Story
The film starts as an argument, not a timeline. What the piece is for, who it is speaking to, and the single idea it has to leave behind.
Campaign · Cultural institution
Digital Experience · Website Design · Campaign Creative · Film + Motion
The institution’s digital home and the campaign creative that keeps feeding it — one century-old stage, one contemporary voice.
Visit the websiteThe institution
Newark Symphony Hall describes itself as New Jersey’s largest Black-led arts and cultural institution — a 220,000-square-foot historic performing arts venue known as Newark’s “1st Stage.” That standing is the brief’s advantage and its constraint: the creative has to carry the weight of the room while promoting artists who move at the speed of a feed.
Institutional context as stated by the Hall. The work shown here is the Hall’s website design and the campaign creative for programming at the venue.
The digital home
Scott designed the Hall’s website — the platform every campaign eventually points back to. The design problem is the institution itself: one experience has to hold a centennial story and a restoration narrative while still working as a live venue site, where a visitor can find tonight’s programming, book a room, read about the Arts + Education Lab, or join the mailing list without ever feeling handed off to a different organization.
Live site · captured from newarksymphonyhall.org

The centennial story given its own chapter rather than a paragraph on a heritage page.

Concert hall, grand lobby, ballroom, black box and the Arts + Education Lab, each explained on its own terms.

A mailing-list moment placed where the institutional story ends and the ongoing relationship begins.
Screens captured from the live site. Design authorship only — no technical build, performance, accessibility-certification or conversion claims are made here.
The creative
DJ D-Nice presents A Merry CQ Christmas, part of Holidays @ The Hall. Key art, artist reels and institutional film were built from a single visual language, so a headline announcement, a per-artist cut and a marquee moment all read as the same event — and as the same institution the website introduces.
Billed on the artwork
Adapting the system
The same holiday campaign resolved for two very different placements — a portrait key art built for print and social, and a widescreen cut for the Hall's digital screens and web placements. Line-up, hierarchy and ornament language stay fixed while the crop changes.
Programming in motion
A coordinated campaign system extending live programming across promotional, digital and motion touchpoints — where music, movement and community meet, the same visual language holds from a shared flyer to the screens inside the building to a promo built to travel.
Best with sound on
The headline film
The institutional cut — presenter, room and line-up introduced as one piece of storytelling rather than a list of names.
Best with sound on
Campaign in motion
Each headliner received their own cut, so the campaign could travel through separate fan bases without fragmenting the event. Same frame, same typographic logic, different centre of gravity.
Best with sound on
Films play on demand from the owner’s source files — nothing streams or plays audio until you press play. More Newark Symphony Hall creative will be added as it is released.
How the motion work is made
The motion work often begins well before the first frame. Concept and story development, scripting and voiceover copy, footage curation, creative direction and production, supplemental AI-assisted imagery and motion, and — for many of the promotional films — original music, brought into one cohesive experience.
The film starts as an argument, not a timeline. What the piece is for, who it is speaking to, and the single idea it has to leave behind.
Structure, beats and voiceover copy written first, so the edit has language to move against rather than music laid over footage.
Footage sourced, reviewed and curated; stills selected and organized. Where a beat is missing, supplemental imagery is produced — including AI-assisted material used as a production tool, not as authorship.
Stills brought into movement, sequences assembled, pacing directed. The visual narrative is built as a whole rather than trimmed into one.
Original music composed for many of the promotional films, so score and cut are developed together instead of negotiated at the end.
Words, image, movement and sound arrive as one piece — and as one part of the wider campaign system it belongs to.
Portfolio-level description of how the work is made. Scope varies by film.
Culture, at scale
Two separate clients, two separate campaigns — one shared discipline: making cultural programming feel contemporary without spending the institution’s credibility to do it.
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Available for select creative direction, brand strategy, leadership consulting, vision coaching and transformation engagements — with hands-on execution when the work calls for it.
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