Camila De Biaggi: Sleeping Giant

ADC Motion Jury Member discusses the evolution of direct marketing

The Motion discipline is one of the most challenging components of the ADC Annual Awards. Technology has advanced quickly, and placed its tools in the hands of more and more creatives , transforming what might’ve been conceived as a niche field only a handful of years ago into one where everybody can flex their skills — to varying degrees of success.

We had a chance to catch up with some the Motion jury here in New York, to learn what it takes to shine amongst the stars.

camilasquareCamila De Biaggi
Executive Producer, MPC, New York
ADC Motion Jury


Tell us a little bit about how you got into this field.

I went to film school at the Universidad del Cine in Buenos Aires where I grew up, not with the intent of becoming a creative, per se, but rather a producer. I moved to New York, where I obtained my Masters in film, and pretty much immediately started working in live action production.

After a few years in that field, I decided that I wanted to venture into post production. One thing led to another, and I started working on a TV series, which really fueled my love of the post production world. Eventually I moved onto VFX production, and twelve years later,here I am!

Do you remember the first time you were recognized for your work?

I don’t remember what my first award was, but the first time that I was very, very, very proud of what I had created was at the Visual Effects Society Awards. It was for a Johnnie Walker spot directed by Peter Thwaites, where we created a giant rock monster. It was filmed in Rio, and it really brought together everything that I had learned thus far in my career, from being part of the live action shoot to transitioning into post-production and effects. We didn’t win top honors, but it felt amazing to simply be nominated for a project that meant so much to me.

You’ve been in the industry for a number of years. What have been the biggest changes, and what has stayed the same?

Our craft has been evolving very quickly. Something that would be considered innovative a year ago no longer is, and keeping up with the latest is quite a challenge. That said, the need for good storytelling is as essential today as it was ten or twenty years ago, no matter how the technology has evolved. The idea can be great, the level of craft can be impeccable, but at the end of the day, your story must be solid and told in a compelling way.

What would you say is the biggest trend you’ve seen in your field while judging this year?

Without a doubt it has to be VR. So many things are being done with it, some better than others. That said, one of the challenges with VR in an awards setting is that VR is built as an immersive experience, and it’s very difficult to critique it accurately from a case study video. You want to experience the work as it’s intended, and unfortunately that’s hard to do from a jury room.

This year saw a big uptick in student entries, no doubt encouraged by the fact that last year a student entry was awarded the ADC Black Cube ahead of all professional submissions. What advice do you have for students in this field?

I’d say my biggest piece of advice is to be really mindful of overindulging in your own work. Learn how to curate yourself; a 30 second piece can be every bit as effective, or even more so, than a five minute film.

The 2017 One Show and ADC 96th Annual Awards will be presented during Creative Week, May 8–12, 2017.