it’s essential to at least aim for distinction in everything we do.
With that in mind, I want to take a moment to pay tribute to the cast—Alec, Maya, Montel, Irwin, Linus, Sam, and Miranda—a huge, heartfelt thank you to each of you.
Client: FIFA / The World Cup 2026
@fifa @fifaworldcup
Clients: Tim Tschiersch / James Reilly / Pete Spring
Agency: Buzz 16
Executive Producers: Duncan East / James Leith
Production Company: gotgotneed
@gotgotneed
Producer: Mark Gibbons @onegibbon
D.O.P.: Chris Clarke
@chrisclarkedop
1st AD: Lucas Harding
@photolucas
Studio: Mars Volume
@mars_volume
Virtual Productions Projects Manager: Jamie Simms
Co-Founder Mars Volume: Rowan Pitts
VP Supervisor: Cameron Bishop
Camera Op: Ben Casciello
@ben_casciello
Focus Puller: Chaz Lyon @chaz_lyon
Gaffer: Chris Dowling
Electrician: Bernie Prentice
Footage Technician: Tom Smith
@tcksmith
Production Designer: Charlie Hippsley
@hip_charlie
Construction: Richard Craddock
Art Assistant: George Gunn
HMUA: Helen Asher
Wardrobe Stylist: Nancy Kane / Tom Lipop
@nancykanex @t.lipop
Wardrobe Supplied By: Classic Football Shirts
@classicfootballshirts
Production Co-ordinator: Rossella Romano
Cast: Alec Hopkins / Maya Forcione / Montel Bowen / Irwin Chan / Linus Hellgren / Sam Sharma / Miranda Chambers
@alechopkins_ @mayagemma @montel @irwinsychan @linushellgren @theshasam @mirandajadec
Edit: Will Innes Smith / Jonathan Cassey
Grade: Will Innes Smith
GFX: Will Innes Smith / Nick Tarte
@nicktarte
Sound Design: John Green Odyssey Audio
@johnodysseyaudio
Music: Alice Lane / Alex Mearns / Universal Production Music @universalproductionmusicuk
Track: "Light It Up" by David Thomas Connolly & Mark Nervy
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
These types of DCs take a lot of time, and the more of them I pour my energy into, the harder it is to compromise on any detail.
But at the same time, they’ve become a key part of my personal style—something I’m really focused on refining. Like so many directors out there right now, hustling to find, win, and create work we’re truly proud of, is tough. But I think it’s essential to at least aim for distinction in everything we do.
With that in mind, I want to take a moment to pay tribute to the cast—Alec, Maya, Montel, Irwin, Linus, Sam, and Miranda—a huge, heartfelt thank you to each of you.
Client: FIFA / The World Cup 2026
@fifa @fifaworldcup
Clients: Tim Tschiersch / James Reilly / Pete Spring
Agency: Buzz 16
Executive Producers: Duncan East / James Leith
Production Company: gotgotneed
@gotgotneed
Producer: Mark Gibbons @onegibbon
D.O.P.: Chris Clarke
@chrisclarkedop
1st AD: Lucas Harding
@photolucas
Studio: Mars Volume
@mars_volume
Virtual Productions Projects Manager: Jamie Simms
Co-Founder Mars Volume: Rowan Pitts
VP Supervisor: Cameron Bishop
Camera Op: Ben Casciello
@ben_casciello
Focus Puller: Chaz Lyon @chaz_lyon
Gaffer: Chris Dowling
Electrician: Bernie Prentice
Footage Technician: Tom Smith
@tcksmith
Production Designer: Charlie Hippsley
@hip_charlie
Construction: Richard Craddock
Art Assistant: George Gunn
HMUA: Helen Asher
Wardrobe Stylist: Nancy Kane / Tom Lipop
@nancykanex @t.lipop
Wardrobe Supplied By: Classic Football Shirts
@classicfootballshirts
Production Co-ordinator: Rossella Romano
Cast: Alec Hopkins / Maya Forcione / Montel Bowen / Irwin Chan / Linus Hellgren / Sam Sharma / Miranda Chambers
@alechopkins_ @mayagemma @montel @irwinsychan @linushellgren @theshasam @mirandajadec
Edit: Will Innes Smith / Jonathan Cassey
Grade: Will Innes Smith
GFX: Will Innes Smith / Nick Tarte
@nicktarte
Sound Design: John Green Odyssey Audio
@johnodysseyaudio
Music: Alice Lane / Alex Mearns / Universal Production Music @universalproductionmusicuk
Track: "Light It Up" by David Thomas Connolly & Mark Nervy
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
These types of DCs take a lot of time, and the more of them I pour my energy into, the harder it is to compromise on any detail.
But at the same time, they’ve become a key part of my personal style—something I’m really focused on refining. Like so many directors out there right now, hustling to find, win, and create work we’re truly proud of, is tough. But I think it’s essential to at least aim for distinction in everything we do.
With that in mind, I want to take a moment to pay tribute to the cast—Alec, Maya, Montel, Irwin, Linus, Sam, and Miranda—a huge, heartfelt thank you to each of you.
Client: FIFA / The World Cup 2026
@fifa @fifaworldcup
Clients: Tim Tschiersch / James Reilly / Pete Spring
Agency: Buzz 16
Executive Producers: Duncan East / James Leith
Production Company: gotgotneed
@gotgotneed
Producer: Mark Gibbons @onegibbon
D.O.P.: Chris Clarke
@chrisclarkedop
1st AD: Lucas Harding
@photolucas
Studio: Mars Volume
@mars_volume
Virtual Productions Projects Manager: Jamie Simms
Co-Founder Mars Volume: Rowan Pitts
VP Supervisor: Cameron Bishop
Camera Op: Ben Casciello
@ben_casciello
Focus Puller: Chaz Lyon @chaz_lyon
Gaffer: Chris Dowling
Electrician: Bernie Prentice
Footage Technician: Tom Smith
@tcksmith
Production Designer: Charlie Hippsley
@hip_charlie
Construction: Richard Craddock
Art Assistant: George Gunn
HMUA: Helen Asher
Wardrobe Stylist: Nancy Kane / Tom Lipop
@nancykanex @t.lipop
Wardrobe Supplied By: Classic Football Shirts
@classicfootballshirts
Production Co-ordinator: Rossella Romano
Cast: Alec Hopkins / Maya Forcione / Montel Bowen / Irwin Chan / Linus Hellgren / Sam Sharma / Miranda Chambers
@alechopkins_ @mayagemma @montel @irwinsychan @linushellgren @theshasam @mirandajadec
Edit: Will Innes Smith / Jonathan Cassey
Grade: Will Innes Smith
GFX: Will Innes Smith / Nick Tarte
@nicktarte
Sound Design: John Green Odyssey Audio
@johnodysseyaudio
Music: Alice Lane / Alex Mearns / Universal Production Music @universalproductionmusicuk
Track: "Light It Up" by David Thomas Connolly & Mark Nervy
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
These types of DCs take a lot of time, and the more of them I pour my energy into, the harder it is to compromise on any detail.
But at the same time, they’ve become a key part of my personal style—something I’m really focused on refining. Like so many directors out there right now, hustling to find, win, and create work we’re truly proud of, is tough. But I think it’s essential to at least aim for distinction in everything we do.
With that in mind, I want to take a moment to pay tribute to the cast—Alec, Maya, Montel, Irwin, Linus, Sam, and Miranda—a huge, heartfelt thank you to each of you.
Client: FIFA / The World Cup 2026
@fifa @fifaworldcup
Clients: Tim Tschiersch / James Reilly / Pete Spring
Agency: Buzz 16
Executive Producers: Duncan East / James Leith
Production Company: gotgotneed
@gotgotneed
Producer: Mark Gibbons @onegibbon
D.O.P.: Chris Clarke
@chrisclarkedop
1st AD: Lucas Harding
@photolucas
Studio: Mars Volume
@mars_volume
Virtual Productions Projects Manager: Jamie Simms
Co-Founder Mars Volume: Rowan Pitts
VP Supervisor: Cameron Bishop
Camera Op: Ben Casciello
@ben_casciello
Focus Puller: Chaz Lyon @chaz_lyon
Gaffer: Chris Dowling
Electrician: Bernie Prentice
Footage Technician: Tom Smith
@tcksmith
Production Designer: Charlie Hippsley
@hip_charlie
Construction: Richard Craddock
Art Assistant: George Gunn
HMUA: Helen Asher
Wardrobe Stylist: Nancy Kane / Tom Lipop
@nancykanex @t.lipop
Wardrobe Supplied By: Classic Football Shirts
@classicfootballshirts
Production Co-ordinator: Rossella Romano
Cast: Alec Hopkins / Maya Forcione / Montel Bowen / Irwin Chan / Linus Hellgren / Sam Sharma / Miranda Chambers
@alechopkins_ @mayagemma @montel @irwinsychan @linushellgren @theshasam @mirandajadec
Edit: Will Innes Smith / Jonathan Cassey
Grade: Will Innes Smith
GFX: Will Innes Smith / Nick Tarte
@nicktarte
Sound Design: John Green Odyssey Audio
@johnodysseyaudio
Music: Alice Lane / Alex Mearns / Universal Production Music @universalproductionmusicuk
Track: "Light It Up" by David Thomas Connolly & Mark Nervy
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
These types of DCs take a lot of time, and the more of them I pour my energy into, the harder it is to compromise on any detail.
But at the same time, they’ve become a key part of my personal style—something I’m really focused on refining. Like so many directors out there right now, hustling to find, win, and create work we’re truly proud of, is tough. But I think it’s essential to at least aim for distinction in everything we do.
With that in mind, I want to take a moment to pay tribute to the cast—Alec, Maya, Montel, Irwin, Linus, Sam, and Miranda—a huge, heartfelt thank you to each of you.
Client: FIFA / The World Cup 2026
@fifa @fifaworldcup
Clients: Tim Tschiersch / James Reilly / Pete Spring
Agency: Buzz 16
Executive Producers: Duncan East / James Leith
Production Company: gotgotneed
@gotgotneed
Producer: Mark Gibbons @onegibbon
D.O.P.: Chris Clarke
@chrisclarkedop
1st AD: Lucas Harding
@photolucas
Studio: Mars Volume
@mars_volume
Virtual Productions Projects Manager: Jamie Simms
Co-Founder Mars Volume: Rowan Pitts
VP Supervisor: Cameron Bishop
Camera Op: Ben Casciello
@ben_casciello
Focus Puller: Chaz Lyon @chaz_lyon
Gaffer: Chris Dowling
Electrician: Bernie Prentice
Footage Technician: Tom Smith
@tcksmith
Production Designer: Charlie Hippsley
@hip_charlie
Construction: Richard Craddock
Art Assistant: George Gunn
HMUA: Helen Asher
Wardrobe Stylist: Nancy Kane / Tom Lipop
@nancykanex @t.lipop
Wardrobe Supplied By: Classic Football Shirts
@classicfootballshirts
Production Co-ordinator: Rossella Romano
Cast: Alec Hopkins / Maya Forcione / Montel Bowen / Irwin Chan / Linus Hellgren / Sam Sharma / Miranda Chambers
@alechopkins_ @mayagemma @montel @irwinsychan @linushellgren @theshasam @mirandajadec
Edit: Will Innes Smith / Jonathan Cassey
Grade: Will Innes Smith
GFX: Will Innes Smith / Nick Tarte
@nicktarte
Sound Design: John Green Odyssey Audio
@johnodysseyaudio
Music: Alice Lane / Alex Mearns / Universal Production Music @universalproductionmusicuk
Track: "Light It Up" by David Thomas Connolly & Mark Nervy
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
These types of DCs take a lot of time, and the more of them I pour my energy into, the harder it is to compromise on any detail.
But at the same time, they’ve become a key part of my personal style—something I’m really focused on refining. Like so many directors out there right now, hustling to find, win, and create work we’re truly proud of, is tough. But I think it’s essential to at least aim for distinction in everything we do.
With that in mind, I want to take a moment to pay tribute to the cast—Alec, Maya, Montel, Irwin, Linus, Sam, and Miranda—a huge, heartfelt thank you to each of you.
Client: FIFA / The World Cup 2026
@fifa @fifaworldcup
Clients: Tim Tschiersch / James Reilly / Pete Spring
Agency: Buzz 16
Executive Producers: Duncan East / James Leith
Production Company: gotgotneed
@gotgotneed
Producer: Mark Gibbons @onegibbon
D.O.P.: Chris Clarke
@chrisclarkedop
1st AD: Lucas Harding
@photolucas
Studio: Mars Volume
@mars_volume
Virtual Productions Projects Manager: Jamie Simms
Co-Founder Mars Volume: Rowan Pitts
VP Supervisor: Cameron Bishop
Camera Op: Ben Casciello
@ben_casciello
Focus Puller: Chaz Lyon @chaz_lyon
Gaffer: Chris Dowling
Electrician: Bernie Prentice
Footage Technician: Tom Smith
@tcksmith
Production Designer: Charlie Hippsley
@hip_charlie
Construction: Richard Craddock
Art Assistant: George Gunn
HMUA: Helen Asher
Wardrobe Stylist: Nancy Kane / Tom Lipop
@nancykanex @t.lipop
Wardrobe Supplied By: Classic Football Shirts
@classicfootballshirts
Production Co-ordinator: Rossella Romano
Cast: Alec Hopkins / Maya Forcione / Montel Bowen / Irwin Chan / Linus Hellgren / Sam Sharma / Miranda Chambers
@alechopkins_ @mayagemma @montel @irwinsychan @linushellgren @theshasam @mirandajadec
Edit: Will Innes Smith / Jonathan Cassey
Grade: Will Innes Smith
GFX: Will Innes Smith / Nick Tarte
@nicktarte
Sound Design: John Green Odyssey Audio
@johnodysseyaudio
Music: Alice Lane / Alex Mearns / Universal Production Music @universalproductionmusicuk
Track: "Light It Up" by David Thomas Connolly & Mark Nervy
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
These types of DCs take a lot of time, and the more of them I pour my energy into, the harder it is to compromise on any detail.
But at the same time, they’ve become a key part of my personal style—something I’m really focused on refining. Like so many directors out there right now, hustling to find, win, and create work we’re truly proud of, is tough. But I think it’s essential to at least aim for distinction in everything we do.
With that in mind, I want to take a moment to pay tribute to the cast—Alec, Maya, Montel, Irwin, Linus, Sam, and Miranda—a huge, heartfelt thank you to each of you.
Client: FIFA / The World Cup 2026
@fifa @fifaworldcup
Clients: Tim Tschiersch / James Reilly / Pete Spring
Agency: Buzz 16
Executive Producers: Duncan East / James Leith
Production Company: gotgotneed
@gotgotneed
Producer: Mark Gibbons @onegibbon
D.O.P.: Chris Clarke
@chrisclarkedop
1st AD: Lucas Harding
@photolucas
Studio: Mars Volume
@mars_volume
Virtual Productions Projects Manager: Jamie Simms
Co-Founder Mars Volume: Rowan Pitts
VP Supervisor: Cameron Bishop
Camera Op: Ben Casciello
@ben_casciello
Focus Puller: Chaz Lyon @chaz_lyon
Gaffer: Chris Dowling
Electrician: Bernie Prentice
Footage Technician: Tom Smith
@tcksmith
Production Designer: Charlie Hippsley
@hip_charlie
Construction: Richard Craddock
Art Assistant: George Gunn
HMUA: Helen Asher
Wardrobe Stylist: Nancy Kane / Tom Lipop
@nancykanex @t.lipop
Wardrobe Supplied By: Classic Football Shirts
@classicfootballshirts
Production Co-ordinator: Rossella Romano
Cast: Alec Hopkins / Maya Forcione / Montel Bowen / Irwin Chan / Linus Hellgren / Sam Sharma / Miranda Chambers
@alechopkins_ @mayagemma @montel @irwinsychan @linushellgren @theshasam @mirandajadec
Edit: Will Innes Smith / Jonathan Cassey
Grade: Will Innes Smith
GFX: Will Innes Smith / Nick Tarte
@nicktarte
Sound Design: John Green Odyssey Audio
@johnodysseyaudio
Music: Alice Lane / Alex Mearns / Universal Production Music @universalproductionmusicuk
Track: "Light It Up" by David Thomas Connolly & Mark Nervy
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
These types of DCs take a lot of time, and the more of them I pour my energy into, the harder it is to compromise on any detail.
But at the same time, they’ve become a key part of my personal style—something I’m really focused on refining. Like so many directors out there right now, hustling to find, win, and create work we’re truly proud of, is tough. But I think it’s essential to at least aim for distinction in everything we do.
With that in mind, I want to take a moment to pay tribute to the cast—Alec, Maya, Montel, Irwin, Linus, Sam, and Miranda—a huge, heartfelt thank you to each of you.
Client: FIFA / The World Cup 2026
@fifa @fifaworldcup
Clients: Tim Tschiersch / James Reilly / Pete Spring
Agency: Buzz 16
Executive Producers: Duncan East / James Leith
Production Company: gotgotneed
@gotgotneed
Producer: Mark Gibbons @onegibbon
D.O.P.: Chris Clarke
@chrisclarkedop
1st AD: Lucas Harding
@photolucas
Studio: Mars Volume
@mars_volume
Virtual Productions Projects Manager: Jamie Simms
Co-Founder Mars Volume: Rowan Pitts
VP Supervisor: Cameron Bishop
Camera Op: Ben Casciello
@ben_casciello
Focus Puller: Chaz Lyon @chaz_lyon
Gaffer: Chris Dowling
Electrician: Bernie Prentice
Footage Technician: Tom Smith
@tcksmith
Production Designer: Charlie Hippsley
@hip_charlie
Construction: Richard Craddock
Art Assistant: George Gunn
HMUA: Helen Asher
Wardrobe Stylist: Nancy Kane / Tom Lipop
@nancykanex @t.lipop
Wardrobe Supplied By: Classic Football Shirts
@classicfootballshirts
Production Co-ordinator: Rossella Romano
Cast: Alec Hopkins / Maya Forcione / Montel Bowen / Irwin Chan / Linus Hellgren / Sam Sharma / Miranda Chambers
@alechopkins_ @mayagemma @montel @irwinsychan @linushellgren @theshasam @mirandajadec
Edit: Will Innes Smith / Jonathan Cassey
Grade: Will Innes Smith
GFX: Will Innes Smith / Nick Tarte
@nicktarte
Sound Design: John Green Odyssey Audio
@johnodysseyaudio
Music: Alice Lane / Alex Mearns / Universal Production Music @universalproductionmusicuk
Track: "Light It Up" by David Thomas Connolly & Mark Nervy
#FIFA2026 #WorldCup2026 #adidasfootball #adidas
With LeedsWouldveTakenMore, the art direction was never just about making things look good — it was about making them mean something.
I wanted every element on screen to have a backstory, whether it was a hand-painted terrace sign, a sticker peeling from a lamppost, or a scarf with colours that echo a match from decades ago.
The set was built like a living scrapbook — layered with Easter eggs for those who know where to look. Little nods to away days past, famous goals, fan chants, and moments that shaped the club.
The aim was to create a film you could watch ten times and still spot something new on the eleventh. Every frame a story, every detail a part of Leeds.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnited #AwayDays #RetroLeeds
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
With LeedsWouldveTakenMore, the art direction was never just about making things look good — it was about making them mean something.
I wanted every element on screen to have a backstory, whether it was a hand-painted terrace sign, a sticker peeling from a lamppost, or a scarf with colours that echo a match from decades ago.
The set was built like a living scrapbook — layered with Easter eggs for those who know where to look. Little nods to away days past, famous goals, fan chants, and moments that shaped the club.
The aim was to create a film you could watch ten times and still spot something new on the eleventh. Every frame a story, every detail a part of Leeds.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnited #AwayDays #RetroLeeds
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
With LeedsWouldveTakenMore, the art direction was never just about making things look good — it was about making them mean something.
I wanted every element on screen to have a backstory, whether it was a hand-painted terrace sign, a sticker peeling from a lamppost, or a scarf with colours that echo a match from decades ago.
The set was built like a living scrapbook — layered with Easter eggs for those who know where to look. Little nods to away days past, famous goals, fan chants, and moments that shaped the club.
The aim was to create a film you could watch ten times and still spot something new on the eleventh. Every frame a story, every detail a part of Leeds.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnited #AwayDays #RetroLeeds
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
With LeedsWouldveTakenMore, the art direction was never just about making things look good — it was about making them mean something.
I wanted every element on screen to have a backstory, whether it was a hand-painted terrace sign, a sticker peeling from a lamppost, or a scarf with colours that echo a match from decades ago.
The set was built like a living scrapbook — layered with Easter eggs for those who know where to look. Little nods to away days past, famous goals, fan chants, and moments that shaped the club.
The aim was to create a film you could watch ten times and still spot something new on the eleventh. Every frame a story, every detail a part of Leeds.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnited #AwayDays #RetroLeeds
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
With LeedsWouldveTakenMore, the art direction was never just about making things look good — it was about making them mean something.
I wanted every element on screen to have a backstory, whether it was a hand-painted terrace sign, a sticker peeling from a lamppost, or a scarf with colours that echo a match from decades ago.
The set was built like a living scrapbook — layered with Easter eggs for those who know where to look. Little nods to away days past, famous goals, fan chants, and moments that shaped the club.
The aim was to create a film you could watch ten times and still spot something new on the eleventh. Every frame a story, every detail a part of Leeds.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnited #AwayDays #RetroLeeds
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
With LeedsWouldveTakenMore, the art direction was never just about making things look good — it was about making them mean something.
I wanted every element on screen to have a backstory, whether it was a hand-painted terrace sign, a sticker peeling from a lamppost, or a scarf with colours that echo a match from decades ago.
The set was built like a living scrapbook — layered with Easter eggs for those who know where to look. Little nods to away days past, famous goals, fan chants, and moments that shaped the club.
The aim was to create a film you could watch ten times and still spot something new on the eleventh. Every frame a story, every detail a part of Leeds.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnited #AwayDays #RetroLeeds
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
With LeedsWouldveTakenMore, the art direction was never just about making things look good — it was about making them mean something.
I wanted every element on screen to have a backstory, whether it was a hand-painted terrace sign, a sticker peeling from a lamppost, or a scarf with colours that echo a match from decades ago.
The set was built like a living scrapbook — layered with Easter eggs for those who know where to look. Little nods to away days past, famous goals, fan chants, and moments that shaped the club.
The aim was to create a film you could watch ten times and still spot something new on the eleventh. Every frame a story, every detail a part of Leeds.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnited #AwayDays #RetroLeeds
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
With LeedsWouldveTakenMore, the art direction was never just about making things look good — it was about making them mean something.
I wanted every element on screen to have a backstory, whether it was a hand-painted terrace sign, a sticker peeling from a lamppost, or a scarf with colours that echo a match from decades ago.
The set was built like a living scrapbook — layered with Easter eggs for those who know where to look. Little nods to away days past, famous goals, fan chants, and moments that shaped the club.
The aim was to create a film you could watch ten times and still spot something new on the eleventh. Every frame a story, every detail a part of Leeds.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnited #AwayDays #RetroLeeds
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
With LeedsWouldveTakenMore, the art direction was never just about making things look good — it was about making them mean something.
I wanted every element on screen to have a backstory, whether it was a hand-painted terrace sign, a sticker peeling from a lamppost, or a scarf with colours that echo a match from decades ago.
The set was built like a living scrapbook — layered with Easter eggs for those who know where to look. Little nods to away days past, famous goals, fan chants, and moments that shaped the club.
The aim was to create a film you could watch ten times and still spot something new on the eleventh. Every frame a story, every detail a part of Leeds.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnited #AwayDays #RetroLeeds
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
With LeedsWouldveTakenMore, the art direction was never just about making things look good — it was about making them mean something.
I wanted every element on screen to have a backstory, whether it was a hand-painted terrace sign, a sticker peeling from a lamppost, or a scarf with colours that echo a match from decades ago.
The set was built like a living scrapbook — layered with Easter eggs for those who know where to look. Little nods to away days past, famous goals, fan chants, and moments that shaped the club.
The aim was to create a film you could watch ten times and still spot something new on the eleventh. Every frame a story, every detail a part of Leeds.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnited #AwayDays #RetroLeeds
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
A film for Leeds United and adidas, inspired by a fan’s first away day. Rooted in the myth and swagger of #LeedsWouldHaveTakenMore—a bold, fast, visually electric ride through football culture, Yorkshire attitude, and early 2000s nostalgia.
The day Kaz took more than just a seat in the away end—and Leeds fans lapped it up.
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
#LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
LeedsWouldveTakenMore was never just a kit launch.
From day one, the goal was to capture the spirit and culture of Leeds United — its humour, its grit, and the deep pride that comes with following this club. That meant going beyond the surface.
I spent hours — then weeks — immersed in research: old programmes, terrace photos, supporter stories, and away day rituals. Every scarf, sticker, and scrap of signage in the film is rooted in something real (or hyper real).
In the development centre and post-production, that research became our blueprint. Archive details were woven into graphics, VFX, and set extensions. Colour grades took cues from vintage matchday photography. Even the smallest frame carried a nod to the club’s history.
It’s a film built on details, powered by history, and driven by the feeling that no matter where… Leeds would’ve taken more.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
PRODUCTION COMPANY - Hype Empire
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
LeedsWouldveTakenMore was never just a kit launch.
From day one, the goal was to capture the spirit and culture of Leeds United — its humour, its grit, and the deep pride that comes with following this club. That meant going beyond the surface.
I spent hours — then weeks — immersed in research: old programmes, terrace photos, supporter stories, and away day rituals. Every scarf, sticker, and scrap of signage in the film is rooted in something real (or hyper real).
In the development centre and post-production, that research became our blueprint. Archive details were woven into graphics, VFX, and set extensions. Colour grades took cues from vintage matchday photography. Even the smallest frame carried a nod to the club’s history.
It’s a film built on details, powered by history, and driven by the feeling that no matter where… Leeds would’ve taken more.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
PRODUCTION COMPANY - Hype Empire
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
LeedsWouldveTakenMore was never just a kit launch.
From day one, the goal was to capture the spirit and culture of Leeds United — its humour, its grit, and the deep pride that comes with following this club. That meant going beyond the surface.
I spent hours — then weeks — immersed in research: old programmes, terrace photos, supporter stories, and away day rituals. Every scarf, sticker, and scrap of signage in the film is rooted in something real (or hyper real).
In the development centre and post-production, that research became our blueprint. Archive details were woven into graphics, VFX, and set extensions. Colour grades took cues from vintage matchday photography. Even the smallest frame carried a nod to the club’s history.
It’s a film built on details, powered by history, and driven by the feeling that no matter where… Leeds would’ve taken more.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
PRODUCTION COMPANY - Hype Empire
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
LeedsWouldveTakenMore was never just a kit launch.
From day one, the goal was to capture the spirit and culture of Leeds United — its humour, its grit, and the deep pride that comes with following this club. That meant going beyond the surface.
I spent hours — then weeks — immersed in research: old programmes, terrace photos, supporter stories, and away day rituals. Every scarf, sticker, and scrap of signage in the film is rooted in something real (or hyper real).
In the development centre and post-production, that research became our blueprint. Archive details were woven into graphics, VFX, and set extensions. Colour grades took cues from vintage matchday photography. Even the smallest frame carried a nod to the club’s history.
It’s a film built on details, powered by history, and driven by the feeling that no matter where… Leeds would’ve taken more.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
PRODUCTION COMPANY - Hype Empire
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
LeedsWouldveTakenMore was never just a kit launch.
From day one, the goal was to capture the spirit and culture of Leeds United — its humour, its grit, and the deep pride that comes with following this club. That meant going beyond the surface.
I spent hours — then weeks — immersed in research: old programmes, terrace photos, supporter stories, and away day rituals. Every scarf, sticker, and scrap of signage in the film is rooted in something real (or hyper real).
In the development centre and post-production, that research became our blueprint. Archive details were woven into graphics, VFX, and set extensions. Colour grades took cues from vintage matchday photography. Even the smallest frame carried a nod to the club’s history.
It’s a film built on details, powered by history, and driven by the feeling that no matter where… Leeds would’ve taken more.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
PRODUCTION COMPANY - Hype Empire
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
LeedsWouldveTakenMore was never just a kit launch.
From day one, the goal was to capture the spirit and culture of Leeds United — its humour, its grit, and the deep pride that comes with following this club. That meant going beyond the surface.
I spent hours — then weeks — immersed in research: old programmes, terrace photos, supporter stories, and away day rituals. Every scarf, sticker, and scrap of signage in the film is rooted in something real (or hyper real).
In the development centre and post-production, that research became our blueprint. Archive details were woven into graphics, VFX, and set extensions. Colour grades took cues from vintage matchday photography. Even the smallest frame carried a nod to the club’s history.
It’s a film built on details, powered by history, and driven by the feeling that no matter where… Leeds would’ve taken more.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
PRODUCTION COMPANY - Hype Empire
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
LeedsWouldveTakenMore was never just a kit launch.
From day one, the goal was to capture the spirit and culture of Leeds United — its humour, its grit, and the deep pride that comes with following this club. That meant going beyond the surface.
I spent hours — then weeks — immersed in research: old programmes, terrace photos, supporter stories, and away day rituals. Every scarf, sticker, and scrap of signage in the film is rooted in something real (or hyper real).
In the development centre and post-production, that research became our blueprint. Archive details were woven into graphics, VFX, and set extensions. Colour grades took cues from vintage matchday photography. Even the smallest frame carried a nod to the club’s history.
It’s a film built on details, powered by history, and driven by the feeling that no matter where… Leeds would’ve taken more.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
PRODUCTION COMPANY - Hype Empire
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
LeedsWouldveTakenMore was never just a kit launch.
From day one, the goal was to capture the spirit and culture of Leeds United — its humour, its grit, and the deep pride that comes with following this club. That meant going beyond the surface.
I spent hours — then weeks — immersed in research: old programmes, terrace photos, supporter stories, and away day rituals. Every scarf, sticker, and scrap of signage in the film is rooted in something real (or hyper real).
In the development centre and post-production, that research became our blueprint. Archive details were woven into graphics, VFX, and set extensions. Colour grades took cues from vintage matchday photography. Even the smallest frame carried a nod to the club’s history.
It’s a film built on details, powered by history, and driven by the feeling that no matter where… Leeds would’ve taken more.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
PRODUCTION COMPANY - Hype Empire
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
LeedsWouldveTakenMore was never just a kit launch.
From day one, the goal was to capture the spirit and culture of Leeds United — its humour, its grit, and the deep pride that comes with following this club. That meant going beyond the surface.
I spent hours — then weeks — immersed in research: old programmes, terrace photos, supporter stories, and away day rituals. Every scarf, sticker, and scrap of signage in the film is rooted in something real (or hyper real).
In the development centre and post-production, that research became our blueprint. Archive details were woven into graphics, VFX, and set extensions. Colour grades took cues from vintage matchday photography. Even the smallest frame carried a nod to the club’s history.
It’s a film built on details, powered by history, and driven by the feeling that no matter where… Leeds would’ve taken more.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
PRODUCTION COMPANY - Hype Empire
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
LeedsWouldveTakenMore was never just a kit launch.
From day one, the goal was to capture the spirit and culture of Leeds United — its humour, its grit, and the deep pride that comes with following this club. That meant going beyond the surface.
I spent hours — then weeks — immersed in research: old programmes, terrace photos, supporter stories, and away day rituals. Every scarf, sticker, and scrap of signage in the film is rooted in something real (or hyper real).
In the development centre and post-production, that research became our blueprint. Archive details were woven into graphics, VFX, and set extensions. Colour grades took cues from vintage matchday photography. Even the smallest frame carried a nod to the club’s history.
It’s a film built on details, powered by history, and driven by the feeling that no matter where… Leeds would’ve taken more.
@adidasfootball | #LeedsWouldHaveTakenMore
#LUFC #MOT #AdidasFootball #LeedsUnitedAway #LeedsUnited #AllLeeds
CLIENTS – ADIDAS & LEEDS UNITED @adidasfootball @adidas @leedsunited
ADIDAS – JACK VAN GELDER @jack_vangelder
LEEDS UNITED – CHARLOTTE JOHNSON @charlieemilyjohnson
AGENCY - M&C Saatchi S&E
CREATIVE DIRECTOR - CONALL McATEER @conall_mcateer
BUSINESS DIRECTOR – SAM HURLEY @samhurl
PRODUCTION COMPANY - Hype Empire
EXEC PRODUCER / PRODUCER - JON STOPP
PRODUCTION COMPANY - Hype Empire
SHOOT DOP - ED HISCOX @edwardhiscox
1st AD -BILLIE HALLOWS @billie_hallows
WARDROBE – TOM LIPOP @t.lipop
SYLIST – NANCY KANE @nancykanex
ART DIRECTOR – ANDY KIFF @kiffstudio_design
EDIT – BETH ROBERTS @bethedits_tenthree @betheditsldn
EDIT ASSITANT – PUCK VAN DIJK @xpuckvandijk
EDIT FACILITY – TEN THREE @tenthree_editing
OFFLINE PRODUCER – RACHEL GOODGER @rachelgoodger
POST-PRODUCTION VFX – RASCAL @rascalstudio_
POST-PRODUCTION LEAD – JOHN THORNTON @jhon_thortin
GRADE – DAN LEVY @DANMAXLEVY
WITH BIG THANKS TO GARETH BRANNAN @gareth_brannan
SOUND DESIGN – JOHN GREEN @johnodysseyaudio
CASTING DIRECTOR - EMMA GARRETT @emmagarrettcasting
KAZ - FREDDY SMITH @freddycsmith
WITH SPECIAL THANKS TO STEPHEN @ellocognome
Crazy to say it, but it’s been over a decade since Adam and I conceived and directed For The Players Since 1995 for PlayStation and the PS4 launch.
What started as a grand, location-heavy concept quickly became something far more intimate—a single bedroom set that changed through the different eras of the console. Budget constraints often lead to the best creative solutions. What we didn’t know then was the impact it would create—a timeless story that evolves as it revolves, capturing the nostalgia of a generation.
CREDITS:
• Client: Sony PlayStation @playstation @playstationuk
• Agency: Drum PHD @phdworldwide
• Production: gotgotneed
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branson
• Production Assistant: Sophie Johns
• Creative Director: Ben Kerr
• Senior Content Producer: Siobhan Woodrow
• Agency Producer: Ali Terrell @aliterrell
• DOP: Gary Shaw @garyshawdop
• 1st AD: Lucas Harding @photolucas
• Steadicam: Simon Wood @simonwoodsteadicam
• Focus Puller: Sarah Gardiner @sarahlbgm
• DIT: Ray Moody @prettydata
• Playback: Andrew Spindle @spindolio
• Stylist: Andy Blake @andyblake1
• H&M: Bernadine Long @bernadinelong_hairand_makeup
• Production Designer: Charlie Cave @charliecave1
• Cast - Hero: Danny Knott @dannyknott89
• Cast - Mate: Parry Glasspool @parryg1992
• Cast - Scarlett: Scarlett Howard @scarlettshoward
• Cast - Sister: Chloe Antonia @cloantonia
• Camera: Arri Alexa @arri
• Lenses: Cooke S4 @cookeoptics
• Studio: Dukes Island - Green Stage @island_studios
• Edit: Dave Mowbray @mowbray
• VFX: The Motionbox - Mark Blackwood / Dave Spare
• Colour: Simone Grattarola @simone_grattarola_colour
• Music: goodblood - Sam Hammond & Ric Levy @riclevymusic
• Casting: Mark Summers @marksummerscasting
#PlayStation #PS4 #ForThePlayers #DirectorLife #VisualStorytelling #Filmmaking #CreativeAdvertising #TVC #ProductionLife #GamingCampaign #AdCampaign #ArriAlexa #CookeLenses #OnSetLife #CreativeCollaboration #TimelessStorytelling
Crazy to say it, but it’s been over a decade since Adam and I conceived and directed For The Players Since 1995 for PlayStation and the PS4 launch.
What started as a grand, location-heavy concept quickly became something far more intimate—a single bedroom set that changed through the different eras of the console. Budget constraints often lead to the best creative solutions. What we didn’t know then was the impact it would create—a timeless story that evolves as it revolves, capturing the nostalgia of a generation.
CREDITS:
• Client: Sony PlayStation @playstation @playstationuk
• Agency: Drum PHD @phdworldwide
• Production: gotgotneed
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branson
• Production Assistant: Sophie Johns
• Creative Director: Ben Kerr
• Senior Content Producer: Siobhan Woodrow
• Agency Producer: Ali Terrell @aliterrell
• DOP: Gary Shaw @garyshawdop
• 1st AD: Lucas Harding @photolucas
• Steadicam: Simon Wood @simonwoodsteadicam
• Focus Puller: Sarah Gardiner @sarahlbgm
• DIT: Ray Moody @prettydata
• Playback: Andrew Spindle @spindolio
• Stylist: Andy Blake @andyblake1
• H&M: Bernadine Long @bernadinelong_hairand_makeup
• Production Designer: Charlie Cave @charliecave1
• Cast - Hero: Danny Knott @dannyknott89
• Cast - Mate: Parry Glasspool @parryg1992
• Cast - Scarlett: Scarlett Howard @scarlettshoward
• Cast - Sister: Chloe Antonia @cloantonia
• Camera: Arri Alexa @arri
• Lenses: Cooke S4 @cookeoptics
• Studio: Dukes Island - Green Stage @island_studios
• Edit: Dave Mowbray @mowbray
• VFX: The Motionbox - Mark Blackwood / Dave Spare
• Colour: Simone Grattarola @simone_grattarola_colour
• Music: goodblood - Sam Hammond & Ric Levy @riclevymusic
• Casting: Mark Summers @marksummerscasting
#PlayStation #PS4 #ForThePlayers #DirectorLife #VisualStorytelling #Filmmaking #CreativeAdvertising #TVC #ProductionLife #GamingCampaign #AdCampaign #ArriAlexa #CookeLenses #OnSetLife #CreativeCollaboration #TimelessStorytelling
Crazy to say it, but it’s been over a decade since Adam and I conceived and directed For The Players Since 1995 for PlayStation and the PS4 launch.
What started as a grand, location-heavy concept quickly became something far more intimate—a single bedroom set that changed through the different eras of the console. Budget constraints often lead to the best creative solutions. What we didn’t know then was the impact it would create—a timeless story that evolves as it revolves, capturing the nostalgia of a generation.
CREDITS:
• Client: Sony PlayStation @playstation @playstationuk
• Agency: Drum PHD @phdworldwide
• Production: gotgotneed
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branson
• Production Assistant: Sophie Johns
• Creative Director: Ben Kerr
• Senior Content Producer: Siobhan Woodrow
• Agency Producer: Ali Terrell @aliterrell
• DOP: Gary Shaw @garyshawdop
• 1st AD: Lucas Harding @photolucas
• Steadicam: Simon Wood @simonwoodsteadicam
• Focus Puller: Sarah Gardiner @sarahlbgm
• DIT: Ray Moody @prettydata
• Playback: Andrew Spindle @spindolio
• Stylist: Andy Blake @andyblake1
• H&M: Bernadine Long @bernadinelong_hairand_makeup
• Production Designer: Charlie Cave @charliecave1
• Cast - Hero: Danny Knott @dannyknott89
• Cast - Mate: Parry Glasspool @parryg1992
• Cast - Scarlett: Scarlett Howard @scarlettshoward
• Cast - Sister: Chloe Antonia @cloantonia
• Camera: Arri Alexa @arri
• Lenses: Cooke S4 @cookeoptics
• Studio: Dukes Island - Green Stage @island_studios
• Edit: Dave Mowbray @mowbray
• VFX: The Motionbox - Mark Blackwood / Dave Spare
• Colour: Simone Grattarola @simone_grattarola_colour
• Music: goodblood - Sam Hammond & Ric Levy @riclevymusic
• Casting: Mark Summers @marksummerscasting
#PlayStation #PS4 #ForThePlayers #DirectorLife #VisualStorytelling #Filmmaking #CreativeAdvertising #TVC #ProductionLife #GamingCampaign #AdCampaign #ArriAlexa #CookeLenses #OnSetLife #CreativeCollaboration #TimelessStorytelling
Crazy to say it, but it’s been over a decade since Adam and I conceived and directed For The Players Since 1995 for PlayStation and the PS4 launch.
What started as a grand, location-heavy concept quickly became something far more intimate—a single bedroom set that changed through the different eras of the console. Budget constraints often lead to the best creative solutions. What we didn’t know then was the impact it would create—a timeless story that evolves as it revolves, capturing the nostalgia of a generation.
CREDITS:
• Client: Sony PlayStation @playstation @playstationuk
• Agency: Drum PHD @phdworldwide
• Production: gotgotneed
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branson
• Production Assistant: Sophie Johns
• Creative Director: Ben Kerr
• Senior Content Producer: Siobhan Woodrow
• Agency Producer: Ali Terrell @aliterrell
• DOP: Gary Shaw @garyshawdop
• 1st AD: Lucas Harding @photolucas
• Steadicam: Simon Wood @simonwoodsteadicam
• Focus Puller: Sarah Gardiner @sarahlbgm
• DIT: Ray Moody @prettydata
• Playback: Andrew Spindle @spindolio
• Stylist: Andy Blake @andyblake1
• H&M: Bernadine Long @bernadinelong_hairand_makeup
• Production Designer: Charlie Cave @charliecave1
• Cast - Hero: Danny Knott @dannyknott89
• Cast - Mate: Parry Glasspool @parryg1992
• Cast - Scarlett: Scarlett Howard @scarlettshoward
• Cast - Sister: Chloe Antonia @cloantonia
• Camera: Arri Alexa @arri
• Lenses: Cooke S4 @cookeoptics
• Studio: Dukes Island - Green Stage @island_studios
• Edit: Dave Mowbray @mowbray
• VFX: The Motionbox - Mark Blackwood / Dave Spare
• Colour: Simone Grattarola @simone_grattarola_colour
• Music: goodblood - Sam Hammond & Ric Levy @riclevymusic
• Casting: Mark Summers @marksummerscasting
#PlayStation #PS4 #ForThePlayers #DirectorLife #VisualStorytelling #Filmmaking #CreativeAdvertising #TVC #ProductionLife #GamingCampaign #AdCampaign #ArriAlexa #CookeLenses #OnSetLife #CreativeCollaboration #TimelessStorytelling
Crazy to say it, but it’s been over a decade since Adam and I conceived and directed For The Players Since 1995 for PlayStation and the PS4 launch.
What started as a grand, location-heavy concept quickly became something far more intimate—a single bedroom set that changed through the different eras of the console. Budget constraints often lead to the best creative solutions. What we didn’t know then was the impact it would create—a timeless story that evolves as it revolves, capturing the nostalgia of a generation.
CREDITS:
• Client: Sony PlayStation @playstation @playstationuk
• Agency: Drum PHD @phdworldwide
• Production: gotgotneed
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branson
• Production Assistant: Sophie Johns
• Creative Director: Ben Kerr
• Senior Content Producer: Siobhan Woodrow
• Agency Producer: Ali Terrell @aliterrell
• DOP: Gary Shaw @garyshawdop
• 1st AD: Lucas Harding @photolucas
• Steadicam: Simon Wood @simonwoodsteadicam
• Focus Puller: Sarah Gardiner @sarahlbgm
• DIT: Ray Moody @prettydata
• Playback: Andrew Spindle @spindolio
• Stylist: Andy Blake @andyblake1
• H&M: Bernadine Long @bernadinelong_hairand_makeup
• Production Designer: Charlie Cave @charliecave1
• Cast - Hero: Danny Knott @dannyknott89
• Cast - Mate: Parry Glasspool @parryg1992
• Cast - Scarlett: Scarlett Howard @scarlettshoward
• Cast - Sister: Chloe Antonia @cloantonia
• Camera: Arri Alexa @arri
• Lenses: Cooke S4 @cookeoptics
• Studio: Dukes Island - Green Stage @island_studios
• Edit: Dave Mowbray @mowbray
• VFX: The Motionbox - Mark Blackwood / Dave Spare
• Colour: Simone Grattarola @simone_grattarola_colour
• Music: goodblood - Sam Hammond & Ric Levy @riclevymusic
• Casting: Mark Summers @marksummerscasting
#PlayStation #PS4 #ForThePlayers #DirectorLife #VisualStorytelling #Filmmaking #CreativeAdvertising #TVC #ProductionLife #GamingCampaign #AdCampaign #ArriAlexa #CookeLenses #OnSetLife #CreativeCollaboration #TimelessStorytelling
Crazy to say it, but it’s been over a decade since Adam and I conceived and directed For The Players Since 1995 for PlayStation and the PS4 launch.
What started as a grand, location-heavy concept quickly became something far more intimate—a single bedroom set that changed through the different eras of the console. Budget constraints often lead to the best creative solutions. What we didn’t know then was the impact it would create—a timeless story that evolves as it revolves, capturing the nostalgia of a generation.
CREDITS:
• Client: Sony PlayStation @playstation @playstationuk
• Agency: Drum PHD @phdworldwide
• Production: gotgotneed
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branson
• Production Assistant: Sophie Johns
• Creative Director: Ben Kerr
• Senior Content Producer: Siobhan Woodrow
• Agency Producer: Ali Terrell @aliterrell
• DOP: Gary Shaw @garyshawdop
• 1st AD: Lucas Harding @photolucas
• Steadicam: Simon Wood @simonwoodsteadicam
• Focus Puller: Sarah Gardiner @sarahlbgm
• DIT: Ray Moody @prettydata
• Playback: Andrew Spindle @spindolio
• Stylist: Andy Blake @andyblake1
• H&M: Bernadine Long @bernadinelong_hairand_makeup
• Production Designer: Charlie Cave @charliecave1
• Cast - Hero: Danny Knott @dannyknott89
• Cast - Mate: Parry Glasspool @parryg1992
• Cast - Scarlett: Scarlett Howard @scarlettshoward
• Cast - Sister: Chloe Antonia @cloantonia
• Camera: Arri Alexa @arri
• Lenses: Cooke S4 @cookeoptics
• Studio: Dukes Island - Green Stage @island_studios
• Edit: Dave Mowbray @mowbray
• VFX: The Motionbox - Mark Blackwood / Dave Spare
• Colour: Simone Grattarola @simone_grattarola_colour
• Music: goodblood - Sam Hammond & Ric Levy @riclevymusic
• Casting: Mark Summers @marksummerscasting
#PlayStation #PS4 #ForThePlayers #DirectorLife #VisualStorytelling #Filmmaking #CreativeAdvertising #TVC #ProductionLife #GamingCampaign #AdCampaign #ArriAlexa #CookeLenses #OnSetLife #CreativeCollaboration #TimelessStorytelling
Crazy to say it, but it’s been over a decade since Adam and I conceived and directed For The Players Since 1995 for PlayStation and the PS4 launch.
What started as a grand, location-heavy concept quickly became something far more intimate—a single bedroom set that changed through the different eras of the console. Budget constraints often lead to the best creative solutions. What we didn’t know then was the impact it would create—a timeless story that evolves as it revolves, capturing the nostalgia of a generation.
CREDITS:
• Client: Sony PlayStation @playstation @playstationuk
• Agency: Drum PHD @phdworldwide
• Production: gotgotneed
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branson
• Production Assistant: Sophie Johns
• Creative Director: Ben Kerr
• Senior Content Producer: Siobhan Woodrow
• Agency Producer: Ali Terrell @aliterrell
• DOP: Gary Shaw @garyshawdop
• 1st AD: Lucas Harding @photolucas
• Steadicam: Simon Wood @simonwoodsteadicam
• Focus Puller: Sarah Gardiner @sarahlbgm
• DIT: Ray Moody @prettydata
• Playback: Andrew Spindle @spindolio
• Stylist: Andy Blake @andyblake1
• H&M: Bernadine Long @bernadinelong_hairand_makeup
• Production Designer: Charlie Cave @charliecave1
• Cast - Hero: Danny Knott @dannyknott89
• Cast - Mate: Parry Glasspool @parryg1992
• Cast - Scarlett: Scarlett Howard @scarlettshoward
• Cast - Sister: Chloe Antonia @cloantonia
• Camera: Arri Alexa @arri
• Lenses: Cooke S4 @cookeoptics
• Studio: Dukes Island - Green Stage @island_studios
• Edit: Dave Mowbray @mowbray
• VFX: The Motionbox - Mark Blackwood / Dave Spare
• Colour: Simone Grattarola @simone_grattarola_colour
• Music: goodblood - Sam Hammond & Ric Levy @riclevymusic
• Casting: Mark Summers @marksummerscasting
#PlayStation #PS4 #ForThePlayers #DirectorLife #VisualStorytelling #Filmmaking #CreativeAdvertising #TVC #ProductionLife #GamingCampaign #AdCampaign #ArriAlexa #CookeLenses #OnSetLife #CreativeCollaboration #TimelessStorytelling
Crazy to say it, but it’s been over a decade since Adam and I conceived and directed For The Players Since 1995 for PlayStation and the PS4 launch.
What started as a grand, location-heavy concept quickly became something far more intimate—a single bedroom set that changed through the different eras of the console. Budget constraints often lead to the best creative solutions. What we didn’t know then was the impact it would create—a timeless story that evolves as it revolves, capturing the nostalgia of a generation.
CREDITS:
• Client: Sony PlayStation @playstation @playstationuk
• Agency: Drum PHD @phdworldwide
• Production: gotgotneed
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branson
• Production Assistant: Sophie Johns
• Creative Director: Ben Kerr
• Senior Content Producer: Siobhan Woodrow
• Agency Producer: Ali Terrell @aliterrell
• DOP: Gary Shaw @garyshawdop
• 1st AD: Lucas Harding @photolucas
• Steadicam: Simon Wood @simonwoodsteadicam
• Focus Puller: Sarah Gardiner @sarahlbgm
• DIT: Ray Moody @prettydata
• Playback: Andrew Spindle @spindolio
• Stylist: Andy Blake @andyblake1
• H&M: Bernadine Long @bernadinelong_hairand_makeup
• Production Designer: Charlie Cave @charliecave1
• Cast - Hero: Danny Knott @dannyknott89
• Cast - Mate: Parry Glasspool @parryg1992
• Cast - Scarlett: Scarlett Howard @scarlettshoward
• Cast - Sister: Chloe Antonia @cloantonia
• Camera: Arri Alexa @arri
• Lenses: Cooke S4 @cookeoptics
• Studio: Dukes Island - Green Stage @island_studios
• Edit: Dave Mowbray @mowbray
• VFX: The Motionbox - Mark Blackwood / Dave Spare
• Colour: Simone Grattarola @simone_grattarola_colour
• Music: goodblood - Sam Hammond & Ric Levy @riclevymusic
• Casting: Mark Summers @marksummerscasting
#PlayStation #PS4 #ForThePlayers #DirectorLife #VisualStorytelling #Filmmaking #CreativeAdvertising #TVC #ProductionLife #GamingCampaign #AdCampaign #ArriAlexa #CookeLenses #OnSetLife #CreativeCollaboration #TimelessStorytelling
Crazy to say it, but it’s been over a decade since Adam and I conceived and directed For The Players Since 1995 for PlayStation and the PS4 launch.
What started as a grand, location-heavy concept quickly became something far more intimate—a single bedroom set that changed through the different eras of the console. Budget constraints often lead to the best creative solutions. What we didn’t know then was the impact it would create—a timeless story that evolves as it revolves, capturing the nostalgia of a generation.
CREDITS:
• Client: Sony PlayStation @playstation @playstationuk
• Agency: Drum PHD @phdworldwide
• Production: gotgotneed
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branson
• Production Assistant: Sophie Johns
• Creative Director: Ben Kerr
• Senior Content Producer: Siobhan Woodrow
• Agency Producer: Ali Terrell @aliterrell
• DOP: Gary Shaw @garyshawdop
• 1st AD: Lucas Harding @photolucas
• Steadicam: Simon Wood @simonwoodsteadicam
• Focus Puller: Sarah Gardiner @sarahlbgm
• DIT: Ray Moody @prettydata
• Playback: Andrew Spindle @spindolio
• Stylist: Andy Blake @andyblake1
• H&M: Bernadine Long @bernadinelong_hairand_makeup
• Production Designer: Charlie Cave @charliecave1
• Cast - Hero: Danny Knott @dannyknott89
• Cast - Mate: Parry Glasspool @parryg1992
• Cast - Scarlett: Scarlett Howard @scarlettshoward
• Cast - Sister: Chloe Antonia @cloantonia
• Camera: Arri Alexa @arri
• Lenses: Cooke S4 @cookeoptics
• Studio: Dukes Island - Green Stage @island_studios
• Edit: Dave Mowbray @mowbray
• VFX: The Motionbox - Mark Blackwood / Dave Spare
• Colour: Simone Grattarola @simone_grattarola_colour
• Music: goodblood - Sam Hammond & Ric Levy @riclevymusic
• Casting: Mark Summers @marksummerscasting
#PlayStation #PS4 #ForThePlayers #DirectorLife #VisualStorytelling #Filmmaking #CreativeAdvertising #TVC #ProductionLife #GamingCampaign #AdCampaign #ArriAlexa #CookeLenses #OnSetLife #CreativeCollaboration #TimelessStorytelling
Crazy to say it, but it’s been over a decade since Adam and I conceived and directed For The Players Since 1995 for PlayStation and the PS4 launch.
What started as a grand, location-heavy concept quickly became something far more intimate—a single bedroom set that changed through the different eras of the console. Budget constraints often lead to the best creative solutions. What we didn’t know then was the impact it would create—a timeless story that evolves as it revolves, capturing the nostalgia of a generation.
CREDITS:
• Client: Sony PlayStation @playstation @playstationuk
• Agency: Drum PHD @phdworldwide
• Production: gotgotneed
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branson
• Production Assistant: Sophie Johns
• Creative Director: Ben Kerr
• Senior Content Producer: Siobhan Woodrow
• Agency Producer: Ali Terrell @aliterrell
• DOP: Gary Shaw @garyshawdop
• 1st AD: Lucas Harding @photolucas
• Steadicam: Simon Wood @simonwoodsteadicam
• Focus Puller: Sarah Gardiner @sarahlbgm
• DIT: Ray Moody @prettydata
• Playback: Andrew Spindle @spindolio
• Stylist: Andy Blake @andyblake1
• H&M: Bernadine Long @bernadinelong_hairand_makeup
• Production Designer: Charlie Cave @charliecave1
• Cast - Hero: Danny Knott @dannyknott89
• Cast - Mate: Parry Glasspool @parryg1992
• Cast - Scarlett: Scarlett Howard @scarlettshoward
• Cast - Sister: Chloe Antonia @cloantonia
• Camera: Arri Alexa @arri
• Lenses: Cooke S4 @cookeoptics
• Studio: Dukes Island - Green Stage @island_studios
• Edit: Dave Mowbray @mowbray
• VFX: The Motionbox - Mark Blackwood / Dave Spare
• Colour: Simone Grattarola @simone_grattarola_colour
• Music: goodblood - Sam Hammond & Ric Levy @riclevymusic
• Casting: Mark Summers @marksummerscasting
#PlayStation #PS4 #ForThePlayers #DirectorLife #VisualStorytelling #Filmmaking #CreativeAdvertising #TVC #ProductionLife #GamingCampaign #AdCampaign #ArriAlexa #CookeLenses #OnSetLife #CreativeCollaboration #TimelessStorytelling
There’s something about one-take films that hits differently. Maybe it’s the rawness, the commitment, the sense that anything could go wrong. It’s a style that’s been making a comeback lately, but back in the PlayStation 4 days, it was a bold choice.
The film was a strange one to assemble in post. Unlike most films, there wasn’t much we could tinker with in the edit. It was either this take or the one where Danny forgot his line. Authenticity was everything.
Truth be told, I wasn’t sure it was going to work. The pace felt slow, almost cumbersome. We’d been locked into the structure by the way we shot it—one evolving set, one continuous track. No quick cuts, no flashy transitions. Just a bedroom spinning through time.
And then we got the music from Sam Hammond and Ric Levy (GoodBlood).
Everything changed. What had felt flat and lifeless suddenly soared. The music tied it all together, gave it soul.
I remember sitting in the edit suite with Dave, bleary-eyed, as the track played. We looked at each other, that unspoken feeling of relief. We’ve pulled it off. It was the moment the film came to life. The rest is a blur of late nights, tiny tweaks, and endless playback, but that was the moment it all clicked. Thank-you to the composers.
This project taught me how transformative the right track can be. It’s not just about the visuals. It’s about finding that emotional heartbeat that turns a sequence into a story.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
• DOP: Gary Shaw @garyshawdop
• Steadicam: Simon Wood @simonwoodsteadicam
#OneTakeFilm #PlayStation4 #PS4Launch #GamingNostalgia #GoodBlood #GameOn #EpicScenes #CreativeCollaboration #GamingStorytelling #GameDirecting #ForThePlayers #MusicMatters #GameCinematics #Filmmaking #VisualStorytelling #ProductionLife #DirectorLife #GamingAds #ConsoleGaming #EmotionalStorytelling #Cutscene
Above all else, For The Players 1995 was a lesson in the details. Details in the script, the character backstories, how every choice affected each department, from production design to camera movement, the right @dominos_uk pizza box to that extra second hover beside the window. And back again.
It was a project that demanded precision, and that level of focus is something I’ve carried with me ever since. Sorry to all the art directors I’ve driven mad along the way.
But more than anything, this job taught me the importance of taking responsibility as a director. That lesson came from Grant Branton, the brilliant producer who guided us through it. Grant had a lot of principles but he installed an important ethos in me : never expect anyone to do something you wouldn’t do yourself. Be gracious. Be kind. And above all, make sure everyone around you is included and respected in the process.
It’s easy to say but harder to live by, especially when the clock is ticking and the client is breathing down your neck at five to ten. Grant stayed true to it, and his influence still lingers in every project I do. He passed away a few years after we made this, but he’s in my mind whenever I walk onto a set and often when I’m not. A brilliant man.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branton
• Production: gotgotneed
• DOP: Gary Shaw @garyshawdop
• Production Design: Charlie Cave @charliecave1
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
#ForThePlayers #PlayStation4 #PS4Launch #GamingNostalgia #CreativeCollaboration #FilmmakingJourney #DirectorLife #ProductionDesign #DetailsMatter #Legacy #GrantBranton #EmotionalStorytelling #VisualStorytelling #AdCampaign #FilmDirector #GamingAds #GameCinematics #CreativeAdvertising #BehindTheScenes #ProductionLife #FilmmakingCommunity
Above all else, For The Players 1995 was a lesson in the details. Details in the script, the character backstories, how every choice affected each department, from production design to camera movement, the right @dominos_uk pizza box to that extra second hover beside the window. And back again.
It was a project that demanded precision, and that level of focus is something I’ve carried with me ever since. Sorry to all the art directors I’ve driven mad along the way.
But more than anything, this job taught me the importance of taking responsibility as a director. That lesson came from Grant Branton, the brilliant producer who guided us through it. Grant had a lot of principles but he installed an important ethos in me : never expect anyone to do something you wouldn’t do yourself. Be gracious. Be kind. And above all, make sure everyone around you is included and respected in the process.
It’s easy to say but harder to live by, especially when the clock is ticking and the client is breathing down your neck at five to ten. Grant stayed true to it, and his influence still lingers in every project I do. He passed away a few years after we made this, but he’s in my mind whenever I walk onto a set and often when I’m not. A brilliant man.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branton
• Production: gotgotneed
• DOP: Gary Shaw @garyshawdop
• Production Design: Charlie Cave @charliecave1
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
#ForThePlayers #PlayStation4 #PS4Launch #GamingNostalgia #CreativeCollaboration #FilmmakingJourney #DirectorLife #ProductionDesign #DetailsMatter #Legacy #GrantBranton #EmotionalStorytelling #VisualStorytelling #AdCampaign #FilmDirector #GamingAds #GameCinematics #CreativeAdvertising #BehindTheScenes #ProductionLife #FilmmakingCommunity
Above all else, For The Players 1995 was a lesson in the details. Details in the script, the character backstories, how every choice affected each department, from production design to camera movement, the right @dominos_uk pizza box to that extra second hover beside the window. And back again.
It was a project that demanded precision, and that level of focus is something I’ve carried with me ever since. Sorry to all the art directors I’ve driven mad along the way.
But more than anything, this job taught me the importance of taking responsibility as a director. That lesson came from Grant Branton, the brilliant producer who guided us through it. Grant had a lot of principles but he installed an important ethos in me : never expect anyone to do something you wouldn’t do yourself. Be gracious. Be kind. And above all, make sure everyone around you is included and respected in the process.
It’s easy to say but harder to live by, especially when the clock is ticking and the client is breathing down your neck at five to ten. Grant stayed true to it, and his influence still lingers in every project I do. He passed away a few years after we made this, but he’s in my mind whenever I walk onto a set and often when I’m not. A brilliant man.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branton
• Production: gotgotneed
• DOP: Gary Shaw @garyshawdop
• Production Design: Charlie Cave @charliecave1
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
#ForThePlayers #PlayStation4 #PS4Launch #GamingNostalgia #CreativeCollaboration #FilmmakingJourney #DirectorLife #ProductionDesign #DetailsMatter #Legacy #GrantBranton #EmotionalStorytelling #VisualStorytelling #AdCampaign #FilmDirector #GamingAds #GameCinematics #CreativeAdvertising #BehindTheScenes #ProductionLife #FilmmakingCommunity
Above all else, For The Players 1995 was a lesson in the details. Details in the script, the character backstories, how every choice affected each department, from production design to camera movement, the right @dominos_uk pizza box to that extra second hover beside the window. And back again.
It was a project that demanded precision, and that level of focus is something I’ve carried with me ever since. Sorry to all the art directors I’ve driven mad along the way.
But more than anything, this job taught me the importance of taking responsibility as a director. That lesson came from Grant Branton, the brilliant producer who guided us through it. Grant had a lot of principles but he installed an important ethos in me : never expect anyone to do something you wouldn’t do yourself. Be gracious. Be kind. And above all, make sure everyone around you is included and respected in the process.
It’s easy to say but harder to live by, especially when the clock is ticking and the client is breathing down your neck at five to ten. Grant stayed true to it, and his influence still lingers in every project I do. He passed away a few years after we made this, but he’s in my mind whenever I walk onto a set and often when I’m not. A brilliant man.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branton
• Production: gotgotneed
• DOP: Gary Shaw @garyshawdop
• Production Design: Charlie Cave @charliecave1
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
#ForThePlayers #PlayStation4 #PS4Launch #GamingNostalgia #CreativeCollaboration #FilmmakingJourney #DirectorLife #ProductionDesign #DetailsMatter #Legacy #GrantBranton #EmotionalStorytelling #VisualStorytelling #AdCampaign #FilmDirector #GamingAds #GameCinematics #CreativeAdvertising #BehindTheScenes #ProductionLife #FilmmakingCommunity
Above all else, For The Players 1995 was a lesson in the details. Details in the script, the character backstories, how every choice affected each department, from production design to camera movement, the right @dominos_uk pizza box to that extra second hover beside the window. And back again.
It was a project that demanded precision, and that level of focus is something I’ve carried with me ever since. Sorry to all the art directors I’ve driven mad along the way.
But more than anything, this job taught me the importance of taking responsibility as a director. That lesson came from Grant Branton, the brilliant producer who guided us through it. Grant had a lot of principles but he installed an important ethos in me : never expect anyone to do something you wouldn’t do yourself. Be gracious. Be kind. And above all, make sure everyone around you is included and respected in the process.
It’s easy to say but harder to live by, especially when the clock is ticking and the client is breathing down your neck at five to ten. Grant stayed true to it, and his influence still lingers in every project I do. He passed away a few years after we made this, but he’s in my mind whenever I walk onto a set and often when I’m not. A brilliant man.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branton
• Production: gotgotneed
• DOP: Gary Shaw @garyshawdop
• Production Design: Charlie Cave @charliecave1
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
#ForThePlayers #PlayStation4 #PS4Launch #GamingNostalgia #CreativeCollaboration #FilmmakingJourney #DirectorLife #ProductionDesign #DetailsMatter #Legacy #GrantBranton #EmotionalStorytelling #VisualStorytelling #AdCampaign #FilmDirector #GamingAds #GameCinematics #CreativeAdvertising #BehindTheScenes #ProductionLife #FilmmakingCommunity
Above all else, For The Players 1995 was a lesson in the details. Details in the script, the character backstories, how every choice affected each department, from production design to camera movement, the right @dominos_uk pizza box to that extra second hover beside the window. And back again.
It was a project that demanded precision, and that level of focus is something I’ve carried with me ever since. Sorry to all the art directors I’ve driven mad along the way.
But more than anything, this job taught me the importance of taking responsibility as a director. That lesson came from Grant Branton, the brilliant producer who guided us through it. Grant had a lot of principles but he installed an important ethos in me : never expect anyone to do something you wouldn’t do yourself. Be gracious. Be kind. And above all, make sure everyone around you is included and respected in the process.
It’s easy to say but harder to live by, especially when the clock is ticking and the client is breathing down your neck at five to ten. Grant stayed true to it, and his influence still lingers in every project I do. He passed away a few years after we made this, but he’s in my mind whenever I walk onto a set and often when I’m not. A brilliant man.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branton
• Production: gotgotneed
• DOP: Gary Shaw @garyshawdop
• Production Design: Charlie Cave @charliecave1
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
#ForThePlayers #PlayStation4 #PS4Launch #GamingNostalgia #CreativeCollaboration #FilmmakingJourney #DirectorLife #ProductionDesign #DetailsMatter #Legacy #GrantBranton #EmotionalStorytelling #VisualStorytelling #AdCampaign #FilmDirector #GamingAds #GameCinematics #CreativeAdvertising #BehindTheScenes #ProductionLife #FilmmakingCommunity
Above all else, For The Players 1995 was a lesson in the details. Details in the script, the character backstories, how every choice affected each department, from production design to camera movement, the right @dominos_uk pizza box to that extra second hover beside the window. And back again.
It was a project that demanded precision, and that level of focus is something I’ve carried with me ever since. Sorry to all the art directors I’ve driven mad along the way.
But more than anything, this job taught me the importance of taking responsibility as a director. That lesson came from Grant Branton, the brilliant producer who guided us through it. Grant had a lot of principles but he installed an important ethos in me : never expect anyone to do something you wouldn’t do yourself. Be gracious. Be kind. And above all, make sure everyone around you is included and respected in the process.
It’s easy to say but harder to live by, especially when the clock is ticking and the client is breathing down your neck at five to ten. Grant stayed true to it, and his influence still lingers in every project I do. He passed away a few years after we made this, but he’s in my mind whenever I walk onto a set and often when I’m not. A brilliant man.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branton
• Production: gotgotneed
• DOP: Gary Shaw @garyshawdop
• Production Design: Charlie Cave @charliecave1
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
#ForThePlayers #PlayStation4 #PS4Launch #GamingNostalgia #CreativeCollaboration #FilmmakingJourney #DirectorLife #ProductionDesign #DetailsMatter #Legacy #GrantBranton #EmotionalStorytelling #VisualStorytelling #AdCampaign #FilmDirector #GamingAds #GameCinematics #CreativeAdvertising #BehindTheScenes #ProductionLife #FilmmakingCommunity
Above all else, For The Players 1995 was a lesson in the details. Details in the script, the character backstories, how every choice affected each department, from production design to camera movement, the right @dominos_uk pizza box to that extra second hover beside the window. And back again.
It was a project that demanded precision, and that level of focus is something I’ve carried with me ever since. Sorry to all the art directors I’ve driven mad along the way.
But more than anything, this job taught me the importance of taking responsibility as a director. That lesson came from Grant Branton, the brilliant producer who guided us through it. Grant had a lot of principles but he installed an important ethos in me : never expect anyone to do something you wouldn’t do yourself. Be gracious. Be kind. And above all, make sure everyone around you is included and respected in the process.
It’s easy to say but harder to live by, especially when the clock is ticking and the client is breathing down your neck at five to ten. Grant stayed true to it, and his influence still lingers in every project I do. He passed away a few years after we made this, but he’s in my mind whenever I walk onto a set and often when I’m not. A brilliant man.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branton
• Production: gotgotneed
• DOP: Gary Shaw @garyshawdop
• Production Design: Charlie Cave @charliecave1
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
#ForThePlayers #PlayStation4 #PS4Launch #GamingNostalgia #CreativeCollaboration #FilmmakingJourney #DirectorLife #ProductionDesign #DetailsMatter #Legacy #GrantBranton #EmotionalStorytelling #VisualStorytelling #AdCampaign #FilmDirector #GamingAds #GameCinematics #CreativeAdvertising #BehindTheScenes #ProductionLife #FilmmakingCommunity
Above all else, For The Players 1995 was a lesson in the details. Details in the script, the character backstories, how every choice affected each department, from production design to camera movement, the right @dominos_uk pizza box to that extra second hover beside the window. And back again.
It was a project that demanded precision, and that level of focus is something I’ve carried with me ever since. Sorry to all the art directors I’ve driven mad along the way.
But more than anything, this job taught me the importance of taking responsibility as a director. That lesson came from Grant Branton, the brilliant producer who guided us through it. Grant had a lot of principles but he installed an important ethos in me : never expect anyone to do something you wouldn’t do yourself. Be gracious. Be kind. And above all, make sure everyone around you is included and respected in the process.
It’s easy to say but harder to live by, especially when the clock is ticking and the client is breathing down your neck at five to ten. Grant stayed true to it, and his influence still lingers in every project I do. He passed away a few years after we made this, but he’s in my mind whenever I walk onto a set and often when I’m not. A brilliant man.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branton
• Production: gotgotneed
• DOP: Gary Shaw @garyshawdop
• Production Design: Charlie Cave @charliecave1
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
#ForThePlayers #PlayStation4 #PS4Launch #GamingNostalgia #CreativeCollaboration #FilmmakingJourney #DirectorLife #ProductionDesign #DetailsMatter #Legacy #GrantBranton #EmotionalStorytelling #VisualStorytelling #AdCampaign #FilmDirector #GamingAds #GameCinematics #CreativeAdvertising #BehindTheScenes #ProductionLife #FilmmakingCommunity
Above all else, For The Players 1995 was a lesson in the details. Details in the script, the character backstories, how every choice affected each department, from production design to camera movement, the right @dominos_uk pizza box to that extra second hover beside the window. And back again.
It was a project that demanded precision, and that level of focus is something I’ve carried with me ever since. Sorry to all the art directors I’ve driven mad along the way.
But more than anything, this job taught me the importance of taking responsibility as a director. That lesson came from Grant Branton, the brilliant producer who guided us through it. Grant had a lot of principles but he installed an important ethos in me : never expect anyone to do something you wouldn’t do yourself. Be gracious. Be kind. And above all, make sure everyone around you is included and respected in the process.
It’s easy to say but harder to live by, especially when the clock is ticking and the client is breathing down your neck at five to ten. Grant stayed true to it, and his influence still lingers in every project I do. He passed away a few years after we made this, but he’s in my mind whenever I walk onto a set and often when I’m not. A brilliant man.
CREDITS:
• Written and Directed by : Will Innes Smith & Adam Wells
• Producer: Grant Branton
• Production: gotgotneed
• DOP: Gary Shaw @garyshawdop
• Production Design: Charlie Cave @charliecave1
• Music: GoodBlood - Sam Hammond & Ric Levy @riclevymusic
• Edit: Dave Mowbray @mowbray
• Colour: Simone Grattarola @simone_grattarola_colour
#ForThePlayers #PlayStation4 #PS4Launch #GamingNostalgia #CreativeCollaboration #FilmmakingJourney #DirectorLife #ProductionDesign #DetailsMatter #Legacy #GrantBranton #EmotionalStorytelling #VisualStorytelling #AdCampaign #FilmDirector #GamingAds #GameCinematics #CreativeAdvertising #BehindTheScenes #ProductionLife #FilmmakingCommunity
Capturing the energy of sport, competition, and iconic venues across London was the heart of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about bringing the spirit of the game to life.
It was a privilege to collaborate with such talented individuals—Chris Clarke and Jeremy Wright for their incredible craft in the field, Nick Tarte for his stunning animations, and John Green for his expert sound design. Together, we crafted a dynamic collection of idents as part of TNT Sports’ 2024 on-air branding.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Photography #OnSetLife #FilmmakingJourney #PremierLeague #Spurs #WestHam #YorkHall #SportsPhotography #CreativeAdvertising #AnimationDesign #BrandIdentity #FootballCampaign #LondonFilm #ProductionLife
Capturing the energy of sport, competition, and iconic venues across London was the heart of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about bringing the spirit of the game to life.
It was a privilege to collaborate with such talented individuals—Chris Clarke and Jeremy Wright for their incredible craft in the field, Nick Tarte for his stunning animations, and John Green for his expert sound design. Together, we crafted a dynamic collection of idents as part of TNT Sports’ 2024 on-air branding.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Photography #OnSetLife #FilmmakingJourney #PremierLeague #Spurs #WestHam #YorkHall #SportsPhotography #CreativeAdvertising #AnimationDesign #BrandIdentity #FootballCampaign #LondonFilm #ProductionLife
Capturing the energy of sport, competition, and iconic venues across London was the heart of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about bringing the spirit of the game to life.
It was a privilege to collaborate with such talented individuals—Chris Clarke and Jeremy Wright for their incredible craft in the field, Nick Tarte for his stunning animations, and John Green for his expert sound design. Together, we crafted a dynamic collection of idents as part of TNT Sports’ 2024 on-air branding.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Photography #OnSetLife #FilmmakingJourney #PremierLeague #Spurs #WestHam #YorkHall #SportsPhotography #CreativeAdvertising #AnimationDesign #BrandIdentity #FootballCampaign #LondonFilm #ProductionLife
Capturing the energy of sport, competition, and iconic venues across London was the heart of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about bringing the spirit of the game to life.
It was a privilege to collaborate with such talented individuals—Chris Clarke and Jeremy Wright for their incredible craft in the field, Nick Tarte for his stunning animations, and John Green for his expert sound design. Together, we crafted a dynamic collection of idents as part of TNT Sports’ 2024 on-air branding.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Photography #OnSetLife #FilmmakingJourney #PremierLeague #Spurs #WestHam #YorkHall #SportsPhotography #CreativeAdvertising #AnimationDesign #BrandIdentity #FootballCampaign #LondonFilm #ProductionLife
Capturing the energy of sport, competition, and iconic venues across London was the heart of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about bringing the spirit of the game to life.
It was a privilege to collaborate with such talented individuals—Chris Clarke and Jeremy Wright for their incredible craft in the field, Nick Tarte for his stunning animations, and John Green for his expert sound design. Together, we crafted a dynamic collection of idents as part of TNT Sports’ 2024 on-air branding.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Photography #OnSetLife #FilmmakingJourney #PremierLeague #Spurs #WestHam #YorkHall #SportsPhotography #CreativeAdvertising #AnimationDesign #BrandIdentity #FootballCampaign #LondonFilm #ProductionLife
Capturing the energy of sport, competition, and iconic venues across London was the heart of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about bringing the spirit of the game to life.
It was a privilege to collaborate with such talented individuals—Chris Clarke and Jeremy Wright for their incredible craft in the field, Nick Tarte for his stunning animations, and John Green for his expert sound design. Together, we crafted a dynamic collection of idents as part of TNT Sports’ 2024 on-air branding.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Photography #OnSetLife #FilmmakingJourney #PremierLeague #Spurs #WestHam #YorkHall #SportsPhotography #CreativeAdvertising #AnimationDesign #BrandIdentity #FootballCampaign #LondonFilm #ProductionLife
Capturing the energy of sport, competition, and iconic venues across London was the heart of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about bringing the spirit of the game to life.
It was a privilege to collaborate with such talented individuals—Chris Clarke and Jeremy Wright for their incredible craft in the field, Nick Tarte for his stunning animations, and John Green for his expert sound design. Together, we crafted a dynamic collection of idents as part of TNT Sports’ 2024 on-air branding.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Photography #OnSetLife #FilmmakingJourney #PremierLeague #Spurs #WestHam #YorkHall #SportsPhotography #CreativeAdvertising #AnimationDesign #BrandIdentity #FootballCampaign #LondonFilm #ProductionLife
Capturing the energy of sport, competition, and iconic venues across London was the heart of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about bringing the spirit of the game to life.
It was a privilege to collaborate with such talented individuals—Chris Clarke and Jeremy Wright for their incredible craft in the field, Nick Tarte for his stunning animations, and John Green for his expert sound design. Together, we crafted a dynamic collection of idents as part of TNT Sports’ 2024 on-air branding.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Photography #OnSetLife #FilmmakingJourney #PremierLeague #Spurs #WestHam #YorkHall #SportsPhotography #CreativeAdvertising #AnimationDesign #BrandIdentity #FootballCampaign #LondonFilm #ProductionLife
Capturing the energy of sport, competition, and iconic venues across London was the heart of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about bringing the spirit of the game to life.
It was a privilege to collaborate with such talented individuals—Chris Clarke and Jeremy Wright for their incredible craft in the field, Nick Tarte for his stunning animations, and John Green for his expert sound design. Together, we crafted a dynamic collection of idents as part of TNT Sports’ 2024 on-air branding.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Photography #OnSetLife #FilmmakingJourney #PremierLeague #Spurs #WestHam #YorkHall #SportsPhotography #CreativeAdvertising #AnimationDesign #BrandIdentity #FootballCampaign #LondonFilm #ProductionLife
Capturing the energy of sport, competition, and iconic venues across London was the heart of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about bringing the spirit of the game to life.
It was a privilege to collaborate with such talented individuals—Chris Clarke and Jeremy Wright for their incredible craft in the field, Nick Tarte for his stunning animations, and John Green for his expert sound design. Together, we crafted a dynamic collection of idents as part of TNT Sports’ 2024 on-air branding.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Photography #OnSetLife #FilmmakingJourney #PremierLeague #Spurs #WestHam #YorkHall #SportsPhotography #CreativeAdvertising #AnimationDesign #BrandIdentity #FootballCampaign #LondonFilm #ProductionLife
Exploring London’s iconic sports venues and capturing their energy was the highlight of this project for TNT Sports. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, this shoot was all about celebrating the passion and action behind the game.
Working with such an exceptional team elevated the project—Chris Clarke and Jeremy Wright brought their craft to life on set, Nick Tarte created stunning animations, and John Green provided incredible sound design. Together, we developed a collection of idents for TNT Sports’ 2024 on-air branding that showcase the spirit of sport.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling
Taking on London’s iconic sports venues was at the heart of this project for TNT Sports’ 2024 on-air branding. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, every location brought its own energy and character to the final collection of idents.
Collaborating with this team was a highlight—Chris Clarke and Jeremy Wright brought their incredible skills to the field, Nick Tarte delivered standout animations, and John Green tied it all together with brilliant sound design. Shooting Leica added that extra cinematic quality, making this project one to remember.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling #VenueSpotlight #CreativeIndustry #IconicLocations #AdvertisingCampaign #FootballFilm
Taking on London’s iconic sports venues was at the heart of this project for TNT Sports’ 2024 on-air branding. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, every location brought its own energy and character to the final collection of idents.
Collaborating with this team was a highlight—Chris Clarke and Jeremy Wright brought their incredible skills to the field, Nick Tarte delivered standout animations, and John Green tied it all together with brilliant sound design. Shooting Leica added that extra cinematic quality, making this project one to remember.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling #VenueSpotlight #CreativeIndustry #IconicLocations #AdvertisingCampaign #FootballFilm
Taking on London’s iconic sports venues was at the heart of this project for TNT Sports’ 2024 on-air branding. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, every location brought its own energy and character to the final collection of idents.
Collaborating with this team was a highlight—Chris Clarke and Jeremy Wright brought their incredible skills to the field, Nick Tarte delivered standout animations, and John Green tied it all together with brilliant sound design. Shooting Leica added that extra cinematic quality, making this project one to remember.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling #VenueSpotlight #CreativeIndustry #IconicLocations #AdvertisingCampaign #FootballFilm
Taking on London’s iconic sports venues was at the heart of this project for TNT Sports’ 2024 on-air branding. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, every location brought its own energy and character to the final collection of idents.
Collaborating with this team was a highlight—Chris Clarke and Jeremy Wright brought their incredible skills to the field, Nick Tarte delivered standout animations, and John Green tied it all together with brilliant sound design. Shooting Leica added that extra cinematic quality, making this project one to remember.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling #VenueSpotlight #CreativeIndustry #IconicLocations #AdvertisingCampaign #FootballFilm
Taking on London’s iconic sports venues was at the heart of this project for TNT Sports’ 2024 on-air branding. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, every location brought its own energy and character to the final collection of idents.
Collaborating with this team was a highlight—Chris Clarke and Jeremy Wright brought their incredible skills to the field, Nick Tarte delivered standout animations, and John Green tied it all together with brilliant sound design. Shooting Leica added that extra cinematic quality, making this project one to remember.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling #VenueSpotlight #CreativeIndustry #IconicLocations #AdvertisingCampaign #FootballFilm
Taking on London’s iconic sports venues was at the heart of this project for TNT Sports’ 2024 on-air branding. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, every location brought its own energy and character to the final collection of idents.
Collaborating with this team was a highlight—Chris Clarke and Jeremy Wright brought their incredible skills to the field, Nick Tarte delivered standout animations, and John Green tied it all together with brilliant sound design. Shooting Leica added that extra cinematic quality, making this project one to remember.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling #VenueSpotlight #CreativeIndustry #IconicLocations #AdvertisingCampaign #FootballFilm
Taking on London’s iconic sports venues was at the heart of this project for TNT Sports’ 2024 on-air branding. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, every location brought its own energy and character to the final collection of idents.
Collaborating with this team was a highlight—Chris Clarke and Jeremy Wright brought their incredible skills to the field, Nick Tarte delivered standout animations, and John Green tied it all together with brilliant sound design. Shooting Leica added that extra cinematic quality, making this project one to remember.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling #VenueSpotlight #CreativeIndustry #IconicLocations #AdvertisingCampaign #FootballFilm
Taking on London’s iconic sports venues was at the heart of this project for TNT Sports’ 2024 on-air branding. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, every location brought its own energy and character to the final collection of idents.
Collaborating with this team was a highlight—Chris Clarke and Jeremy Wright brought their incredible skills to the field, Nick Tarte delivered standout animations, and John Green tied it all together with brilliant sound design. Shooting Leica added that extra cinematic quality, making this project one to remember.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling #VenueSpotlight #CreativeIndustry #IconicLocations #AdvertisingCampaign #FootballFilm
Taking on London’s iconic sports venues was at the heart of this project for TNT Sports’ 2024 on-air branding. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, every location brought its own energy and character to the final collection of idents.
Collaborating with this team was a highlight—Chris Clarke and Jeremy Wright brought their incredible skills to the field, Nick Tarte delivered standout animations, and John Green tied it all together with brilliant sound design. Shooting Leica added that extra cinematic quality, making this project one to remember.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling #VenueSpotlight #CreativeIndustry #IconicLocations #AdvertisingCampaign #FootballFilm
Taking on London’s iconic sports venues was at the heart of this project for TNT Sports’ 2024 on-air branding. From the Tottenham Hotspur Stadium to York Hall, The Stoop, and the Olympic Stadium, every location brought its own energy and character to the final collection of idents.
Collaborating with this team was a highlight—Chris Clarke and Jeremy Wright brought their incredible skills to the field, Nick Tarte delivered standout animations, and John Green tied it all together with brilliant sound design. Shooting Leica added that extra cinematic quality, making this project one to remember.
🎥 CREDITS:
• Client: TNT Sports @tntsports
• Creative Director: Mark Hyde
• Photography: Chris Clarke @chrisclarkedop | Jeremy Wright | Me
• Animation: Nick Tarte @nicktarte | Me
• Sound Design: John Green @johnodysseyaudio
#Leica #TNTsports #SportsBranding #DirectorLife #VisualStorytelling #SportsAdvertising #Filmmaking #OnSetLife #LondonFilm #PremierLeague #FootballCampaign #SportsIdentity #SportsPhotography #YorkHall #Spurs #WestHam #CreativeAdvertising #AnimationDesign #ProductionLife #BrandStorytelling #VenueSpotlight #CreativeIndustry #IconicLocations #AdvertisingCampaign #FootballFilm
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