Judge Spotlight

Kate Dohaney, SVP, Strategic & Creative Operations at Dow Jones

Our Q&A with Telly Jury Council Member Kate Dohaney

SVP, Strategic & Creative Operations at Dow Jones

 

 

 

 

 

What video/ television piece inspired you recently?  

The Handmaid’s Tale. I think it’s an important show at this moment in history.

What is most exciting for you at the moment within your industry?

We are evolving as an industry from selling to solving. Content has to meet an objective, not just check a box. Our clients need results to show their CEOs and we need to help them do that. We have an obligation to push storytelling into new and different avenues that create real results… beautifully. It’s exciting to think differently.

What is one thing the Telly Awards community should know about you?

I still follow the rules set by my very wise grandfather, “Every time you point the finger, look at the three fingers pointing back at you” or “Respect everyone, dear. From the Janitor to the CEO, it takes a village of different skills—all of equal importance—working together to really be great.” He would always illustrate the best of his life lessons to me on the back of dinner napkins, as we shared jelly-covered toast and conversation.  

What is a piece of work you are most proud to have worked on?

I oversee a team that does the work. I am most proud of the WSJ Custom Studios team’s evolution. We are a team of makers and thinkers with hundreds of asks, deliverables, and challenges going on at any given moment. We take on these challenges with thought, precision, and creativity.

Judge Spotlight

Justin Durazzo, Co-Director of Interactive Content, Droga5

Our Q&A with Telly Jury Council Member Justin Durazzo

Co-Director of Interactive Content, Droga5

What video/ television piece inspired you recently?  

This might seem biased, but I didn’t actually work on it, so feel like it’s safe to say? :)

The piece that Droga5 submitted for these awards – The Last DaVinci. On a very quick timeline and tight budget, we had the very difficult task of elevating what is already one of the most sensational artworks of our time. The final film was beautiful and moving. After having seen the artwork at Christie’s in person, the film felt like it did a fantastic job of capturing the immensely profound experience of viewing the work. I aspire to do more work like this in the near future.  

What is most exciting for you at the moment within your industry?

It’s been interesting to see what seems like an uptick in experiential marketing as of late. As brands move away from more traditional interactive work like microsites and web apps, weaving a different technologies into a tight, memorable experiential narrative seems like a great opportunity to create lasting impressions that matter and are inherently shareable.  

What is one thing the Telly Awards community should know about you?

I’ve always been media-agnostic. I’ve never known what I’m going to be working on next or where I’ll be even a month from now. I rarely plan ahead and embrace opportunities as they arise in real-time. It’s led me to a lot of interesting experiences and work in my previously unpredictable career.  

What is a piece of work you are most proud to have worked on?

Tree VR is an immersive artistic commentary on climate-change that I helped design and produce. It’s a multi-sensory virtual reality and experiential project that transforms you into a rainforest tree. With your arms as branches and your body as the trunk, you experience the growth from a seedling into its fullest form and witness its fate firsthand. We debuted at Sundance in 2017 and since have shown the project internationally at Cannes Film Festival, Tribeca Film Festival, TED, The Venice Biennale and more. We won a People’s Voice Webby for the project this past spring.

Judge Spotlight

Moisés Arancibia, Co-Founder & Co-Director of Smog

Our Q&A with Telly Jury Council Member, Moisés Arancibia

Co-Founder & Co-Director of Smog

Moisés Arancibia began his career studying Graphic Design at Universidad Católica de Chile, and soon after began working at several design, animation, and post-production studios. In 2006 he founded motion graphic studio Smog, one of Chile’s pioneers in this field, which he and his business partner direct today. Simultaneously, since 2008, he’s taught Design at several universities in Santiago.

What video/ television piece inspired you recently?

There are so many interesting things happening online and TV lately, both in a visual sense as well as in regards to storytelling.

Part of my job is to constantly review what is being done in other parts of the world, so I spend a certain amount of time “window shopping” every day. Not long ago, I saw an animated short film by a CalArts graduate, called Polaris, which was about a young polar bear leaving home for the first time—fantastic. My new favorite is the short film Looking for Something, by César Pelizer. Everything about that short film is fascinating. In feature films, Isle of Dogs, by Wes Anderson.

What is most exciting for you at the moment within your industry?

It’s mainly two things. On one hand, formats; when I began doing this, we produced pieces for television and film screens. Therefore, the formats we worked in were quite delimited and linear as far as storytelling. For some years now, the massive use of smartphones, VR, AR, etc., have opened up an enormous spectrum of possibilities for design and animation. The rules for visual storytelling that we knew up until now are no longer valid; we’re constantly rewriting them.

And on the other hand is the fact that nowadays in this industry, one can work for any part of the world, no matter where you are. A few years ago, all of my clients were in Chile, and specifically, in Santiago. Today, 80% of my clients are in other countries: USA, Australia, China, Japan, Switzerland, etc. This has greatly enriched us in a creative sense, forcing us to leave our comfort zone and try new things.

What is one thing the Telly Awards community should know about you?

I work a lot, but I have a lot of fun doing my work, and I spend all the money I earn on Vinyls and my kids.

What is a piece of work you are most proud to have worked on?

One of my greatest points of pride is the entire campaign that we made for the Amparo & Justicia Foundation, since I’ve been with them from the very beginning. Thanks to our help, we managed to turn a subject as delicate as child abuse into a nation-wide topic, which led to drafting legislation and getting Congress to approve it. I am currently still working with them on new videos that explain how to put the law into effect.

Judge Spotlight

Dave Corbett, Creative Director, Entrepreneur and Founder/Owner, Pluto

Our Q&A with Telly Jury Council Member Dave Corbett

Creative Director, Entrepreneur and Founder/Owner, Pluto

Dave Corbett is a Creative Director, Entrepreneur and Founder/Owner of Pluto, A Creative Content Studio. Pluto is a full-service creative shop which creates content from traditional video production to Virtual Reality, and literally everything in between. For twenty years Dave has worked on massive projects for massive brands like Alfa Romeo, Audi, BMW, Buick, Chevy, Chrysler, Ford, Jeep, Maserati, Mercedes and Volvo… Or, as they are lovingly referred to, “The Autos.” Non-auto work crosses industries like Banking, Defense, Health Care, Health and Beauty, and Technology. These include Facebook, General Dynamics, H&R Block, Kotex, Lego, PNC Bank, Ski/Sea-doo, and Wilson.

Dave can be found at Pluto (hellopluto.com) everyday solving the world’s (marketing) problems. If your world has (marketing) problems, he can be reached at sales@hellopluto.com.

What video/ television piece inspired you recently?

Not many. As the industry becomes more and more commoditized, the work is following. I don’t remember ever seeing a drop in quality this far and this fast since I’ve been around. Having said that, there are some folks out there still making great content. I recently came across AnimVR (http://nvrmind.io/). It’s a VR app that allows you to create, edit and share animations in VR. It is a mind-blowing new way of creating. Products like this will absolutely become a new standard for creation at some point.

What is most exciting for you at the moment within your industry?

VR. Creatively VR has given me a shot in the arm. To be able to design everything around you in almost real time makes the design process feel very singular and personal. The potential of VR is what has me most excited. The possibilities in areas of learning, training and health are just massive and are giving the creative process a new and exciting purpose. What is one thing the Telly Awards community should know about you? I peaked early. My childhood was filled with accomplishments. I’ll divulge the top three… When I was eight I swam 72 laps of an olympic sized pool for charity. When I was 13 I pitched a no-hitter and became the league all-star pitcher. When I was in college I shot a hole in one. These big wins made it hard later in life to see the value in everyday things. It wasn’t until I was lucky enough to sit down with some very popular childhood celebrities where I was able to move forward and create a new outlook on life.

What is a piece of work you are most proud to have worked on?

Anything I got paid for. Kidding. I do feel like the philanthropic work I’ve done for charities and brands has really given the work a depth that pulls me back into why I got into this business. Over the years I have worked with kids, health causes, and humanitarian efforts. Working on pieces that move the needle and help an organization get to where they want to be faster is a great use of all of our talents.

Judge Spotlight

Max Yampolsky, Founder, Hammer + Nail

Our Q&A with Telly Jury Council Member Max Yampolsky

Founder, Hammer + Nail

Max Yampolsky founded design-centric production company Hammer + Nail and serves as its Creative Director, Producer, and Director. He started his career in the black boxes of NYC’s Off-Broadway theaters, and later moved to commercials, documentaries and narratives, shows, and digital media. Equal parts creative and analytical, his sweet spot is revitalizing brands and building useful, bespoke products with a social touch.

Max enjoys drawing with charcoal, writing screenplays, riding skateboards (he’s goofy), and volunteering for kids-related causes.

What video/television piece inspired you recently?

High Maintenance. I can’t think of a current show that’s more precisely in sync with its method of characterization—and it went from Vimeo to HBO in about three years. The main character isn’t The Guy, the likeable weed dealer the show follows, it’s New York City or the customers that share one bond. It’s through The Guy’s eyes that we view the intimate lives of people and how they cope with their surroundings, which many of us can relate to. The writing is as tight as you’ll ever see.

The stories are less about marijuana and more about the people that use, and their honest stories with concise, digestible plot lines. What struck me most was that we’re made to embrace the exact moment we’re experiencing on screen, rather than traditional character reveals. That’s original and human. I mean talk about amazing interactive content! 

What is most exciting for you at the moment within your industry?  

Films during Hollywood’s second Golden Era did that: Easy Rider, Midnight Cowboy and Taxi Driver etc. We’re now starting to see that energy and authenticity resurface.

Shows like High Maintenance and films like Good Time and First Reformed might not have been green-lit ten years ago, and are pushing the needle. In design, we are also going back to what worked well, taking its essence, and applying it to modern day, digital society. Look at UX/UI these days, and you’ll see many sites with hero images containing bold, beautiful photography and elegant, subtle typography over it. There’s less smoke and mirrors, and more the experience of a truthful moment. To me, that’s pretty cool.

What is one thing the Telly Awards community should know about you?  

Aside from Hammer + Nail, our design-focused production company, I live a double life as a screenwriter and am working on a feature film called The Freelancer. It’s about a graphic designer that suffers an existential crisis when she loses her imagination and tries to get it back while seeking meaning in the world. It’s a story of self-acceptance—you’ll have to see the film one day.

What is a piece of work you are most proud to have worked on?

Each piece of work we produce is a blessing. It’s gratifying when a client trusts you with their money, time, and reputation. However, I will say it’s a mini-doc titled Bridget’s Story. The piece is about a girl—profiled in the NY Times—who beat insurmountable odds after her father died of an overdose, her mother became addicted to crack, and she lived on the the streets in the South Bronx while losing many friends to gun violence. Eight years later, she attends college and works with the New York Yankees to help troubled youth attain employment.

I feel it’s a piece that withstands the test of time and inspires others to keep pushing towards what we all strive for: happiness.

Judge Spotlight

Tobey Lindback  VFX Supervisor, MPC NY

Our Q&A with Telly Jury Council Member Torbjorn “Tobey” Lindback

 VFX Supervisor, MPC NY

At MPC New York City, Tobey works as a VFX Supervisor at MPC New York. Tobey Lindback began his career as a 3D artist while attending school in Sweden, and soon after specialized in compositing after seven years as a 3D generalist. He has worked for renowned studios and on highly recognized projects across Sweden, the UK, and the US. His relationships with companies like Fido, Jellyfish Pictures, Nexus, and more Analog and The Mill, has allowed him to work with clients, from Nike, to Heineken, to Mercedes, and beyond. Having worked mostly on high profile TV commercials, Tobey is a proud member of The Visual Effects Society and British Academy of Film and Television Arts.

What piece of video/television has recently inspired you?

I recently watched Mindhunter, in which you embark on a journey to dark places you don’t get a glimpse of too often. I’m a sucker for biographies—books, films and documentaries, so I found this show quite captivating. Also, I recently watched a documentary called “Tickled,” and if you haven’t seen it, you should. It’s a story that gets more strange as you go, and has a surprise around every corner!

What is most exciting for you at the moment within your industry?

Keeping up with all things new in every area—at least in the Visual Effects industry—is a job on its own. However, it’s interesting to see where VR is heading. I believe we haven’t seen everything yet and there is so much in that world that has yet to be explored. When I was a young 3D artist, people talked about GPU rendering, saying “wait until that’s here.” It’s here now, and moving fast. There is so much brilliant work out there.

What is one thing the Telly Awards community should know about you?

I play drums in the coolest band in New York City: Sister Thieves. Also, I used to be able to do splits, but that’s all in the past!

What is a piece of work you are most proud to have worked on?

There are so many that are unique in their own way. I’ve been a part of many award winning and nominated projects over the course of my career, from The Telly Awards, VES, Ciclope, AEAF and more, and I naturally feel proud of those. However, I’m quite proud of the cinematic trailer we did here at MPC New York last year for the game “Shadow of War,” which consisted of 120+ shots that we completed for a long, multi-platform epic piece. The game is a success and so was our work and I’m proud of everyone involved on that job.

Judge Spotlight

Lee Simpson, Head of TV & Entertainment, ustwo

Our Q&A with Telly Jury Council Member Lee Simpson

Head of TV & Entertainment, ustwo

Currently based in LA, Lee Simpson is ustwo’s Head of TV and Entertainment where he currently oversees the strategic direction and delivery of ustwo’s work in the TV and entertainment industry. Developing partnerships with companies such as Comcast, Warner Bros., NBCUniversal and Netflix, he leads a dedicated team focused on exploring innovative products and experiences that help solve the complex challenges in the media and video content space.

What video/television piece inspired you recently? 
I’m constantly inspired by the work that Netflix are doing. They’ve built a platform that is giving creative freedom and exposure to creators in a way thats never been done at this scale before. The fact that they’re taking a risk with shows like Master of None and Disjointed is driving the whole industry forward.
Netflix are also doing some interesting things on the interactive content front. They’ve been experimenting with choose-your-own-adventure kids shows like Buddy Thunderstruck and Puss In Boots which are both amazing. I love that they’ve taken a relatively simple mechanic and applied it to linear content in a way that completely changes how you engage with the show. It would have been awesome to have shows like this when I was a kid.
What is most exciting for you at the moment within your industry?
I like that people are finally taking risks. Aside from a few mavericks here and there, the TV and entertainment industry has gone on relatively untouched for 60+ years. Now creators and media organizations are realizing the full potential of technology, and leveraging it to reach new audiences and tell better stories.
And part of taking risks is that not everything will work. A lot of this is about experimenting with new technologies and formats, and there will be failures but at the end of the day, thats OK. The main thing is that people are trying new things, and fresh ideas are starting to rise to the surface — the face of the TV landscape is changing for the better.
What is one thing the Telly Awards community should know about you? 
In a previous life I was an art galley manager specializing in street art and graffiti. I spent almost three years managing artists and curating shows in my home town of Newcastle (UK) which has a pretty solid graffiti scene.
What is a piece of work you are most proud to have worked on?
I spent a year at The Guardian newspaper working on editorial workflow tools and content management systems for journalists, basically enabling more efficient reporting, both online and offline. It was during their coverage of the NSA’s and GCHQ’s worldwide electronic surveillance program and the same year we won a Pulitzer Prize. It felt like we were working for an important cause.
I’m also proud of the work that I’ve done at ustwo. They’ve given me the freedom to build up our media and entertainment practice and supported me when I wanted to bring that from New York to LA. I’ve had the chance to work with some awesome clients over the past 4 years and I’ve learned a lot — it’s a pretty special place to work.

Judge Spotlight

Christian Caldwell, Chief Creative Officer, McCann Worldgroup

Our Q&A with Telly Jury Council Member Christian Caldwell

VP Chief Creative Officer, McCann Worldgroup, Lima

McCann Worldgroup, Lima’s Christian Caldwell began his career over 15 years ago, and in 2011 was appointed by the prestigious Ibero-American advertising magazine, ADLATINA, as one of the top 20 Ibero-American creative directors of the decade.

Both as a writer and creative director, Christian has been honored with more than 700 recognitions at top advertising festivals across Asia, Europe, and the Americas, including Cannes (where he won seven Lions), The D&AD Awards, The Clio Awards, The London International Awards, The ANDYs, The Webby Awards, FIAP, El Sol, El Ojo, New York Festival, The WAVE Awards, and The Effie Awards.

What is most exciting for you at the moment within your industry?

Every day, I’m motivated by working in an industry in which millions of people can view my work, and I can provoke a positive reaction in them. There is nothing better than creating an advertising idea that becomes a part of popular culture.

What is one thing the Telly Awards community should know about you?

I am passionate about this profession! Since I was nine years old, I knew I wanted to be in advertising when I grew up.

What is a piece of work you are most proud to have worked on?

It’s impossible to say which piece of work made me feel the most proud; it’s like choosing between your kids. Some work has given me creative awards or recognitions, while others that have never won a prize have become a part of pop culture. In the end, any idea presented to the client, approved, and released is something I’m proud of.

Judge Spotlight

Sam Morrill Director of Curation, Vimeo

Our Q&A with Telly Jury Council Member Sam Morrill

Director of Curation, Vimeo

Sam Morrill joined Vimeo in 2009 where he currently serves as its Director of Curation, leading Vimeo’s five-person Curation Team. From customer support, content acquisitions, to curating Vimeo’s lauded Staff Picks channel, Sam has experienced Vimeo’s growth and evolution from a variety of different angles. In 2016, he led the launch of Vimeo Staff Pick Premieres, a weekly program in which the most celebrated short films from the festival circuit premiere online exclusively on Vimeo. When he’s not watching videos, you can find Sam traveling, watching baseball or searching for the last golf ball he hit into the woods. Sam resides in his hometown of Brooklyn, New York.

What video/ television piece inspired you recently?  

This week Rian Johnson, the director of ‘The Last Jedi’, uploaded a raw video of John Williams conducting his orchestra while recording the Star Wars theme for the new movie (https://vimeo.com/252417024). On Vimeo Staff Picks it’s super rare that we feature raw, unedited clips, but there’s something so magical about seeing John Williams bring such an iconic score to life. Maybe this is painfully obvious to most people, but I find it incredible how beautiful the music sounds even when captured through what I’m assuming was Johnson’s iPhone. It’s just crazy to me to think of that score as diegetic sound, which is what it was in the context of this video. I also love the fact that Johnson uploaded it directly to his personal Vimeo account.

What is most exciting for you at the moment within your industry?

I’m a pretty political person, so I like the fact that we’re returning to an era of overtly political filmmaking. Not that I always agree with what filmmakers are saying, but I appreciate that people are putting themselves out there and exposing themselves to the criticism inherent in making a political statement so publicly. Whereas for years it felt like artists shied away from getting political for fear of alienating the audience. Those concerns seem to have largely gone by the wayside.

What is one thing the Telly Awards community should know about you? 

I’m ambidextrous and my grandfather was a carny from the Bronx.

What is a piece of work you are most proud to have worked on?

I’m most proud of the work that we’ve done at Vimeo over the course of the 8+ years that I’ve been with the company. In particular, I’m proud of the growth of the reputation of Vimeo Staff Picks. What began as this fun side project for us at Vimeo has morphed into a really exciting program that has launched the careers of many up-and-coming filmmakers throughout the industry. I feel like we’ve played an integral part in legitimizing online distribution (of shorts in particular) within the industry and the festival scene. Because of platforms like Vimeo Staff Picks, releasing your work online is no longer seen as subordinate to traditional methods of distribution. In fact, many filmmakers now aspire to release their work online.

Judge Spotlight

Jake Sally, Director of Immersive Development, RYOT

Our Q&A with Telly Jury Council Member Jake Sally

Director of Immersive Development, RYOT
At RYOT, Jake spearheads development of immersive content designed to expand and explore the human experience across the full range of emerging platforms. Jake began work at WME-IMG in the Motion Picture Literature Department, where he learned how to transition indie-darling writers and directors into commercial Hollywood. After years refining his knowledge of narrative storytelling, Jake transitioned to Hasbro Studios. While at Hasbro, Jake’s career became focused on activating Hasbro’s massive portfolio of IP, ranging from TRANSFORMERS to G.I. JOE, across TV, film, toys, digital and licensing. Spotting the rise of commercially available virtual reality in 2014, he brought his knowledge of brands and storytelling to Two Bit Circus. While at Two Bit Circus, he helped formalize their VR Department, managed development for original content and lent his creative vision to commercial work for clients ranging from Google to Fox.

What video/ television/VR piece inspired you recently? 

Netflix’s new movie BRIGHT. It’s not a perfect movie, but in an age where most content is a reboot, sequel or derivative it’s incredible to see something that’s not only wholly original, but also something that’s far outside the norm. Smashing together END OF WATCH and LORD OF THE RINGS to get BRIGHT is incredible. That maverick mentality is what we need in the immersive space, these new mediums need and deserve an entirely new wave of stories that are outside anything we’ve seen before. 

What is most exciting for you at the moment within your industry?

Haptics, haptics, haptics. Sound and vision in VR have finally gotten to a point where you’re able to lose yourself in the moment, but adding the haptic element is going to take everything to the next level. Whether it’s HaptX new gloves or running around in The Void, we are on the precipice of immersion beyond anything experienced previously.

What is one thing the Telly Awards community should know about you? 

My favorite book is Gone with the Wind – there’s nothing I find more compelling than a love story that transcends time and place.

What is a piece of work you are most proud to have worked on? 

I’m executive producing an incredible cinematic 360 piece that’s heading to Sundance 2018 called DINNER PARTY. From the creatives to the production team, everyone has poured their heart and soul into this piece. Working in an industry that’s just finding its footing, projects like DINNER PARTY are an important and constant reminder to make what you love — otherwise you might as well go work a 9 to 5.

Judge Spotlight

Lauren Lumsden, Site Director – The Scene at Condé Nast Entertainment

Our Q&A with Telly Jury Council Member Lauren Lumsden

Site Director, The Scene at Condé Nast Entertainment

What video/television piece inspired you recently?

Right now, I am an avid fan of Netflix’s Chef’s Table. It’s a documentary series about famous chefs from around the world. The show honestly— and beautifully—portrays the difficulties and joys of their profession. Plus, I salivate over the food they’re making the entire time I’m watching. I am not a foodie, but now I am planning trips to Italy and Korea just to eat meals made by two of the chefs, Massimo Bottura and Jeong Kwan.

On the video front, I was incredibly moved by Tracee Ellis Ross’s speech from Glamour’s Women of the Year Summit. It’s inspiring to know that her video is being passed around the digital community, and will live beyond the event.

What is most exciting for you at the moment within your industry?

The increasing accessibility of video production is very exciting as it opens new doors in the industry. When I first started making videos in college, I had a heavy video camera that required chunky tapes—and, moreover, shot footage that didn’t look great. These days, my phone shoots better videos, and the editing software is significantly more intuitive and user-friendly. Thanks to that ease and ubiquity, more and more people can make short films, tell their amazing stories, and learn to love the genre as much as I do. Just last week, I saw a video that a freshman in college shot about the loneliness she was experiencing in her first year away from home. I was so moved. Similarly, I want my teams at The Scene and Glamour to feel empowered to tell their stories this way, and not feel limited by imperfect lighting or cameras.

In fact, Glamour is adopting this LoFi-but-still-impactful approach to video with “30 Days to Greatness,” a series about one woman’s attempt to learn to do something new in a month. The footage is largely filmed on her camera phone. Stories feel drastically more real and personal when the person you’re watching isn’t perfectly lit and coiffed.

What is one thing the Telly Awards community should know about you?

I have been keeping a diary since I was 5 years old—so I can easily flip to a page and tell you exactly what I was doing on this day in 1989. I’ve always been obsessed with documenting things, people, and feelings, which is why I got into journalism and filmmaking. Another interesting note about me is that I’ve watched every video on the Internet—every, single one.

What is a piece of work you are most proud to have worked on?

I am most proud to have worked on The Scene, and to have played a role in what the platform is now and what it will be moving forward. I’m obsessed with my team of geniuses, who keep me in a permanent state of awe with their ideas, dedication, and talent. Evolving The Scene has been the highlight of my career. and it has felt very personal at times. Watching our videos go viral, and working with people who are as passionate about the mission as I am, makes every challenge worth it.