Experience in Production | Anastasia Limarenko
ANASTASIA LIMARENKO | INSTAGRAM
How did you start your career as a creative director and shoot producer? Which breakthrough projects were pivotal for you?
In my case, Creative Direction and Creative Production grew naturally out of my earlier experience producing photo and video shoots. I started long ago: in 2011 I finished law school and immediately realized jurisprudence wasn’t for me. After a year of odd jobs—and dreaming of Condé Nast, where I later did work—my first serious position was at a TV‑focused production house.
I happened to be talking with the editor‑in‑chief when the Head of Production walked by, overheard us, took me by the hand and said, “She’s mine, sorry.” That’s how I became a producer. I stayed there two years, then moved to GQ at Condé Nast.
My “evergreen hits” include GQ covers with Hollywood stars such as Adrien Brody and Gerard Butler. I’ve also done several viral shoots with Anna Radchenko—notably the famous “pregnant grandmothers.” Recent highlights include a major advertising campaign for Alrosa Diamonds and a project for T‑Bank.
What are the main steps you take when organising a shoot to ensure the project is completed successfully?
1. Extract the real brief. Even major brands with strong in‑house teams seldom have a crystal‑clear task; you have to “shake” that answer out of them.
2. Assemble the right team. Choose key people who won’t let you down or leave you alone to clean up problems.
3. Apply the craft. The rest is technique—production theory anyone can learn—plus the timeless trio of politeness, sanity, and solid communication skills.
Do you believe that artificial intelligence can replace human creativity in the shooting process, or is it better suited to support and optimise the work?
Over time, AI‑generated content may rival live production in quality; we already see hints of that. Live shoots could turn into a luxury—like print magazines—another reason to talk about authenticity, jobs, and a “green” agenda.
Yet AI is unlikely to replace producers. You still need a human to draw the real brief out of a client—reading between the lines, sensing subtext. Until clients start giving perfectly precise tasks (and they don’t), the human factor remains irreplaceable.
Do you believe that artificial intelligence can replace human creativity in the shooting process, or is it better suited to support and optimise the work?
Over time, AI‑generated content may rival live production in quality; we already see hints of that. Live shoots could turn into a luxury—like print magazines—another reason to talk about authenticity, jobs, and a “green” agenda.
Yet AI is unlikely to replace producers. You still need a human to draw the real brief out of a client—reading between the lines, sensing subtext. Until clients start giving perfectly precise tasks (and they don’t), the human factor remains irreplaceable.
Which tools and technologies do you use to improve the efficiency of a shoot? Do any of them involve AI?
My main “technology” is simply the ability to negotiate. I rarely lean on AI or ChatGPT; my own brain and communication skills usually suffice. AI is just a tool, and like any tool it amplifies what’s already there: it makes the smart smarter and the foolish even more foolish.
What is your opinion on using neural networks to create visual content? Do you see more opportunities or limitations?
Right now AI is mostly an assistant. Practical example: we once had to “extend” backgrounds that used to require expensive 3‑D paint‑overs; now we can generate them. Another time we needed 88 story ideas—after twenty, our creativity stalled, so we tapped ChatGPT and it helped a lot. The key is having your own brain; without it, AI alone won’t save you.
What prospects do you see for integrating AI into production? How might it change the industry in the next 5–10 years?
Many people, especially older professionals, still underestimate AI’s potential. Top management is 40‑plus, and most don’t yet realize that a commercial costing 12 million today could be produced for 2 million in a couple of years—same quality, AI‑enhanced workflow. But it’s only a matter of time; we’re headed there.
