Spotlight on…VFX and post-production in Bristol

This month, we take a deep dive into our members based in Bristol and its visual effects and post-production sector. Learn more about these studios and take a look at some of their recent projects.

Films at 59

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Founded in 1990 by joint MDs Gina Fucci and Jeanne Thompson, Films at 59 has grown steadily in size with sites in both Bristol and Cardiff and collaborative working relationships worldwide. They offer kit rental and post-production facilities, with rolling new talent initiatives. In 2021, the company was transferred to an Employee Benefit Trust, transforming their team of expert collaborators were to shareholders.

They have delivered thousands of hours of content since launch and are approved suppliers for the major streaming platforms and channels worldwide, contributing to award-winning content filmed and broadcast across genres, at every scale, all over the world. On the post side, they have delivered across drama, entertainment, daytime, documentary and HETV, working on projects such as The Americas, Planet Earth III and The Great Celebrity Bake Off for Stand Up to Cancer.

See more about Films at 59 on their website here.

Lux Aeterna

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Lux Aeterna is an award-winning studio that creates high-end VFX, specialising in simulation, environment, natural phenomena, crowds, and creative abstract FX. They offer services from pre to post-production, and a world-class pipeline and flexible shot management platform, with a dedicated R&D department. The studio is independently owned after more than 25 years in business, working across multiple territories, with an expansive and ever-growing foundation.

The team of artists produces content across television, film, brands, commercials, live events and digital media. They have worked on projects such as BAFTA and Emmy-winning The Surgeon’s Cut; Our Universe, which was nominated in the visual effects category at the 2023 Televisual Bulldog Awards; and Solar System, which won the RTS West of England award in the VFX & Digital Creativity category.

See more about Lux Aeterna on their website here.

Moonraker VFX

Established in 2013, Moonraker VFX is a studio set up and run by an experienced team of passionate and creative VFX specialists, led by Creative Director Simon Clarke and Managing Director Jon Grafton. It has built a strong local and international reputation with producers and broadcasters, creating award-winning visual effects content for television, film, commercials, museum and visitor attractions.

They have worked on projects such as Ancient Earth, Planet Earth III and Moonbase: The Next Step. In 2023, they were chosen as one of the Broadcast Best Places to Work in Television.

See more about Moonraker VFX on their website here.

Primary VFX

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Founded in 2019 by four seasoned VFX supervisors, Joe Thornley-Heard, Jem Grimshaw, Steve Hawken and Mark Gregory, Primary VFX is an independent and creative-led visual effects studio, with extensive experience in film, television and commercials.

The purpose-built studio, now TPN Gold Shield certified, is designed for up to thirty in-house artists, with additional capacity for remote collaboration. The boutique setup fosters a vibrant and supportive environment where artists thrive, enabling close collaboration with clients to ensure every project receives top-quality service. They have worked on projects such as Damsel, Bodies and A Good Girl’s Guide to Murder.

See more about Primary VFX on their website here.

Company 3 London expands sound post-production services with new ADR offering

The leading provider of post-production services has announced the expansion of its sound department with the addition of a state-of-the-art ADR (Automated Dialogue Replacement) suite.

This enhancement further strengthens Company 3 London’s comprehensive sound post-production capabilities, providing clients with a seamless and efficient workflow.

Building upon its established reputation for delivering exceptional sound mixing, working on Hulu’s ‘The Great’ and BBC’s ‘Reunion,’ Company 3 London’s new ADR services will cater to the growing demand for high-quality dialogue replacement in film and television. The new ADR studio is fully equipped for high-quality dialogue recording and small crowd sessions. Designed for a smooth workflow, it ensures a comfortable environment for both talent and engineers. In addition, the studio functions as a hybrid 7.1.4 Dolby Atmos mixing room, offering flexible audio post-production capabilities.

Including the ADR studio, Company 3 houses three state of the art mix suites that are all set up for 7.1.4 Dolby Atmos with 4K projection giving you the most immersive experience possible.

We’re thrilled to expand our sound services with the addition of ADR. This expansion allows us to offer our clients a more complete and streamlined post-production experience, all within our London facility.

Becky Start, Head of Episodic Sales at Company 3 London

The addition of ADR to our London sound department is a significant investment in our commitment to providing world-class post-production services. This expansion will enable us to meet the evolving needs of our clients and further solidify Company 3’s position as a leader in the industry.

Billy Gabor, President (London, Los Angeles and Atlanta)

The new ADR suite is now operational and available for bookings by emailing ADRbookings@company3.com.

2025 AMPS Awards celebrated at the University of Greenwich

Members of the sound community gathered at Greenwich University for a special daytime event celebrating the winners of the 2025 AMPS Awards for Television Drama, Factual Film & Product Innovation.

The occasion on 13 April brought together nominees, AMPS members, and invited guests to honour outstanding achievements in screen sound and audio technology — a moment to pause, connect, and recognise excellence across the craft.

The AMPS Awards are unique in being peer-voted honours — recognising creative and technical brilliance as judged by those working within the sound industry. This year’s winners showcased both storytelling depth and technical innovation across multiple formats. See the 2025 AMPS Award winners below.

Excellence in Sound for a Television Drama

Slow Horses – Season 4, Episode 6 ‘Hello Goodbye’

Andrew Sissons AMPS / Duncan Price / Ashley Reynolds / Joe Beal / Martin Jensen

Excellence in Sound for a Factual Film

Secret World of Sound with David Attenborough – Episode 3 ‘Finding a Voice’ Angela Groves / Paul Fisher / Brian Moseley / Ellie Williams AMPS

Excellence in a Production Hardware or Software Audio Product

A20-SuperNexus Wireless Receiver – Sound Devices

Excellence in a Post-Production Hardware or Software Audio Product

dxRevive Pro 1.2 – Accentize

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As part of its long-standing commitment to celebrating collaboration, AMPS also awards Certificates of Merit to each of the creative team members who contribute to the winning soundtracks. This unique practice honours the full spectrum of talent behind every award-winning mix.

The event followed AMPS’ earlier announcement of the Feature Film Award, which went to the sound team behind Dune: Part Two. The team later secured both the BAFTA and Oscar for Best Sound, reinforcing AMPS’ growing reputation as a respected voice within the global sound community.

A highlight of the day was the formal presentation of the AMPS Fellowship to Andrew Wilson, in recognition of his outstanding leadership and long-standing contribution to the sound community. Andrew, who served as AMPS Chair from 2020 to 2025 and remains an active Council member, was acknowledged for his guidance during pivotal moments in the Association’s history — including navigating the Covid pandemic and strengthening AMPS’ global relationships. Learn more about AMPS Fellows and Honorary Members here.

The event also marked a new chapter for AMPS, with the introduction of the newly elected Council. George Foulgham officially took up the role of Chair, joined by returning Vice Chair Kate Davis and newly elected Honorary Secretary Louise Burton. Together, they bring a wealth of experience and a shared commitment to AMPS’ mission: supporting sound professionals and promoting the art of sound in storytelling.

To learn more about AMPS and how to get involved, visit www.amps.net.

Milk VFX and Lola Post expand leadership team with key strategic hires

Industry veterans Sarah Essam and Jonny Vale join as Business Development Producer and Head of Marketing and Communications, strengthening the studios’ reach and market presence.

Milk VFX and Lola Post, two leading studios in visual effects production, have announced the addition of two new senior team members as part of their ongoing growth. Sarah Essam has been appointed as Business Development Producer, while Jonny Vale joins as Head of Marketing and Communications.

With studios in London, Bordeaux, Barcelona, and Dublin, Milk and Lola continue to build momentum across key creative markets. These strategic hires come at a pivotal time as the studios look to deepen client relationships, enhance market visibility, and strengthen their positioning in the global VFX industry.

Essam, a seasoned producer with a wealth of experience working behind the scenes in large-scale VFX production, will be instrumental in supporting business development and client partnerships across both studios. She has previously held production roles at leading studios, with credits on films including Blade Runner 2049, Suicide Squad, Fantastic Beasts and Where to Find Them, and His Dark Materials.

Vale, with over 15 years of marketing and communications experience in the film and episodic industries, has led successful campaigns for major productions, including The Lion King, Prehistoric Planet, The Jungle Book, and Prometheus. His expertise will help enhance the global visibility and showcase the creative capabilities of both Milk and Lola.

I’m thrilled to welcome Sarah and Jonny to our expanding team. Both bring a wealth of experience and a forward-thinking approach that will help drive our continued growth. Sarah will play a pivotal role in deepening relationships with our key clients and further strengthening our presence across our studio network. Jonny’s strategic insight into market engagement will be instrumental in amplifying the visibility of both Milk and Lola and showcasing the breadth and depth of our creative capabilities.

Roo Knight-Jones, Business Development Director at Milk and Lola

These key appointments reflect Milk and Lola’s commitment to further enhancing their industry leadership and expanding their global creative presence.

Digital Orchard announce huge 65mm scanning upgrade in collaboration with Kodak Film Lab London

Digital Orchard Group and Kodak Film Lab London unveil a ground-breaking scanning upgrade, enhancing capabilities across all 65mm formats, including 5-perf, 8-perf, and 15-perf IMAX.

Digital Orchard and Kodak Film Lab London are setting a new benchmark in large-format filmmaking with the introduction of their most advanced scanning upgrade yet, meeting the surging demand for 65mm film. This major investment, developed in collaboration with Kodak, enhances scanning capabilities across all 65mm formats, including 5-perf, 8-perf, and 15-perf IMAX, delivering unparalleled precision and image quality that elevates the visual storytelling experience.

Since opening its Film Shop last year, Digital Orchard’s ‘Orchard Film’ department has rapidly expanded, introducing Super 8 stock, processing, and scanning services, alongside offering solutions for 16mm, 35mm, and 65mm formats. The recent 65mm IMAX scanning upgrade is a game-changer, unlocking exciting new creative possibilities for filmmakers working at the highest level of cinematic storytelling.

The scanning upgrade represents a huge leap forward for us at Digital Orchard. It’s part of our ongoing mission to push the boundaries of what’s possible in the world of film. It’s been fantastic working alongside our partner Kodak to bring this vision to life, and we can’t wait to see how filmmakers will harness this enhanced IMAX capability.

Callum Just, CEO and Founder of Digital Orchard

This decision to upgrade comes in response to the booming resurgence of analogue film, driven by the recent success of Oscar-winning productions shot on Kodak’s legendary film stock, such as The Brutalist, Anora, I’m Still Here, and I’m Not a Robot. The new scanning upgrade perfectly complements Kodak Film Lab London’s recent lab enhancements, which include the largest upgrade in over a decade with the installation of Photomec’s latest operating system. Together, these innovations ensure the highest levels of quality and process control in every project.

It’s been incredible to witness the surge in analogue film’s popularity, and we’re thrilled to continue working with Digital Orchard to amplify this growth. Their new cutting-edge scanning technology, coupled with our own state-of-the-art processing upgrade, ensures filmmakers can achieve the very best in cinematic visuals.

Antonio Rasura, Director of Motion Picture Services at Kodak

Having surpassed 10 million feet of film scanned at its facility based at Kodak in Pinewood Studios, Digital Orchard continues to be a trusted partner for filmmakers, providing expert scanning support and delivering top-tier visuals on every project. Filmmakers are invited to reach out to Digital Orchard or Kodak Film Lab London to discover more about the newly available enhanced 65mm services or to schedule a visit and see the upgraded installation in action.

This upgrade is more than just a technological leap – it marks the next phase in the evolution of film and reaffirms both companies’ commitment to supporting the creative vision of filmmakers with the best tools available.

BlueBolt strengthens tech team

The independent London-based visual effects studio has strengthened its pipeline and systems team with a new appointment and two promotions.

BlueBolt Co-Chief Technology Officer Tom Mawby has been promoted to CTO, Ben Starkey to Head of Systems and Priam Sampaio has joined the studio as Head of Pipeline. 

Having been appointed as co-CTO in 2023 alongside CTO George Siddiqui, Tom will take the reins as sole CTO as George steps into a supporting consultancy role for BlueBolt, effective immediately. 

Tom is responsible for BlueBolt’s technology strategy and operations including systems, pipeline and R&D to support the studio’s roster of film and episodic projects. Tom has over 20 years in technical, R&D and software development leadership roles at visual effects studios; a software vendor; the UK civil service and most recently as Head of Pipeline and co-CTO at BlueBolt. Tom joined BlueBolt in 2020 from a previous role where he led an international software team building a visual effects pipeline.

Now Head of Systems, Ben Starkey joined BlueBolt in 2023 as Lead Systems Engineer from a gaming studio, bringing extensive experience leading systems infrastructure projects gained over 20 years. Priam Sampaio has joined BlueBolt as Head of Pipeline following seven years as Senior Pipeline Technical Director and previous roles at other leading studios.

What makes BlueBolt special isn’t just our creative track record – it’s the people behind it. As we grow this year, I’m focused on making sure our tech can keep pace with our artists’ imaginations, and get out of the way to let them do their incredible work. We’re already seeing real benefits from our microservice framework and our new USD pipeline, and the way that AI tools have been helping accelerate both our developers and artists has been eye-opening. Having Ben and Priam on the tech leadership team brings fresh energy and expertise at the perfect time.

Tom Mawby, Chief Technology Officer at BlueBolt

Tom has done an incredible job as co-CTO over the past two years, alongside George as part of the senior team. Under his technological leadership we look forward to continuing to expand our creative boundaries and maximise our team’s ability to deliver the highest standards of work on screen.

Tracy McCreary, Managing Director at BlueBolt

BlueBolt’s recent projects include VES-nominated work on Robert Egger’s Nosferatu; Steven Knight’s A Thousand Blows; Wolf Hall: The Mirror And the Light (BBC); Emmy-nominated work on True Detective: Night Country; BAFTA-nominated work on Ridley Scott’s Napoleon; Belgravia: The Next Chapter and Bad Sisters season 2 (Apple TV+).

BlueBolt are currently in production on projects including Downton Abbey: The Grand Finale and The Thursday Murder Club (Netflix).

Urgent action needed to protect distinctly British content as MPs call on Government to ramp up support across film and high-end TV industry

The Culture, Media & Sport Committee has published the British film and high-end television report.

• Report outlines steps to maintain overseas investment while safeguarding culturally distinct British productions.
• Independent Film Tax Credit a game-changer but not a silver bullet for all the problems facing independent British film.
• Committee makes recommendations on tax incentives, supporting workforce, independent cinemas and meeting challenges posed by AI.

Tax breaks and a streamer levy should be on the table as part of an urgent package of support for the UK’s crisis-hit high quality drama sector, MPs say today, in a wide-ranging report which urges the Government to step up the assistance it provides for all elements of British film and high-end television.

Today’s report from the Culture, Media and Sport Committee welcomes the Government’s stated ambition to make the UK the best place to make film and high-end television, but warns that there must be no complacency over its status as a global production hub and calls for a regular assessment of tax incentives to maintain investment from overseas.

At the same time, the report recommends a series of measures to halt the decline of domestic production of culturally distinct British film and programmes, which has failed to keep pace with the headline-grabbing growth of big box office productions financed and controlled from outside the UK.

While the introduction last year of the Independent Film Tax Credit – as called for by the previous committee in the last Parliament – was a welcome first step for the film industry, the report says the Government should go further, or producers will continue to struggle to develop and raise finance for films, and those that are made will not be seen by audiences. The Committee calls for a tax credit to support the distribution of lower-budget films, among other measures to support independent film.

The Committee further warns that without urgent intervention, the problems seen in independent film will extend to the domestic high-end TV sector, where competition from high-budget overseas production is driving up costs, revenue models are changing due to the terms offered by streamers and commissioning budgets of public service broadcasters are being squeezed by a fall in the licence fee and drop in advertising revenue.

The report outlines evidence that this has put distinctly British content, which is vital to the UK’s identity, national conversations and talent pipeline, under threat.

Evidence to the inquiry from ‘Wolf Hall’ director Peter Kosminsky warned that recent hit ‘The Mirror and the Light’ would not have been made today due to funding challenges, while ‘Black Doves’ and ‘Kaos’ producer Jane Featherstone told the Committee that the business models of streamers dictate that shows need to have global appeal to be made.

The Committee’s report therefore calls for enhanced tax incentives for domestic high-end TV, and for streamers, such as Netflix, Amazon, Apple TV+ and Disney+, which benefit from the creativity of British producers, to put their money where their mouth is by committing to pay 5% of their UK subscriber revenue into a cultural fund to help finance drama with a specific interest to British audiences.

The report also makes a range of recommendations on how to bolster skills and worker rights in the industry, citing the many hardworking and talented people who work in the sector as a key reason for its success. It reinforces the recommendation of the last committee for the Government to appoint a Freelancers’ Commissioner.

On support for cinemas, the Committee says the Government should introduce a core funding model for culturally significant independent cinemas to mitigate the cost pressures, changing audience behaviours and under-investment in people and infrastructure that have threatened many communities’ cinemas.

The report also says that the Government should require licensing of creative works in all cases where they are used to train AI models.

Big box-office blockbusters made in Britain have showcased the UK’s world-class film and high-end television industry like never before. But the boom in inward investment of recent years now risks crowding out our many talented independent British producers. While streamers like Netflix and Amazon have proved a valuable addition for the industry and economy, unless the Government urgently intervenes to rebalance the playing field, for every ‘Adolescence’ adding to the national conversation, there will be countless distinctly British stories that never make it to our screens.

From independent production through to cinemas, all parts of our film and high-end TV sector, and the talented people that make it such a success, are going through a turbulent time. To neglect just one part puts the entire ecosystem at risk, so it’s therefore vital that the Government goes further and faster across the board to support an industry that is so important to both our economy and our soft power overseas.

Today’s report sets out a way forward for the Government to put the name of the UK film and television industry up in lights around the world as the very best place to do business and to work, by offering the right tax incentives, tackling skills shortages, improving worker rights and making sure the rise of AI is a positive force, not a disincentive to investment.

Dame Caroline Dinenage MP, Chair of the CMS Committee

The report’s key findings and recommendations

The future of British film – page 7

• The Independent Film Tax Credit is a gamechanger for domestic production and a welcome sign of continued Government commitment to the sector. But it is not a silver bullet for all the problems facing independent British film. Without further intervention, producers will still struggle to develop and raise finance for films, and the films that are made will not be seen by audiences.

• On tax changes, the report makes recommendations on amending the definition of R&D for tax relief purposes for the creative industries and introducing tax relief for the print and advertising costs of films to support distribution and exhibition.
• On funding, there should also be a review of the impact of changes to the Enterprise Investment Scheme and Seed Enterprise Investment Scheme and an increase in the budget for the UK Global Screen Fund, with the UK looking to rejoin Creative Europe as an associate member.

The crisis in domestic high-end television – page 17

• Domestic HETV needs to be supported through enhanced tax incentives just as independent film has been. The BFI should urgently conduct analysis on the potential design and return on investment of a targeted uplift to HETV AVEC for domestic productions with budgets of £1 million to £3 million per hour. The Government should commit to introducing the measure at the next fiscal event if the projected return on investment and impact on domestic production is found to be positive.

• The dynamic between independent producers and streamers is not sustainable, and successful production companies are being gutted by deals that deny them the ability to fully monetise their intellectual property. The Government should consider ways that British producers can retain a greater share of IP rights when working with streaming platforms.

• Streamers laud the UK’s mixed production ecology, with public service broadcasters and independent producers at its heart, but their business practices are putting that at risk. They need to step up their support for the making of culturally British content, and not just reap the cultural and training benefits it provides. All streaming platforms that operate in the UK should pay a 5% levy on their UK subscriber revenue into a cultural fund administered by the BFI to support domestic production. If the industry does not voluntarily establish the fund within a year, the Government should introduce a statutory levy.

Incentivising inward investment – page 28

• Twice a year, the Government should compare the UK’s film and HETV tax incentives with those of other countries. Where the UK’s offer is found to be less competitive, the Government should bring forward any changes to maintain overall competitiveness.

Supporting the workforce – page 39

• From our world-class actors, writers, composers and directors to our highly skilled VFX artists and dedicated, hair and make-up professionals, costume designers and technical crew members, the people that make, distribute and exhibit British films and HETV programmes are a key reason the industry is a global success story.

• The Committee is not convinced ScreenSkills is up to the challenge of delivering meaningful action on skills and training and the Government should link any future public funding to specific, measurable outcomes based on it publishing and meeting ambitious and robust performance indicators.

• The Committee is surprised that major streamers and studios could not give a straight answer on how much they spend on training. There should be a statutory requirement for the entire film and HETV production industry to report their spending on skills and training as a percentage of their production budgets every financial year.
• The range of roles required to make film and HETV means entire cohorts of sixth- form students could find jobs in the industry that fit their skills and interests. The Government and BFI should launch a national awareness campaign highlighting the employment opportunities offered by film and HETV, and the range of skills the industry requires.

• The British film and HETV industry benefits hugely from the flexibility afforded by a predominantly freelance workforce, but in return both it and the Government need to do more to support freelancers when they are out of work. The Government should set out specific measures to address pay precarity and the Committee repeats the call of the predecessor committee for the appointment of a Freelancers’ Commissioner.

• It is in the film and HETV industry’s interests to tackle bullying and harassment through effective self-regulation. All parts of the creative industries under the remit of the Creative Industries Independent Standards Authority (CIISA) should commit to unconditional, long-term funding within six months. In the meantime, the Government should explore all options for funding CIISA in case the industry does not deliver a voluntary solution.

Cinema exhibition – page 63

• The Government should review the impact of a permanent cut to VAT on entry to cultural events, including cinema tickets, to identify whether it would support the growth of the creative industries.
• The Government should fund the BFI’s proposals to deliver core funding, similar to Arts Council England’s National Portfolio Organisation model, for independent cinemas. This should include a capital funding pot to upgrade cinemas’ infrastructure and improve their energy efficiency.

Impact of Artificial Intelligence – page 73

• Industry guidelines based around protecting human creativity in the use of generative AI are welcome, but the film and TV sectors are calling out for help to embrace the growth potential of generative AI in a way that is fair, responsible and legally compliant. At the Spending Review, the Government should fund the BFI’s development of an AI observatory and tech demonstrator hub.

• Getting the balance between AI development and copyright wrong will undermine the growth of our film and HETV sectors, and wider creative industries. Proceeding with an ‘opt-out’ regime stands to damage the UK’s reputation among inward investors for our previously gold-standard copyright and IP framework.

The work of the BFI – page 83

• Too often the BFI’s responsibilities have been expanded by the Government without a commensurate, long-term increase in the grant-in-aid support available to it. That has put the UK’s reputation with inward investors at risk and could undermine the growth of the vital sectors under its remit.

• The Government should review how National Lottery returns for good causes are allocated between distributing bodies by the end of the 2025-26 financial year.
• To safeguard our national collection of film and TV, and increase public access to it, the Government should introduce and resource a statutory deposit scheme for the moving image, as a first step conducting and publishing research into how it would operate.

Read the full British film and high-end television report by the Culture, Media and Sport Committee here.

Notorious DIT appoints Ram Tripathi as Production Technology and DI Consultant and launches roster of new services

Notorious DIT’s offerings expanded to include video playback and new proprietary remote system.

Notorious DIT, part of Molinare Creative Group and the UK’s leading DIT and Digital LAB provider, has announced that it has appointed Ram Tripathi to Production Technology and DI Consultant. Alongside Tripathi’s appointment, the company have launched a roster of new services in answer to the growing demand from productions. The investment in both technology and people come at a time of growth for Notorious DIT and demonstrate the company’s commitment to delivering a client first, gold standard service.

Prior to joining Notorious, Tripathi provided technical guidance, optimised workflows, resolved technical challenges, and contributed to innovative tool development—from on-set colour and data management to post-production workflows. Tripathi racked up a plethora of credits across high-end drama and feature projects as a freelance senior DIT and regular collaborator of Notorious DIT. Now joining the team in a permanent position, Tripathi brings a wealth of expertise in production workflows, digital imaging, and technology solutions. He will be working closely with Notorious DIT’s teams to optimise production processes, implement cutting-edge DI solutions, and ensure seamless technology integration across projects Credits include The Gentlemen, Cleaner, The Third Day and Crazy Rich Asians.

In addition to Tripathi’s appointment, post production veteran, Andy Sumner, joins the team as The Notorious Man in the North, to further support the company’s efforts in the North West following the company’s expansion to Liverpool last year. Sumner will work alongside the Liverpool and Manchester based DITs and LAB operators to support productions.

Further to the team expansion, Notorious DIT have built a new turnkey solution for productions shooting in overseas territories. The new system, called R.O.V.E.R (Remote Offload Verify Export Render), ensures rushes are safely backed up and delivered to the edit while on location, negating the need of a physical person on set. With production budgets tightening, R.O.V.E.R enables productions to implement the required high-end workflows, but remotely. Already having been used on multiple productions, the system marks a new frontier on how productions manage complex overseas shoots.

Alongside R.O.V.E.R, Notorious DIT have added Video Playback to its suite of services, which includes, DIT, data management, LAB and on-set and near-set. Adding video playback to Notorious DIT’s toolbox provides clients with a complete 360 service enabling on-set efficiencies and streamlined communications.

The new services and senior appointments are a result of a positive 2024, despite the challenges faced by the industry. The strengthening of both the team and offerings demonstrate Molinare Creative Group’s commitment to its frontend services, aligning with Notorious DIT’s growth strategy for 2025.

This is the next chapter in Notorious’ story, and I’m extremely excited. Ram’s unparalleled expertise and exceptional talent not only position Notorious with a distinct competitive edge but also elevate the experience we offer our clients, ensuring unmatched results. This, teamed with the expanded services means we are primed for 2025, and further geographical expansions in the coming months.

Michael Pentney, Managing Director of Notorious DIT

Vittorio Giannini returns to Freefolk and Fi Kilroe promoted to CEO

Freefolk has announced that Vittorio Giannini has returned as Director of Business Development and Strategy, and Fi Kilroe has been promoted to be the studio’s first CEO.

Vittorio and Fi work alongside Freefolk’s Founder and Creative Director Jason Watts and COO Paul Wright, with this new leadership line-up signalling significant growth and development within the business across the advertising, film and episodic divisions.

As a fully independent VFX studio who craft high-end VFX across multiple platforms, I’m hugely proud to say that we have been doing this for 22 years this year. What better way to celebrate this achievement than to have Vittorio back where he belongs and with Fi steering the ship as CEO.

Jason Watts, Founder and Creative Director of Freefolk

Vittorio brings his wealth of experience and industry knowledge back to the Freefolk team.

I had a great time at Omnicom but there was always that part of me that missed the multi disciplined expertise at Freefolk, so when Fi mentioned the focus of this new role, it just made complete sense. Freefolk is all about the perfect balance of culture, experience and great work and, as a truly independent studio, we have the ability to keep that front and centre. I couldn’t be any happier to be back at Freefolk working with Fi, Jason, Paul and the whole gang again. We have exciting plans ahead and some additional key creative hires on the horizon to really position Freefolk onto the next stage of its journey.

Vittorio Giannini, Director of Business Development and Strategy at Freefolk

It’s an absolute privilege to now be CEO at Freefolk, made even better having the strength of this team alongside me. With Vittorio fitting straight back in, it seems like he’s never left!

Fi Kilroe, CEO of Freefolk

Freefolk have just finished work on new projects for FCB/ProdCo and a Wes Anderson feature and are currently in production with Merman, Sky and Paramount+.

Orchard Crew Diary Service announce their Access 2025: Camera Trainees

Orchard Crew diary service, provider of top-tier freelance professionals across the UK, has launched its Access 2025: Camera Trainee cohort.

Orchard Crew has announced their cohort of 2025 Camera Trainees: Michael Scanlon, Beth Lamyman, Phoebe David, Alex Sole-Leris, Nic Sian, Thomas Foster and Kim Holmes.

Building on the success of its sister company Digital Orchard Group’s Access 2024: Trainee Scheme, launched last year, Orchard Crew recognised a unique opportunity to champion emerging camera talent. The Camera Trainee Scheme will provide aspiring professionals with the skills, experience, and industry connections needed to excel.

We are thrilled to launch our very own Access: 2025 – Camera Trainee Scheme, providing a dedicated pathway for aspiring professionals looking to advance their careers in the camera department. We saw a fantastic opportunity to expand this support to those passionate about camera work. Nurturing emerging talent is at the heart of what we do, and we are incredibly proud to welcome our talented trainees.

Hannah Drew, Orchard Crew – Diary Service Manager

The Camera Trainee program offers hands-on training in essential camera department skills, including prep, and behind-the-scenes logistics. Offering mentoring and hands-on experience shadowing crew members onset, with the opportunity to gain valuable work experience together with Digital Orchard, MCX and One Stop Films.

Over the next year I aim to continue developing my technical skills within the camera department and prove myself a valuable and reliable asset to any production!

Michael Scanlon, Access 2025 trainee

Trainees will receive ongoing representation throughout the scheme, actively marketed across the brand, while being provided with the necessary resources to connect with creatives. Participants will be considered for available work opportunities, spanning a wide spectrum of production scales.

Orchard Crew’s team are excited to pass on their knowledge through mentorship, and help form the new wave of Camera Department trainees. One of the team’s mentors, Second AC Falco Caldeira is thoroughly looking forward to mentoring.

I wouldn’t be where I am today if it wasn’t for the people that mentored me, so I am really excited to give back and help future trainees find their feet.

Falco Caldeira

Ahead of the official launch of the scheme, Nic Sian (Orchard Crew – Access 2025 Cohort) gained hands-on experience as a camera trainee on a recent production, ahead of the start of the scheme.

I had the best time working with DOP Chaimaa Ormazebal and Orchard Crew’s 1st AC, Luke De Borde on a recent commercial. Both of them took me under their wing, it was a fantastic experience and I hope to work alongside them again soon.

Nic Sian

From the start [Nic] was on top of everything, always ready to help, super switched on, and just really easy to work with. But more than that, they brought such good energy to set. They were funny, relaxed, and just had this way of making everyone feel comfortable […] I’d definitely work with them again any day.

Chaimaa Ormazebal