Filmed just before Emeli's much talked about performance at the Olympics, the hugely atmospheric promo was shot in an area of flooded forest in Denmark. Nadia also wanted the completed promo to feel reminiscent of Kodak Aerochrome film. Designed for reconnaissance planes, the film would pick-up everything non-organic and turn it black whilst everything organic was given a pink hue. "It was a bit of a science project to work out the best approach," says Paul. "It's not just a case of keying in all the hues, it's much more complex than that. It was important to replicate what Aerochrome does, to get that variance of tones without negatively effecting skin tone. "We wanted the ethereal hazy feel of an Aerochrome world without it looking like an unnatural addition. We kept a natural balance of tone and light whilst also flipping the hue. I think it's quite rare to see it in such detail on moving image." Nadia adds: "It was all positive vibes and creative ideas from the beginning from the magnificent Paul Harrison. How he did it I still really can't tell. A bit of magic."

Filmed just before Emeli's much talked about performance at the Olympics, the hugely atmospheric promo was shot in an area of flooded forest in Denmark. Nadia also wanted the completed promo to feel reminiscent of Kodak Aerochrome film. Designed for reconnaissance planes, the film would pick-up everything non-organic and turn it black whilst everything organic was given a pink hue.

Filmed just before Emeli's much talked about performance at the Olympics, the hugely atmospheric promo was shot in an area of flooded forest in Denmark. Nadia also wanted the completed promo to feel reminiscent of Kodak Aerochrome film. Designed for reconnaissance planes, the film would pick-up everything non-organic and turn it black whilst everything organic was given a pink hue. "It was a bit of a science project to work out the best approach," says Paul. "It's not just a case of keying in all the hues, it's much more complex than that. It was important to replicate what Aerochrome does, to get that variance of tones without negatively effecting skin tone. "We wanted the ethereal hazy feel of an Aerochrome world without it looking like an unnatural addition. We kept a natural balance of tone and light whilst also flipping the hue. I think it's quite rare to see it in such detail on moving image." Nadia adds: "It was all positive vibes and creative ideas from the beginning from the magnificent Paul Harrison. How he did it I still really can't tell. A bit of magic."

"It was a bit of a science project to work out the best approach," says Paul. "It's not just a case of keying in all the hues, it's much more complex than that. It was important to replicate what Aerochrome does, to get that variance of tones without negatively effecting skin tone.

Filmed just before Emeli's much talked about performance at the Olympics, the hugely atmospheric promo was shot in an area of flooded forest in Denmark. Nadia also wanted the completed promo to feel reminiscent of Kodak Aerochrome film. Designed for reconnaissance planes, the film would pick-up everything non-organic and turn it black whilst everything organic was given a pink hue. "It was a bit of a science project to work out the best approach," says Paul. "It's not just a case of keying in all the hues, it's much more complex than that. It was important to replicate what Aerochrome does, to get that variance of tones without negatively effecting skin tone. "We wanted the ethereal hazy feel of an Aerochrome world without it looking like an unnatural addition. We kept a natural balance of tone and light whilst also flipping the hue. I think it's quite rare to see it in such detail on moving image." Nadia adds: "It was all positive vibes and creative ideas from the beginning from the magnificent Paul Harrison. How he did it I still really can't tell. A bit of magic."

"We wanted the ethereal hazy feel of an Aerochrome world without it looking like an unnatural addition. We kept a natural balance of tone and light whilst also flipping the hue. I think it's quite rare to see it in such detail on moving image."

Filmed just before Emeli's much talked about performance at the Olympics, the hugely atmospheric promo was shot in an area of flooded forest in Denmark. Nadia also wanted the completed promo to feel reminiscent of Kodak Aerochrome film. Designed for reconnaissance planes, the film would pick-up everything non-organic and turn it black whilst everything organic was given a pink hue. "It was a bit of a science project to work out the best approach," says Paul. "It's not just a case of keying in all the hues, it's much more complex than that. It was important to replicate what Aerochrome does, to get that variance of tones without negatively effecting skin tone. "We wanted the ethereal hazy feel of an Aerochrome world without it looking like an unnatural addition. We kept a natural balance of tone and light whilst also flipping the hue. I think it's quite rare to see it in such detail on moving image." Nadia adds: "It was all positive vibes and creative ideas from the beginning from the magnificent Paul Harrison. How he did it I still really can't tell. A bit of magic."

Nadia adds: "It was all positive vibes and creative ideas from the beginning from the magnificent Paul Harrison. How he did it I still really can't tell. A bit of magic."

Filmed just before Emeli's much talked about performance at the Olympics, the hugely atmospheric promo was shot in an area of flooded forest in Denmark. Nadia also wanted the completed promo to feel reminiscent of Kodak Aerochrome film. Designed for reconnaissance planes, the film would pick-up everything non-organic and turn it black whilst everything organic was given a pink hue. "It was a bit of a science project to work out the best approach," says Paul. "It's not just a case of keying in all the hues, it's much more complex than that. It was important to replicate what Aerochrome does, to get that variance of tones without negatively effecting skin tone. "We wanted the ethereal hazy feel of an Aerochrome world without it looking like an unnatural addition. We kept a natural balance of tone and light whilst also flipping the hue. I think it's quite rare to see it in such detail on moving image." Nadia adds: "It was all positive vibes and creative ideas from the beginning from the magnificent Paul Harrison. How he did it I still really can't tell. A bit of magic."