In Focus

In Focus: ESPN CreativeWorks

ESPN CreativeWorks is a combination of creative experts who live and breathe sports, in-house at ESPN, made up of creative directors, designers, digital developers, writers, producers, editors, project managers, strategists. We leverage our direct access to actionable fan data and ESPN products to build creative solutions that natively integrate into our platform as brands are seeking higher quality, contextually relevant placements. Brands turn to us as the resource for big ideas, fan insights, league relationships and access to athletes, as well as to build campaigns that live across any platform, reaching fans on every device. We also develop the creative for one of the most valuable sports brands in the world – our own brand – ESPN.

How do you balance keeping your own branding consistent as well as staying on message for the companies your work is highlighting?

The first thing we do is make sure we are staying true to our core identity, we know what fans expect when they see those four, iconic, red letters. The next step is to figure out how to marry our brand with a partner brand without diluting either. They have a voice and tone, like we do and we try to honor that. It is a great creative challenge and one that we love tackling every day.

What are some essential elements to having a successful creative team?

Diversity, not only in the people that comprise our team but also in thought and capabilities. Collaboration is something else we take a lot of pride in as ESPN is a vast organization and to get anything done, you need to work across groups and departments. And then of course there is our deep knowledge of sports. Our team is composed of creative people from all walks of life and the one thing that bonds all of us is our passion for sports.

How has your work structure changed with all of the fluctuation of the 2020 landscape?

While we are all working remotely from home, we are doing a lot more video conferences as opposed to conference calls. Even in this strange time, our creativity and passion for the work hasn’t changed at all. At ESPN we believe in, “constraints breed creativity.” This has really come through in our recent efforts. We are already looking forward to entering our latest work into the 42nd Telly Awards.

What do your Telly wins mean to you and the team?

It’s an honor to be recognized at such a prestigious award show, especially when you consider all the work that goes into creating our content. It’s a true testament to our tremendous team and how we all work together.


In Focus

In Focus: Rückenwindfilm GmbH

Rückenwindfilm GmbH was founded in 2014 by Christoph Deja, who was working for 9 years as creative director in a Munich based agency. Pretty soon the necessity of expanding the team became clear. Hana Tsutsumi, Producer and Director, with an international background joined in early 2015.

Working for clients like Red Bull, BMW and SAP, amongst others, we expanded our team again by the end of 2018 with Julia Konitzer, another creative.

With a team of three our company is based in the heart of Munich from where we operate all over the world.

What are the most important elements of videography that allow you to capture and portray the freshness and speed of the equipment and sports on display?

The most exciting aspect of our job is that you can never generalize a theme or subject. You always have to come up with new ideas and techniques that best capture the essence of your subject and convey the message you want to bring across. If you feature a sport like in “What It Takes to Fly the Red Bull Air Race,” the most important thing is to understand the sport. For me this means: talking to the pilots. If you’ve got that, the vast variety of modern equipment enables you to transport the message and fascination to the audience.

For a spot like “A story in 2.8 seconds,” it was all about bringing dynamic motion to a standing object. This led to the decision of working with a special and unusual light design.

What is usually the first step of your creative process when working to showcase a product?

Before we start to develop an idea or concept for a film, we want to understand two things. First, the product itself and its USP.  Second, the intent the client has with the video, such as the message they want to bring across and the audience they are aiming for. Combining these two aspects usually lead us to the first idea of a concept.

Who else in Germany is creating work that inspires you?

There are so many great creative heads out there, it is impossible and simply unfair to point out a single one. A lot of production companies and agencies are producing amazing and groundbreaking films. This is one reason why awards like The Telly Awards are so important, because simply watching the Winners works offers so much inspiration and new input.

What do these wins mean for you and your team?

Coming from representatives of the industry, these awards are very special to us. We feel honored and happy. It is great when all the hard work and efforts are recognized and appreciated in this way. Also, it’s always an especially nice way of validating the whole team, knowing what we can achieve and create together. It makes us happy, knowing that we are not only privileged enough to love our work and what we do, but also that it leaves an impression on others. It pushes us to keep striving for even greater ideas and works. Eventually, it also makes clients happy, and hopefully confirms that they should continue working with us on future projects as well. 

In Focus

Christie’s Auctions & Private Sales

When filming art, how do you strike a balance between letting the piece speak for itself and creating something new, and visually exciting? The video team at Christie’s auction house knows exactly how. Founded in 1766, Christie’s has auctioned and sold some of the world’s great fine art, antiques, interiors, and more. Today, they’re expert video team helps give auctioneers and art lovers alike a window into their process, the stories of pieces coming to auction, as well as behind the scenes content into artists studios. In our latest In Focus interview, we spoke with Lucy Jackson, Production Manager for the London Video Content Team on what the creative process looks like for her team, the most memorable piece she’s shot, and more.

How do you go about finding the right balance of displaying creative videography and also letting the art you’re capturing speak for itself?

We look at creating a mood around an artwork through lighting or slow close-up camera moves, to highlight the texture of the paintwork. We are always respectful of the subject matter and show the work in full at some point in the film.

There are occasions where we take the energy of an artwork and let that inform the way we edit a film or trailer. An artwork by Jean-Michel Basquiat really lends itself to a punchy, fast paced edit to reflect the artist’s style. 

 What does a day look like for the team at the start of the creative process? 

We meet as a team every Monday morning to talk through new briefs and projects. The brief might be for a film to promote an artwork coming to auction at Christie’s, or for evergreen content such as an artist studio visit or a collecting story.

Art historical research is at the heart of our films, so we will often take a brief and look deeper into the potential stories around an artwork. We work closely with in-house specialists who have scholarly knowledge within the genre that they work, such as Contemporary Art or Old Master painting, which allows us to have expert insight into the object that we are filming.  

We tend to produce and direct films ourselves, and work with the director of photography to plan how to best shoot the film in the style we are looking for.

We have departments spanning many categories, which don’t just focus on art, such as natural history, decorative objects, Islamic artifacts, furniture design, and books and manuscripts. We have an incredible raft of intriguing items to film, which keeps us all enthusiastic to continue to create engaging content. 

What has been your most memorable piece to shoot?

Filming George Michael’s art collection was a real highlight last year, and having access to the extensive collection of Young British Artists that he owned felt like a real privilege. Within that sale, there were many large-scale Damien Hirst formaldehyde works, including The Incomplete Truth, which dominated the gallery.

Who else in the UK is making work that inspires you?

In terms of video platforms, Nowness is consistently creative and stylish in their delivery.  

We work with a team of freelancers on a daily basis including:

Bruno Ramos – Fantastic DoP for filming artworks 

Fgreat –  Animation studio that creates a beautiful treatment of artworks in 3D

Chris Vickers  – Director specialising in motion graphics 

What do your Telly wins mean to you and the team?

It means a great deal. It is a recognition of the team’s hard work, and will keep us motivated for the year to come! 

In Focus

In Focus: Woodwork on how to run an award-winning creative studio

For this month’s In Focus interview, we sat down with Marvin Koppejan, Creative Director and Founder at Woodwork, a Telly Award-winning creative studio based in Amsterdam! 

The Woodwork team is an expert at directing, producing, and animating high quality content to help brands and agencies tell their story. Working with a multi-disciplined and reliable team, they work across a variety of styles and techniques, including Film, 2D, Motion Graphics, Cell, and 3D animation. As lovers of bold and colorful design, they have created commercials, branding, online, and product films for brands across the tech, service, lifestyle, and fashion industries.

What are the essential elements to having a successful creative team? 

  • First: Communication. We are constantly training our communication skills with one another, such as working with a team coach for instant. It’s not always easy to keep a clear and open communication stream going while working behind computers all day; especially with tight deadlines. 
  • Synergy. Some overlap in skills, but also a speciality. 
  • Organization. It is key for creativity to thrive. If your company is not streamlined in terms of production, your creative team will suffer from it, resulting in working long hours.
  • Learning/Eagerness. If you can dream it, you can do it. We have to keep getting better at what we do, so we can create anything we come up with. More skills, more glory.  
  • Positive vibes. Obviously you need to have positive vibes. Compliment one another when needed, but we also have to challenge each other. I donʼt believe in a huge hierarchy. In the end, everyone can come up with a valuable idea, as long as it makes sense. Second, donʼt take work too seriously. It has to be fun, this way you make the best work. 

How do you reach a good mix of your own creative design ideas with an adequate representation of a clientʼs brand? 

Almost every project brings its own challenges and opportunities. We like to dip our toes in different styles and flavors so we can easily adapt to a brand’s characteristics. By orienting ourselves on many different topics, we can find a unique and interesting perspective that will bring something new or fresh to the brand. This creates more ownership of the project and a nice collaboration with our clients. 

Other than that, it is also very important to be very clear with your clients on what steps you take or will take. Test the waters to see how open they are for new routes. Share a lot of suggestions in the treatment phase and present different directions if needed. This will open doors to mold the project into something interesting for us, as well as for the client. We are not in this business to simply please clients. We’re also in this to fulfill our creative needs—our own urge to create!

Who else in the Netherlands is creating work that inspires you? 

That is a tough one; inspiration comes from all corners. Since everyone in the studio would have a different list, here’s a combined studio list varying from design, motion, art, and life. Some random picks:


  • Dana Lixenberg

Motion & Design:



What do these wins mean for you and your team?

One step closer to world domination! Itʼs nice to be rewarded and it helps boost morale—a little moment to reminisce on all the hard work we put in our projects. To be honest, we started sending in work only two years ago. We won an award with the ADCN in the Netherlands via our agency client, and after that we got the award fever. Since then, we try to fill our cabinet with shiny awards to impress our clients.


In Focus: SAP on smart recruiting and employer brand videos

Our next In Focus interview features multinational software company SAP and their Global Employer Brand Team, which is made up of experts in recruitment marketing, talent attraction, and engagement and employer branding. Producing Telly Award-winning video content in the employer brand space is just one of many tactics that their team is responsible for. 

Here’s what we asked their team: 

Where do you/where does your team gather inspiration? 

We gather inspiration from our very own employees—more than 100,000 strong. Recruiting in the digital age, especially in the IT space, is a challenge. Recruiters and Talent Sourcers have to take their recruitment strategy to the next level to find the best talent. SAP has learned that by developing a strong employer value proposition and employment brand, and by coordinating efforts throughout the company, we can find the best talent and create strong brand evangelists that will help us thrive in the years to come.

What does a day look like for the team at the start of creative process? 

When starting our creative process, we focus on two key questions:

  • What makes a great employment brand?
  • What makes a great place to work?

The key to answering these ‘what makes’ questions is understanding what employees, candidates, and the market truly think and feel toward working for a business; not what a marketing department says or ‘spins’.  Real people, real authentic opinions, expressed honestly.

What do your Telly wins mean to you and the team? 

Knowing that our videos attract great talent and engage audiences, but are also regarded highly by our peers is a great motivator. We continually look for ways to improve what we do, and so winning Telly Awards is a great motivator to continue to strive to be our best in the employment brand space, the best for our candidates and our employees. Having the recognition that our employer brand videos stack up against peers in commercial marketing is fantastic.

How has such a focus on people and diversity made your team different from others? 

Mediocre recruitment is easy. Good recruitment is challenging. The best recruiting is more than tough: it’s an art.

 Though often overlooked, recruiting can have a huge impact on an organization. What we do can make or break our organizations. If we attract average talent, the quality of the organization’s work and ultimately its financial profitability will only be average. But if we attract the best talent, our organizations will be stronger, and the bottom line can be phenomenal. It’s why talent-driven organizations tend to be the most successful. 

This is where employment branding, essential to modern talent acquisition, comes into play. We need candidates to go beyond knowing and understanding SAP to actively caring about it. We need our employees to champion SAP as a great place to work. The employment brand team must harness the authentic voice of the employee to spread the word about SAP. 

To find the right person, we make an effort to recruit from groups that are sometimes neglected by other companies. Historically, women have been underrepresented in the technology field and SAP is working to change that. Producing great video content that highlights these messages, showcases our people and allows our audiences to see the diversity within our organization is a huge factor in our employer brand.


In Focus

In Focus: Concierge Auctions on capturing the world’s finest properties on video

For this month’s In Focus, we sat down with Lily Smith, Video Producer for Concierge Auctions, a marketplace for buying and selling the world’s finest properties, as well as a multiple Telly Award winner!

Lily has the enviable job of creating marketing film’s for some of the world’s most incredible homes, overseeing everything from concept to post-production.

Lily recently recently produced a short documentary on Concierge Auctions’ Key For Key™ giving program, which provides a new home for a family in need for every home we sell. The documentary depicts the stories of the families that received homes through their partnership with Giveback Homes and TECHO El Salvador, and the impact that these homes have on the community at large.

Prior to Concierge Auctions, Lily pursued multiple documentary media projects whose topics centered around a number of community-led initiatives around Austin. She holds a Bachelor of Science in Radio-Television-Film from The University of Texas at Austin

How does your creative process with these homes begin? Do you let the physical properties and their histories spike your creativity, or do you bring them to life with broader ideas that you have prior?

Before our team gets into our creative process, we research each property and storyline. Ideas come to us based on our initial observations, feelings, and the information we’ve gathered about the home. Because our buyers live around the globe, we strive to evoke what we believe is the desired lifestyle of the home and area. It’s crucial for us to understand why the owners care about their home and what makes their home special in order for us to help find someone who will appreciate it as much as they do. All of the properties we market differ in story, landscape, and ways to entertain. Oftentimes, the home shows its own story, whether it’s a place for raising a family, a place to unwind on vacation, or a significant historic treasure. 

What has the ability to use aerial videography done for your creative process? 

Aerial videography is key to our films because it shows the homes in their totality and from all  angles. The landscape and surrounding areas, the community, the views they can share with their families—aerial footage gives a buyer a complete sense of the property, because you’re seeing it in a light that potential buyers might not see from a typical walk-through tour. Sunrise and sunset shots are some of the most important aspects we make sure to capture on every shoot, so the viewer can imagine waking up with these views. There’s a tranquil quality to these shots, and the color adds a layer of warmth to the physical structure of the home. 

Instead of just focusing your content around a purchase of the physical, you incorporate human aspects and elements of the surrounding lifestyles, into your winning pieces. Is this a deliberate part of your strategy and how do you think it influences potential buyers?

With our films, we strive to give our potential buyers a visceral sense of what it would feel like to live in these spaces. There are a few different ways we incorporate human aspects into our films. 

For example, we had a property in Hawaii that was owned by the same family for five generations, and it was even once used as a retreat for King Kamehameha III, so it had a lot of history and significance to the sellers, and to Hawaiian culture as a whole. We filmed the seller walking barefoot across the grounds as she told the story of her family’s legacy as it relates to this sacred land in Hawaii. We incorporated these really intimate moments, like her smelling the flowers from the centuries-old established garden, wading through the waters at the bottom the 50-foot waterfall on the property — all as she’s describing the property’s “mana,” or essence. In this case, we wanted the seller to tell her own story in order to attract a buyer who would also find value in the rich history and unique characteristics of this property.

In other instances, we work with talent to set the mood and create a lifestyle for what we believe is fitting for the home and location. In our other winning piece, The Cragwood Estate in New Jersey, the owners shared archival photos of the home from the 1900s with our team so we aimed to emphasize the historic nature and perfectly preserved condition of the home, as we believed this would be appealing to the potential buyer. The script follows a little girl who explores the different spaces of the home trying to match the photos to the rooms in current day. We sparked curiosity in the viewer by pairing building music with the girl discovering the photos, admiring the details of the architecture, and taking the viewer through each room with a childlike energy and enthusiasm. The occasional surprise happens on these shoots; for example we discovered that the talent looked similar to the seller’s daughter. For this film, again, we speak to the emotional aspect of the property as told through the lens of a story, giving viewers a sense of the space and architectural details. 

For each property we work as a team to analyze what the owners love about their home in order for us to capture the home’s authentic story, which in turn sparks excitement in the viewer’s eyes for what lies beyond the physical structure. 

What do these wins mean for your team?

If a film is appreciated by our sellers and buyers, it means that we succeeded in telling the story of the property and our company’s values—bringing a buyer and simultaneously giving a memory piece to the seller. We’re honored to be recognized by the Telly Awards for our work, and it means even more knowing that we are being evaluated by some of the top professionals in the industry.


In Focus

In Focus: Branding Shorts on the power of short form video for brands

Our season may be over, but our In Focus Series continuesThis month, we sat down with Micki and Tony, co-founders of production company, Branding Shorts. Read below to hear how they begun their own company after years of working on Madison Avenue, their guiding company principles and what’s in store for later this year.

Branding Shorts was founded on the idea that short branded films are a powerful marketing tool. What had you seen in your previous careers that led you to have such a strong belief in short form video?

We are a married couple and advertising/marketing veterans, who in our previous careers, saw a need in the market for short, branded videos that could help businesses grow.

MICKI: As a movie lover, I really believe video is one of the most powerful mediums to engage, to move, to deliver a message, to create impact, and to seed change. In my past life as a Madison Avenue SVP Creative Director, developing global campaigns for Coca Cola, P&G and many others, creating 30 second “movies,” illustrated how a good story with a strong emotional hook could have a positive effect on a brand, its employees, and audience. For example, one of my ad accounts was P&G’s Scope Mouthwash–at the time it was a dry brand that focused on the negative (bad breath), but when our team repositioned the creative, we changed the emphasis to the positive with a unique selling proposition in the form of mini romantic comedies that culminated in a kiss. It was a successful campaign that had a positive impact on the brand’s bottom line.   

In my many years as a Madison Avenue creative, working on the biggest brands in the world, was good training to create solid creative, beginning with a human insight or truism about a target audience and finding a message that connected with them. With only thirty seconds, every scene has a purpose. There’s no room for fluff.

TONY: I’ve worked for some of the largest companies in the world including American Express in marketing and business development roles. In my roles, I always ended up creating an opportunity to write and produce videos to help accomplish business objectives. And the reactions or results for the videos were always beyond expectations. Seeing these results led me to believe in the power of short form videos to help connect, engage, persuade, and drive the behavior of audiences for any business or organization.

Today, Branding Shorts produces videos for companies across the country; from local businesses to national brands and organizations like American Express, Rockefeller, the American Cancer Society, Pilgrim’s, Celgene, Lawry’s the Prime Rib and many more. We are honored to be recipients of 24 industry awards, including 12 Telly Awards. We are equally honored to be selected as Judges for the Telly Awards.

You are some key principles that guide your business? Could you share a couple of them and how you came about creating these?

When we first started Branding Shorts in 2008, we were applying what we knew from our big brand Advertising/Marketing experience to our videos. But as we grew, creating videos for local and national brands with teams across the country, we needed to outline some guiding principles to keep us and our teams unified in approach. Here are a few:

1) Begin with the end in mind. We start out by listening. Asking questions. What does the client want the end result to be? What do they want the video to accomplish? What action do they want the audience to take? Taking sufficient time up front to figure out the end result will prevent issues down the road. One advantage of being a smaller agency is our ability to adapt quickly and move nimbly, especially if a client makes a shift in the middle of a project. When you’re a much larger agency that’s sometimes difficult.

2) Authenticity. Even though videos are often used to promote a cause or business we never want the audience feel they are being sold to. We want to engage them and create an emotional connection. We want the folks speaking in our videos to be genuine. Speak from their heart.  We work a lot with real people and developed a few techniques that help them to open up and shine, including some Tony learned from training at Chicago’s Second City Theater.

3) Message-driven creative. Since we take videos from creative to production, we are strategic in our approach and pride ourselves in developing bullet-proof creative. Which means we start with a strategy, work with our clients to find the single most important key message and develop a script or outline that carries that message, making sure every scene is to push that message forward.

4) Cost-effective execution. Regardless of the size of a company or budget, we offer creative solutions to create a compelling video. Before we begin production, we plan up front what the client might want to use the footage for down the road. Planning this enables us to maximize the shoot day, accommodating for future videos. We also have a patented product called Branding Shorts Express, which allows anyone, anywhere to upload content through our website portal, pick a soundtrack, and get a professional video created from their content by an experienced editor.  

Whether it’s a small or large client, we find a way to creatively tell a story within a client’s budget.

For example, a small men’s underwear company (Melangefit) came to us with an assignment to create a social media series of videos around their men’s underwear line. But they had a very small budget. So, we got creative and developed a big idea for their various needs (sports, business, leisure) and a campaign hook: “He’s got a pair.” Using stock footage, music and product photos, we created a fun, memorable campaign. In fact, we extended the idea for a holiday promo using Santa “has a pair” which won a 2019 Telly Award.   

When kicking off a new project with a client, how do you help them to marry/translate their brand needs with a compelling video story?

Before diving into a project, we set up time with our client to go over what we call our “Creative Development Questions” which helps us align on the video’s purpose, target audience insights, desired response, and brand message. From there, we create a script which weaves the message into a compelling story especially crafted for a specified target audience. Even though we develop a pretty tight script, we do leave room for spontaneity and “magic nuggets.” We build this blueprint to make sure we’re all on the same “page” before production. In my ad agency days, we used to say we don’t want to go to the “how come” meeting. It’s about starting with bullet proof creative that’s on message and begins with the end in mind.

Here at The Telly Awards, we have seen a consistent and substantial increase in the quality and quantity of branded content entries. What are your thoughts as to why more and more brands are turning to this medium to share their brand stories?

We think there are a few reasons. First it’s more economical than ever before to create polished, professional video. In the past, it would take a full crew and post production houses to make a professional video. A very costly endeavor. Today, with digital cameras, gear, and affordable editing software, just about any business can have their own video without breaking the bank.

The avenues to showcase videos continue to grow as technology evolves. It’s not the old days where people just watch ads on their TV.  In today’s mobile world they’re also on their phones, laptops, tablets, in addition to taxi screens, ferry boats, at trade shows, and so many more places.

As we often tell our clients, “nobody has an attention span anymore.” So you need to engage them quickly. And what better way then a medium like short videos that can not just be watched but easily shared. In fact, we have seen a stat that over 90% of people who watch a video on their phone share that video with others.

Having said that, we see a lot of work that’s beautifully shot and edited, but without a relevant story or message—the most important element for a video is to drive results. Story with a message. Told in the most visually economically way, where every scene drives the message forward in a compelling way.   

What’s coming up for Branding Shorts this year?

One of the things we’re looking to this year is producing original content. We have a number of intellectual properties we plan to start developing in the coming year, and are currently seeking partnerships to kick off production.

We’ll also continue to leverage our strategically based crews in cities across the country like Chicago, NYC, Dallas, Atlanta, Seattle, Washington D.C., Los Angeles, etc. to provide our clients with a national footprint and ability to create powerful videos economically.

And we’ll continue use the power of video to help causes local and national to raise awareness and funds. Whether it’s Pet Rescue organizations, the American Cancer Society, or local issues, we’ll use our resources to help make a difference.

So it will be a very busy and fruitful year ahead.

In Focus

In Focus: Autodesk on their storytelling platform, Redshift

Autodesk makes software for people who make things. If you’ve ever driven a high-performance car, admired a towering skyscraper, used a smartphone, or watched a great film, chances are you’ve experienced what millions of Autodesk customers are doing with our software. We sat down with Shveta Berry and Andy Westhoff to find out more Autodesk’s video strategy, their storytelling platform Redshift and how to maintain editorial integrity alongside business objectives. 

Shveta grew up on a steady diet of books and Bollywood film which ultimately led her to a career in producing television shows and content for networks like TLC, National Geographic, HGTV, and the Cartoon Network. She feels lucky to have escaped the impact of Nielsen ratings to create video at Autodesk.

After spending his childhood creating art and studying filmmaking, Andy pursued a BFA in film from The Academy of Art University in San Francisco. His passion is telling highly cinematic, human driven stories, with an emotional punch.

Shveta and Andy currently create videos that promote Autodesk brand awareness and affinity through their award-winning digital publication Redshift and the Autodesk social channels.

What is the day-to-day mission of your team at Autodesk and how does your editorial platform Redshift fit into this?

Andy and I are part of the Brand and Impact team at Autodesk. A big focus of our team is to increase awareness and affinity for the Autodesk brand. Redshift is our premier owned-media channel and storytelling destination for the future of making, engaging professionals in the industries relevant to Autodesk: construction, manufacturing, architecture, infrastructure, engineering, and design. We find that over half the audience that visits Redshift is completely new to the Autodesk universe, so we see the publication as a vehicle to reach our future customers.

Many of us in the video community know of Autodesk for your work in M&E, notably Maya. Tell us a little more about your reach outside of the media and entertainment industries?

 Autodesk’s tag line is “Make Anything.” We have over 100 different software offerings that serve the manufacturing, architecture, construction, engineering, design, and media and entertainment industries. Our flagship product, AutoCAD, is an industry standard for architecture. Looking toward the future, the company is focused on expanding in the construction and manufacturing industries. Our broad mission as a company is to help our customers design and make a better future that is more sustainable.

As a relatively new team, how did you ideate the creation of formats from the ground up for the series and pieces you produce?

A few of our series, such as “Inside My Design Mind” and “The Real Life,” have been long running as written pieces, and it has been fun for us to translate those to video. Many of our other pieces are more so one-offs simply because the stories we tell are so unique. When we are first presented an idea, we generally are always looking for the human element as well as the 50,000-foot view. Generally, our approach is that a story has to appeal and matter to anyone that watches it—not just the professionals in the industry that is featured.

Marketing Autodesk as a whole is an implicit piece of your video strategy. How do you balance editorial integrity and the business objectives within the work you create?

The most important thing to remember is that a compelling story always wins. We work with our industry partners early in pre-production to understand their goals and craft a thoughtful question list. But from there, we let the story speak for itself. We never put words in the mouths of the customers we feature. Sometimes the story shifts slightly during production, and we give it the space to do that. We want to tell the story that is there, not fabricate one to promote company objectives. That gives our work authenticity, which is paramount.

Have work that you are proud of? Enter today across Branded ContentCommercials & MarketingImmersive & Mixed RealityNon-BroadcastSeries/Shows/Segments, and Social Video.

In Focus

In Focus: The-Artery on building a multidisciplinary creative studio

We sat down with Telly-winning Vico Sharabani, Founder and CCO of Telly-winning creative production and design studio, The-Artery.  In his 25 years servicing the advertising and entertainment industries, Vico has worked with companies including Nike, Samsung and AT&T, created effects for projects including The Grand Budapest Hotel, Oceans 8 and Beasts of No Nation and been involved with music videos from Beyoncé to Coldplay. 

Excited to count him and the team among Telly Award Winners!

What is the origin story for The-Artery?

Early on in my career, I was asked a question that came to define the philosophy behind my professional life. The question was whether I was an artist or a technician, as if the two were mutually exclusive. To me, the two are intrinsically connected, and neither is powerful enough if it lacks the other. As my career developed, I always operated from a place of combining artistry and technical innovation within an intentional and informed business structure.

When I started The-Artery, the fundamental mission was to build a home for multidisciplinary artists like myself; we literally built the company around the word “ART” (see our logo). Not only did The-Artery provide a supportive space for people who shared my interdisciplinary approach, it created a work environment that thrived off of  the collaboration and innovation that are nurtured by bringing together individuals interested in everything from production to branding and technology, and from mobile to experiential—people driven not only by their skill sets, but by curiosity and creativity.

What are the major changes you have seen in the industry over the past two years and how has The-Artery adapted to them?

What has been fascinating and encouraging to watch is the trend towards the model we have implemented at The-Artery from its founding. The industry seems to be catching on to the fact that a multidisciplinary approach is both a fun way to engage with this kind of work, and an extremely effective, adaptive, and successful model. This realization is occurring at all levels of the industry, from newcomers to veterans—think, Sir Martin Sorell’s acquisition of MediaMonks. The industry is becoming increasingly aware of the benefits in implementing a multidisciplinary approach. So, in that sense, we are in the privileged position of watching the industry adapt towards us rather than the other way around.

When you are hiring new talent to join your team, what attributes are you looking for?

The core thing we look for in a team member is the skill set and mind set to successfully cross-pollinate across disciplines. Instead of seeking experts that are limited to singular fields. The success of The-Artery lies in a team of multidisciplinary visionaries and innovators who are interested in crafting at a very high level. For example, our EP/MD Deborah Sullivan, brings an enormously successful, long, and varied career to the table, with the experience and understanding of how things work at every stage of their development, Similarly, our creative technologist Gal Eldar, comes from a background in Ancient Greek and philosophy, mixed in with computer science and a strong intuitive sense for the industry. At The-Artery, our goal is to synthesize these incredibly opposing but mutually-beneficial backgrounds such that each client and project gets a 360 degree scope of expertise, creativity, and perspective.

Your areas of expertise as a company keep growing, most recently with the addition of web design. In light of your award winning site, what areas do you envisage expanding into over the next years?

The way that we envision our continued expansion and growth is two-fold. We are confident in the first set of tools and capabilities that we have developed. However, in the coming years, we plan to expand firstly in the activity within each of the verticals that we have already developed (production, branding, design, visual effects) through more volume and innovation, and secondly, to explore technology, data and media as additional capabilities through different partnerships and investments. We are also looking into geographical expansion, and are currently in conversation with a large organization regarding investment towards these ends.

In Focus

In Focus: Ranger & Fox on Motion Graphics

We sat down with Telly Award Winner, Brett Morris, Creative Director and founding partner of the motion design studio – Ranger & Fox. Self-taught in motion design after formal studies in film, Brett honed his craft of motion design while working across film, broadcast and commercial work in his home of Sydney for various production houses and broadcasters. Now based in Los Angeles, Brett partnered with Steve Panicara to create their dream studio, specializing in discovery, strategy and visual communication. 

What is the origin story of Ranger & Fox?

Steve Panicara and I started the business at the beginning of 2017, however the origin of our relationship goes back a few more years than that. I’m originally from Sydney, Australia and in 2011 design studio Capacity tapped me to join their team in Los Angeles, which was where Steve and I first met. Over the next five years at Capacity we pushed each other creatively and technically while directing and leading the team at the studio. We had aspirations to build something of our own and starting a business together was a natural step in the creative partnership we had forged.

What technical advancements over the past decade have impacted the motion design industry?

As we are a 3D studio and our pipeline has dramatically changed with the introduction of GPU accelerated graphics cards and third-party GPU renderers. Initially, we adopted Octane which was essentially the first production GPU ray tracing renderer, it allowed us to increase our production value by having near real-time feedback in look development and dramatically reduced the time spent rendering shots through the pipeline. Over the years since the introduction of GPU rendering new competitors have entered the space, each one with their own outlook and perspective on how they approach rendering and we’ve ended up using RedShift as our go-to renderer for the integration and memory management we benefit from.

You won a Telly Award for your playful Emoji Manifesto piece. How did this project come about?

We’ve entered into a very competitive market and since we’re a young studio, we don’t have a huge body a work to show under the Ranger & Fox banner. Both Steve and I have extensive experience across a pretty wide range of projects and clients yet our biggest challenge in starting the company has been to be able to show the world what we’re capable of. Our solution is simply creating the type of work we want to be doing. The emoji project embodies a lot of the qualities we want to be known for, a concept that leans on a great design, with considered typography and technically challenging 3D that all boils down into something visually interesting that makes you smile. We’ve always got a handful of ideas on the boilerplate and as soon as we have a gap in our schedule, we focus all of our energy into an internal project like the Emoji Manifesto. Since the project released we’ve followed that up with an ode to Los Angeles’ traffic issues called ‘Carmageddon’, which we hope to enter into the Telly’s next year.

What’s coming up for you over and Ranger & Fox in 2018-2019?

2018 has already been a really great year for us. Along with snagging a handful of Telly’s, we’ve also added some really great clients onto our roster including the UFC, HP, and Paramount Pictures. We’re currently deep into a large project with a director we absolutely adore and hope to have the piece live in the wild in the fall. As we look beyond, we’d like to continue building our client roster, present more services and capabilities through new work and keep growing the studio with new personnel and an expanded pipeline.

In Focus

In Focus: Yankees Productions on Sports Video & Fan Engagement

Our latest In Focus interview features a sports team that is captivating fans’ hearts (and eyes) both online and off: the New York Yankees. We spoke with the team about using video to engage fans throughout every step of the game, and crafting quick, relatable content.  

What is your overall video strategy and how does it serve your needs across fan engagement, marketing, and game capture? How do distribution platforms interplay with this?

Our overall strategy is to give fans an in-depth look at and knowledge of the New York Yankees, both on and off the field. One of our goals is to display the players’ personalities and humanize their larger than life personas, in order to foster a strong bond between the team and fan base.

For the in-stadium experience, we aim to provide an intimate interaction. Video board content helps set the tone of the fans’ game day experience from the time they enter the building hours before first pitch, until the final out is made. Players’ intensity is displayed through dramatic and energetic hype videos, and their humanity is portrayed through light-hearted inning break features.

We hope that the game day show experience motivates fans to seek out more unique content via our social and web channels. Our social and web footprint is the largest among MLB teams, and provides an in-depth experience with long-form content such as player documentaries, as well as short-form content like game and event recaps. Our varied content provides something for every demographic among our fan base—from the New York Yankees history, statistical breakdowns, on and off-field events, player and alumni interviews, to humorous player promos.

Previously, the relationship between teams/players and fans was controlled by third party media—now players create original content on and off season. How has this shift altered the fan/player relationship, and your internal production teams?

We have embraced this new shift in the fan/player relationship, and have created varied content to celebrate this new channel of conversation in our in-game entertainment as well as our web and social voices.

Technologies that impact sports video (data visualization, AR, VR graphics, etc) has advanced significantly in the past years. How have you adapted and incorporated these into your work?

The advancements in technology in the sports world are very exciting. With our content, we are just beginning to scratch the surface of what is possible. Some of our content has been created to capitalize on the availability of new player statistics; we are excited to explore new ways to create and present content that capitalizes on these advancements.

Now that the season is underway, how does your video production output, scale, and focus change?

We are delivering more timely content every week, and our focus has shifted to on-field performance and in-Stadium activities as we strive to be as up-to-date as possible with our deliverables. Because baseball is played almost daily, we are constantly working to create current and relevant content for our viewers.

What excites you most about sports video in 2018?

We are excited that our 2018 Yankees team is a very diverse, energetic, and talented group. They are excited to work with us to create content for our passionate fan base. They embrace their relationship with the fans and we look forward to continuously finding interesting ways to capture and present this dialogue.