ABOUT

On 31st May 1996, Baddiel and Skinner’s ‘Three Lions’ anthem was at no1 in the charts and Tom Cruise’s epic espionage adventure ‘Mission Impossible’ was at no1 at the UK Box Office.
It was also the first day of business for a small design agency called Jump Design and Direction Ltd.

Thirty years later, Jump is celebrating a remarkable milestone: three decades of creating motion graphics, building lasting client relationships and navigating an industry that has transformed beyond recognition.
But rewinding back to 1996 - the five directors had already been working together for 5 years at ITN running their commercial design department. Armed with a BAFTA win for The Day Today and an impressive showreel the team decided to go it alone.

In the beginning.

Richard Norley - Head Creative at Jump:

“When we started we were the definition of a lifestyle company. We were 5 friends who got on really well, even though we were all quite different personalities. I think that’s why it worked.

We loved doing what we did, which was design and animation. We worked hard and we played hard - without any real vision for the future, or mission statement.

Now, we are a proper growth-driven business employing 22 people, we have clear company hierarchy, working methodologies, long-term clients, ongoing projects, clear and fair staff contracts and our working hours are far more civilised and our time more focused. We still work hard … but playing hard, less so!”

The secret of our success.

Russell Mann - Technical Director at Jump:

“Relationships have to be one of the top reasons. We work with and alongside our clients. We pride ourselves in creating a professional and friendly relationship that often goes beyond a single project.

I also think Jump’s versatility has allowed us to create graphics across many genres, from sport and entertainment to news and current affairs. Indeed, these feed back into each other, giving us a unique set of skills and experience.

We’re consistent, we deliver what we promise. And we communicate well, we continuously feed back and involve our clients every step of the way.”

The Jump Family.

Kate Norley - Creative Producer at Jump:

“It goes without saying that Jump’s crowning achievement is our exceptional design work. However, coming in at a very close second are the fantastic people who have worked at Jump over the years and who work with us today.

“We’ve been fortunate to consistently employ brilliant, talented individuals, who all possess a ‘can-do’ attitude and a desire to produce their best possible design and their best work for the good of Jump.”

Russell Hilliard - Marketing Director at Jump:

“It’s true to say that people become part of the Jump family, they’re not just staff. We’re grateful for everyone’s creativity, passion, hard work and commitment over the years that have contributed to the fact we’re still going strong today.”

Karon Hall:

"As Directors, we've always made decisions based on what felt right for us. We have always hand-picked our own staff, never left it to recruiters.”

Behind the scenes.

Russell Hilliard:

“There have certainly been some amusing stories from over the years and things have not always gone to plan.

Like the time Simon Cowell gave me 2 out of 10 for a title sequence or when a CEO at De Beers told us our sequence was ‘a Dismal Failure’.

Many years ago Richard and I turned up to present a range of title sequence concepts for Blind Date to Michael Hurl - the Head of Entertainment at ITV, only to realise we had both left the presentation in the office. Michael Hurl being a busy man asked us to describe the storyboards. It was like the worst episode of Give Us A Clue. Thankfully we were rescued by a FAX machine.

On another occasion, when we were working at ITN before Jump, I was presenting our latest showreel to the new Director General of ITN (David Gordon) . When the reel finished I perched on a desk which collapsed sending computers and printers crashing everywhere. Oops.”

A moment of reflection.

Karon Hall:

“We used to frequently use the phrase ‘Winging it’. After 30 years, I can safely feel that we are no longer winging it. Some things still feel the same: the humour, the commitment and dedication to deliver the best possible for our client.

Budgets in broadcast have become smaller, but it is across the board, not just graphics. A big part of my role when I was production managing was organising shoots but they have become very rare these days.

I don’t think I have laughed more than when we went to South Africa to film for the ITV World Cup titles. From having to run to the gate as we were distracted watching football in the bar, to our DOP (Paul Handley) forgetting to put suncream on his face while still wearing sunglasses - so looked like a panda.

For me, this was what Jump was to me. Family. Being part of Jump has kept my heart beating strong, even when bombs were going off in my personal life all around me.”

A lot has changed.

Russell Mann:

“Over time, I’ve drifted from designer and animator to becoming Jump’s Scotty in the engine room, and I’ve always tried to put the dilithium crystals in the right way up! As designers have gained more and more control of their own software and kit, they have become a much more technically independent bunch, with maybe only a yawn or two if anybody mentions colour space or codecs!

What drives us hasn't changed. Our values and approach have remained consistent and relevant.
However, our environment and Jump has changed dramatically.

Animation equipment was expensive and inaccessible, even though a lot less pixels were involved. Jump only had two animation machines so they had to be used around the clock, day and night. Any advanced animation had to be commissioned at facility houses, especially 3D.

The rise of the desktops and the advancement of desktop applications were game-changing. We all had access to the tools of our trade. It was not long before we were doing more and more advanced animations in house, with all the benefits that came with both for us and our clients.

Now 99% of all our animation is handled in-house, including 3D. We have given up our offices for a full-time, work-from-home model. Originally, this was forced by COVID, but we realised the benefits outweighed the disadvantages.”

What’s next?

Thirty years of success has required constant adaptation. From carrying A1 presentation boards in taxi cabs to sharing screens on zoom calls, from broadcast-only graphics to delivering sequences for a multi-platform world, change has always been part of the job. The latest challenge is artificial intelligence.

Richard Norley

“I see the use of AI as something that will affect every aspect of design and animation - not just the Generative AI that is currently so divisive among the design community, but in other uses too, such as time management and the automation of simple or mundane tasks.

I also believe that when used properly, in conjunction with other already established design software and traditional techniques it will elevate the work that we can produce to another level. Satisfying both our client and our team who use it.”

Here’s to the next chapter.

Russell Hilliard

“Personally I would love to say thank you to my fellow directors for the last 30-35 years. What a team. I always have the belief that together, we can tackle anything. Jump is in the best shape now that it’s ever been. So long may the birthdays continue.”

Russell Mann:

“Jump is simply the best, most friendly agency that you could work with or for. I don’t understand why anybody would want to work with or for anybody else.

If I’m honest, I think it is a total surprise to me to reach this milestone. Jump has let me play and make animations for a living! Day to day, I have just concentrated on the jobs and problems in front of me, and hoped that what I did would be ok. And here we are 30 years later. I am very proud of Jump and my fellow colleagues and what we have achieved.”

Kate Norley:

"Naturally, there have been inevitable bumps in the road, the occasional bit of soul-searching, a spot of re-evaluating life choices, and the quiet panic that sets in after saying yes to a client before figuring out how to do it!

Yet, despite these minor hiccups, it has been an absolute pleasure to work at Jump with all the many Jumpers for the last 30 years. Here’s to the next chapter!"