FOR THE LOVE OF NERD & WORKING TOGETHER

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We all know the stereotypes and cliches surrounding working within the creative industries, crazed directors, evil interfering producers and runners getting the electric chair for producing the wrong shade of coffee. But what if we told you that isn’t always the case and you can create something special in a warm and inclusive environment? If you didn’t already know Valentine’s Day is here and everyone at NERD wants to spread a different kind of love, a love of working together and reminding everyone why we work in the industry in the first place. A celebration of making the craft and sharing stories with the world that hopefully inspire and bring a little joy. 

Getting involved in the action is the lovely and super talented, award winning director Shay Hamias who is a champion for supporting NERDs underrepresented and up and coming talent. He makes collaborating feel like a smooth summer breeze. Over the years Milana and Shay have worked together on endless projects, building up a level of trust and creative harmony that would make most married couples blush. 

So get those valentines day chocolates out, stick on some smooth jazz and have a read of our latest get together.

Where did it all begin for you both as a creative collaboration?

Shay: I can’t actually remember, as it’s been so long ago but Milana was always my favorite producer to work with so we got paired up quite often while at the production company we both worked at, which is where we first met. We were both instantly in sync with each other, so it made collaborating a breeze. 

What’s the most invaluable lesson you’ve learnt from working together?

Shay: A valuable lesson I have learnt from working with Milana is to be patient and her ability to manage client expectation while also providing me with enough creative freedom to do my job is borderline inspiring to witness. 

Milana: To be yourself because by doing so you will be able to bring the most to a project and pave the way for others to do the same! When I first started I was heavenly and unfairly judged for being from South London, for not being of privileged background and for simply not being white enough. However, working with Shay and just being in his presence allowed me to be myself and shine with my skills, craft and worry less about my appearance, accent and background. Simply by spending less time focusing on how to present myself etc I could just concentrate more on how to do the best job in my role. It is so liberating! This has since led to much of how NERD treats all our collaborators and talent. Inclusive, nurturing and supportive work space is what we have formed, where people don’t feel judged but simply celebrated for their contribution and skills.

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Separate from working together, what are your main icks when it comes to collaborating with people?

Shay: Red flag for me is when boundaries are unclear creatively… in order to be creative,we need some parameters that allow creative problem solving, when some of these are unknown it can generate friction during the process. 

Milana: A big ick for me is working with people who are only motivated by their own shellfish goals, cliche but nobody wants to work with someone who isn’t a teamplayer, we work in an industry that is built upon collaboration, from the boom operators to the focus pullers. Everybody plays a role in bringing something together and unfortunately some people who work in the industry often forget this very important element of filmmaking. Empowering and inspiring your crew is endlessly rewarding as they will do their best work!

Historically the relationship between producer & director can be one fraught with friction, how did both avoid those pitfalls?

Shay: We have full honesty and we both want to get the job done in the best possible way, always open dialogue. I know I can call Milana at any time or NERDs other fantastic creative  producer Ira and they will support or help solve whatever is needed. They know they can ask me for anything as well as what the project may require and we will mutually try and make it work. We share the responsibility for the culture of the company, the success of the projects and we never fight each other. In fact we have developed a close personal friendships and support even goes beyond the professional bounds as we have full trust in each other.

Milana: Shay put it perfectly, having an open and honest dialogue with each other is key to avoiding frictions. Oftentimes the producer can be seen as the harbinger of bad news or someone who is only there to restrict them. However that simply is not the case, my role is to provide the creatives with support to make each project feel rewarding and comfortable. Naturally it helps that me and Shay have yet to have a bust up or even exchange some sarcastic back and forths.

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The creative industries can be known for being very unwelcoming especially for those who come from underrepresented backgrounds, could you tell us a bit more about your work with supporting young talent? 

Shay: I like supporting young talent to help them navigate the brief, clients and even their relationship with the producer. Help them focus on the brief, it is a collaborative process and we are making it for a client’s needs. Even I need to ask Milana what she thinks about a brief, so we hone it down correctly. Sometimes when I was young I’d miss out certain details because it can be a lot to process while chatting with the agencies. The other thing is while on production, in the past I’ve helped the new director understand they have the power to negotiate time or support with the producer and not be afraid of the producer because they’re on their side. I also help directors understand and manage client expectations, to be honest with what can be achieved. I’ve learned from my own experiences of sleepless nights  that clear communication is key for managing expectations.

What aspect of collaborating with others do you love the most?

Shay: What I love most is working with other people who are all talented in their own way. I know my limitations and strengths, and when working with others they bring in a different design or point of view making the project and experience richer. It can be at the producer level suggesting how to approach a project and the agency to the animator suggesting how the character should move. I see my role as a creative director is to help steer the ship, by facilitating other talents to make the work they enjoy most even better.

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How has your working relationship with Shay helped shape NERDs ethos?

Milana: Meeting Shay and the inception of NERD Productions started around the sametime so there’s no surprise my working relationship with him has had a huge influence on the ethos of the company. I wanted to create something that had a true sense of inclusion with a culture of championing voices from all backgrounds. I wanted the talent to feel welcomed and more than just a name on a roster, or someone to tick a box for an agency. Working with Shay was a great reference point for me when looking for new and exciting artists to work and collaborate with.

We all know how demanding the role of producer is, so how do you still find time to love the role?

Milana: I think with any role especially one you’ve done for so long can for some people become stale or repetitive but the joy of producing for me is getting to work with so many different people, be they clients or talent. The creative brief is never the same so the production path of bringing the project to life is always new and fun. Also, for me seeing who we can bring on board to elevate, what new methods or techniques and styles we can mix and play with.. Well possibilities are endless. For example, to know you can help a young director by pushing them and changing the course of their career journey is a privilege and something I want to be remembered for one day. Once again not to sound like a broken record, no two days are the same as a producer and you never know what the day will present to you and there’s a massive, exciting thrill to that. It is all a little bit addictive. 

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How do you balance the emotional and professional aspects of working closely with people you care about?

Milana: I don’t! I believe in hard work in every relationship in life. Things we care about do require effort if we want to reap the benefits. It’s very simple. I do care about every single person I work with and want to do my best by them. They are in my life and we make wonders together so why not make the most of that situation and environment instead of seeing it as something that needs to be a separate set of relationships. 

Of course, if you hate what you do and people you do it with, I can see how ‘balance’ may be much needed. Being able to reach a point in my career where I can choose the talent I work with and clients we craft for is like a slice of heaven and I am aware is a blessing but it is a well deserved one. 

We would also like to take this time to share our love with the team and roster at NERD and all the fantastic clients we’ve worked with over the years who have made everything possible. 

Our romantic optimism is infectious so do be careful! We look forward to forging more relationships in the future, just make sure to swipe right 😉 

The Mad Science Behind NERD Productions’ Paul Lovas

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NERD Productions continues to grow its impressive photography roster and the latest addition to join is Paul Lovas. From food and drink to still life, Paul’s work feels distinctive and brimming with originality, his strong use of colours and his almost scientific approach to photography comes together to create something special. 

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NERD Productions latest addition to the team Louis Hudson caught up with Paul to find out more about his approach to photography and what inspires his work. From skating, still life painting and DIY filmmaking we take a look behind the images to better understand the artist.

How did you get into photography in the first place?

In my early youth, my whole world revolved around skating and everything that came with it. I documented it all with a video camera, even rigging a fake fisheye lens by slapping a door viewer on with gaffer tape, DIY style. As I moved on to art school and started digging deeper into visual arts, my focus gradually shifted, and skateboarding faded into the background.

Still life and advertising felt like a natural fit. My great-grandfather was a still-life painter, so I grew up in a house where every wall was covered with his works — or those of other still-life artists. To top it off, my parents ran an advertising agency, which kind of immersed me in the world of visual storytelling without me even realising it.

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Could you tell us more about the studio you formed with your friend in university and what you learned from this experience?

SquareOne Studio was actually my second shot at studio photography — the first one fizzled out after a few projects and didn’t even make it to the naming stage. Determined to try again, I started building my own brand, and soon my colleague Toto joined me. We needed a way to promote our shiny new venture, so we dug up an old university project: an outdoor studio where people could get portraits — just not the headshot kind. Instead, we’d splash them with coloured water and capture the chaos. We called it, “We Add Colour to Your Summer.”

The idea took off, and soon we were photographing tons of people across Romania and Spain. It was a wild, creative ride.But as we dug deeper into running the studio, we got in our own way a bit with different opinions and clashing ideas — it was like two chefs fighting over the same pot. Eventually, we decided to part ways, and not long after, I moved to the UK to start a new chapter with my now-fiancée. Toto and I stayed good friends, though. And if skateboarding taught me anything, it’s how to fall, get back up, and trust people along the way — resilience has always been my greatest guide.

You have a vivid and distinct style but how did this take shape and what were your earliest forms of inspiration?

My style didn’t just come out of nowhere; it’s been shaped by a lot of things I’ve been into over the years. Skateboarding culture definitely influenced how I see the world, a lot of different music, from punk to electronic and a lot of Hip Hop and graffiti art. Comic books and video games introduced me to different storytelling techniques and visual styles.

The use of colour by Gustav Klimt has been a huge inspiration. And, of course, like any photographer, I get inspired by other photographers too. There’s inspiration everywhere — from music to art to design to a simple walk in the park. It’s all about pulling from different places and making it my own.

Your work feels meticulous to the point of almost scientific but at the same time  feels incredibly inventive and experimental. Could you tell us a little bit more about your creative process and how ideas take shape?

This is a tricky one! It’s hard to pin down how ideas take shape. Inspiration comes from everywhere – what you’ve lived through, the people you’ve met, the movies you watched, your childhood, etc.; all those experiences coming together and influencing your work. It’s not like I wake up and say, “Today I’m going to shoot sandwiches exactly like this…” I think of the creative process more as a journey of constant experimentation. Being a photographer is like problem-solving; you’re always figuring things out along the way.

For example, one of my recent shoots was about sandwiches. The idea came to me while I was hungover, eating a croque madame at a restaurant with my fiancée. I wasn’t super hungry, so I was mostly playing around with the food, and when the yolk burst, I knew I had to shoot that. The more I thought about it, I remembered the Scooby-Doo cartoons from my childhood and thought, “I’ve always wanted a sandwich like the ones Scooby and Shaggy used to eat!” So, I decided to stack multiple sandwiches just like they did in the cartoons.I shared the idea with my friend Dickie from Digital Peaches, we pulled together a team and boom — three different Scooby sandwiches.

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Like every good science project it’s all about trial and error and I wondered if you could share some examples of experimentation that lead to you discovering a new technique or something you would use in later projects?

This question brings up a funny story. It was really hot outside and I was shooting for another project, but felt like having an ice-cream, so I went and bought a twister. But when I work I typically can’t sit still, so while I was putting my set together, at some point I needed both hands and stuck the ice-cream on a stand. By the time I got it again it was melting and that instant I just had to shoot it.

It ended up being one of my best pictures, selected by Lurzer’s Archive to print in their 200 Best Digital Artists Worldwide 2023. Of course, I went back and bought a dozen more Twisters to set up the shot properly and experiment to get it right, but it came almost accidentally.

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But most times, I have a plan and there’s a lot of trial and error to achieve that. Recently, I did a series of glasses – I really love glasses and I pick them up wherever I can, sometimes they inspire my shoots. I wanted to create a really crisp setup for them and wanted to capture water as well, but it took a few good tries to reach the kind of water waves that made sense. Usually, I go for bold bubbles or splashes, but here I didn’t want to overpower the glasses so I went for more subtle waves which took a while.

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Do you find the experimental stage of working a new brief the most exciting part?

Yeah, I’d say this is the best part of my job is figuring out how to make ideas possible.

How do you deal with working on briefs that are less flexible and creative?

This is something I really enjoy too. Even though it’s not entirely my vision, it’s still a fun challenge —there’s always that problem-solving element. Meeting the brief accurately can be tricky and often requires a ton of pre-planning, plus backup plans for the backup plans! Things rarely go exactly to plan on set, so you’ve got to have a few aces up your sleeve. I spend a lot of time prepping, thinking through all the possible scenarios, so when the unexpected happens, I’m ready to adapt and make it work.

It would be an understatement to say your work is refreshing but how do you set yourself personal challenges to always try to create something new and original?

I’ve always gotten bored fast and needed something new to keep me engaged. Not completely new, just something that adds a little spark. I think that’s why I’ve been doing this for so long — every project comes with its own exciting challenges. Even if I’m shooting the same beer twice, for example, I’m always looking for a way to add something fresh. 

As you’d expect, there’s a lot of experimental work that never goes beyond my display and I love doing test shoots and experimental projects when I have time. Test shoots are a key part of the process —they’re where I have the freedom to try anything. Sometimes, something unexpected comes up during a test shoot, and later that technique, prop, lighting setup, or even how you block the scene, finds its way into a commercial project.

Test shoots are where you can keep experimenting, tweaking, adding, or taking things away, making a thousand changes until it finally matches the vision in your head. They’re basically a playground for creativity.

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What excites you most about collaborating with NERD?

This one’s an easy answer. I’d been searching for the right home for a while, and meeting Milana and Ira just clicked —it felt like we belonged together. I really connect with NERD’s dynamic style, bold colors, and vivid visuals. There’s a shared energy and creative vibe that makes it feel like the perfect fit.

What would be a dream brief?

I love any dynamic liquids brief — whether it’s beverages, cosmetics, food, or even paint, I’m all in. But there are definitely some cool brands I’d love to work with like Macallan, Cola, a few beer and cosmetics brands. On the drinks side it’s more about what I enjoy myself, but with cosmetics, I really love the creamy look and feel of those liquids – the camera just loves that!

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I love shooting products I genuinely like, especially brands with great design. For example, I’d love to shoot for Macallan whisky, especially the “M” edition. I’ve been a fan of the brand since my bartending days, but the M edition bottle is on another level. The design, the shape, and probably the craftsmanship behind it are just exceptional. I’ve never seen one in real life, so fingers crossed I won’t be disappointed! But considering it’s a £5k+ bottle of whisky, I think it’s safe to say it’s pretty special.

Any upcoming projects to look forward to?

I’m wrapping my head around new ideas for mixing AI with studio work — perfecting the technique for different situations. I have a plan to shoot a series of traditional cocktails, but that’s all I’ll say about it for now. Meanwhile I’ve been renovating our living room – I love to go deep into DIY projects outside of my day-to-day work sometimes. They always motivate and inspire me in surprising ways.

“Discovering Paul and delving into his incredibly cool and modern creations was the cherry on the cake for 2024! Meeting him in person was even more delightful as he is as humble and as funny as he is talented. We are thrilled to have him join our diverse roster. He is indeed a perfect fit.” – Milana Karaica, Founder at NERD Productions.    

The entire team at the NERD can’t wait to see what mind-bending experiments Paul comes up with next and we can’t wait to share it with you all.

The Directors: Marta Chierego

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Marta Chierego joins NERD Productions roster as a pioneering director who seamlessly merges live-action with CGI. Her experimental techniques and refined aesthetic have attracted luxury, fashion, and automotive brands worldwide.

Her global perspective is shaped by life in Northern Italy, London, Geneva, New York, and Los Angeles. Marta’s experience across 40+ countries infuses her work with authentic human connection.

Join us as we explore Marta’s craft, inspirations, and vision for the future of storytelling.

Your work spans from technology docu-style films to branded content for spirits like Don Julio. How do you approach storytelling differently across these diverse topics, and what remains consistent in your narrative approach?

I’m naturally curious, so I always approach each project with a clean slate. It’s the best way to create something that truly connects with an audience since they’re coming to the story fresh, too. What’s consistent across all my work, whether it’s tech, spirits, or fashion – is recognising the human intent behind every brand or product. At the core, these are signals of passion, dreams, or purpose, and that universal human element is what I tap into as a foundation. From there, it’s about balancing precise storytelling with a cinematic edge to create something that not only resonates but sticks emotionally.

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As a polyglot who has travelled from Mongolia’s yurts to megacities across multiple continents, how do these diverse cultural experiences shape your ability to connect with subjects from different backgrounds?

Traveling has always been my greatest teacher. Growing up in Italy and then living in cities like London, Geneva, New York, and Los Angeles expanded my understanding of the world. I’ve shot projects in over 35 countries, and that has given me a beautifully unique insight into how people view the world. These experiences have taught me that while surface details may vary, every story holds a shared humanity. My job is to find that connection and build from it, no matter where I am or who I’m filming.

Your work seems driven by a desire to uncover authentic human connections. In an era of increasing digital complexity and AI, how do you ensure the human element remains at the heart of the stories you tell?

I’m passionate about technology and firmly believe that, when used ethically, it can propel humanity to heights we couldn’t achieve on our own. The key lies in defining our collective values as a diverse, inclusive society built on mutual respect and equal rights. While the world faces significant challenges, I focus on the immense potential for positive change. Stories about sustainability, circular economic models, regenerative practices, ethical connectivity, and respect for individual privacy inspire me. I’m excited by tools and projects that can transform healthcare, education, and infrastructure for the better. There’s so much untapped potential, and I love collaborating with brands committed to human well-being and planetary stewardship.

What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

With all the talk about AI and technology, personal, authentic storytelling is becoming more central than ever. Many brands recognise that to resonate with their customer base, they must express thought leadership within the core values their brands represent. As a director, translating that into powerful human-led stories is incredibly rewarding. I also see great potential in the ethical use of new tools to expand the potential of how visual effects can be used to expand the limits of creativity.

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What elements of a script set one apart from the other, and what sort of scripts get you excited to shoot?

I love it when a script hints at something visually ambitious and offers a chance to create iconic moments or push the boundaries of what’s expected. I’m drawn to scripts that evoke a visceral emotional response — something that feels personal yet universal. The story should immediately hit me at an emotional level and make me think, ‘How can I make this unforgettable for the audience?’ 

The best scripts provide a foundation but also invite me to bring something extra to the table. That creative back-and-forth is where the magic happens.

For you, what is the most important working relationship for a director to have when making an ad, and why?

It’s crucial to have a strong relationship with both the producer and the client. For me personally, having the right DP by my side is essential, it ensures I feel supported and empowered to deliver the full potential of my vision.

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What is your favourite piece of work and why?

I love Unconditional because it flowed out of my subconscious and was shot on film. I also love AR Johwska because, with very few resources and some talented VFX collaborators, I was able to create something new that feels futuristic, elegant and organic.

And finally, since you are now a NERD, tell us a nerdy fact about yourself.

I taught myself English when I was in primary school because I wanted to play the same video games as my older brother. It was amazing because it exposed me to so many different registers — from LA ‘80s slang to RPG-style ancient English. Sitting by a computer screen with a dictionary in hand to figure out what was going on was magical.

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See Marta’s work here.

World Day for Migrants and Refugees: How Migration Shapes an Artist’s Journey – Kulay Labitigan

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Migration is more than just moving from one place to another, it’s an act of courage, transformation, and self-discovery. For many, it’s about seeking opportunity, safety, or a chance to thrive in ways that might not have been possible back home. For Kulay, the journey from the Philippines to the UK became the canvas for his creativity, shaping not only his life but also the stories he tells through his work.

Today, on the World Day for Migrants and Refugees, Kulay shares how the challenges, triumphs, and moments of introspection as a migrant have influenced his artistry. From navigating a new world to holding onto his culture and identity, his work captures the interconnectedness of human experience – a true reflection of his belief that art and migration both thrive on curiosity, courage, and compassion.

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Can you share your journey from the Philippines to the United Kingdom? What motivated your decision to migrate?

I moved to the UK in 2015 to pursue my further studies at Central Saint Martins, UAL. But then opportunities and love found me in the journey, so I took it as a nod from the universe that I was in the right place at the right time and felt like this was the path I needed to follow where I could fulfil my calling and be my best self.

What were some of the biggest challenges you faced when you first arrived in the UK, and how did you overcome them?

To be 100% honest it is the financial side of things. I did not come from a wealthy family. I was on a scholarship but it only covered the uni fees so I had to provide for my living expenses. I came in only with £2000 not knowing how long it would last, or how would I even make it last. In my first few months here I tried to do this thing I call a “CV giveaway” for any opportunities I thought I could do but nothing came out of it.

Until I became more chilled with my approach, then the opportunities started to come. As much as I recognise the privileges that came with my choices, the journey has not been a walk in the park. Only when I managed to get to the other side did I realise that I can only do the best that I can and the difficult pill to swallow is to keep the faith and never surrender. If there’s anything that this experience has taught me is that sometimes the most painful and difficult part of trying is the one closest to a breakthrough.

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How has your experience as a migrant influenced your sense of identity and belonging?

My experiences as a migrant allowed me to step back a bit and look at myself from a distance in a bigger picture. It is the image that reveals a lot about who I am, that I use as a moral compass in the many times I needed to fit in, blend in and shape-shift in order to assimilate. So in a way, my migrant experiences did not change my sense of identity but it reinforced who I really am and enriched who I could become.

What aspects of Filipino culture do you carry with you in your everyday life in the UK?

Of course the usual, the food, the humour, and our optimism. But my favourite I think is grit. Growing up in a catastrophe-prone part of the globe with very limited opportunities and basic resources, my inner power to push through and try and keep trying has empowered my confidence with my own abilities that I try to bring and show up with every day.

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Have you encountered any misconceptions or stereotypes about Filipinos or migrants in general? How do you address them?

I think stereotypes are neither absolute good nor absolute bad, it depends on the context they are operating. But sure I have my fair share of them, looks in people’s eyes sometimes don’t need words when the colour of my skin gives it away. But I must say I am lucky that I never had any violent physical or verbal abuse because I have heard a lot of those horror stories. Plus I am based in London which is rather multicultural and more embracing of diversity. But whenever I get them, I address them with what I know and I know that kindness breeds kindness so that’s my choice of approach.

How has your perception of ‘home’ changed since moving to the UK?

My heart will always be Filipino but London is also ‘Home’ now. I guess the definition of home has now evolved into something that goes beyond geography. I think I do a lot of the creative work that I do now because in a way it is a doorway to access the fleeting and familiar feeling of home. So my perception of home is essentially still the same but now that my world has expanded, it has also expanded into something that cannot be reduced to a singular place and definition. Home now feels like not just a noun but a verb.

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What support systems or communities have been most helpful to you as a migrant in a new country?

I have been so blessed to have found people who I shared common backgrounds back home with. My international cohorts from my MA have been constantly there since day dot until now.  I met a lot of old Filipino friends who moved here to study and started new lives here as well. But ultimately my loving husband and my new family make a lot of these “migrant” things more bearable. So yeah the universe has been watching my back in that  ‘Human Resources’ department that’s why I am so very grateful.

What are your thoughts on the importance of observing World Day for Migrants and Refugees, and how can we better support migrants and refugees around the world?

As human beings, we must see everybody as human beings. Coming from a culture where the concept of ‘Kapwa’ is at its core meaning others are extensions of ourselves or even looking at other people as our selves, empathy and compassion a paramount practices. Observing World Day for Migrants and Refugees annually is an opportunity to exchange stories and remind many of us of our privileges as well as to constantly treat everyone with respect and kindness.

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Looking back, what has been the most rewarding aspect of your migration journey?

It is human nature to follow curiosity and search for places of safety, refuge, and survival. Each one of us has our unique story to tell about our personal migration journeys, but for myself moving away from home has always been about finding a place where I could express my most authentic self, do my best work, and at the same time look for my corner of the earth that would allow my inner creativity fly. It has been a spiritual adventure. So the most rewarding aspect must have been the journey itself where I learned a lot more about who I am and the fact that all humans are innately good. 

What message would you like to share with those who may feel hesitant or fearful about migrating to a new country?

Prehistorically even before all the tectonic plates have decided to drastically move, migration has been a constant human business, so something is reassuring that it is in our collective history and DNA. Having said that, I don’t want to overgeneralise and say that it is for everybody because it may not be, for some it is a privilege and for many, it is inevitable for survival. I think the more important question that needs answering is to muster the confidence and the courage to listen to their inner compass to know when to move, where to go and most importantly why. 

Picture This: A photographic journey across Scottish hotel collection with Viktoriia Telfer

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Project Data

Client: Eulogy 
Locations: Fairmont St Andrews, The George (Edinburgh), W Edinburgh
Shoot date: September 2024
Photographer: Viktoriia Telfer

BIO:

Viktoriia is a people- and experience-focused photographer, with interior and hospitality spaces being a key part of her creative portfolio. With Ukrainian heritage and a passion for storytelling through imagery, she specialises in showcasing the soul of environments while also celebrating the people who bring these spaces to life. Her portfolio highlights her work with prestigious hospitality brands, including IHG Hotels & Resorts, Marriott, Fairmont and Marine & Lawn Hotels & Restaurants.

Her photography brings out the intricate details, inviting ambiances, and distinctive character of each property, with a style characterised by an uplifting and intriguing approach. When not behind the lens, she explores Scotland’s historic landscapes with her husband and two huskies, drawing inspiration from the rich textures and stories of her surroundings.

What was about the initial brief that intrigued you?

Okay, so this wasn’t your typical photography gig. Three hotels, three days, one client – talk about a creative marathon! I’ve done plenty of hotel shoots before, but this was different. Usually, I’m all about diving into a hotel’s history, but this time, the brief was to showcase the pure, awesome essence of each space to make sure people are enticed (in an aesthetic way) to book their stays.

What were your first steps when it came to breaking down the brief and formulating your ideas?

I had a great set of initial references from the client of “must-haves” , and they expressed what they loved about my personal shooting style so I had free reign on styling. I did what I always do: get on Pinterest and create my own visual playground. I’m not one to just rely on a random burst of inspiration. My boards have a mix of my previous work, some ambitious shots and filler images to create a good roadmap of what I am working towards. I never rely solely on my inner creativity and always love to expand my style as every hotel is very different.

And what were the ideas and influences that you wanted to bring together?

I love flipping through The Best Hotels of the World books and looking at photography from remote boutique hotels that often show a very different approach to hotel photography with details. Architectural style is also very inspiring for me when I work with heritage hotels and restaurants. For this shoot I decided to mix your classic hotel photography expectations from the client + my own inspiration from boutique hotels, and bring them into the chains I was working with this time. The 3 hotels were entirely different from each other, so for me it was also important to deliver 3 very different galleries.

Tell us about the location or setting – where did you shoot and why there?

Since it is a hotel shoot, all locations are predetermined. St. Andrews is basically my photography paradise. The Fairmont might not be right in the town, but holy moly, those views? Absolutely stunning. Whilst Fairmont is not located in St Andrews, it has a beautiful view over it from the rooms. We were also very lucky with the weather, as September can be either very warm or very cold in Scotland so for the whole duration of the shoot we had proper summer weather which was perfect. The other 2 hotels are located in Edinburgh where the views speak for themselves, so I owe Mother Nature a favour for these views and beautiful natural light I got to work with.

Tech specs – what did you shoot on? Any interesting elements in the lighting or lenses that we should know about?

I shot everything on my Canon R6 mkII with a 24-70mm lens. It’s great for moving around quickly between locations. I prefer to get things as good as possible in-camera, so I don’t have  too much ‘fixing’ in post. For video, I used my DJI Osmo Pocket – it’s tiny but shoots in 4K and is perfect for those casual, behind-the-scenes UGC clips.

When considering the final shots, why this particular shot over any of the other takes?

I love a good interior shot! The views from the W are 360, and every room is looking at one or the other iconic landmarks. Here we can see a little bit of an ancient volcano Arhtur’s Seat blended perfectly with the W interior.

What is it about this project that stays with you? What made it different from anything else you’ve worked on?

Shooting three hotels in three days was intense. Exhausting, but totally fun. I loved that every hotel was different yet with similar odes to Scotland which is why I love working in this country so much.

See more from Viktoriia here.

Creating a powerful film for Instagram: behind the scenes with Kyla Philander and NERD Productions team – Q&A

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In an authentic campaign that blends personal stories with universal truths, diversity-led production company NERD Productions, in collaboration with Meta and DEPT® agency, have crafted a film that goes beyond the typical commercial narrative. Directed by Kyla Philander, the film presents a deep, emotionally charged portrayal of community and connection, shining a spotlight on our protagonist navigating a unique health journey and building her own community,  along the way.

Known for bringing lots of emotions and capturing human experiences in a way that resonates beyond the usual commercial approach, Kyla Philander shares their unique method of working with content creators instead of traditional actors. The commercial’s focus on community, vulnerability, and real human connections brought a fresh, collaborative energy to the set, and the result is a piece that transcends typical narratives, blending personal stories with universal truths.

We sat down with the NERD Productions team: Director – Kyla Philander, Photographer – Ira Giorgetti, Producer – Phil Burgess and EP – Milana Karaica to explore the creative decisions that shaped the film and key visuals, the power of collaboration with the brand, agency and social media creators, and the significance of storytelling that reflects genuine lived experiences.

Q: Your work is known for evoking strong emotions and creating a cinematic experience. What was your approach this time, working with creators instead of a traditional cast?

Kyla: Thank you for saying that about my work! I think storytelling really comes through the humans who are telling the story. Whether they’re professional actors, non-actors, creators, or anyone else, my priority is connecting with them on a human level. I’m expecting a lot of vulnerability and honesty from the person in front of the camera, and I feel like if I offer that same vulnerability, it creates a safe space between us. This applies from casting to editing — it’s really important to have that communication with my artist.

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Q: How did casting differ in this project, and how did the collaboration with the Instagram team influence the characters you chose?

Kyla: The casting process was beautiful. We worked with an amazing casting director who put together this incredible group of people that I got to engage with. Our agency, DEPT, team had great ideas about the characters they wanted too, so it was a really collaborative process. Everything felt very fluid and natural, and that approach definitely shaped the characters and how we worked with them, making sure everything was authentic and truly relatable.

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Q: Given that the cast was made up of social media creators, did their role as directors of their own content influence your approach on set?

Kyla: That’s such an interesting way to put it! It was definitely more collaborative. Usually, actors leave all the trust in me to guide them through the story, but with these creators, it was more of a conversation. We brainstormed together, especially with things like wardrobe and styling, making sure it felt true to who they are. I didn’t give them too much structure. I put them in scenarios and let them embody their authentic selves. It was definitely a more mutual trust—we worked together to tell their stories.


Ira: Absolutely. As someone who thrives on capturing authentic, joyful moments, working with creators brought a unique energy to the shoot. These individuals are used to curating their own stories, so they naturally bring an element of self-awareness and creativity to the table. My approach was to respect that, giving them the space to express themselves while capturing the spontaneity and authenticity of being in control of their narrative. I didn’t want to impose too much but rather be a friend with them on a day together, fully present and capturing the vibrant, honest moments that unfolded naturally. It was a more collaborative process compared to working with traditional actors, and that dynamic made for some incredible, honest portraits.

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Q: The spot centers on the health journeys of the characters. What would you say is the key message of the project, beyond just focusing on the diagnoses?

Kyla: The main message is that regardless of your circumstances, fostering a sense of community is life-changing. It helps you navigate your journey and makes life easier to handle. The film really highlights how important those human connections are.

Q: Community seems to be a central theme in much of your work. Can you share how you prepared for this project, particularly when working with content creators?

Kyla: We were lucky to get self-tapes from the creators, which helped me get a feel for who they are. Our agency also gave us a list of creators to look at, but for me, the important prep work was understanding the community as a whole. I wanted to familiarise myself with their language, their stories, and the content they create. Once we had the final cast, I spent time talking with them about their lives and their communities. It was about building that connection.

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Q: What should agencies and brands know about this project when they see it?


Kyla: When it comes to working with diverse people, the word “diversity” can feel overused. But if brands and agencies are really serious about bringing true diversity into their work, it’s about understanding the subtlety of the human experience. People with specific lived experiences don’t like feeling like they’re being force-fed representation. It’s about finding those human textures that connect us all. This project balanced that beautifully. The story couldn’t exist without these characters, but it’s not just about their diagnoses — it’s about their shared human experience and how you can share it through a platform like Instagram.

Q: What should everyone who reads this know about you as a director, especially after working on this project?

Kyla: I feel like I’m part of the Zeitgeist, like I’m in the middle of it, not on the outside looking in. That’s why I feel such a connection to telling honest stories. With this project, I realised I was unintentionally telling a version of my own story through the lead character, Liz, which was a really special experience.

Q: What were some specific considerations you had to make to accommodate the creators’ health conditions during the shoot (if any)?

Phil:  We were very mindful to accommodate things like dietary requirements, both in pre-shoot preparation and during the shoot itself. Where there was any risk of contamination, we made sure to supply food from certified sources. This was particularly important for our creator with Coeliac disease, as any exposure to gluten could have led to hospitalisation. Travel and accommodation were very carefully considered too to ensure comfort and much needed rest times were perfect conditions.

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Q: What was the most important takeaway from working with real content creators as opposed to a regular cast?

Phil: Working with real content creators, rather than actors, was central to our approach. Real people bring a level of authenticity that’s hard to replicate with actors, so our casting process was crucial. We contacted over a hundred creators and spent a lot of time interviewing them to ensure we had the perfect contributors for the campaign. Our final selections were based not only on their respective autoimmune conditions but also on their stories, comfort in front of the camera and their complementary personalities as a group.

Ira: The most important takeaway was the level of authenticity. When photographing professional actors, a certain degree of performance is involved, even when they’re being “natural”. But with content creators, who are used to showing themselves online in raw and unfiltered ways, I found a refreshing sense of vulnerability and honesty. They weren’t putting on an act; they were being themselves, which made my job easier in capturing the human connections and real emotions that bring a photograph to life. This authenticity is what makes the final images resonate so deeply with audiences, particularly niche communities like those we’re trying to reach with this campaign.

Q: How did the collaboration between the creative team (director, photographer, and creators) unfold during the shoot?

Milana: The collaboration on set couldn’t have gone smoother. For example, we consulted with our creators from the very start of the production to enhance the authenticity of our film. The relaxed preparation during pre production and our time in Barcelona, ahead of the shoot, allowed everyone to get to know each other, build trust, and feel comfortable before the filming itself began. The shoot felt like a group of friends crafting together to create the best possible product. Even though the agency and client made an environmentally friendly decision not to attend the shoot, we never felt any distance at all. They were super supportive of our team and their trust in our recommendations only made the process even more smooth.

Ira: It was an incredibly fluid and collaborative process. From the very start, together with Kyla, Milana, and Phil, we all strive to cultivate an environment where everyone felt like they had a voice, and that sense of equality and inclusion extended to how we worked with the creators. Kyla’s direction was about fostering authentic human connections, and I worked closely with her to ensure that the emotions and stories we captured visually aligned with that. We spent a lot of time observing, discussing, and adapting on the fly, which allowed me to capture moments in a way that felt true to each individual. The creators also had a strong sense of ownership over their portrayal, and I was constantly engaging with them to make sure they felt comfortable with how they were being represented.

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Q: Is there anything specific about this project that is worth mentioning to the wider public as well as other agencies and brands?

Phil: The biggest takeaway is that every project is unique. It’s important to establish the best approach early on and be willing to adapt as needed throughout the process. Each project has its own set of requirements, and just because a specific approach works in one situation doesn’t mean it will in another. The key is to stay open-minded and flexible.

Milana: I strongly echo what Phil just said… and this is exactly why at NERD we pride ourselves in our collaborative and flexible approach to production. We can only achieve that if we approach each project on an individual basis and really dig deep into the stories we are going to tell.  From the treatment stages of this production we felt like we were all one team, with one common goal – to make the most impactful, authentic and relatable campaign. Everything else just fell into place perfectly.

Ira: One of the standout elements of this project was the intentional focus on diversity and inclusivity, not just in terms of representation but also in how we approached the production itself. It’s one thing to cast diverse talent, but it’s another to ensure those individuals feel genuinely seen and understood throughout the process. We made a conscious effort to create a space where everyone felt valued and respected, from the creators to the crew. This approach isn’t just a nice-to-have—producing work that genuinely resonates with global audiences is essential. It’s about more than ticking boxes; it’s about ensuring that our imagery reflects the natural world authentically and positively.

Watch our BTS film here.

Animate! with Rachael Olga Lloyd

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Animation brings stories to life, magically blending creativity and technical skill. In this series of interviews, we celebrate the artists who make the impossible seem real. One such artist is Rachael Olga Lloyd, an award-winning animation director specialising in stop-motion and puppetry. With a love for folklore, handcrafts, and storytelling, Rachael has a unique approach to her work that merges intricate detail with a heartfelt narrative.

We sat down with Rachael to chat about her journey into animation, which began with a spark of inspiration from the music video “Ready, Able” by Grizzly Bear. Her work, including her short films “Iktsuarpok” and “How to Count Sheep,” has garnered international recognition. Beyond her award-winning films, she’s collaborated with organisations like The Scouts and Fair Trials, creating meaningful and memorable animation projects. Through her creative process and personal experiences, Rachael offers insight into the world of stop-motion and the importance of self-exploration in artistic growth.

How did you fall in love with animation?

I have always been obsessed with art from as young as I can remember but never thought of animation till very late. Things like Wallace and Gromit never inspired me, it wasn’t until I first saw the Grizzly Bear music video “Ready Able” animated and directed by Allison Schulnik that I was suddenly like “Omg what is this? I want to do this! “

Tell us about the animation project that kickstarted your career?

My personal film Iktsuarpok, it was my first stop-motion film done to a higher standard and showcased a lot of things I wanted to explore more as an artist.

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How would you describe your art style and what are your biggest inspirations that developed it?

I guess I would describe my art style as very tactile, handcrafted, stylised, and sensitive. Most of the characters portrayed in my work have a sensitivity about them or sadness.

From your perspective, what’s the key to animation that really lives?

For Stop Motion specifically, I think it’s embracing the materials you use in the film. What makes stop-motion different is that it’s physical so you should embrace that and celebrate the handmade nature of it and not use so much CGI that it’s no longer recognisable as stop-motion.

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Show us your favourite or most impactful project that you’ve worked on – tell us, what is it that makes it special and what were the memorable moments or challenges?

I recently did a little video for the NHS, this stood out as it was the first time I made an informative video. It was a new and exciting approach to animation. The video is about chronic pain,  it was a real challenge to communicate this complicated topic in a video but it’s probably the part I enjoyed most. It made me realise that I love communicating ideas, whether through images in my films, through teaching or any other way.

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How does one figure out what kind of animation style or styles fits a particular story or project?

You need to understand the audience for the film and the feel or style that suits it. If it’s for an informative video for example then it needs to be broadly relatable and representative and overall very clear to easily communicate the information. If it’s a story or music video I tend to go through the story or song a lot in my head to feel and immerse myself in the emotions and then I set art to visualse a style that would suit those emotions.

What is your favourite piece of technology or software that you use and how does it help your creative process?

It’s a bit silly but my Pinterest. It’s just a simple online pinboard to store images but I have thousands of images, it’s like my online sketchbook.  Whenever I see anything ever I save it to my Pinterest for future reference. For example, I have a character pin board with hundreds of images of character ideas so when I start a new project I go on that and search through to find inspiration. It saves me so much time as well.

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Outside of the field of animation, what really inspires you?

Music,  a lot of my personal work is massively inspired by music. When I listen to a song it helps to come up with ideas for films and characters.

I also find handcrafts inspiring, I have been to many places in South America and Scandinavia and brought back loads of handcrafts, weaving, sculptures etc, and decorated my flat liberally with them. I just love being surrounded by this kind of art it really inspires me.

What do you think are the misconceptions about animation throughout the industry?

That it’s mostly for children. Animation is an art form just like any other and is not restricted to only very young people.

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What are the biggest changes to animation and challenges facing animators at the moment and what are your thoughts on them?

With the emergence of AI, I worry about the threat of work for artists due to issues with companies choosing AI over people due to cost-saving.  

Any advice you would like to give to aspiring artists?

Take time for self-exploration and what inspires you, as self-exploration and an artist’s style are connected. As we age, we should evolve and so should our art.

See more from Rachael here.

Style Guide: Helena Elias

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In this feature, we dive into the world of vibrant and mystical art by chatting with Helena, NERDs illustrator, whose colourful, detail-packed work is nothing short of mesmerising. From the early days of experimenting with digital tools to exploring a mix of styles and influences, Helena’s journey is a whirlwind of creativity and discovery. We sat down with Helena to talk about how she’s evolved her unique voice and how she embraced the thrilling opportunities of modern art spaces. Helena’s story has blown us out of the park with her incredible examples of different art eras she went through and we hope her story helps you find and refine your own artistic flair as well as see how this kind of style can be applied commercially.

How would you describe the work that you do?

Floral, full of fine detail, packed with endless symbolic elements, cosmic, portraiture, colourful and bright.

How did you gravitate towards the particular medium you work in?

By accident! My preference is for oil painting or graphite, but in the early days of doing commissioned work I realised that it was much more time effective to draw on a digital tablet for pushing creative boundaries – when everything is in layers it’s much easier to move around elements and try new ideas without risking losing hours repainting. It also makes alterations and revisions much quicker when working with clients.

And when you started developing your creative skills and styles, what were your inspirations and influences?

It was such a melting pot of so many influences that I find it hard to single them out, though art nouveau as a general style played a very large influence in helping form my initial handwriting. Photo collage also played a part in my inspirations, along with simple face sketches, baroque catholic sculptures and art, cosmic/spiritual art styles and beautiful flowers.

How has your style evolved over time – and can you talk to us about some of the stylistic experiments or avenues you’ve explored over the years?

I’ve been experimenting with art since I could hold a pencil! My parents were very supportive of my love for art and creativity, and I’ve done works in sculpture, japanese style manga, watercolours, landscapes, portraits, animals…the list goes on! The only things I’ve not tried are some of the more technical digital art forms such as digital 3D rendering or animation.

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And was there any one particular moment or project that really crystallised your understanding of what your style is or should be?If so, can you tell us about it?

I took six months off from my previous career to focus on art while living in Vietnam, and having that time to spend 12 hours a day every day painting really helped me hone in on a personal style.

Helena’s Van Content

What sort of ideas shape your style today?

I’m trying to grow my art to explore emotion a little more, along with deeper themes and meanings rather than focus on aesthetics. AI art has really changed the current landscape for art, and I think the natural step forward is to create art that has a real human edge to it that is immediately recognisable.

From NFTs to the metaverse, there are more spaces for your work to show up – what are your thoughts on the impact, challenges and opportunities brought up by these spaces? And do they influence how you think about your style (ie. is there pressure to adapt or change your style to fit these new digital frontiers – or is it kind of exciting?)

I’m an extremely optimistic person, so I always like to find the positives in a new situation or space and find ways to use it to my advantage rather than complain about change. There are always challenges that arise, however these often are the roadblocks we need to grow and become better. Good art often comes from being pushed rather than being complacent.

Working in the commercial sphere, is it more important for an artist to have a distinct brand or style? What’s the balance between having a distinctive voice and being able to accommodate the visual language of the brand/campaign?

Yes I think so, I think having a brand approach you because they know the style that you are able to deliver ensures a smooth process with expectations met on both sides. It’s important however to grow your style over time and not become stagnant – art is ever moving and it’s easy to become left behind if you never grow.

What projects have you worked on recently that you feel were a really satisfying marriage between a brand and your own style? What was it about these projects that made them really interesting to work on?

I’ve been working on a lot of Romantasy book covers lately, and I find that my work lends itself really well to this genre. I’ve also had some very enjoyable interior artwork projects for astrology or spiritual based calendars which lend themselves well to my more cosmic/detail based style.

See more from Helena here.

Picture This – Manos Chatzikonstantis

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In celebration of World Photography Day, we sit down with our Photographer Manos Chatzikonstantis to dive deep into one of his most cherished projects: Salt of the Earth. Authored by Carolina Doriti and published by Quadrille, this book is a vibrant exploration of Greek cuisine and culture. Manos shares insights into the creative process and techniques that shaped this unique project. From the initial concept to the final shoot, discover how personal heritage, innovative lighting, and minimalist design came together to bring this culinary journey to life.

Project Data

Book: Salt of the Earth
Author: Carolina Doriti
Published: March 2023
Publisher: Quadrille
Art Direction and Design: Claire Rochford
Editor: Stacey Cleworth

The book “Salt of the Earth” is one of the projects I’m particularly fond of. It’s a book about food and a sense of place for a London publisher. I had previously worked with this publisher on an extensive project shot across Europe, Asia, America, and Africa for an established author, which established a strong sense of trust.

What was about the initial brief that intrigued you?

They approached me to discuss a project of a first-time author, a young Greek chef and writer. The idea was to do a book about off-the-beaten-track Greek recipes, in a fresh style, using a bright palette of colour. Having Greek heritage, for me, that was a special project to embark on!

What were your first steps when it came to breaking down the brief and formulating your ideas?

I suggested a minimal approach, with few elements, where the background surface would give the tone and shadows would be active styling elements. I imagined a book in a style influenced by contemporary photography where colour and light would be used to frame the food and simultaneously define a Mediterranean space of quaint beauty and simplicity.

And what were the ideas and influences that you wanted to bring together?

The images by the old master Herbert List were certainly an influence, the colour work by Alex Webb and Constantine Manos, and maybe even architectural photography utilising lines, shadows and vanishing points.

Tell us about the location or setting – where did you shoot and why there?

As the author is based in central Athens we had to shoot there. Fortunately, she had a spacious flat with good light and we transformed a small part of it by the terrace into a studio. Surfaces had to be built, painted and plastered in various sizes. Fabrics were carefully chosen and crockery was sourced from Athens’ flea markets and garage sales. We had a travel budget and were able to head out to an island relatively close to Athens for a few days to get some location shots.

Initially, we did a 2-day shoot to establish the style and streamline the process of working together. The client was happy and we had very valuable feedback from the art director for the rest of the production. I believe that everyone involved must be on the same page and understand the situation and needs of the other parties.

Tech specs – what did you shoot on? Any interesting elements in the lighting or lenses that we should know about?

I used a combination of natural light and a large cine light to manage the shadows. While Greece is known for its sunny weather, the sun doesn’t always cooperate, especially on a seasonal project with multiple shoots. To maintain consistency in the lighting style, I relied on this setup throughout.

I shot with a 50MP Canon 5DS to ensure high-resolution files for cropping while keeping the equipment flexible and transportable for location shoots. Most of the shots were taken with 50mm and 90mm lenses. For some location shots, I used Fujifilm cameras due to their compact size and excellent color rendering. The food shoot was done tethered, and as usual, I worked with Capture One for real-time grading and colour correction before diving into more detailed edits later.

When considering the final shots, why this particular shot over any of the other takes?

Most of the shots were done in more than one version to give the designer space to work and choose the ones that matched best with the layout.

What is it about this project that stays with you? What made it different from anything else you’ve worked on?

The shoot was great fun and totally delicious too (the perks of shooting food!). The author was an absolute pleasure to work with and, as we both loved the style of the book, the inspiration level was very high.

See more from Manos here.

Bossing It: Going from Runner to Founder with Milana Karaica

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Milana Karaica founded NERD Productions, a diversity and inclusion led creative production company representing a wide range of hand-picked directors, illustrators and photographers. NERDs craft animation, illustration, live-action, mixed-media, and photography for feature films, TV, digital, social, editorial and everything in between.

What was your first experience of leadership?

After being a runner for a while, I landed a cool new job – office manager at a busy production company in Soho. Sounds like quite a boring job if the title is anything to go by BUUUT.. I had a team of amazing runners to help me pull off the most random, eccentric production tasks as well as incredible parties, team bonding trips and sometimes even the most bizarre requests. 

No day was ever the same, no task was ever the same. It meant always being on your toes, continuously learning, meeting new talented people and partying like it’s 1995 every single day! 

How did you figure out what kind of leader you wanted to be – or what kind of leader you didn’t want to be?

This job meant that I had to interact with producers and EPs on our day to day.. They had their crew, I had mine and we had to come together to make a job happen. 

It was here that I first got the real taste of amazing leaders and also simply horrific ones too. 

There were those that were kind, polite and open to sharing their knowledge with others on the team regardless of their social background or what role they played in production. 

On the other hand, you had those that would talk to people like they were dirt on the bottom of their worn-out trendy Converse trainers! 

It was painful to watch, listen to and simply be in the same room with. Even though I had only little say at that point in my career, I often clashed with those individuals, perhaps even when the situation didn’t involve me at all as I just could not stand unfair treatment! I knew I wanted to be different from them. I did my best to be supportive but straight up at the same time, both with the ones who were mistreated and the ones that were favoured.

What experience or moment gave you your biggest lesson in leadership?

Being a young EP and getting so ahead too quickly for my age! In my eyes I had the right to be there due to my relentless work energy and never saying no to a random all-night task or an unexpected challenge. With that came the need to prove myself though, to my peers whom I left behind, to older colleagues and specifically those that didn’t like me for many personal or subjective reasons – like being too young, too ethnic, or just for being from Croydon! 

I worked day and night. Missing family gatherings, birthdays – doing conference calls at funerals… yes, I did that! However, with the recognition and praise came the ego as well. There was a point where I started to care too much about myself and the unfair treatment I was getting, even in this position and actually forgetting that so many others had it the same or worse, but had much smaller voices than I did. 

Did you know you always wanted to take on a leadership role? If so how did you work towards it and if not, when did you start realising that you had it in you?

I think three weeks into my first job in the industry I knew I would run a production company one day. Not because I wanted to lead, but because it really pissed me off how things were being managed from a clique and classist point rather than based on merit of hard work and talent.

When it comes to ‘leadership’ as a skill, how much do you think is a natural part of personality, how much can be taught and learned?

You can learn anything if you push yourself hard enough and don’t limit yourself with your perceived weaknesses. That’s at least what I grew up believing. As I was becoming more and more heard, I started getting told by everyone that the biggest part to my leadership success is my diplomatic and tolerant personality – and that’s something you can’t learn or practice easily. 

I feel like you have to really believe in what you preach and be passionate about it, because people can always tell when you’re not being authentic.

What are the aspects of leadership that you find most personally challenging? And how do you work through them?

I hate having to let people go! It’s never nice to have to let someone go so I always try to empower people to see why they may be better at something else or be more suited to another adventure. It’s not fair to keep people on if they are not the best version of themselves as they are wasting their own time too, not just yours. 

 Have you ever felt like you’ve failed whilst in charge? How did you address the issue and what did you learn from it?

We all fail! Sometimes you don’t notice a team member is down and struggling with something, be it personal or work related. Sometimes you don’t initially pay enough attention to a problem or an unusual friction between team members. I believe it’s all a part of the process and if we couldn’t learn and improve continuously in our industry, I would just quit! It simply means it’s got to the point you don’t care enough anymore.

In terms of leadership and openness, what’s your approach there? Do you think it’s important to be as transparent as possible in the service of being authentic? Or is there a value in being careful and considered?

 I think honesty is the most important element of any successful relationship. We value this in our personal relationships so why not in our work collaborations? I’m not saying to share your every thought and worry, but to bring transparency while coming up with suggestions is always appreciated whichever side you are on.

As you developed your leadership skills did you have a mentor, if so who were/are they and what have you learned? And on the flip side, do you mentor any aspiring leaders and how do you approach that relationship?

 I have had a few people to look up to over the years and some of those have let me down which is always devastating, while others inspired and motivated me more than I expected. I mentor a lot of young and up and coming talent and always treat those as friendships and close relationships. You really have to get to know a person to be able to see their strengths and weaknesses and how to help them get to be the best they can be. It’s a big responsibility!

How important is your company culture to the success of your business? And how have you managed to keep it alive with increases in remote and hybrid working patterns?

As a company that represents diverse talent, we have been a global company since our first day. Working remotely has not really meant that we have had to change a thing about how we craft. Our company culture is the only reason I started NERD, so it is the key to what we do, how we do it and why – every day! 

What are the most useful resources you’ve found to help you along your leadership journey?

There is currently no space in my life to attend all the events I want and to spend endless time on self improvement and self discovery. I simply start and end my every day with thoughts of gratitude, reminding myself of all the things I pulled off that day, who I helped elevate and who I made smile…. I gently thank my stars and my path for all the passionate and creative people as well as my family.

What I do make the time for is to follow and chat with fellow leaders and founders. 

Real people with real experiences and journeys beat any theoretical resource for me personally.