‘The Least We Can Do’ takes the audience on a journey of contrast, exploring the thoughts of a boy as he considers life with and without his dog.

To mark the difference in the world, colour grading was used to showcase a world with, and then without a dog, making the craft of lighting and colour grading central to the execution of the idea.

The script reveals how the deep pain of walking in on your parents having sex could trigger years of therapy…or it could simply be fixed by getting a doggo. The grade emphasises that life with a dog is warm, fulfilling and emotionally stable, while life without one is cold. The campaign features a surreal repetition of setting, making slight changes to the space to differentiate the boys story. Leaning into a stripped back visual style, the film emphasises the performances of both human and canine talent.

‘The Least We Can Do’ takes the audience on a journey of contrast, exploring the thoughts of a boy as he considers life with and without his dog. Diving into the way our boy is affected by the absence of his pooch, the script reveals how the deep pain of walking in on your parents having sex could trigger years of therapy…or it could simply be fixed by getting a dog.

The film emphasises that life with a dog is warm, fulfilling and emotionally stable, while life without one, is one where emotions can get a little out of control. The campaign features a surreal repetition of setting, making slight changes to the space to differentiate the character’s story. Leaning into a stripped back visual style, the film emphasises the performances of both human and canine talent.