Title design and motion system for Nike’s feature documentary Crois Pas Qu’on Dort.

Client: Nike / We Are Pi
Scope: Motion Design, Title Animation, Projection Adaptation
Focus: Kinetic Typography, Rhythm, System Continuity

Developed with We Are Pi, the film follows three French athletes preparing for the Olympic and Paralympic Games across multiple years, combining documentary realism with a visual identity built around rhythm, persistence, and movement. The identity system, developed by Studio CC with Aletheia, centered around a custom LL Ruder Plakat and extended across titles, campaign assets, and large-scale projections for the Grand Rex premiere in Paris.

The challenge was maintaining a motion language that felt energetic and immediate without overpowering the emotional realism of the documentary itself.

Production Approach

The work entered during the final production phase, focusing on refining and completing the motion system across the film’s title sequences and promotional deliverables.

The sequence required careful balancing between graphic energy and documentary tone. Timing, easing, transition behavior, and pacing all needed to feel cohesive across the runtime while preserving the rawness and emotional weight of the footage.

Particular attention was given to continuity between environments and formats, extending the same motion language from the film titles into promotional assets and large-scale architectural projection for the Grand Rex façade in Paris.

Because the system relied heavily on typography and movement rather than complex visual effects, clarity and rhythm became the central design problems.

Creative Approach

The visual language was built around motion as a structural element rather than decoration.

Typography, pacing, and transition behavior were shaped to reinforce the themes of discipline, repetition, momentum, and persistence running through the documentary. The goal was to make the kinetic system feel fluid and human rather than overly mechanical or aggressively graphic.

For the Grand Rex projection work, the motion system was adapted to architectural scale, requiring adjustments to pacing, readability, composition, and transition timing so the visuals could retain impact and clarity from street level while still feeling connected to the original title design language.

Throughout the project, the direction leaned toward coherence and controlled energy, allowing the typography and editorial rhythm to carry intensity without overwhelming the documentary tone.

Outcome

The final motion system became part of the film’s broader visual identity across titles, campaign assets, and premiere installations.

The project received international recognition, earning three Cannes Lions 2025 shortlist nominations across Entertainment and Film Craft categories, while also being featured in Creative Review and included in the D&AD Awards Archive for Typography and Direction.