1+8+N campaign


Creative Director
Mark Black
Creative Director
Dave Burn
Creative Director
Yacco Vijn
Head of Production
Patrick Cahill
UK CCO Group
Mark Wheelan
Alison Cooper
Assistant Producer
Mary Musasa
Business Director
Kate Woodruff
Senior Account Director
Joss Freestone
Senior Account Manager
George Frampton
Production Company
Dog Eat Dog
Pascal Heiduk
Par Ekberg
Executive Producer
Mark O'sullivan
Harvey Ascott


Alec Eves
Rob Ellis
Leire Sanz
Design Collective
Nick Dalby
Sound Design
Jamie Thomas
Alec Eves
Executive Producer
Darryl Bolton
Jake Saunders
TenThree - Stephen Dunn

Tags: Alec Eves  Darryl Bolton  Dog Eat Dog  Huawei  Jake Saunders  Jamie Thomas  Leire Sanz  Nick Dalby  Rob Ellis  Technology 


UNIT teamed up with Havas and Dog Eat Dog for this stunning new spot for Huawei’s 1+8+N campaign. Working on such a highly anticipated campaign like Huawei gives our artists plenty to think about, with new and exciting challenges each time. From shoot to delivery it was the usual quick turnaround, with lots of different products to highlight.

For the grade, senior colourist Nick Dalby had a great starting point with the distinctive set lighting and dynamic camera moves. We augmented the atmosphere with subtle hue shifts and enhanced the light boxes around the set while retaining as much tone and separation in the skin and products as possible. This ensured the colours shifted smoothly between the flow of the film, adding to the excitement.

Thankfully for VFX lead Alec Eves, we managed to get the majority of the VFX and master films completed before the true impact of lockdown kicked in, sending everyone off to different parts of the country. The remaining deliverables, of which there were many, and some minor tweaks were all completed remotely.

The main challenge for sound designer Jamie Thomas was to give the robots an expressive, human tone rather than a generic servo whirr - due to the high intensity of the composed music track this proved quite a challenge. We opted to use pneumatic whooshes to soften the abrasiveness of the robots, allowing the music and SFX to complement each other. It was a very fine line to tread as they needed to be futuristic, cut through at the right times and not be too heavy so as to come across as 'steam punk’. In the end, we recorded a small selection of servo whirrs but only as a top note texture to complement the pneumatic noises and give the impression of movement. These were treated very carefully and we only accentuated the highest frequencies so as not to detract from the main sounds. In turn these were modulated in synthesis to help portray movement and flow.