ABOUT

Chaos Collaborative is the creative production company of Andrea Chaos, a Freelance Senior Creative Producer, Post-Producer and Project Manager with 15+ years’ experience delivering creative work across TV, film, digital, online, social, print, radio, live events and broadcast.

I work across the full production lifecycle — from creative development, planning and pre-production through filming, editing, post-production, clearances, localisation and final delivery. I translate creative ideas into clear, executable production plans, bringing together the right people, processes and expertise to deliver work that is creatively strong, commercially considered and built to work across platforms.

As a hands-on producer, I can move comfortably between the creative and operational sides of a project. I manage budgets, schedules, teams, stakeholders and workflows, while staying close to the creative detail. When a project calls for it, I can also step directly into editing and post-production, giving me a practical understanding of what it takes to get work from brief to final delivery.

Throughout my career, I've worked with global brands, agencies, production companies and creative teams, leading campaigns across multiple formats, markets and delivery requirements, including localisation and international rollouts. I’m used to working at pace, navigating complex productions and solving problems as they arise — without losing sight of the creative ambition.

At the heart of Chaos Collaborative is a simple belief: great work happens when the right people, ideas and processes come together. I build those connections, keep projects moving and help turn ambitious creative ideas into work that gets made.

Senior Creative Producer. Post Producer. Project Manager.

WORK

ZEN COMMUTE

- 15+ years bringing creative ideas to life — connecting people, process and production from brief through to final delivery. -

BECAUSE THE BEST PRODUCTIONS ARE COLLABORATIVE!

CLIENTS

testimonies

Case studies

WARNER BROS. — GLOBAL TRAILERS & ARTWORK

Bringing major theatrical campaigns to audiences across international markets

Grand Visual is one of my recurring clients, and whilst working with them, I managed the production of Warner Bros.' international theatrical campaigns, overseeing the adaptation and localisation of trailers and creative assets for distribution across EMEA and APAC territories.

MY ROLE:

I managed the production of master trailers and key artwork through localisation and final delivery, coordinating multiple titles simultaneously while maintaining creative consistency across campaigns and adapting content to market requirements within fast-paced theatrical release schedules.

Major releases such as Superman required extensive international creative rollouts across multiple territories, languages, formats and platforms.

The work also extended into live events and experiential content, creating bespoke assets designed for physical environments.

For The End of the Oak Street exhibition, I worked on content for multiple screens featuring dinosaur imagery, adapting the creative to work across different display environments.

For Twisters, I worked on an experiential activation that transformed a car wash into a tornado experience, combining artwork, visual content and sound design to create the feeling of being inside a tornado.

These projects required a different approach to traditional screen-based advertising, considering the physical environment, screen configuration, audience experience and sound as part of the creative.

Selected Warner Bros. Releases

F1 · One Battle After Another · Minecraft · Furiosa · Superman · The Watchers · Mickey 17 · The Conjuring · Wuthering Heights · Practical Magic 2 · Superwoman · The End of the Oak Street and more.

Theatrical · TV · Digital · Social · DOOH/OOH · Live Events · Lower Thirds

PANINI — FROM CONCEPT TO STADIUM SHOOT

Bringing the excitement of the new Premier League season to life.

The brief was to create a fun, energetic campaign promoting Panini's Premier League sticker collection, capturing the excitement of a new season and appealing to both younger and adult audiences.

My Role:

I pitched the creative concept, storyboard and script to the client before taking the project through full pre-production and production.

A key part of the project was filming on location at a live football stadium, requiring careful planning around the venue, cast, logistics and permissions.
I managed the production from pre-production through to the shoot, coordinating stakeholders, casting, usage requirements, filming permits and on-the-ground logistics to ensure everything was ready for the shoot and delivered within budget and schedule.

I then oversaw the full post-production process, including VO recording, editing, sound mix, colour grading and clearances, taking the campaign through to final broadcast-ready delivery for TV, Social and Online.

AUDIBLE — SCALING A GLOBAL CAMPAIGN

Turning everyday moments into extraordinary worlds across multiple markets.

The brief was to bring Audible's brand promise to life across multiple markets and platforms, showing how listening can transform everyday moments into something more immersive.

The creative platform explored the contrast between ordinary listening occasions and the extraordinary worlds they unlock — bringing genres including Sci-Fi & Fantasy, True Crime and Wellness into familiar moments, from commuting and exercising to cleaning, relaxing and everyday routines. Cinematic production and visual effects helped blur the line between reality and imagination.

MY ROLE:
I led the production rollout across three Audible campaigns, managing complex creative workflows across markets, languages and platforms, with 150+ assets per market.

This included overseeing:
Creative production & versioning · International localisation & adaptation · VO recording & usage rights · Translation & subtitling · Clearances · Audio production & mixing · Asset management & final delivery.

The original global campaign launched across 10 countries and 10 languages, with the wider campaign ultimately delivering 8,300+ assets, including 155 scripts and almost 9,000 hours of VFX.

Delivery across TV · Social · Digital · Radio · DOOH/OOH · Print · Cinema

My focus was on making a complex international rollout work seamlessly, ensuring every market, language, format and platform received the right creative, properly localised and delivered to specification.

Results:
*150+ assets per market
*10 countries · 10 languages
*8,300+ assets across the wider global campaign
*155 scripts · 9,000 hours of VFX
*The campaign achieved 52.9M impressions, 3M+ DOOH plays reaching 8.9M unique users in six weeks, 57% ad recall and 21% high purchase intent.
*The global campaign was also recognised by The One Show, receiving a 2025 Film & Video Merit.

EXPLORE - RESETTING THE CREATIVE

A campaign that came back around with less time and budget.

The challenge was to reset the creative without compromising authenticity. We originally pitched for the Explore Worldwide campaign, but the project was initially awarded to another production company.

Following challenges during the production phase, we were brought back in to take the project forward — restarting the creative approach with a reduced budget and a significantly tighter timeline.

The key challenge was creating a campaign that felt genuinely authentic to Costa Rica using stock footage. Every piece of footage needed to represent the destination accurately and have been genuinely filmed in Costa Rica, while the wider creative — from the Costa Rican VO and music to the graphics and transitions — needed to feel natural and connected to the place.

My Role:

I led the project from creative redevelopment through to final delivery, reshaping the approach around Explore Worldwide's brand objectives, reduced budget and tight deadlines.

I oversaw the sourcing and verification of footage, ensuring the imagery was genuinely filmed in Costa Rica, alongside music selection and coordination of a Costa Rican VO.

The visual treatment combined editorial storytelling, motion design and AI-assisted techniques to bring the stock footage to life and create smooth transitions between scenes. Graphics and animation were developed to enhance the storytelling without taking away from the authenticity of the destination.

I also managed clearances and usage rights across the assets, ensuring the campaign was delivered smoothly and compliantly.
The result was a warm, authentic campaign that brought Costa Rica's landscapes, culture and sense of adventure to life while maximising production value within the reduced budget and timeframe.

NETBET — FROM STATIC TO MULTI-MARKET

Bringing static sports imagery to life across three markets.

The brief was to create an energetic sports campaign from predominantly static imagery, with a production system flexible enough to work across multiple markets, languages, formats and durations.

A key challenge was finding movement within the sports photography. AI was used as part of the creative process to introduce movement into selected stills and develop the source imagery. The resulting footage was then brought into After Effects and shaped through animation, compositing and editing.

Layers, transitions, camera movement and kinetic typography helped build pace and energy, while graphic animation reinforced the messaging.

MY ROLE:

I led the production from concept and storyboarding through animation, post-production, audio, localisation, clearances and final delivery.

Working closely with the creative team, I helped shape the concept, messaging, structure and content selection, developed the VO scripts and planned the campaign around its multi-market requirements.

The final campaign delivered 48 assets across the UK, Ireland and Greece, covering TV, online and social.

ASCOT — SIX EVENTS, SIX CREATIVE DIRECTIONS

Bringing six Ascot events to life through editorial, AI and creative storytelling.

The brief was to create six campaign films for different Ascot events, each with its own audience, tone and creative direction, while maintaining a consistent Ascot identity across the series.

Each campaign had just 2.5 weeks from brief to final delivery, requiring a fast and flexible production approach across concept development, storyboarding, editorial, motion, audio and post-production.

MY ROLE:

I led the production across all six campaigns, working closely with the Ascot team to develop concepts and storyboards before taking each project through editorial and post-production to final delivery.

Working with Ascot-supplied footage, I brought together editorial storytelling, motion design, sound and AI-assisted music creation to give each campaign its own visual and sonic identity.

I also developed a streamlined approach to the cutdowns, distilling each master into shorter, impactful edits for social and digital platforms.

Across the six campaigns, the final delivery included 72 assets.

SKY × SAMSUNG — FROM CONCEPT TO BROADCAST

Bringing a multi-stakeholder campaign together across TV and online

The campaign was developed for Sky and Samsung, combining product messaging, Sky content and promotional offers into a 30-second campaign for TV and online.

The production brought together live-action filming, product and content assets, graphic design, animation and post-production, with multiple teams and stakeholders contributing throughout the process.

My Role:

I coordinated the production from concept development through to final delivery, working across the different creative, production and post-production teams and managing feedback from both Sky and Samsung.

I was involved across the full process, including concept development, filming, graphics and animation, editing, VO, music, sound mix and final mastering, coordinating the different stages and making sure feedback and approvals were incorporated efficiently.

A key part of the production was managing the extensive clearance process, ensuring the various product claims, brand assets, content, music, VO and on-screen information could all be approved for broadcast. This required close coordination between the different stakeholders and careful management of changes throughout the production.

The result was a broadcast-ready campaign that brought together multiple brands, products, content and promotional messages while navigating a complex approval and clearance process.

RANGE ROVER— FILMING IN THE REAL WORLD

Bringing a carefully planned shot to life across Canary Wharf.

The campaign was filmed on location in Canary Wharf, London, built around a challenging moving shot featuring a car, a live deer and members of the public.

Rather than filming in a controlled environment, the sequence required the car to move through different areas of Canary Wharf, with obstacles and elements of the scene built and positioned along its route for the car to navigate. Each movement had to be carefully coordinated with the location, crew and everything happening around the shoot.

My Role:

I supported the production team on location throughout the shoot, helping with the practical demands of a complex live environment and working alongside the wider crew to keep the production moving.

The shoot required constant flexibility. The car, obstacles, crew, public and live animal all had to work together, while the team adapted to the realities of filming in a busy city environment.

The client also changed the creative requirement during the shoot, deciding they wanted more people featured in the final scene. With no time to cast in advance, the team approached members of the public on location, inviting them to participate and adapting the shot around those who agreed to take part.

Being part of the production gave me hands-on experience of the realities of location filming — from coordinating moving elements and adapting the environment around the shot to responding quickly when the creative changed on the day.

OPEN CREATES — FROM BRIEF TO CAMPAIGN

Finding the right creative solution for every audience, budget and format

During my time at Open Creates, I worked across a wide range of charity campaigns, from TV advertising and filmed content to exhibitions, events, print and street-level activations.

Every brief started with a conversation with the charity to understand their objectives, challenges, audience and available budget. From there, the focus was on finding the most effective creative and production approach — whether that meant a TV campaign, physical experience, print piece, street activation or a combination of formats.

My Role:

I led projects from initial brief and creative development through to production and final delivery, working across multiple campaigns simultaneously and prioritising projects according to deadlines, budgets and urgency.

For TV campaigns, I worked across the full production process, including concept development, casting, filming and post-production.

For Alzheimer's Research UK, I worked on exhibition and event assets designed to create engaging physical experiences, including bespoke clothing and rugs featuring crossword-inspired designs, alongside other branded elements.

For Great Ormond Street Hospital, I worked on street-level display solutions incorporating dynamic digital screens, creating high-impact content designed to engage audiences in public spaces.

The work also included Christmas campaigns, cards, handouts, displays and other campaign materials, adapting creative ideas to suit different audiences, environments and budgets.

Working across charity campaigns also required a thoughtful approach to sensitive subject matter, particularly when working with interview-led content and stories involving people directly affected by the causes.