Sonos Taps WPP’s SET for Retail Experience and Strategy

WPP experience agency SET continues to reinforce its prominence in the retail experience field by winning retail experience and strategy duties for sound system leader, Sonos.

After winning the Sonos business, SET will begin its working relationship with the brand by leading retail strategy and design for its activities in 2018. “SET is charged with delivering an exceptional retail experience for Sonos that extends their product campaigns through both physical and digital channels” agency Head of Client Services Emilie Vasu explains.

Agency CEO Alasdair Lloyd-Jones looks forward to the opportunities that lie ahead with this new partnership. “We are excited to work with such a progressive experience led and like-minded brand as Sonos” the exec says. “The challenges and opportunities of modern retail engagement are exciting ones and we’re confident we can help Sonos expand their brand in this environment while ensuring we deliver a consistent, impactful and relevant brand experience across the many varied channels and markets.”

SET’s Sonos account will be serviced out of the agency’s New York office with the first work expected to roll out early 2018. Regarding his brand’s decision to partner with SET, Sonos Director, Global Retail Marketing Omar Gurnah adds, “We believe that once you experience a whole home sound system, it’s pretty obvious how awesome it is to have music throughout your home. We want to find ways to bring that experience to life in retail stores and online. It’s a big ask, but we’ve been hugely impressed with SET’s ability to help us with the challenge, both strategically and creatively; we couldn’t be more excited to work together.”


About SET:

We are a global creative agency made up of designers, architects, and strategists, driven to create deep connections between brands and audiences through concept-driven experiences, primarily in the physical realm.

LOGAN and G-Shock Partner Up Again for G-Steel Launch

Award-winning creative studio LOGAN delivers a dramatic unveiling of G-Shock’s G-Steel timepiece in the latest iteration of LOGAN’s longstanding collaboration with the renowned watchmaker.

The 30-second spot directed by LOGAN founder Alexei Tylevich vividly conveys the metamorphosis of G-Shock’s classic resin sport watches into its new “from suit to street” metal-bezel case timepieces. The online, in-store and TV campaign dramatizes the transformation through stunningly detailed images of G-Shock’s resin watch melting, bubbling and pulverizing rapidly into the new G-Steel.

“We’re thrilled to partner again with G-Shock,” said Tylevich. “The launch of the G-Steel afforded us the opportunity to showcase the full range of our artistic capabilities.”

The G-Steel watches were designed with metal watch lovers and longtime G-Shock fans in mind. The watches combine G-Shock’s celebrated sport performance and durability with the fashion demands of young professionals.

LOGAN has collaborated previously with G-Shock on numerous campaigns, including the launch of the S Series watch for women. LOGAN partners on campaigns with some of the world’s most recognizable brands, including Nike, BMW, Apple, Cisco, Netflix, Google and 20th Century Fox, among many others.



Director/ECD: Alexei Tylevich
Creative Director: Hiroshi Endo
VFX Supervisors: Stephan Kosinski & Brandon Thomas
Producers: Marika Borgeson & Kate DeCrosta
Live-action Producer: Jake Blasco
Production Designer: Eric Hanna
Director of Photography: Florian Stadler
Edit: James Connelly
Design: Sakona Kong, Waka Ichinose, My Tran, Josh Childers
CG Lead: Brandon Lester
Previs: Sei Sato, Daisuke Goto, John Bloch, Pedro Mendoza
Modeling: Toshi Sakamaki, Chris Nolan, Jakob Hill
3D Animation: Sei Sato
LookDev: David Hyatt
Lighting: David Hyatt, Patrick Vidal, Robin Kim, Leopoldo Juarez
Houdini: John Kent
Compositors: Frank Fieser, Montana Casey, Mark Robben, Robert Hubbard
2D Animator: Aaron Kim
Audio Composition & Mix: Keith Ruggiero @ Sounds Red
Conform & Color: Carl Edwards
Post PA: Sarah Moffit

About LOGAN:

LOGAN ( is a Los Angeles and New York-based award-winning creative studio. Logan & Sons ( is the live-action division of LOGAN that represents a broad spectrum of directorial talent.

Esteemed Editorial Companies WAX, The Quarry Collaborate to Establish US Presence

Editorial company/creative collective WAX and London-based editorial studio The Quarry have aligned their respective creative talent and resources to bring The Quarry’s editors to the US market.

With its base in New York City, Boston, London and plans to expand to the West coast, the new, full-service WAX/The Quarry collaboration, which will be referred to as WAX in the US, will be led by Managing Partner Toni Lipari and Editor/ Partners Paul Watts, Stephen Jess and Bruce Townend. Regarding the motivation behind the Stateside merger, Lipari says, “We were looking for a strong partner overseas with a similar culture and level of talent who shared our creative sensibilities. “We considered ourselves lucky to hook up with The Quarry. Almost immediately, it was obvious we could create outstanding work together without sacrificing what makes each company unique.”

For the past 25 years, The Quarry has been editing award-winning commercials for some of the world’s best brands, agencies and production companies. According to The Quarry Partner Watts, the timing was right to solidify a base in the States and WAX was the partner to help solidify its pivot across the pond. “The Quarry has been looking for a new way to bring their editorial talent to the attention of clients in the states,” he says. “While I have been active in the US over recent years, I’ve been convinced that more of my guys could make a splash here. When we met Toni and Steve at the end of last year, we saw a young hungry company making great strides, and it felt like a natural fit to join them in their adventure.

The U.S.-based WAX operation offers capabilities such as live-action production, editorial, telecine, VFX design and finishing. Alongside partners Stephen Jess, Paul Watts and Bruce Townend, the collaboration will feature a stable of well-known artists/editors including Eddie Ringer, Jonnie Scarlett, Scot Crane, Jason Sager, Georgia Dodson, Adam Biskupski, Flaura Atkinson, Sylvie Landra, Owen Oppenheimer, and Mark Whelan. “With its now even larger pool of extraordinary talent, this partnership ultimately hopes to bring an elevated level of work from an increasingly diverse group of individuals, into a constantly changing and growing industry,” Lipari adds. “We feel that this new combined line up offers both strength and depth for all our clients.”


About WAX/The Quarry:

WAX is a boutique post production shop with offices in New York and Boston where it partners alongside The Quarry in London. In a short time, WAX has built a reputation as a prominent editorial company with integrated VFX, telecine/finishing and live-action production. WAX/The Quarry have collaborated with top talent from the international advertising industry, including agencies such as Droga5, CP+B, TBWA\Chiat\Day, Deutsch, BBDO, BBH, Goodby Silverstein & Partners, and Ogilvy. The editors from WAX/The Quarry have worked alongside noted Directors such as Jonathan Glazer, Lance Acord, David Shane Henry-Alex Rubin, Dayton/Faris, Andrew Wonder and Sean Meehan. WAX is newly represented by Diane Patrone & The Family.

Donut Media Appoints Creative/Strategist Nate Morley to Executive Creative Consultant

Automotive-focused Donut Media is bolstering its creative and strategic services and further establishing itself as a full-scale agency/digital media publisher by bringing on Nate Morley in the advisory role of Executive Creative Consultant.

With a unique background of creative and strategy on both the agency and client side, Morley has held multiple prominent positions in advertising and marketing. During his storied career, Morley has served as Group Creative Director at lauded agencies 72andSunny and Deutsch, assumed a Global Brand Marketing Director role at Nike and worked as the global head of marketing and creative at both DC Shoes and Skullcandy. Morley also collaborated with Donut Co-Founder/Director Ben Conrad on the world-renowned Gymkhana branded content series.

According to the new Donut executive advisor, the Los Angeles-based publisher’s automotive focus is something that’s appealed to him for quite some time. “Creating and distributing auto-specific content is an opportunity I’ve been thinking about since my days of working on the original Gymkhana films,” says Morley, who has also helped shape strategy and content for disruptive startups, top-tier brands such as Samsung, ESPN, Target, Marvel, Fender, the NBA and has been recognized by the likes of Cannes Lions and One Show in the process. “I love [Donut CEO] Matt Levin and Ben’s vision, and the Donut team is doing amazing work, which makes this a great fit. The goal is to make auto culture, pop culture, and I hope to help and build on the Donut team’s success. It’s all about making content people care about and want to share.”

Regarding the appointment of Morley, whose primarily responsibilities at Donut will be collaborating on behalf of clients, helping develop concepts and creative directing around original content, Levin says the veteran’s substantial background and close ties with the publisher’s leadership make him an ideal fit as Executive Creative Consultant. “Since Donut’s inception, we’ve had a strong belief in the coming hybridization of agencies and publishers, and while we have quickly become the leading publisher in automotive social video, now is the time for us to begin on the path of offering our clients agency-type thinking and services. Nate is someone we have a long relationship with, and his deep experience – evidenced by years of success – makes him the perfect person to take this first step with.”


About Donut Media:

Donut Media is turning car culture into pop culture. By combining top industry creators with a data-driven creative process, Donut has become the fastest growing millennial-focused publisher of automotive content. Donut has since taken these innovations to create high-quality, targeted branded content for some of the world’s biggest advertisers, as well as creating a slate of original programming for television. Donut Media was founded in 2015 by Ben Conrad (director, Gymkhana 4-8), Matthew Levin (AwesomenessTV), and a team from Fullscreen and more.

Parachute Showcases Colorful Food Fare and NYC Denizens in Animated Film for City Harvest

NYC-based boutique VFX company Parachute highlights a host of nutritious culinary goods for a good cause in a vivid, new animated spot that promotes hometown food rescue and distribution nonprofit, City Harvest.

Working in partnership with NYC innovation company Makeable, the campaign, which launched November 17th, bucks the serious, distressed tone of most philanthropic and hunger-related campaigns with an optimistic, inspirational look at helping to feed the residents of NYC. The uplifting and iconic imagery represents hope in City Harvest’s mission to nourish the city and its people; it’s a big departure from typical work in this category – one that’s about the solution and not about the problem.

Parachute helped bring Makeable’s design-driven idea and campaign to life through a colorful, iconic animated ​film, which aims to rally and encourage all New Yorkers to support the city and its people by becoming involved with City Harvest. “This animated approach and its message focus on the hope, positivity and optimism of City Harvest ” Parachute VFX Producer Nicole Melius explains, “and the daily impact the organization and its supporters have on our fellow New Yorkers in need.”

The City Harvest effort came together in rather quick succession. In just a month’s time, Parachute – led by Founder/VFX Supervisor Sam O’Hare and Lead Animator/Designer Anthony Ferrara – ​fine-tuned and ​finalized timing, animatics and animation for this pro bono project, which emphasizes the organization’s campaign message, “Let’s Gather Together to Feed NYC.”

The City Harvest project continues Parachute’s commitment to green initiatives and giving back to the community. Melius expands on the project and describes how rewarding and collaborative the experience was. “City Harvest is so friendly and helpful – it’s one thing to donate time and money to a good cause, it’s another to work with people who are so appreciative and positive of that donated time/work. We really found it incredible to see how many people were willing to donate their time, lower their rates and jump in on something fun and creative like this video.”

Makeable’s campaign coincides with City Harvest’s 35th year in operation, and will launch across OOH,
digital/social, radio and TV. The strategy and creative approach developed by the company is just the ​first step in this initiative; using the approach more broadly across programs, social media, activations and experiences is planned down the line in 2018.



Client: City Harvest

Agency: Makeable
Creative Team: Michael Kantrow
Creative Team: Sam Kantrow
Creative Team: Ryan Fleming
Creative Team: Brian Flatow

VFX Company: Parachute
Executive Producer: Sara Eolin
VFX Supervisor: Sam O’Hare
VFX Producer: Nicole Melius
Lead Animation Artist: Anthony Ferrara
Post Production Assistant: Alana Casto

About Parachute:

Parachute is a NYC-based boutique visual effects company founded by artist, Sam O’Hare. Sam comes from a background in architecture and design in England, which helped propel him into the world of photo-realistic CGI production here in the US. We’re here for it all, and everything in between. We’re smart, nimble, detailed, and can make a pretty exceptional cocktail (both through actuality or through extensive knowledge in fluid sims).

LOGAN Melds Mystery, Subtle Humor and Neon-Lit Flair to Help Introduce Square Register

Award-winning bi-coastal content creation studio LOGAN has unveiled a brisk, neon-filled spot in collaboration with the Square creative team to herald the launch of their new, fully integrated point-of-sale, Square Register.

Giving a sly wink and nod to the often dramatic, elaborate product reveals from tech brands while promoting a new Silicon Valley innovation, LOGAN director Jens Gehlhaar worked directly with Square to create a campaign that feels both vintage and vivid. “It’s a suspenseful product reveal with the device coming out of black, but it’s all done practically and told literally, in a more gritty than glossy way. We’re using no metaphors, we’re actually unboxing the product and setting it up,” Gehlhaar explains. “It’s a bit of a commentary on overly dramatic product reveals and unboxing videos.”

Shot at Hubble Studios in downtown Los Angeles over the course of “one long day,” the Square Register spot showcases the unique juxtaposition of a dark, mysterious space and several bright neon signs that emphasize the stylish product’s features and functionality. According to Gehlhaar, the LOGAN team had to be agile and use some ingenuity due to the short timeframe for production as well as the variety of neon signage, which was all created digitally. “I do like building sets on stage quite a bit because I can control the geometry of the space for my framings. However, the neon signs weren’t done practically but created in CG. On the set, we used blue and red light sources off frame to get interactive light. We did a bit of previsualization to make sure the devices and signs could be framed together and held in focus.”

Following the intensive shoot and a few weeks of post-production that included modeling, look development, lighting, texturing and compositing, LOGAN Executive Producer Paul Abatemarco adds that working in close collaboration with a savvy brand like Square helped make the Register project a success. “When Square approached us and described to me what they were trying to accomplish with their project, I instantly knew that we were the right partner for them,” he recalls. “We really shine when a client needs a partner, not just a vendor, to help them manifest an idea in a visual and effective way. They brought us a script and had a vision and framework for the creative approach, and I felt like our ability to exceed their creative expectations while also being able to efficiently deliver multiple deliverables would be a goal we could achieve. For us, it wasn’t just about creating a very interesting, dynamic piece, but it was also about further proving our abilities to be a strong partner to a new client – both creatively and also from a production standpoint.”

“The whole LOGAN team made for one talented and thoughtful partner,” said Square’s Sean Conroy. “They understood our vision from the start and really went above and beyond to make it a reality. Their work in creating these neon signs (again: not real!) was astounding. It was a joy and a privilege to work with them.”

The Square Register spot marks the latest marketing campaign from LOGAN following its work with Netflix on the interactive Santa Clarita Diet effort, the Clio-winning viral video campaign for 20th Century Fox’s X-Men: Apocalypse and recent work on brand campaigns include Apple, Nike, BMW, Clinique and Cisco, among others.



Production Company/Post Production: LOGAN
Director: Jens Gehlhaar
Creative Director: Alex Hanson
VFX Supervisor: Eric DeHaven
Executive Producer: Paul Abatemarco
Line Producer: Jake Blasco
Post Producer: Michael Shores
Editor: Healy Snow

About LOGAN:

LOGAN ( is a Los Angeles and New York-based award-winning creative studio. Logan & Sons ( is the live-action division of LOGAN that represents a broad spectrum of directorial talent.

Multifaceted Writer-Director Pamela Romanowsky Boards Rocket Film

On the heels of signing acclaimed food and lifestyle filmmaker/photographer Ben Fink, bicoastal production company Rocket Film continues to boost its already robust directorial roster by welcoming Pamela Romanowsky to the fold.

A multi-talented writer-director, Romanowsky has established herself through feature films such as the memoir-based Sundance and Tribeca entry The Adderall Diaries, as well as short-form and branded content for Sotheby’s, Dove Chocolate and Refinery29. After connecting with Rocket Film through her alliance with Alma Har’el’s celebrated nonprofit hub for female filmmakers, Free the Bid, she discovered plenty of kindred spirits throughout the production company’s leadership and team. “Rocket is a small and tightly-knit group, a real community, and you can feel that,” Romanowsky says. “There’s an open exchange of ideas, support, and enthusiasm and there’s a real cultivation of passion within this group that is exactly in line with how I feel. I love what I do and I want to work with other people who embrace the adventure with positivity, passion and a collaborative spirit. Rocket shares my belief that the inevitable stresses of the job should be approached with patience and kindness and seriously outweighed by the joy of the job.”

Drawing inspiration from revered filmmakers such as Sidney Lumet, Alfonso Cuaron, Spike Jonze, Paul Thomas Anderson and Sofia Coppola to musical artists like Frank Ocean and Lucinda Williams, Romanowsky is not only driven by the fundamental elements of character and story with each and every project, but abides by one key ethos in the process: go all-in. “I believe in guts and heart and teeth: Live for the adventure, have the balls to do everything with sincerity and kindness and passion, and be relentless for what you care about,” states the director, who describes her directing style and approach as “empathetic” by nature. “I put everything into my projects. I don’t ever walk away from set feeling like there’s something else I could’ve tried or listened to or pushed for. I want to know what makes people tick. And I want to talk about it.”

Now as part of Rocket Film’s directing team, Romanowsky hopes to expand her scope of work by, among other things, making commercials and other forms of content that intertwine genre elements with a humanistic approach. “Ultimately, I want to marry my loves of character and adventure in my work at Rocket,” she adds. “I love anything fast and thrilling and am obsessed with cars, motorcycles and athletes. I want to use my narrative, story and character-based point of view to deepen and enrich those thrilling images, so you feel that adrenaline and inspiration in yourself. A scene doesn’t have to be quiet or understated to be emotional and impactful. It’s all about style and substance.”

According to Rocket Film Co-Founder/Managing Director Sara Eolin , Romanowsky’s unflinching confidence and compassion towards her work makes her an ideal fit within the production company’s roster. “Pamela is a baddass, which is my favorite kind of person. She’s dives into projects full heart and soul, and that makes her work extremely powerful. If she can direct a film with novice actors who are speaking entirely in Zulu that makes you cry? That’s the power of a great director.”


About Rocket Film:

Remember the wonderment of looking up into the sky, and letting your creativity run wild? You wanted to be an astronaut, a bounty hunter… or a filmmaker. Well, we still do…a filmmaker, that is… Our passion is creating environments which truly empower artists, and through that, we change the world, one project at a time. Because when brilliant creative is your North Star, the sky no longer becomes the limit. We are Rocket Film.

Whitehouse Post Editor Tobias Suhm Relocates to Los Angeles

Two years after signing with Whitehouse Post for Los Angeles representation, Editor Tobias Suhm has officially made his move to the West Coast.

The formerly Berlin-based editor brings well over a decade’s worth of experience to LA, where he looks forward to raising his family as well as the bar on his level of work. “I hope to be able to work with the most talented people in the industry here in the states,” Suhm says. “I figured if I’d want to work on a seriously high, international level, the best place for that would be at the Whitehouse in Los Angeles.”

Throughout his career Suhm has grown his talent working on projects for renowned brands such as Nike, Dollar Shave Club, Gucci and particularly in the automotive sector for the likes of Land Rover, Mercedes-Benz, Chevrolet, Toyota, Lexus, and Volkswagen. Having spent the last few years at Whitehouse Post, the Editor has found a venue that not only fosters his creativity but kinship in the process. “Everything at Whitehouse has felt very friendly, almost family-like, from the beginning,” says Suhm, who most recently earned a Webby and Clio for his work on Hornbach. “I think it is very important to be surrounded by people that you ‘click’ with instantly, only then you can thrive and get the most potential out of yourself.”

According to Whitehouse Post Director of New Business Development Joni Williamson, the award-winning editorial company has admired Suhm’s work over the years and gladly welcomes him to Los Angeles. “We knew we needed Tobias on our roster when we saw his epic BMW Manifesto spot,” says Williamson. “Tobias has formed solid relationships from afar which is no easy feat. He is determined, kind, and insanely talented. We are beyond thrilled to welcome him to the Whitehouse gang.”


About Whitehouse Post:

Whitehouse Post believes in the art and craft of editorial storytelling built in a creative and supportive environment. Central to this philosophy is an emphasis on nurturing the best young talent into excellent storytellers who consider the importance of visuals, music and sound working together. Production and finishing partnerships with sister companies Cap Gun Collective and Carbon VFX, as well as with design-driven production company Gentleman Scholar, further cement Whitehouse Post as an invaluable creative resource for its clients. The studio’s deep reel of notable spots for high-profile brands and work on feature films and documentaries have earned hundreds of honors from AICP, BTAA, D&AD, Clio, and Cannes.

Whitehouse Post Signs Hustle for East Coast Representation

Editorial company Whitehouse Post has signed New York-based talent management company Hustle for East Coast representation.

“Whitehouse New York is delighted to have finally landed Hustle, having set eyes on them some time ago,” says Whitehouse Editor/Partner Alaster Jordan. “They have a blue-chip roster, a great team, and a fresh approach to sales and marketing in a constantly evolving environment.”

With a client roster that spans live-action, interactive, experiential, post-production and features fellow renowned companies such as Tool, Partizan, Gifted Youth, Humble, MediaMonks, The Sweet Shop, HUSH, Chromista, Blacklist, Jam3, Duotone, and NO6, Hustle serves as an ideal outlet to increase the exposure of Whitehouse Post New York’s noteworthy editors to directors, agencies and direct-to-brand clients. “Hustle’s elite roster gives them access to information regarding the most creative work happening in New York,” adds Executive Producer Caitlin Grady. “They will help us position ourselves to be considered for those jobs. Our reels speak for themselves, but Hustle will get them in front of the right people.”

According to Hustle Partners Anya Zander and Jake Neske, Whitehouse Post adds significant value to the talent rep company, which has firmly established itself over the past few years in the East Coast market, “There are few companies in this industry that develop and grow their talent the way in which Whitehouse has proven to time and time again. There is a true bond between the numerous offices that allows them to seamlessly support their talent and maintain an incredibly high standard of creative integrity. We are honored to be working with a group of people we believe in both creatively and as human beings as well; great people crafting great work.”


About Whitehouse Post:

Whitehouse Post believes in the art and craft of editorial storytelling built in a creative and supportive environment. Central to this philosophy is an emphasis on nurturing the best young talent into excellent storytellers who consider the importance of visuals, music and sound working together. Production and finishing partnerships with sister companies Cap Gun Collective and Carbon VFX, as well as with design-driven production company Gentleman Scholar, further cement Whitehouse Post as an invaluable creative resource for its clients. The studio’s deep reel of notable spots for high-profile brands and work on feature films and documentaries have earned hundreds of honors from AICP, BTAA, D&AD, Clio, and Cannes.

Rocket Film Signs on Acclaimed Food & Lifestyle Director/Photographer Ben Fink

Bicoastal production company Rocket Film has added to its award-winning directorial roster by signing on multitalented filmmaker/photographer, Ben Fink.

With over 30 years of experience behind the lens, Fink has not only conveyed his creative flair and unique artistic vision for high-profile brands such as Kraft, McDonald’s, Burger King, Food Network, Eggo Waffles, Hellmann’s and Hillshire Farms, but has established himself as a premier visual storyteller in the food and lifestyle sectors. According to the prolific Fink, who has collaborated on projects with culinary stars and organizations including Bobby Flay, Daniel Boulud, Rachael Ray, Anne Burrell and the Culinary Institute of America, food has consistently served as a fundamental, connective subject to capture during his career. “In shooting editorial articles for years around the world, I found one thing we all have in common is we need to eat to stay alive. This is always an entry point into a culture that might be so very different from your own. You may not even be able to communicate verbally but, somehow, food will bring you together. It makes people smile, sometimes frown, but often laugh. It’s a neutralizer, and often a common ground place.”

Beyond his renowned forays into food, Fink has shown his versatility as both a director and photographer across the globe, from turning his camera to profile open heart surgeries on children in Peru, Belarus, China and Sudan to filming a short doc about a Russian Orthodox monk in Jordanville, New York. Along the way, the versatile artist has seamlessly allowed one visual medium to inspire the other. “As a photographer, I can take one image that I think is good photographically and technically as well as for its content, and then through manipulation of color and retouching I can transform an ordinary image into something extraordinary,” Fink explains. “This comes from my background in studying painting, art history in art school as well as graphic design. This influences the motion side of my work as well, in so far as to know how to achieve artful – and often appetizing – moving images, to tell the best story.”

Now, as part of Rocket Film’s roster, Fink has found a venue in which he hopes to hone his filmmaking skills and expand his scope of work from commercials and web content to more short film, features and documentaries. “I want to grow to be the best director I can be, one day a time, to keep my ears, my eyes, and my heart open and expand in directions I didn’t know existed, and not be pigeonholed into one particular genre,” he states. “At Rocket, it feels like we’re all on the same page and coming together to do something potentially really meaningful. I look forward to the work we will do together in the future.”

Regarding her company’s latest directorial signing, Rocket Film Owner and Managing Director Sara Eolin adds that Fink brings something wholly unique yet perfectly fitting to its roster of talent. “Ben’s work looks like a moving painting. Table top is a tough genre to stand out in, and he bowled us over. We’re always looking for collaborators and directors who inspire everyone on the roster. Ben feels like a long lost friend.”


About Rocket Film:

Remember the wonderment of looking up into the sky, and letting your creativity run wild? You wanted to be an astronaut, a bounty hunter… or a filmmaker. Well, we still do…a filmmaker, that is… Our passion is creating environments which truly empower artists, and through that, we change the world, one project at a time. Because when brilliant creative is your North Star, the sky no longer becomes the limit. We are Rocket Film.

Rocket Film Boosts US Presence By Signing Midwest, West Coast Representation

In a move to further hone its team and expand its scope of noteworthy talent, bicoastal production company Rocket Film has signed on Tracy Fetterman and Jeanie DiMaggio for West Coast representation as well as Dawn Rao and Sam Sloma for the Midwest region.

“They are all excited and engaged,” Rocket Film EP/Head of New Business Susanne Kelly says. “These are reps who love the talent, who want to help build our talent, and came to us with clear strategy for how to work in their territories.”

With a lauded directorial roster including Co-Founders/innovators Ken Arlidge and Klaus Obermeyer, narrative storyteller/documentarian Dara Bratt, VFX/architectural maestro Sam O’Hare, TV and commercial director/editor/producer Dave Rogers, visionary commercial auteur Trevor McMahon and multiple Cannes Lions-winning comedy director Alex Grossman, Rocket Film was seeking talent management reps that shared the same can-do spirit and inventiveness, minus the ego. “At Rocket, we want to build a culture not just a company,” Managing Director Sara Eolin adds. “From the directors to the producers to the reps, everyone feeds off each other’s energy and thoughtfulness. When you’re working with people that you love to be around and collaborate with, the work is always better, smarter and tuned in. Dawn & Sam and Tracy & Jeanie were immediate fits.”

Along with Rocket Film, the newly signed West Coast and Midwest reps’ collective client roster includes a variety of fellow revered companies including Park Pictures, Bob Industries, Spotwelders, Harvest Films, and Honor Society.


About Rocket Film:

Remember the wonderment of looking up into the sky, and letting your creativity run wild? You wanted to be an astronaut, a bounty hunter… or a filmmaker. Well, we still do…a filmmaker, that is… Our passion is creating environments which truly empower artists, and through that, we change the world, one project at a time. Because when brilliant creative is your North Star, the sky no longer becomes the limit. We are Rocket Film.

WPP Agency SET Welcomes Top-Tier Agency Lead Lori DeBortoli as Managing Director, West Coast

On the heels of restructuring its leadership and elevating Alasdair Lloyd-Jones to CEO, WPP experience agency SET has appointed longtime production executive Lori DeBortoli to Managing Director of its Portland and Los Angeles offices.

With well over a decade spent working in senior production and client relations roles at top-tier agencies such as Wieden+Kennedy, AKQA and Crispin Porter + Bogusky, DeBortoli brings a wealth of industry experience and acumen to her new MD position at SET, which she says offers plenty of opportunities. “One of the most appealing things about SET is not only constantly making real, physical things that get great press, but that we can partner with anyone – directly with brands, ad agencies should they need us, digital shops, design studios, entertainment companies and more. That is incredibly freeing when you no longer need to look for competitors but instead, look for the best spot to build a bridge.”

As she begins establishing and reinforcing connections as Managing Director at SET West Coast, DeBortoli will handle multiple responsibilities in her new post including engaging potential clients about visions and marketing plans while managing the agency’s office culture, hiring, planning, growth and the P&L for the region.

According to the new SET MD, who has produced projects for P&G, Kraft, Oreo and a variety of Nike campaigns such as the 2011 Nike Mag launch on behalf of the Michael J. Fox Foundation, forging close bonds over the years has been the most rewarding aspect of her career. “My proudest achievement is the relationships and friendships I have made in this business over time that mean the most to me,” DeBortoli states. “That’s where the real gold is. Once you get to see the laugh, the grit, the fight in someone and you learn you can count on them, that’s when you win big.”

Regarding the new MD appointment, SET CEO Lloyd-Jones adds, “I’m very excited to have Lori on our team. Her expertise in nurturing client relationships, her experience across advertising, PR and digital, and her passion as a manager make her the ideal fit to lead the West.”


About SET:

We are a global creative agency made up of designers, architects, and strategists, driven to create deep connections between brands and audiences through concept-driven experiences, primarily in the physical realm.

WPP Agency SET Restructures Leadership, Appoints Alasdair Lloyd-Jones to CEO

WPP experience agency SET has reshaped its leadership team, elevating current President/CSO Alasdair Lloyd-Jones to the role of CEO, while Founder Sabina Teshler and COO Kurt Kujovich will assume the titles of Chairman and President, respectively.

The pivotal management move reflects SET’s steady evolution from a production design and execution shop to a full-scale brand/retail strategy, experience ideation and design, and retail activation agency. “What clients are seeking is a more holistic view on how their brands can transform into experience-led brands,” Lloyd-Jones explains. ”We decided now was a good time to establish a leadership structure that enables us to communicate the power of experiences to propel every part of a brand’s business and drive the development of SET to align to clients’ evolving needs.”

As SET CEO, Lloyd-Jones will now oversee a network that spans Portland, Los Angeles, New York and London and collaborates on inventive, immersive experiences and activations for top-tier brands such as Nike, Sprite, Verizon and BMW. While his primary focus will be on delivering high-level work and developing talent across functions, the SET chief exec also places top priority on accelerating growth for clients by aligning their brand strategy to how they resonate physically with consumers through activations, retail stores or live events.

As he eases into his new CEO role, Lloyd-Jones acknowledges the challenges that lie ahead in clarifying and extolling the value of brand experience. “The toughest challenge we face is the adoption of the language of brand experience by all types of agencies,” he says. “It reminds me of the early days of the digital era where many costly mistakes were experienced and this slowed the progress of digital adoption among marketers. Our job is to ensure clients get the expertise they need when they make the leap into this space. It’s bigger than us alone, so we want to ensure that the category is well-served and its growth is sustained.”

After spending nearly two decades holding top strategic and planning positions at renowned traditional and digital agencies including Big Spaceship, Cutwater, Ogilvy and Publicis, the new SET CEO was drawn to the experience agency as it offered him the chance to essentially “unlearn” what worked in the past while applying some approaches he had learned along the way. “What I did bring to SET as an immediate asset was an understanding of how to function across multiple geographies and how to run a company going through rapid growth and being of a size that requires different systems and processes,” he recalls. “Still, my background has been largely defined by traditional advertising and digital, so the last three years have been a tremendous learning period. Having gone through this, though, I feel I’m better positioned to help clients make that journey to transform their own thinking.”

Regarding Lloyd-Jones’s appointment to CEO, SET Founder Teshler adds, “As SET continues to experience exponential growth, we couldn’t be happier to have Alasdair lead the company. With his extensive industry experience, creativity and strategic ingenuity, he is an ideal fit to fill the position of chief executive and guide SET moving forward.”


About SET:

We are a global creative agency made up of designers, architects, and strategists, driven to create deep connections between brands and audiences through concept-driven experiences, primarily in the physical realm.

Carbon Welcomes Award-Winning Aubrey Woodiwiss as Lead Colorist in Los Angeles

Full-service creative studio Carbon has bolstered its roster in Los Angeles by welcoming acclaimed, multiple award-winning colorist Aubrey Woodiwiss as Sr. Colorist/Director of Color Grading.

With a portfolio that canvasses the creative spectrum in spots for Dulux, NBA 2K17, Coors, and Honda, to music videos including Beyonce’s groundbreaking “Formation,” Jay-Z’s “On to the Next One,” and the Calvin Harris/Rihanna smash “This Is What You Came For,” Woodiwiss brings his own brand of versatility and vitality to Carbon’s dynamic West Coast studio. “I’m always prepared to bend and shape myself around the requirements of the project at hand, but always with a point of view,” says the new Carbon LA Sr. Colorist, who honed and wielded his craft at The Mill and Electric Theater Collective during his career. “I am fortunate to have been able to collate various experiences within life and work, and have been able to reapply them back into the work I do. I vary my approach and style as required, and never bring a labored or autonomous look to anything. Communication is key, and a large part of what I do as well.”

Woodiwiss’ focus on creativity began during his adolescence, when he experimented with editing films on VHS and later directed and cut homemade music videos. Woodiwiss started his professional career in the early 2000s at Framestore, first as a runner and then as a digital lab operator, helping to pioneer film scanning and digital film tech with box-office hits including Harry Potter, Love Actually, Bridget Jones Diary, and Troy. Along the way, Woodiwiss has parlayed his craft into multiple Best Colorist nods, a D&AD Black Pencil for his work with Film4, British Craft Arrow shortlists, and UK Music Video Awards.

While he’s traversed creative mediums from film, commercials, music videos, and onward on over 3,000 projects, he maintains a linear mindset when it comes to each project. “I approach them similarly in that I try to realize the vision set by the creators of the project,” adds Woodiwiss, who not only co-creative directed the immersive mixed media art exhibition and initiative, ‘mentl’, with Pulse Films director Ben Newman and producer Craig Newman (Radiohead, Nick Cave , Chris Cunningham ), but has worked with other renowned filmmakers including Emil Nava, Chris Hewitt, Seb Edwards, Sam Brown, Melina Matsoukas, Scott Lyon, Andreas Nilsson, Marcus Söderlund, and Jamie Rafn throughout his career.

According to Carbon LA Executive Producer Matt McManus, Woodiwiss brings a keen vision and breadth of experience to further elevate the West Coast’s creative output. “The caliber of work from Aubrey is truly extraordinary. Bringing such an elevated talent to Carbon LA is a great way to expand our services into a full color operation and to integrate that with the compositing talent we have is really very exciting. Could not be happier with such a wonderful team.” For Aubrey, the decision to join Carbon was based on its potential, saying “many factors attracted me to sign with Carbon, but what I am most excited about is the growth potential for color and the benefits that will have in making Carbon a leading VFX company.”

Now at Carbon, Woodiwiss will be reunited with CD/Lead Flame artist John Price who he collaborated with on notable projects including Beyonce’s “Formation” video. “The two possess diverse skill sets that complement one another and they represent an unparalleled level of talent that will be beneficial to all our clients,” said Carbon Partner Frank Devlin. “Bringing Aubrey on board dramatically increases our visibility in LA and enhances the Carbon brand overall. With his commitment, we are aggressively pursuing color grading with a great offering,” he adds.

Carbon’s addition of the Baselight color system and Woodiwiss as Sr. Colorist to its well established VFX/Design services marks a significant investment by offering its clients a complete post solution in Los Angeles. The new state of the art color suite in turn allows the studio to stay creatively competitive while providing opportunities to service other segments of the marketplace including feature films, broadcast, and cable projects. Plans are in the works to offer remote grading capabilities from any of the Carbon offices in NY, Chicago and Los Angeles to further capitalize on the immense talent the company has to offer nationwide.


About Carbon:

Carbon is a full-service creative studio specializing in design, color, visual effects and motion graphics. With a holistic approach to client servicing, we collaborate at every stage of the process to create work that leaves a lasting impression.

Whitehouse Post Appoints Joanna Manning to Executive Producer in Los Angeles

Renowned editorial company Whitehouse Post has solidified its leadership in its Los Angeles office by appointing longtime production head Joanna Manning to the role of Executive Producer.

Manning has spent over 13 years at Whitehouse Post LA, where she steadily moved from assistant to Senior Producer to Head of Production. She brings a wealth of experience to her new position, where she’ll be responsible for keeping editors engaged, connecting with clients, and maintaining interconnectivity with her local team and the teams across all offices.

Looking ahead, the newly minted Whitehouse Post LA EP plans to maintain the company’s legacy and reputation, while keeping the spotlight on its distinguished editorial roster. “I want Whitehouse to continue to be a shop where clients, directors, and all production types are eager to bring their work,” Manning states. “I want to make sure our editors continue to be on everyone’s radar and also help them to make great connections with agencies and production companies. Our editors are our lifeblood; building their reels and careers is of utmost importance to me, and our company.”

During her lengthy tenure at Whitehouse Post, Manning has collaborated with an extensive array of high-profile brands and directors on projects including Apple’s “Your Verse,” directed by Oscar winner Emmanuel “Chivo” Lubezki, the Henry-Alex Rubin-helmed “Create What’s Next” campaign for Adidas, and Prettybird co-founder Paul Hunter’s Kia spots starring Blake Griffin.

According to the EP, the pressure and adventure that lies ahead with each project – no matter the scale – has always been one of the most appealing parts of her job. “I love the projects that use all of your brain-power, all of your resources, and loads of creative thinking and problem-solving,” Manning adds. “For instance, if a job is shooting in a far-off land, editing in multiple offices across The Whitehouse ecosystem, and has an intense deadline, I am in my happy place. My favorite part, regardless, is feeling the energy surrounding a project when everyone on it knows they are working hard to produce something that’s going to be great.”

With the EP appointment, Manning succeeds fellow longtime company mainstay Joni Williamson, who was recently elevated to the national role of Director of New Business Development. Regarding the LA leadership transition, Whitehouse Post Managing Director David Brixton says that the move couldn’t have been more seamless and the successor more ideal. “We are lucky to have Joanna fill the role of Executive Producer. Her wealth of experience and history with the Whitehouse makes her the perfect fit to lead us in Los Angeles.”


About Whitehouse Post:

Whitehouse Post believes in the art and craft of editorial storytelling built in a creative and supportive environment. Central to this philosophy is an emphasis on nurturing the best young talent into excellent storytellers who consider the importance of visuals, music and sound working together. Production and finishing partnerships with sister companies Cap Gun Collective and Carbon VFX, as well as with design-driven production company Gentleman Scholar, further cement Whitehouse Post as an invaluable creative resource for its clients. The studio’s deep reel of notable spots for high-profile brands and work on feature films and documentaries have earned hundreds of honors from AICP, BTAA, D&AD, Clio, and Cannes.

Whitehouse Post Elevates LA EP Joni Williamson to Director of New Business Development

Venerable editorial company Whitehouse Post has reinforced its leadership team by promoting its longtime Los Angeles Executive Producer Joni Williamson to the national position of Director of New Business Development.

With nearly two decades of experience at Whitehouse Post LA, where she’s moved through the ranks and on throughout every production role possible before heading the office as EP, Williamson now assumes a role at the company that’s both exciting and unique. “I never pictured myself purely in a sales role,” she says. “Professionally, though, I know there’s one thing on this earth that I can talk endlessly about—our insanely talented editors. In this ever-changing business, there are lots of exciting new companies popping up everywhere, and I want them to know that they should be editing with the Whitehouse.”

As Whitehouse Post’s newly minted Director of New Business Development, Williamson, on a day-to-day basis, will focus on reinforcing direct-to-client relationships, working with the Whitehouse Post sales teams on agency presentations and providing veteran insights, and collaborating directly with editors on strategizing best opportunities for the Whitehouse roster as a whole.

“I’m hoping to gain a lot of exposure to new clients, all the while maintaining our lasting relationships with the client base that has been loyal to us for so long,” adds the exec, who will remain in LA, but will work across Whitehouse’s US network and regularly connect with the London hub. “There are so many new, talented, young directors joining the business and I’m looking forward to working with them. I can’t wait to share the love.”

During her lengthy tenure at Whitehouse Post, Williamson has worked alongside a multitude of renowned editors, directors, agencies, and brands. Along the way, she’s produced notable work, which she also considers career highlights, such as Pedigree’s “We’re for Dogs” campaign out of TBWA/Chiat/Day LA that was directed by Jake Scott and edited by Rick Lawley and Heidi Black, comedy spots for T-Mobile out of Publicis Seattle, edited by David Brixton, as well as her first Subaru commercial, the Emmy-nominated “Baby Driver”, which was edited by Rick Lawley.

According to Whitehouse Post Managing Partner David Brixton, Williamson’s extensive experience and deep understanding of the company and its history make her a natural fit to take on such a high-profile, wide scale new business position. “We are thrilled to welcome Joni into this new role. Her previous background as Executive Producer, paired with her deep knowledge of the company and market, make her an unparalleled asset in leading our New Business.”


About Whitehouse Post:

Whitehouse Post believes in the art and craft of editorial storytelling built in a creative and supportive environment. Central to this philosophy is an emphasis on nurturing the best young talent into excellent storytellers who consider the importance of visuals, music and sound working together. Production and finishing partnerships with sister companies Cap Gun Collective and Carbon VFX, as well as with design-driven production company Gentleman Scholar, further cement Whitehouse Post as an invaluable creative resource for its clients. The studio’s deep reel of notable spots for high-profile brands and work on feature films and documentaries have earned hundreds of honors from AICP, BTAA, D&AD, Clio, and Cannes.

WPP Agency SET Launches Smart Home Innovator, Hive, to North America through Vibrant Activations and Retail Engagements

WPP experience agency SET kicks off its partnership with smart home innovator, Hive, by developing retail strategy and environmental installations to help launch the brand in North America.

Building on the launch of Hive’s global repositioning campaign #LetsGetLiving created by its AOR CHI&Partners, SET initially developed an immersive set of activations for launch in seven test markets in middle America and Canada, all focused on generating PR, engaging consumers and gaining awareness among influencers and key retailers.

Among SET’s noteworthy executions was a multi-room pop-up that brings together education, playful product experience and commerce. With social media moments in mind, SET designed vivid, playground-like spaces for adults and kids alike to capture and share memories including a ball pit with ambient color supplied by Hive bulbs and an artificial tree-shaded rest spot complete with video and app-controlled lights and breeze. “The experience direction we looked to achieve was to enable people to immerse themselves in the proposition of what it feels like to Get Living and incorporate Hive’s products throughout the experience to demonstrate how Hive played the role of enabler in the proposition.” says SET President/Chief Strategy Officer Alasdair Lloyd-Jones. Following the initial activations, SET designed and developed standalone mall kiosks to generate awareness and commitments from key retailers and merchandising solutions across all forms of retail from big box to cultural retail.

“Critical to the success of our work was the need to achieve consistency across all channels for Hive,” SET Creative Director Cooper Gill explains. “As a result, our physical builds really feel like you’ve stepped into the brand and each digital touchpoint is a refinement on their existing platforms. Once we start rolling out retail initiatives at major partners like Target, Best Buy, and Home Depot, all channels will feel like one system.”

With its complete system approach and subscription-based model, Hive offers one key differentiator in the smart home marketplace according to Lloyd-Jones. “As a smart home user, there’s nothing more frustrating than having multiple smart home solutions working off multiple apps to engage the smart home functionality,” notes the exec. “Hive offers a complete system and it all works through one simple app and this is what excited us most. It’s a real differentiator and Hive, as far as we are aware, offers the only complete system in the market.”

With the smart home proposition still living at the bleeding edge of technology, SET took the approach of making the experience help users acclimate to the concept of app-based home control systems, but also seamlessly translate Hive’s leading position in the space. Given the extent of the launch, SET had to work closely across several functions and geographies within Hive to deliver solutions that all parties aligned with, and according to Lloyd-Jones, Hive’s commitment to making this work as seamlessly as possible played a significant factor in the success of this launch.

“We want Hive to be a smart home leader in North America and be a leading voice in the category,” the SET exec adds. “Their approach is considered with a focus on the consumer being at the center of the experience. They deserve to do well and we look forward to partnering with them as they expand their footprint globally.”



About SET:

We are a global creative agency made up of designers, architects, and strategists, driven to create deep connections between brand and audience through concept-driven experiences, primarily in the physical realm.

We collaborate with innovators to solve complex business problems through inventive user experience and design.

General Population, Public House Films Partner to Form Sundance-Exclusive Finishing Fund, GenPop-Public House

Renowned production companies General Population and Public House Films have joined forces launch a new, Sundance Film Festival-exclusive finishing fund dubbed GenPop-Public House.

Led by Sundance alumni, Nick Moceri (A Girl Walks Home Alone at Night, Deidra & Lainey Rob a Train) and Producer Aaron Boyd (Columbus), GenPop-Public House aims to benefit emerging filmmakers and producers by providing financing for films in need of help during the crucial push between being accepted to Sundance before Thanksgiving to the festival premiere itself. “As producers of Sundance films, Aaron and I know firsthand what a scramble it can be to get a film done in time,” says Moceri, who serves as Head of Film & TV Development at GenPop. “We understand the unique challenges that filmmakers and producers having during this window of time, and we want to help be part of the solution. We know that every year there are films scrambling for extra funds, and we want to be there to support them.”

Investments will vary per film, and both narrative and documentary films are eligible for support. The fund is targeted to those films that have been submitted to Sundance. Regarding the Sundance exclusivity, Moceri explains, “If it weren’t for Sundance supporting the first two films I was involved with as a producer, I wouldn’t have a career. I believe in the mission of the festival, and the Sundance Institute as a whole, and that’s where we want to focus our energies for this venture. Sundance is one of the few truly premiere film festivals in the world, which means added pressure and eyeballs, and we want films to have their best opportunity possible to shine and sell to distributors that will bring them to a larger audience.”

Primarily intended to cover post-production finishing costs and festival support, including publicity and sales, GenPop-Public House’s investments fulfill the fund’s goal of of helping filmmaking and production talent get their films ready for Sundance by providing the financing needed to achieve their vision. “GenPop and Public House are production companies,” adds Boyd, “and this is an opportunity to develop new relationships with other filmmakers and producers, which will hopefully be beneficial to everyone involved.”



For any questions or interest, please contact Nick Moceri,, 310-435-3697.

About General Population:

Founded in 2015 by Ben Conrad and Nick Moceri. General Population is a multi-platform content creation studio creating stories and experiences for an ever-changing media landscape.

About Public House Films:

Public House Films is a new film finance, development and production company focused on producing elevated content through traditional and emerging models. Founded in 2017 by producers Aaron Boyd and Ryan Frost and private equity investor Thane Ritchie.

Sibling Rivalry Signs Renowned Dance/Performance-Driven Director Andy Margetson

Award-winning production studio Sibling Rivalry has strengthened its already robust directorial roster by signing on filmmaker Andy Margetson.

Renowned for his work in the mediums of dance and performance, Margetson has infused his talents and enthusiasm for choreography and movement into a broad range of mesmerizing, lauded projects including short films for the Royal Ballet and dancer Lil Buck/Louis Vuitton, D&AD, Promax, Effie and BTA Award-winning commercial/ident work for Canon, MTV and the BBC, and most recently, the “Made to Flex” spot for Timberland.

By signing with Sibling Rivalry, Margetson now has a potential opportunity to attract a more mainstream audience to his dance-oriented films, which is something that continues to pique his interest. “The challenge is always how to engage the non-dance crowd,” says the director, who has also ventured into dark comedy with his own short film and festival favorite, Help Point. “I’m always looking for a way into the performance via some writing or dialogue, but it can be hard. I’m so amazed by what great dancers can actually do with their bodies that I just kind of want to see it as clearly as possible. So technically, I’m looking to make something beautiful, whilst at the same time holding onto a very clear and bright aesthetic.”

While he takes a vivid aesthetic approach, Margetson says that collaborating with a variety of talented dancers over the years has also taught him a certain level of “restraint” when it comes to his filmmaking style. “My short dance films tend to be stylistically austere and simple,” adds the director, who notes that music is always the starting point with his dance projects. “I just want to watch them, and don’t want any tricks or stylistic devices to get in the way of seeing that raw talent for what it is.”

According to Sibling Rivalry Partner/Co-Founder Maggie Meade, the addition of Margetson brings fresh artistic perspective to the thriving studio. “We are thrilled to add Andy to our roster. His quiet beauty in the performances of his films really appealed to our design sensibility.”


About Sibling Rivalry:

Sibling Rivalry creates stories with a distinct design sensibility. Our multidisciplinary team provides production solutions for live action commercial, digital, post production, experiential, as well as design and branding. We produce and create content across all media for a broad spectrum of clients, agencies and brands. Our methodology is driven by collaboration. We are all Siblings.

WPP Live Experience Agency SET Live Launches in North America

On the heels of designing the lauded Cannes Lions 2017 ‘YouTube Beach’ activation and building a robust presence in Europe and globally for the last 11 years, WPP live experience agency SET Live has opened its doors in North America.

A sibling of experience design and strategy agency SET, New York-based SET Live North America presents a new offering for SET’s existing US client base, which includes other high-profile brands such as Verizon. “Our core capability revolves around world-class strategic thinking, inspired creativity and impeccable delivery to create effective live events,” SET Live North America Managing Director Alan Doyle explains. “By being able to pull together a huge range of different – and ever-changing – disciplines, we offer a complete service across projects that come in many different forms, from sponsorship activation to exhibitions to stage shows.”

Along with Doyle, SET Live North America’s leadership includes Technical Director and George P. Johnson alum Martin Szymanski and Global Executive Creative Director Guy Tremlett, who believes that the agency’s collaborative working nature sets it apart in a highly competitive industry. “More often than not, ‘events’ agencies need to work alongside existing client agency partners – and their clients in other departments. Many of our competitors struggle to embrace this – particularly the larger ones. We’re the opposite and have many examples where we’ve collaborated to the benefit of all parties and most importantly the client.”

With a focus on positioning itself as a creative and strategic partner renowned for its live executions, SET Live has applied its collaborative approach on events for high-profile brands including digital media company Oath, was a key part of virtual agency teams for Castrol, partners with several departments within Heineken on sponsorship activations and helps launch activations for luxury automaker, Bentley.

As SET Live North America establishes its New York base, Doyle says that the creative and commercial ambitions of the company are unified. “Every project we take represents a creative opportunity for us and we have a genuine hunger to deliver inspirational solutions for our clients’ problems,” explains the Managing Director. “We’re creative people, whose desire to innovate, to build something new and compelling is innate. It’s also because it’s this kind of work that is the most effective at meeting the client’s needs, that gets people engaged, talking and sharing.”

SET Live North America is eager to now leverage its extensive global experience and show that it’s well-equipped to handle new market conditions across the Atlantic. With oversight from a leadership team that draws knowledge from combined European and local expertise, Doyle adds that the opportunities in North America are “fantastic” for SET Live.

“We have the advantages of our heritage in Europe and a North American network provided by SET and WPP,” says the exec, who reveals that SET Live North America plans to expand its reach in the region by launching in Portland this fall. “Plus, we have a great story to tell.”


About SET Live:

We use our deep-rooted understanding of live audiences to help brands solve specific business problems. We do this by conceiving and delivering events and experiences designed to alter perception and change the behavior of those physically attending, as well as creating opportunities to influence many more ‘following’ virtually.