26 | Broadcast Hot Shots | August 2019 broadcastnow.co.uk
Nominated by: Kim Addy, art
director, Noah Media Group
Joining Noah Media Group
straight from college, Jayden
Kimpton was thrown in at the deep
end when tasked with developing
live graphics for the Fifa World
Cup 2018 for the host broadcaster.
He designed and organised more
than 120 different graphics into a
set of assets that were delivered to
broadcasters globally and ulti-
mately seen by 3 billion people.
“When Jayden joined us, it was
clear that he had enormous ability,
and a maturity that was unusual
for someone his age,” says Noah
Media’s Kim Teddy. “He is an
exceptionally talented After Effects
animator and is showing a real
JAYDEN KIMPTON 23
MOTION GRAPHIC DESIGNER, NOAH MEDIA GROUP
flair for Cinema 4D. He is naturally
curious and wants to learn new
techniques and technology.”
Kimpton played an even bigger
role on this year’s Fifa Women’s
World Cup by helping to design
the live graphics, titles, stings and
maps. He has also worked on the
Match Of The Day title sequence
for the 2019/20 season and Uefa
Nations League promos.
“Jayden is a huge asset to our
team,” says Noah chief executive
John McKenna. “He has stepped
up to a level delivering work seen
by billions around the globe, due
to his talent and fantastic attitude.
Within 10 years, I can see Jayden
running his own teams and maybe
even his own studio.”Nominated by: Nigel Edwards,
creative head of audio, The Farm
Given the opportunity to work on
an episode of Made In Chelsea
series 16, Emilie Thomson grasped
it with both hands. She prepared
by mixing a previous episode and
took advice about every detail
from the show’s usual mixer. One
hour into the job with the client,
The Farm’s producer received a
request for Thomson to mix the
rest of the series.
“To be a great dubbing mixer you
need to have technical knowledge,
creative ability and personable
skills,” says The Farm’s Nigel
Edwards. “Usually, dubbing mixers
are strong in one of these, but
Emilie is strong across the boardEMILIE THOMSON 29
DUBBING MIXER, THE FARM
and takes every opportunity to
improve her mixing skills.”
Emilie joined the facility as a
runner, quickly progressing to
librarian then trainee edit support
while training on audio tools in
her spare time. That paid off when
she joined the tracklaying team on
shows like Red Dwarf and Catas-
trophe. After 18 months, she moved
up to mixing, with her first credited
show, The X Factor, leading to the
latest series of Britain’s Got Talent.
“She embraces new technology,
seeks feedback from other mixers
and builds strong relationships
with clients,” says Edwards. “I’ve
no doubt she will be working on
the highest-profile docs and drama
shows in years to come.”POST-PRODUCTION/CRAFT