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    Ntropic launches London office headed by ECD Gibbons, EP Livingstone

    By SHOOTUpdated:No Comments4039 Views
    Aidan Gibbons (l) and Laura Livingstone
    LONDON --

    Ntropic has launched an office in London, joining its current network of studios in New York, Los Angeles and San Francisco.

    “I’ve always loved London for its aesthetic and the creativity on display there,” said Ntropic founder and chief creative officer Nate Robinson. “We also saw a growing industry trend, in every sector from CPG to technology, toward unifying all creative across global markets. So, it made sense for us to extend Ntropic in order to support our existing clients abroad, bring our expertise and process to this new market and gain access to diverse talent.”

    Ntropic London will offer direction, design, VFX, color, and finishing, as well as AR and VR experiences through its sister company Tactic. The office will seamlessly collaborate with client partners and U.S. teams, further amplifying its overall bandwidth and ability to deliver results for its worldwide clients. 

    Leading the London office will be executive creative director Aidan Gibbons and executive producer Laura Livingstone. Gibbons joins from The Mill in London where he spent 13 years and served as director and 3D supervisor. His creative style and passion for directing is on full display in his work for Bentley, Huawei, Guinness and BT. Gibbons also led artists on a number of high profile advertising campaigns for Lexus, Audi, Santander, O2, Jaguar and Brother. 

    Meanwhile, Livingstone’s U.K. arrival marks her return to her native home in Europe. Previously, she was at Ntropic SF where she was head of production, working on everything from their groundbreaking AR project for Treasury Wine Estates and VR experience “Phone of the Wind” to spots for McDonald’s, Toyota, Facebook, Apple, Netflix, Uber and others. Before that, she was a sr. producer at several entertainment FX companies, including Zoic Studios–where she worked on TV shows such as Banshee, Arrow, The Flash and The Blacklist–as well as Shade VFX, Atomic Fiction and ILM where her film projects included A Good Day to Die Hard, Flight, Looper and Iron Man 2.

    Ntropic’s expansion follows the recent successful launch of Ntropic’s NYC color department and the addition of colorist Ayumi Ashley and sr. producer Will Mok.

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    Tags:Aidan GibbonsLaura LivingstoneNate RobinsonNtropic



    “Lord of the Rings” director Peter Jackson backs long shot de-extinction plan, starring the lost moa

    Tuesday, July 8, 2025
    Filmmaker Peter Jackson, left, and Colossal CEO Ben Lamm hold up bones from Jackson's collection of extinct moa bones in Wellington, New Zealand, 2024. (Courtesy of Colossal Biosciences via AP)

    Filmmaker Peter Jackson owns one of the largest private collections of bones of an extinct New Zealand bird called the moa. His fascination with the flightless ostrich-like bird has led to an unusual partnership with a biotech company known for its grand and controversial plans to bring back lost species.

    On Tuesday, Colossal Biosciences announced an effort to genetically engineer living birds to resemble the extinct South Island giant moa – which once stood 12 feet (3.6 meters) tall – with $15 million in funding from Jackson and his partner Fran Walsh. The collaboration also includes the New Zealand-based Ngāi Tahu Research Centre.

    "The movies are my day job, and the moa are my fun thing I do," said Jackson. "Every New Zealand schoolchild has a fascination with the moa."

    Outside scientists say the idea of bringing back extinct species onto the modern landscape is likely impossible, although it may be feasible to tweak the genes of living animals to have similar physical traits. Scientists have mixed feelings on whether that will be helpful, and some worry that focusing on lost creatures could distract from protecting species that still exist.

    The moa had roamed New Zealand for 4,000 years until they became extinct around 600 years ago, mainly because of overhunting. A large skeleton brought to England in the 19th century, now on display at the Yorkshire Museum, prompted international interest in the long-necked bird.

    Unlike Colossal's work with dire wolves, the moa project is in very early stages. It started with a phone call about two years ago after Jackson heard about the company's efforts to "de-extinct" – or create genetically similar animals to – species like the woolly mammoth and the dire wolf.

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