https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates Wed, 01 Apr 2026 15:21:31 +0100 Remember when “I’m going out for a walk” meant just that? A stroll, by yourself, no time constraints, no smartphones, simply contemplating the different sounds that crossed your path? Yes, *gasp* that was actually a slice of reality once upon a time. Nowadays there seems to be a crushing need to "optimize" every moment of our time, putting "going for leisurely walks" outside the bounds of what's generally acceptable. It's no wonder that we now find ourselves listening to time-management podcasts while we shower, dutifully practicing "Spanish for Beginners" on our drive to work, or  seeking openings in the pottery class next weekend, because we've already scratched Thai cooking off the to-do list. There’s always more that we could be doing, fueling an endless loop of FOMO. But is modern life’s modus-operandi actually improving productivity? And is trying to do it all really making us happier? Multitasking (i.e. "trying to do two cognitive things at the same time") is a fallacy. In truth, what we're mislabelling is, as Michael J. Formica puts it: "handling a number of serial tasks in rapid succession, or mixing automatic tasks with those that are not so automatic." Ironically, as demonstrated in study after study, this task/context-switching is actually incredibly unproductive. Our minds are designed to do one thing at a time. Attempting to circumvent that may give us the impression that we're being more productive, but in truth it's being more present that best benefits us. So, if "multitasking" isn't the answer, what is? In his NY Times bestseller "The 4-Hour Workweek," Tim Ferris leans on the 80/20 principle. The idea being that 80% of your productivity comes from 20% of your time, and the other 20% of your productivity eats up 80% of your time. Although taking ideas to the extreme, he does offer some interesting suggestions: define your objectives/decide what's important, eliminate distractions to free up time, stop multitasking, outsource menial tasks, learn to be effective not efficient, check email a set amount of times a day, focus on the 20% that's important, and more. Although a 4-hour workweek may not be a viable reality for most, applying some of these principles can help anyone. And though not quite 4-hours, the 4-day work week has seen a surge in adoption in recent years. The idea that employee effectiveness and job satisfaction can be linked to scheduled down/restoration time is becoming more widely accepted...for good reason. According to writer Tony Schwartz, “the best way to get more done may be to spend more time doing less”. In his article “Relax! You’ll Be More Productive” he points out that “the importance of restoration is rooted in our physiology. Human beings aren’t designed to expend energy continuously. Rather, we’re meant to pulse between spending and recovering energy”. He believes that taking the time to slow down and disconnect will boost productivity levels and increase job performance: “When we’re renewing, we’re truly renewing, so when we’re working, we can really work”. Our culture of continuous self-improvement is telling us we should be making the best use of our time, all the time, in order to become a better person - but is that really true? In “Laziness does not exist”, Psychologist Devon Price advocates that we should resist our self-imposed pressure to overwork: "​​We live in a world where hard work is rewarded and having needs and limitations is seen as a source of shame. It's no wonder so many of us are constantly overexerting ourselves, saying yes out of fear of how we'll be perceived for saying no." But resisting the urge to say yes, looking for mutually beneficial compromises, and tending to self-care can reap staggering rewards. So, instead of being on auto-pilot, constantly being in doing, learning, busy mode, perhaps it's time we question our motives. What is actually important? What are we really looking to achieve? What actually brings us joy? And how can we use our working time more effectively, so we can guilt-free actually disconnect and allow our energy to renew? The next time you feel overwhelmed, instead of walking from place to place trying to catch a breath, leave behind your smartphone and your mental to-do list: maybe it's time you actually go for that walk. Wed, 01 Apr 2026 15:21:31 +0100 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2266-how-to-be-more-productive https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2266-how-to-be-more-productive https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2266-how-to-be-more-productive#comment_thread_2420 Contrary to popular belief, first impressions do matter - especially when it comes to getting a new job. That's why a good portfolio is so important. It showcases your work and is tangible evidence of your abilities, demonstrating your skills and diferentiating you from other candidates.  With the fall edition of Career Camp around the corner, it's time to start preparing your portfolio and THU profile so you can leave a lasting impression on the recruiters you meet. We compiled a list from some of the recruiters present at the Camp this year so you can take notes and let your talent shine in the best way!  Confidence is key!  "Show us the work;  portfolio, or demo reel, you are most confident with first. This is how you make your first impression on us. If you have worked in a team, it would be helpful to tell us your role in the project, the tools you used and the time you spent working on them.  During the interview, please tell us what animation styles you like. Also, tell us about your strengths and weaknesses, and your dreams for the future. We want to know who you are through our conversation, not just what's on your CV." Polygon Pictures No such thing as a finished portfolio! Embrace the fact that it's a work in progress. "Your portfolio does not need to be 100% complete because there is no such thing as a finished portfolio. Sometimes, we want to take a look at your works in progress! Details are always welcome in reel breakdowns. The number of hours you worked on a certain shot, the softwares you used, and which part you were in charge of would help us image your skill set and style" Polygon Pictures Follow these ground rules for guidance:   • Above all, keep it updated - old works that may be close to your heart may not be the best representatives of your current skill level. • Keep it relevant - if needed, adapt the portfolio to match the company (or at least include artwork that is relevant for company products). • Keep it unified - do yourself justice, add your TOP artwork there, the weakest pieces will impact reviewers and get us to question your skill levels. • Optimize - 200 jpegs won’t do you justice, even 10 of amazing artworks can get you to move to the next recruitment stage. • Make sure we can access it easily - whether it is online or in a single file, make the format readable on ANY device - recruiters may not have Photoshop or other software installed. • In the end, the process of how you got to the solution is always cool, so a short gif of a process from start to finish is a nice touch." Outfit7   Career Camp takes place online from November 7-9. Find out more and start preparing! Wed, 01 Apr 2026 15:21:31 +0100 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2262-portfolio-tips-for-success https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2262-portfolio-tips-for-success https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2262-portfolio-tips-for-success#comment_thread_2416 The App That Gives Toys a Second Chance!   The toy industry is facing a sustainability crisis. Each year, millions of plastic toys are discarded worldwide, with an estimated 80% of all plastic toys ending up in landfills, incinerators, or the ocean (Robertson-Fall, 2020). Plastic toys have become a significant environmental burden, generating millions of tonnes of waste yearly.  Meet Give Give, a kid-focused mobile app designed by Ninon and Adrien, two interaction designers on a mission to redefine kids’ play and sustainability. The app introduces children to GG, an adorable virtual pet that helps them navigate through toy swaps rather than engage in further consumption. Instead of discarding old toys, kids can scan them into the app, digitally replicate them, and swap them with other families—all under the supervision of parents, who ensure secure exchanges within local communities. With a trial program already underway in Malmö, the goal is to build a community-first approach to play, where swapping becomes the norm and forgotten toys get a second life. Through gamification, meetups, and neighborhood-driven exchanges, the app doesn’t just fight waste and overconsumption - it fosters a new culture of shared ownership, circularity, and meaningful play. How has the trial program in Malmö shaped their vision? How can families join the movement? And what’s next for Give Give? We sat down with Ninon and Adrien, winners of the last edition of Talent League,  to dive deeper into their journey, challenges, and ambitious plans for the future.   Give Give makes toy-swapping fun and interactive for kids. Can you walk us through how the app works - from scanning a toy to making a swap? At its heart, Give Give is designed to make toy swapping both simple and engaging for kids. Kids already love swapping, whether it’s trading cards, in-game skins, or just sharing snacks at lunch. We’re just bringing that instinct into the real world. Here’s how it works: kids scan their toys using our AI-driven sorting tool, decide what stays and what gets swapped, and the app finds a match nearby. Parents approve, and the actual trade happens offline—at a playground, a café, or even through school networks. Because the best play still happens beyond screens. The idea is built around a simple but powerful loop: sort, trade, play, repeat. And that doesn’t just make toy swapping easier—it actually makes it exciting. Kids feel like they’re in charge of making decisions and discovering new toys. The app is about more than just reducing plastic waste—it’s about building a stronger sense of community. How do you see it fostering local connections between families, schools, businesses, and other stakeholders? Exactly! The environmental impact is just one part of what we’re trying to achieve; we’re building an ecosystem. Families subscribe for unlimited swaps, while toy brands receive circular economy data and city partnerships help reduce waste in line with future European regulations. The goal is to hit multiple targets with one mission: to connect families, foster sustainable consumption and build resilient communities. We're creating a network that supports this community engagement. Schools can use the platform for educational purposes, teaching kids about sustainability, while local shops and associations host swap events, helping us grow our user base. You launched your beta program in Malmö. What made Malmö the ideal starting point? What have been some of your biggest surprises along the way? What obstacles have you encountered while developing Give Give, and how have you tackled them? Scandinavia is the perfect testing ground. This region is already leading in sustainability, education, and secondhand markets, so it was a no-brainer to start in Malmö. Give Give makes things easier, especially for kids. One of the biggest surprises? Kids get it immediately. They’re not attached to ownership the way adults are. They seem enthusiastic not only about receiving something new, but also giving something away - it's clearly the solution they've been waiting for. Our biggest challenge is to balance fun with functionality. Kids want a game; parents want something practical. So we’ve been fine-tuning that mix—building something that feels like a game but works like a smart, safe tool for families. Your ultimate goal is to build a strong, engaged community of families who embrace toy swapping as the norm. What are your next big milestones? What does success look like for Give Give in the next five years? What’s next? We’re launching our finished beta version this fall, so success for Give Give means less waste, stronger industry collaboration, and changing how toys are used and shared. Our main focus is on reducing plastic waste. In the first year, we aim to save 7,000 to 10,000 kg of plastic—about 15,000 to 20,000 toys—through swapping. Over the next five years, we plan to reach 70,000 paying users across Europe, driving real change in how families consume toys. We’ll also provide data insights to manufacturers and retailers, helping them adapt to new sustainability regulations. By partnering with toy companies, we can support the shift to a circular economy. At the same time, we’ll launch new gamified features to keep kids engaged, ensuring the platform remains fun while promoting sustainable practices. For families eager to join, how can they sign up for the beta and become part of the Give Give community? Families can easily sign up today on our website —the waiting list is open, and early adopters will get to help shape the give give experience. And if you’re in Malmö or Copenhagen, keep an eye out—we’re hosting swap events soon so that you can see it all in action.    Wed, 25 Mar 2026 15:24:53 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2348-give-give https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2348-give-give Have you ever met an artist or creator you really admire and wondered where and how everything started for them? There's magic in beginnings - that moment when you haven't defined yourself yet, have no idea of what's to come, but know, deep down, the creative path is the one you're meant to follow.  When we created Sony Talent League by THU, our vision was to be a landmark at the beginning of a creator's journey. A chapter of the story of how they grew into a version of themselves that would make their inner child proud. And that vision is still a leading light today.  We talked to our Sony Talent League Mentors Jinko Gotoh (Oscar-nominated producer and consultant), Scott Stafford (Composer, Sound Supervisor and Director ), Daryl Clewlow (Director of Clewlow Creative), and Sally Slade (Co-Founder and Chief Technical Officer at Voltaku Studios), and they gave us a sneak peek into how everything started.  "Someone snapped this photo of me while I was an intern at Digital Domain in 2007. Great memories!" - Sally Slade What made you give that first step into your first project?Scot Stafford: Fear, hunger, and humble opportunities from unlikely places.  In my 20's, after several years of relying on music for all my income (recording, performing, teaching music, building pipe organs...), I took a break and got a "real job." I oversaw sales of a music catalog for a large retailer. After less than a year, the company was dismantled and I was let go. It would take years to rebuild my freelance business if I went back to the same life as before. I knew an office job wasn't for me, so with support from my then fiancée, I decided to go on unemployment and learn how to score films.  Because I knew I needed to understand how films are made, and work with editors and constantly changing cuts,I enrolled in film editing and production classes at a community college in Oakland. A friend convinced me to compose ringtones for a Japanese company, which seemed completely insane to me. But I realized that the software I needed to learn to write for 8-bit mobile chips was actually the same I needed to score films, so I leapt at the chance. Around the same time, a friend asked me to compose a score for his first short film, and soon after, another for a grad film student at University of Miami. All of this happened within a month, and by the end of that year, I'd made a humble living as a full time composer- something I never thought possible outside of academia. 10,000 hours later, I got to score a Pixar short film, but that's another story. Sally Slade: The first project I recall completing was a mixed reality game for HoloLens called "The Floor is Lava". My friends and I took this project on because we had a burning question of "can we successfully use this new medium for Play?". When it comes to emerging technologies, we love to twist and contort them to be used for whimsical and artistic usage, rather than bland corporate purposes. Punk energy! Jinko Gotoh: My first personal project was "China: Mao to Now," my MFA thesis film. It was a feature-length documentary film shot with a tri-lateral crew of Americans, Japanese and Chinese. At the time, my father was a visiting professor at the Fudan University in Shanghai and also had access to a Japanese network crew and foundation money for me to complete the project. Daryl Clewlow: I honestly can’t remember my very ‘first’ project as I’ve always been creative. I guess I was compelled to create, in my early years nothing ‘made’ me have a first step, it was just something I did, daily. Art for me was consuming, it was my passion, voice and my identity. Once I left education things changed, my projects were for professional studios which had predefined briefs and deadlines. Art was now my job, so I needed to learn and create a repeatable framework so each piece of work would hit quality and delivery. A big learning curve and something I coach and mentor others on to this day! "This one is from 2012, my first meeting at Motorola HQ with Jan Pinkava (L) and Doug Sweetland (R) to discuss what would become the first Google Spotlight Story, "Windy Day." Jan had previously created Ratatouille and the Oscar-winning Pixar short "Geri's Game", and Doug had previously directed the Oscar-nominated Pixar short "Presto" and was then directing the WB animated movie, Storks." - Scot Stafford What are the most common mistakes when facing a project for the first time?Daryl Clewlow: Mistakes are common for first timers and those with experience alike. It’s easy to get super passionate about a project and lose judgment. Focussing too closely on detail without taking time to look holistically at a project and see if what you are doing is achievable, matches the original direction and engages your audience creates avoidable challenges. • Know your audience • Set a vision early • Find your hooks • Scope to the size of your team and timeline • Plan with achievable milestones to guide production • Regularly look holistically at the project Jinko Gotoh: I was inquisitive about the cultural revolution's impact on the Chinese people, especially how the families had to pick up their lives and build their futures. Curiosity is critical, but what's essential is you need to find ways to make it your story. My film was factual and informative but lacked the emotional storytelling that great films all have in common.  Sally Slade: A common mistake when facing a project for the first time is: Know when the project is complete. When you begin a project, define what the 'minimum viable product' is. When you've hit that criteria, you are done! If a project increases in scope during execution, question if new features could be better expressed as follow-up projects. If you find yourself polishing the project for too long, remember that 'perfect is the enemy of good' and move on. Scot Stafford: A common mistake is trying to do everything yourself, and trying to achieve (or impersonate) expertise in every aspect of your project. Another is expecting the process to be linear and conveniently designed to support your individual process; and disoriented and annoyed when it isn't either. "Me in Tanzania" - Jinko Gotoh If you had to give one piece of advice for those preparing a submission, what would it be?Jinko Gotoh: Why do you want to tell this story? Let it come from a personal place and how you believe your project will impact the audience.  Scot Stafford: Try to find people to challenge you with a different perspective. Pitch your idea to them before it's neat and ready. They might have good ideas and feedback, or you might disagree with them; both equally help strengthen your idea and focus your vision. Daryl Clewlow: Don’t do any of the common mistakes listed in the above question! Step back, look at the project holistically and get clarity regularly. As a rule small and beautiful is better than large and average.  Sally Slade: Have a clear goal, and measurable values you can use to determine when you have hit that goal. For example, "I would like to illustrate a ten page comic book sample and print 100 copies" is superior to "I want to make a comic". By defining the scope of the project using clearly written goal statements, mentors can better determine how best they can contribute: "Can we help this person on their journey?" is a big factor! Having access to funding, and dedicated mentors who can guide you, among other perks, is a great head start for young creators. The application deadline is December 9, so remember to submit while you can!  "These are pretty old. One is from film (Event Horizon)"- Daryl Clewlow Wed, 25 Mar 2026 15:24:52 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2261-the-magic-of-beginnings-four-inspiring-creators-tell-us-how-their-careers-started https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2261-the-magic-of-beginnings-four-inspiring-creators-tell-us-how-their-careers-started Our lineup of Sensei for THU Japan keeps growing, and we couldn't be happier about the incredible storytellers joining us in Kaga City. One of those Sensei is Kyle Balda, a Bafta nominated feature animation director working in the animation industry for 30 years, most notably with Illumination Entertainment and Pixar Animation Studios. We talked to Kyle about his career, approach to stories, balancing humor and heart, and his plans for THU Japan this September! Read the interview.  You once said that the thing you love most about any kind of filmmaking is the puzzle of the film and the story and the challenge of interpreting the script. How do you deconstruct it in your head? What do you prioritize? Do you look at small characters' quirks, or focus on how the film is supposed to make the audience feel? Where do you start? I think the most important thing to identify are the core themes, what is the north star guiding the story? In the case of Minions: Rise of Gru, it’s about wanting to belong to something larger than yourself and that even though the journey doesn’t always give you what you want, it might give you what you need. This is how Gru finds his improvised family in the Minions. The characters are the priority because their wants and needs are what drive the story. But finally you are right, it all comes down to how the audience feels. They need to care about what the characters want and have a sense of rooting interest for them. If you haven’t earned that, then none of it works. Can you share a bit of your approach when designing compelling antagonists and how they contribute to the overall story? I think you have to love the villains of your stories just as much as you love the heroes. It’s important to try to understand WHY they want the things they do, the things that motivate them through the story, so they are not just twisting their mustache and being a baddy. Sometimes in animated stories the antagonists can tend to be overly simplified, so even approaching them with some humor and giving them humanizing flaws can make them more relatable. Can you share any specific challenges you faced in balancing humor and heart in your films? How do you ensure that emotional moments feel genuine within the comedic context? The funeral scene of Rise of Gru was such a particular challenge, trying to find the right dose of tragedy and comedy. But any emotional moment has to be earned, whether you are going for a laugh or leaning into what the heart or theme of the story is. This is why the cultivation of empathy for the characters is so important. Without it, those emotional moments can feel contrived and inauthentic. Then the audience is groaning their way through the film, or worse, doesn’t care at all. The entertainment industry is evolving rapidly, with new technologies and platforms emerging. How do you see the future of animated storytelling, and what excites you about its possibilities? We are suddenly in an age where technology can reproduce a facsimile of all that has come before, and this can feel intimidating. However, even though these replications can be very impressive, they are still derivative of past works and absent of true creation. The stakes are higher than ever to pioneer new stories because it’s so easy to synthesize what’s already been done. I believe technology can be an amazing assistant in the hands of a human creator with a strong and unique point of view and I’m excited about the potential this new disruption has to hold our feet to the fire as creators to continue to innovate new perspectives. Can you let us in on what you’re planning for THU JAPAN? In the TALK, I plan to share how my personal relationship to storytelling formed over the years as I evolved from my roots in performance as an animator, to a visual storyteller in cinematography, to the custodian of the broader story and characters as a director. There is a parallel I want to explore between how we find the stories we tell and how we live the stories that become our journey. In the WORKSHOP, I want to share some of the more practical principles that have guided me as a storyteller through the intricacies of STORY and cultivation of CHARACTER to invoke EMOTION in the audience. We will be looking at some of the stories that have inspired me over the years and explore what makes them work. I can’t wait to share this with the participants of THU JAPAN! Wed, 25 Mar 2026 15:24:52 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2255-thu-japan-interview-with-kyle-balda https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2255-thu-japan-interview-with-kyle-balda To our fault, we’ve grown beyond the limits of an event and started a fire we simply refuse to contain. But with great aspirations come simple questions, and one we get asked pretty often is:  What exactly is THU? We could probably call THU a larger-than-life experience, where artists, creators and companies come together for mutual benefit and, most importantly, personal growth. That was how it all started, with one single event born out of a purpose to change artists’ careers, perspectives and lives. We created a place where artists were at the front and center of everything instead of companies or logos. Yes, we hosted talks, recruitment sessions, and even workshops, but how we did it was unparalleled, even to this day. We focused on the artists and their craft, and had a hands-on effort to take them out of their comfort zones so we could foster genuine bonding and grow a tribe with soul.  The thing is, it wouldn’t be fair (or truthful) to state that all of this could be done in over a week - or even expect that the connections made could endure long past the event. We needed to ensure the words exchanged would have a fighting chance outside of our idyllic scenery. To do all this, we needed to take a very important step back and ask ourselves why we do it. The answer is clear: we do it to solve problems, and every step we take needs to get us closer to a solution. Creativity is one of humankind’s greatest resources and non-negotiable when it comes to creating a more peaceful and playful future for everyone. This means creators have the ability to change the world, but first, they need to understand their power, find their voice, and realize their potential. So, if anything, our Main Event, as we call it, is exactly that - the Main Event where the spark is ignited with a bang, and the foundations are set. We were naturally compelled to expand our vision, to create a continuous effort to empower creators and provide them with opportunities through inspiration, education, nurture, and belonging. Our unique experience branched out across the world with our Gatherings and, most recently, our Career Camp, boosting job opportunities where we felt were lacking. The desperate need to raise awareness and recognize talent also led us to the creation of challenges that go beyond any prize, such as Golden Ticket, which focuses on concept art as a way for sustainability, and Sony Talent League, crossing different forms of digital art and supporting the new generation of creators. On a whole other level, a much deeper and concerning one, our vision relies on everyone having the same opportunities, no matter where you were born, your skin tone, your gender identity,  or sexual preference. But words aren’t enough. We know there’s creativity boiling out of adversity, out of different perspectives, but we also know that creativity needs to be channeled in order to materialize. We want to reach further, and amplify these voices. Voices for change, and forces to be reckoned with in the digital arts industry. That is why we’ve created THU New Voices, to summon the means and to bring together those who own their craft with those who want to learn it. We made it a vital part of everything we do, boosting diversity, equity and inclusion wherever we lay our hands on. They say it takes a village to raise a child; well, we want to be that village, one of unlimited real estate, charging only our shared mission to empower creators through access to opportunities and inspiration. More than a global brand, or an event, that focuses on technology, art, and creativity, THU is a networking ecosystem that brings together all players in the digital entertainment and interactive industry. Unfortunately, boxes are the most practical way to get a message across, and if we have to put THU inside one, we are an organization dedicated to the empowerment of creators and the promotion of positive, fair, and sustainable policies in the digital arts industries.  We take action. And we are grateful to have a community that does, too.   Mon, 09 Mar 2026 15:56:50 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2267-thu-how-we-got-where-we-are https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2267-thu-how-we-got-where-we-are We are so excited to reveal a project we’ve been working on for a while now. A 3-day event that will unite the art and business community with that THU flavor you all know. Something we call the Creators Circle. Listening to many of you over the years has made us aware of the struggle that all artists and creators face at one point or another, that is how to turn their passion into a business and give it a fighting chance. Let’s face it, this is probably the last thing on your minds, but navigating that realm is absolutely essential, not only to launch a business but to plan, lead and pitch a project. The purpose of the Creators Circle is to provide a platform for artists, designers, writers, and anyone else in Digital Entertainment to connect and learn from true masters of the industry. We want to make sure you have the skill set needed to fly on your own and, dare we say it, become entrepreneurs. But, in true THU fashion, we wanted to add a few more layers to all this. We also want to make the creative world more accessible to people in corporate positions so that its value is perceived and the people in it are understood. We’re talking about all of you executives, managers, as well as entrepreneurs out there, and we’re reaching out with a statement - we need more women in leadership positions. The numbers speak for themselves, and the number of talented women we come into contact with each day simply doesn’t match the number of men leading the industry. Expect to be immersed in a welcoming, fun, and supportive environment where you can meet other like-minded individuals who are passionate about creativity and hungry for knowledge. Yet, be prepared 3 intense days of a program where you will learn about: Investment and Fund Raising Legal Protection Business Development  The Production Management process Brand Strategy Leadership (management, communication skills, training, and recruitment) Pitching, Storyboarding & Prototyping Business Ethics (Social Exchange, Diversity) The Future of Work The Dilemmas of innovation and tech tools We took our time to pick out the venue for the Creators Circle, as it had to be truly spectacular, and we nailed it! It will all take place at Campus La Mola, just 30 minutes outside of Barcelona, Spain. A beautiful and spacious facility that mixes its 17th Century charm with state-of-the-art accommodations where you can also stay (and we encourage you to). We have all-inclusive tickets available to you all, meaning you can stay where it all takes place, taking advantage of the downtime to relax in a sauna, work out at the gym, swim in a pool, or take a biking trail. Did we mention it also covers all food and drinks, which includes an open bar? And of course, there will be time to party. We believe in everything we do, and we truly believe this will be an important formative experience for everyone. If you want to know more about the Creators Circle, check out the link where we’ll be updating you with the latest news and confirmations.   Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2265-creators-circle-where-the-worlds-of-art-and-business-come-together https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2265-creators-circle-where-the-worlds-of-art-and-business-come-together Thinking about submitting to the Golden Ticket? Over the last eight editions of the challenge, we’ve been empowering artists from all over the world and giving them the opportunity to attend THU’s Main Event with all expenses paid. We talked to José Alves da Silva, who’s been a part of the jury since day one, about these last eight editions and what Golden Ticket means to him and to all the artists out there. He’s a senior artist at Quantum Mechanix (QMx), creating some fantastic sculptures and delighting collectors worldwide. Take a tour inside his mind and have a glimpse at what makes José tick. What role did a challenge like the Golden Ticket play in your career? I think these challenges, like the THU Golden Ticket, are incredibly important for the artists. Sometimes people don’t know how life-changing this can be. I can tell you my own story because, in 2009, I participated in one of these challenges. It was CG Society’s 24 Challenge, in which I was lucky enough to win first prize, which made a whole difference in my life. I used to work in architectural visualization, but I had a passion for characters, and the fact that I won that challenge opened many doors. I had the opportunity to work as a freelancer, on characters, as a character artist, and now I've been working in that industry since 2009, so this can really change your life. How do you see the evolution of the submissions over the last eight editions? The difference in the THU Golden Ticket challenge is that it started from a small community, and it's been getting bigger and bigger and bigger. That has brought a lot of international talent to the challenge, and it gives a lot of hard work to us, the jury. Sometimes you've got a lot of great ideas. You've got these incredible technical pieces, and choosing which ones should win is tough. Some are better at storytelling; others are better from a technical point of view. If you've got one piece that's incredibly good at storytelling and technically, well, you’d say it's easy to find a winner. Sometimes there is a balance between these two factors, and finding the balance between the two is very hard. In fact, the quality from challenge to challenge has constantly been rising, so, it's incredibly hard to judge but it is also a pleasure to go through so many great entries. Over the last few years, the Golden Ticket themes have focused more on future innovation and sustainability. How do you see the shift towards these kinds of themes? Well, I think I see artists as thinkers. So, artists are people that have things to say to society, in a certain way. They are different from other people because they look at the world differently. They digest it and put out the different ideas, showing things through eyes that are not ours but can make you see something that you would not usually see, which is the artist's power. If you get artists working around themes relevant to society, you will eventually have new ideas coming out of it. You'll have new ways of thinking about certain problems, and gathering all the ideas from these artists will lead to a pool of thoughts that will probably bring a lot of new and positive things to society. It's like using this collective thinking brain of the artist. What are your thoughts on using art to raise awareness? Art is a great way to create awareness because when people look at art, they're not expecting to be convinced of something. If you receive a manifest, a newspaper, or read about something and someone is trying to convince you of something, it’s not as effective as if you bring people to see something that makes them think about it. People will reach their conclusions by seeing through the eyes of the artist, and that's a very powerful means, just to convince someone or to make someone aware of the question because that person will see a work of art and will reach that conclusion. It will be their interpretation; it's not about someone trying to convince you of something; it's like seeing through the eyes of someone, so yes, I think art is an incredibly powerful means to bring awareness to many questions. What would you say to creators who don’t believe their work can generate change and true impact? I would say Imposter Syndrome is something that you’ll have if you’re a good artist. Let’s put it the other way around. If you feel that you have already achieved everything and that what you do is perfect, then you do not have the hunger to do something better. What makes you move and try new things is the fact that you think you're not good enough, and as you learn, you get to put your goals higher and higher, and you'll never reach them because the goal is always higher than what you know. So, first, that is perfectly common. It's great if you have it because that means you have the hunger to grow and to be better. Sometimes it's very surprising when we put our things out there, and we think that maybe it will not have an impact, but it has. So, everyone feels that way if they are good artists. Just put your things out there! Which are the main differences you notice between the first editions of Golden Ticket and these last ones? Is there an evolution? Has something changed? I see the same joy in people participating. The number of people participating is surely bigger, but also the themes have been changing a lot. The first Golden Tickets were more focused on a character or even a story situation. Now, we are more aware of some things in the world, and we are more worried about you bringing your vision of the world to enter the challenge, making it more of a think-tank about a certain question. So, I would say that the challenges are equally enjoyable to participate in but are a lot more useful in terms of awareness regarding the questions they bring forward. Why do you think the community aspect of the challenge is so important? Not just submitting the work but sharing drafts and exchanging comments. To someone who participates in a THU Golden Ticket challenge just aiming for THU tickets, I would say that only the winner will be happy because no one else will win the ticket. And if we talk about happiness in life, some things are more about the journey and not the specific outcome. I think the THU challenge should be perceived in the same way. It's more in how you participate when you comment on other people's work and when others comment on your work. To get this interaction, this sense of community, is one of the greatest joys you’ll take out of the challenge itself. You’ll get to know people during the process, you'll get your work to be commented on, sometimes by great artists, and you’ll get feedback that you wouldn't get otherwise, and, in the end, you’ll always get a piece of art that you have created, and that's the biggest prize of the challenge. Your main focus should be on your evolution as an artist during the challenge process. What makes you want to be a part of the Golden Ticket jury, year after year? The thing that brings me back to the challenge every year, apart from André, is that it’s great to see how this group of artists brings so many different solutions to the same problem. I think about something, and we have our ideas, but the fact that you can see hundreds of ideas for that same theme is very enjoyable. It kind of opens your mind regarding how diverse all the responses can be to the same question. It’s just a joy to go through all this great art, so it's great to be back year after year. I hope they’ll invite me again next year. With all these new tools available, like 5G and the whole world of possibilities it opens, where do you see the future for artists and their challenges? Connectivity and communication speeds are getting higher and higher. This is opening new doors for art and ways of working. When you see Technologies like 5G, with all its low latency and great bandwidth, in terms of volumes of data, it opens the door to new tools. For example, when you collaborate with other people, you may start working with collaborative tools, where you have a terminal in your home, and the speed is so high that you are able to work in a computer that's far away from you, but has ten times the power of the one you would use regularly. You can be doing it at the beach or at your country house, and all this just because the speed of communication and latency is very low. If you have a data center processing everything and all you have is a terminal,  you may be doing things on your phone, but actually, you’re using a powerful computer. Companies can hire talent everywhere because they can give computing power to all these people that are spread all around the world. I think the future is incredibly exciting, and trying to see how you envision the world in this challenge, for example, is something I would love to see. Thank you, José! Don’t forget to join Golden Ticket by NOS and become an agent of change! The deadline for submissions is July 31st! - https://www.trojan-unicorn.com/challenges/golden-ticket-2022 Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2264-the-meaning-of-the-golden-ticket-interview-with-jose-alves-da-silva https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2264-the-meaning-of-the-golden-ticket-interview-with-jose-alves-da-silva "What do you want to do?" the recruiter asked Rembert. His animation reel was contaminated with various different styles. His sketchbook went from classical inspired paintings to american comic book sketches, from caricatures to real life studies and architectural drawings. "Everything! I like everything," he replied, stating the obvious. "But what if I put a gun to your head and asked you to choose one thing?" the recruiter insisted. "I can’t choose." Recruiter after recruiter, Rembert seemed to be getting the same response: "You’re very talented, but sorry, we’re looking for specific people in this industry." But Rembert wasn’t the usual Jack of all trades and master of none. On the contrary, he seemed to be a master of all. However, no matter how impressed people were by looking at his portfolio, they were still not willing to hire him. There was too much going on. It was 2016 and Rembert had pulled a puppy face on THU’s staff in order to get a last minute place in recruitment. He had been too busy working at an animation studio in Zagreb that he’d missed the deadline for applying. It was his third THU Main Event and he’d previously attended four Gatherings. As a veteran Tribe member, he got his way, but all efforts seemed to prove futile. His friends had suggested he do some fan art for the companies he wanted to work for, but he was stubborn. "I was just doing what I love," he says. "Artists often use 3D and photos because that’s what the industry wants, and it’s ok, but I’m a little more romantic. I was painting and drawing." And how could he not be? Rembert’s mom was a jewelry designer and his grandma was a painter. After school he used to sit in the gallery his mom worked in and sketch the paintings. It was only a way to kill time, but slowly it became his passion. In school he liked to think of himself as a "ninja artist". "I used to put my work up on the walls and then disappear," he remembers. "I used to tell people I wasn’t in school to make friends." Rembert used to think it was interesting to be this person. He didn’t mean to be arrogant, but he thought that professional artists were antisocial people who work really hard all the time. Then he went to his first THU. "At THU all my idols were so open!" he says. "I don’t think I could’ve met them so casually anywhere else. Many events invite internet-famous artists, but THU brings you Brenda Chapman, Eric Goldberg or people like Ryan Woodward, who has no internet presence but is a legend. Also, at THU everyone talks to everyone. The speakers are really part of the event and mix with the attendees. You can and are encouraged to go up to anyone and ask anything!" Rembert got to chat with Michael Kutsche and get drunk with Paul Briggs. When he went back to Belgium, he started being more friendly. He still worked a lot but he would also go out and enjoy. His personality changed completely. He became helpful and talkative and realized you can give people feedback on their work without being an asshole. "Maybe I used to be antisocial as a shield because I was insecure," he reflects. And then he adds laughing, "I mean, I’m still insecure, but now I talk to people about how insecure I am!" It was this new found self-confidence that gave him the push to chat to Kenny Carvalho from Riot Games. It was much after befriending him, that Rembert finally showed him his portfolio. Kenny immediately called Ryan Woodward, who was a speaker at THU that year and one of Rembert’s all-time favorite artists, and they both looked through everything, the sketchbook, animation reel, painting portfolio... Rembert felt like he had to justify himself, and warned them, "I know it’s all in different styles and I shouldn’t generalize..." He had let all his critics get to him, but Ryan and Kenny didn’t care. Ryan told him to send them his portfolio once THU ended. That’s exactly what Rembert did! He went back to Zagreb and sent Ryan everything. He heard back instantly. Now he’s working for Riot Games, a place that truly values his talent and art. "My favorite guitarist Alan Holdsworth always says that there’s no need to advertise yourself. Other people do that when they like your work." Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2263-thu-tales-rembert-montald https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2263-thu-tales-rembert-montald THU was born out of a need and a problem I faced: How can we have a voice in an industry where only those who shout are heard? I didn't want to scream, and to this day, I still don't. I want to give people a space where everyone can have a voice and build a genuine network, finding knowledge to understand the next step in their careers—be it through inspiration, changing jobs, changing fields, or new projects.  Since we created the Main Event, we have focused on introducing something missing in the industry—that was the beginning of everything. The old mentality: doing the same thing and expecting different results Events are usually highly corporate and focused on selling or promoting something using conventional marketing methods. But is this approach effective for artists, thinkers, and people with high critical thinking skills in general?  The cycle continues: if you have an event that doesn't follow this method, the doors remain closed. It's a more significant struggle than it should be.  Ten years have passed, and the problem has worsened because companies feel the need to adopt a more aggressive approach now. Unfortunately, this threatens many spaces that were created for discussion and learning for creators.  We are fortunate to have brands that share our vision and understand that by supporting THU, they're supporting the community. We're also lucky to have recruiters and people from all fields who believe in us—people like you.  However, we need to be able to do more and give more. Over the past decade, our evolution has been marked by maintaining a space where everyone is free from the pressures of buying or selling anything. This is a space where we think differently, let our guard down, and touch our wounds and the industry's wounds, addressing the challenges and facing them together. We always tried to be the community's voice and never wanted to be corporate.  For us, business is built on relationships and connections, and over the past ten years, we have created a networking structure that has been the place where multiple businesses and ideas were born and careers were taken to new heights—the cradle of innovation.  Now, there's a need for more depth.  THU 2024 is an event edition where we want to return to the essence of our first three years and recreate the space where we had conversations focused on the future with senior professionals without any sales pressure. How can we steer the industry in a new direction, and how can we, as creatives, contribute to the development of society? What's new this year? A main event for the books!In 2014, the Main Event was defined as "Burning Man meets TED." Ten years later, we've decided to embrace that path. In this 10th edition, we will have 25-minute talks focused on innovation and creativity, encouraging real involvement and conversation from all participants to try to find answers and solutions. Instead of the usual 10 minutes of Q&A, we will have 30 minutes of discussion to spark honest conversation beyond the surface.  THU 2024 will heavily feature Masterclasses and "Talks + Discussions," along with a new section called "Companies University," where we challenge some companies to bring case studies of problems and explain how they solved them. The overall focus of the event is based on discussion and noise-free conversations, which was constant in the first three years but adjusted in recent years as we explored other formulas. The best part? Everything takes place in an immersive 6-day environment. THU's secret ingredient has always been immersion, and "time" is a factor that sets us apart from the rest of the events. We have incredible speakers, fantastic food, and great venues, but time makes all the difference. Lately, I have been reflecting on the world's continued misunderstanding of this. You can only build relationships with time to get to know people. True networking at THU happens because attendees understand that time is the missing element everywhere, and THU provides it. Space is also crucial, and Tróia will be where connections happen - a powerful blend of space and time that allows openness to learn, receive, and truly give back. This is the only way to change behaviors and create actual change.  THU 2024 is also a celebration, and the 10th edition will be special. For the first time, we decided to repeat special activities - the best of the best moments that marked past editions. The Midnight World Championship of Bubble Football and the Sand Sculptures are returning. The gallery also takes on a new importance, with analog tools (paper, pen, brush, and sculpture) reminding us where everything begins and returning us to the roots.  We are all in the same boat, developing the creative industry; everyone is important. No one can change the world alone, and THU's setup ensures no one is ever alone. I hope THU 2024 is what the industry needs: a space where everyone is focused on creating a better industry, finding solutions, and paths to make the magic of creating a better world.   André Luis.   Save your spot for the tenth edition of our Main Event right now! Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2260-inside-thu-2-the-evolution-of-the-main-event https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2260-inside-thu-2-the-evolution-of-the-main-event Creators Circle, our new event focused on entrepreneurship, takes place in Barcelona in a month (July 13-15). We are oficially in countdown, and asked some of our Masters to share a few insights.  Today's story features Ann Le Cam, a global talent and studio leader that brings three decades of senior leadership experience focused on creative talent and designing the most effective, innovative environments for them. As a business and talent leader in multinational environments she has built a reputation for innovative strategic thinking and transformational leadership. In this fast-paced digital era we’re living in, why is innovative strategic thinking so important to business leaders? Technology is changing everything in our day-to-day lives and new, groundbreaking technologies are revealed every day. There is no reason to think this might slow down any time soon and as a result this has a fundamental impact on business, how things are done, the services we provide and how we need to lead. In this fast changing environment it is imperative for leaders to create an environment where people can innovate and to curate, enable and support new ideas coming into the organization. It will enable the organizations to remain vibrant and competitive, while also integrating better with the current social and economic environment. Leaders set the tone for organizations and need to provide environments where people are able and willing to innovate and think differently, this comes with distributing authority and responsibility, making it OK to fail, because that comes with trying new things and providing meaning and purpose for the work that needs to be done. In this fast changing world, we also get overwhelmed by the incessant flow of information and challenges that come our way and it is important for leaders to take the time to not only be responsive, but set aside time for creative and strategic work in order to set the compass and direction of where the organization needs to go next. This requires pausing, reflecting, connecting and engaging more deeply with themselves and with the organization. It is important for leaders to be self-aware about what they are sensing, observing in the organization and in the world, and also about what they project themselves as leaders when they set the tone for creativity and innovation. What kind of key roles should tomorrow’s leaders hone? What’s the right mindset here? I touched a little bit on this in my previous answer, but the skills that I think are important for leaders today are - curiosity: the willingness to learn, to explore, to discover something new and to have the ability to admit we don't know everything. Curiosity is the source of creativity and, especially when everything is changing so fast and a new generation of people are entering the workplace, approaching the work with an open mind will reveal opportunities provide new insights for the future. - Willingness to explore, innovate and potentially fail: Leaders need to change their approach to risk and learn how to normalize well-intentioned failure in the organization. My mentor, Ed Catmull, taught me that "if we are not failing, we are not trying hard enough", and this provides great license to an organization to experiment, try new things and become innovative. - Comfort with ambiguity and resilience: As change is accelerating, we need to learn to be decisive even if we don't have all the information, even if it involves risk. The leaders role is to help make sense of all the noise that is surrounding us and to trace a path for the organization and its' employees. This is where a well articulated purpose and clear values and goals will help keep clarity into the future path, despite the ambiguity. - Kindness and authenticity: Most of all, i think it is important for leaders to be true to themselves, to be human and kind, not only with the people around them, but with themselves too. This enables trust and also gives license to other people to follow, feels safe and supported. Women face a unique set of challenges when trying to progress into leadership positions. What are some of the tools or skills women in business can use to nurture their success? As women in the workplace, I think it is important for us to lean into our differences, have the courage to dive into new adventures and create space for ourselves around the business tables. We can't wait for others to bring a chair and make room for us, we need to learn how to bring our own chair and make space for ourselves. I think it is important for us to accept new challenges, even if they might seem uncomfortable or a little scary in the beginning and to not be affraid to put ourselves out there. I do believe that diverse environments (especially gender and ethnical diverse environments) are performing better than others, because we bring a different and unique perspective to the table, so it is important to lean into those differences and find space to express them. From my experience, women have a harder time speaking up in meetings, so it is important for us to find our unique voice and make sure it adds value to the conversation. My advise to young women today would be to be competent and confident , so they can integrate well into the business environment and find their voice. What excites you about Creators Circle? Can you tell us a bit about what you're bringing to the table? I am very excited to see Creators Circle as a place where creativity meets business and where we can enable and empower female artists, sotrytellers and creators to find a voice in the business world. It is a unique opportunity for bonding and support, which i believe will be a catalyst for many as they trace their future career paths. Having been an executive in a highly creative enviornemt and having supported digital and cultural transformations throughout my career, I am excited to share some of my learnings with the participants and give them some advice I wish I would have received when I was younger and at the start of my journey. Most of my experience centers around leadership, talent management and creating environments where people can do their best work. I really look forward to sharing insights and perspectives and having meaningful conversations with the participants.   Find out more about Creators Circle and get your ticket here! Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2259-creators-circle-master-insights-with-ann-le-cam https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2259-creators-circle-master-insights-with-ann-le-cam Meet Stella Madeline Levy, Production Manager at Blur Studio, a company that will be at Career Camp mentoring and looking for talent! She is currently working on the fourth season of Love Death and Robots with the rest of the team, which is a small crew of 10 people inside of Blur that coordinates all the episodes with the different studios, Blur included. "As the Production Manager, I work directly under Victoria Howard, our incredibly talented Supervising Producer, and I make sure the week-to-week runs smoothly and that we stay on schedule and budget. I depend immensely on my coordinators, Peter Rosemeyer and Sarah Hayes, to help me schedule meetings and anticipate problems before they become unmanageable. I have a fantastic bird’s eye view of how all the episodes are made, and a pretty unbeatable access to all the creative leaders of the series", adds Stella.  How did your career journey begin? I grew up in San Francisco, California. In high school, I was a part of SF Art and Film for Teenagers which allowed me to see arthouse films and go to galleries. Without this program, I would have been too intimidated to approach those pieces of media and institutions. During high school, I worked at the indie movie rental house Video Wave which still exists today. Reminder: this happened before streaming, so having extensive access to media was unheard of. In my junior year of high school, I went to The Oxbow School, a one-semester high-school art boarding school that allowed me to create my first and last stop-motion animation. While I loved being in art school, it also taught me that being a full-time artist was not my long-term path. I didn’t have the patience to move an image frame by frame for six weeks ever again, but I respected anyone who did.  After graduating high school, I attended Boston University and received a Bachelor of Science in Film/TV Production. While attending school, I worked for BU Today, the university's online publication. My resume stood out because I had worked in a semi-professional work environment with a set pipeline and production style. I had a number of well-produced videos under my belt. I got my first production assistant job from an online ad at a VFX company called Zero VFX. I watched the company expand from 25 employees in Boston to 90 people, with a second office in LA. Most weeks, I worked 60-80 hours a week and learned as much as possible. I was quickly promoted to coordinator, and in two and half years, I worked on eleven movies. I was burnt out from constantly moving and working bi-coastally. So I went to Blur Studio and officially moved out to LA. I have been with Blur ever since.  What’s your favorite part about working at Blur?  I love making art that I am genuinely proud of, which I found working on Love Death and Robots at Blur Studio. Sometimes I struggled with VFX because you usually don’t see it if it's done correctly. When working in animation, everything is on the screen in a way that people acknowledge and appreciate. VFX and all digital artists are a vast invisible army. I am so grateful for the people I work with. I know everyone says that. Our team's ability to make everything great while still supporting one another is a tricky balancing act. I can’t believe how many successful women I work with, from our executive producer Jennifer Miller who created the branding and looks for the show. Victoria Howard is our headstrong producer. She taught me that you want to work with your friends, and even when she has to be firm, she knows how to continue the working relationship with cohesion. Jennifer Yuh Nelson has 30 years of experience and is an expert storyteller. She has taught me how to stay calm under adversity and not cater to other people's moments of weakness.  How does a regular day look for you? Take us through it!  I work on the show from pre-production to marketing and public relations, but I can speak most to a regular day in animation production. The software I use the most is the Google suite, Shotgrid, Syncsketch, RV, and Movie Magic. My first production job was taking meeting notes in Shotgrid while running the dailies in RV, and scheduling meetings on Google calendar. But now my day has everything from legal and clearances to creative reviews. The mornings are full of meetings with animation partners and our internal team. The afternoon is spent looking at the weeks ahead. I’ll flag upcoming milestones to vendors. A great example is that we can’t finish an episode's music or sound design unless the animation is locked. If we seem to be taking longer on animation, I will check in with the vendor on their schedule, let downstream teams know that the schedule may be impacted, and see what else we can move around, so we don’t waste anyone's time. I think what makes a production person strong at their job is their ability to keep the train running while still looking ahead and ensuring no broken track. Tell us about your involvement with bringing Love, Death, and Robots to Life and the process behind it! How was it like? I am blessed to work with a team where my opinion has always been heard, even from the first season as a new coordinator. I remember one of the first scratch voice-over sessions I did with the show creator, Tim Miller, for the episode Alternate History. Hitler is spewing lines of cursing in English and German. Tim had given a few curse words and turned to me for something fowl to say. I spewed off a line of dialogue, to which he politely nodded and said, “that was too far, Stella,” As the youngest team member, I was always called on for a gut check of if our audience would resonate with our content. My most significant impact can’t be seen on screen; it is my relationship with our partners. Just as I have always valued my digital artists, I feel the same desire to make each episode a positive experience for all 3000 artists across the globe, even if I never meet them. I plan diligently so vendors have the resources they need and help flag the next step in production, especially when it’s something outside their studio. I also work with the rest of LDR production and the vendors to problem-solve. I remember in season one, we had a vendor that needed help with their rendering to the point that they were afraid of delivering the show. Our talented Supervising Creative Director Jerome Denjean brought in other CG supervisors more familiar with the software and pipeline who helped advise on rendering. The episode looked great, and no one would have known.  How do you stay inspired and motivated?  Every day I see a new image that puts butterflies in my stomach. I have been in animation/VFX production for nine years now. I know how to pace myself, so I don’t burn out like when I was younger. I work with people who know me well; I laugh with them daily and like them. I get to work with other women on art I am truly passionate about. I feel accepted to be who I am, which is an intense nerd. Ultimately even with the hard days, of which there are many, I believe that digital art is where we are still pushing the boundaries. I am so lucky to be in a place that is constantly trying new things. I will never get bored.  What advice would you give to someone interested in working as a Producer?  If you want to be a Producer, there is no straight road. Starting as a production assistant is highly advisable, but there are other ways to get there. None of the other production people I work with went to school to be animation producers. I knew early on that I wanted to be a producer because I didn’t feel in my element being on set, but I didn’t know about VFX or animation production until I was in it. It took like a fish to water. Many people think you need money and connections to enter the film industry. Those things certainly help, but I got my first job off Craigslist and the second one from LinkedIn. Earning a degree doesn’t guarantee a path forward, but it helps. I graduated with $50k student loan debt. My first few years were a financial struggle with a lot of roommates. If you are starting your journey in production or digital art, I recommend exploring affordable options like online classes before jumping into school debt. Look outside the biggest animation studios. Many smaller studios don’t get the same number of applicants. You can have a more considerable impact and move up faster. Don’t think your first job has to be your perfect match. Once you build connections, the next step is more accessible. Good luck! Thank you, Stella!  Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2258-a-day-in-the-life-of-a-production-manager https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2258-a-day-in-the-life-of-a-production-manager You’re doing an everyday task, and out of nowhere, you’re overwhelmed with a flood of intense thoughts and feelings. Your heart starts racing, your chest hurts. Your palms are sweating and you feel like you can’t breathe. If this sounds familiar, you likely know what it's like to experience anxiety.  This beast called anxiety presents itself in different ways. Everyone’s experience is unique. For some, it might come on slowly, a nagging feeling of unease, building steadily until things feel out of control and unmanageable. For others it's like being trapped inside a small box, with the walls closing in. Or the inability to focus attention. Insomnia. Or feeling like you're having a heart attack. There's a whole spectrum. But know that no matter how it manifests itself in you, there’s nothing to be ashamed of. And it's much more common than you would expect. “Anxiety usually presents itself to me as this nagging feeling in the back of my head. Most of the time it's when I'm actively dreading something, maybe when I'm applying for a job or fearing a talk/confronting someone. It doesn't have to be a bad thing, but it tends to build up higher and higher the longer it goes untreated, like waves crashing against a wall. At that point it usually does become a serious issue. - Stephan Rumping, Concept Artist and Visual Developer.” General anxiety, panic disorder, OCD, PTSD, social anxiety, the list goes on. As do the factors that can trigger it. Phobias, crowds, public speaking, impending deadlines, traumatic events, self-doubt, and more. Whatever the case, sometimes it feels like it's all too much. And that’s OK. When anxiety hits, the first step is acknowledging what's happening. Then, from there, you can take a step back and try to diffuse or alleviate it. “I feel anxious in social situations, especially when I'm around people I really want to like me, like for example some artists I admire. The way this anxiety manifests for me is that I am often overcompensating by trying to be EXTRA funny. Or I have to plan my contribution to a conversation for so long in order for it to be 'perfect' that by the time I am ready to say something the conversation has moved on and it does not fit anymore. This makes me even more anxious in the end because I think that I have been way too silent during a conversation and probably everybody thinks I'm boring or shallow. - Olga Andriyenko, Story and Visual Development Artist ” So, what can you do to weaken anxiety's hold? We reached out to fellow Tribe members for some insights: Listen to your body • Anxiety can be sneaky, creeping up on you when you least expect it, or building subtly until it's too late. But our bodies don't lie. That crick in your neck that tenses when you get anxious, that feeling of lightheadedness as you step onto a plane, the way your mind starts racing or eyes lose focus just before a panic attack hits, whatever the tell is for you, take heed. And if you don't know your tells yet, try to pay closer attention in order to make out patterns. The moment you feel the first signs exhibit themselves, take action. With practice, you may be able to nip it in the bud before it escalates.  “My coping strategies are: listening to myself to see when I am starting to get overwhelmed. Then it’s important to reassure myself, give me a break, breathe and drink some water. Quiet time does wonders for me, and when I feel ready to create again, I start small, without pressure… just making little doodles and sketches, talk about things I love, things that inspire me and make me laugh. Vera Rehaag, Illustrator and Animator” Talk about what's on your mind • Left to our own devices, we can easily make mountains out of mole-hills. Our inner voices are great at that, running us in circles and pretending it's all valid thoughts. The next time you hear a concern emerge and gain momentum, instead of feeding it, talk it out with someone you trust. At best, they might help you find a solution. At worst, saying it aloud reduces its magical hold over you. Every big problem can be broken down into manageable pieces. It's time to take a bulldozer to that tower. “I see my brain as a boiler room, and talking helps me release steam. Often easier said than done, but confronting whatever I'm dreading is how I can truly get over my anxiety. - Stephan Rumping” Go outside • The world can feel like it's about to crumble, then you go outside, get some fresh air in your lungs and life returns to normal. Maybe that's thanks to breaking routine and shifting focus, breathing in flowing instead of recycled air, or nature's beauty shocking us out of our stupor. Whatever the case, a change of scenery can make a world of difference. And here's a fun tip. If you're still feeling really caught up in your head, try this: exercise all five of your senses for a few mindful moments. Yep, that's right. Take a deep breath and really think about what you smell, close your eyes for a moment and identify all the sounds you hear, dare to look like an idiot as you start touching the leaves, or rocks, or park benches and feel their texture, take a closer look at something in your surroundings, and savour the taste of something you enjoy (chocolate is always an option) instead of merely inhaling it. Getting back in touch with your senses helps put you back in your body, and be here, present, right now, instead of worrying about past or future you. “If everything fails, I just put on my shoes and go on a hike. It doesn't work for everything, but sometimes having a bit of space from the place where your worries initially come from (your desk/the office/maybe even a sketchbook or drawing tablet) can help by trying to see things in a different light. Sandra De Simone, Illustrator and Concept Designer.” Get moving • An extension on the above, get active. Stand up and stretch, yawn wide, reach far, go for a walk, a run, dance around your apartment for the length of a song, do some yoga, go for a bike ride. Whatever gets you out of your head and gets your body moving, give it a try. There's no harm and who knows, it might just help :) Step away • In the middle of a stressful situation, or feeling anxious around people? Consider whether it's possible to step away for a moment. When in a conversation that's escalating, can you take a step back, acknowledge the other person, and give yourself some space? "I hear what you're saying and I need a minute to think about that. Can I get back to you?" That's not always possible, but often we don't even take the opportunity when it is. Know that you don't always have to be reactive. Sometimes time away helps everyone see things more clearly. And as for social situations, if you're feeling uncomfortable, it's ok to take a moment for yourself. No easy out? "Bathroom break" and "refilling your drink" are easy options that don't draw much attention. “Being in a crowd is problematic [for me]. When I realize I am starting to get too agitated, I withdraw to areas with fewer people, or find another quiet place to regroup and calm down. - Vera Rehaag” See the critiques for what they are • You might think that movie was sh*te; someone else thought it was pure gold. They're opinions. And everyone is entitled to theirs. It's important to be open to feedback, but it's also imperative to be honest with yourself. If the voices in your head are telling you your work doesn't cut it, but a wealth of other sources say differently, it's time to question who you believe. Likewise, maybe your work isn't the greatest right now. That's totally ok. You're a work in progress. And every day you're improving. So, sure, listen to the critiques and use them to improve, but don't let them rule your life or define your worth. Especially if they're not actually critiques but just self-deprecation in disguise. Control what you can  • If feeling out of control is a trigger for you, determine what is in your control, and actively take care of that. Planning a trip, but there are lots of unknowns? Ok, fair enough. But what is in your control? Sort that out and remove as many stressors as possible. Sometimes even the simple act of organizing your apartment, doing the laundry, or making a nice meal can help set your mind at ease: a reminder that yes, not everything is going awry, you are indeed still in charge of your life. Just breathe • It's time to trick our bodies into submission ;) Ever noticed that your breath slows down when you're relaxed or about to go to bed? It's a signal, our bodies winding down in preparation for sleep. When anxious, our breathing can often speed up or get shallow, as fight-of-flight instincts kick in. The minute you feel that happening, slow things down by trying this: take an inhale that lasts 7 seconds, hold for 7, exhale for 7. Repeat, slowly, five times. And remember to count out each second in your head: one Mississipi, two Mississipi, three Mississipi (or use whatever other word lasts a second), to seven. With your mind focused on Mississipis, and your breathing slowing down, your body's natural inclination will likely be to think the stressful situation is over. Pens down, crisis averted, all's well again. And if things kick up again, no problem, just repeat the exercise, however many times you have to. You've got this. As simple as it sounds, it actually works wonders. The challenge is to remember to actually do it in the moment.  Don't be afraid to reach out • The Tribe is always here for you but if you feel like your anxiety is getting in the way of living a full and healthy life, it’s worth seeking professional help. More and more people are openly talking about mental health, just as they should be. This is your health and if there's someone qualified out there who can help you, seek them out. And know that you might not find the perfect fit on the first try. It might take some time to find the person that best resonates with you. Give it the time you need to find the right match. “During my university days it got so out of hand that I had to go to a professional and his techniques and advice regarding anxiety helped immensely. I still have to deal with it from time to time, but not as often and luckily it's not as intense as it used to be. - Sandra De Simone” That we get through each day and accomplish all that we do, is remarkable. You're doing great. Anxiety will try and tell you otherwise, but that's a lie. You've got this. And though it’s important to challenge yourself, it’s also important to take care of yourself. So remember, above all, be kind to yourself.  Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2257-the-many-faces-of-anxiety https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2257-the-many-faces-of-anxiety Meet Chris Goodall, Principal Gameplay Animator at Playground Games taking you through his career beginnings and a typical day at the studio.   How did your journey as a Gameplay Animator start?  I’m part of the generation of animators utterly captivated by Toy Story and Jurassic Park at a young age. Combine that with the release of the PlayStation and N64 in my formative years and it created an irresistible recipe for what direction I wanted to pursue. At school, I answered the question “What job would you like to do?” in the personal statement section of my Record of Achievement (not sure if they still do those?) with “Something in video games would be nice.”   My education path was taking subjects and courses that I thought would get me closer to my goal like Art, Mixed media, and a degree in Computer Animation and Special Effects. There were no video game-related courses back then, and I didn’t know anybody who could really help me achieve my goal. A year after graduating and working on my portfolio, I submitted an application for an animation internship position at a studio called Ninja Theory (whose existence I just discovered after listening to a podcast about gameplay animation). The rest, as they say, is history.  (My 11-year-old self would be so amazed right now!)    What does a regular day look like for you? Take us through it!  I start with coffee (important) while getting the latest build of the game. Then, usually, a quick catch-up with the team to see where we are at, any problems that there may be, and our goals for the day. On a good day, I'll get as much time as possible to focus on my craft and mentoring other animators. Some days I may have to allocate more time to planning and discussion, on others I may be running a Motion Capture shoot (or acting in it!). There’s always a mix and that’s part of what keeps it so interesting.    How do you stay inspired and motivated?  The industry is in a state of constant change, pushing what’s possible with storytelling in this medium, which is exciting. Working with such talented people and immersing yourself in what’s happening in departments outside of animation is a constant source of inspiration: the latest concept art and character models, the latest lighting update, the latest script for a narrative sequence, all this fuels the fire and gives you new ideas and inspiration for what’s next. Externally, staying on the pulse with what’s happening in the industry and following artists whose work you enjoy is also inspiring and motivating.  Ultimately seeing it all come together and connect with the audience is the most rewarding part for me personally. That’s why I do what I do.  Creating memorable experiences that persist long after the game has ended is the greatest reward and achievement.    What advice would you give to someone interested in working as a Gameplay Animator?  Focus on your craft. Learn how to animate to the best of your ability and seek feedback on your work. Getting critique is the best way to improve because you can’t see what you can’t see, and someone with more experience will be able to point those things out. It also trains you to see feedback as a tool for learning, rather than a negative. This focus shift is really important.  Game Developer first, animator second. It’s important that you see yourself as a game developer, not just an animator. The game is the product that matters and if it doesn’t work in the context of the game, it doesn’t matter how good your animation is. Always test your work in the game engine. Learn to collaborate with other departments, it’s a team effort and when the team comes together that’s where the magic happens.  Keep your finger on the pulse. Put yourself in a position to succeed by being able to respond when new opportunities arise. Always having your portfolio ready and accessible along with your CV is crucial to being able to capitalize on any opportunity that comes your way.  Have fun. At the end of the day, you want to do this because you enjoy it. Have fun, play, experiment, it’s a lifelong journey and it’s important to enjoy the process.    Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2256-a-day-in-the-life-of-a-gameplay-animator https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2256-a-day-in-the-life-of-a-gameplay-animator We’re revisiting Portfolio Tips on how to best showcase game design and development skills, by Kevin Young (Creative Technology Director at WētāFX):   • Show off your many hats It’s often said that people in game development have to wear many hats, ie, they have to take on multiple roles on a project and contribute across a range of different disciplines. For example, you may have been a Gameplay Programmer on one project and then coding VFX and shaders as a Technical Artist on another, so when describing yourself, don’t be afraid to show off those hats and assign yourself different labels according to what your role was on the job.    All this information is massively beneficial in potential employers' understanding the breadth of your skill set and visualizing how you can potentially fit into their current and upcoming projects.    • Make a showreel and share playable links and case studies whenever you can One of the difficulties in showing off work in a portfolio is that the platform your portfolio is on may not be wholly appropriate for showing off your contribution. If you worked on some gameplay mechanics or some interactive generative art, then an image on a website isn’t going to give a full sense of your work. A good showreel is a good place to start since videos are easily shareable and they convey a lot in a short time. Don’t presume people will watch to the end - make sure to lead with your best work. The ‘all killer no filler’ approach applies here, show clips that best show off your contributions and add some unobtrusive lower third titles that draw attention to what you did. Videos and GIFs add life and do a lot more to communicate interactivity and flow but if links to your creations are available, make sure to include them. They show confidence in your work and give potential employers the opportunity to try out things such as gamefeel and performance that may not come across in a video. Mini-case studies are also immensely useful since they give you an opportunity to show your approach and explain the creative and technical constraints set by the design or the target platform. Showing how you met the goals of the design within the parameters imposed by the target platform demonstrates highly sought-after skills in critical thinking and creative problem-solving.    • Does the love for what you do come across? You can tell when someone is talking about something they're proud of or of something they love to do. Are there projects that you are passionate about in your portfolio? Additionally, having a section for personal projects and prototypes is a good way of showing off the kind of work you’re passionate about without the constraints of a client project.   Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2254-portfolio-tips-by-kevin-young https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2254-portfolio-tips-by-kevin-young Ian Spriggs is a master of hyper-realistic digital portraiture, blurring the lines between reality and art with his stunningly lifelike creations. We had a chat with him about the Main Event and how he intends to contribute to this year's edition! What excites you about THU main event? I am excited to see returning friends and meet new people. The discussions in the oasis and the talks on stage are inspiring and motivating. I always leave THU feeling connected with so many artists and charged up to create new works. What sets us apart from other events out there? How does THU main event differentiate itself? Now that I have been to many events, exhibits, biennials around the globe, THU offers a personal relationship not found anywhere else. You feel like you are wanted, you are not just there to experience what it can offer but you are a part of offering the experience. Everyone from top directors, to the staff, to artists, to beginners are on a level playing field to inspire everyone around them. It feels like everyone is there for each other. Can you tell us a bit about what you're currently working on? There is a lot happening and also very little happening. I was fired from Unity this year, but there is a possible new exciting job opportunity but I am not sure if it is a legit company or not yet, time will tell. In the meantime I picked up some awesome gigs for huge clients, which has been exciting to work on! I started to develop my own company by working on a pipeline of automating digital human workflows, I want to be able to work for myself in the coming future. And as always I have been working on my 3D portraits, I just finished my 7 year old niece and Woodkid portrait. Can you tell us a bit about what you're bringing to the table this edition? Every year I have been to THU I have talked about the importance of portraiture, how it was created in art history and how modern technology has changed it. “Most of my talks have been aimed to be informative and not personal. This year I want to share my life as a character artist, I aim hard not to get personal in social media or showcase who I work for, but this year I want to share those stories, some of them are unbelievable and some completely outrageous. I want to share how my art has changed my life.” If you could invite any three notable figures from the industry, living or dead, to a THU, who would they be and why? Pascal Blanche - My first ever digital human was inspired by his work, he is a legend in the digital art realm. Ash Thorp - I just want to meet him because I have seen his work so many times and listened to his podcasts. Marco Di Lucca - Fantatic character artist, but also works in Marble. He is the definition of a true artist. Chris Mclean - I worked with him at MrX when he was just starting out, he quickly became the VFX sup and now runs the show 'Foundation' on Apple. The speed at which is progressed has career, brillant guy.  Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2253-in-the-spotlight-ian-spriggs https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2253-in-the-spotlight-ian-spriggs Hyun Jin Kim is a renowned teacher. He is also the founder of SuperAni and the one who helped project the legendary Kim Jung Gi to center stage. We chatted to learn what's going on with his life and what he's hoping for at THU 2024.   What excites you about THU main event? There are people who are no longer here, there are people attending THU for the very first time, and there are those who consistently keep coming back and who are pillars at THU, like Andre.  What excites me is looking into people's eyes and feeling their expectations, desires, and dreams. I promise to bring the same energy. And this THU is going to be extra special -  it's going to be a place to talk about Jung Gi with friends.   What sets us apart from other events out there? How does THU main event differentiate itself? Water always flows in one direction, from higher places to lower places. Many events are about artists and the fans meeting. However, THU is special. In a lake, the same water gathers, and many staff members, including Andre from THU, create a whirlpool. “As a result, we all mix together, receive each other's energy, and grow. What is definitely different is the sense of "togetherness". Besides that, of all the places I've been, this is the only event where everyone takes a group photo.”   Can you tell us a bit about what you're currently working on? I am still making books, and working on watercolor figure paintings. And whenever I have time, I go the the Kim Jung Gi museum to help out.   Can you tell us a bit about what you're bringing to the table this edition? My biggest goal this year is to show as many drawings/paintings as possible at THU. Before, my role was supporting Jung Gi. This year, I am going to attend as an artist. I will prepare many paintings, and I will draw a lot during the event.   THU is notorious for non-conventional requests to our Knights (speakers). Was there any unconventional / out-of-the-ordinary approach made to you? At THU 2019, I had the opportunity to lead the team drawing on the COPIC Wall. Although I am the Superani's representative, unlike the other artists at the collective, I can't draw without references. I had to work very hard there, and I deeply respect the many creators that helped create such a special moment.   If you could invite any three notable figures from the industry, living or dead, to a THU, who would they be and why? I would like to introduce some artists that aren't very known to others. 1. Jung Gi: Without any hesitation, he should be included. 2. @MISULBU: This isn't a name, but the name of an account. This artist is one of the best watercolor artists I know (who is still alive). He is Korean. 3. @changspecial (Chang-Hyun Son): He's one of the best artists that Jung Gi and I have met! Jung Gi always said "I really hope he becomes well known and succeeds as an artist. It is only natural when the person is this good".   Mon, 09 Mar 2026 15:56:49 +0000 https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2252-in-the-spotlight-hyun-jin-kim https://www.trojan-unicorn.com/village/spaces/38-thu/stories/s/465-updates/articles/2252-in-the-spotlight-hyun-jin-kim