Category: Company

Simon Percy, our Head of VFX, spoke with LBB about the quality improvements to production that have come from VFX embracing AI and how to counter the dreaded ‘work slop’. 

“AI is a tool in the middle, not the decider at the end. Personally, the safeguard is simple: We do not accept outputs at face value. Everything gets interrogated for taste, story, continuity, and believability. If a result is ‘impressive’ but not purposeful, it is noise. The goal is not to generate more, it is to choose better.” 

Read more on LBB here

Trusted by the prestigious Tate, Curious is proud to support them on their exhibition imagery across their galleries.

Curious Productions is proud to support the incredible work of the Amelia-Mae Foundation. A foundation set up to support families affected by Neuroblastoma, an aggressive childhood cancer, as well as raising awareness of the condition through the work they do. To find out more, or to support them, please do check out their website for more details by clicking here.

Curious have recently partnered with the School of Communications Arts. We believe strongly in nurturing new talent and equipping them with the tools and knowledge to start their career on the best possible footing. 

To find out more about the school, their offering and if you can help, do get in touch with the team there

Growing the Curious family is something we’re always looking to do, and the start of 2022 has been no exception as we welcome four new hires to the already talented Curious team. As always, we think our new joiners are worth shouting about. Here’s why…

First up is Thao, who joins the shoot production team as our new Production Assistant. Along with the vital industry experience she gained from several production placements alongside her degree in Media & Sociology, she brings her natural ability to multitask and meticulous planning to keep all of our shoots running smoothly.

Another recent graduate is Milly, our new Photo & Video Assistant. She brings a valuable creative eye to the team, with a multitude of experience shooting for theatre companies, small businesses and other young creatives. Putting her degree in Editorial and Advertising Photography to good use, she’s already assisted on shoots for a number of big brands such as Dr Marten’s, Gordon’s and Zapp.

Next up it’s Sam. He joins our Post-Production team as our new CG Artist. Previously an Ice Sculptor, Sam worked on a variety of projects, including the annual ‘Magical Ice Kingdom’ at the renowned Winter Wonderland in Hyde Park. To work in the digital industry has always been a passion of Sam’s, leading him to self-teach on numerous CG software programmes. This of course caught our eye, and we’re so excited for his first CG artist role to be with us as he develops his skills whilst learning more about the industry.

And finally – welcome to Josh! Joining us as our new Editor/MGFX, Josh is originally from South Africa and moved to the UK a year ago. Whilst he may still be navigating his way around London, he’s slotted into the Curious family seamlessly and has been key in many important projects for high profile clients including BT, Happy Eggs, Pimm’s, Wall Street Journal and more.

We’re so pleased to welcome them all to the Curious family.

Morgan Hutchins is an extremely talented director who has worked at some of London’s top advertising production companies.

Whether appearing in stories as a child, or bringing them to life for some of the biggest brands as a director, we find out about his loves and what kept him going through lockdown.

Currently he is up to his eyes in writing; developing a feature film script & editing his mother’s last children’s book. In between all of this, we had 5 Curious minutes with Morgan Hutchins…

Who or what inspired you to be a director?

My dad. He was an advertising director in the late 70’s and  80’s, probably the golden age of UK TV advertising. A time when British director’s were world renowned for finely crafted TV and cinema commercials. I learnt a lot running on my dad’s jobs.

His work was always very human, about the person, the character. My favourite advert of his is the Milton Keynes red ballon commercial. A trip around Milton Keynes seen through the eyes of a shy young kid. When I worked at his office I had to check showreels and I’ve seen this film countless times.  I know every cut, every reaction, every track back and crane up, it was the start of my film education.

Another major inspiration was Gerard Du Thame, especially his music videos (Black – It’s a Wonderful Life’ & Tanita Tikaram ‘Twist In My Sobriety’). The ground breaking photography took my breath away when I first saw them. 

I was lucky enough to work for him as a runner on a couple of shoots. He was a tough director but his films are beautifully choreographed and perfectly timed. He mastered the art of slow motion and black and white photography to create emotion.

Tim Pope was also a big inspiration.  He has brilliant ideas and his work is always fun, exciting and full of life. His video for The Cure ‘Close To Me’ was all shot in a cupboard, a stunning, simple film where song and film fit perfectly together.

Your work is all about telling stories, what is your favourite book and why?

I took up reading later in life, even though my mum was a children’s book writer. It might have been because of that that I started late. She used to read me her stories which often featured me or my brother as the heroes. Out of all her books, ‘The House That Sailed Away’ is my favourite. In the book I help my dad, mum and grandma defeat pirates and save the crown jewels (how modest of me to choose this). My dad illustrated it and I love his intricate line drawings, they are very funny, full of great characters (like his adverts). Now whenever I miss my parents and feel nostalgic, I’ll have a read and smile.

However, my favourite adult novel is, ‘Wasp-Factory’, by Ian Banks. The greatest twist to an ending ever! I also like anything by Magnus Mills, magical surreal stuff.

What is your most memorable moment on set?

There have been many memorable moments, some nutty: like standing in the middle of a runway directing an AH64 attack helicopter whilst being tracked by it’s gun. Asking Frank Bruno to do another take when he really didn’t want to, and nearly dropping a camera and dolly on a young Alan Shearer’s legs. But the most memorable moments for me are the ones where something magical happens that you didn’t expect. I recently worked with babies for the first time and this one baby, who had never used a spoon before, realised that’s what we wanted him to do. He then did it. He was as chuffed as we were when he grabbed it…It was lovely watching him learn and enjoy performing for us.

What ad do you look back on and wish you had directed?

I wish I had directed Sony Playstation ‘Conquer Worlds’ directed by Frank Budgen, a Genius. It knocked me for six when I first saw it and still does. It is poetic and intriguing; powerful and as groundbreaking today as it was the day it was shot. Perfectly lit, edited and a master class in direction, not one wasted frame.

Have you seen a big change from traditional advertising to digital filmmaking?

Digital has broken down the walls of traditional advertising, now we all have cameras and the medium is not so important as the message.  There has been a huge change, but I find it exciting. We will always need storytellers and creative people. I like the way at the moment directors get to work closer with the creatives and the client. We can help shape the ideas from an earlier stage. It’s also exciting that the internet has opened up the world of advertising, different formats and lengths: advertising that entertains, sponsored content, all throwing up new challenges for directors and new experiences. In a world that is changing massively, advertising needs to keep up and I am sure it will.

After a busy day on set, what do you do to unwind?

It used to be a beer with the cast and crew, discussing the shoot or reflecting with the producer or creatives on what worked or didn’t, now it’s probably going home & cooking something or a controlled dose of the latest Netflix series (watching episode after episode until it’s finished).

Did you take up baking, zoom quizzes or learn anything new during lockdown?

Initially lockdown allowed me to write. I jumped into a script I have been trying to finish for years. The first couple of weeks I couldn’t stop, the initial buzz has receded, now its harder but I still enjoy it. The trick is knowing when to stop tinkering and share it (maybe tomorrow or the day after …).

Who is your hero?

My mum. A creative inspiration as well as a top mum. She had a tough start in life in a small village in Yorkshire, she grew up on an army camp without a dad, bullied and picked on. She worked hard and did very well, especially in the US where they think she is an American author. Even though she was a superstar in her field she was very modest and always kind. Her work was honest (like she was.) She had a childlike fascination for people and life that was reflected in all her work. My Mum is actually the inspiration behind my feature film, ‘Rosie’s War’, and her early life.

What is the best piece of advice you’ve been given?

‘If you can’t take a joke you shouldn’t have joined’ – My dad’s motto.

What are you most grateful for?

My family and avocados.

Adam Hinton is a highly acclaimed commercial photographer and photojournalist. He has won awards at Cannes Lions, D&AD, Creative Review Photography, AOP and Creative Circle, his work has been exhibited in the National Portrait Gallery, the British Museum and the Photographer’s Gallery, and has delivered talks all over the world. It’s safe to say, he has had a pretty amazing career.

Adam is currently exhibiting a selection of his photojournalist images at the Curious Gallery

We had 5 Curious minutes with Adam

Who or what inspired you to be a photographer?

I got into it when I was young. Some of my friends were doing it, and experimenting with photography, so my Dad bought me my first camera and it all went from there really.

The Brazilian photographer Sebastiao Salgado was my biggest inspiration. Him and Nick Hedges.  It was their images that really influenced me to take up photography.

What is your favourite piece of your own work? (visuals required)

Probably my first big project – shot in Donesk in the Ukraine between 1990 and 1994. It was the end of the Soviet Union and I documented the events around that and the effect on a mining community. It became the blue print for the rest of my work.

What photo or series of photos do you wish you’d taken? (visuals required)

Paul Lowe’s work from the Romanian revolution and Chechnya, the fall of Grozny. I really thought that was a great piece of work.

Your portfolio suggests a passion for reportage style of photography, where did your interest in photojournalism start?

I originally wanted to do photography for advertising, in commercials. Then I started studying Soviet Politics A Level and became interested when I did a photo journalism exercise and went to a demonstration during the miners strike of 1984. I realised could combine my interests and beliefs with photography. So it all started from there really.

Some of your photos have been taken in what some might consider a high-risk environment, have you ever feared for your safety?

Mainly no actually!

My images will tell a story of a situation or event that perhaps looks dangerous but when I’m physically there, it isn’t. Sometimes it’s possible to read the signs when things would happen so I can get out of the way and come back when danger is gone.

But there were some hairy situations at the end of the first gulf war in Iran. There was a Kurdish refugee crisis and Sadam Hussein’s regime attacked the Kurdish people. I went to the Iranian border and into Iraq. I was a very experienced photographer at the time, but there in that situation it did cross my mind that there was a chance we were going to get executed.

How do you think some of the events you’ve experienced in your photojournalism have altered your view on the world?

What has impressed me and driven my work is how resilient people are and no matter what is going on around them, in the face of severe adversity, they will try and live as normal life as they can. They will try and make a home for themselves; they want to get on with their life and look after their family. That’s why my approach to the Favelas was on the families. All the residents wanted was peace and security, an education for their kids, a home and a job.

You come across as a very calm person. Do you think this is essential for the photojournalist?

I might look calm on the outside! It’s actually really important to assess a situation in a calm and collected manner, and have an awareness not to put myself in situations that are dangerous, or make me vulnerable. I need to know exactly what’s going on around me, so being calm and thinking rationally is absolutely essential. Yes, I would say so.

What is the best piece of advice you’ve ever been given?

I can’t recall exactly who said it to me now, but someone once said to me to make sure I’m always doing my own personal projects.

Who is your hero?

In general, it’s people who manage their own lives in the face of adversity. They are my heroes without a doubt.

In terms of a specific person, it would have to be Antonio Gramsci. He was an Italian Marxist who wrote about political theory, sociology and linguistics. I like his philosophy and he was the biggest influence on my political beliefs.

Create is a UK charity which harnesses the power of creativity in bespoke projects to help a wide range of disadvantaged people such as teenagers with mental health issues, young carers, disabled children and incarcerated parents.

We had 5 Curious minutes with CEO Nicky Goulder to find out more about their work and how the creative community can get on board.

Starting a charity must be challenging. What made you do it?

I dream of a society that is fair, caring and inclusive and started Create from my dining room table in July 2003. I had been running an orchestra and seen the incredible impact of taking music-making into the community to reach those who were missing out. But as an orchestra, our focus was necessarily on music. My vision in 2002 was of a charity that would take individually designed creative arts programmes – dance, drama, music, writing, sculpture, film making, animation – to the communities that needed them most across the UK, enabling the most marginalised children and adults in our society to build skills, connectivity and self-esteem. Create was the result.

What is Create aiming to achieve in its work?

As the UK’s leading charity using the creative arts to empower lives, this is really simple: we believe that everyone should have the chance to experience the benefits of being creative. Some people are exposed to creativity from a young age but many are not due to the circumstances of their lives. Children and adults living in areas of deprivation, people who spend much of their time caring for a loved one, people who are sick or disabled, homeless or in prison, and many other of the most vulnerable people in our society often miss out on the incredible opportunities that being creative can bring. That’s where Create steps in.

What kind of results are being achieved right now?

Last year we ran 48 creative projects/850 workshops across the UK. Completely free of charge to the participants, each was designed in discussion with the vulnerable children or adults who took part, ensuring their interests and views guided what we did. Collaborative creativity enables people to be expressive, explorative and have fun. It empowers, connects, upskills, inspires and motivates. It reduces isolation, raises aspirations and builds self-esteem.

Imagine being a nine year old carer who spends 30 hours a week looking after your mother who has MS. You worry about her constantly. You’re bullied at school because you’re often late and perhaps don’t wear the “right” trainers. You miss out on sleep, and on sleep-overs with your friends. Your holidays are times of increased caring not leisure. You do much of the shopping, cooking, cleaning.

Then you are given the chance to take part in a photography project with Create. Over a series of workshops, working alongside our professional photographer and a group of other young carers who understand your life, you taking an amazing set of photographs during trips to the zoo and a local park. You display these in an exhibition visited by friends, family and the local community. And you take home your favourite picture.

One such young carer told me: “Being creative always calms me down. By taking a picture I don’t have to speak, read or write and worry about spelling or saying things wrong. I can just let the picture speak for me.” Another said: “Creativity makes me think positively and improves my mind-set. The project made me feel like I was the one being cared for.”

Projects like this enable our participants to focus on their wellbeing, giving them the space to be creative, learn new skills, make friends and enjoy some leisure time.

How can the advertising industry help create?

Those who work in the ad industry are often super-creative and the industry is a perfect partner for Create. Each of our projects is carefully designed to meet our partners’ objectives – both the recipient organisation and the funding partner – and we’re looking to collaborate with more creative organisations to enable us to reach more vulnerable participants. So we can work with the ad industry to co-create projects to the budget that they have available, which meet their social responsibility objectives, make a real difference in their community and involve their staff. Employees from our charity partners report improved job satisfaction, new skills and pride in their company. And by working alongside corporate volunteers, our participants’ self-esteem and aspirations increase too. It really is a win-win situation.

We are fiercely ambitious as a charity and are partnering with a growing number of companies that are committed to doing good. LIDA, Uncommon and VCCP can all tell you the impact of partnering with us.

What is the best piece of advice you’ve ever been given?

My father taught me from a very early age to value everyone equally. That has fundamentally impacted how I have lived my life, most importantly in setting up Create.

Who is your hero?

That is such a tough question. So many people! In the arts world, David Hockney and Nil Frahm currently stand out: I love the way David Hockney has embraced technology into his work and remained contemporary and relevant throughout his long, inspiring career. From his early photo montages to his recent films, he sees things and captures them in ways that surprise, delight and challenge.

Nils Frahm blends classical and electronic music in a way that really speaks to me. Bringing together different styles has shaped the way I run Create. Our projects blend ideas from our team, artists, partner organisations and participants to ensure these are fresh, inspiring and relevant. And we run many project that bring together our professional artists from different genres (eg: world and techie musicians) or artforms (eg: photography and dance) to enable our participants to experiment and explore. Nils Frahm’s incredible music epitomises that approach. 2+2=5.

createarts.org.uk

Welcome to Tom Gibson, Head of Creative Production. He’ll be working alongside Creative Director Clive Biley, Head of Creative Retouching, Rob Lanario, Photography Director, Dean Agambar, and Managing Director Mark Grosvenor.

Throughout his 18-year career, Tom has worked closely with the great and the good of the Advertising Industry such as 4Creative, Y&R, Fallon, Saatchi & Saatchi, M&C Saatchi and WCRS.

His close relationships with award-winning photographers have made him integral to award-winning campaigns with Peter Lindbergh, Nadav Kander, Andy Glass, Rick Guest, Andy LoPo, Julia Fullerton-Batten, Nick Georghiou and Frieke Janssens.

He’s a self-confessed tech nerd who is easily offended by baked bean juice.