PAINTING IN MOTION – WITH NERD PRODUCTION’S SHARON PINSKER

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With every brushstroke Sharon Pinsker tells a story that captures and captivates the viewer with images that last forever. Her authenticity and love of the craft shines bright like a beacon with her light inspiring others to pick up the paintbrush and paint. Her book ‘Figure: How to Draw & Paint the Figure with Impact’ is like the holy bible for those wanting to learn the art of mastering the human figure. Sharon’s knack of capturing movements has led her into the world of animation and live action films, collaborating with other barnstormers within the creative industries. From working on fashion campaigns, book covers and celebrity portraits her work shape shifts effortlessly into different mediums and formats. 

We recently caught up with Sharon to discuss her awe-inspiring journey not only as a creative but as a person, to further understand what shaped her work. Like us mere mortals, artists also go through the same self doubts and anxieties, and it can often be the daily obstacles that help shape the best art. 

When you started out as an artist did you ever think you would publish a book that would act as a resource and a guide for other artists?

I can’t honestly answer that question because I never “started out as an artist”.  As far back as I can remember I was only happy if I was making something, usually a drawing or a painting. My artwork was more of  a compulsion, than an ambition. So it was more by luck, than by design I discovered I was able to make a living out of my addiction. I certainly never imagined anyone would be vaguely interested in reading about my work process, let alone want to publish a book about it. So it was completely mystifying to me when a publisher approached my agent and requested a meeting to discuss commissioning a book.

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I remember the look of abject horror on my agent’s face when I turned to the commissioning editor and enquired – “Are you sure you have not confused me with someone else? Have you seen my work ? I really don’t think anyone would be interested in reading about how it’s done.”

EXAMPLES OF SHARON’S STORYBOARDS/VISUALISATIONS

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I still think that book was successful because I shared the struggle I have with achieving goals and meeting deadlines, rather than the work itself. The questions and conflicts that arise with all aspects of problem solving… and the continuous internal dialogue that we all have while working. The title was the editor’s choice, not mine. I felt it implies that I know “How to…”do something -but whoever reads it will quickly realise I am still working it all out myself! That’s ultimately how I see my work anyway, like the “working out in the margin” never as a finite piece.

I still get messages from people telling me how helpful the book has been to them, and it is listed as recommended reading ,even now. I am thrilled by that of course, but equally amazed.

Even more surprising is to see it mentioned in quite unexpected places!

The Interaction Between the Brain Hemispheres While Drawing – PRINT Magazine 

10 Libri per coltivare il “mindset” del perfetto programmatore

Did your distinctive style come naturally or was it something you developed while at Central Saint Martins and Parsons School of Design?

It depends on what you mean by “style”, maybe the images just end up looking the same .That is entirely unintentional though because more often than not, I am trying to do different things all the time. My work is developing and mutating with every new project. I don’t start with a particular look in mind  but every job will dictate how I approach it. Invariably it goes through many incarnations.

Yes, during this process I will be drawing on things I learnt while at CSM and Parsons but also everything I have done since then. Nothing is ever wasted, even if discarded… and a lot is discarded. Everything I do is a compilation of past trial and error.

It can be a hard life making a living as an artist, did you ever go through any self doubts early on in your career?

Every single day.

What do you think is the biggest obstacle for young artists in today’s environment?

I think young people today have so much more to deal with, the challenges must be overwhelming. When I was at St.Martin’s, as it was then, we had three choices for a degree course after Foundation, these were Fashion, Graphics and Fine Art Now young people have to choose from so much more including live action film, 2D animation, stop motion, photography, graphics, cgi, motion graphics, motion capture, VR, WebDesign, AI. to name a few ..there is so much pressure to specialize which takes time and experience which means less time for development and growth in other disciplines. 

The advantages of more advanced technology and accessible information at their fingertips doesn’t lessen the disadvantages of not having any more time or freedom to experiment and find their own focus. I wanted to paint people so I chose to study fashion because I realised I would have more access to life drawing classes. Fundamentally we had to know how clothes would work on a body. If I had chosen Fine Art, back then the life drawing  classes were few and far between, they had been abandoned in favour of Abstract and Conceptual Art.

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I don’t know if it would be so easy for me today to study Fashion and then Fashion Illustration but I do know that if I hadn’t had the chance to experiment in those fields then my work would not have taken me on the journey that ended up with my working in film and animation which was a place that my illustration work seemed to fit best. 

The pressure of having to choose a career in itself is a terrifying prospect for a young person when they are trying to find their way in a scarily competitive field. They need space to make mistakes and learn from them and how valuable they are… more valuable, in my opinion, than their successes.

So to answer your question the biggest obstacle for young people, I think, is lack of time to find their feet before having to join the race.

You’ve worked with fellow NERD director Shay Hamias, could you maybe tell us a bit more about that dynamic?

Shay is fabulous to work with. He is one of those people that can make anything work. However challenging it might be, he makes it look easy. I remember if ever I saw a problem he would see a solution. 

He smiles a lot too and that makes a world of difference, collaboration with Shay was a joy! 

I can’t wait to craft with him again.

Do you still feel like you’re learning and growing as an artist?

Absolutely. It’s that eternal paradox, possibly Aristotle? ” The more you know, the more you know you don’t know “. 

The learning and growing process only increases the more you do… which is all the more frustrating  because, of course, then you have less and less time!

Whether you’re just starting your painting journey or looking for a source of inspiration we highly recommend reading Sharon’s ‘Figure: How to Draw & Paint the Figure with Impact’ and to see more of her wonderful work click here.

DEVOTED TO THE DOUGH – THE MOUTH WATERING NEW PAPA JOHNS CAMPAIGN

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The new Papa Johns rebrand film is a love letter for pizza enthusiasts all around the UK, a kaleidoscope of cheesy saucy goodness. Centered around its pizza-obsessed consumers and the brands own commitment to better pizza and superior ingredients, we are delighted to share with you the “DEVOTED TO THE DOUGH” TVC.

The brilliant creative chefs behind the new campaign cooked this one to perfection, deserving of a Michelin star or too. The film was brought to life using various mixed media techniques like cutouts, photography, 2D animation, AI generated assets and glorious food shots. All of that came together in a collage of bombastic colours and flavours. Weaving between delicious live action ingredients and animation which brings playful, vibrant and fun energy to the piece.

Director, Ahmet Iltas shared his experiences working on the project “Making the Papa John’s film was an incredibly exciting experience for me. The creative challenge of bringing together the idea of pizza obsession and PJ’s DEVOTED TO THE DOUGH across various media and visual styles kept things fresh and dynamic throughout the process. From intricate close-ups of the product to quirky moments that introduced relatable humor and personality, it was about finding a balance between the love of pizza and making something that would grab attention in today’s fast-paced, content-saturated world.

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The mixed-media approach allowed us to explore multiple layers of storytelling playfully, merging real footage with illustrative elements and graphic transitions. This kept the visuals both engaging and unpredictable, which was something I really wanted to achieve from the start. It’s always fun to experiment with different mediums and see how far we can push the boundaries while still staying true to the brand’s identity.”

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Ahmet adds  “By combining traditional live-action footage with AI-generated elements, design, and animation, we were able to create something truly innovative. The result is a next-generation mixed media film that feels fresh and forward-thinking. It’s also a reflection of where modern storytelling can go while keeping the essence of the brand intact.”

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Milana Karaica, Executive Producer, adds – “Being a part of such a big rebrand is a huge responsibility! Having said that with our collaborative agency and trusting brand partners, this project was still such a fun and dynamic production from start to finish. This approach also allowed us to make something that looks and feels fresh. We ended up with a film we are excited to share, that really speaks to the tastes and attention spans of our audience.

And if the delectable imagery and whimsical animation weren’t enough to win you over, the film also features a catchy tune that will be imprinted into your head for the foreseeable.

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Papa Johns DTTD credit list:

Agency – Bicycle
ECD: Graeme Douglas
Creative director: Leigh Gilbert
Creative director: Scott Andrews
Business director: Rosie Bloxham
Senior account executive: Izzy Nott
Senior producer: Bethany Easton

Production Company: NERD Productions 

Director: Ahmet Iltas
Executive producer: Milana Karaica
Producer: Phil Burgess
Director of Photography: Simon Paul
Lead animator and head of compositing: Selahattin Iltas
Art director: Saeed Noroozi
Food stylist: Kostas Stavrinos
Colourist: Danny Atkinson
Music: Resister Music
Audio record & mix: Page Not Found

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

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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.

Perfect Imperfection: How NERD’s Lewis Andrews is Redefining Commercial Direction

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We sat down with NERD’s director Lewis Andrews who brings a refreshing perspective to the evolving landscape of advertising and filmmaking. Lewis has carved out a distinctive space in the industry, embracing both traditional cinematic excellence and the raw authenticity that modern audiences crave. From shooting music videos in Prague to crafting horror shorts in his hometown, his journey offers unique insights into the future of commercial directing.

What are some upcoming projects that you’re excited about? Tell us a bit about them?

While working on Amazon’s TV show Blade Runner 2099 in the Czech Republic, I’ve been simultaneously directing two music videos too. One captures the essence of Prague’s heart, while the other, shot in Barcelona, draws inspiration from the Dune franchise. I’m particularly excited to reveal the Barcelona project soon, which pays homage to Dune’s cinematic universe.

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

The most exciting development is the industry’s metamorphosis toward natural, raw, accessible visuals rather than glossy overplayed perfection. We’re in an era where a single tweet or Instagram post can outperform a multi-million-pound campaign. Look at British retailer Currys, who now uses employees for social media content, or Kanye West’s Super Bowl LVIII ad – just a selfie video in a car announcing he didn’t spend money on traditional advertising.

Of course, not every filmmaker can achieve Kanye’s results with a selfie video. But what these big players have demonstrated is that traditional filmmaking isn’t always necessary. The impact of a brand’s advertisement depends on the message, creativity, and authentic resonance with the audience.

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

I’m drawn to unique concepts, extremely high stakes, time travel, apocalyptic moments, disaster, quick-witted dialogue, comedic timing, and culturally relevant themes. I love when scripts incorporate topical news stories and social issues that challenge viewers’ values and beliefs. There is no perfect film script, because art is supposed to spark debate and divide people’s opinions.

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How do you approach creating a treatment for a spot?

My process often starts in complete darkness. The creative process isn’t always linear – I’ll work through multiple ideas until something clicks. It’s not methodical or structured; I let ideas flow and see how they align with each brand’s needs.

If the script is for a brand that you’re not familiar with/ don’t have a big affinity with or a market you’re new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

A brand will approach me based on my creative skill and capabilities as a filmmaker rather than my detailed knowledge of their brand history. When it comes to creative direction, you can develop an affinity with anything, even without knowing the full facts. I welcome each project as an opportunity to be unbiased in my creative assessment, basing the direction on my creative instincts first.

For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

A great director has a strong working relationship with all creative professionals involved – Director of Photography, Camera Operator, Art Director, Producer, and Costume Designer. The team can make or break a project, which is why I maintain a black book of industry-level talent.

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What type of work are you most passionate about – is there a particular genre or subject matter or style you are most drawn to?

I am quite drawn to horror, and all things which seem a little bit off. I love reimagining. I love reimagining characters, emulating real-life encounters, and incorporating my dreams into my film work.

What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

I once had less than 24 hours to coordinate a shoot in Morocco. We managed by connecting with a local film student who had filming permissions, enabling us to shoot in Marrakesh, the Agafay Desert, and city center.

How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Clear communication and thorough pre-production breakdown are essential. This preparation helps prevent later confusion. I keep in mind that creative briefs are just ideas, and ideas for someone else’s project can never truly be yours, because that wouldn’t be a collaboration.

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What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

AI is a genie out of the bottle for quickly projecting ideas in pre-production stages. Mid Journey is a super tool that can produce fluid imagery from text. In the past, I would solely use photoshop to enhance treatment imagery but now I can create rough concept art quickly with Mid Journey then I process it to finalise.

Which pieces of your work do you feel show what you do best – and why? Include 3-4 links and a sentence or 2 about each piece of work!

I would love to share the new works here but they are not quite ready yet! To give a flavour …

DRINK (Music Video): https://wonderfilmpictures.com/directings/drink/

DRINK was a project where I could control every creative aspect. From the set design (creating a cobwebbed dark bedroom out of my outdoor cupboard space), selecting and designing the costumes, sourcing an E-Type Jaguar, creating and executing the whole film storyboard, embedding cool visual effects. DRINK was a project I was fully immersed in.

Clown (Short Horror Film): https://wonderfilmpictures.com/directings/clown/

Clown was a short film which represents the imperfection I was talking about earlier in the article. It’s a small project I created with my friends in the town where I grew up. We shot it in the early hours of the morning so that I could transform the town into an eerie film set. I wanted the piece to feel as morbid and haunting as possible whilst retaining the audience until the end.

From navigating last-minute shoots in Morocco to transforming outdoor cupboards into cinematic sets, Lewis Andrews exemplifies the modern commercial director’s need to balance technical precision with authentic storytelling. His approach – embracing both high-end production values and raw, unfiltered creativity – positions him at the intersection of traditional filmmaking and contemporary digital culture. Andrews isn’t just adapting to the changing landscape of commercial directing; he’s helping to shape its future.

FOR THE LOVE OF NERD & WORKING TOGETHER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Mad Science Behind NERD Productions’ Paul Lovas

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

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

How did you get into photography in the first place?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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What excites you most about collaborating with NERD?

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

What would be a dream brief?

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

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

Any upcoming projects to look forward to?

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

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

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

The Directors: Marta Chierego

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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What is your favourite piece of work and why?

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

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

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

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See Marta’s work here.

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

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Project Data

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

BIO:

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

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

What was about the initial brief that intrigued you?

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

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

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

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

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

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

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

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

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

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

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

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

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

See more from Viktoriia here.

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Watch our BTS film here.

Animate! with Rachael Olga Lloyd

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

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

How did you fall in love with animation?

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

Tell us about the animation project that kickstarted your career?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Any advice you would like to give to aspiring artists?

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

See more from Rachael here.