Q:What do you really do at work?

Answers to this question

    • Lead Superside’s creative AI efforts, shaping how AI is used across the company
    • Run applied AI research to find the best tools and build workflows that meet real creative needs
    • Guide AI Creative Directors with standards and resources to keep AI use effective and aligned across teams
    • Design and lead AI training programs that raise skill levels across creative and strategy teams
    • Connect long-term AI research with day-to-day creative work to keep tools useful and relevant

    • What does a typical Monday look like for a Group Creative Director of Generative AI?

      Coffee comes first, always. Then I go through a lot of Slack messages to clear things up and keep things moving. Mondays are for sync. I meet with my R&D team to set tasks for the week and spot any blockers or chances to try something new. I skim AI newsletters and check LinkedIn to catch up on recent updates.

      During the day, I have calls with other Creative Leads and CXOs to shape our AI plans across teams. I also try to spend some time testing new tools or models. Playing around is part of the job.

      After work, I pick up my daughter, hang out with my wife, and take care of our 4 cats, 2 dogs, and 2 turtles. That helps me slow down after a fast-paced day.


    • Are you involved in the creative process at any stage?

      I jump into projects to help teams, test workflows, and give in-project training. This includes everyone from Creative Directors to Junior Designers. The goal is to bring AI into the process while keeping the human touch clear. I do the same with R&D. I run one-on-ones, solve problems together, share screens, and fix things live so we can keep moving.

    Júlio Aymoré, Group Creative Director of Generative AI at Superside

    Júlio Aymoré

    Group Creative Director of Generative AI
    Superside
    • Designing new cinematography tools and camera systems, and working closely with our brilliant CTO on development and UX
    • Consulting and co-developing for external teams on their camera systems
    • Testing, refining, and rethinking everything to make sure it’s intuitive, powerful, and fun to use
    • Writing documentation – endless, beautiful documentation (even if no one reads it… holy RTFM)
    • Creating marketing videos, tutorials, and other promo content

    • What does “designing” a cinematography tool involve?

      Most people have watched so many movies that we all carry a surprisingly deep, subconscious understanding of how cameras behave – the little lag when tracking a moving subject, the weight and inertia of the camera, the way it eases in and out of motion. We just know what cameras do from the countless hours of content we’ve binged through them.

      In a computer, none of that exists – at least, not commercially, until we started building it. Designing cinematography tools means recreating that intuition, that physicality, inside a digital system. And then comes the real challenge: filming unpredictable, variable scenarios, like in video games. There’s an endless amount of nuance and possibility to design in this space.

    Adam Myhill, CEO at Black Eye Technologies LTD

    Adam Myhill

    CEO
    Black Eye Technologies LTD
    • Post on LinkedIn
    • Respond to potential customers
    • Understand what the client needs
    • Estimate whether it can be done with AI, and offer alternatives if not
    • Produce high-end AI images and videos

    • Can you share an example of something that can’t be done with AI?

      A 15-second 3D rotation of a real product. AI doesn't know what the other sides look like. Unless you spend more time and budget on training a LoRA.

      An alternative is making shorter shots with different close-ups of the product and animating them.

      The same applies to human motion. It works perfectly for shorter shots, but longer ones tend to “break” parts like hands, feet, and faces. The wider the shot and the smaller the details, the more distortion you’ll see over time.

    Hugo Barbera, AI Consultant at HumAIn

    Hugo Barbera

    AI Consultant
    HumAIn

  • Each project is different, but the process generally includes:

    • Pre-production — working on shot lists and creative ideas with the director
    • On set — coordinating with the 1st AC (camera team lead), Gaffer (lighting lead), and Grip (camera rig technician) to capture the planned shots
    • Post-production — collaborating with the colorist (color grading expert) to finalize the visual tone and mood of the film
    Bartek Hlawka, Director of Photography

    Bartek Hlawka

    Director of Photography
    Freelance

  • Most of my time goes into research, writing briefs, finding inspiration, and talking to people across Flo — mostly from the product, medical, and legal teams. Some days are focused: reading product updates, exploring user insights, or spotting trends that could spark ideas. Other days are full of Zoom calls, Slack threads, and spontaneous idea-sharing.

    Lately, I’ve been working with the product team on upcoming features, helping shape how we communicate what we’re building. It’s not just about launching — it’s about connecting with what people are already thinking about or searching for. That’s where marketing really makes a difference.

    Kate Rovba, Head of Creative Services at Flo Health

    Kate Rovba

    Head of Creative Services
    Flo Health
    • Translate messy startup ideas into real product flows
    • Design UX and UI systems that scale
    • Run strategy workshops with founders
    • Write specs that engineers actually use
    • Review and test builds before launch
    Gev Marotz, Founder at Gev Design

    Gev Marotz

    Founder
    Gev Design

  • 90% of the job is communication, task-setting, meaning-making, breaking big goals into small steps, and planning.

    • Talking to clients
    • Talking to the team
    • Finding and briefing contractors
    • Research, budgeting, and planning
    • Offline work — leading teams at events or on set

    The other 10%? That’s the creative part — testing ideas and products, exploring new materials, training my eye, studying best practices, and keeping the aesthetics sharp.

    Alla Aloe, Producer

    Alla Aloe

    Producer
    Self-employed

  • I talk — but mostly, I listen to my clients.

    I analyze their blood test results, questionnaire responses, diet, symptoms, daily routine, and lifestyle habits.

    Then I create a detailed PDF with my analysis and recommendations: food choices, medical specialists to consult, activity plans, and supplementation for the next 2–4 months.

    Luba Kazakova, Nutritionist

    Luba Kazakova

    Nutritionist
    Self-employed
    • I talk to people about their challenges at work. I identify thinking patterns that cause unnecessary stress and help them change those patterns.
    • I analyse how managers behave and what in their behaviour causes stress. I help change those behaviours into more effective ones.
    • I help CEOs and HR understand the psychology of performance. I help them use this knowledge when shaping company cultures.
    • I analyse team dynamics and design ways of cooperating that lead to better performance outcomes.
    Dr Agnieszka Bojanowska, Human Performance Psychologist at Well Made

    Dr Agnieszka Bojanowska

    Human Performance Psychologist
    Well Made
    • Shape the goal, product, and technical limitations as well as metrics with the team
    • Collect task-relevant data (without breaking privacy policies!) and clean it up—removing duplicates and inconsistencies
    • Transform the data into a format that makes sense for models (usually some kind of numerical format)
    • Train different models on the data and select the best-performing one
    • Wrap the best-performing model into usable logic so it's ready to work in production
    Lara Simonova, Data Scientist at Miro

    Lara Simonova

    Data Scientist
    Miro

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