Milwaukee®
Tools.
Four product lines.
One lighting language. A three-week turnaround.
Working with Maxim Communications, Milwaukee needed a USP campaign for a trade show that could later be cut down for social, without a single frame of live-action photography. Every tool was built from supplied CAD data, then lit, rendered, and comped in-house, from the MX FUEL power station to the M18 polisher, all under a very tight schedule. The work was a balance of realism and speed: each tool had to read convincingly — knurled grips, moulded housings, batteries that look like the real thing — while staying efficient enough to hit the deadline. From there, each film could flex from a longer show piece to a short social cut without losing the thread.
The look had to follow what came before — the masculine red-and-black brand language, hard light, a tone that matched the existing Milwaukee world. Within that, the films leaned on more abstract devices to carry each USP: highlight passes, echoes, spinning product carousels, and camera moves that get closer than a product shot could. The key USPs were handled as typography built into the scenes themselves — sitting in the 3D space rather than laid over the top, the text could lead the eye to the point being made while keeping the whole visual language cohesive. Holding to one look across all four meant the films read as a single campaign, and let them move through modelling, animation, and grade in parallel to land as one body of work inside three weeks.
Four films,
one campaign.
Closer than
a camera, by design.
Engineering, pulled apart
The polisher's drive train opened up mid-rotation. Cutaways like this carried each USP without a caption card ever breaking the frame.
One platform, every tool
The claim — one battery feeds the whole site — staged as a rotating carousel of appliances, lit by the power station itself.
The whole pack, powered
Six batteries docked, charge-waves pulsing up through the pack to sell the simultaneous-charge story. The whole rig built from CAD and lit to read as the real thing against black.
The family portrait
Every MX FUEL tool floating in formation — a single render with no compositing. This frame went on to become the campaign's key art.
Type that wraps the tool
Curved typography bends around the polisher to call out 8 variable speeds and the easy-reach dial, the text living in the scene with the product rather than flat on top. The speed selector reads clearly in shot, so the feature sells itself.
Speed, held in frame
The pipe cutter mid-cut at full speed. The motion blur comes straight out of render — energy in a single still, nothing smeared in post.




