Since a large majority of The Mill's assignment was to fill the empty stadium, the team got as much in-camera footage as possible for the crowd plates to preserve the electricity that only a live crowd can generate. The Mill's Lead 2D Artist Iwan Zwarts explains, "All of the foreground action had to be matted to build in the crowd plates behind the players, and we also made sure that we could track all three cameras that were rolling that day."

The team also wanted to utilize as much of the real, studio-built ramp footage in the finished spot as they could. When the brief called for a change of shape, our 3D artists Emily Meger and Naotaka Minimi built and textured a CG model of the ramp so the actual footage could be projected on to it.

"Working with the accomplished people on this project was a great experience," says Zwarts. "From Ringan to the agency's team, everybody was on the same page creatively. It's not everyday that one gets to work on a spot that doesn't actually feel like work!"