Rick Joaquim, SASC joins Loop

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We are thrilled to welcome Director of Photography Rick Joaquim, SASC to the Loop Talent roster.

Rick Joaquim, SASC is an award-winning Director of Photography working in Film, TV Commercials and Music promos. Rick began his career working in South Africa on commercials for huge brands including BMW, Kelloggs, Nandos and Virgin.

After working successfully for a number of years Rick moved into narrative, shooting Films, and TV series for Netflix. Rick’s recent film, the critically acclaimed Five Tiger was selected at Sundance 2021.

Rick has won many accolades in his career as a Cinematographer including Best Cinematography for his work at the New York, European and Canadian Cinematography Awards.

Now based in London Rick continues to work in Commercials, TV, Film and Music promos. Rick is able to travel and work Internationally, holds both an EU and South African Passport, and has extensive shoot experience locally and abroad.

Narrative News: BIFA & Sundance

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The 2020 BIFA winners were announced last week! We are very proud to see MOGUL MOWGLI, win Best Debut Screenwriter and Best Music from a total of seven nominations. Loop Talent’s Sofia Stocco collaborated with the design team as Set Decorator.

Huge congrats to all the winners and teams!

We were thrilled to see new signing Rick Joaquim’s film FIVE TIGER in official selection at Sundance 2021. Cinematographer Rick Joaquim worked alongside director Nomawonga Khumalo to tell the story of a god fearing woman who finds herself in a transactional relationship as she tried to support her sick husband and daughter. Congratulations to Rick and the team.

Chris O’Driscoll Joins Loop

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We are delighted to welcome Director of Photography Chris O’Driscoll to the Loop Talent roster.

Chris O’Driscoll is a London based Cinematographer who works internationally on Award Winning Film, Television, Commercials, Fashion Campaigns and Music Promos.

His debut feature ‘The Pass’ premiered on the opening night of the BFI Flare London Film Festival and was nominated for a BAFTA in 2018. Following on from this success Chris continued working with director Ben A Williams on critically acclaimed short ‘Selfie’, and on commercial campaigns for brands including Marks and Spencers.

Chris has a portfolio of high end Fashion and Beauty campaigns including Louis Vuitton with Michelle Williams and numerous spots for Make Up brand Trinny London. Chris also lenses sports commercials for brands including Nike, Adidas and Sport England’s ‘This Girl Can’.

Chris loves to work with 16mm and 35mm Film, various Digital formats shooting anamorphic or spherical and has extensive experience with motion control.

View his portfolio here.

Lex Wood on ‘The New Normal’

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Since Covid rocked the World and our industry we’ve all been finding new ways of working. We chatted with Loop Talent’s Costume Designer Lex Wood to hear how she has been adapting to our new normal.

Have you been working during the lockdowns?

Yes. In and out, like most of us, I think! The first lockdown put a pause to the project that I had been working on, but as confidence grew in the summer, we were able to return – into the “new normal” of Covid times working!

How has your normal working practice been affected?

Other than not being able to see anyone’s face fully (masks are a requirement of entry into all studios now) there definitely has been a change of pace to costuming. I have been working a lot with crowd costumes, which by the very nature of needing to dress a “crowd” is a bit daunting … but the fitting pace is slower, and there is more space – as a direct need to have fewer people working closely in any one room. Everyone has become a lot more thoughtful, and purposeful, about the movement of clothing between people – both in terms of needing to sanitise clothes that do not end up as part of the fitted costume, but also the movement of clothes through the following processes of alterations, break down and such.

On your recent productions what measures have been put into place to ensure a safe working production? How did you and your team find these protocols?

Fortunately, the largest project I’ve been with recently was run by Amazon Studios, who are keen to have a fairly rigorous testing schedule – which definitely puts everyone’s minds more at ease – but importantly means that any positive cases are caught prior to filming days. We did lose a couple of the supporting artists to positive tests (thankfully nobody too poorly with it) which is always a shame when some costumes are made from scratch for a particular scene – it’s sad to not be able to see that work on camera. But of course, it’s much better to be safe than sorry …

Is there anything work wise you’re no longer able to do?

It can be pretty tricky to see clearly through the fog that gathers on the inside of the face-visors sometimes! And wearing latex gloves during fittings makes pinning a trouser hem VERY difficult! Fortunately, our team decided on more regular hand-washing over wearing gloves …

Is there anything that has made your work life easier?

I do feel like there is a slightly more cautious approach to filming in general – and whilst so many large projects are continuing, it feels like the numbers of crowd, in particular, are a bit more conservative than usual. And this can allow for the work required to envisage, create, fit, alter, and break-down a crowd look to be more concentrated on fewer items – which in turn, can make the working days a bit less stressed than they might be!

Has this new way of working shifted your focus? Do you have a new career plan?

I’ve had time to reflect on the work practices required to get costumes ready for camera, especially in terms of environmental impact. And with the mind-shift during the slower pace of lockdown towards a more environmentally-friendly approach to life in general, it seems like a good time to do what we can to re-build a stronger department with greener practices at the forefront: less of the endless printing of documents, less use of lots of plastic to keep costumes covered and in their best shape. It’ll take a while, what with the insistence of PPE usage at the moment – but that in itself is acting as a constant reminder of the need to be less wasteful when we emerge from this pandemic and are able to get back to normal …. but maybe a “new” one.

Lex Wood is a London based Costume Designer working in Film, TV, and on Commercial campaigns. Lex has recently been working on a new Amazon TV series shot on location in Prague.

Check out Lex’s Costume Design portfolio.

Nail & Rockett Join Loop

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We are delighted to welcome Costume Design team Nail & Rockett to the Loop Talent roster.

Tina Nail and Michael Rockett are a Costume Design duo working on highly creative advertising campaigns and internationally acclaimed films. Nail and Rockett both trained at Central St Martins where they honed their creative skills to include textile design, breakdown, illustration, cutting, construction, and styling.

Their hugely creative portfolio of work is testament to their skills and hands on approach. They love to collaborate with directors beginning each project with thorough research and detailed illustrations through to cutting, textile design and construction. Their work encompasses a variety of genres from high fashion and beauty, to period costume, futuristic and superhero fantasy.

Check out some of their illustrations and the finished costumes below.

View their portfolio here.

Lex Wood Joins Loop

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We are delighted to welcome Costume Designer Lex Wood to the Loop Talent roster.

Lex Wood began her career working in the Costume department on high end TV and big budget features including Game of Thrones and Dumbo before becoming a Costume Designer in her own right.

She has curated a varied and interesting portfolio, working on projects with some of the industry’s most exciting directors including Alice Seabright, Ella Jones and Rachna Suri.

Most recently Lex collaborated on The Wheel of Time for Amazon shot on location in Prague directed by Uta Briesewitz, Salli Richardson-Whitfield, and Wayne Yip. She also designed Miss Fortunate directed by Ella Jones starring Ben Whishaw.

View her portfolio here.

Barry Pilling on Working in 2020

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We continue our Guest Blog series on ‘Working in 2020’, speaking to our industry friends about how Covid has affected working life across the Film, TV, and Advertising industries.

We chatted with Barry Pilling, a Creative Director and Content Consultant about what 2020 has been like for him…

Who are you and what do you do? 

Hi I’m Baz and I’m a Creative Director and Content Consultant. I used to own a content agency in Shoreditch but these days I consult with broadcasters, brands and IP owners who want to create big vision projects ranging from TV shows and advertising campaigns to viral videos and social media communities… Basically, if it involves attracting audiences using content, I’m your guy.

What were your plans for 2020 career wise and how has covid affected them? 

I’ll be frank – my plans got totally shafted. I began the year working with a major indie who wanted to build a global social media community about incredible women in sport. It was a dream project and it went incredibly well. We had brand partners, sporting talent, influencers and a killer launch strategy that was going to kick in just before the Olympics… but when all global sport got cancelled the project got put on hold, which was heartbreaking!

Have you been working through lockdowns? How? 

Since April I’ve been consulting from home with businesses that want to expand their IP. That’s mainly involved creating new social media communities for a major PR client and prime time TV formats for News UK. I’ve loved working in lockdown… in an office there are so many things to snap you out of your flow, from office politics to last-minute requests, but working from home has given me the space to disengage from that noise and work my own hours in my own way. It’s helped me gain clarity and improve my output.

How have you found the processes and measures put into place to keep you safe at work? 

I’m lucky that I can switch from a production role to a development role quite easily, so I’ve not been put in harm’s way. But I see friends directing shoots on the other side of the world from their desk at home and I’m filled with admiration for both their skill and the ingenuity of the solution that is keeping them safe.

Has anything worked amazingly well or not at all? 

Ad-hoc communication is more difficult outside the office, and ironically that makes everything much more efficient. Before COVID it was too easy to pop into a meeting room to discuss a project, and this inevitably led to disruptive changes in direction. Now I’m communicating solely over Zoom in much deeper, planned sessions with greater structure and better results.

Have any of these new processes made work life easier for you? 

‘Zoom fatigue’ has helped… nobody wants to be on more video calls than are strictly necessary! So I get the time and space I need to build a compelling vision, and finesse it to a point where it sails through sign-off, rather than being pulled apart.

Has this year shifted your career focus? 

When the industry gets shaken up it makes everyone much more open-minded, so I’ve capitalised on this by bringing my own IP projects to market much faster. I love connecting investors and media owners together around big ideas, and the response has been better than I could have imagined! 2020 has removed the safety net of predictability for many of us, but I’d encourage everyone to stay brave and bold… It might feel like there’s a chance you’ll crash, but the reality is you might just FLY.

What are your goals for the new year?

I’m publishing a book on the theme of KEEP GOING, as well as bringing new TV formats and a children’s music brand to market. All those hours saved on commuting have been put to good use developing these projects, now it’s time to put them into production… and call on the amazing contact book of Loop Talent to bring them to life! I’m being transparent with the journey as I create this work, so I’d encourage anyone interested to follow me on Instagram @barrypilling where I regularly share tips and progress updates.


Aman K Sahota Joins Loop

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We are thrilled to announce Director of Photography Aman K Sahota has joined Loop Talent.

Aman K Sahota is a Director of Photography working on Commercials, Music promos, and Films.

Her debut film ‘Ngudu’ (Brother) exploring tribal violence set against the backdrop of Aman’s native Kenya is testament to her passion for culture and storytelling.

More recent collaborations have seen a fusion of art, culture and music, particularly in the short film ‘A Portrait of Yannick’ directed by Michael Eshun-Mensah.

Aman is experienced working on 16mm, 35mm, large format digital, anamorphic and spherical lenses.

View her portfolio here.

Isusko Garcia: Life in the Covid lane

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We continue our Guest Blog series on ‘Working in 2020’, speaking to our industry friends about how Covid has affected working life across the Film, TV, and Advertising industries.

We chatted with Isusko Garcia, a 1st Assistant Director working on TV commercials, online content and music promos. Isusko is also behind the hugely popular Film Gods podcast, a weekly discussion with various crew about their roles and how they got into the industry.

What were your plans for 2020 career wise and how has covid affected them?

2020 wasn’t going to be a springboard year it was going to be a “carry on doing what I was doing” year. I had planned to maintain and strengthen relationships at work, have some fun shooting and maybe make a few new contacts along the way.

The lockdown impacted me, as it did almost the rest of the globe, with a big slap of reality that shook our society’s foundations and made me realise how fragile our lives are/were. As an industry, we were not forced to close by the Government, and a few shoots took place via Zoom with very small crews. The industry bodies and some individual crew members created the best working guidance procedures to allow us to get back to work, which was a very welcome outcome after a few months of not being on set.

Have you been working since the industry has been back up and running?

The first few pencils began to come in the end of May and I’ve been on set most weeks now since the beginning of June.

How have you found the processes and measures put into place to keep you safe at work? Has anything worked amazingly well or not at all?

Filming commercials you tended to stick 20 people in an average-sized kitchen to film a sausage cooking. The measures have helped to create a safer working environment but it differs from production to production. It differs from the amalgamation of different crew members with their own different views on the pandemic and some sets have felt a lot safer than others.

As crew members, we never know what type of job we are going onto and in commercials, we are not being regularly tested, like they are on feature films. That can and has added a level of stress, to what was an already stressful place.

Keeping 2m apart can be tricky but most crews are respectful of each other. We all want to work and being on different sets with hundreds of different people each week could be a lot more daunting if we weren’t adhering to the protocols.

Have any of these new processes made work life easier for you?

Most of the procedures that pop into my head as I type this haven’t made life easier, but they have aimed to make them as safe as possible. For example, close contact workers need to increase PPE as they are breaking the 2m for an extended period of time which isn’t comfortable or easy to work with but helps protect them. Working out room capacities and managing workflow to maintain a safe working environment has made life harder, made shoots longer, but there is a point to them, which most people appreciate.

Has this year shifted your career focus? 

I can’t say it has. Some crew who were going to springboard this year have taken the step back but it has made me realise that 100% income coming from one revenue stream can make you vulnerable. I always try to make 5 and 10-year plans, which gives me something larger to work towards so the micro of the week to week are stepping stones to that end goal.

You learn a lot of life lessons on film sets, I think. You have your plan for the day, but it very rarely goes as smoothly as you’d hope. Being booked on jobs on a week-to-week basis the threat of no work always looms over us, so a two-month hiatus with no work on the horizon is something that we are hardened to – that being said, you never truly get used to it.

What are your goals for the new year?

Keep being able to provide for my family and writing a kids book that I came up with during lockdown. I got carried away from April to June with a podcast I started in January of this year called the Film Gods. It filled my time talking to crew members across the call sheet to hear their story of how they got in, what they do and advice to their younger self. I would love to carry that on into 2021 and try and get to 200 episodes (currently at 96, but a busy few weeks has stopped the flow).

I have tried to find the positives from 2020 and for me, personally – once the panic of paying bills subsided, I was able to have extended paternity leave, which is time that was very precious. Being on set from 7am-9pm most days means that bath time is a quick FaceTime whilst a camera is moving position or a set is being lit. It brought our little pocket of Surrey closer together and its built friendships locally that have lasted past the lockdowns.

Lets see what 2021 brings.

Check out Isusko’s website.

Listen to Isusko chatting to Bare Arms Founder Ben Simmons on the Film Gods Podcast here.