NERD Productions are ecstatic to announce that Orca will be joining the roster, bringing with them a vast ocean of creativity and imaginative wonders. The animation studio fronted by creative couple Ed and Nelly are renowned for producing 2D, 3D, mixed-media and motion graphics. Working with huge clients and brands across the years like Netflix, HBO, Disney+, BBC, Sony, Deliveroo, and GQ. Crafting fantastical stories with rich and colourful characters that leave a lasting impression.
A power couple in every sense, united by their love of telling stories, meeting at the NFTS they would go on to collaborate and create together as a force of nature, operating and mastering the art of 2D, 3d animation, mixed media and motion graphics. Crafting innovative commercials, music videos, short films and documentaries, the pair bring their to every project they touch.
Orca on joining NERD Productions – “We’re really delighted to be joining the roster at NERD – we’ve admired the projects being created there for a while now and are thrilled to be represented by a production company that shares our values and approach to the work. The ethos of collaboration at NERD is very much in line with ours too, so we’re incredibly excited to start making things with them.”
“Orca have mastered the art of creating vivid and colourful worlds brimming with charisma and character with a truly whacky and imaginative brand of filmmaking. At NERD Productions we love artists who know how to take their audiences on a journey, so Orca felt like a natural fit for us and we honestly can’t wait to get started. Ed and Nelly are wonderful people who share the same passion for telling distinctive stories as us.” – Milana Karaica, Founder & Producer of NERD Productions.
Take a peek behind the scenes of Ed and Nelly’s creative process and you’ll find it’s super serious work..
Take a dive into Orca’s brilliant body of work here.
LBB’s Zoe Antonov and NERD’s founder Milana Karaica kick off a new series focused entirely on celebrating mothers in the advertising and production industries, and their personal stories of triumph and pain against the odds.
“Motherhood isn’t a limitation. It’s a foundation, a training ground, and a path to better and more empathetic leadership.”
This is what founder and creative executive producer at NERD Productions, Milana Karaica, told us when we first started shaping the idea for this series.
Countless industry panels and talks dare to lift the veil of unspoken shame and controversy when it comes to becoming a mother in the advertising and production industries – or, really, in most industries. Yet, the stigma persists, and action is minimal. So, when Milana reached out to LBB with her idea, we knew it was time to carve out space for this discussion..
Pressure on women comes from all sides – wanting to be a mother is wrong, because you are not career-oriented enough; not wanting to be a mother is wrong too, because you aren’t fulfilling your ‘nature-given purpose’; wanting both, or neither, is somehow wrong too. It’s a tale as old as time.
In advertising and production, motherhood is treated as a hurdle, not an asset – choosing between a thriving career and a fulfilling family life is something countless women face, in silence. And even after the choice is made, the repercussions are life-long, and often tied with varying degrees of guilt and shame.
This is why, for International Women’s Month, and beyond, LBB’s Zoe Antonov and NERD’s Milana are launching ‘Motherland in Adland’. Through Milana’s story – and those of other incredible mothers – we’ll shine a light on the realities of balancing leadership with parenthood.
From challenges to triumphs, this series is about breaking a narrative – motherhood is not a ‘career break’. It builds stronger, more empathetic leaders – and it’s time for the industry to stand behind them.
To kick off the series, here is Milana’s story.
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I started in this industry very young – at the age of 17.
Through the early years of my career, it didn’t matter to me that I didn’t see women and people like myself around me, as actually, I never really had before either.
Taking inspiration from wherever I could, I excelled in my roles and made my way to executive producer. There were bumps in the road of that journey that were not easy to overcome but when failure is not something you allow yourself to accept, you keep pushing harder with each setback.
It wasn’t until I was in my early thirties – by which point I was running NERD Productions, a creative production company bringing diverse talent to our industry – that I started to feel extremely lonely as a female in a leadership role. NERD was my first baby, my family, and my passion, but I wanted a family at home too. Having always been a nurturer, the one that sees the potential in others and helps them realise that too, I felt that I had what it takes to be a great mother.
However, I had never really come across many women that were in senior positions and had children. It dawned on me that I didn’t know a single one that was running their own production company or agency. That scared me.
Our industry is so competitive and male dominated, that you can’t afford to ever be half a step behind. Aside from running successful productions, so much of it all is run on networking. The lunches, dinners and endless drinking, going out and entertaining. As long as you can keep up with that, you are ok. But how do you do all of that when you have your babies that need your time, love and affection. What do you do when you have an important meeting booked in for months and months and then your baby gets sick on that very day and simply wants to fall asleep in the comfort of mummy’s warm hugs? Do you cancel the meeting that could potentially change a young director’s career path, or tend to your cherished little treasure that can’t understand why you can’t simply just be there?
Women that decided to have kids were and still are often referred to as ‘taking a break to have a baby’. But we know what happens to women in our industry that took that break.
They never came back or were slowly pushed out due to lack of flexibility in their roles. Over 55% of women who had taken parental leave in the last five years believe that choosing to do so damaged their careers. Where do we go from that? This is why we are starting this series. To highlight all those incredible women who are somehow doing it all.
From Guilt to Pride
I did what I do best – kept calm and carried on.
But this is where things get unbearably hard. Everything practical – juggling appointments, sickness, no sleep or time to eat – I could deal with, but there was one thing that I didn’t account for. The guilt. The kind of guilt you can’t imagine. The volume of it is so high, that sometimes you feel like you could drown in it with every breath.
I worked until my contractions were five minutes apart. And handed over my notes to one of our senior producers, ahead of rushing to the hospital to deliver my first baby.
After one long weekend, I was back to work. With my second baby, due to health complications we had a C section and I was back to work three days after.
In an attempt to be a full-time mother and a full-time CEO, I have breastfed my babies with my camera off on endless Zoom meetings. Feeling guilty that I have to hand them over to their dad as soon as they finish, so I can get back to supporting my team and then feeling guilty some more, that I may have not paid enough attention to every word uttered in that meeting.
In an attempt to support my team’s career goals, I sat on a flight for six hours, while my two-year-old was at home, not responding to medication. Being told that he stood in front of our photo attached to the fridge crying and begging daddy to tell mummy to come home killed me inside. On the other hand, I felt guilty that I had to dash back from a big production and leave my team on their own.
I missed my daughter’s first parents evening as I was running late on set – a moment in life I will never get back, but I helped a struggling director capture that one shot he really wanted that day! A sense of achievement with a dash of guilt in my stomach for not being the mum I wanted to be that day.
My son came home from nursery, running through the door to show me the card he had made me for Valentine’s Day and I had to almost edge him out of my screen and keep a straight face as I muttered that I will see it in just three minutes.
Feeling guilty for not cooking a fresh meal on a busy work day, feeling guilty for not attending a work trip… Guilt became the air I breathe.
Even with the most empowering and supportive partner, endlessly helpful family and friends, there is always something to feel guilty about because you can always do more. After all, you are the woman that wanted it all. You could just choose a career, or family, like everyone else and not struggle.
The flipside? You can carry on like this for so long before you notice your male peers not feeling guilty for taking work trips, for taking on more work, for progressing in their career and for going to a drink after work at the expense of not spending every waking hour with their little kids, or fulfilling their every emotional need.
They are okay to be more than a dad so why don’t we ever take a leaf out of their book?
We think and we are told that women are the issue, as we have this self-imposed guilt for wanting it all. But why is wanting a career and a family seen as wanting it all and why should we not want it? Why are we judged so harshly for choosing to have a career or for staying at home?
This is why now, I refuse to allow guilt to rule my life and my choices.
I worked incredibly hard to reach this point in my career and I enjoy my job endlessly.
Growing NERD from nothing to being here ten years later and representing incredible talent, crafting with people I love and respect, supporting each other in every milestone, including family life has not come easy and with no effort.
On the other hand, my children are my world and the centre of my universe. Nothing can compare to the love we share and the happiness they bring me with every little cuddle and every little smile they unselfishly and genuinely give. This is not having it all – it is making the most of life and the endless opportunity in it.
I refuse to suppress the sense of pride I get out of being able to set this example for my children.
Since becoming a mother, there is no force that I would not be willing to stand up against. So, in a way, it has allowed me to improve all of my skillset – patience, resilience, problem solving and the unwavering ability to show up, no matter what.
This is why mothers are so vital to each team and each company. They will be there first, support your cause, understand, give, champion and work harder! Sure, they need to leave for the school pick up, or take a day when their child is sick, but they will be back online later doing way more than reasonable and enjoying it too!
It was the pandemic too, that gave us the opportunity to go from denying that life outside of work exists, to acknowledging that we all have responsibility for other, little lives.
Had it not been for covid, my career, like many others, would undoubtedly have taken a few steps back after having kids. Now, I have even taken my kids to shoots and work trips. Clients seem to accept that you need to pop home and do family stuff before you come back and take them to dinner and post-shoot drinks.
The tiredness after all of these intertwined activities is undeniable. But after a long day, when you finally lay yourself to bed at night and close your eyes – you did do it all girl!
We are making progress. And I hope that in years to come, my daughter, and yours too, never have to shed a single lonely tear, if they choose to smash it in her career, and to be the kind of mummy that she wants to be too.
Sharon Liu is many things, a talented animation director, music video maker, illustrator and an avid GIF maker. In the latest edition of Getting down and NERDy! We caught up with Sharon to discuss her creative process and her adaptability to shapeshift between different creative mediums.
Everyone loves a good origin story, so let’s start from the beginning. How did you get into animation?
It’s funny that my interest in animation only started on my foundation course at UCA Farnham. I was never really an anime or comics fan when I was a kid. However I’ve always been into painting and during my foundation course I discovered that animation is not just ‘cartoons’, it can be painterly and experimental too. I would say that was the turning point for me.
Over the years Sharon has perfected her animation style and brought her distinctive vision to the world of commercials, working on campaigns for the likes of Boot, The Climate Coalition and RAM Trucks.
The Very Hot Snowman for The Climate Coalition display’s Sharon’s hand-drawn aesthetic in beautiful fashion, giving the piece a storybook quality that pulls on your heartstrings and with the voice talent of a certain Britpop icon the whole thing feels cosy but poignant.
What would you say is the major difference between illustration and animation director?
I guess as an illustrator I can spend more time focusing on the tiniest details, and as an animation director I have to focus on the bigger picture/ overall feel/ narrative. I realised that good animation might not necessarily contain one single frame that would work well as an illustration and a good illustration might not necessarily work as a frame of animation either.
Sharon is also a master of creating mixed media, blending her trademark animation style with live action, which you can see in full swing with her music video ‘Its Like That’ for pop royalty Mariah Carey.
You experiment with many different methods, is there anything you haven’t tried yet that you’d like to explore as an artist?
There are far too many methods I would love to try, I believe anything can be turned into animation under the camera! At the moment I’m trying to figure out a way to animate/control water!
As a fellow avid GIF maker I’d love to know what you like the most about creating GIFs?
GIFs are short and sweet. It’s a documentation of my visual diary and it allows me to play with different materials and explore outside my comfort zone without any pressure.
Do you think GIFs can be used to tell narratives and what do you think it adds to your work?
Same as all other art forms, GIFs can be used to express narratives but a strength of GIFs is their versatility to be used in the digital world, including their ability to show moving images instantly without pressing play! It’s hard to think what GIFs add to my work as GIFs are my work. So instead I would rather say creating GIFs has brought me different kinds of work opportunities, a colourful portfolio and 704 million views on GIPHY.
What kind of creative projects appeal to you the most as a creative?
As I’m getting older and more experienced, working with people that I like is far more appealing to me than the nature of the project. Luckily good people tend to work on good projects too!
Two NERDs Billelis and Luke Preece recently embarked on a demon slaying project for the iconic ‘Doom The Dark Ages’. We recently caught up with the pair to discuss their joint love of video games and how they’ve inspired and influenced their work of the years.
How did the Doom project start?
Luke> Billy approached me earlier in the year and asked if I’d be up for doing another collab on Doom after the success of our previous one. Obviously I said yes. I love making stuff with him.
Were you already a fan of the iconic Doomguy’s demon slaying shenanigans?
Billy> I mean he is a video game icon haha. I remember playing the OG as a kid (without my parents knowing), and had this divine rebellion/inspiration. It is absolute carnage and a release, bashing demons back to hell is a very cathartic experience. So yes you can say I was a huge fan haha.
Luke> Absolutely! I played the original games back in the early ‘90s and have continued to play all of the subsequent titles in the series.
Have you noticed a change in how video games are now marketed and advertised?
Billy> The gaming industry has changed so much,but imo what matters the most is the gamer’s experience and fun. Microtransactions and all that ruin the experience. I game because I want to feel free to explore another realm, to lose myself, to become someone else for those hours. I love my life but also becoming a tanked demon slayer is pretty epic haha.
Luke> Back in the late ‘80s and early ‘90s the only way you’d find out about new games was word of mouth or in magazines. That and watching Gamesmaster on TV… Nowadays the industry is so huge that games are marketed like huge movies. That’s a massive step up so I guess you could say it’s changed quite a lot.
Have video games influenced or shaped your work?
Billy> Oh yes I have a whole leg tattooed with video game characters, I am 37 and still game a lot, and you could say it has been a childhood dream of mine. It’s important as artists to nurture our inner child especially as we get older. I have been very fortunate to do Art with Luke for Doom, and Diablo a few years back on my own, and I’ll never get over the feeling my inner child would get by working on these.
Diablo II work by Billelis
Luke> 100%. I play video games quite a bit and have done since I was very young. That has inevitably sunk into my subconscious and definitely comes out in my work.
Luke’s work for Gears 5
What do you enjoy the most about working on video game briefs?
Billy> Seeing all the incredible concept art and BTS that goes into these games. It’s amazing to put my own twist on these IP’s but I always get giddy and incredibly inspired to see what the artists of these studios have created before me. I feel honoured to put my spin on their creativity.
Luke> Getting to put my stamp on IPs I love. Essentially taking inspiration from the visuals and narrative and bring it together in a unique way whilst remaining relatable to the game.
Do you think video games as an artform are still misunderstood?
Billy> In the past, yes, I feel gaming is a key part of our culture and it truly is an artform. Everything from characters, to design, atmosphere, sound, emotion. Nothing comes close to it imo. You can watch a film and remember it, but I find games become unforgettable experiences, for me at least.
Luke> They used to be. And if I’m honest a video game used to be something you’d pick up and play for 30mins. Modern games are like these big blockbusters or yearly events that happen. It’s kind of crazy when you think about how much it has changed?!
If you could live inside any video game world what would it be?
Billy> As messed up as it would be, I’d love to live inside the Elden Ring.
Luke> Gotta be Zelda. I like the idea of hanging out in Hyrule.
Many artists are satisfied with owning one style but not Corinne Ladeinde, she thrives on experimentation, playing around with different styles of animation. Her work spans across directing, design animation, illustration and a lead compositor.
Her short film ERNESTO garnered multiple awards capturing the imagination of both parents and children alike. While working on projects such as The Snowman and the Snowdog and We’re Going on a Bear Hunt! for Channel 4 and bringing her talents to big name clients like Dove, Bach and Liz Earle. Her adaptability to create something visually unique for each project shows with her truly original body of work.
In our latest edition of Getting Down and NERDy we caught up with Corinne to discuss her experiment approach to animation and directing.
How many different methods of animation have you used over the years and what do you enjoy doing the most?
My experience as a director or in compositing, whether working as part of a team or supervising, has introduced me to many different styles and mediums, from digital 2D cutouts mixed with drawn animation, 2D or stop-motion composited with live action, to sand! I’ve enjoyed all for different reasons but I’ve mostly enjoyed working with 2D cutouts with hand-drawn elements as it’s flexible and fun to work with (my) illustrations and bring them to life, it’s where I feel at home.
Could you tell us a bit more about the process of composting in animation?
It really does depend on the project, that’s part of the beauty of it. As a compositor, it’s my job to bring together all of the elements, make sure the layering etc is working correctly, make the elements feel like they belong and then push them even further. For example when working on a project that blends 2D animation with live action I need to pay attention to whether the shadows I’m creating for characters blend in seamlessly with other shadows in the liveaction plates, are they pointing in the right direction, where is the light source, check black and white points accordingly, apply any grading and SFX necessary and making sure the characters feel like they’re in that live action world.
On a recent project I supervised, the brief was to ensure we couldn’t see much competition at all! It was very much about maintaining the storybook charm of the project and ensuring the characters became a part of the beautifully painted backgrounds, as well as adding a bit of sparkly FX where needed. Funnily enough, I find this process really rewarding and sometimes if you can’t see my work, that means I’ve done a good job!
How much experimentation do you have when composting?
Again, it really depends on the project and the director. Some directors know exactly what they want and there isn’t much wiggle room or need for it. But many times I’ve been given a shot and told… “I’m not sure what we want here… What do you think…? Have a play!” It’s only through experimenting, having a go, and getting it wrong a few times that you’re able to build on something and then you can work with the director and move things forward.
Most of the time, it’s a fun creative process, as with all of the other roles on a production, it’s your job to facilitate the director’s vision as well as offering support and guidance where your expertise may lie. I’ve always felt the best directors recognise this and allow their team to do their jobs with guidance. I like to take this approach when I’m at the helm. Sometimes you know exactly what you want and you can drive it home, but other times it’s good to be a little more open and allow something to develop in a way you might not have expected.
Maybe you could tell us a bit more about the surrealism approach a lot of your work adopts?
My grad film ERNESTO is about a boy who’s teeth spontaneously become musical. The original script was quite similar to a United artist’s cartoon called Gerald McBoing Boing. I loved the script, but I wanted to make Ernesto’s affliction something more physical that he didn’t have any control over nor could obviously be seen. While I was at the NFTS I kept a sketch book on my bedside table so I could jot down any dreams that could be of interest. One dream involved a chorus of opera singers wearing tuxes who just happened to be teeth. It was a bit bizarre but it felt fun and I liked how there was potential for them to be their own little characters. It’s like cute body horror… maybe that’s my thing! When I think back, one of the films I loved was How to Get Ahead in Advertising.
A story about a man experiencing a moral existential crisis who grows a talking boil on his neck. I think what draws me to this theme is that these “afflictions” are part of the character. It’s either something that has to be dealt with or accepted. There’s no escape! Turning these everyday feelings into physical manifestations is a fun and quite literal way to explore these experiences. It’s a way of bringing them to the forefront and being forced to confront them head-on. One of the things I love about film (particularly animation) is the suspension of belief and that, quite literally, anything can happen. I find comedy and sometimes (cute) body horror to be a fun vehicle to explore these themes. It might all seem quite surreal but there are very real emotions behind it.
What other forms of animation would you like to experiment with in the future?
I’ve been experimenting with 3d in my downtime (when I have it!) I’d love to experiment with it more. But, with the dawn of AI that is capable of creating the kinds of footage and imagery we’re seeing, my concern is that traditional modelling could become redundant. I’m aware that even though I feel there will always be a place for content with that human touch, there will be pressures and potentially opportunities to get to grips with what AI will no doubt bring. I’m interested in approaching AI as yet another tool if possible. Whether that’s using it to speed up current pipelines and work processes or for image generation that can be experimented with, edited and worked into further by human hands.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
