• Thursday, Mar. 3, 2022
Chris May promoted to chief creative officer at Elephant
Chris May

IPG creative company Elephant has promoted Chris May from executive creative director to the newly created position of chief creative officer. May, one of Elephant’s founding members, will be tasked with establishing the creative vision for Elephant, as well as attracting and retaining the best creatives and most diverse talent, both inside and outside of the industry. He will report directly to Elephant CEO Eric Moore. 

As CCO, May will oversee creative for Elephant’s founding client, Apple, as well as clients across regions, including Comcast, Electronic Arts, Marc Jacobs, and Realtor.com. The creative department will continue to be structured with ECDs running each region, East and West, with May managing creative across both coasts. He will remain based in San Francisco.

Since joining Elephant in 2016, May has been pivotal in expanding Elephant’s creative offering with Apple, from design focused experiences to campaigns driving usage and adoption of the brand’s various digital services. In addition, May has been instrumental in growing Elephant’s client portfolio with notable wins including Beats by Dre, Kia Motors, Twitch, and Electronic Arts. His impact also extends to initiatives in support of Elephant’s ongoing commitment to change; leading the Elephant XD Academy, a creative boot camp for BIPOC students, and the rebrand of Fulfillment Fund, a Los Angeles-based mission-driven organization making college a reality for students growing up in educationally and economically under-resourced communities.

Prior to Elephant, May held creative leadership roles at Razorfish (Berlin) and AKQA (London and Berlin). Throughout his career, he has delivered cutting-edge solutions for major global brands including Mercedes-Benz, Volkswagen, Adidas, Channel 4, Montblanc, MTV and Sainsbury’s. His work has won recognition at Cannes, Epica, Clio, One Show and the FWA. 

“I am honored to take on this new challenge as Elephant continues to evolve its positioning as a creative company moving ambitious brands into new worlds,” said May. “While my direct responsibilities are leadership of creative, our philosophy extends to the way we approach the world, independent of any single discipline. I look forward to fostering a diverse team of creative talent, unifying our vision and creating work that makes an impact.”

  • Wednesday, Mar. 2, 2022
Matilde Ramos Pinto joins RSA Films US as EP
Matilde Ramos Pinto

Matilde Ramos Pinto has joined RSA Films US as an executive producer based in Los Angeles. The hire, which coincides with an influx of new talent and accompanying business growth, also marks a reunion for the company and Ramos Pinto, who for five years worked as a directors representative for RSA and Black Dog Films London. 
“Matilde brings a global perspective to the team at RSA US,” said Luke Ricci, president, RSA Films US. “She is a fantastic resource to both directors and clients, with a built-in knowledge of the company culture and proven ability to work both strategically and creatively with talent. She’s passionate about cultivating exciting new opportunities and seeing them through to deliver exceptional work across commercials, content, music videos and other disciplines.”
“This is a fantastic new chapter for RSA US,” Ramos Pinto said. “I’m looking forward to working with Luke Ricci and our team. During my time in London, I have enjoyed forging special relationships with the RSA directors and I’m excited about growing new relationships with the inspiring talents based here in the U.S.”
“We have so much respect for the work Matilde has done already with RSA, Black Dog and Ridley Scott Creative Group,” said Jake Scott, partner, Ridley Scott Creative Group. “We’ve had the opportunity to watch her grow in her role managing talent and being a trusted partner to our clients. We know her great taste and huge work ethic will be incredibly valuable to our directors and clients in the U.S.” 
“It takes a lot of grit and vision to be a director,” Ramos Pinto added. “In my new role, I’ll facilitate and help execute fresh and beautiful work for our talent, and the brands, agencies and labels we work with. I will also focus on signing exceptional, thought provoking, innovative directors to join our L.A. roster. My goal is to make incredible work, I think that speaks the loudest.”
Prior to working on staff at RSA London, Ramos Pinto worked in feature film production and for one of the U.K.’s leading casting directors, Jeremy Zimmerman. 

  • Tuesday, Mar. 1, 2022
Scott Boyajan joins Shape+Light as executive producer
Scott Boyajan
SANTA MONICA, Calif. -- 

Boutique visual effects and design studio Shape+Light has added Scott Boyajan as executive producer. Joining the leadership team of managing/creative director Rob Trent and executive producer Cara Lehr, Boyajan will help curate Shape+Light’s growing talent roster and expand new client relationships. He has already managed several projects at Shape+Light including the NFL’s “Bring Down the House” spot for the 2022 Big Game, and new work for Beats Fit Pro featuring Vince Staples.

“Scott is in the midst of an incredible career and he really knows everyone in town,” said Trent. “We’ve worked with him previously on a freelance basis, and are proud to have him on board full time. He understands the market, he’s generous with up-and-coming talent, and he isn’t afraid to get his hands dirty--all great qualities for an EP as we continue to grow.”

Boyajan is an accomplished producer with experience across the postproduction landscape, having worked with a52, Framestore, Psyop, Mirada, Animal Logic, and others. He has collaborated with international brands including Nike, Adidas, GM, Facebook, Microsoft, and Lexus, and his work has earned awards from the Clios, Cannes Lions and more. He has also produced short form design content including the award-winning opening title sequence for HBO’s Carnivale.

Boyajan shared, “Over the years I’ve worked at small, mid-sized, and large studios; I’ve seen our industry undergo several transformations. The reason I’m so excited about Shape+Light is they’re in the sweet spot where you can do stellar work while still knowing everyone in the studio--that’s great for both clients and our Shape and Light team alike. Being at a smaller shop also allows me to focus on client relations while still being in the trenches with production; I get the best of both worlds.”

  • Friday, Feb. 25, 2022
Light Iron promotes Ethan Schwartz to sr. colorist 
Ethan Schwartz

Light Iron, the postproduction creative services division of Panavision, has promoted Ethan Schwartz to sr. colorist. Based out of Light Iron’s Los Angeles facility, Schwartz will continue to support clients globally.  

Schwartz’s recent credits include the series What We Do in the Shadows and MacGruber and the features Pink Skies Ahead and Palm Springs. He joined Light Iron in 2013, serving initially as a dailies engineer in support of the company’s Outpost near-set dailies systems. With a deep understanding of the technology underpinning Light Iron’s creative workflows and a passion for the art and craft of cinematography, Schwartz began his transition into color grading by assisting Light Iron supervising colorist Ian Vertovec and sr. colorist Corinne Bogdanowicz. Soon thereafter, he began notching solo credits on short-form projects, series, and features, and in the years since, he’s put together a vast body of work for an array of distributors, including Netflix, Amazon, Apple, Hulu, OWN, and Peacock. 

“It’s been wonderful to watch Ethan’s career develop,” said Seth Hallen, managing director at Light Iron. “From his early role as a dailies engineer through his mastery of multiple grading systems, he’s immersed himself in the technology that enables Light Iron’s innovative workflows. Beyond his technical expertise, he brings an artist’s eye and a genuine passion for collaboration to every project, which resonates with all of the clients he supports.” 

“Light Iron continues to be an amazing place to grow in my career,” said Schwartz. “It’s been really special to have all of these opportunities here. This job is about combining the always-evolving technical side with the creative, abstract side, and that challenge is endlessly rewarding. There are new ideas, techniques and approaches to discover on every project. I’m excited to continue collaborating with and being inspired by cinematographers and directors, who are always so passionate about elevating their work.” 

In addition to Schwartz’s promotion, Light Iron has announced that colorist Katie Jordan, who was previously based in Los Angeles, is now working out of the company’s New York facility. Since joining Light Iron in early 2021, Jordan has notched credits on the series The Chi, the feature A House on the Bayou, and the Sundance 2022-premiering projects Palm Trees and Power Lines, Am I OK? and Huella. Her earlier credits include the feature Promising Young Woman and the series The Dark Crystal: The Age of Resistance

Jordan’s presence in New York strengthens Light Iron’s foothold across North America and bolsters the company’s local talent available for the East Coast market. Furthermore, thanks to Light Iron’s best-in-class remote-collaboration capabilities, Jordan will continue to serve clients wherever they’re located.  

Additionally Pat Fitzgerald, who was previously sr. online editor, and Keith Jenson, who was previously sr. online finishing artist, have each been promoted to colorist. Fitzgerald and Jenson are based in Los Angeles and New York, respectively, with the ability to collaborate with clients globally.  

Light Iron maintains facilities in in Los Angeles, New York, Atlanta, Albuquerque, Chicago, New Orleans, Toronto and Vancouver. 

  • Wednesday, Feb. 23, 2022
Stink adds EP Nicky Barnes in L.A.
Nicky Barnes

International production company Stink Films has added Nicky Barnes as a sr. executive producer in Los Angeles. Barnes has a wealth of experience in the commercial production space, having produced numerous spots in a variety of global markets with major brands and noteworthy directors. She has led production for several award-winning projects, such as: Droga5’s “Life Needs Truth” for the New York Times, Media Arts Lab’s “Snap” for Apple AirPods Pro and Wieden+Kennedy’s “Ankles” for Powerade, among many others.

Barnes’ career began as a runner in a sound studio in London, after which she moved to the production department of London ad agency WCRS. From there, she served as head of production at Fallon, working closely with Rich Flintham and Juan Cabral where they produced a trilogy of award-winning spots for Sony: “Balls,” “Paint,” and “Playdoh.” Other notable  projects include the iconic Cadbury’s “Gorilla” and Skoda’s “Cake.” She has also worked at Mother as a sr. producer. Barnes later relocated to the United States to kick off Somesuch US in 2016 as their managing director and executive producer.

Barnes said, “I love producing commercials, it truly is an artform. One of the greatest things about advertising is the rigor that goes into every idea and execution, the value of the process. Once you grasp that, the sky’s the limit.” Speaking of Stink’s founder, Daniel Bergmann, she continues, “Daniel has got an incredible eye for talent and Stink has got an extraordinary roster of directors. I am also thrilled to have the opportunity to jump into longform, developing film and TV content alongside commercial projects.”

Bergmann shared, “we are very impressed how holistically Nicky approaches the process--everything from the way she creatively engages with directors to develop their vision to the thoughtful way she puts together all the elemental pieces needed to make a spot really shine. She has a keen sense of discernment and great taste alongside her deep knowledge of production.”

  • Tuesday, Feb. 22, 2022
Bellot, Langlitz upped to co-managing directors of StrawberryFrog
Shana Bellot

StrawberryFrog has promoted Shana Bellot and Dan Langlitz to co-managing directors of its creative marketing and advertising business. They will oversee the growth of the business, as well as maintain its strategic, organizational and cultural vision.

StrawberryFrog founder and CEO Scott Goodson said, “Shana and Dan are incredibly sharp and experienced and have helped shape much of our vision for more effective, purpose-led marketing.”

Bellot brings a wealth of management experience to her new role. As the former client services director at the agency, she has an intimate knowledge of the firm’s accounts and operations. Her experience prior to joining the company also includes work with many leading brands like Samsung, Heineken, Hershey, and The Gap, among others.

For his part, Langlitz offers an equal depth of experience and expertise. His background both during and prior to his time at StrawberryFrog includes account management on a global scale for brands such as Coca-Cola, FedEx, PepsiCo, and more. His international credits and global perspective in particular make him a formidable asset in his new role.
“Over my time here,” said Bellot, “I’ve watched StrawberryFrog become something truly unique. Our vision of creating marketing movements to drive client growth has set the new standard for advertising effectiveness. I look forward to continuing to challenge the status quo and bring our clients breakthrough work.”

Langlitz added, “The focus of our firm is activating purpose in order to increase people’s willingness to buy from a brand. It’s remarkable what we are achieving here. We’re impacting our clients’ businesses and creating positive change in their markets. I’m happy to be a part of it and look forward to the challenge of growing our company and helping more clients meet their goals.”

  • Friday, Feb. 18, 2022
Editor Guicho Flores connects with Union Editorial
Luis "Guicho" Flores
AUSTIN, Texas -- 

Bicoastal Union Editorial has formed a relationship with Mexican editor Luis “Guicho” Flores, whose work on projects such as El Pollo Loco’s “Border Futbol” (Vitro Austin) and Whataburger’s “Momentos para Saborear” campaign (FPO Marketing) have garnered not only honors but accolades for his commitment to accurate representation of Hispanic life. While Flores divides his time between Austin and Mexico City, he and Union have set their sights on the national Hispanic market. 

“Guicho’s work in the Hispanic market is A-level,” said Union partner/managing director Michael Raimondi. “We have always had strong relationships with some of the top Hispanic agencies in the world, and Guicho will help us expand on those.” Raimondi added, “The world is getting smaller all the time. Agencies are being tasked with creating multiple campaigns for social and broadcast in multiple languages more and more. Being able to offer Guicho’s talents to our clients makes us a stronger company all around.”  

Flores explained, “I have lived in the U.S. for more than 13 years now, and it wasn’t until a couple of years ago that I realized I’m an immigrant, technically speaking and it’s something I like to embrace. It is up to us whether to perceive it in a negative context, or to draw empowerment from that and fuel our ambition.” He acknowledged that some artists may seek to operate independently of their cultural affiliation. “I respect Hispanic editors who want to prove themselves in the general market,” he said. “For me, it’s the multicultural market where I see the most potential because there’s a voice waiting to be awakened--not only from an Hispanic standpoint, but regarding anything that represents a cultural alternative to the norm. I want to be THE editor in THAT world, serving an industry that has a sort of underdog status.” 

While the arrangement with Union is currently non-exclusive, Flores affirmed the shared desire to build a more permanent relationship. “We share a vision of the future as far as my career development,” he said, adding that “Union Editorial’s top-of-the-line commercial work, combined with the Austin office’s super-friendly vibes makes this a very exciting, inspiring time.”

Flores was introduced to the company by sr. producer Julie Anderson of Union Austin. Prior to joining Union, Anderson produced El Pollo Loco “Border Futbol,” created via Vitro Austin and cut by Flores. “Julie is a wonderful producer, and I’d been wanting to work with her again,” Flores noted. “Commercial post houses are spaces where creativity and amiability intersect. It takes a village to execute a vision, and that’s what I love about our industry--it pushes you to connect with other people through a creative exercise.” 

Anderson said of Flores, “He approaches his work with a level of enthusiasm and sincerity that is contagious. He is constantly creating and contributing to the creative landscape in a meaningful way.”

Citing Flores’ “amazing energy and genuine love of his craft,” Union Austin EP Vicki Russell added, “I’m looking forward to working alongside Guicho as his career flourishes.”

“Like most people in our field, I’m a cinephile and I appreciate when video is a true reflection of our social reality,” said Flores. “I love working with agencies and creatives who want to capture real life and the culture--of any minority--accurately. It elevates the work and makes it much more than just an ad. These kinds of projects are exciting because they remind me why I got into this industry in the first place.” 

Notable work cut by Flores includes El Pollo Loco’s “Border Futbol,” a :90 spot released in celebration of the 2018 World Cup. Directed by David Blue Garcia, the piece depicts a cross-cultural soccer match set at the very tip of the Tex-Mex border wall. “Border Futbol” won a Gold at the Austin ADDYs, a Silver in the South Region ADDYs, and was shortlisted at the 2019 AICP Post Awards in the Best of Southwest category. A recent music video for Pure X ”Slip Away”--which Flores directed and edited--is a tribute to Anton Corbijn and Robert Bresson. Shot around Lockhart, Texas, “Slip Away” was featured on BooooooomTV in 2021. 

Flores earned his Bachelor’s degree in economics and sociology, with a minor in psychology, along with a BDP program in film studies, from UT Austin. Immediately after graduation, he worked as a graphic designer for Aspyr, a Mac gaming company based in Austin. From there, Flores moved to the Latinworks agency, as its internal editor and content producer. Following a three-year tenure there, he joined the Austin office of Beast Editorial as an assistant editor, where he was promoted to editor. 

In addition to the notices he has received for his spot work, Flores’ photographic work has been exhibited in Monterrey’s Centro de las Artes and Museo de Arte de Sonora. 

On the narrative front, Flores directed and edited numerous projects reflecting his range and interests: Suburban, a short documentary about a retiring shuttle driver in Oaxaca who is about to make his last drive after 20 years in the job; the music video for Waldo Witt’s “Love like a Fire,” which blends live action with analog video synth effects to produce a late ‘70s and early ‘80s disco music vid aesthetic; and Primos Hermanos, a short film on dating life among young Hispanics in Austin starring Diego Calva. 

Flores recently reunited with the Vitro Austin team for a series of new El Pollo Loco spots.

  • Wednesday, Feb. 16, 2022
Amburr Farls, Andy Brown named partners in Cut+Run 
Andy Brown (l) and Amburr Farls

Cut+Run has made company partners of Amburr Farls, its Los Angeles executive producer, and Andy Brown, creative director at sister company Jogger.

Cut+Run managing partner Michelle Eskin said, “Amburr has made a huge contribution to the company and our success. She is a vital part of the heart and soul of our family. Andy has been a guiding force for the vision and growth of Jogger, from his artistic and technical talent to his innate entrepreneurial spirit and leadership.”

Farls joined the company as sr. producer heading large-scale, award winning projects for all screens from broadcast to digital, social and film. She was promoted to head of production and then rose to EP of the L.A. office, working closely with managing partner Michelle Eskin and the management team in San Francisco, Austin, New York, and London via Cut+Run’s alliance with The Quarry. Farls was instrumental in supporting Cut+Run’s transition to connected, remote collaboration during the pandemic, and has earned deep and trusted relationships with her colleagues, as well as agencies, production companies and clients alike.

“To say the least, I’m so proud and honored. It’s been almost a decade of outstanding work with such amazing talent and a brilliant production team,” commented Farls. “And more importantly, I’ve been surrounded by stomach-hurting laughter, so much joy (even in the in chaos) and a whole lot of love.”

Brown was the founding partner/co-owner in the first VFX division of Cut+Run in London. He has helped define and develop Jogger Studios, including in Los Angeles where he is now based. In addition to contributing to bringing hundreds of projects to life, Brown has helped form interconnections with Jogger’s teams in Los Angeles, San Francisco, New York, and Austin, with high-end VFX, motion graphics and color grading carried out on projects globally.

“I couldn’t be more thrilled to intensify my relationship with Cut+Run and Jogger as a partner here in the U.S.,” said Brown. “This is another step in our long history and I feel wonderfully lucky to work alongside such an incredible group of individuals. Together we have worked tirelessly to be trusted hands in the creative process of bringing our clients’ work to life. I am humbled and excited to continue this journey.”

  • Friday, Feb. 11, 2022
Wrapbook hires Tim Munday, Miguel Bernal, Victoria Gordon
Victoria Gordon

Digital financial services platform Wrapbook has hired Tim Munday as VP of sales, content providers and live events, Miguel Bernal as director of risk management, and Victoria Gordon as senior product manager. Wrapbook provides solutions and resources for the project economy, initially focusing on the entertainment industry with clients ranging from indie producers to major studios across film, television, commercials, live events and more.

As VP of sales, Munday focuses on growing the company’s relationships with content providers and live event companies. He will also work closely with the product team to continue developing the company’s best-in-class product. With over two decades of experience across sales, marketing, advertising and production, Munday joins Wrapbook from TEAMS where he served as the VP of business development. Prior to TEAMS, Munday oversaw production and business affairs for such companies as Beats By Dre and Wonderful Creative Agency.

Bernal joins Wrapbook as director of risk management where he will collaborate with the team to build best-in-class insurance products. With more than 15 years experience in risk management across such fields as biotechnology, logistics, and administrative services, he previously served as risk manager for the City of San José. He also held the dual titles of sr. VP of risk management & business analytics, as well as, SVP of integration program management at CAPS Payroll.

Gordon boards the company as senior product manager and will focus on creating best-in-class experiences for accountants. She joins Wrapbook from Entertainment Partners where she served as product manager and led a development team, in addition to liaising with other departments such as sales, marketing, and software development. Prior to Entertainment Partners, she was product manager at CAPS Payroll where she specialized in LAjit and SUMMIT software.

“Tim, Miguel and Victoria bring extensive and specialized experience in entertainment finance and workflows, and we couldn’t be more excited to welcome them to Wrapbook,” said CEO Ali Javid. “Our team has more than tripled in less than a year, and we can’t wait to see what this impressive group of top professionals accomplish in 2022.”

In Q4 2021, investment firm Tiger Global Management led a $100 million Series B funding round with new and existing investors, Andreessen Horowitz, A*, Jeffrey Katzenberg’s WndrCo, Uncork Capital, and Equal Ventures, which brought the value of the company to $1 billion. 

Over the last year, Wrapbook has grown the team from 20 to 100 employees, with the addition of industry veterans from entertainment and technology powerhouses including Amazon, Yelp, Cast & Crew, Microsoft, Intel, Facebook, Shopify, Github, and GE.  

  • Wednesday, Feb. 9, 2022
ODD hires: ECDs Zara Ineson, Angus Mackinnon
Zara Ineson (l) and Angus Mackinnon

Integrated creative agency ODD, which works with ambitious fashion and lifestyle brands, has strengthened its leadership and creative teams with the hiring of Zara Ineson and Angus Mackinnon as executive creative directors. 

Ineson and Mackinnon will lead ODD’s creative department with both reporting to chief creative officer Nick Stickland. 

Ineson was previously global creative director at Portas, where she worked for more than a decade with brands including Sainsbury’s Tu, Liberty, Kurt Geiger Group and Sportsgirl. 

Mackinnon joins from Publicis-Poke, where he was group creative director, with overall responsibility for creatively leading brand experience, working with brands from Orange, EE, Heineken, Garnier, Ted Baker. He previously worked for Nike as digital brand director, EMEA. 

Ineson said, “I’m excited to be a part of ODD’s newly built leadership team, an indispensable retail partner for the most ambitious fashion, beauty and lifestyle brands. Alongside Gus, our creative focus is on culturally unmissable, socially meaningful and digitally innovative creativity. We won’t be chasing awards, but results, driven by a truly inclusive creative team and an open-hearted working culture.”

Mackinnon added, “Fashion is responsible for huge pleasures and huge problems. As one of the industry’s rare specialists, ODD are in a unique position to help future-facing brands create more of one and less of the other. This is the brief of a lifetime.”

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