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Logitech MX Master 4Product film · 3D · 20261.5M+ views

Engineered around the human hand — not the other way around.

MX Master 4 was engineered around the human hand, and that became the core idea of the film. The hand comes first — as a silhouette, a scan, a cloud of points — and the mouse is cut against it until the whole shape lands with the logo.

My role: 3D motion designer

The film00:21
01

The mouse was built around the hand, so the film starts with it.

There are no words in the film. It is told in two threads that keep cutting into each other: the hand, and the parts of the mouse it will touch — the shell, the thumb rest, the wheel, the side buttons. At the end they meet in one shot.

02

The hand as an engineering reference.

We mapped the hand as an engineering reference — every overlay, coordinate and trace line reflects the actual logic behind the grip design.

Two hands, two worlds
Two hands, two worldsThe same gesture in black and in mint, traced and annotated — the film’s duotone set up in its first seconds.
Mapped, not drawn
Mapped, not drawnTrace lines and coordinates over the hand: the grip reasoning, made visible.
The idea, without the product
The idea, without the productA hand reduced to a flat shape — the ergonomic idea stated before you see what it is for.
The touch
The touchThe first time skin meets the mouse, and the only warm colour lands on the USB-C port and the wheel.
03

How it’s lit, and how it’s framed.

The whole shot list came down to two things: how it’s lit and how it’s framed. Hard contrast, deep negative space, the form defined by the light.

The hero
The hero
Glitch reveal of the grip
Glitch reveal of the grip
The shell as an outline
The shell as an outline
USB-C, in points
USB-C, in points
Side buttons and wheel
Side buttons and wheel
Thumb rest
Thumb rest
Top wheel
Top wheel
Texture, high contrast
Texture, high contrast
04

One cold mint world, and nothing warm but skin.

The film lives in a single duotone — pale mint light and deep black. The only warm colour is the skin of the hand, so the eye always goes to where the hand meets the mouse. These are the film’s own colours, not Logitech’s brand palette.

Pale mint#d2f1ecThe light: the world the film lives in
Mint shade#a8cac4Mid-tones on every surface
Slate#6e8784Falloff and depth
Graphite#313232The mouse’s body
Black#030101Silhouettes and hard cuts
Skin#653434The hand — the only warm note
05

Frames that feel handled, not rendered.

A lot of time went into testing scenes, angles and lighting setups before locking the final direction. In a few moments the camera leans into a rarely seen style — subtle shake, sharp zoom-ins and pull-backs, like an operator adjusting focus mid-shot. These are the cuts between them.

From the logo into the handThe logo on the shell slides out of focus and a reaching hand smears in, carrying its colour into the mouse.
Button to handThe camera runs past the side buttons and the green light, and cuts hard to a hand opening its fingers.
Hand and scan, intercutPixel blocks break up the wheel, then the film flickers between a point-cloud scan of the mouse and the hand.
Through a black streakA dark streak passes the lens, high-contrast texture slides across, and it opens on the full mouse.
06

Music and sound effects, built as one system.

Instead of treating them as separate elements, the music and the sound design were built together: the background music acts as part of the sound effects, while glitches, impacts and frequency shifts add weight, texture and rhythm to every scene.

Credits

  • Mikhail Zeynalov: 3D motion designer
  • Art / creative direction: Aleksandr Grishin
  • Sound design: Dmitry Antonenko
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