Our work is inspired by an eclectic mix of media we obsess over -
Take this page as our periodically updated moodboard.
SUMMER 2025
Vania & Muggia’s DC for their “WHY DO IT?” Nike spot. A special OOOF Technical Award goes to the DP, Pat Scola. Most of the slow mo shots are at 1000 frames per second, which requires a gargantuan amount of light. Shaping that much light and making it look natural is incredibly difficult.
The devastating melancholy of Marianne Jean-Baptiste’s performance in Mike Leigh’s Hard Truths (2024), possibly the best film about the pandemic that never explicitly mentions it.
The simplicity of this Onda-directed Adidas AE 1 spot; one part of a larger series that’s already considered a generational sneaker campaign.
WINTER 2024
The C-Suite office sets in The Hudsucker Proxy.
The tenderness of this beautiful Instacart spot, directed by Justyna Obasi. Sadness is abundant in everyday life, but rare in advertising.
Francis Ford Coppola’s inability to realize he was making a masterpiece in Hearts of Darkness: A Filmmaker’s Apocalypse
SPRING 2024
Park Chan-wook’s scene transitions in The Sympathizer.
The ocean of story and emotion packed into Sissy Spacek’s brief opening monologue in Badlands.
WINTER 2023
The 85 meter undulating hallway set that Show Yanagisawa built for this Pocari Sweat commercial.
The intricate mixed media editing of the Mama’s Eyes music video
Frank’s (Christopher Walken) smile and dance that breaks the tension in this scene from King of New York
One of the coolest subtle practical effects in recent memory - the Jack Harlow “First Class” music video crew made giant letter cutouts for the road and calculated their size and distance apart against the motorcycle’s speed AND the timing of the letters in the song. If that wasn’t hard enough, they shot it on 35mm film at night