LOS ANGELES / NEW YORK – No Sushi, the digital post production house founded by director Daps and producer Alexander Jamieson, has completed post production on “Yes Man,” a new Nike/NOCTA KD19 campaign film starring Kevin Durant and Drake.
Directed by Director X and produced by M ss ng P eces and Creative Rain, “Yes Man” launches the Nike NOCTA KD19 sneaker, nicknamed “The Candies.” Set inside a Houston Rockets locker room, the film leans into the real-life friendship and comedic chemistry between Durant and Drake, with Durant playing the calm, deadpan straight man and Drake as the over-enthusiastic hype man who may, or may not, be telling the truth.
No Sushi shaped the film’s comic rhythm through Deji LaRay’s edit, built the locker-room atmosphere with Jonathan Fuhrer’s sound design, and Chadwick B. Williams handled the color grade and finishing.
The spot opens with Durant asking Drake if he wants to see the new shoes. Drake says yes, obviously. But instead of the KD19, Durant first reveals an absurd, ornate, clearly un-hoopable shoe. Drake, committed to the bit, hypes it up anyway. Durant calls him out. The gag repeats, each reveal pushing the joke further, before Durant finally shows Drake the real pair: the Candies. This time, Drake’s reaction is genuine.
For No Sushi, the film is a showcase for the kind of performance-led post craft the company was built to bring from prestige television and film into advertising. With no traditional score and a loose, reactive camera style, “Yes Man” depends on timing, atmosphere, silence, rhythm and restraint. The comedy lives in the edit, the pauses, the reactions and the tiny shifts between fake enthusiasm and real excitement.
“Director X was integral to my start in this industry,” says Daps, co-founder of No Sushi. “I always learn a lot from working with him, so it’s amazing to continue watching him create greatness.”
That connection makes the project especially meaningful for No Sushi. Director X is one of the defining music video directors of his generation, with a long creative relationship with Drake and a body of work spanning music, film and global brand campaigns. For Daps, whose own career has moved through music videos, advertising, film and post, the project reflects the kind of crossover creative ecosystem No Sushi was designed to support.
“Post isn’t a finish line to me, it’s where the real directing happens,” says Daps. “That’s the energy we bring to every client.”
The editorial was led by Deji LaRay, whose background across music videos, commercials and branded content includes collaborations with artists such as Drake, Rihanna, Kendrick Lamar, Nicki Minaj and Migos, and with directors including Director X and Daps. On “Yes Man,” that experience is central to the film’s comic engine: cutting around two globally recognised performers in a way that keeps the exchange feeling improvised, unforced and alive.
With recent credits on The Last of Us (HBO), The Boys (Amazon), and Star Trek: Picard (Paramount+), colorist Chadwick B. Williams brought a cinematic naturalism to the locker-room setting, balancing the grounded, observational feel of the film with the premium polish expected of a Nike campaign.
Two time Emmy-winning sound designer Jonathan Fuhrer helped build the film’s atmosphere without relying on music, letting room tone, movement, sneaker handling and performance breathe inside the edit.
“The beauty of this edit was letting Drake and KD’s natural chemistry speak for itself by preserving the authentic and unpolished banter between two friends,” says editor Deji.
Founded in 2023, No Sushi has built its reputation around a simple proposition: No perks. Just post. The company gives advertising clients access to editorial, color, sound and finishing talent drawn from the worlds of prestige television and film. Its roster credits include work on The Bear, Severance, The White Lotus, Atlanta, Shogun, The Last Dance, Barry, The Last of Us, Mr. & Mrs. Smith, Industry, Past Lives, 100 Foot Wave, Black Is King, Materialists and Hacks.
“Many of our favourite spots ever have come from crossover directors working in both narrative and commercial,” says Alexander Jamieson, co-founder and COO of No Sushi.
“At No Sushi, we want to enable the same thing with post, bringing clients the opportunity to work with an incredible roster of editorial talent who have crafted some of the most acclaimed work in television and film.”
With “Yes Man,” No Sushi continues its push into advertising by bringing film and television-calibre craft to a major Nike campaign built around culture, character and performance.
