Scan, Cut, Draw
Take a colourful dip into the vibrant world of Brother’s ScanNCut machine, where craft and creativity take on a whole new level.
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CONCEPT DEVELOPMENT
+ Idea Generation & Iteration
+ Storyboard/Shot list
PRE-PRODUCTION
+ Concept Refinement
+ Logistics
+ Crew Hire
+ Scouting
+ Prep
PRODUCTION
+ Directed
+ Produced
+ Shot on Red
POST-PRODUCTION
+ Editing
+ Voiceover Casting & Recording
+ Sound Mix & Master
+ Visual FX
+ Colour Grade
+ Music Licensing
+ Subtitling
+ Amendments
1 x 30 second advert
118 photos
CONCEPT DEVELOPMENT
+ Idea Generation & Iteration
+ Storyboard/Shot list
PRE-PRODUCTION
+ Concept Refinement
+ Logistics
+ Crew Hire
+ Scouting
+ Prep
PRODUCTION
+ Directed
+ Produced
+ Shot on Red
POST-PRODUCTION
+ Editing
+ Voiceover Casting & Recording
+ Sound Mix & Master
+ Visual FX
+ Colour Grade
+ Music Licensing
+ Subtitling
+ Amendments
1 x 30 second advert
118 photos
CONCEPT DEVELOPMENT
+ Idea Generation & Iteration
+ Storyboard/Shot list
PRE-PRODUCTION
+ Concept Refinement
+ Logistics
+ Crew Hire
+ Scouting
+ Prep
PRODUCTION
+ Directed
+ Produced
+ Shot on Red
POST-PRODUCTION
+ Editing
+ Voiceover Casting & Recording
+ Sound Mix & Master
+ Visual FX
+ Colour Grade
+ Music Licensing
+ Subtitling
+ Amendments
BRIEF
Brother came to us wanting to breathe new life into their ScanNCut range, envisioning a bright and snappy promotional video to highlight the extensive ability of the machine. Initially inspired by pop art, this advert was created with social media channels in mind and targets the home craft market. In particular, this advert targets Gen Z and millennials, with both men and women included.
BRIEF
Brother came to us wanting to breathe new life into their ScanNCut range, envisioning a bright and snappy promotional video to highlight the extensive ability of the machine. Initially inspired by pop art, this advert was created with social media channels in mind and targets the home craft market. In particular, this advert targets Gen Z and millennials, with both men and women included.
PRE-PRODUCTION
In early calls with Brother, we established that this video was to be more product-focused than narrative-focused. In putting together our concept for the piece, we placed emphasis on colour and energy, wanting to move the camera in exciting, mind-bending ways.
To achieve this, we used a state-of-the-art cine-robotic arm camera to create movements that would be impossible for a human to achieve. The cinebot allowed us to move at high speeds, maintain smooth and steady shots, and repeat certain motions, allowing us to swap designs, materials and machines.
With the idea in place, we began planning the shoot by establishing how the video would play out, using an upbeat track from Artlist. We used LiDar scans and NeRFs (Neural Radiance Fields) through Luma AI to create a 3D model of the machine, which we used to pre-visualise the camera movement, allowing us to tweak and map out the video. This also allowed Brother to see how their machine, the music choice and colours would all align in the finished product.
production
Production took place over two days in Leeds. We shot with our RED Digital Cinema cameras, on a red coloured backdrop so we could customise and manipulate the colour in post-production. The lighting set up consisted of a top down Aputure 300D with a softbox and an Aputure Nova P300c through diffusion as our key light. This was supplemented with an additional Aputure 300D with a spotlight attachment to precisely highlight the edges of the machine. We captured some further close-ups of the ScanNCut using a probe lens in our studio.
POST-production
The video was edited by our in-house team. We utilised our VFX experience to clean up and enhance clips, using precise rotoscoping techniques to isolate the machinery, creating a seamlessly uniform background for every clip. We animated a series of titles, adding a layer of dynamism and energy, while also highlighting the machines features.
To convey the essence of 'scan, cut, draw,' we introduced fun details such as the paper scrunch effect, which was shot in our studio. We harnessed colour manipulation through a hue vs hue mask technique to fluidly transition between a diverse spectrum of colours, enriching the visual appeal and thematic resonance throughout the video.
We produced the final deliverable in five separate languages, ensuring widespread accessibility for Brother’s audience across Europe.
PRE-PRODUCTION
In early calls with Brother, we established that this video was to be more product-focused than narrative-focused. In putting together our concept for the piece, we placed emphasis on colour and energy, wanting to move the camera in exciting, mind-bending ways.
To achieve this, we used a state-of-the-art cine-robotic arm camera to create movements that would be impossible for a human to achieve. The cinebot allowed us to move at high speeds, maintain smooth and steady shots, and repeat certain motions, allowing us to swap designs, materials and machines.
With the idea in place, we began planning the shoot by establishing how the video would play out, using an upbeat track from Artlist. We used LiDar scans and NeRFs (Neural Radiance Fields) through Luma AI to create a 3D model of the machine, which we used to pre-visualise the camera movement, allowing us to tweak and map out the video. This also allowed Brother to see how their machine, the music choice and colours would all align in the finished product.
production
Production took place over two days in Leeds. We shot with our RED Digital Cinema cameras, on a red coloured backdrop so we could customise and manipulate the colour in post-production. The lighting set up consisted of a top down Aputure 300D with a softbox and an Aputure Nova P300c through diffusion as our key light. This was supplemented with an additional Aputure 300D with a spotlight attachment to precisely highlight the edges of the machine. We captured some further close-ups of the ScanNCut using a probe lens in our studio.
POST-production
The video was edited by our in-house team. We utilised our VFX experience to clean up and enhance clips, using precise rotoscoping techniques to isolate the machinery, creating a seamlessly uniform background for every clip. We animated a series of titles, adding a layer of dynamism and energy, while also highlighting the machines features.
To convey the essence of 'scan, cut, draw,' we introduced fun details such as the paper scrunch effect, which was shot in our studio. We harnessed colour manipulation through a hue vs hue mask technique to fluidly transition between a diverse spectrum of colours, enriching the visual appeal and thematic resonance throughout the video.
We produced the final deliverable in five separate languages, ensuring widespread accessibility for Brother’s audience across Europe.
post-production
Finally, we sculpt every frame and sound wave into a video you’ll be proud of sharing with the world.
PRE-PRODUCTION
In early calls with Brother, we established that this video was to be more product-focused than narrative-focused. In putting together our concept for the piece, we placed emphasis on colour and energy, wanting to move the camera in exciting, mind-bending ways.
To achieve this, we used a state-of-the-art cine-robotic arm camera to create movements that would be impossible for a human to achieve. The cinebot allowed us to move at high speeds, maintain smooth and steady shots, and repeat certain motions, allowing us to swap designs, materials and machines.
With the idea in place, we began planning the shoot by establishing how the video would play out, using an upbeat track from Artlist. We used LiDar scans and NeRFs (Neural Radiance Fields) through Luma AI to create a 3D model of the machine, which we used to pre-visualise the camera movement, allowing us to tweak and map out the video. This also allowed Brother to see how their machine, the music choice and colours would all align in the finished product.
PRODUCTION
Production took place over two days in Leeds. We shot with our RED Digital Cinema cameras, on a red coloured backdrop so we could customise and manipulate the colour in post-production. The lighting set up consisted of a top down Aputure 300D with a softbox and an Aputure Nova P300c through diffusion as our key light. This was supplemented with an additional Aputure 300D with a spotlight attachment to precisely highlight the edges of the machine. We captured some further close-ups of the ScanNCut using a probe lens in our studio.
POST-PRODUCTION
The video was edited by our in-house team. We utilised our VFX experience to clean up and enhance clips, using precise rotoscoping techniques to isolate the machinery, creating a seamlessly uniform background for every clip. We animated a series of titles, adding a layer of dynamism and energy, while also highlighting the machines features.
To convey the essence of 'scan, cut, draw,' we introduced fun details such as the paper scrunch effect, which was shot in our studio. We harnessed colour manipulation through a hue vs hue mask technique to fluidly transition between a diverse spectrum of colours, enriching the visual appeal and thematic resonance throughout the video.
We produced the final deliverable in five separate languages, ensuring widespread accessibility for Brother’s audience across Europe.
PRE-PRODUCTION
In early calls with Brother, we established that this video was to be more product-focused than narrative-focused. In putting together our concept for the piece, we placed emphasis on colour and energy, wanting to move the camera in exciting, mind-bending ways.
To achieve this, we used a state-of-the-art cine-robotic arm camera to create movements that would be impossible for a human to achieve. The cinebot allowed us to move at high speeds, maintain smooth and steady shots, and repeat certain motions, allowing us to swap designs, materials and machines.
With the idea in place, we began planning the shoot by establishing how the video would play out, using an upbeat track from Artlist. We used LiDar scans and NeRFs (Neural Radiance Fields) through Luma AI to create a 3D model of the machine, which we used to pre-visualise the camera movement, allowing us to tweak and map out the video. This also allowed Brother to see how their machine, the music choice and colours would all align in the finished product.
PRE-PRODUCTION
In early calls with Brother, we established that this video was to be more product-focused than narrative-focused. In putting together our concept for the piece, we placed emphasis on colour and energy, wanting to move the camera in exciting, mind-bending ways.
To achieve this, we used a state-of-the-art cine-robotic arm camera to create movements that would be impossible for a human to achieve. The cinebot allowed us to move at high speeds, maintain smooth and steady shots, and repeat certain motions, allowing us to swap designs, materials and machines.
With the idea in place, we began planning the shoot by establishing how the video would play out, using an upbeat track from Artlist. We used LiDar scans and NeRFs (Neural Radiance Fields) through Luma AI to create a 3D model of the machine, which we used to pre-visualise the camera movement, allowing us to tweak and map out the video. This also allowed Brother to see how their machine, the music choice and colours would all align in the finished product.
PRODUCTION
Production took place over two days in Leeds. We shot with our RED Digital Cinema cameras, on a red coloured backdrop so we could customise and manipulate the colour in post-production. The lighting set up consisted of a top down Aputure 300D with a softbox and an Aputure Nova P300c through diffusion as our key light. This was supplemented with an additional Aputure 300D with a spotlight attachment to precisely highlight the edges of the machine. We captured some further close-ups of the ScanNCut using a probe lens in our studio.
POST-PRODUCTION
The video was edited by our in-house team. We utilised our VFX experience to clean up and enhance clips, using precise rotoscoping techniques to isolate the machinery, creating a seamlessly uniform background for every clip. We animated a series of titles, adding a layer of dynamism and energy, while also highlighting the machines features.
To convey the essence of 'scan, cut, draw,' we introduced fun details such as the paper scrunch effect, which was shot in our studio. We harnessed colour manipulation through a hue vs hue mask technique to fluidly transition between a diverse spectrum of colours, enriching the visual appeal and thematic resonance throughout the video.
We produced the final deliverable in five separate languages, ensuring widespread accessibility for Brother’s audience across Europe.
Level up your video
Prefer good ole not-so-snail mail?
enquiries@mcgillproductions.co.ukFancy a full time position or freelance gig?
enquiries@mcgillproductions.co.ukLancaster office
(+44) (0) 1524 907005London office
(+44) (0) 20 7459 4304
Book a call to find out if we’re the right team to help your growth.
Lancaster office
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