• Monday, Sep. 20, 2021
Camp + King hires E.B. Jackson as brand director for Papa John's
E.B. Jackson

Camp + King has brought E.B. Jackson aboard its Chicago office as brand director. Founded in 2011 by Jamie King and Roger Camp, Camp + King is a 60-person––and growing––creative agency located in San Francisco and Chicago. The addition of Jackson bolsters the agency’s brand management capabilities for the Papa John’s brand, as well as for Camp + King’s Chicago hub, an office that extends the agency’s geographical reach to better service Midwest and East Coast clients.

Jackson joins the team from 360i, where she was a VP of account management. Prior to her tenure at 360i, she held the role of account director at dentsu mcgarrybowen, working with clients including Brita and Kingsford for the Clorox Company; and Planters and Kool-Aid for The Kraft Heinz Company. While at Downtown Partners Chicago, Jackson served in the capacity of account management. After beginning her career at Marketing Werks, she rose through the ranks during her seven years at the firm to the position of account supervisor. In her new role as brand director for Papa John’s, Jackson will be reporting to Kristin Barbour, partner and managing director of Camp + King’s Chicago office.

  • Monday, Sep. 20, 2021
Framestore promotes three on its immersive team
Eugénie von Tunzelmann

Creative studio Framestore has appointed Eugénie von Tunzelmann to the newly created role of head of VFX, Attractions while Lauren Anderson and Maximilian McNair McEwan join Heather Kinal as executive producers. This trio of promotions is a move to solidify a team of specialist experience within the Attractions offering at Framestore and set the stage for the department’s growth. 

Von Tunzelmann rejoined Framestore in January 2016 having worked in film VFX for over 13 years with credits including Interstellar (CG supervisor), and Man of Steel (FX supervisor). She quickly became integral to Framestore’s Rides team, and has been instrumental in driving major theme park projects such as the Jurassic World Adventure ride at Universal’s brand-new theme park, Universal Studios Beijing and the Jurassic World VelociCoaster which recently launched at Universal’s Islands of Adventure in Orlando. With a Masters in Engineering and Computer Science, von Tunzelmann’s background is a rare mixture of technology and science combined with creativity. Her promotion to head of VFX, Attractions recognizes her contribution in leading both the projects and the team.

Anderson joined the company in 2016 overseeing projects within the Framestore Labs department, including the development and build of a unique brand studio for Ford within New York’s Oculus building at the World Trade Center. Following a move to Immersive, Anderson has produced theme park attractions for Lionsgate Entertainment World and is currently  heading up production on design and installation for national and international immersive museum projects and an unannounced dark rides project. Anderson will continue to focus on Immersive experiences under Framestore’s Attractions banner and ensure the growth of the department’s portfolio. 

Since joining Framestore in 2017, McEwan, has been driving the delivery of immersive projects including attractions and experiences for Lionsgate Entertainment World, Universal Creative and Walt Disney Imagineering. McEwan’s new role will see him continue to manage the production workflow within the Attractions team as well as working on sales and strategy as the department continues to rapidly expand.  Before coming to Framestore he worked on blockbuster titles including Interstellar, Jon Favreau’s The Jungle Book, and War for the Planet of the Apes. 

“Together, Eugénie, Lauren, Max, and Heather have continued to excel in their roles, helping Framestore position itself firmly as a leader in the immersive space,” said Lottie Cooper, Managing Director, Advertising, TV & Immersive. “As the team grows they will be at the forefront of advancing the department, taking on pioneering projects that are set to thrill audiences globally.”

  • Friday, Sep. 17, 2021
Nicole Cousins joins COLLINS as associate designer
Nicole Cousins

Independent strategy and design company COLLINS has hired Nicole Cousins as associate designer. The move underscores the value of the shop’s internship program and reinforces a commitment to DEI and fostering unique, young talent from within. 

Cousins’ hiring marks a natural progression for the Brooklyn native, who first interned at COLLINS in 2017 as part of its program for high school designers. She then took on second and third internships at the company while studying at the Rhode Island School of Design (RISD), from which she graduated in 2020. 

According to Cousins, the initial design internship at COLLINS provided an ideal springboard to nurture her innate talents, which she actually displayed before high school by using traditional media to craft book covers for writers she admired. “I saw the internship as an opportunity to learn more about art and design,” Cousins says. “Most of the mediums I worked with before were about personal expression, primarily consisting of drawing in charcoal and painting with acrylics. I’ve always wanted to try digital art, and it was through that work in the design internship that I realized that I could also help others communicate their ideas and ambitions through design. And I believe that that is where real power and influence can be.”

Under the tutelage of the COLLINS team, including design director Megan Bowker, Cousins developed a greater understanding as an intern of just how powerful and all-encompassing design can be. “One of the things I noticed when interning at COLLINS was the fact that design takes many forms,” she notes. “It covers multiple creative mediums like photography, digital graphics and interfaces, film and architecture – as well as new ways to think, collaborate and create. Being a designer lets you become a jack of all trades while also becoming a master of one.”

During her multifaceted internship at COLLINS, Cousins worked on memorable projects for Target and its “More than Magic” brand. In the process, she not only gained experience in customer audits, trend and market research, concepting, sketching and photography, but was able to showcase her colorful, uplifting approach to design, which can actually be traced back to her Flatbush, Brooklyn upbringing. Inspired by the culture, people, and trends around her, Cousins was showcasing her creativity early on with ideas that focused on the joy of the African diaspora and creating new ways of seeing the Black community. “Whether it be about music, clothing, or language, I wanted to make work about it,” she recalled. “I focused specifically on Black joy. Why do we create? Do we truly enjoy it, and what does this say about our culture? Our culture is what brings us contentment.” 

Cousins hopes to bring that same joy and refreshing perspective to her new associate designer role. “I tend to be drawn to expressive, colorful imagery and illustrations, and have come to the realization that I design to not only communicate meaningful ideas but to bring happiness,” she says.

It was Cousins’ infectious, upbeat nature that initially attracted COLLINS’ leadership before she even became an intern. “Nicole was a gifted artist in high school, a strong conceptual thinker who approached each project with curiosity and enthusiasm,” said the company’s director of talent Yocasta Lachapelle. “For us, her talent was obvious. We just had to wait and see if she’d apply to our program.”

Cousins joining COLLINS not only signifies the culmination of a long-standing, fruitful relationship, but the second time the company has brought on a high school intern into a full-time role. In essence, her hiring demonstrates the ongoing benefits of the company’s internship programs, which run parallel for high school and college students and are gradually evolving into remote and hybrid models, as has become the norm in the creative workforce.

Just as importantly, however, Lachapelle says Cousins coming aboard highlights COLLINS’ continued investment in next-generation talent and DEI initiatives. “I hope it reflects the tremendous value of a sustained long-term commitment to DEI,” she said. “Diversity is not a quick fix; to tackle systemic challenges, we must provide enduring systemic support. We’re honored to continue to invest in, and nurture, the next generation of designers and creative leaders.”

Brian Collins, chief creative officer, shared, “Here’s the real secret and real value we’ve all gained over the last seven years of this program: we’ve learned geometrically more from Nicole and her fellow interns than they’ve ever learned from us. It’s brought us vital new energy and broader perspectives we’d otherwise never have.”

Collins furthered, “To have Nicole join our full time staff was a full-circle moment, sure. But it is also an affirmation that programs like this must be long-term commitments. In this case, five years. To support students eager to build a creative career, it’s no quick, one time, one summer fix. It’s playing and supporting a long game with them over years. And, look--it works!”

  • Friday, Sep. 17, 2021
Nomad adds sr. lead Flame artist Morris, head of VFX production St. Vincent
Steve Morris

Nomad has added sr. lead Flame artist Steve Morris and head of VFX production Alyssa St. Vincent to its New York studio.

Morris joins Nomad after seven years as a sr. Flame artist at Method, where he worked on campaigns for brands such as Squarespace (featuring Oscar the Grouch and a Super Bowl spot with Winona Ryder), Heath and Johnson & Johnson via UM, and Comcast for the Tokyo 2020 Olympics via Spark Foundry. Prior to Method, Morris spent nearly five years as a VFX artist at Company3.

Morris is also no stranger to long-form content, having collaborated with Marvel on several projects including Guardians of the Galaxy 2 and The Defenders. His work has also been featured in blockbuster films like Drive, Tower Heist, Extremely Loud and Incredibly Close and Runaway, to name a few.

Nomad’s NYC VFX team has been growing exponentially over the past year, starting from integrating more CG and design jobs into its editing projects and now branching further into independent VFX realms. In addition to overseeing all this work at Nomad NYC, Morris will also help mentor other East Coast artists, and will collaborate with Nomad’s international VFX teams in L.A., London, and Tokyo.

To help manage the fast growth in NYC, Nomad is also welcoming St. Vincent as head of VFX production. She joins the company from her most recent role as executive producer for Taylor James/Smoke & Mirrors. Prior to that, she served as an EP for Strange & Wonderful and Eight VFX, where she also worked not only on commercials but also on films like Cary Fukunaga’s Beasts of No Nation and Craig Gilespie’s I, Tonya. Her credits span brands such as BMW, Rolex, Nike, AT&T, Puma and Mountain Dew, garnering multiple awards at Cannes and the D&AD Awards. Additionally, St. Vincent and Nomad partner/EP Jennifer Lederman served on the AICP board of directors for a number of years together.

  • Thursday, Sep. 16, 2021
Will Burghes named head of marketing science at Argonaut
Will Burghes

Will Burghes has been appointed head of marketing science at ad agency Argonaut. He will report to CMO Katie Miller and be charged with building and leading the shop’s newly formed marketing science division, which will be focused on harnessing data to help Argonaut continue to craft valuable creative.

Burghes joins Argonaut after serving as SVP of insight & analytics at Citizen Relations and executive director of Data & Analytics at Forsman & Bodenfors New York. 

“We want to assemble a team of creative analysts who are more than data storytellers and who understand how to use data as inspiration for creativity,” said Burghes. “Data is not just for putting creative through testing and writing campaign wrap-up reports; we use data to inform strategy, write briefs, assist with connections planning and more.” 

Burghes has spent his professional life helping brands make better decisions using data, with the firm belief that it can be a powerful source of creative inspiration. Originally from London, he moved to New York City in 2008 and began his career as a management consultant before working on Wall Street and then at the adventure running company Tough Mudder, where he ultimately served as SVP of strategy.

During his six-year tenure at Forsman & Bodenfors New York, Burghes worked his way up to executive director of data & analytics, while also serving on the agency’s global advisory board and further honing his expertise in strategic planning, fintech, media and web analytics, and creative performance analysis. After a brief stint in the PR sector as SVP of insights & analytics at Citizen Relations, Burghes found himself called back to the agency world at Argonaut, which maintains a staff of more than 100 employees across San Francisco and New York.

  • Wednesday, Sep. 15, 2021
Company 3 London hires colorist Jean-Clément Soret, EP Ellora Soret
Ellora Soret (l) and Jean-Clément Soret

Company 3 London has brought Jean-Clément Soret aboard as sr. colorist. Formerly MPC’s global creative director of color grading, Soret has a 25-plus year career which has seen his work span major features and commercial campaigns internationally. His work has been recognized on the awards show circuit including the coveted British Arrows Craft Fellowship Award (presented by his long-time collaborator Danny Boyle) and a six-time recipient of the Best Colorist award at the British Arrow Craft Awards.

Among Soret’s assorted credits include HBO’s Chernobyl, His Dark Materials, season 1&2, Trainspotting 2; Sunshine, Slumdog Millionaire and 28 Days Later directed by Boyle; and You Were Never Really Here directed by Lynne Ramsay. His ad work includes a number of iconic spots in the history of advertising, some awarded a Cannes Lions Grand Prix. Soret boasts an enviable list of international directors, cinematographers and producers as part of his client base.

Ellora Soret, formerly head of color production at MPC, will be joining Jean-Clément and the Company 3 team as executive producer. She has pioneered remote grading practice worldwide on an impressive scale, nurtured many talented colorists and built a network of filmmakers. She has been at the helm of world-class productions for Soret and other renowned colorists across her 20 years career and will be a driving force in Company 3 London’s growth.

Company 3 CEO and founder, Stefan Sonnenfeld stated, “I’ve been a long-time admirer of Jean-Clément’s career. His experience, passion and unique knowledge of the craft matched with his sincere care for his clients and peers make him an extremely exciting and pivotal artist to have as part of the Company 3 family. We are beyond excited for what’s to come as he helps to forge new paths for us, particularly in the U.K. and Europe.”

  • Tuesday, Sep. 14, 2021
Editor Adriana Legay joins Final Cut
Adriana Legay

Creative editorial house Final Cut has added editor Adriana Legay to its roster. 
Growing up in a multi-cultural family in Paris, Legay’s earliest passions of music and dance would form the creative foundations from which she continues to draw inspiration. A chance meeting at the age of 14 with Jean Baptist Mondino, who was directing a Vanessa Paradis video, confirmed Legay’s desire to work in film. While studying cinematography at ERSA in Paris, she began training on Avid and soon began working as an editor on music videos for artists such as Sean Paul, Major Lazer, and The Blaze.

She has gone on to be active in fashion brands including Dior, Givenchy, Yves Saint Laurent, and Dolce & Gabbana. Legay had the opportunity to work with Mondino, her idol, as an on-set editor for a Dolce & Gabbana film featuring Gisele Bündchen. 

Legay’s other commercial credits include campaigns for Apple, Diesel, Heineken, Canal+, Orange, Burger King, and Paco Rabanne. Legay has collaborated with such notable directors as Francois Rousselet, Martin Werner, Megaforce, James Gray, Alex Courtes, Simon Levene, Terrence Neale, and Bart Timmer. 
Legay joins other recent additions at Final Cut including editors Antonio Gómez-Pan and Sam Bould, as well as U.S. managing director Justin Brukman. Final Cut has offices in London, New York, and Los Angeles.

  • Thursday, Sep. 9, 2021
Séamus MacCormaic named EVP, managing director of Streamland Media-UK
Séamus MacCormaic

Séamus MacCormaic has been named executive VP and managing director of Streamland Media-United Kingdom. MacCormaic previously served as chief financial officer of The Farm, a Streamland Media business. In his new role, he will continue to oversee operation of The Farm which has locations in London, Bristol, and Manchester, and provides end-to-end post services and innovative workflows for clients including Netflix, the BBC and U.K.’s Channel 4.

MacCormaic will report to Streamland Media CEO Bill Romeo, and The Farm co-founders Nicky Sargent and Vikki Dunn will play a consultative role in shaping the company’s future as members of the Streamland Media board.

Paul Austin, previously managing director for The Farm Manchester, has been promoted to managing director of Unscripted. The move is a result of The Farm’s growth and continued expansion in unscripted programming throughout the U.K.

Adam Morris has been promoted to technical director, which includes leading all technical, IT and engineering functions at The Farm across the U.K. With 20-plus years helping lead The Farm’s technical investments, Morris plays a pivotal role in shaping technology solutions that support postproduction pipelines, both on-premises and remote. Morris will also help steer technology decisions across the wider Streamland Media group.

The Farm’s recent credits include Formula 1: Drive to Survive (Season 3) for Netflix, Spitting Image for BritBox, and The Lateish Show with Mo Gilligan for Channel 4.

  • Tuesday, Sep. 7, 2021
Creative director Matt Pascuzzi joins MPC
Matt Pascuzzi

Global production studio Moving Picture Company (MPC) has added award-winning creative director Matt Pascuzzi to its executive leadership team.   

Previously at Framestore, Pascuzzi joins MPC’s New York studio, headed by managing director Angela Lupo, to further cement and develop the creative studio’s visual effects offering to the region’s top creative agencies and brands. In the new role, he’ll play a key part in the creative executive leadership team at MPC New York, consisting of Alvin Cruz, Sina Taherkhani, and Tom McCullough. Pascuzzi will focus on growing and mentoring all VFX departments within the company as well as driving new creative partnerships and business opportunities.  

With an eye to the future of branded content development, Pascuzzi will focus on the expansion of the company into real-time and virtual production technologies. He will work closely with brand and agency clients, as well as MPC’s roster of directors to define the best applications of these new technologies to create next-generation production and advertising opportunities.  

In his nine-year tenure at Framestore, Pascuzzi was a leading creative on work for Samsung, Oreo and Sam Adams, and cultivated creative relationships with agencies including Arts & Sciences, Goodby Silverstein & Partners and The Martin Agency.  

  • Monday, Sep. 6, 2021
Rebekah King-Britton named head of CG at Absolute
Rebekah King-Britton

Absolute has appointed Rebekah King-Britton as its new head of CG. She will manage Absolute’s 3D team across the advertising, film, TV and music sectors.

Originally a product designer whose sidestep into the industry was a happy accident, King-Britton has come a long way since starting as a runner and “perfecting the art of biscuit arranging.” Tenures at Saddington Baynes, VFX Co and Smoke & Mirrors allowed her to hone her craft on jobs for high-profile clients such as Sky, Harrods, BMW and Estée Lauder.

In 2002, King-Britton became head of 3D at Smoke & Mirrors. “It was unusual for a woman to take such a position in those days and sadly it still remains so some 20 years later,” she said. In the years that have followed, King-Britton has mentored several teams. She expresses pride in having watched so many talented artists “start from scratch and become leaders in their own right” and is passionate about channeling diversity within the industry.

Of her new role, King-Britton commented, “I have been around long enough to be rejoining many people I have worked with before at Absolute. I’m thrilled to be reconnecting with them and looking forward to meeting new faces. Creativity and excellence are at the center of everything they do.”

Absolute’s CEO Dave Smith, added, “Rebekah is the embodiment of what good leaders should be. Bright, compassionate and forward-thinking. We feel very lucky to have her on board and can’t wait to welcome her ideas and watch her thrive in our expanding CG team.”

MySHOOT Company Profiles