Hasta La Creative!

Carousell, one of the largest e-commerce platforms in Asia, today unveiled a fresh new look which includes a revamped logo, brand positioning and visual identity developed by next generation, creative brand agency, Superunion. The updated look is being rolled out across Singapore, Hong Kong, Taiwan, Philippines, Indonesia and Malaysia

The new branding captures the power of positive experiences and possibilities living in the Carousell ecosystem, an app-first, peer-to-peer, digital marketplace where consumers and businesses exchange goods and services, including personal items like fashion and electronics, as well as cars and properties.

Ambrish Chaundry, Managing Strategy Director Asia said: “Working on the Carousell rebranding project has been very exciting for us. As they build momentum around regional expansion and widen their offering, it’s a perfect time to remind the world what makes Carousell special – a community of real people, “Carousellers”, who all want what is best for each other.”

Cassandra Leong, Brand Marketing Lead for Carousell, said: “Working with Superunion was a pleasure as they engaged the whole organisation, across departments and seniority, in arriving at a narrative and identity that captures our best selves. They have been true to what we stand for and yet have pushed us forward in terms of the brand identity and customer experience.”

The big idea behind Carousell’s new visual identity is that behind every Carousell transaction is a win-win story. What sets Carousell apart from other online shopping platforms is that two real people, a buyer and seller, come together to make an exchange happen, creating a ‘magic moment.’ The new visual identity leverages pops of colour, charming illustrations, motion and overlapping shapes to bring these magic moments to life.

The Carousell platform itself has also been updated to be in line with the visual identity, simplifying its user interface and marketing communications to focus on Carousellers’ items and stories.

Carousell Logo:

The updated symbol mark maintains the original inspiration of the Carousell name and logo, the Kodak carousel, alluding to the cyclical nature of items going round and round. Superunion modernised the logotype and wordmark to reflect a vibrant yet trusted marketplace, and enabled the brand to live successfully in a digital-first environment. The five outward ‘fins’ in the symbol mark represent the company’s five core values, strongly embodied throughout Carousell’s product and culture.

Colours:

Red remains the core Carousell brand colour, now brighter, to represent the ambition of the brand looking into the future. A new suite of secondary colours have also been included to showcase the diversity of the Carousell marketplace.

Motion:

As a natural extension of the digital brand, motion has been incorporated into the visual identity, celebrating energy and movement, representative of the liveliness of the platform itself and serendipitous moments which occurs in its ecosystem.

The new visual identity is being rolled out formally in the coming weeks, beginning with app changes, as well as a brand campaign which will launch in September.

CREDITS

Scott Lambert, Creative Director – Superunion

Pete Tong, Designer – Superunion

Danley Stone, Client Director – Superunion
Charlotte Cheong, Client Executive – Superunion

Ambrish Chaudhry, Managing Strategy Director – Superunion

Sherman Chia, Senior Designer – Superunion

Cassandra Leong, Brand Marketing Lead – Carousell

Jem Seow, Senior Brand Marketing Specialist – Carousell

Davina Tjandra, Creative Design Lead – Carousell

Quek Siu Rui, Founder – Carousell

Marcus Tan, Founder – Carousell

Lucas Ngoo, Founder – Carousell

Creative agency Roger and full-service production company Big Machine announced a strategic merger today that will expand the creative capabilities for their respective agency, brand, and entertainment clients. The LA-based studios will retain the Roger name and continue all operations at their newly renovated facility in the Silver Lake neighborhood of Los Angeles. Representing Roger in the business partnership is Terence Lee, creative director, Dane Macbeth, creative director, and Josh Libitsky, executive producer; and Steve Petersen, director, Ken Carlson, creative director, and Sean Owolo, business development, for Big Machine.

With expanded creative firepower, Roger aims to set a new benchmark for multidisciplinary creative studios, offering the best in talent and resources for projects that require branding, design, animation, VFX, VR/AR, live-action, and content development.

“Big Machine and Roger have always looked at ways to partner on projects and organically expand our reach into new markets,” says Lee. “We just genuinely click as creatives and as friends, and share a vision for what it takes to bring together talent, ideas, and resources to create awesome work.”

“We saw a tremendous opportunity to make an impact within the industry in a way that wouldn’t be possible without joining forces,” adds Owolo. “Roger’s breakthrough creative for major brands and Big Machine’s Emmy-winning content know-how allow us to offer our clients a truly complete package for every aspect of their brand.”

Since the merger, the studio is already embarking on a number of projects, including major creative campaigns for Disney and Sony Pictures.

Custom-designed from the ground up to foster a collaborative working environment, Roger’s new 6,500-square-foot studio includes four private offices, three editing suites, two conference rooms, an empty shooting space for green screen work, a kitchen, and lounge.

“Existing clients will appreciate the breadth of experience we have under one roof now,” concludes Libitsky. “We can assemble highly strategic and super-talented teams tailored to a specific project — or combine all of our resources in tandem to develop a fully integrated experience from the top down. We’re equally excited about how the merger positions us to explore and experiment with new mediums and areas of business.”

About Roger:

Roger is a Los Angeles-based creative studio specializing in branding, advertising, and content development for screens of all sizes. We partner with agencies, brands, and entertainment companies that are as passionate about creativity and innovation as we are. From strategy to execution, we bring their unique vision to life with a diverse team of makers and storytellers spanning live-action, design, animation, and VFX. Our recent clients include Discovery, General Mills, Adidas, and History. We’re Roger. Loud and clear.

Rokkan Puts The Russo Brothers in the Driver’s Seat For Cadillac Campaign

XT6 Launch campaign continues to prove this isn’t your grandfather’s Cadillac

Continuing its string of disruptive work for the Cadillac brand, Rokkan has set a new bar with the launch of the Crew Ready, 3-row, XT6 SUV. In order to standout in the ever-crowded Lux-3 SUV segment, Rokkan collaborated with A-list, power-house directors The Russo Brothers and production company Bullitt. World famous superhero style with a twist defines the XT6 Crew Ready campaign and further defines the bold new direction of the Cadillac brand.

The campaign is comprised of a dynamic series of films showing off the XT6’s spacious 3-row interior, sporty design and rich technology suite – cementing its status as the perfect SUV for every squad, fam, or posse. In essence, XT6 Crew Ready is a celebration of size and style – performance and presence told through a cast of crews. They are both heroic and familiar –modern, tech-forward and cut from every cloth. The campaign also features the bombastic track, “Welcome To The Party,” by Diplo. The track adds a commanding layer of energy to the films for a brand whose legacy in music is unmatched.

“Our team has continued to push the boundaries of what the world expects from a Cadillac, and this campaign continues that dynamic creative trajectory.” Said Brian Carley, CCO of Rokkan. “We set out to uproot the idea that a 3 row SUV has to be marketed in an expected and uniform way and The Russo Brothers were the perfect partners to do just that with Crew Ready.”

This new work is a prime example of Rokkan’s disruptive and culturally relevant approach as the 19 year-young creative shop does what it does best: push the boundaries with clients to make an impact—not just on their business, but on culture at large.
 

Bullitt is a filmmakers’ collective and creative studio founded in collaboration with The Russo Brothers and Justin Lin. Combining the power of both entertainment and advertising, Bullitt harnesses the talent of innovative directors and other creators to forge experiences that connect to any desired audience. Brand supported films, AR and VR, and commercial campaigns, are just some of the projects to which Bullitt has developed, designed, and delivered, earning Cannes Lions and millions of eyeballs for its captivating and imaginative work.

Client: Cadillac

Chief Marketing Officer: Deborah Wahl

Associate Director: Content Benjamin Haynes

Director / Product Marketing: Jason Sledziewski

Marketing Manager: Bob Benbow

Assistant Manager / Content: Rob Whitley

Marketing Coordinator: Lisa Redinger

Agency: Rokkan New York

Chief Creative Officer: Brian Carley

Chief Creative Officer: Bob Winter

Executive Creative Director: Alex Lea

VP / Group Creative Director: Bill Carlson

Creative Director: Austin Muncy

Creative Director: Rob Rooney

Campaign Photographer: Justin Jamison

Creative Operations: Hank Romero

Head of Production: Bruce Andreini

Executive Producer: Jenny Lee

EVP / Chief Client Officer, Matt Garcia

EVP / Global Client Lead, Paul Mareski

EVP / Director, Emily Shahady

Vice President, Group Account Director: Scott Durday

Account Supervisor: Amanda Koegler

Account Supervisor: Maggie Decker

Chief Strategy Officer: Nicolas Chidiac

Group Strategy Director: Steve Lampert

Strategist: Spice Walker

Associate Strategist: Emma Pindel

Production: Bullitt

Directors: The Russo Brothers

2nd Unit Director: Ari Costa

Executive Producer: Luke Ricci

Executive Producer/HOP: Jenni Sprunger

Executive Vice President, Sales & Development: Allison Amon

Producer: Jeremy Barrett

Director of Photography: Trent Opalach

Editorial: Final Cut

Editors: Crispin Struthers + James Rosen

Social Media Asset Editor: Geoff Hastings

Assistant Editors: Mike Radforth + Cutler Gray

Executive Producer: Sarah Roebuck

Head of Production: Penny Ensley

VFX: MPC

Executive Producer: Camila De Biaggi

Producer: Aiste Akelaityte

Production Coordinator: Stephen Dierks

VFX Supervisor: Rob Walker

2D Leads: Rob Walker, Bilali Mack, Tamir Sapir

2D Tean: Giulia Bartra, Esther Song, David Anger, Renato Carone, Lawrence Merrill, John Shafto, Julien Aucouturier, Thiago Porto, David Piombino, Hector Cabrera, Luis Artigas, Kataleah Cowham

Color: The Mill

Colorist: Mike Rossiter

Producer: Evan Bauer

Audio: Heard City

Sound Design + Mix: Phil Loeb

Executive Producer: Sasha Awn

Producer: Andi Lewis

Isn’t this clever. Roman, the erectile dysfunction and premature ejaculation company, ran an ad on Pornhub that was as much an awareness play as a public service. Using their brand colors and typeface, the long-ish copy banner ad reads “We’re Roman,  and we’re not just treating Erectile Dysfunction and Premature Ejaculation, we’re buying up the ad space from those weird porn games so you can watch your video in peace.”

Clever idea. Except for one thing. When I loaded Pornhub’s page, one of those weird porn game ads was right underneath Roman’s ad. SInce we keep it clean around here, I blocked it out with Adland’s wholesome logo but you can trust me on it. Use your imagination.

Other things Roman doesn’t get rid of are those “meet local Milfs in your area,” ads. Or so I’ve been told. I wouldn’t know. What I do know is that Roman will deliver another product straight to your door that is even more relevant to Pornhub and that’s medication for genital herpes.

Zing!

To promote the new adidas originals OZWEEGO for the Chinese market adidas and Hypebeast created this slick alt-reality campaign. The flagship commercial features a star-studded cast of C-pop idol Jackson Yee, Japanese influencer Lala Takahashi, and rapper-producer Dough-Boy. Hypebeast enlisted boutique design and VFX studio Fin Design + Effects to craft the VFX for the film.

Directed by Crystal Choi, Creative Director at Hypebeast, the 30-second film theme is reworking the past to create a new future. We see the evolution from the 1998 classic OZWEEGO to the new, fresh, futuristic design. This is why a 3D printer replaces the chisel and hammer that Jackson Yee uses to craft the new shoe. 

Fin Design + Effects was tasked with creating the futuristic flourishes to complement the theme of the film. Fin’s VFX Supervisor Justin Bromley was on the shoot with the director in Shanghai to advise on the technicality of the VFX in relation to the shots, after which the post production was handled by Fin’s Sydney studio.

Alastair Stephen, Head of Visual Effects at Fin Design + Effects, comments: “Hypebeast’s Crystal Choi approached us with a refreshingly clear and succinct vision. This was one of the things that initially drew us to the project as we knew we could get stuck into the production straight away – leaving ample room for creative adjustments. Crystal had very clear references for the visuals she wanted and was open to technical advice on how we could craft this. It’s a very design-centric spot, so our main challenge was constantly being mindful of achieving visuals that were true to Crystal’s design sensibility. It was a pleasure to build on our body of work with adidas and Crystal was very collaborative and clear; I think the sleekness of the spot is testament to that.”

Speaking on the process, Fin VFX Supervisor Robert Grbevski comments: “Technically-speaking, the film required us to cover a whole range of CG disciplines. It made for an interesting palette of design, ranging from more abstract sequences such as the cuboid figures, which were achieved in Houdini, to the more traditional photoreal effects such as the mannequins, which we achieved in Maya. We executed most of the work in Houdini – for example where the old OZWEEGOs evolve into the new model – as it was well-suited to the design-centric nature of the project. Compositing was all finalised in Flame.”

Client: adidas

Product: OZWEEGO

Agency: Hypebeast

Production Company: GTONE

Director & Creative Director: Crystal Choi

Post Production Company: Fin Design + Effects

VFX Supervisors: Justin Bromley & Robert Grbevski

Producer: Isabelle Howarth

Head of Visual Effects: Alastair Stephen

Storytelling production company 1stAveMachine has expanded its renowned and decorated directorial roster by signing award-winning filmmaker Danielle Katvan.
 

As both a film and commercial director, Danielle’s distinct style infuses offbeat humor into highly stylized, cinematic worlds. “It’s like our world, but with the volume turned up a bit,” she describes. Katvan’s stories come to life through heightened visuals and eccentric characters, yet she always maintains an underlying thread of emotional authenticity. “The beauty of filmmaking is that you can escape to another place, but still feel emotionally connected to what you’re watching – and good performances are such a huge part of making that connection.”

Danielle has emerged as a directorial tour de force, from winning a Clio for her Vogue x Free People spot, to having her short film, The Foster Portfolio, premiere at the 2017 Tribeca Film Festival. She was also selected for the 2017 SHOOT New Directors showcase, and was a recipient of an award from Kodak for Excellence in the Craft of FIlmmaking.

Partner of 1stAveMachine, Sam Penfield says, “We have been big fans of Danielle’s work for some time. Her eye for authentic performances and beautiful cinematography, set against thoughtful art direction, have made for some incredibly compelling films. We couldn’t be more excited to be a part of her career going forward.”

Growing up in her parents eclectic photography studio in New York City, Danielle was exposed to the art of visual storytelling from a young age. She began by taking 35mm photographs, developing the film in their home’s darkroom. This evolved into an interest in moving images, when she bought her first video camera at age 12. It never left her side.

She has been a fan of 1stAveMachine since her early days as a filmmaker, captivated by their boundary-pushing material and original work ethic that truly matches her own. She is thrilled to be joining the roster, and looks forward to growing and refining her reel with 1stAveMachine’s support. “The team at 1stAveMachine has shown me such genuine support and enthusiasm, and I look forward to becoming a part of their family.”

1stAveMachine is a mixed media production company and storytelling outfit. They create video, digital, and experimental content for TV, print, web, and mobile, all with a unified singular vision. They have won numerous awards since their formation, including Gold, Silver, and Bronze Cannes Lions, AICP, One Show, and ANDY awards, and many others. Their work has been featured across the globe and during the Super Bowl, and their division 1stAve Content has been instrumental in pairing the perfect influencers and creators with agencies and brands.

Why on earth did we not think of this before? This is the question that Taylors of Harrogate are building their campaign around, After all, it seems so obvious that one could brew a single cup of coffee the same way you brew a single cup of tea. Like all truly clever ideas, it’s obvious in hindsight, and so the campaign is humorously self-deprecating.

Since their launch in November 2016, Taylors of Harrogate has grown to the number one brand in coffee bags. This campaign follows a relaunch of the product. After over 18 months of product development, Taylors coffee bags are now available in a redesigned box with an optimised bag and a new blend in the range, Flying Start.

 Kelly Wright, Senior Brand Manager for Taylors of Harrogate says:

“Coffee bags are proof that consumers don’t need to compromise to enjoy proper coffee, but not enough people know they exist. We’re really excited to be championing Taylors coffee bags through this campaign, enlightening millions about this game changer of a product.”

 “We don’t take ourselves too seriously at Taylors. This campaign is funny, disruptive and self-deprecating, asking the question we’ve been asking ourselves for almost three years. We hope everyone loves it as much as we do!”

Danny Brooke-Taylor, founder at Lucky Generals, says:
 

“So often in life, the best solution to something is the one that’s been staring you in the face from the very start. We’re really proud of this campaign but why didn’t we think of it before?”

The film in the campaign will be airing in 60, 30 and 10-second cut downs. It depicts a woman pondering why this ingenious idea hasn’t struck us before, and all these silly situations through time where someone who has come up with the idea is interrupted in various ways. Props for the 1970s and 1980s art direction, by the way. I love the stoner guy talking to a coatrack and the giant 80s phone. 

The TV campaign will be supported by a range of shopper marketing, out of home, digital, PR and sampling activity at music festivals and train stations across the country this month, targeting consumers who prefer roast and ground coffee but sometimes have to compromise with instant coffee in the interest of convenience.

Credits

Brand: Taylors of Harrogate

Client name and job title: Taylors Coffee Bags – Why didn’t we think of them before?
Creative Agency: Lucky Generals

Media agency: Goodstuff
Director: Randy Krallman
Production Company: Smuggler
Production Company Producer: Gustav Geldenhuys
Editing House/Editor:  Marshall Street Editor / Tim Thornton-Allan
Post Production: Electric Theatre Collective 

Post Production Producer: Jon Purton

Colourist: Janson Wallis 

2D Lead: Paul Wilmot

2D Artists: Flavio Kawamoto, Tomer Epsthein

DMP: Dave Gibbons

Sound Studio/Engineer: Wave Studios / Parv Thind 

About Lucky Generals

Lucky Generals is a creative company for people on a mission. An Emmy-nominated, multi-award-winning agency, with creativity at its core, we believe in making work that makes a difference. Founded in 2013 by Helen Calcraft, Andy Nairn and Danny Brooke-Taylor, Lucky Generals is now an international agency with offices in London and New York. Clients include Amazon, AB Inbev, Celebrity Cruises, Funding Circle and The Co-op.

McDonald’s and Leo Burnett London have launched an amusing campaign called ‘Schnuggs’ celebrating the release of new Spicy Chicken McNuggets, their hottest new product launch and the latest addition to its menu, available for seven weeks. The models Andrezo, Esmeralda and Jake strut their best “Cool” faces drumming up the hype as they are wearing custom made Spicy Chicken McNuggets apparel. It is the hottest fashion drop of the year – Spicy X Chicken McNuggets = Schnuggs. 

Spoofing the launches of fashion brands like Supreme, this is just McD’s way of teasing you about the hot, literally, chicken McNuggets.

Together with the spoof fashion brand, there’s also ads with mysterious burn holes in the Metro, that announced the launch of Spicy Chicken McNuggets at McDonald’s on Wednesday 7^th.

Liz Whitbread at McDonald’s said “The Spicy Chicken McNuggets campaign is a very exciting product launch for us. An existing innovation to one of our most loved products and with Schnuggs, we’ve got a campaign to match.”

Graham Lakeland, Creative Director at Leo Burnett London, said: “We drew inspiration from these cult-like brands that have this young audience going crazy for their latest product.  Therefore, creating a spoof ‘hype beast’ clothing brand to model our new Spicy McNuggets felt like a great fit. This, coupled with a mixture of food-focused posts helps us create a buzz to become one of the most talked about foods this year.”

Agency: Leo Burnett London
Creative Director:  Graham Lakeland
Creative:  Aaron Taylor
Planner/CSU Director: Carl Juresic, Adriana Ferran, Linnea Berglund
Designer: Paul Reddington, Sam Kallen
Photographer : Myles New

Every day in Israel, ten young adults ages 18-40 find out they have cancer. Still, the country’s support system does not recognize this age category as a population with special needs.

Quite the opposite in fact. For many of these young adults who are just starting out in life –  starting a family, buying an apartment, beginning their careers; getting cancer means getting stuck.

Why? Because young cancer patients (and even recovering young cancer patients) can’t get a mortgage, women cancer patients are not told to freeze their eggs (in spite of what you can imagine cancer treatments may do to their ability to conceive & have a baby) and 60% of them are not hired back to work. For these people, getting cancer means getting stuck.

The “Stop Cancer” association was created to change that and provide a network of support for young adults with cancer. Therefore, in honour of the first ‘Young Adult Cancer Awareness Week’, BBR Saatchi & Saatchi launched #The_Cancer_That_Stuck_Me.

The idea behind the campaign was to emphasize that while a ‘regular’ 29-year-old, buying his first apartment, life is on track to move forward, the life of another person that same age, who just was diagnosed with cancer, suddenly gets stuck. While he is asked to deal with the disease, once recovered buying an apartment will be an impossible dream as he will not be eligible for any funding or mortgage.

The campaign carried which was carried out on every media platform available, attempts to illustrate how cancer patients are getting stuck. It began with organic Instagram stories which hit a nerve and spread everywhere as hundreds of celebrities joined the cause and shared their stories. Live prime television broadcasts froze, live radio broadcasts got stuck, as did TV Promos, movie trailers and YouTube pre-rolls. Even Israeli President Mr. Reuven Rivlin voiced his position. The case study shows much of this.

Advertising Agency: BBR Saatchi & Saatchi, Israel

Chief Executive Officer: Ben Muskal

Chief Creative Officer: Yaron Perel

Creative Director: Kobi Cohen

Art Director: Gali Divon

Account Supervisor: Moran Darzi

Account Executive: Adva Aviad

Media Strategy Manager: Ronit Shekel

Marcom Director: Eva Hasson

VP Content & Production: Iris Yisraeli

Producers: Livnat Alon

Photographer: Ron Kedmi

Video Photographer: Leehou Porat

Video Editor: Tom Lin

Original Music: Yaya Cohen Aharonov

Studio BBR Manager: Yaron Keinan

Studio BBR: Zehava Gonen Greenberg, Masha Varshitsky, Noam Carmel, Jenny Gindus, Eyal Vinitzer, Gabi Levi Elkayam, Robert Mizikovsky

Stop Cancer Team:

Marketing & Strategic Manager: Adi Muggia

Community & social network Manager: Yifat Mor

Minisite Content Manager & copywriter: Sharon Shinar

Minisite Technical operator: Liran Rozen (Anova company)

Tal Center non-profit organization Team:

CEO & Stop Cancer project manager: Shira Segal Kuperman

Chief Executive Officer of Foreign relations & resources developing: Saar Amir

Operation& publicity manager: Shani Adelshtein

Tal Center Founders: Zohar & Yankale Yakobson

Ben Horin & Alexandrovitz Public Relations Team:

Head of Public Sector Department: Amit Melnik

Team leader: Ortal Elias

Media consultant?:  Yuval Mor

Bat For Lashes, aka Natasha Khan, unveils her new song “The Hunger” from her highly anticipated new album Lost Girls out on September 6 via AWAL Recordings.  The video for “The Hunger,” which Khan directed and stars in, is shot in an otherworldly nowhere place, and reveals Khan’s character Nikki Pink’s rise as the head priestess of the Lost Girls, spreading magic and light through a triumphant ceremonial performance. A meditation on love, grief, release, and redemption, the video was produced in collaboration with her production company Lief.

Following on from the lush slow burn of “Kids in the Dark” and the poppered up 80’s rush of “Feel For You”, comes third single ‘The Hunger’: a powerful, mystical anthem, spilling out across five precisely crafted minutes. “I started that song with this organ sound on a really old ’80s synth”, Natasha remembers. “Then (co-writer/ producer) Charles Scott IV brought in his bass, and every time we were adding more and more stuff it was getting closer to this particular feeling that I wanted. There’s nothing like this feeling of translating something that’s in your DNA, part of who you are energetically, coming out in music. Like it matches a thumbprint inside of you.”

Spanning 10 tracks, Lost Girls sees Khan dreaming up her own fully formed parallel universe, laying tantalizing clues on social media. If her last album, The Bride, was melancholy and mournful, a tone poem of loss and regret, Lost Girls is her mischievous younger sister, widescreen in scope and bursting with Technicolor intensity.  It’s an album for driving in the dark; holding hands at sunset; jumping off bridges with vampires; riding your bike across the moon.   Within the women of Lost Girls and her character Nikki Pink, Khan unfolds elements of herself; within these songs, we do the same.  Filled with gauzy, 80’s-esque power ballads, Iranian-inspired beats, and the sort of epic sonics reserved for film credits rolling up a screen, Lost Girls is a noir, supernatural night-riding adventure, and one of the finest albums in Khan’s rich, varied discography.  

Nikki Pink: Natasha Khan

Lost Girls: Avery Wheless, Evangeline Neuhart, Dominique N Godinez, Kenzie McClure, Angelica DeWitt

Director: Natasha Khan

Producer: Margo Mars

Production Company: Lief

Director of Photography: Sean Conaty

Costume Design: Devin Winter

Nikki Pink Dress: Romance Was Born

Hair & Make-Up Artist: Alex Perrone

Line Producer: Roberto Rodriguez

Casting: Avery Wheless

Editor: Jamie O’Donnell

Colourist: Yoomin Lee

Titles: Fraser Muggeridge Studio