Motherland in Adland: Casey Bird

In this instalment of the ‘Motherland in Adland’ series, the creative director explains how discovering AI during maternity leave unlocked a new creative freedom – and why mothers must play an active role in shaping the future of work

Motherhood in advertising has long been an unspoken challenge – a career-defining crossroads where ambition is too often questioned, and support systems fall short. And while the industry has made progress in acknowledging the realities of working parents, tangible change is still slow, leaving many mothers to navigate the journey alone.

In this instalment of Motherland in Adland – the series founded by NERD’s Milana Karaica in partnership with LBB – we hear from Casey Bird, a creative director who most recently worked at Channel 4.

During her second maternity leave, Casey didn’t just return to work – she rewired how she thought about creativity, career progression, and possibility. AI became her tool for liberation, reinvention, and self-determined ambition. Now, as she launches her own creative studio, she’s calling on mothers across adland to experiment, challenge norms, and help shape the next era of work – because if they don’t, the future risks being built without them.

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The AI Revolution is Here. Mothers Can’t Be on the Sidelines.

I’m not a technologist. I’m not a coder. I’m a mother of two (Hi Ruby & Mason, mama’s in LBB!).

I’m an award-winning creative director in advertising and marketing by trade, and someone who spent most of my career working global brands or brand partnerships, most recently Channel 4. But, during my second maternity leave in 2024, something happened: I became obsessed with AI. I became obsessed with the possibilities, the opportunities, the limitless ideas and thoughts. My brain literally exploded.

Not in a “sci-fi robots” kind of way, but because I saw how powerful it could be when applied to real life. I devoured hours of podcasts or YouTube vids on the topic. I started using it to brainstorm business ideas, draft pitches, shape creative concepts, things I had always relied on late nights or over-caffeinated mornings to do. Suddenly, instead of squeezing myself into a workplace model that was never designed for me, I could start designing my own.

That shift was life-changing for me. In 2025 I created the first advert for a brand on behalf of Channel 4 using creative imagination, prompt engineering and a lot of human editing. I could do this, because I felt confident with the tools I had been practising behind the curtains, that when the opportunity arose, I was able to raise my hand and stand out. It was so much fun feeling limitless in the execution and not restricted by a shoot.

Now? I’m currently in the process of taking a pause whilst I launch my own creative studio, one that works around my time, my energy, and my commitment to my family. And AI is at the heart of it, obviously. My imposter syndrome sometimes can tell me this is a bit of a gimmick, but I truly believe it’s going to the scaffolding that allows me to build a business on my own terms as a mother.

Here’s the thing I’ve been pondering, AI is being called the biggest shift since the internet. But if mothers aren’t part of this revolution, then once again the future of work will be built without us in mind. And we can’t afford that. Women constitute only 20% of employees in technical roles in major machine learning companies, 12% of AI researchers, and 6% of professional software developers. (UNESCO)

Because let’s be honest, the traditional workplace is already failing mothers. And if you’re reading this and nodding along, you’re not alone. Too many of us are pushed out, sidelined, or quietly exit because the system doesn’t bend and work with us and our commitments. AI could change that. It could be the tool that helps us re-enter, reinvent, or completely bypass the structures that excluded us in the first place.
So imagine if mothers everywhere used AI not just to lighten the admin load or think up dinner ideas for the week, but instead:

Prototype businesses faster: turning that “what if” idea into a plan overnight. With no-code website builds you can take your idea to MVP in a day. No dev dude to patronise you.
Access opportunities that don’t depend on presenteeism: pitching, networking, or upskilling on your own schedule. Getting LLM’s to challenge you, set goals and learning schedules. Research indicates that women adopt generative AI tools at work 25% less than men, potentially widening the gender gap in career opportunities. (AllBright)
Rewrite the CV narrative: using AI to frame maternity leave not as a “gap,” but as proof of leadership, resilience, and creativity. The more we feed the LLM’s and tools these narrative, the less bias will present.
Create new economies of work: where flexibility isn’t a perk, it’s the foundation. The opportunity is enormous. But only if we claim it!

If AI is left to be defined by the Silicon Valley bros and tech dudes in your office, it will replicate the same systems that already shut us out. If mothers step in, experiment, and shape it, we can build something better. Not just for us, but for everyone.
Think of it as inventive, as being resourceful and creative with our thinking. And mothers have always been good at that, right?

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So here’s my call to action for mothers and others, reading this…

Mothers, play with AI. It’s not scary or uninviting. Break it, bend it, push it. Use it to sketch that side hustle, to pitch that business idea, to design work that actually fits your life!

Because if mothers don’t step in now, we risk being erased from the future of work before it’s even been written. Now is the time to really flex the skills, and pull up a seat at the table. In fact, forget the table, build your own AI table with cosy chairs and warm cups of tea and invite other women to sit at it with you.

October 16, 2025November 27, 2025

Bringing UK Drill to the Cinematic World of Dune

When you think of UK Drill you don’t often think of the sand dunes of Arrakis but with visionary director Lewis Andrews new music video for Baza he brought the cinematic scope of Denis Villeneuve’s Dune adaptation to the music genre.

What inspired you to make this project?

I was first inspired to create Baza when I saw this frame from the Dune 2 movie.

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I wanted to take the UK Drill scene, merge it with the Dune universe, and try to create something quite unexpected. I was kind of obsessed with the franchise for a while as it had such an impact on me in the theatre. BAZA was a way of soothing a creative itch.

One of the things that makes the Dune movies so special is Hans Zimmer’s music and sound composition. I was inspired by the delicate and haunting duduk sounds in Zimmer’s ‘Herald of The Change’. I produced a rough beat using some samples from the original score and it blended together really nicely with a basic drill beat that I arranged in a Final Cut Pro timeline. It was this demo that gave me enough belief that the project could be something really cool. I called my friend and music artist Richard Akam and put the wheels in motion for a Dune X Drill Scene video.

How did the music take shape?

From the very beginning, I knew I wanted to create every element of the project from scratch. Inspired by Hans Zimmer’s ‘Herald of The Change’ duduk composition, I sampled the duduk section of the track and merged it with a rough UK-drill style beat. I asked Richard Akam to write some lyrics to the demo beat. He is extremely gifted, always able to write something very easily and nail the vibe each time. The demo beat wasn’t good enough, and was just a tool we could use to shoot the video and get the lip sync tied in. I knew I wanted to also produce the beat for this project.

After the shoot was done, I started to experiment with a duduk composer Armen Kostani. I sent him a chord pattern so he could freestyle something in the same tone as Zimmer’s track. I started off using longer sections of the sample and then ended up cherry picking the best stems that had the cultural tonality and flare the instrument is famous for. I wanted the beat to have an electro-bass feeling similar to Alt J’s Fitzpleasure. The beat started off with buzz kicks, but that was the wrong direction. After many months of playing around and fine tuning, I took the beat to be professionally mixed and mastered at West Point Studios by sound engineer and magician Shane Shanahan. The beat took many twists and turns, mainly due to my willingness to explore and experiment. Shane really helped bring my track to life and played a pivotal role in channelling my vision in the coolest, highest quality.

How did you capture the aesthetic of Arrakis for the shoot?

I knew I needed to find a desert. I already had some locations in mind such as the Agafay Desert in Morocco. We wanted to shoot in Morocco but had difficulty with permits so we used the trip as a scout. Eventually, when I was working on Blade Runner 2099 – a six month job for Amazon Studios primarily based in Prague, I decided to use a weekend to attack the BAZA shoot in one sweep. The Amazon production also shot in Barcelona, so I ended shooting in Bardenas Reales, the closest desert to Barcelona I could find. I hired a fantastic production company, Activa Experience. The production company organizes shoots and tourists’ experiences in Reales. I studied some of the scenes and imagery from the Dune movies and noticed that I could achieve almost the same aesthetic in a rocky desert. This is despite knowing the Dune movies are iconically known for being set in sandy dunes. This was the perfect setting for BAZA and building the Arrakis vibe.

The next thing to pin down was the costume. I searched online for Dune stillsuit outfits and found an incredible designer brand, Demobaza which nails this look. I organised a Demobaza long overcoat, boots and trousers for Richard Akam, and the look was complete. The outfit is so incredibly detailed and punched strongly enough to give Arrakis an impression with a nod to a modern, futuristic sci-fi look.

The final piece to complete was some decent cinema glass for my RED KOMODO-X. I chose an Atlas Orion Anamorphic Primes set of 40 mm, 65mm and 100mm. The combination of location, costume, and lenses completed the Arrakis look.

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Could you tell us more about how the project evolved in the post production stages?

The project then evolved heavily in production, both musically, VFX and the colour grading pipeline. When I saw the raw footage I realised there was lots of potential to expand the story and futuristic, space appeal to the video and make it something “off world”.

VFX work tends to capture an audience’s attention because it’s showing the audience something which generally cannot be achieved in camera. Even though I only shot a few things on location where I knew I wanted CG to go, it wasn’t something I vouched for with any real intent during the shoot. I shot a mix of wide and close coverage so I could manage VFX ‘from afar’ and not have to worry about perfecting realism with close-up CG. I shot some plates that would allow for the VFX to go in but without knowing the full extent of what I wanted to do. I wanted the focus to remain on the artist Richard Akam, and keep the CG to a minimum, almost like background details, as if the things happening in his world are not unusual to him in his world.

Some key visual effects I decided to focus on were, adding some planetary constellations (the impossible double eclipse), huge orange blooming moons and ‘The Black Dog’, which is the monolithic, triangular spaceship. I wanted the design of ‘The Black Dog’ to be simple, and have a hollowed-out core. Some subtle work helped to sell ‘off world’ in the video. For example, in the opening establisher that features the monolith style spaceship, simple paint outs of trees or earth-like features were replaced with CG asteroid craters.

A big part of this project was colour management within Da Vinci Resolve. Every 3D render was created in a linear colour space so that it could be transformed by CST’s in my node-based colour managed project. Once I had sorted out the correct colour space transform for the R3D footage (RED Wide Gamut, RGB, Log3G10) I found the mid grey point within the Da Vinci Wide Gamut colour space and nuanced a curve which served my clips on a macro level. I then used groups in Da Vinci to establish a look in a Group Post-Clip and then performed all of my clip level grades.

I wanted the VFX to be a big selling point of the final video. I knew that I wanted BAZA to have a heavily tinted aesthetic with deep reds, amber skies, and crushed highlights. This posed some challenges, maintaining a consistent look between the software I used to handle the post works: Cinema 4D, After Effects, Blender, Logic, and Da Vinci Resolve. 3D works were done in Cinema 4D and composed in After Effects, most of the EXR renders were conformed in Da Vinci so that I could do a full Rec. 709 round trip, and run the material through my pipeline built with node-based colour space transforms.

What is the biggest difference between directing a music video and a commercial?

A music video gives you a lot more expressive freedom, and feels closer to serving as a demonstration of an ‘artist’s work’. A commercial is usually driven in some way by a more rigid level of strategy, brand or message to sell a product directly on the back of watching it. A music video is selling a person, so they are kind of like personalised commercials for humans. They are similar in the sense that they build impressions of a product or an artist in the same way.

Do you have any dream artists you’d love to direct for?

Ye.

Lewis is currently running the BAZA Open Verse Challenge, with 4 international rappers from Nigeria, South Korea, USA, Germany, if you would like to find out more details about this click here.

To see more of Lewis’s work click here.

October 9, 2025October 9, 2025

LUCAS BORRAS AND CARLOTA SANTAMARIA – MOVING ACROSS THE GLOBE TO MAKE MOVIES

Life as an artist can oftentimes be a life of moving to where the work is or travelling to new places to be inspired, living a nomad existence, always seeking out the next project. On the 4th and 5th of October World Day of Migrants and Refugees was celebrated and we wanted to take this opportunity to speak with NERD Productions talent Lucas Borras and Carlota Santamaria originally from Spain have lived all over the globe swapping the towering skyscrapers of NYC and now finds himself in tinsel town living amongst the stars. The pair will be moving forward as a collaborative force known as Chosen Family and we cannot wait to share more with you in the near future.

Moving can be a hard and difficult process like leaving a piece of yourself behind, places can root us down, remind us of people and memories. Another consideration is uprooting family, having to look for new schools and fit in with new cultures and customs. We caught up with both of them to discuss how migrating impacted his work and whether it inspired or changed his approach to making art.

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How did you both originally meet?

Like all great stories, in prior days of online dating, we met dancing in Barcelona and from that point onwards we just clicked together.

What was your first creative collaboration?

“The first time we collaborated was on a TV show called Anecdotari—a project that marked the beginning of our creative partnership. It went on to win both the Gold LAUS Award and the European Design Award. I led as Director and Animation Director, while Carlota brought her vision as Design Director and Illustrator. It was a project rooted in shared values, distinct perspectives, and a deep creative trust.” – Lucas

Was home sickness something that ever impacted you when you first moved away from home?

“We’ve always had each other’s back which always helps, naturally most of our family still live over in Spain but what’s helped since moving to LA is there’s a strong spanish speaking community in our area. We’ve made friendships through work collaborations, but as well through exploring the “californian” culture and taking our children to school and it’s important that we’ve built connections outside of the film and advertising space as well.” – Carlota

How does living on the West Coast differ from living on the East Coast?

“New York moves at a very different pace, you’re at what feels like the center of the universe, the hustle and bustle of a sprawling metropolis. When we moved back in 2009 it was very easy to build up connections especially in the creative space. You were always within walking distance of agencies and creative studios. LA on the other hand is more spread out and vast, unless you drive a car it can be harder to get from A to B. So you learn to find your people where you’re based which in a lot of ways helps with the community feel.“

Our surroundings often provide us with inspiration, when was the last time the LA sunshine helped form an idea?

“It’s so true, our surroundings provide us with so much inspiration, moving to LA in many ways felt like going home to Spain, the sunshine beaches and the open air provided us with a sense of clarity that was almost impossible to achieve living in New York City. We have more time to relax and collaboration feels less strained. I think in LA we have mastered work and life balance better than what was possible living in New York.“

Take a look at some of the prime examples of Chosen Family’s colourful work.

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Click here to see to see colourful and inspiring Erno Laszlo film.

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Click here to see Quantic

Could you tell us a bit more about your creative relationship and how that’s evolved over the years into Chosen Family?

“After 18 years of living—and creating—together, we’ve developed a rhythm that allows us to balance the personal and professional with honesty and flow. Our different points of view consistently push the work to new places, and we’ve found that what might feel like friction at first often becomes fuel for something better. Over the years, our dynamic has matured into one of synchronicity and clarity, especially when navigating complexity or high-stakes moments.

We’re both deeply curious and wired for what’s next. We thrive on experimentation, openness, and momentum. If we had to name our shared ethos, it would be this: Live without fear, and create like you mean it. That mindset permeates everything we do—how we collaborate, how we take risks, and how we bring ideas to life.” – Lucas & Carlota

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How do you deal with prejudice in and out of the workplace?

With empathy.

What’s the most valuable piece of advice you would give to someone who is also looking to migrate for work opportunities?

If possible, go spend some time in the place you’re considering. Live it. Walk its streets. Connect with the studios, agencies, and people you admire. Get a real feel for the energy. See if it matches what you imagined—if it truly feels like somewhere you want to be.

To see more of Chosen Family’s work click here

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September 16, 2025September 16, 2025

A UNIQUE VOICE JOINS NERD PRODUCTIONS WITH AWARD-WINNING FILMMAKER SAKARI LERKKANEN

NERD Productions is proud to announce the signing of visionary filmmaker Sakari Lerkkanen. A champion of crafting stories that are full to the brim with imagination and style that evokes emotion. Over the years Sakari has built up an extremely impressive body of work ranging from commercials, films and music videos. Collaborating with the likes of Campari, Elizabeth Arden, Sony, Bacardi, Flashscore, Petr Cech, and Cecilia Brækhus.

Sakari’s flagship TVC for Elizabeth Arden is a prime example of what he can bring to the table blending breathtaking visuals with kinetic camera work, which comes together to not only capture the brand but tells a compelling visual story.

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Click here to download Elizabeth Arden

“NERD Productions is all about giving a platform for passionate and creative people to tell stories and to allow them to collaborate with like-minded individuals. From our very first meeting I knew Sakari was someone who I wanted to work with and introduce to the other talent. He shared the same principles and desire to tell memorable stories as the rest of the NERD family and to top it all off he’s a genuinely lovely person who is motivated by collaboration. We cannot wait to share more of Sakari’s cinematic universe with you all in the near future”. – Milana Karaica, Founder & Producer of NERD Productions.
Sakari’s love of cinema shines through in all of his projects, this is on full display for the Campari ‘Ode to Cinema’ campaign which feels like a love-letter to 50s Noir, stylish 60s spy thrillers and hard boiled 90s crime dramas. The project is a celebration of Campari’s relationship to the silver screen appearing in multiple icon films over the years such as Casino Royale and La Grande Bellezza.

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Click here to download Ode To Cinema films

In addition to his commercial success, many of Lerkkanen’s award-winning films are self-penned or co-created with talented writers, reinforcing his passion for storytelling. His distinctive vision and dedication to his craft make him a highly sought-after director for both narrative projects and high-end advertising campaigns.

“I’m always seeking new ways to evolve and connect with great collaborators. With Milana and her team, there was an instant click. We’re both drawn to global stories told through a culturally distinct lens and share a commitment to authenticity and storytelling. Delighted to be joining forces.” – Sakari Lerkkanen

To see more of Sakari’s body of work click here.

August 1, 2025August 18, 2025

THE CREATIVE VERSATILITY OF SHARON LIU

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.

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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.

The Very Hot Snowman available here

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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.

carey - NERD Blog - THE CREATIVE VERSATILITY OF SHARON LIU — **Mariah Carey – Its Like That available** **here**

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.

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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!

To see more of Sharon’s body of work click here

June 23, 2025June 23, 2025

Helen Ratner Brings her Quirky Playground of filmmaking To the NERD roster

More exciting news from NERD Productions as we add the talents of the imaginative director Helen Ratner. Her unique and quirky body of work weaves between animation, motion design and art direction, using techniques such as rotoscoping, cel animation and collage. She creates surreal imagery that provides plenty of tantalising humour and whimsical energy, working on incredible projects for the likes of Nike, Instagram and Google as well as working for artists such as FKA Twigs, Steven Aoki and El Afna. Her work comes with a stunning colour pallet that feels like spending time on a tropical beach blending vibrancy and style perfectly.

“Every now and then you meet an artist and you instantly want to collaborate with them, their work fills you with so much inspiration and you get a buzz from just listening to them talk. Helen was one of those artists, her filmography and vivid imagination felt like a perfect fit for NERD and we cannot wait to show you more in the near future”- Founder & Producer of NERD Productions.” – Founder/Executive Creative Producer at NERD Productions

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Helen on joining the NERD roster – “I’m so excited to be joining the team at NERD Productions Company! NERD has been on my radar for years and what initially drew me in was their clear passion for creativity with purpose. Their commitment to diversity, inclusion, and sustainability isn’t just talk, it feels deeply woven into everything they do. That kind of integrity really resonates with me and I’m thrilled to be part of a studio that champions talented artists, and cares about the impact their work makes.

What’s also exciting is the chance to collaborate with such a talented and diverse group of creatives. NERD’s energy feels fresh, open, and full of heart. I love how their approach to production feels like a shared journey instead of a solo mission. I’m looking forward to bringing my own experience into the mix, growing together, and creating work that’s not only visually exciting but also meaningful.”

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To see more of Helen’s work please visit here.

May 30, 2025May 30, 2025

Mental Health Awareness Month: Prioritising Self-care within the Advertising Industry

In every walk of life and within any job role we all deal with challenges both internally and externally we often tell ourselves not to let our private lives interfere with our work-life, however is it really that black and white? With May being the month of Mental Health Awareness we wanted to have an open and honest conversation about how as individuals we find ways to balance our well-being with our work output. The advertising industry can be a savage and unpredictable environment with tight deadlines, days of endless calls and meetings that sometimes can feel like dead-ends rather than destinations. An emphasis on freelance work can sometimes add extra pressures of long-term stability and career growth, financing projects can become an upward struggle and sometimes the work days can be long, meaning spending less time with our families and friends.

There are no straight answers to this topic and we all do our best to find ways of finding that perfect balance between productivity and relaxation, knowing when to call it a day, knowing when we need to recharge our social battery. We all come from different walks of life, may it be culturally or financially, each of us dealing with our own insecurities or anxieties and as a society we like to pretend that we don’t. We’re programmed to think we have to be perfect all the time but sometimes the flaws are what make us succeed, it’s how we grow and learn.

Thankfully the conversation around mental health is becoming less taboo and more of an open dialogue and In this article we wanted to get involved in the conversation

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Esther At Work (Illustration: Esther Lalanne)

THE ART OF TRYING NOT TO OVERTHINK – LOUIS HUDSON (WRITER AT NERD)

For me moving to London was the first daunting step into the creative and advertising industry. After staying in Leeds for both of my university degrees I finally decided to kiss goodbye to my affordable rent and family. My first attempt however was compromised by the global pandemic (just my luck) when the time did eventually come to move down. I had a little bit of PTSD from the pandemic. All that time stuck in lockdown, overthinking, would I be good enough, will I fit in. Imposter syndrome rearing its stupid annoying face. Which I think is a universal thing we all go through at some point in life but I think for me it was exemplified by the pandemic suddenly swapping working from home to attending multiple networking events and having to build up a new social life for myself provided a little bit of whiplash.

Coming from a traditional northern working class background I wondered whether or not I would fit in, whether my accent would be patronised or even understood and apart from the couple of occasions I’ve been mistaken for being Scottish I can confirm people can understand me just about…

For me I learnt that giving myself a schedule helped with the anxiety, even something as simple as going for a walk once a day or finding time to do a bit or personal admin would be a way for me to focus my mind. Post pandemic I’ll take myself to the cinema as much as possible because going to see a really depressing foreign romantic drama really makes me feel better about my life. I also write comedy, which is something I’ve continued to pursue since studying film at university. Since moving to London I attend London Comedy Writers and I’m always trying to get projects on the go, so it’s all very exciting but also gives me something to focus on outside of work hours that feels stimulating and creative.

BALANCING CREATIVITY AND PRESSURE – VIKTORIIA (MARKETING & PHOTOGRAPHY AT NERD)

Growing up, I always knew I was meant to do something creative – something that had a spark but also a slice of structure. I’ve always felt a strong drive to perform well in any role I take on, and with that comes pressure. When I moved to the UK, that pressure only intensified, it became about building a whole new life from the ground up. New friendships, new networks, and new opportunities.

Because social media is such a big part of what I do, there’s a constant expectation to be present. Whether it’s about posting the next big idea or simply showing up on people’s feeds, the pressure to stay relevant can be overwhelming. And while I sometimes get hit with that “who cares?” mindset, the reality is every single job or opportunity I’ve had has come from being online, from putting myself out there, from connections made through the digital world.

That’s the double-edged sword of it. While I owe a lot of my career to social media, my mental health often suffers because of it. Imposter syndrome creeps in, feeling like I’m not doing enough, even when I know I’m going above and beyond. Some days, depending on where I am in my cycle or just how much I’ve been carrying, I’ll cry it out. I’ll spiral into “I’m not good enough” thoughts and that’s when I really lean on my husband. He’s my anchor on those tough days. But then, just like that, I bounce back. The very next day I might feel like I can take on the world. I’ve also been incredibly lucky to work with people and clients who are genuinely supportive, and that kind of environment makes a huge difference. The same goes for my friends, just having someone who listens can lift the weight a little.

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Photography by Viktoriia Telfer

Being creative in the fast-paced, ever-evolving world means you’re always expected to innovate, stand out, inspire. It’s a lot. But I’ve learned that having a support system and grounding routines can help massively. For me, it’s simple things – going for a walk, spending time in nature, hiking up a mountain. Maybe that’s why I’ve gravitated towards hiking over the past two years, it gives me space to breathe and turns off my loud brain.

At the end of the day, it really is a journey. Some days feel weird, others feel heavy, but there’s always something to learn.

WHEN TO ASK FOR HELP – MARGAUX MADAMBA (SOCIAL MEDIA MARKETING AT NERD)

For years, I knew I was struggling with a mental health disorder but there were just so many things hindering me from seeking professional help. I thought if I just got to know myself more that maybe navigating work and life would be easier. I thought that I needed to accept myself more, to be kinder to myself, and to be more patient with myself. I read so many self-help books, listened to my mentors’ advice, and browsed through pages and pages of Reddit and Google threads. A lot of those things helped in their own ways — but it wasn’t enough.

Coming from a third world country, I knew it wouldn’t be easy to seek professional help for my internal struggles. I had assisted my younger sibling in the past with their own mental health problems and searching for psychiatrists, wards, or organizations that could help us was really difficult. We learned one thing that day: If we needed immediate help for our mental health, we were looking in the wrong places AND we were living in the wrong country. It was a very sad realization. Being the eldest daughter meant I’d have to be there every step of the way during my sibling’s own struggles. This was when I was educated deeper about how to properly seek professional help.

Five years after my sibling’s struggles, I finally got the courage to seek help for my own problems. Post-pandemic paved the way for telemedicine or telehealth apps which made it easy for me to book a psychiatrist or psychologist. It was at the age of 28 when I saw my first psychiatrist and was diagnosed with General Anxiety Disorder (GAD) and Post-Traumatic Stress Disorder (PTSD). I was prescribed medicine for my anxiety but after a few months, I felt like I was just an outsider watching my life happen before my eyes. The medicine wasn’t working – and that was okay. During this journey, I learned that there are many methods to seek help and not every method will work for an individual. I didn’t stop trying and experimenting. I looked for another psychiatrist who focused on talk therapy which gave me relief after just one session. I have felt more peace within myself ever since.

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Coral Landscape (Illustration: Roman Bratschi)

As creatives and freelancers, we’re used to working and moving independently. Throughout the years, I got used to working by myself and finding remedies in my own ways. It worked until it didn’t, and I wish I asked for help much sooner – I bet my 22-year-old self needed it a lot. If you’re reading this, I want you to know that it is okay to ask for help – ask for help when you’re afraid, ask for help even when you can’t afford it, ask for help even when you’re succeeding in life. It doesn’t matter where you are or who you are, it will always be the right time to ask for help.

VALUE OF PEOPLE IN OUR LIFE – MILANA KARAICA (FOUNDER/EXECUTIVE CREATIVE PRODUCER AT NERD)

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. Best of both worlds was the goal I wanted to achieve through some miracle it seemed.

With so much going on at all times and hours of the day it is hard to stop to catch a breath, let alone think about your mental health and wellbeing. I try to be practical, and find time to still show up for my young kids where and when needed while doing the same for my team and clients.

Sneaking in some alone time for a quick facial or getting my nails done is my time to simply do nothing. Allowing time with people I love… a coffee with my sister, a quick lunch with a friend, a little time with my forever cheerleader- my partner, even if it’s just a cinema date or a walk in the park. All these seemingly small things and times give me endless positive energy, time to reflect on the life we have built and things we still feel we want to pull off before we are ready to live the quiet life!

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Flower Brain (Illustration: Helena Elias)

So, having said all that, in conclusion – we all need that one person in life or if we are lucky enough, a few of those gems, that will be your source of support, empowerment, inspiration or simply good vibes. This is what really matters and what helps keep me going when times are tough.

May 21, 2025May 21, 2025

BRINGING RELATABILITY TO BIG BRANDS WITH KYLA PHILANDER

The hardest challenge for most directors is being able to stamp their own authenticity into a project, especially in the world of advertising and big brands. Which can sometimes provide strict creative briefs and tight deadlines that can sometimes limit the director’s distinctive voice to be heard through the noise. NERD director Kyla Philander has made a career of crafting relatable and grounded stories while also working with some of the biggest brands on the planet such as Google, Instagram and Volkswagen, to name but a few. Perfectly shaping worlds and narratives brimming with diversity and personality that shines on all screens.

So how does a director juggle working for huge brands, while telling stories that resonate with them and reflect their own identity and background? Well at the core of Kyla’s work it’s focussed on human relationships, tangible and relatable people going by their everyday life with natural performances and subtle but cinematic filmmaking techniques.

Kyla’s ‘Meta Facebook Lite Connected’’ commercial would be a prime example of her human approach to story crafting, the narrative follows various people at different stages of pregnancy and parenthood, capturing the mundane to the sublime, from contractions to the baby’s first steps. Relatable moments that the audience will resonate with on an emotional level, well also cleverly capturing the technology of Meta and how it can connect us, as the commercial showcases the various people using Meta to celebrate, communicate and to search for support.

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Meta film available here

Diversity and inclusion is another key ingredient in Kyla’s filmography that allows them to express universal stories from around the globe that reflect different aspects of society. Their Redbull Uncredited ‘The Origins of Afrobeat’ film invites the audience into the world of Afrobeats informing the viewer into the music genre’s origins from the streets of Lagos to Fela Kuti, while showing the importance of dance. Mixing cinematic shots with grounded talking heads. Capturing the spirit of afrobeats and the kinetic passion of the dancers, it’s informative and inspiring and brimming with love.

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Redbull Uncredited available here

Klya’s work portrays people from different races, body types and gender but their work also captures places with the same attention to detail and care. Fully comfortable with shifting between documentary realism and large scale cinematic scope, they utilize every frame to paint a portrait of life. You get a sense of place and vibrancy that many other directors are unable to accomplish. Taking the opportunity to take us to places that aren’t often shown in advertising or film, for example their Google Station commercial takes is to the Western Cape of South Africa, Gugulethu a township with a population of 98,468, the entire piece feels like a love letter to the people who call it home.

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Google film available here

Raised by mixed-race parents, Kyla was surrounded by different cultures and perspectives that shaped their curiosity for the world. Growing up in a loving and accepting environment, this is reflected in their filmography, showing great empathy and understanding of each other and the world we share.

To see more of Kyla’s outstanding body of work click here.

May 13, 2025May 13, 2025

NERD PRODUCTION’S MONO GHOSE – SCRIPT TO SCREEN

To quote Alfred Hitchcock “To make a great film, you need three things – the script, the script, and the script”. The script is the blueprint, the screenwriter is the architect in which worlds are built and shaped. Studying scriptwriting at Goldsmith, University of London writer-director Mono Ghose understands the importance of the script and has applied his skills as a writer into his skills behind the camera producing thought provoking stories.

We recently caught up with Mono to discuss his background in scriptwriting and how that transferred into his work as a director in commercials and a narrative designer in gaming.

How did your desire for storytelling start?

It started with my upbringing where story, films, sports and games were a central part of my life. I’ve always loved the way a good story can make people laugh, listen, and lean in. It’s a kind of magic that’s somehow both ancient and modern.

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What was the most valuable skill you gained from studying scriptwriting at Goldsmith?

Learning to kill my darlings. At Goldsmiths, I learned that writing isn’t precious; it’s a process of brutal, loving revision. Also, coffee. I definitely mastered the art of surviving on cheap coffee.

Do you follow a strict structure as a writer or does it depend on the project?

It depends. Sometimes you need a solid structure to keep the chaos at bay, like putting up invisible walls for your ideas. Other times, you have to let the project breathe — wander off the path. In short: structure is important, but flexibility keeps the work human.

Do you think your skills as a writer gives you an advantage as a director?

Absolutely. When you understand the bones of the story, you can direct with real intention — not just pointing a camera at things and hoping for the best. You can focus on the truth and follow the emotional core of the scene, whether that’s the actor, setting or object.

What type of stories are you personally drawn to?

I’m a sucker for stories about imperfect people trying (and often failing) to do the right thing. Anything that mixes heart, humour, and a little bit of chaos feels true to life for me. I guess I’m drawn to the beautiful chaos of being human — the flaws, the funny bits, the occasional existential meltdown.

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What’s the major difference between creating a narrative for commercial work versus designing narrative for video games and are there any other mediums you would love to craft stories in?

Commercial work, you have seconds to make someone care, connect, and remember you. Video games are more like being a tour guide in a city you secretly built — players want freedom, but you still need to lead them to find the good stuff. As for other mediums, I’ve produced a podcast series recently on sports and books but I’d love to do a film or narrative driven podcast series — there’s something magical about a voice in your ear painting entire worlds you can’t see.

To see more of Mono’s commercial work click here

And to see Mono’s video game narrative work click here

March 6, 2025March 23, 2025

BALANCING CINEMATIC SCOPE WITH INTIMATE STORYTELLING WITH NERD’S MARTA CHIEREGO

In the latest “Get to Know” article Louis caught up with visionary filmmaker Marta Chierego to delve into her stunning and global spanning filmography. Her work is a rich tapestry that perfectly balances ambitious and sophisticated cinematic language with stories that feel handcrafted and intimate, which is no easy feat to pull off even for the most seasoned of filmmakers. So let’s all gather around the metaphorical campfire as we explore together what makes Marta’s distinctive brand of storytelling so special and how her craft was shaped and molded over the years by the people who inspired her.

Let’s rewind back to a young Marta, did you always have the goal to be a filmmaker or was it something that you came into at a later stage in life?

I fell in love with cinema at a very young age. Some of my earliest memories are of Star Wars and 2001: A Space Odyssey – even Twin Peaks, although I realise that’s not great publicity for my mom . And while I grew up appreciating many art forms, I watched films relentlessly and probably obsessively more than anything. I remember the experience of watching a film and ‘knowing’ that the camerawork was good, but not understanding why yet. Initially, I wanted to be an actor, so I immersed myself in theater programs all through high school. But when I moved to London at 19, I realised that what truly fascinated me was what happened behind the camera. Since traditional film school wasn’t an option financially, I enrolled in a hands-on program and started working on film sets, taking on as many roles as possible to understand the mechanics of filmmaking. That experience serves me to this day, as it gave me a deep appreciation for every department on set and a firsthand understanding of why every role matters. So, in a way, cinema has always been with me. The path evolved, but the passion never changed.

It’s funny when we first spoke I had the imagery of Terrence Malick imprinted into my mind as a visual reference for your own work, which is someone you ended up mentioning as a source of inspiration. Could you tell us a bit more about how his work influenced or informed your own filmmaking?

I was so touched to hear you say that my work reminds you of Malick. He’s had such a profound impact on the art of filmmaking, there’s truly no one like him. I still remember watching The Thin Red Line in theaters when it first came out and being completely transfixed by his style. What makes Malick so special, in my view, is his ability to create a cinematic experience that feels both poetic and immersive. His films evoke a sense of awe, an emotion I’ve explored in my own work. I’ve come to realize that awe has a profound effect on us; it enhances creativity, deepens gratitude and awakens something fundamental in our sense of being alive. We throw around the word ‘awesome’ so casually that we sometimes forget its true meaning. Regardless of one’s spiritual beliefs, his films have a way of connecting you to something greater, something beyond yourself. You don’t have to believe in anything specific – you just feel it. Which again is something that I seek to express with my work. A sense of presence, and an exploration of what some call the ‘Great Mystery’.

Terrence Malick’s poetic approach to filmmaking blends wild landscapes with intimate human moments.

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Marta beautifully captures the same sense of poetic scale and human interaction in the stunning ‘unconditional’ a film in which grand vistas collide with compassionate close ups.

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To view full film click here

Inspiration is a shapeshifter that can present itself in many different forms and sometimes at inconvenient times. Where do you often find inspiration when you find yourself searching for new ideas?

Creativity isn’t a linear skill. It has its own rhythm and you have to allow space for ideas and inspiration to find you. I love Julia Cameron’s invitation to regularly take yourself on artist dates. I consider a day well spent when it involves looking at paintings, visual art, listening to music, watching films and documentaries, as well as reading. I miss observing people more, as so much of our life has become digital. My approach to inspiration is both eclectic and voracious; I absorb a wide range of influences, but I can also hyper-focus and dive deeply into a single topic. For a long time, I thought I was being lazy or undisciplined if I didn’t immediately put pen to paper when trying to generate ideas. Over the years, I’ve come to realise that my creative process involves an essential marination stage, oscillating between expansive curiosity and intense focus and letting thoughts percolate until they begin to take shape. Sometimes they emerge as fragments, other times as fully formed concepts and eventually, they start to constellate into something meaningful that I can start building on. It’s a process and I’ve found that movement plays a key role in it. Being outdoors, walking, dancing, yoga, even singing – all of these somehow help shift ideas between the body and mind, allowing them to develop in a more complete form.

We see a lot of big brand commercials that can oftentimes feel like bloated product placements but people feel front and center of your stories. Could you tell me more about your process?

For me, the starting point is always the universal human experience. Whether it’s a beverage, a car, or a software, there’s human passion and intention at the core of every product. So I flip the script, I start with the human story and let that naturally guide how the product or brand fits into the narrative.

Of course, in a highly competitive market, brands want to stand out and a lot of work goes into that. But at the end of the day, what truly makes people remember a brand isn’t just the product – it’s whether they felt something when they experienced the story behind it.

I also think that modern marketing has really evolved into aligning a brand to the core values of the audience it’s trying to reach. So for instance, a brand might get behind a story that shows thought leadership within a space they know is of interest to their customer base. I love working on those kinds of briefs as they give you the highest chance to tell a story that feels rich and authentic.

Some directors are more confident behind the camera and others are more comfortable directing the actors but in the world of commercials, time is limited so how do you make sure you’re getting the best from the talent?

I wish I were Dr. Manhattan, so I could be ubiquitous 😀. Until then, my approach to commercial shoots is all about preparation. I make sure every shot and camera movement is well thought out in advance so we can achieve the most ambitious visuals. When working with actors, I try to keep things relaxed and open, as well as giving them precise and tangible direction in terms of the emotion or tone I’m looking for. Actors have a special place in my heart, probably because of my experiences on stage when I was younger. Everyone’s role is valuable on set and I think actors specifically gift us their vulnerability so that we can feel something. So I try to honor that and I’m really proud that many of the actors I’ve worked with have specifically reached out to tell me how much they enjoyed the experience. Making art is not easy and we often have to pressure each other to get there, so knowing that people like working with me is the highest praise.

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You’ve lived many lives and have called many different places home since leaving Italy, do you think this has influenced you as a storyteller?

Absolutely. I’m grateful to have lived and traveled extensively around the world. It’s shaped the way I see humanity. To me, diversity isn’t about blending everything into a single, homogenous norm. It’s about embracing the richness of our differences, while at the same time looking for the common thread that defines our shared human experience. As a storyteller, my international life journey allows me to take multiple perspectives into account, recognizing that no single viewpoint tells the whole story. It’s also given me a deep appreciation for cultural nuance, an understanding of the subtle details that make a place, a community, or a tradition unique. Whether it’s the way people communicate, the rhythm of a city, or the values that shape a particular region, I bring that awareness into my work through a genuine and deep sense of curiosity.

Burnout can happen to the best of us so how do you remain focused and engaged?

That’s a great question for our times. We move through different seasons in life and I think the key is to develop a healthy relationship with yourself, so you can pursue your ambitions from a place of love rather than conflict. Being an artist is a vocation and I’ve shaped my life around its demands. For me right now, it means staying grounded, sharp and soft all at once. Ambition requires focus and courage, but I also believe it needs heart and compassion — because at the end of the day, our best work is measured not just by what we create, but by the impact we leave on those around us. Having healthy routines is essential for me, and that includes being mindful of what I feed my mind as well as my body. Digital culture has seeped into every aspect of our lives, often leaving us feeling disconnected, alienated and lacking empathy. I think it’s more important than ever to make a conscious choice to remain anchored in the real world, as our brains, bodies and souls cannot function properly without it.

Working in advertising and filmmaking in general can often be about compromising so how do you work with restrictions?

Sometimes constraints can actually fuel creativity rather than hinder it. Instead of focusing on what I can’t do, I ask myself, What’s the smartest, most inventive way to make this work? Being a professional means knowing how to clearly communicate your vision and knowing how to strike a balance between protecting the integrity of an idea and embracing the realities of production. The better you can articulate the value of an idea, the easier it is to align with clients and collaborators to meet its needs. It helps me to remember that when a client hires me, they’re placing their trust and often their own professional stakes in my hands. They bring with them not just their hopes, but also their fears. I remind myself that the people I’m working with have their own pressures and responsibilities and part of my job is to make sure they feel like they are part of the journey, while still pushing for the strongest creative outcome.

Marta’s output across commercial, documentary and branded content makes for an outstanding body of work, with each project made with the same level of professionalism and passion. We can’t wait to share more of her work with everyone in the future.

Until then click here to see more of Marta’s stellar work.