Synima is a global video production company that’s spent the last two decades “giving voice to the world's leading brands, ensuring they cut through the noise to tell the stories that matter.” Their founder, Quint Boa, is a fascinating individual whose creative journey is a unique and inspiring one. I was lucky enough to sit down with him this week to chat about his own career and everything Synima.
How did you first get into the industry?
I got into the industry thirty years ago as an ‘American’ voice over and worked on various radio plays and TVC’s. In 1994 I was nominated for BAFTA for ‘Impulse’ body spray (Robert Morley won it for Sainsburys)
For around fifteen years I also worked freelance cameraman at the BBC in light entertainment department on shows like Top of The Pops and The National Lottery.
In 2000 it became clear that computers could edit video and I started my own production company, Synima. We started by filming field marketing campaigns, then corporate events and then got into B2B comms. The company is now global with offices in New York, Los Angeles, Amsterdam and Zurich
Where are you based now and who do you work for?
From our humble office in Addlestone, Synima has now burgeoned into a global entity, establishing offices in London, Amsterdam, Zurich, New York, and Los Angeles.
This expansion was primarily fuelled by client demand. Many of our initial clients, situated globally, spurred us to expand our operations to better serve their needs, necessitating the establishment of additional offices.
Expanding our global presence and nurturing a growing team of committed creatives has significantly enhanced our ability to cater to clients worldwide. Just last year, we successfully delivered over 1000 projects for clients across diverse sectors including healthcare, finance, IT, education, and energy. Our clients include J.P. Morgan, Deloitte, HPE and Honeywell.
What is your personal background and what role did it play in your career?
My father (Bruce Boa: Fawlty Towers, Empire Strikes Back, Full Metal Jacket) was an American actor. While he didn’t record voice overs, he had friends who recommended I take a stab at it. It was clear there was a niche for young American voices for burger, jeans, cola adverts. I recorded a demo reel, that got me an agent: ‘Lipservice’, and the relationship worked really well.
While voiceover work paid well I had a lot of free time. I taught myself camerawork and got gigs cable bashing on various shows at the BBC. This lead to working freelance within light Entertainment Dept and also on sports events globally with agencies such as Camera Corps.
Starting the production company was only possible because of the advance of various technology such as computer graphics cards and the internet and smartphones. It was basically an opportunistic punt that paid off.
In retrospect, I certainly wouldn’t regard myself as a ‘nepo baby’ but by virtue of my father I certainly I saw the industry from the inside. Opportunities were clearly there, and as I worked within the industry proved myself to be reliable and professional I made connections to get ahead.
If you weren’t in your current industry, what would you be doing?
I think I would have stayed within the acting / presenting / voiceover side of the industry. Not sure how well I would have fared, or how I could have raised a family with the degree of financial insecurity though.
Can you explain your creative process? What makes it unique?
The creative environment at Synima is unparalleled. Each member of our team possesses a highly creative mind, and we take pride in fostering an atmosphere where individuals are encouraged to explore their own creative processes.
This collaborative approach allows for seamless communication and ensures that we consistently deliver impactful videos, thanks to the shorthand that exists between team members.
How would you describe your style?
Synima's style is exceptionally creative and versatile, drawing from our extensive in-house expertise across various sectors. This versatility allows us to push creative boundaries within the parameters set by our clients, whether it's a more innovative approach or a straightforward execution.
Yet, our capacity to cater to corporate briefs doesn't equate to complacency; we consistently strive to enhance creativity and engagement in every video project, regardless of its context, by actively proposing innovative ideas to our clients.
Which individuals do you gain inspiration from? Do you have any heroes in the industry?
I’ve had the pleasure of working with several Directors (Stanley Kubrick, Richard Attenborough, Douglas Adams) who I admired for the dedication to the craft. Actors such as Sean Connery, Peter Cook, Michael J Fox, and the one and only Rik Mayall.
Presenters such as Bob Monkhouse and Carol Voderman. There are countless crew members (Dop’s, Grips, Animators, Producers) who I admire and have been honoured to work with over the years. My employees are pretty amazing, they knock it out of the park on a weekly basis.
What tips would you give to aspiring creatives looking for work?
I’d say to always make sure your showreel is as good as it can be as this is the best representation of your ability you could show a potential employer. Make sure it’s punchy, says what needs to be said and conveys your personality whilst doing so.
What tips would you give to other professionals to get more clients?
Every company operates with its distinct internal processes, language, and ethos. It's crucial to understand the unique needs of each client you engage with and tailor your services accordingly.
By doing so, you can ensure that you provide a solution that aligns seamlessly with their specific requirements and preferences.
What kind of tools/kit/software could you not do without?
Most likely our tape backup system. Whilst we have top-grade cyber-security and digital backup, it brings me piece of mind knowing all of our data is backed-up on physical tapes as well. You can never be too careful!
What’s your secret to staying inspired and motivated?
The ‘game’ is the most interesting place to be, isn’t it? Telling stories, witnessing and recording people, places and things that are interesting and inspiring. Working alongside people who are creative ‘radiators’ and not drains.
What’s the work achievement you’re most proud of?
A most recent project I’m particularly proud of is our animation we produced for UCL’s Psychiatry division in which we did a deep dive into the ADHD and how it affects people with intellectual disabilities.
The figures surrounding this project were just jaw-dropping. Not only was this animation a great creative exercise, but it also solidified video and animation’s importance in easing the diagnosis process and making underrepresented conditions known.
This animation was produced against a backdrop of a very turbulent healthcare system. In the UK, wait times for treatment are at an all-time high (averaging around 58 weeks) which proves especially detrimental to those suffering from ADHD & ID, where urgent support is needed and on an ongoing basis.
What is the one thing that you would change about the industry?
Most recently I would change the working from home (WFH) approach to production. It really upsets me that people coming through into the industry can’t get time to work alongside experienced people. We have a robust internship and apprenticeship programme but it’s really hard to help people practically to train and develop their skills as fast as we need them to (and they would like to) with this WFH approach.
Any websites, books or resources you would recommend?
From a technical standpoint all the regular books etc. What I would suggest is that people who want to work within the industry stay inspired to crack on and not give up in their attempts to get ahead within the industry. I have dragged crestfallen animators out of McDonalds who have given up on themselves. Getting into the industry is a marathon not a sprint, so keep up to speed with the latest trends and network like mad on LinkedIn.
Also don’t forget. People do business with people. In my ‘career’ more often than not I haven’t been the ‘best’ at anything; laughably bad, dangerous even, at being a grip, for example. But I’ve always shown up on time, made myself useful on set and been a team player. So don’t be a d*ck, basically.
