PROJECT Wheat
INTRO
With these scripts I want the viewer to see themselves with that kind of cool-headed precision that separates casual dabblers from true operators. Our protagonist doesn’t just trade… they conduct. Markets move, environments respond, time bends (more on this later!), and the ordinary act of tapping a screen becomes something cinematic, choreographed, and, dare I say, heroic.
We’re building a world where trading feels like a physical, spatial experience. Not just numbers on a screen, but energy in a room. The house becomes a stage, the interface comes alive, and Kraken is the force orchestrating it all.
“WHERE TRADING FEELS PHYSICAL”
APPROACH
We create two distinct but interconnected films from one location — “Spot Margin” and “Perp Futures” — using transformation, movement, and perspective to differentiate tone and narrative.
The approach is highly kinetic, intentionally elevated, and just a touch self-aware. We lean into the spectacle without losing relatability. It should feel like: “Yes, this is heightened… but also, yeah, I get this person.”
Logistically, we’re being smart. The house becomes our Swiss Army knife. During pre-light the day prior, we’ll execute the bulk of set dressing—allowing us to walk into shoot day with a fully realized environment that can pivot quickly between spots. This also gives us the time to finesse lighting (more on that shortly), which is where this whole thing really starts to sing.
Also, as an American myself, I’m going to be working closely with the production designer to ensure authenticity. Sorry but no Arsenal or Man U jerseys on these walls…
WARDROBE
This is intentionally open—for good reason.
We want our talent to feel real. Not “startup founder in a magazine spread real,” but actual human real. Relaxed silhouettes, natural textures, lived-in comfort. That said I don’t want to get so relaxed that our talent has that hacker energy with their hood up like the Kraken “Pro Margin USA Launch” spot (respectfully).
Instead, there’s room to elevate. Subtle aspiration is welcome—but never at the cost of authenticity.
And, of course, gentle integrations of Kraken purple. Not heavy-handed branding, but thoughtful accents—a trim, a reflection, a sock if we’re feeling bold. It’s about cohesion, not costume. Though I will say, I’d prefer that the Kraken tone exists in the world around and we actually separate our talent with a contrasting hue making them pop out in every frame — like the examples seen here.
We’ll collaborate closely with stylist + agency to dial this in.
PRODUCTION DESIGN
To go big we’ll have to think small. Nailing the Kraken ‘Pro-ness’ of our character and setting will come to truth in the details. Depending on what room we’re in there are lots of subtle clues to ground us in our location. Let’s forever keep in mind our character and work backwards from there.
The pro-trader is intelligent but humble. Thoughtful and deliberate. They’re a tastemaker with a proclivity towards finer things without ever ending up around ostentatious designs or garish details. A sense of effortless spaciousness should come from the fact that elements have homes. We’re not overcrowding and creating chaos with maximalist styling.
Instead corners should be committed to a listening corner or a reading nook. Vinyls lean into their sense of quality over quantity. Sculptural frames and soft lamps give that sense of art curation whilst large framed work thematically lean towards culture and wealth — but again, without painting anything in gold leaf.
Speaking of colours, purple does remain an option. However it should be treated as an accent, gently nudging into the environment rather than us trying to design around it. Soft purple touches like books, vinyls, throws, or cushions can soften our natural palette and subtly cue the viewer towards Kraken without holding their nose in it.
We want our home to be feel comfortable, curated, and cool. Effortless… just like our hero.
THE HOME
A critical part of setting our geography is going to be the bones of our home. While we’ve spoken about dressing our talent and our space, what may be the trickiest challenge of ‘art’ will be finding the right frame for it all; the right backdrop. What we’re looking for here is one of two things:
If we commit to the Miami high-rise, then we’re looking for clean, modern, with the feeling of lots of natural light. A brighter palette (most Miami condos I’ve been in are almost always white). Modern touches like stainless steel appliances, LED lighting accents, and open floor plans are all indicative of the ‘Miami’ feel. The one call out here is that there should be lots of windows, and if there are lots of windows, how are we approaching putting ourselves up 20 stories in the air? We can green/blue screen and comp later, but I’m simply calling it out ahead of time. More discussions to be had before commitments are made…
The other option is if we go with a house we can negate the risk of being above ground level when we look out the windows. The only thing here — and ultimately it would benefit the actual filming for many reasons — is that we deserve to have even more space on-screen. An American house, like its Miami high-rise counterpart, is ultimately more modern than most of what London provides but realistically should offer even more space. While we’ll certainly be looking close to home for options, we may find better value and a closer style match by looking in coastal UK cities like Brighton or even in Cornwall.
Ok, now that I’ve scared us with a rather unhelpful breakdown of what we should be looking for, here is (hopefully) an encouraging local reference::
LOCATION OPTION
It’s clean, modern (in ways), spacious, has a bit of character and funk. I love it. The renovations have brought it into the present day whilst some of the older design touches like the wood tones and the stone accent wall give you a bit of that warm bungalow vibe. And because of when we’d shoot, the outside would be lush like tropic regions should be! So, let’s keep looking, and to me, whether it’s a high-rise or a house will be told to us depending on what we find — so let’s look for both!
‘CLEAN, MODERN, SPACIOUS… BUT DON’T BE AFRAID OF A LITTLE FUNK’
‘ADDING DAZZLE WITHOUT THE FRAZZLE’
AI
Let’s be clear: when I say AI, I’m not saying let’s hand this over to the robots. We are, however, smart enough to use AI where it meaningfully enhances scope and efficiency. I like to think of AI here as world-building glue:
A camera move that starts in our house and ends up in outer space
Seamless transitions that would otherwise take hours of rigging (will explain later)
Expansive movement through space that keeps energy high and production nimble
These are not shortcuts—they’re amplifiers.
Given the realities of a tight shoot day, knocking out 2 spots in 1 day and 1 location, we strategically shift some of the heavy lifting into post. AI allows us to expand scale without compromising performance or craft. The human element remains front and center—we’re just giving it a bigger playground.
CINEMATOGRAPHY
This is where I get excited. This is my playground.
We’re talking kinetic cinematography—camera moves that feel alive, intentional, and dimensional:
Full 360° rotations
Overhead arcs that swoop and dive
Aggressive crash zooms
Speed ramps that dance between real-time and hyper-speed but also…
Strategic hits of super slow motion for maximum draaaaaaaaaammmmmaaaaaa
No polite slider moves here. We’re not gently observing—we’re engaging.
Frame rates become part of the language. Movement becomes rhythm. Every shot should feel like it’s pushing forward, even when the subject is still.
If you’ve seen my work like PXO AKIRA for Sony’s VFX company Pixomondo or the “crazy” music video—this is that same DNA. Controlled chaos, but make it elegant. I really want to bring the energy of these pieces into this.
…WE’RE ENGAGING’
‘MOVEMENT BECOMES RHYTHM...
Now, to be upfront, I don’t yet know exactly how we should shoot this. Before fully committing I’d want to fold in the expert opinions of a key grip (from a rigging and safety perspective), the DP (camera/lensing and movement abilities), VFX (capabilities in transition work and clean up — depending on rigging), and of course, the Producer to weigh out options in terms of budget vs. impact. This is a question of intent, the right tool, and many other factors that just can’t be decided with certainty this early on.
What I can tell you is that I’ve done this every which way before — and how each way gets done.
We can goal post some truss rigging to then suspend a flipped lazy Susan with either speed rail or more truss, counter balanced of course, with the camera rigged at one end. That’s what we did in our “crazy” music video seen above on the left. However, the truss was hidden in the set design (plants on the pillars) and our key grip had to manually spin the rig which left his shadow in at some points (would need painting out).
I’ve also done 360 dolly track which is the most straight forward and allows for a heavier camera setup like a big zoom lens if we wanted to add another dimension of movement. However I don’t know the interior space we have available to us and if this would fit, nor if our room is up 3 stories and if the team is prepared to lift a Fisher 10 up that high. Though myself and one other managed 5 stories just us 2… but I will say, it nearly killed us and was far from being truly safe.
Another method is to steadicam it, which, having been a steadi op in the past, I know is quite simple for a faster setup time providing an efficient option.
Or, do we rig the keyboard and camera to the swivel chair and spin the chair itself leaning into the surrealism and energy of the moment so our talent looks static while the background whips around in a dizzying blur? Again, another lael music video I directed on the left exemplifies this effect.
What I do know is how we achieve it. What I’d love to chat further is what we want from it and whether there are any logistical barriers that impose a decision onto us. But to quickly call it out: for ‘Spot Margin’ I want to see lights moving or pulsing in-frame for added energy, the camera slows in the middle of the 360 arc for a suspended moment of action where the curtains billow and papers fly in the room for slowmo drama, before we speed ramp back into our action. For ‘Perp Futures’ we can switch it up and go with a low frame rate to show our talent locked in like they’re trading at lightspeed — beating the market and orchestrating success from home. Another reference of mine to the left again.
Ideas, ideas, ideas… let’s chat!
‘YOU SPIN—
—ME RIGHT—
—ROUND, BABY’
THE 360
EDIT
The edit is where we weaponize everything. We’ve shot the bits. We have our ingredients. But now we need to Guetta or Tiësto these sounds to actually make it bang.
We’re stitching together different temporalities—fast, slow, real-time—to create something slick and propulsive. Cuts should land with intention. Transitions should feel buttery, and I’ll just say it point-blank, butterier (can’t believe that’s a word) than last time. We’ve got more space to play with, more time to prep, and tools that have advanced since December. Time to lock in.
This is also where our AI moments integrate seamlessly with practical footage—blurring the line between what was captured and what was constructed.
Pacing is key: we need to build tension, hold just long enough, and then release. That’s why I’d love to recommend the following track to exemplify exactly that.
MUSIC
In searching for a musical reference I aimed at finding something where we introduce more tension upfront; a musical burn that escalates as our talent navigates the trade. Then, once success hits, we release.
For this, I’ve done a 30-second cut of “Cruise” by ROYA. Granted I will caveat in that the actual drop of whichever song we go with, we may want to pull it forward a bit. This placement of course we have complete control of later on to nail the exact timing.
This song though — and if you haven’t clicked the play button to the left, please do so — has that perfect sense of propulsion and payoff; energy that blossoms into something bigger like how ODESZA’s music feels. Songs that I like to call, “Music you would listen to while standing on a motorcycle with your arms stretched wide open and your eyes closed.” You can kind of see it, right?
The one thing I want to really highlight with this track is how powerful the stutter house vocals are because in the “Spot Margin” piece I’d love for the candlestick animation to animate and react to those sonics. Those vocals drop with this explosive quality that could almost feel like the music is so deeply embedded in the world itself that the UI similarly explodes out from the computer screen and swirls around our hero for a swift moment of surrealism. It’s both majestic and triumphant in feeling. It breaks the melody down into more of a percussive rhythm.
Speaking of sonics, sound design will also play a huge role—subtle UI hits leaning into crispy tones like glass and lightbulb ASMR textures, energetic keyboard clacking and mouse clicks, and those satisfying, almost tactile moments when a trade lands. Oh, and definitely every camera move needs weight to it. Crash zooms smash like my PXO piece, 360 orbits have a whooshing riser bringing that increasing energy, and those dramatic launches of time are grounded with deep explosions that ripple across.
LIGHTING
We’ll build a highly considered lighting environment. One that’s soft and naturalistic to keep that lived-in feel as our baseline.
Motivated practicals give depth and realism so we’re not in a black box while also further heightening the design of their space. This person lives like they trade, with intention. This helps sell just that.
Additionally streaking shafts of sunlight push into our space to create shape and remind us there’s no way we’re in rainy London.
Nothing accidental. Everything designed.
‘EVERYTHING —
— DESIGNED’
CAPTURING KRAKEN
Yes, we can comp later—but there are huge advantages to getting this right on set and thus it’s always my preference to get it in-camera:
Performance — talent has something real to react to
Reflections — especially in the eyes; we want Kraken to literally light them up because I want to get clooooose
Clarity — everyone including us understands the moment and frames accordingly so our actions and choices can be vetted in realtime and not compromised later
We’ll use a mix of techniques including probe lenses; which these spots deserve (and I love that you recently used). They allow us to get incredibly close, making small actions feel massive and cinematic. And that’s the goal: elevate trading into spectacle.
Pair that with dynamic camera movement and intentional choreography, and suddenly this “static” activity becomes something powerful.
Because ultimately, anyone using Kraken should feel like a hero. Confident. In control. Fearless.
‘ELEVATE TRADING INTO SPECTACLE’
ESTABLISHING LOCATION
Spot Margin
So while I know the original brief wanted to start us out wide, the script itself almost feels like it wants to finish at its widest, showing America more literally. For that reason, I’d love to kick us off with a bit of action. Originally I wanted to turn up the ‘Murica knob with an eagle and flag outside of our LA bungalow to get a bit of humour in early on. But, since we’re pivoting to Miami, there’s nothing more iconic than those turquoise waters.
For that reason we could test out a variety of ocean-openers: a luxury yacht cruising by just to make our viewer drool a bit, or perhaps some jet-skis ripping for higher energy. Either way, the two GIFs you’re seeing on the top right are two different AI transitions I made that begin on a ChatGPT image and then land on a real image pulled from YouTube. We’d do the same method ultimately but would spend far more time perfecting the intro shot running through dozens of options utilizing AI agents. We’d also render the transition with a better video model before smoothing things out in the edit bay and with our colourist - who I want to note actually enters the post pipeline earlier than traditional models. With AI, things are a bit different, but thankfully, this isn’t my first rodeo.
The camera, starting out wide so as to show the Miami skyline, skims past our subject. In this case, a KrakenKraft boat with wakeboarder in tow but let’s keep things grounded and opt for a jet-ski or boat/yacht without the wakeboarder.. Our camera, having flown past, then propels up into the air meeting our talent at their penthouse. For our purposes though, we’ll have the camera enter the actual residence perhaps through a sliding glass door, or maybe through the glass itself.…
ESTABLISHING LOCATION
Perp Futures
As it’s currently scripted, we don’t need to be as planetary as ‘Spot Margin’. For this reason, I see this intro much more simply. We open on a couple of dynamic, energetic ‘travel’ shots. A rolling wheel, a hand spinning the luggage to one side… and then an abrupt stop.
Our talent thinks about where they’re headed. They look down to their passport — we cut to a POV shot as they do this — then a super close up macro focusing on the emblem as that same Kraken purple light that once outlined those great states now outlines the Great Seal (yes, that’s what it’s called). It shines, reminding them that Kraken is here. They look to camera, and with a coy smile, and throw the passport over their shoulder…
… to close out ‘Perp Futures’, again, staying a bit closer to home as opposed to rocket launching out of this spot, I think it’d be a bit of fun to really sell not only the triumphant trading our hero has been doing with the perp future feature, but also the idea that you don’t need to go offshore. So, they kick back, feet up on the desk, as they slurp a Blue Hawaii from a curly straw. Small umbrella and pineapple wedge included of course.
WHAT WE HEAR
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SPOT MARGIN
WHAT WE SEE
We open on the turquoise waters of Miami. A jet-ski is out cruising solo (could replace with yacht — big yacht culture in Miami). Our camera rushes past, skimming the water’s surface before curving upward towards a high-rise apartment (location may encourage this to be a ground level villa). We slip through the glass of a sliding door and fly through the room towards our hero and their trading setup, rapidly settling right next to them so that we see both talent and monitors.
Our talent smiles. Things are about to get interesting. The camera flies in front of our talent, now looking head on at the Kraken UI on-screen. It then curves in towards the monitors, swinging on a fulcrum, as our view rotates back around to talent. We submerge into Kraken’s UI. The 10x toggle, now mirrored backwards, sits front and center elevated from the screen on a translucent plain between camera and talent. Our hero clicks it on.
Our probe lens scrapes along the monitors in a flurry of directions as we see various telltale signs of trading. Candlestick imagery emerges and grows in realtime as our camera pushes forward, booms up, and even travels sideways turning the monitors into a dance floor for our camera.
The camera pushes along the UI as the background, a swath of black, suddenly turns into the back of our monitors as we’re launched into our epic 360 moment spinning around our talent as they dial into the zone. Candlestick imagery and crypto tickers (in text form) are flying out from the monitors and swirling all around our talent. The moment suddenly slows to a brief crawl — everything suspended in our spot’s most energetic moment — before we release and speed ramp out spinning back to realtime. The shot wipes behind a computer monitor; another brief natural fade —
— the next shot quickly blends in from behind our hero as we wrap around to their side. We snap forward to their eye studying the market with this new found 10x power.
The probe lens does a barrel roll as it skims the keyboard while our hero types. A rigged shot flies back and forth with the mouse. In another probe lens shot we’re locked onto their finger as it moves towards <enter> (or any most relevant button). It’s an overt moment of drama where the finger feels massive, and the moment, important.
Music is growing. Sound is building with this tension of energy rising. And. One. More. Time… ‘click’.
We can either cut straight to end card here emphasizing the power of this singular gesture with 10x applied or we can try an alt where our talent looking down to the keyboard, looks up straight into camera and cracks a smile. Game on.
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PERP FUTURES
Quick energetic cuts smack us in the face with ‘travel’. A rolling suitcase’s wheel rolls, a hand spins luggage from one side to another in a dizzying locked off shot, and a rigged shot shows a passport in-hand when suddenly our talent stops. We go into their POV as they bring their passport up close to look at.
They then look to camera, purse their lips in a slight smirk, and toss their passport over their shoulder. We immediately whip into a fast blur of motion like The Flash as we follow our talent back to their trading setup. Kraken Pro is already loaded up on-screen waiting.
They spin around in their chair and lock into trading mode.
The following would be a similar action flow to ‘Spot Margin’ where we observe, in classic probe-lens-drama-fashion, Kraken’s UI in full force. We skim past charts, rise up towards numbers, and rotate over candlestick imagery.
We cut from here up high and wide to see our talent seated in a state of flow at their setup. Large numbers, skewed in the room so it looks like they exist in the space itself, flip from 09:37 to 16:29 to 21:52 in a split-flap style animation. Trading from home, any time of day. No more market limits.
Similar again to ‘Spot Margin’ we’re using many of the same high energy shots that crash in and spin around giving us that same sort of immersive spectacle turning trading into a f***ing Olympic sport. The camera rapidly does a barrel roll close to the keyboard as our trader locks in. The mouse flies side-to-side, with us along for the ride. And then again, the all powerful index finger drops down to smash that <enter> button.
The pressing of the <enter> button snaps a quick whip tilt down as our talent crosses their legs on the corner of the desk. We see a few generic, video-game style gold coins flying into the monitors. Growth, growth, growth.
The camera snaps towards the screens and spins around to face our talent as a couple more coins morph into our overlay. An icon in the Kraken UI signifies the growing account - despite the same wallet. Things are trending well for our friend.
Our talent, content with the deal on their perps, sips a Blue Hawaii with a curly straw - and of course, a small umbrella on the side. Or maybe it’s a Purple Hawaii?
WHAT WE HEAR
WHAT WE SEE
THANK YOU
This is a chance to take something complex (to an outsider) and make it feel intuitive, exciting, and visually unforgettable.
We’re blending practical craft, smart use of AI, and high-energy filmmaking to create something that feels both grounded and expansive. A rollercoaster right in your own home.
Let’s make trading look as powerful as it feels.
