The Emmy and Award-winning post-production house launched as Finish back in 2003, becoming Freefolk in 2016, and shortly after that launching its Film & Episodic department to work on programmes for the likes of Netflix, Paramount, TNT, Universal and Warner TV. Post, colour grading, 2D and 3D VFX, as well as handling everything from conception through to direction and shoot supervision, is what keeps Freefolk consistently voted into Televisual Magazine's Facilities 50 and Top 10 Commercials Post Houses annual surveys. Fi Kilroe, who started in the industry as a receptionist at The Mill, has been joint MD with Vittorio Giannini since 2018, and helped grow the boutique studio to the major VFX house it has become.

So, Fi, how has the past year been for you?

We’ve been incredibly busy in our Long Form & Episodic department at Freefolk, as lead vendor delivering 350 shots on a Netflix show, plus two other shows which can’t talk about until they release. Commercials-wise this year has been quieter than last but still busy, especially in CG. We’ve bolstered all our departments with both staff and kit. In addition a great colourist, Marty McMullan, has joined us.

What’s the big takeaway you’d carry over to 2023?

The very quick recovery of our industry from the Covid lockdown, and to hold your nerve, because if there’s one thing we’ve learnt over the past two years, it’s that you just don’t know what’s around the corner.

What’s the best idea you had in 2022 and how did it work out?

Not a new idea but we’ve continued to commit to our Futurefolk scheme, which has now been running for five years. It’s a paid internship for two candidates in 3D or 2D, with no requirements for degrees or qualifications. Plus we have worked with NextGen Skills Academy to take apprentices, as well as continuing to train and promote existing junior staff. All of which have been successful.

What were the change-making developments in craft and tech?

Flexible working. This has had the double effect of creating a better work/life balance and access to a wider range of talent (after the loss of freedom of movement in the EU). The tech has enabled this to happen.

How has ideation and creativity evolved and responded to the real-world challenges of a very challenging 2022?

It’s been good to see that advertising is aware of the real-world challenges, so not splashing out on crazy expensive projects but keeping them ‘real’. Environmentally, brands are sharing their credentials, too.

How has ideation and creativity evolved and responded to the real-world challenges of a very challenging 2022?

It’s been good to see that advertising is aware of the real-world challenges, so not splashing out on crazy expensive projects but keeping them ‘real’. Environmentally, brands are sharing their credentials, too.

Will remote and hybrid ways of working continue to be the industry norm, and how may that impact the work, how it’s done and who’s doing it?

I think hybrid working is here to stay. This has its pluses, the main one being able to work with artists all over the world. The downside is for the younger artists and production staff who aren’t able to learn from just being around more experienced people. It appears that most companies are keeping some form of hybrid working, but I hope that we can return to having more people in the studio – socializing and being together is so fundamental to our culture.

What would you choose as the year’s best campaigns or pieces of work, and why?

The standout piece of work was the CALM The Last Photo commercial and exhibition. So impactful and relevant. Beautiful images shot by real people and heartbreakingly painful to watch.

Which Christmas campaign in 2022 won you over?

Crisis Impossible to Ignore by Adam & Eve/DDB. What can be more important this Christmas than highlighting homelessness, and with the monumental sculpture outside King’s Cross Station alongside the 30-minute film, it absolutely brings the subject to the forefront.

What was the biggest surprise of 2022?

Industry-wise and in post specifically, it’s the amount of new start-up companies. It’s great to see clients trusting smaller, more agile teams rather than assuming only the big companies can deliver.

What trends do you see emerging as we focus on the coming year?

VFX Studios will continue to broaden the scope of their work in different areas and not rely on any one specific medium. VFX is everywhere and part of every project now, large and small.

What do the British Arrows mean to you, what’s their role in the industry and what’s the impetus behind becoming a sponsor?

The celebration of creativity. The Young Arrows for me was so exciting to be at, felt very inclusive for all there, and it was great to celebrate people coming up in the industry and seeing work we might not have seen before.

What do you think will win commercial of the year?!

Can I say what I want to win? In which case it would be CALM The Last Photo.