Movie Magic’s Brought To Life in Coral’s Arcade Game Campaign
The film takes viewers on a hypnotising journey of shifting locations and perspectives. Beginning in a neon-lit arcade, the camera operates from the point of view of a claw in a machine, plunging through layers of bells, dice, and diamonds to snatch up the gift box lying underneath. Suddenly, the set changes to a lounge and we watch from the talent’s perspective as the ceiling bursts open with a stream of golden light. The larger-than-life gift box is lowered into the room, perfectly mirroring the action on the talent’s phone screen.
The commercial is marked by Menzkie’s signature style, utilising mixed media techniques to create moments of magic with a grounding in reality. Making the most of emerging technologies, Menzkie first experimented with various AI prompts to generate potential surreal scenes, including the acid-coloured arcade and the glinting objects inside the machine. Inspired, the Irresistible Studios team then worked to craft real-life examples of this imagery, putting together small-build sets of the claw machine and the landscape of its journey. The narrative was thus brought physically to life for the client, agency, and wider production crew to experience live on set.
Menzkie also opted to capture the scenes using motion control. Allowing the film to flow seamlessly from one section to the next with elegant transitions, the camerawork delightfully disorients the viewer to immerse them deeper into the winding journey of the film.
These in-camera techniques gave the team greater flexibility to tweak and enhance in post. The finishing touch came from enhancing the magic with sprinklings of CGI, with additional elements layered in during the edit.
Menzkie comments, “The main idea for this film was to make everything feel as real as possible. With motion control and miniatures of the set builds, I knew we could take it to the next level! We were fortunate to have an extraordinary team to support this vision, allowing most of our imagery to exist in-camera. I’m so excited to pursue this multidisciplinary approach in further projects, amping up physical mini-builds and stop frame animation with elements of CGI.”
