Sipsmith "Mr Swan" stop motion animation | STASH MAGAZINE

The Making of Sipsmith Gin’s “Mr Swan”

Take a look at the extraordinary level of craftsmanship invested in this spot for London Gin distillers Sipsmith by Biscuit director Jeff Low and a stop motion team whose credits include Wes Anderson’s Isle of Dogs and Fantastic Mr. Fox. [Read more]

Biscuit_Sky Q | STASH MAGAZINE

Doing Liquid Launch with Sky Q

Twelve months and 52 VFX artists later, fluid simulation and refracted light take on the starring role in the launch campaign for Sky Q’s wireless TV products courtesy of The Mill’s‘ striking CG work in collaboration with Biscuit director Johnny Green thru agency Brothers & Sisters. [Read more]

The Mill_Old Spice Rocket Car | STASH MAGAZINE

Smellegendary: Old Spice “Rocket Car”

The first spot in Wieden+Kennedy’s Smellegendary campaign for Old Spice combines a fun script (see below), French actor/heart-throb Axel Kiener, and beat-perfect supporting VFX from The Mill – all pulled together by Biscuit director Steve Rogers. [Read more]

Ruairi Robinson Biscuit | STASH MAGAZINE

Biscuit Filmworks Signs Ruairi Robinson

Former VFX artist Ruairi Robinson, who made his feature directing debut with “The Last Days On Mars,” signs with LA’s Biscuit for commercial representation. [Read more]

Stirling Gravitas Helps You “Keep Control”

A snappy and seamless example of VFX supporting the story (instead of taking over) in this new award-worthy spot from Biscuit director Jeff Low for TENA Men thru AMV with The Mill doing what they do best. [Read more]

Old Spice “Dadsong” He’s a Man! He’s a Boy!

Powered by brilliant lyrics from Bret McKenzie (Flight of the Concords), Biscuit director Andreas Nilsson and The Mill belt out “Dadsong” (the sequel to “Momsong”) for Old Spice thru Wieden+Kennedy, Portland.

Tim Davies, CD/2D lead at The Mill: “It was a hilarious shoot in Prague with brilliant casting of local Czech actors and watching Andreas manage to get a phenomenal performance out of each person despite the language barriers was amazing.

“We made prosthetic arms for the last two shots which were puppeteered to run across the floor and up the the picture frame. These arms were mainly used as a reference and to try and get some sort of quirky feel to the shots. On set we also filmed the mom’s real hands which we then tracked onto the prosthetics and then retextured the arms with real skin.” [Read more]