Collaborative Leadership / Creative Partnership
3:05pm in Studio B
Being a team leader is a careful balancing act between setting team goals and supporting your team’s individual paths. In a creative company, this is further complicated with supporting the longevity of a business and serving clients. Over the years at Darmah, we have fine tuned our workflows to strike a balance between creative service and creative freedom. We focus our creative video production practice on a simple motto: design – develop – deliver.
Over this session we’ll break down a few projects to understand our process better. We’ll look at the steps from first client discussions, to team building and budgeting, to the video content design process and delivery during the production. This will include a look at our collaborative process on site between our video engineering team, content design and programming, and our interaction with our partner departments and clients. We’ll examine the lessons learned and a few important changes we’ve made to our practice to support our growth as a team.
Laura Frank 00:11
I am very, very pleased to introduce my dear friend Bianca Moncada. She has been a partner in crime for a number of years, and I’m really, really pleased to see the way her career has grown. She’ll be presenting on collaborative leadership and creative partnership, representing her company Darmah with bases in Miami and Mexico City. Thank you.
Bianca Moncada 00:33
Thank you, Laura. Thank you. Hi, everybody. Thank you. Um, well, first of all, I want to thank you want to put in my Yeah, can we get her? Yeah. I want to thank Laura. Because we’ve come a long way. She’s seen me since I was very young. And we’ve worked together in various award shows for many, many years. And so thank you, Laura. And what you doing is wonderful for the community for you know, all the video people out there. And I’m very, very glad how this has been growing. Alright, so I’m going to talk a little bit about myself. I try to make this presentation very easy to understand, because I want to try to reach like the new generation, you know, there’s video, people tend to be very techie. And when we get together, we just love to be more techie, you know, but, uh, in particular, I feel that when you’re at a university, I mean, you just graduating or you’re a menagerie minority, and you’re somewhere in the world, and you’re watching. The one thing that you want to try to learn, at least when I was young, is, how do I get there? How, like, how do they do it? You know, the tech part will definitely is very important. But I think a lot of people don’t discuss so much on like, how and a, the workflows, you know. So I was born in Venezuela, as you can see, my accent. Now, I live in Miami. I mentioned, I was born in Venezuela, because it is very important, to me, the fact that all Latin countries, of course, are not the same. But my city and the country that I come from, is very, very small. There’s only like, 1 million and something, people. And when I started to like this world of video and graphics, you know, Venezuela doesn’t have any award shows not even one. Venezuela doesn’t have famous tours, like Mexico, for example, that, you know, big tours go there. So I have literally no reference whatsoever. All I knew is that I was very young, and had something perhaps now it’s called HDD or something, some name. But back then, I was just very graphic, mentally, visually, all I can see everything in very graphic way. So when I started, there was no career for animation, or anything like that. So I started studying administration, because there was nothing in graphics or video other than just being an artist. So two years go by, and they open up graphic design. So it’s like, alright, at least something you know, it has nothing to do with like the show business or anything, but at least it’s something that I can relate to. So I studied graphic design. And then, you know, there was a point in the career where he talked a little bit about like Flash, nobody uses flash anymore, but and web pages. And that’s what I saw animation. So I was like, Oh, I love this, you know. So I definitely got engaged. And I started researching, you know, from back home. So that was very young. I’ve always been very driven and very passionate person. So in my mind, that was you know, very secure that I wanted to get somewhere with this. So I started DJing when I was out of in between college and adult college. So I did a lot of DJing. And I think the first thing that started with me was that every show that we did, since there’s no big award shows or big tours, I took it like if it was like the Grammys, so that was very me like I was like I had like the the workflow the way that would set up the way that I would talk to everybody. And a lot of people would be like, you know, it’s just a festival in a small town, you know, but in my mind, I’m like I’m training. I’m training because I know that this is going to work for me in the future. So I think that was the first thing I did. Like don’t take for granted any opportunity even if it’s the small theater back home when you Studying, you know, don’t take for granted is going to work somehow is going to give you value. It doesn’t give you a curriculum at the same at the moment, but at the end is going to give you experience. And it’s going to give you security. Of course, being in a foreign country, and being in another language was tough. I went to high school in New York, because my mom took us to New York to learn English. So we were to stay one year, and we ended up staying five. So I got to study high school there. So thank God, that’s why I have my English, but I went to New York. So being in New York, you know, I look in Times Square, and being close to that, I will remember to go to Barnes and Nobles and get, you know, like, books from like, a horror show shows Turing’s and just read about it. And knowing that all of the little details that it was an exaggeration back at home, the real and they do it in the big shows, you know, so I went back home. And, and I started my career there. I didn’t stay in New York to study my career. And I think everything happens for a reason. To me, that was very nice, because it made me value a lot. You know, what, where I come from. So what you see here is me as a VJ, and like festivals, and when you see in the center is that the only televised broadcast major event in Venezuela at the time, and I think even up till now was the Miss Venezuela pageant. At the end, too, big artists will come in too big Latin artists. And that will be like the big show. So people will prepare like almost six to eight months before the show. So I got my big gig. And the first thing that I saw was like, I can’t do this with a laptop, you know, even though I have to already set up because one is going to die. And the other one is going to start no time because everything was manually. So I was prepared. But I said to myself, No, I mean, I we need to make this better. And we need to bring in a server. So I was talking Chinese to them. And of course money they were like what, what’s a server and no, run it the way you need to run it and with a laptop or whatever. So back then I found a sponsor for Martine, a kamikaze named Max CEDIA the server back then. And in they, you know, they allow us to demo it for I use the demo time to run the show. So yeah, so that was me, I mean, with like, the bigger show, but, but to me, what I keep is that it was the first time that a show was ever ran with a server in my country, you know, and to me, that was very special, and it still is up to up to now. So then then I knew that, you know, since I was little, I always used to take all of the big shows like, in, in my school, like the Mother’s Day, Father’s Day, like those were my productions. So I will lay out my calendar, and we mark those days, like, okay, these are the productions and, you know, and I was a very bad student, I gotta say, very bad, and my concentration, reading and just very, you know, not easy. One thing that I learned was color coding. So I, you know, that helped me a lot. But these little productions, you know, made me realize that, oh, you know, I like video, I love video, but I love the overall I like, you know, wardrobe set design, like, you know, then the work pops up, you know, Creative Director, oh my god, I would love to be a creative director someday. But for sure to get there. You need to know a lot of areas before you actually, you know, call yourself a creative director. So I passed a in in the United States, when I came, I had the opportunity with one producer that like my style. And you know, I was very organized with all the elements. And she gave me an opportunity to be an art director for one of a Nickelodeon series. And then they really liked my work ethic. And then they gave me the job of production designer. So I had this humongous opportunity. I build a big team, from our department to wardrobe team, to all of that, and it went up to seven volumes, so seven seasons, so it was very, very nice. And I got to do three of them. So to me, in my brain in my visual brain, it was just checked, like I know a little bit of SEC design, I know little art direction. And I know a little bit about border design, you know so and of course video is my passion and it was always going to be so. When I went to school of graphic design, this is how my brain works. This is how currently nowadays, these are the basics of principles of design. So from balance to contrast, emphasize movement. Unity whitespace and two color, of course, all of the basics in colors. So, if you’re out there, and I think if you relate to my personality, and you’re passionate about what he you want to pursue, I think whatever you study is always going to help you out graphic design helped me a lot, to use those basic elements. And to see nowadays, and always, all the productions, if it was a series, like the Nickelodeon ones, my canvas was those little boxes, where we build each set. So those layers, and that composition, I need to have a balance. So between colors, the elements, the construction, you know, it will always give you that result. So these are like, you know, what keeps close to my heart, because this is my everyday and how it really helped me a lot. Even coming from a career that had nothing to do with animation at the moment. Alright, so it became a little bit more and how my brain works and how I see things a on a stage. So to me, nowadays, every stage or every area where we’re going to build a show, it’s a canvas, it’s a white canvas. And yes, my favorite layer, I would say, of course, is video, and my background is video. But to me, the way I see it, it’s just a bunch of layers that we need to, again, if I go back, we need to contrast balance, emphasize or make movement you pick, each show is different, right? So, to me, every time I learn something new, perhaps I add a little layer to this, because Oh, automation, okay, that’s another one that I need to know. But in my brain, it’s just another layer to know that I need to play with as a creative director. So you know, you got your artist, of course, which is the most important. And then you have the band you have, of course, the DJ or the chorus, whoever dancers, actors are extras, you know, the you know, it could be from theater. So this could be not just an award shows or performances or tours, then we have lighting, nowadays, of course, lasers, LED fixtures, and on and on, you know, we have props, we probably have like dancers, props, or giant props, sub goods, scenic elements, then we have a special effects we have Pyro, and then now we have rigged elements that are also part of the composition and very important. And that depends on the budget. And then of course, we have our base risers, decks and lifts. So to me in this is the way that I always saw it, you know, at the end of the day, it’s another composition, maybe the difference is that in every show, I’m not going to get to start from scratch and build it the way I want it, most of the shows that we do, because we’re just one little part, perhaps I’m just video that says he’s already made. Some other creative directors already gave you a canvas. So it’s a canvas, it’s already made, but I still have to sell a story on it. So it’s important for me to know what my tools are, you know. So every show is different canvas and a different composition. So this is how my brain works. So you could have like, you know, probably, you know, dancers or stairs or just lighting, maybe no video. You know, of course, sometimes, of course, we have more elements. The more the merrier. Of course, we have video, we have lights, we have all the toys, right. But then going back to my roots, which I think it’s always helpful to me, even if you don’t have all the necessary resources. And this will be a little town probably set up with like, instead of LED screens, it was like monitors, just like this one, like three of them. And I would set up like, if I was setting up for like Taylor Swift, you know what I mean? It was the same way. So, but if you give it a twist, creativity is free. So oh, we have monitors. Okay, how many do you have? Oh, we can get you 10 Okay, great. Let me just group them, maybe that will give you a bolder picture. You know, maybe that will give you something. Taste is free. Creativity is free. So there’s no excuse, you know, so this is a good example how, you know, this is a basic setup. But if you put your brain to it, it can become something bolder, nicer, and you create a nice picture. That’s exactly what creative direction is on a stage is nothing not not Chinese. So I mean, hopefully the new generations in get to understand that. Yes, it’s, it sounds easy, but you need to know the basics on all areas because that’s the only way that you’re gonna go to any of these layers and talk with proper and explain what you want to you know, what you want to add, you know, creativity can have any background A lot of people have like choreography background, and is very related to creative direction. I had video background. And currently we do pretty direction with a video background, you know, and it is, of course, my lethal weapon for sure. Because you know, video is always going to be part of it. But it’s also important to know all all the layers in all the them areas and how they function, at least the basic, you don’t need to know much you know? Okay, so it’s nowadays. So Darmah. I joined Darmah in 2014. I made my current husband there, which is the founder of Darmah, which is Rodrigo Pro, while he’s probably watching idol you. And so yes, so basically, I think we just had a similar mindset. Darmah was founded in Mexico City, but it was transitioning to Miami, and we will open up the offices in Miami. But I think it was the same values, you know, how you don’t take for granted any opportunity. And you work really hard and passionate for each show, right? So currently, my position will be creative showed writer and video Content designer and producer. Why I keep both? Because you have to keep humble. A lot of people when they transition to positions, they want to forget or they don’t even want to be mentioned. And like, no, no, no, no, I don’t do this anymore. That’s like if you get into lighting design, but you’re really a programmer, or something. To me, it’s okay, you know, their shows that were hired just to do video. I mean, I wish every show were hired to do full creative direction, but we’re not. So every time we’re just hired to do the specifics like, you know, screens, production or screens direction, I enjoy it very much because you learn every day, there’s something new to learn a little bit about Darmah, award winning production design and gravy show direction, powerhouse. A lot of people ask us, what do you guys do? Yes, a lot of people don’t know, we are a one stop shop. We do screens and media playback hardware solutions. We do visual designs and video programming. We do lighting, design, and programming. We do our direction and props design. We do set design and scenic construction. We do wardrobe design, and Choreography Design, you would say, I’m so much into one house. The one thing about Darmah is that our team has been together for many, many years, we basically grew together, I think the least people that are in Darmah are like I would say, six, seven years. There’s people in Darmah that have grown from high school to college, to being with us. So the company has 17 years, and there’s people that have the 17 years. So I think when you create a nice environment, and you are always willing to grow, technically, I think people relate to being part of something. So that’s definitely our motto. And I feel that looking at the future of humanity, I think we need a little bit more of that, you know, Darmah is the opposite of karma. So it’s a good things in life. And yes, we’re a little bit romantic. At the end of the day, most of us are Latino, so you gotta keep it real. These are some of the clients that we you know, we’re proud to still have and work on. And all right. Technology and design have always been part of our creative process, to bring different emotions to the audience. We technically develop ideas to deliver unique results, we design develop and deliver. That’s our motto. I think a lot of you don’t know, but a little detail technical detail about Darmah and its video background. So Darmah was the first you probably all know these guys, right? Of course. So Darmah was the first studio worldwide to run d3. So that’s something that we keep to our heart, because from there, we’ve seen it evolve. We’ve been part of the process of, you know, developing, you know, breaking it is suggesting things when we get to people that didn’t do video, but that were doing lighting, joining with sock puppet. I think we were the first ones to do sock puppet with Laura. But we are a timeline team. So we’ve always used these guys as a timeline. But not only that, we also brought a little sauce to the table we use the Software as a software, we don’t really call it a server even. It’s part of our creative workflow. So say we’re hired to just to do graphics, we don’t really accept the job, we only do it if we’re involved in programming as well. Because the way that we’ve used the system is we’ve developed workflows that work for the timeframe for the specific show, especially when we get into the big leagues and big award shows that were specifically to take advantage of the brilliant software that these guys is. So it’s not uploaded playback, nothing against it. But we’ve used the system and our team is, has developed a lot of workflows and ways to work with this wonderful tool for many years now, to use it as a design tool. Kind of one nowadays, people use knotch. And we use not just well, but you see, now designers have all been one, like, maybe it’s an alternative to After Effects. Well, we’ve had that relationship with these guys, since day one. So So yeah, we’re, we’re very proud because he was, we were back in Mexico back then. And, and I remember, I mean, Rodrigo, just saw them into in a, in a trade show. And basically, like, nobody was really know, these guys were d3 at the time. And he’s like, you know, this is gonna be important in the future. And he believed in him, and he, you know, he invested, and we haven’t, right now, it’s not really an option is part of our workflow. So yeah, that’s a little detail about our strong video background. Things that I would like to mention, in general, and to leave some takeaways, I guess, take technical risks, don’t be afraid to make them all work with the new Technology, even if there are beta versions, important, because a lot of these software’s are hard workers, you know, they work really, really hard to get stuff out there. And it’s sometimes it’s comfortable to, you know, say, this doesn’t work this, you know, it’s, I’m not going to use it anymore, because it doesn’t work. If we are the community of video, people, you know, we need to go and break things, you know, we need to go and push the boundaries, and, you know, push the Technology out there. So, so don’t be afraid of, hey, you know, if you use something that is not 100% Be patient, you know, you’re probably part of something even bigger, because if that gets, you got it evolved, you were part of it from the beginning, you know, and that’s special. And then of course, define workflows per project. Darmah is known for many, many, many workflows. Because when rather, he always had this engineering design. And he’s very believe of workflows and methods. So not all the shows are the same. I think somebody yesterday was mentioning like, oh, you know, I was, I mean, middle of the show, and then lights go off. And, you know, the, the union in my brain automatically, I was like, Oh, that was, that would be definitely on their third checklist on analyzing that workflow for that show. Like, we already know, and we already have a plan of like, okay, maybe even if we have to have, you know, that part of the workflow being done remotely, somewhere, even if we need to put another studio standby near the venue, like solutions, millions and as part of our sauce as well, like, you know, a we you already have the opportunity, you’re not going to drop a show, doesn’t mean that you’re not going to sleep. But you need to take advantage of the workflows and prepare you for the show, prepare for even knowing the flaws of the show, or the restrictions, like Union and time, you know, where the venue. So yeah, always choose creativity over fear. Because, you know, when you’re using a new software, when, for example, to pandemic and everybody wanted to use for a virtual production, and, you know, there’s always like the different ways and you can pick and choose AR VR XR. As you probably know which one we picked, right? Picked extender reality, why not? The true extent the reality, nothing against virtual production. But yes, we picked extended reality. So Darmah in Miami, we found it as a studio called the Pixar stage. And so it’s a studio like this one, like the Star Studios, actually, we were at the same time opening up so we have three years now. And we still use it nowadays. It’s just another tool for us. Another layer from my brain that we can use. So of course, in the pandemic, we used it a lot many times. Then after the pandemic went away. It’s a real Gallery that for broadcast which is Darmahs, you know, forte was in really so much of like the producers wanting to do in something virtually remotely, that’s a reality, right? And we don’t do so much of film or like series. So we were like, how can we make this work? So we create a workflow. So for like Latin billboards, I think we was like, two years ago, what we did is like, so we did intros in XR, and then matching transitions to our stage. And the producer was like, I like that, because I can have some of that great Technology. But then, you know, I want more already here, because, you know, that’s, that’s, um, over the pandemic, and not seeing them, and now engaging with my audience in the, in the venue. So, you know, again, developing workflows, and using creativity. And, of course, I’m going to show you, I brought three projects to show you, I tried to show you three different projects, but I want to focus on video. In Out of all the services, I’m going to focus on video, so you know, we can show you a little bit of the differences between each project. So talking about risks, our first project that I want to show you is the next star project that we did for the Olympics. Right, so. So yeah, so this was a sports network in Mexico City, that of course, wanted to use XR. So A, we had to transfer our studio, from Miami to Mexico City and set it up at the studio, the network to go fully live, when Technology was very, very new. And you know, a lot of details, of course, they, it was a challenge. And yes, it is in our blood, we love it. So we were like, Okay, we have to just plan to push this, you know, so that way, we can push forward that Technology, and especially educate, you know, the clients in general, that this exists, and this can be used. So when I say details and workflow, I mean, even making sound normal, a stop in the shooting and saying, we’re going to calibrate now, and having the Italian Okay, yeah, that’s part of the workflow. You know, they know, it’s not like, oh, we need to calibrate because it’s not working. You know, we made it normal. We made the producer and we adapted, we adapted to a normal production, and then included a lot of the details in XR production. So that had our executive producers opened to I don’t even know how you eat that Technology, but is working out. You guys are making a workout. We know the laws, we know the restrictions, but we analyze how much time do we have to live every time we have the morning show, we had the noon show. And we have the afternoon show, like the late night show recently. So we had certain things that we need to do accomplish every time we had that draw between shows. And we made that very normal, even including the talent, so they didn’t feel like you know, even the sessions with these guys, the many sessions with these guys are versus discussing on how can we fix things? Or how can we make things better, but it was 18 days running non stop. We also did a second stage right next to the main stage with regular screens, and we match some of the Content so that way, we had like a normal setup, you know, just in case everything completely failed and we couldn’t use XR thank God that never happened because all of the other workflows worked out pretty well. But that’s also part of the solution. You know, if that doesn’t work, like you know you need to make it you know, normal and smooth for the client. So yeah, so this is the afternoon shell how it looked like I think probably some of us saw these two with our partners at Roy Roy is another one of our partners I’ll mention in a little bit and of course these guys so this was afternoon show. This is a sample of the night show so basically what we did was the city of a you know, like they brand a sticker was like taking over took you at night, day and afternoon. So I have a little video hopefully displays when I try Yeah, so that was a little bit of our first bigger life. And I think hasn’t been done yet still. So we love to keep that because we were, you know, we had the courage to do it. But again, it’s a it’s a big team of professionals. And the same mindset is just, you know, push forward and create you choose creativity over fear. So, this is just in general workflows, communication, mythology, and passion. I think these are the four main keys. In every single project that we do, we just adapt this formula to every single show, every single show. I had two other other shows, I want to quickly show you just pictures for you to see. So this is touring. We basically did the full production design from set design line and design, full setup, Content design. So this is a line article that Yankee and he’s a world tour. And yeah, I detail that also a lot of people don’t know Darma own screens on slides and owns video. Why did we buy our own toys? Because we partnered up with our partners brands like Roy and these guys. And we feedback on what is specific we want on the tiles on the videos, we were part of the development of the vanish and many other avoid title tiles. And so yeah, this is one of the shows and part of the creative direction was to use the transparency of the screen as part of the show and part of the magic you know he loves Cirque du Soleil so I think we we wanted to bring that to this urban music so this was part of his intro play a little show on my phone but I thought it was important for you guys to see how iconic his was landed and all the rigging of the store was behind this was a clean screen all the lights and the audio because it wasn’t very common was behind the screen we’ll get those blocks there way way that black chief is in the right program are you having control of all areas amazing partners to vendor for lighting allows us to designers out there boy I’m gonna get
to get into
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Bianca Moncada 34:53
asked if there was an inflatable, real But like the reflections on the little things like that were put into
Bianca Moncada 35:27
Fernandez pillow to life All right. So these are some other pictures for the show. We had some wagons in the bottom that while you were seeing all of that programming, all those wagons were in there that were being pushed forward for this moment, which after the intro, so So yeah, so like the quality of the product is key to us. Because we’re we’re thinking creatively, okay. This is another moment we have a restage coming down. And this was designed by Rodriguez in, of course, engineering, all those lasers, were hitting an angle a specific in a mirror, and then so they don’t kill people. So but the people were underneath, so that your point of view, you were able to be underneath him and still see the shell beautifully while he was singing very close to you. And going across. And of course, we had to have some magic moments in Content, I think we wanted to just create very iconic, more than just very busy Content, pictures that people will remember. This is another example how we use our transparency, you know, like, girls, you know, the answers will be behind the screens composing a specific if you see the line with the lighting beings, specifically there. So it’s handcrafted, like my favorite and my friend, Felix would say, he says handcrafted work. See the balance between our layers. If we go back to our Layers in my brain is the Pyro, you see the artists, you see the Content, but you see the layer of lighting, perfectly balanced with video, you need to acknowledge that you’re not only layer, there’s many layers, and we’re not more or less important. So it’s important to balance it out. Now, because you come from video, you really just deliver 100% You don’t care what’s going on, on the rest of the stage. That’s super important. I think that’s where we get along very well in all those departments now because we provide them to but because we know that it’s video is just another layer on the stage. Another moment that we created for him. Moments is the same stage. And it’s amazing how Content will give you scenic when you don’t have scenic in moments that you will remember with depth and tricks visually generate ideas that can be used in problem solving, it’s not so much about the tools that you have. But what you can accomplish with them is you see screens or screens that you saw it was a flat screen, all that you just saw the creativity and having, of course the the right tool. And this is my last project just gonna browse real quick. So this is an award show, we do a lot of award shows, this also had as you can see in the corners on the wings, or vanish product. And so it was perfectly balanced, more elegant. And this beautiful stage designed by Bruce Rogers. When you see all of it in the back is a flat screen, it’s a completely flat screen. So a little bit of an evolution in Content as well. And part of our studies is that is, is now digital. Our direction is now digital Architecture. So we need to study that and you know, we’re implementing it a lot. And it’s part of our style as well. We like to keep the layer of video more appealing being like, iconic than just crazy, you know, there’s different audiences for that, especially broadcast. This is the same stage, just looking completely different. Same stage with virtual props. Same stage, completely different. Even the smoke is actually fake. But another performance by Eminem. Judas Priest, is the perfect balance. If you see in the holes in the top, all of those little dots are lighting going through the video. So that negative space in the Architecture video was on purpose and was you know, talked as a team with the lighting department to be able to accomplish that and work together beautifully as two different layers. Now the one stage. And the last thing I want to say about this is that I think the main reason why we’re all here is to, like Laura said, push forward, become more human. That’s why I try to make my speech very realistic from where I come from him or model. But this show got just nominated for an Emmy. And I want to show you because it’s a very honor for Adam Brenton to include us on the show for the this is the fourth year now. But I’m listed as a lighting director, and I am not a lighting director. But guess what, there’s no name for what I do. In video, there’s no name for what we do in video doesn’t exist on the Emmys. So that’s a reality check. That’s how I wanted to close my presentation. Because I think we need to keep doing more framework, keep talking, keep pushing, keep understanding that we’re not the only layer. Because I think that’s one of the reasons why a lot of people don’t like neglect this area, because it’s kind of like, you know, they come in, and they just blah, blah, blah, because it is 80% of what you see in the canvas on television. So you need to be cautious. You can think about just unreal and your craziness and do the non you’re gonna understand when where is that being delivered? And how and what layer is playing on the final picture. Yeah, this is the show. And last but not least, of course, our team because, you know, I’m representing a lot of people back home. And if without them, you know, we won’t even be here. And I think I value so much that that’s the reason why we keep moving forward. And there’s no fear in our creativity. So kudos to a bunch of people that I love. And we always say in the office, if you want to go fast go along, for if you want to go far go together. So if you don’t have a team, find one, find a friend, if you’re new to this, getting out of college, it can happen, you know, like, we started that way, and look who we are. And if you are a minority, like us, if you’re Latino, or my you know, my choice, you know, keep dreaming because you know, being technically correct, is a universal language. So it doesn’t matter what language you speak. Okay, if you know the technicals, you know, the technicals and as a woman to, because I’m sure why a Latina. So standing there and being strong from why my beliefs when I have these meetings, is I do my homework. So you got to be very secure why you say? Thank you swish Freud, work for it. Stay humble. That’s
it I just
Laura Frank 42:48
thank you so much. That was absolutely absolutely beautiful. And I’m actually kicking myself right now. Because I feel like I should have offered you the opportunity to present in Spanish because we want to, we want to be part of that wider international community. So maybe we’ll do that.
Bianca Moncada 43:04
Yeah, no, I think it’s important that you understand that if you’re going to, you know, gain to the business, you know, you need to also understand that it is going to be a business. We’re only English speaking.
Laura Frank 43:15
That’s That’s very true. So thank you for enduring, presenting in second language. That’s all just another layer of the challenge. I’ll open it up for questions.
Soren West 43:28
Really beautiful work. Thank you very much for sharing. Thank you. I’m sorry. My question, congratulations on your Emmy nomination for a role that you didn’t play. My question, I have a lot of questions. But I think my first one or most important one is if the Emmys were to introduce a new category for the work that you do. What would that be called?
Bianca Moncada 43:59
If it was for that show, in particular, where we did just video, I would say video Content designer. I wouldn’t say video Content or screens producer, because I feel that it is part of our team. Like we have screens producer within our team. But my role is to actual actually design and direct creatively within video. So I would say the same way that we have the team on lighting, that we have a lighting designer, we do have that amount of people and in the future, the same way you have gaffer’s lighting directors is the same way that you’re going to have lighting a video designer, video producers, you know, programmers, so and so, which is is a reality just doesn’t have a name yet. So I would say Video Content Designer.
Soren West 44:46
Thank you. I think an important part of the work that framework can bring to the industry is introducing these titles to to an antiquated system. I have one more question if I may. for the Olympics and in Tokyo, in the other room, we were just talking about innovation and risk. And that was a big pushing of the envelope to go live in that way. And I’m just curious, could you tell us a bit about the process to get to that point? Did the client No, they wanted that, and you had the challenge to deliver it? Or was it something that you were pushing for creatively and had to sell?
Bianca Moncada 45:27
I think, in that pandemic, was like the big thing. So we our first opportunity with XR was actually for an award show, line award show, but it just went through with an artist. And we’re lucky to now at Darmah be able to do creative direction of the actual show. I think that’s not very common on like, companies, you know, you’ll have the creative director that comes with the artists. But, you know, we’ve gotten to that point where there are some artists that have reached out directly, and want us to be their creative director, and, you know, develop their show. So we had that opportunity with one of the clients. And we put up his performance on television, which was actually the first one because back then it was only the Katy Perry for, like idol. But for an award show itself, it was this performance for a zunar. And so we use that as a, you know, as a backup to show how can we, you know, bring this Technology, and because they were not going to travel anybody to Tokyo. So we thought, hey, Fitz, well, we broke it down into very simple wording and explanations and graphics, for sure.
Hello, I’m Dale Sabatini from Brazil. And back in the day, and today, I want to thank Laura and everybody from framework to bring you here. Because back in the day in 22,012, I wanted to be Darmah when I opened my studio in Brazil. And a couple years later, Chris Burden channel Harvey invited me to be decreased to do in Brazil. And I was like, Man, I’m going to be part of this club, that Darmah and those people in around the world. So it was kind of, I’m doing something right. And thank you for all the good work. And I’m really glad to meet you in person and talk to you. And I didn’t know you were from Venezuela. I thought you were from Mexico. So it’s
Bianca Moncada 47:35
the founder, which is my husband now. You probably know Why marry him. He’s from Mexico. So the founder and the foundation of Darmah is in Mexico. Now we have some Venezuelan so you would say Mexicans in Venezuela is and just International. Yeah. And
some. Some years ago, we started to work with Nickelodeon Kids Choice Awards, that I get tons of After Effects collect project from Darmah to remake it to our stages. So yeah, it’s really really amazing to
Bianca Moncada 48:09
when you when you push and you do the right things, you know, sometimes you can be looked at my God, they’re so intense, they’re so geek, but that’s gonna get you places people, some people have a very easy, they’re ready here. They’re reading a lay, they already have like the tools. You mean, you see their curriculum saying, like, my first job, what was this name? Like? I wouldn’t dream at that age, you know. So we do have it in a different way. But, you know, if you do it right, you know, you get places that show that Nickelodeon was it was a they picked one company to do in Abu Dhabi. And we want for the to the actual production design. So we actually took that show to Abu Dhabi was the first that we’re showing without. So yeah, I
Laura Frank 48:52
think we can make and one more question. We’re at time if anybody else. Otherwise I invite you to find Bianca while we’re here for the rest of the day. All right. Thank you so much.
Bianca Moncada 49:10
Thank you guys. Thank you, Laura.
darmah, workflows, work, part, video, screens, design, lighting, layer, xr, venezuela, production, stage, years, team, wanted, shows, creative director, big, canvas
Soren West, Bianca Moncada, Laura Frank