October 19, 2020

Judge Spotlight

Andy Rowan-Robinson, Creative Director & Head of CG, Framestore NY

Andy Rowan-Robinson is Creative Director and Head of CG for the Integrated Advertising team at Framestore‘s New York studio. Originally joining the team as part of its film department, the last 15 years at Framestore have seen Andy’s passion develop across embracing innovative storytelling, leveraging new technologies and techniques, and fostering a culture of experimentation amongst his team.

 He is the creative force behind some of Framestore’s most notable campaigns, including the award-winning Absolut ‘One Night’ spot alongside BBH, as well as creative lead on Framestore’s longtime work for the legendary GEICO Gecko. In addition to recently directing a series of Gecko spots, he has also flexed his directorial experience for a joint campaign for Visa and Chase Bank.

He has also lent his experience and leadership to Framestore’s VR Studio for Game of Thrones ‘Ascend the Wall’ and ‘Defend the Wall’ experiences, GE’s ‘Nature of Industry’ and ‘Volvo Reality,’ and the award-winning VR component of Fantastic Beasts and Where To Find Them. 

Andy has worked on household name brand clients like Nissan, Nintendo, DirecTV, Mercedes, and Pepsi, and claims film credits like Underdog, Narnia: Prince Caspian, Wanted, as well as the Best Achievement in VFX Oscar Award for The Golden Compass.

What video/television piece inspired you recently?

Whatever the latest hit Netflix or HBO documentary is. Like everyone else, I’ve been on somewhat of a binge lately. The new wave of these documentaries are so cinematic, well edited and the characters so carefully built — it’s really inspiring storytelling.

But it goes further than the documentaries themselves, I really like these shows for the avenues of thinking and further research that, when done well, they encourage. What starts with a quick Google of a place or character, after a few page clicks can end up opening a whole new world of ideas you didn’t know existed.

Tim’s Vermeer​, for example, is an older documentary that opened up a whole rabbit warren of research and exploration for me, mainly concentrating on David Hockney’s ideas on how lenses have shaped the way we judge what is real.

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

I started out making CGI creatures for film and TV, both of which required large budgets given the powerful computers and expensive machines required for processing data.

Now, CG has been democratized and demand has grown — not only is it much easier to make, but the means are more accessible to anyone. Demand no longer stops with TV or the Silver Screen, our phones have become a primary target, from placing AR furniture in our living rooms, to interactive CG images of sneakers. Interest is exploding for the inclusion of products on Amazon pages, webpages, displays at live events or in a VR headset, as well as various forms of virtual production.

We’re now only limited by the ideas of the artist creating it (and like any creative, the time it takes to refine and iterate those ideas). We don’t need cameras, power hungry lights or sets that physically exist, we can make anything for any display, and audiences are more hungry for it than ever.

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

I’m probably one of the few CG artists that didn’t pursue CG because they watched ​Star Wars a​s a kid. Although my career is built upon producing images with computers, my heart and the foundation of my work comes from old-fashioned analogue drawing with a pencil or oil painting. I see computers as a tool to use alongside other art forms.

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

I’d have to say the GEICO Gecko. I have a long history with this character, starting as a CG Artist on the projects and later moving onto creatively directing our work with him at Framestore. Recently, I’ve even had the fantastic opportunity to direct some spots.

I love the humanity that we are able to pull from his eyes within his performance, and how we’re so fortunate to be the custodians of a true advertising icon.

How has your work changed this year as a result of the unpredictable 2020 landscape?

At a time when live shooting has been largely put on hold, we’ve fortunately been able to continue working. Many of the projects I’m on currently are full CGI pieces (although some are designed to look as if they were shot through camera), so it’s been a great challenge adjusting our workflows to situations that we’d normally have relied on shooting plates for.

Working from home was initially a challenge, but it soon showed a new way of working that has advantages we can all take forward into the future. I believe opening up remote working to our industry and others has been a big positive.

Alongside the democratization of the technology for creating great work, remote working is lowering the barriers for entry for teams of artists to join together and flex their creative muscles — whether for commercial projects or art. 

 

July 13, 2020

Judge Spotlight

Mike Middleton, Founder, Guerilla Creative

Our Q&A with Telly Jury Council Member, Mike Middleton

Founder Guerilla Creative

Michael began his professional career in TV news at the Nine Network Australia, working his way through various roles including sound, camera and editing travel stories for the Today show. 

Leaving Channel 9 he produced several successful TV series, before moving to Norway where he worked at BUG, a VFX and animation production house. The learning curve was steep as he dived into visual effects, cinematography, and stereoscopic technologies, producing motion graphics, corporate films, and commercials for TV and cinema.

Returning to Melbourne in 2008, Michael set up Guerilla Creative and joined forces with his best mate from high school, James Grech. Building the business with small jobs including event coverage and corporate films, they eventually saw the client base grow along with budget, production quality and crew.

12 years later, Guerilla Creative operates out of a 500 sqm studio warehouse, with a team of 7 passionate creatives, working with some of Australia’s biggest brands and agencies. Michael oversees the business but is still very hands on, both on set and in post. 

Your branding is surrounded by using the latest techniques and technologies to keep ahead of the game, what’s something that has newly arisen in the last year that has inspired your work?

Where do I start?

Virtual Production as seen in “The Mandalorian” and how it is becoming accessible to lower budget production through the rendering power of Unreal Engine and affordable VR systems. Bring on practical environmentally-accurate lighting, and shooting VFX in camera!

Also, Augmented Reality and Interactive video are becoming more of a focus.

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

As I write this we are going into stage three restrictions after a spike of coronavirus. So the future feels uncertain, but we have already been through it once and we were busier than ever. We communicate more than ever, and we work to still deliver the best we can. It will likely have been 20 weeks at the end of this stint, and we are all really missing each other.

What new and exciting tech do you expect to see in the coming year or two?

We’ll see solid, real-time volumetric “video” capture using depth camera arrays, bringing 3D people to AR/VR. It’s already happening, but tech advancements will mean that voxels will start to replace pixels, and a true blending of gaming and cinema will be finally possible.

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

We were honestly gobsmacked. The last award we won was at a student film festival in 1996. To win 3 Gold Tellys actually feels like a bit of a dream. The recognition really validates our passion to go above and beyond in everything we do.

With the bushfires, the pandemic, social distancing and all that’s going on in the states, this year has seemed really dark, and The Telly Awards have been that little ray of light that has picked up the team and reaffirmed our purpose.

What do you think makes an award winning piece of work? What type of work stands out to you?

For me it’s a blend of cinematic brilliance and a narrative that wakes you up and makes you take notice. Whether it’s a documentary, TVC, animation or comedy, it needs to get the neurons firing and chemicals flowing.

It’s comfortable, relaxed and engaging talent. It’s nuanced editing. It’s technical skills meets creative artistry, and all the behind the scenes work you don’t “see” on the screen.

 

June 2, 2020

Judge Spotlight

Robert Y. Chang, Coordinating Producer, America Reframed

Our Q&A with Telly Jury Council Member, Robert Y. Chang

Coordinating Producer, America Reframed

Robert Y. Chang is the Coordinating Producer of America ReFramed. He received his PhD in Cultural Anthropology at NYU for his research on the intersection of religion and media. Robert is also a documentary filmmaker whose work has screened worldwide at festivals and is distributed by Documentary Educational Resources (DER). He is a member of the Producers Guild of America.

What video/television piece inspired you lately?

The Metropolitan Opera’s At-Home Gala–when I watched the programming live, I was wowed that their producing team was able to pull it off. A live-streamed, four hour marathon performance of 40 singers–each performing remotely from their living rooms and kitchens around the world.

How have you been adapting your work to the current environment, where COVID has changed the ways we go about our daily lives?

For some parts of my workflow very little has changed — with collaborators around the country — phone calls, video chats, emails, and shared spreadsheets continue to reign. But on the production side it has been a rapid adjustment to incorporating remote interviews with filmmakers and panels to assemble some of our digitally distributed assets. For the independent filmmakers that we work with to bring to national broadcast, so much has changed — especially as many mid-production projects grind to a halt. Additionally, festivals, community groups, and affinity groups have all had to actively rethink what community means in the era of social distancing.

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

Straddling the documentary and broadcast worlds, I continue to be excited by how much broadcast audiences hunger for quality documentary programming that speaks to them and the issues they encounter in their everyday lives.  Also, it’s exciting to me that channels, networks, and on-demand content have proliferated and fragmented to such a degree that audiences are now interested in experiencing forms of simultaneity through the media that they consume!

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

Decades ago, my first college internship was at UNESCO. I coordinated international exchanges between scientists and industry in East Asia on the science of kimchi fermentation.

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

I’m most proud of the work I’ve done to help produce the three most recent seasons of America ReFramed. Last week, in my living room as the season premiere broadcast, I had a verklempt moment.  As I sat back on the sofa and took stock, I was just profoundly glad that public television has the space for the timely, diverse, and distinctive documentaries that comprise the series.

 

May 11, 2020

Judge Spotlight

Rebecca Preuss, Global Content Partnerships Manager at WeTransfer

Our Q&A with Telly Jury Council Member, Rebecca Preuss

Global Content Partnerships Manager at WeTransfer
Rebecca has worked in the media industry for almost a decade, having started in production for Viacom International Media networks before becoming the online editor for MTV, winning an award for an integrated marketing campaign and working with some of the biggest global youth brands for custom events, TV & digital campaigns. Now, as a partnerships manager for WeTransfer, she’s connecting clients with a global creative audience through premium, award-winning content.

 

What video/television piece inspired you lately?

Tiger King – Inspired is one word, but utterly perplexed is probably more accurate. I’m always fascinated by what makes something ‘viral’, along with those characters that transcend the screen and cement their pop culture icon status almost overnight. (P.s. Free Joe)

How have you been adapting your work to the current environment where COVID has changed the ways we go about our daily lives?The current environment has presented huge challenges when it comes to video production in particular, so we’re constantly having to find new avenues to tell stories with talent and creators on our platform, WePresent. This has resulted in crowdsourced creativity that we’d never even think of before. Also – it’s now obvious just how many meetings really could have just been emails!

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

I’m excited about how we’re able to really strip back to the basics and still find genuine success. The unexpected creativity from anyone and everyone is astounding. Formats are changing, how brands tell their narrative is changing and it’s happening fast. I like the positive energy this uncertain time brings.

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

I’m a little bit too obsessed with true crime. I think Netflix is to blame (and thank) for this.

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

I spearhead the complete shut down of all MTV on-air programming for 24 hours to encourage our young Australian audience to get out and vote for same sex marriage. It was a fun, fast paced project to work on with an amazing team who all supported the cause. I love to work on impactful content and projects that have real cut-through.

March 9, 2020

Judge Spotlight

Barry O’Sullivan, Digital Producer at BBDO DUBLIN

Our Q&A with telly Jury Council Member Barry O'Sullivan

Digital Producer at BBDO DUBLIN

Barry O’Sullivan has worked in the advertising industry for over a decade now. In his current role at BBDO DUBLIN, he manages the digital production and output for BBDO’s many brands, including Mars, VW, RSA, Avonmore, to name a few. O’Sullivan also created and runs the BBDO DUBLIN Demo Lab to demonstrate the latest technology to creatives, and showcase BBDO’s many award-winning interactive experiences to new new clients. His claim to fame in the pub is that he taught the Irish Rugby Team’s Captain how to use Twitter.

1. What video/television piece inspired you recently?

Champions for Change” International Women’s Day tongue-in-cheek campaign from Saatchi NZ, which used snappy short videos to challenge businesses to confront unconscious gender bias in a funny yet thought-provoking, conversational starting, impossible not to share, kind of way. Yeah, I really liked them. Very smart.

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

Doing work that can actually make a difference and has genuine purpose to the society we live in, when back at school, working in advertising was considered selling your soul! Maybe we still are, but at least we’re doing some good along the way. Imagine having to advertise cigarettes today?! *Shudders*

3. What is one thing The Telly Awards community should know about you? 

I appreciate the difficulties and jumping through hoops that ideas must get through to get over-the-line, so I always try to think about what the creatives’ initial vision must have been. I also try to always consider an ad from the consumers’ POV and if it was actually effective and powerful. Rather than just from an adman’s.

4. What is a piece of work you are most proud to have worked on?
RSA (Road Safety Authority)’s Drink Driving VR experience Consequences. I love getting to show friends and family this piece of work on my Oculus Go. Always blows them away to see the type of work I’m doing in advertising, and how the industry has embraced new technologies to try and change behaviors in a positive way.

March 3, 2020

Judge Spotlight

David Lennon, Executive Creative Director, Fortune

Our Q&A with Telly Jury Council Member, David Lennon

Executive Creative Director, Fortune

David Lennon is an Executive Creative Director with a proven track record in building out successful creative teams at global media companies. Lennon joined the newly-independent Fortune Media (New York) in 2019 to launch FORTUNE Brand Studio. Lennon previously ran branded content teams at Vice Media (Brooklyn), WSJ (New York) and Bloomberg (New York & London). Lennon started his career in advertising at McCann-Erickson (Manchester). Lennon has created branded content and commercial campaigns for the world’s leading brands and organizations, helping to generate more than $550m in ad sales revenue and winning 250+ international creative awards, including D&AD Pencils, Webby and Cannes Lion awards.

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

It’s made commuting every single day to work seem like a strange thing for everyone to do, all of the time. I’ve had some really good ideas for projects at 7:30am, whilst I’m watching my son play with his toys. I don’t remember being as creative sat on a packed NJ Transit train. Working from home has forced me to think more about what I want us to produce as a team and how I can communicate that to the people I’m working with. It’s made me want to fix all the things that we didn’t fix before the lockdown and ensure we set aside more time to experiment and support each other when we have really good ideas. We definitely look out for each other more, now that we’re working remotely. And we talk about the global pandemic and the much-needed reckoning on racial injustice and what we can do individually and as a team to make a difference.

What new and exciting trends do you expect to see in your industry in the next 1-2 years?

I think with any kind of recession in the past, there has always been a real need from industry people for things to get back to normal as quickly as possible. But this time around, the talk is about how much is going to fundamentally change across companies and entire industries, forever. A lot of the clients we are working with are excited about the opportunities we have to rethink how we tell their stories. That’s a big positive that we take from all of this – everyone seems ready to experiment and take more educated risks than before.

What are the elements that make a successful creative team, in your opinion?

None of it is worth anything if you haven’t got a real respect for each other and a love for the work that you do… and that takes a lot of time and effort on all sides. Demonstrating that you’re dedicated to your work and your clients is always going to give you an edge over the competition as well. While you can’t win every pitch, or make every new campaign your best, you have to keep focused on doing all the right things, all of the time, and hold that line. It sounds almost flippant when you say it, but it is hard to do in real life with multiple pitches, productions and surprise projects coming out of nowhere. I also think you should always discuss your team’s mistakes out in the open, find ways to solve them together, then everyone can gain first-hand experience of dealing with that issue at the same time.

What do you think makes an award winning piece of work? What type of work stands out to you?

The moment that I see something and say “(bad word) …I wish I did that”. Stunning work that stops you in your tracks and makes you think about it days/months/years later. Other times, I just think “that’s boss” and want to show it to my team or my mates. It’s an immediate feeling that you get when you see great work.

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

I’ve been lucky enough to work with talented teams and together we’ve won lots of Telly Awards. It’s made us happy and it’s made our clients happy and they give you a push to do something even better next time. We just won our first five Telly Awards at FORTUNE Brand Studio for a campaign with Zurich Insurance. We all loved working on that campaign from start to finish, with boss clients, boss crew, and boss shoots with world-class golfers. We shot Collin Morikawa in February before the lockdown in his first ever branded content interview, on the morning of his 23rd birthday in Las Vegas. Our Zurich campaign won Telly Awards in May. And then last Sunday, Collin went out and won the 2020 PGA Championship in his first appearance. We’ve been basking in reflected glory ever since.

February 10, 2020

Judge Spotlight

Sylvain Borgarino, Creative Director at June, TwentyFirst

Sylvain Borgarino is a French Creative and Art Director currently working as a Creative Director at June, TwentyFirst in Paris. Since 2006, he has worked with brands such as Sisley, Cartier, Celine, Giorgio Armani, Bottega Veneta, SNCF, Orange, Carrefour and the Fédération Internationale de Motocyclisme, to name a few. From early insights and strategy to design and production, Borgarino is involved at every stage of projects, to create thoughtful concepts and push the boundaries forward. Throughout his work, Borgarino aims to build concept-driven work in aesthetic forms, while trying to have fun along the way.

What piece of video/television has recently inspired you? 

The New York Times’ “The Truth is Worth It” campaign, created by Droga5, is an incredible piece of work. It won two black pencils at D&AD and two Grand Prix at Cannes! And it was fully deserved. I also stumbled upon a film by Aaron Tilley, “Thin Skinned”, that is pretty amazing.

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

One word: DATA. It’s a real game changer. Our industry has always evolved with technology, but in the digital advertising ecosystem, data is now the most valuable thing in this new era of openness and transparency. The information you tell has to be 100% reliable, specific, and targeted. Data enhances the relevance of our work by helping it be more useful. We’re also in a moment during which advertising and design agencies are changing, getting closer to consulting and engineering companies. The idea of working alongside engineers to solve problems by design is pretty awesome and exciting.

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

I’m a space enthusiast nerd—I wanted to be an astronaut when I was a kid. I can’t wait to see another human being walking on an astronomical body again. If NASA offers me a job, whatever it is (design related would be appreciated, but I’m pretty sure I can learn how to fly a space shuttle pretty fast), I would jump at the chance!

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

The Sisley Phyto-Touche film was a pretty cool project to work on. We were a very small team and we really did not have much time to realize it, besides the budget was pretty tight. The entire team mobilized to create the set, find a place to shoot, and make it happen in record time. Considering all this, I think we can be quite proud of the result, that won the first Gold Telly in Art Direction for commercial, alongside with Partizan’s “Runner” clip made by Michel Gondry ! (of course it’s impossible to compare to them, but it’s still rewarding ;) ).

Who is else in France is creating work that inspires you? 

I really like the work of Murmure, a young French agency with a strong taste for great typography. I also like the work of Bonsoir Paris, a design studio for experiential narratives, as they like to be called. In a completely different field, I like everything that comes from Études Studio, a Parisian brand with a multifaceted creative universe and a very strong visual aesthetic.

February 4, 2020

Feature

Andrew Wareham, Managing Director and Executive Producer – The Taxi Group

Our Q&A with Telly Jury Council Andrew Wareham

Managing Director and Executive Producer of The Taxi Group

With over 25 years’ experience in the industry, Andrew Wareham is seen by many as an experienced and trusted mentor. He has been instrumental in shaping the careers of some of Australia’s top producers and directors and has been the driving force behind multiple award-winning, multinational TVC campaigns.

Andrew has spearheaded Taxi Film Production from its humble beginnings in 2001 to the dynamic powerhouse that it is today. Through his forward-thinking and creative approach, Andrew has grown flagship brand Taxi to encompass an assortment of enterprises fit for today’s dynamically evolving landscape. Officially penned in 2018, The Taxi Group encompasses Taxi Film Production, Traffic Film and Video, Tasty Pictures, Welcome Fiji, Changer and Born and Bred Talent.

Andrew loves nothing more than a good chat, meeting new people, and supporting emerging leaders in the industry.

What piece of video/television has recently inspired you?
I’m absolutely taken by ABC’s (Australian Broadcasting Corporation) “Old People’s Home for Four Year Old’s” at the moment. It’s a social experiment series that connects nursing home residents with four year old kids. I love a doco series that can make you laugh, tear-up and most importantly teach you to be kinder to one another.

What is most exciting for you at the moment within your industry?
No matter what is happening with the ongoing changes in all sectors of the industry with technology, budgets shrinking etc, I still love nothing more than getting a really great script come across my desk. It might sound a bit old school, but the power of a great idea is really at the core of what we do in television and content production

What is one thing the Telly Awards community should know about you?
The past 25 years of life may have been devoted to the film & TV industry, but before that I was a certified wool classer working in outback Australia! People are often quite surprised when I tell them that. I also split my working week between Sydney, Brisbane and Melbourne, so people are always surprised to hear that I love retreating to my property, pottering around with the cows and horses at every chance.

What is a piece of work you are most proud to have worked on?
It’s hard to have favourites, but most recently we just completed an unusual brief for a Transport Authority in that it was large logistical challenge. We had to find 40 real life drivers of varying demographics throughout the State of Queensland and film all of their driving movements for a week and collect that data for a formal behavioural study and corresponding educational TVC to drive behavioural change and safe driving awareness.
I’m also in pre-production for an amazing charity – 4 Aussie Heroes – which is committed to supporting Australian war veterans and first responders. I am privileged to sit on the board of the charity and it’s been amazing being able to bring the creative community together to get behind a great cause and help them create their first ever television commercial to generate the awareness of the important work they do.

October 21, 2019

Judge Spotlight

Annie Granatstein, Head of WP BrandStudio at The Washington Post

Our Q&A with Telly Jury Council Annie Granatstein

Head of WP BrandStudio at The Washington Post

Annie Granatstein heads up The Washington Post’s in-house creative agency, WP BrandStudio (explore our portfolio site), shepherding inventive multimedia programs for hundreds of major brands, including Bank of America, JP Morgan Chase, Prudential, Paramount, FX, Canon, Allstate, AT&T, Dell, Samsung, Mercedes, Jaguar and Audi. 

 In just the past three years, she has dramatically increased revenue, staff and number of advertisers, garnering a slew industry accolades from leading organizations, including Webby, Digiday, OMMA, Pearl, FCS, min, MarCom and dotCOMM. She has also led talks at numerous industry events, ranging from SXSW to the IAB Leadership Summit.

What piece of video/television has recently inspired you?

I’m loving GLOW (about the Gorgeous Ladies of Wrestling) on Netflix. It flips gender expectations on their head with characters and storylines that you don’t see anywhere else. (SPOILER ALERT) For example, the woman who is reluctant to start a family so her husband breaks up with her or the hot guy that turns out to be a male prostitute.  It’s so important to surprise your audience and you may even influence culture along the way.

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

Digital storytelling is becoming increasingly immersive as technology develops. The key to creating more immersive experiences is collaboration between different types of talent. As a content leader you must find ways to continuously encourage and improve that collaboration. One way we’ve done this is by creating multi-disciplinary initiatives such as our Emerging Media Taskforce. 

This group of about eight creatives from across the Studio’s disciplines gets together once a month to discuss which innovations in storytelling are most promising, plan for researching and prototyping them, and report back to each other. Innovations such as in-browser AR and development of proprietary emotion recognition technology arose out of this Taskforce. We can then use these innovations to create out-of-the-box content for advertisers. For example, we used emotion recognition technology in a 360 campaign for Mike’s Hard Lemonade where our audience was able to test how good video news affects their emotions in digital content (see The Good News Effect) and at an exciting experiential event.

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

I come originally from the entertainment industry – the heart of Hollywood—working at CAA and Jerry Bruckheimer Films and as an independent creative producer. The audience and story-first mentality of that industry drives the content we create at WP BrandStudio. That methodology is crucial to ensure that our stories uphold the high journalistic standards of The Washington Post and will resonate with our readers.

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

For Optum, a health services innovation company, we created a multimedia investigative feature on the opioid crisis, Working to End the Epidemic, that blended educational elements such as infographics and interactive maps to inform our audience of the scope of the epidemic with emotional, human elements such as video interviews with recovering addicts and treatment providers. 

The program was incredibly successful, garnering high time spent, a flurry of social media activity (including organic tweets from important influencers such as Katie Couric), earned media (named to the top of Ad Age best branded content partnerships list), and awards. This blend of educational and emotional elements on a pressing topic resonates deeply with our intellectually curious and highly intelligent audience.

Judge Spotlight

David Weinstein, VP of Production at Complex Networks

Our Q&A with telly Jury Council Member David Weinstein

VP of Production at Complex Networks

David Weinstein is an award-winning and results-driven Head of Production with over two decades of experience working at networks, agencies and running production companies, creating broadcast, digital, and social content.

In David’s current role as VP of Production at Complex Networks, he oversees branded and editorial production, as well the talent team.

David is a collaborator first and foremost and pushes his teams to create fresh and relevant content on all mediums and across every discipline, constantly exploring and developing new ways to tell stories on existing and emerging platforms.

What piece of video/television has recently inspired you?

I really loved the Travis Scott Documentary “Look Mom, I Can Fly”, directed by White Trash Tyler.   It’s a beautiful piece of filmmaking, and shows the vulnerabilities of a larger-than-life artist. That’s something you rarely see, and I’d like to see more of it.   The way the director weaves archival footage from Travis’ youth with new footage was amazing, and the whole piece had an ethereal feel that captured the essence of his artistry.  Really beautiful all-around.

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

 The most exciting thing for me right now is the continued democratization of content and access to technology across the internet.  Every athlete, musician, artist, and seemingly every kid in the world with a phone is now a storyteller with the ability to reach (and impact) the masses, without having to rely on a production company or a network to get their voice or vision out there.  It can be scary for those in traditional media (yes, a media company is now traditional media) because it’s a challenge to how we create content, but I embrace it and look to those new creators as inspiration. When it’s authentic, well done, and doesn’t cost a ton, that’s an inspiration for what’s possible.

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

I tell a lot of war stories around the office, but to be honest, I love what I do and my favorite part of my job is telling other people’s stories.  I’ve spent my life behind the camera because of that passion. There’s something humbling about being given the opportunity to tell the story about another person.  

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

I’ve been really lucky to have had the chance to get my hands on so much amazing work over the years.  I appreciate the process of creating. And the people that I get to work with, that’s who I’m most proud of.   Hopefully, they’re proud to have worked with me as well.

Judge Spotlight

Joanna Popper, Global Head of Virtual Reality for Location Based Entertainment, HP

Our Q&A with Telly Jury Council Member Joanna Popper

Global Head of Virtual Reality for Location Based Entertainment, HP

With a new season comes new members of The Telly Awards Judging Council and we couldn’t be more excited to welcome Joanna Popper as a new judge for the 41st Annual Telly Awards.

Joanna Popper is a Hollywood and Silicon Valley media executive. She is HP’s Global Head of Virtual Reality for Location Based Entertainment. Prior to that, she was EVP of Media & Marketing at Singularity University and VP Marketing at NBCUniversal. Joanna was selected as “50 Women Can Change the World in Media and Entertainment,” “Top Women in Digital: Game Changers,” “101 Women Leading the VR Industry” and is on the Coalition for the Women in XR Fund.

Needless to say, Joanna is deeply entrenched in the Immersive & Mixed Reality communities!

What video/television piece inspired you recently?

When They See Us inspired me to think deeply about the justice system, racial discrimination, political activism and what we can all do to effect positive change.

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

I am thrilled to be working in the VR industry as I see it as the future of computing as well as the future of media and entertainment. It brings together the inspirational storytelling with innovation, technology, immersion and interactivity. The industry is focused on building the future, bringing in new voices and representation and discovering new ways for technology and story to work together.

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

I love binge-watching.

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

I worked on many influential TV works in Spanish TV including La Reina del Sur, El Senor de los Cielos, the World Cup bid and more. These works created a shift in the marketplace and a new type of modern programming with strong characters.