Successville comedian Tom Davis takes a tour of Movidiam’s network in latest campaign video

Comedian and Murder in Successville star Tom Davis is taken on a white-knuckle ride around the world - from an LA studio backlot to the foothills of the Himalayas – in the latest video from Movidiam’s #nopressure campaign.

The project, The Studio Tour, was created and delivered inside four weeks to promote the capabilities of the Movidiam’s creative production platform and network to deliver always-on-content. Directed by Freddie Waters, creative director of The Wagon, and produced by Albane Prioux, the team was made up entirely of companies and freelancers from the Movidiam network.

Prioux said: "Movidiam makes the production process much easier by giving access to amazing talent. Within a few hours, I was able to put together a team that was perfectly suited to the project objectives.”

The VFX was created by London based post-production company WeAreFormation. VFX supervisor Louis Du Mont said: “It was a challenging project to turn around in such a short period of time with the team but by using Movidiam’s briefing we were able to quickly source several additional matte artists remotely which significantly eased the pipeline.”

Movidiam co-founder Alex Vero said: “As many brand chief marketing officers and agency chief executives look to platforms to create content in 2018, we’ve been looking into new and innovative ways to improve the matching process. We’ve been investing heavily in machine learning to help our human account managers put together the very best options for our clients every time.”

Having recently raised a further round of funding, Movidiam is one of the fastest growing startups in the creative sector, with a curated network of over 16,000 creatives in over 170 countries. The company has already signed up brands including US tech giants Facebook, Google, Dell EMC and Tesla to the service.

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Michael Feeley

Michael Feeley is The Drum Network's consultant journalist, advising and assisting member agencies on their editorial submissions and contributions to The Drum.

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