Cannes Lions Grand Prix work for Coinbase produced by South African crew

This commercial proves once again why international productions turn to South Africa’s experienced crews to deliver work that wins on the world stage.

Chances are, you have already heard of Coinbase’s ‘Your Way Out’ ad. It won the Cannes Lions Film Craft Grand Prix, collected five more Lions and has since landed a Primetime Emmy nomination. What you may not have heard is just how much of it was made by South Africans. We go behind the scenes with service company, Gatehouse.

“Our crews have grown up doing service.” says Bev Wynne, EP and owner from Gatehouse. “They understand the language, and what an international production needs. We bring experience and gravitas to a job. If you come to South Africa, it is going to be delivered.” She continues by saying “Only 13 members of the key production team on Coinbase flew in from abroad, including production/DOP/PD/Costume Supervisor/Choreographer/ VFX supervisors and editors; everyone else, from the art department, set builders and art department to wardrobe, lighting, grip and production, was South African.” Go Team SA!

Coinbase ‘Your Way Out’

Director Oscar Hudson and producer Archie Johnston Steward had both filmed in South Africa before, including the 2024 feature film ‘Straight Circle’, shot in Verneukpan. Most recently, they had returned for another production serviced by Gatehouse the previous December. Returning with a job this ambitious was a strong vote of confidence in South African crews and the level of experience available here.

Shot over five days in Paarl, Gatehouse transformed a Western Cape equestrian centre into an 80-metre video-game world. “When I walked onto that set, I nearly cried,” says Bev. “The scale and the craftsmanship were breathtaking. To see what our industry had delivered in just a few weeks was extraordinary and once again reminded me that we have the best crews in the world.”

“The amazing production crew Toni Marais, Nikki Geater and Sasha Nair made sure that this job got delivered to its 100% top notch ability. There is not a machine Nikki has not conquered and Toni was the general leading the charge.”

The Behind-the-Scenes

Before anything could be built, Gatehouse first had to find a space capable of holding two realities at once. Oscar’s transition from a retro game world into a real cityscape required an 80-metre-long practical build beneath a camera gantry almost 10 metres high. What Oscar called the 75-metre ‘reality run’ had to transform seamlessly from the flat, pixelated game world into a real city. This was less a location search than finding a building big enough to construct a small city inside.

Warehouses across Cape Town were either too small or unable to commit their space for the six weeks the build required. Enter legendary feature-film scout Peter Carey, who found an equestrian centre in Paarl. It was still slightly short on both height and length, but it was the only space with enough scale to make the plan work. Cue summer temperatures of around 42 degrees, because apparently building an entire videogame inside an equestrian centre was not enough of a challenge.

Working with production designer Luke Moran-Morris, Gatehouse’s local art department (headed by local art director Shane Bunce) and set builders (Epic Sets – headed by Emile Coetzee) had to make a real, three-dimensional world look like a low-resolution video game. Instead of adding detail, they flattened it. Walls, streets, objects were all printed on paper in low resolution. The wardrobe team (under Tracey Berg) used the same trick: lapels, pockets, buttons and ties were printed directly onto fabric.

To complete the illusion, the actors themselves had to look as though they had been rendered inside the same low-resolution video game. Their own faces were printed flat onto full-head Lycra masks and stretched back over them, removing the natural depth of their features to create the low-res look. Movement director Maeva Berthelot then put the cast through a movement bootcamp to learn how to move like video game characters.

“Only two of the actors were international, the rest were from our local pool of highly talented performers. Not an easy brief to deliver, and all done with aplomb,” says Bev.

With no ready-made blueprint for building a live-action video game world, the local art, wardrobe, props and set-building teams tested materials, colours, scale and printing techniques, adapting the sets and costumes right up to the shoot. “Our teams were making things on the fly, and we had seamstresses working on set as the costumes evolved,” says Bev. “What I love about our crews is that they find a way. The level of craftsmanship was extraordinary.”

To make the physical set look as though it had been rendered inside an old-school video game, Oscar wanted the opening world lit with flat, even light and almost no natural shadows. As the character broke free, the lighting needed to become harder and more lifelike, helping the audience feel the shift from game to reality. Creating that transition across an 80-metre build was up to gaffer Oliver Wilter, key grip Eric Lolo and their teams.

Lighting department behind-the-scenes

“The lighting department was astounding,” says Bev. “Oliver had a very tricky job on his hands because the space couldn’t be lit all at once. Everything had to be done in sections and then flipped around, and the grip and camera teams were just as committed. Everybody understood what the film needed.”

The film has become one of the most awarded commercials of the year, winning the Cannes Lions Film Craft Grand Prix for Direction and Gold for Production Design/Art Direction, as well as Gold in Film for Market Disruption, two Silvers and a Bronze for Script. It also took home three AICP honours for Production, Production Design and Direction and is now nominated for a Primetime Emmy for Outstanding Commercial alongside work for Apple, Nike, Levi’s and Adidas.

The recognition arrives as Gatehouse celebrates its 25th anniversary. “Every time we confirm a job, I still get butterflies in my stomach,” she says. “I never think, ‘This is easy, we’ve got this.’ I always want to deliver it to the very best of our ability. You can never become complacent.”

The Cannes Lions Grand Prix belongs to the full international team behind the film, and Bev is careful not to claim otherwise. But this is also a significant South African production achievement, powered by local skill, experience and the kind of craftsmanship that can turn ambitious ideas into one of the world’s most celebrated commercials.

Gatehouse and the South African crew can take a proper bow for this one. We salute you.

Credits

International Crew
Director: Oscar Hudson
Executive Producer: Molly Griffin
Producer: Archie Johnston Stewart
Production Manager: Andrea Harvey
DOP: Ben Fordesman
Production Designer: Luke Moran-Morris
Costume Designer: Ameena Callender
Movement: Maeva Berthelot
1st AD: Ty Hack
VFX: Michael O’Donoghue
VFX: Gregory Spencer
Editor: Leo Scott
Editor: Beau Hogan

Production Crew
Executive Producer: Beverley Wynne
Head of Production: Karla Peetz
Producer: Toni Marais
Production Manager: Nikki Geater
Production Coordinator: Sasha Nair
Talent Coordinator: Tasmin Vorster
Production Assistant: Aimee (Dylan) VD Merwe
Production Chaperone: Yusree van der Schyff
Production Chaperone 2: Imraan Khan
Agency Chaperone: Paul Verhoogt
Client Chaperone: Remy Djieutcheu
Talent Chaperone: Kurt de Villiers
PD & Costume Driver: Waleed Isaacs
Production Designer Driver: Shepherd Kasema

Assistant Directing / Set PA’s
2nd AD: Andile Pakade
3rd AD: Shuraigh Meyer
Script Supervisor: Joel Aaron Griffin
Set PA: Lelethu Louis Suntele

Camera / Sound
1st AC: Zane Harrison
Focus Puller: Quinton Fredericks
Loader: Ruan Van Wyk
VT Operator: Nick Warner
DIT: Nick Mclachlan
DIT Trainee: Jade Synndercombe

Grips
Key Grip: Eric Lolo
Best Boy Grip: Xolile Gwayi
Grip Assistant: Inga Ntshakaza
Grip Assistant: Siseko Mboyiya
Grip Assistant: Sive Lolo
Libra Head Op: Jono Farr

Lighting
Gaffer: Oliver Wilter
Best Boy: Zolani Gojo
Spark: Vincent Njacobo
Spark: Athi Pokolo
Spark: Harrison Taggart
Spark: Sizwe Balintulo
Spark: Baden Fowds

Rigging
Key Rigger: Jaco v Niekerk
Rigger: Emile Khun
Rigger: Mark Booysen
Rigger: Luke Barnard
Rigger: Josh Sneddon
Rigger: Nathan Easom
Rigger: Aaron Muchanyu
Rigger: Calab Adams

Art Department / Greens
Set Designer: Ross Jenkins
Daughtsman: Garlin January
Graphic Designer: Warren Sassenberg
Art Director (Supervisor): Shane Bunce
Property Master: Dean Abrahams
Set Dresser: Danielle Redelinghuys
On set stand by: Donnovan Oostendorp
Props Buyer: Darren Dumont
Assist / Truck Driver: Richards Lusakueno
Assist / Truck Driver: Levis Mayamba
Assistant 2: Ampe Kalongs
Assistant 3: Jerry Ntumba
Assistant 4: Joe Nsenga
Assistant 5: Fadel Kalonji Mukuna
Art Labour: Sammy Mabenga
Art Labour: Darrel Kanku

Construction
Construction Manager: Emile Coetzee

SFX
SFX Coordinator: Doug Hardy
SFX Assistant: Hermie Venter
SFX Assistant: Byron Ramsay
SFX Assistant: Mbuyiselo Nomkala
SFX Assistant: Sarah Jane Hardy
SFX Assistant: Daneel van Wyk

Stunts
Stunt Coordinator: Grant Hulley

Precision Driver
Precision Driver: Jade White

Wardrobe
Assistant Costume Designer: Tracey Berg
Standby Assist: Portia Mavityo
Standby Assist: Nompilo Paris Peter
Standby Assist: Daniel Lister
Wardrobe Assist: Thioko Wardrobe
Truck Driver / Wardrobe Assist: George Kankhuku
Truck Driver / Wardrobe Assist: Siyabonga Sikuni
Dresser: Neziwe
Textile Artist: Francois Joubert
Textile Artist: Lucy Gcwabe
Textile Artist: Sikelela Piyose
Textile Artist: Thando Gcwabe
Seamstress 1: Charlene Johnson
Seamstress 2: Aziza Aanhuizen
Seamstress 3: Moenesa Majiet

Props / Graphics / Fabrication
Tailor / Pattern Maker: Alan Mwauvhumbu
Graphics: Lucy Doman
Fabricator: Meliscka Gibson

Prosthetics / Hair & Make Up
Prosthetics / HMU Artist: Claudia Hamman
Prosthetics / HMU Artist: Anja Rechholtz
Prosthetics / HMU Assistant: Bronwyn Killian

Movement
Assistant Choreographer: Michael Wallace

Sound
Sound: Lubo Bozo

Unit / Locations
Location Manager: Chris Cloete
Location Assistant: Margot Olivier
Unit Assistant: Johan Vermeulen
Unit Assistant: Brandon Gordon
Unit Assistant: Joshua Kastrianos
Unit Casual: Shum Barkhuis
Unit Casual: Brandon Gordon
Unit Casual: Bamon Abrahams
Location Scout: Peter Currey
Location Scout: Neil Bowden
Pre Rig Medic: Matt Sneath
Pre Rig Medic: Alan Meiklejohn
Set Medic: Gerda Gouws

Catering / Craft
Catering Team Leader: Zibele Mashiyi
Catering Assistant: Saidi Mohammed
Catering Assistant: Sikholiwe Mgoqwana
Catering Assistant: Nkosinathi Ludaka
Catering Driver: Thuntsane Lukhang
Craft Team Leader: Nombulelo Ncokazi
Craft Assistant: Lwambeso Jaydee
Craft Assistant: Anitha Gigi
Craft Driver: Akha Mlozana
Extras Craft Driver: Xolani Rasmeni
Extras Catering Driver: Mncedisi Ludaka

Wanna (s)talk some more? Check out Gatehouse Commercial’s Company Website.