Animoart was where I learned how creative production actually works end to end. I got exposure to the full cycle — from client enquiry and planning through shoots, editing, revisions, and final delivery — and to the operational side of events and productions as clients regularly brought us in for shoots and on-ground execution.

Working that closely with production taught me something that shaped how I build automation: a small system that does one job reliably is usually more valuable than an ambitious system that tries to do everything and keeps breaking. The best automation was often the simplest piece of infrastructure that a team could depend on every day.

I contributed heavily to the agency's adoption of generative AI, building client-specific workflows and campaign-specific pipelines that helped graphic designers and video editors create posts, reels, mockups, and other creative assets much faster. In many cases, the generated work was close enough to be approved with only small changes; when it wasn't, it still gave the team a strong starting point or creative direction instead of a blank canvas. I built and maintained roughly 100 workflows across production, media, research, feedback, campaigns, web, and business development, and also trained designers and editors to incorporate these tools into their existing work.

The Brand Research, RAW Culling, Video Indexing, Feedback Resolver, and Asset Handoff systems on this site are public-safe recreations of the kinds of problems that actually came through this work.