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From there, they simply placed the content Samsung wanted featured on the phone’s screen, then added the refl ections back in to keep the shot as realistic as possible. Even the light coming off of the phone was kept in tact – all of the cleanup and effects are invisible to the viewing audience. With seven staff members working either at the Coffee and TV headquarters in Soho or the studio in Bristol plus several freelancers working remotely, having tools that facilitate collaboration is paramount for the post facility. “With mocha, we could ship shots out to three people remotely – they tracked in mocha then sent a tiny fi le with the tracking data, which we then imported to Smoke,” says Truss. He continues, “I can’t tell you how lovely that is, if you’ve been wasting time struggling to track something diffi cult. When you get a track that works and place it straight into your timeline, it’s just brilliant. And it makes our client-facing work that much easier.” While this was the fi rst project where Coffee & TV used mocha, Truss is confi dent they will make it a regular in their workfl ow. He notes it was already established in many of their freelancers’ workfl ows. “Just about every freelancer I’ve ever worked with has recommended it,” comments Truss. The fi nal results are visual effects as fast, seamless and sleek as the main subject – the Samsung Galaxy Note 4. To see the fi nal product, check out the commercials at