The Creative Vision Behind People’s Puskas with Olivia Ema

Frederik Hvillum

Feb 18, 2025

At the heart of this year’s People’s Puskas is Olivia Ema, a London-based creative technologist and digital artist. Dive into the creative process, inspiration, and how Veo’s technology shaped her approach to capturing the magic of football’s unsung moments.

At Veo, we believe in the power of creative collaboration and fostering innovation through partnerships with talented individuals who bring fresh perspectives and ideas.

Our recent collaboration with Olivia Ema, a London-based creative technologist and digital artist, is a perfect example. Olivia's work on this year’s People’s Puskas highlights how emerging technologies and artistic vision can unite to tell compelling stories.

Continue reading to learn more about Olivia's creative process, her inspiration for the project, and how Veo's technology influenced her approach.

Could you start by giving a brief introduction and explaining how you became involved in the People’s Puskas work? 

My name is Olivia Ema, and I'm a creative technologist and digital artist. I use emerging technology to tell stories and create experiences within culture. The creative technology to teach about processes around experimentation. I also enhance marketing strategies by thinking about how we can use these new tools in never-before-seen ways.  

I became involved in the People’s Puskás campaign after hearing about Veo’s camera technology for capturing games that wouldn’t otherwise have the spotlight because it’s not being streamed. I liked the idea of something that focused on the nuances of the game. We looked at different 3D styles to communicate the messaging on social media - to generate more awareness around the campaign.

The campaign's ideas included using VFX to generate awareness and encourage submissions, what stood out to me was the creative freedom available in the project. When I saw the work that had already been created and affirmed the great work already being created, I became even more excited to contribute my ideas.

I developed an art direction that explored a visual style combining a collage feel with motion design and 3D, three pillars of my skills. I collaborated closely with the Veo team to tell the story of Veo and the People’s Puskas campaign creatively.

How would you describe your creative process from concept to completion?  

My process begins with listening. I immerse myself in the brief, creative challenges, ideas, and inspirations. This intuitive approach helps me connect with the vision and core energy the client wants to bring to life.  

After listening, I take notes and seek inspiration using platforms like Pinterest, Arena, and my archive of references. I consolidate everything into a mood board—a shared deck accessible to the entire team. This document ensures alignment and transparency throughout the process. 

Once the visual direction is approved, I dive into the creative experimental phase. My planning and strategising ensure the project stays inspired and aligns with the client's goals, whilst the  experimentation phase pushes the boundaries slightly for what can be achieved.

Where do you find the inspiration for your projects, and more specifically, People’s Puskas?  

I was inspired by the grassroots nature of the People’s Puskas project, mainly its focus on people. This emphasis allows for authentic creativity, even while using emerging technology or 3D techniques. This people-centric focus made it enjoyable to explore references and experiment creatively.  

Did the Veo brand or technology influence your approach?  

Yes, Veo’s technology significantly influenced my approach. The slogan “The best goal you never saw” deeply resonated with me because it aligns with capturing moments that would otherwise go unseen and this manifests in interesting ways creatively. 

How does this differ from other projects you’ve worked on? 

This project feels more hands-on compared to others. For instance, my previous projects have involved traditional designs, like collages. While I enjoyed that, the People’s Puskás project allowed me the chance to explore other software like using Unreal Engine.  

The trust and creative freedom I’ve been given stand out. For example, I spontaneously suggested 3D scanning a footballer during a London shoot, and the team embraced the idea. This openness to experimentation made the project unique and exciting for me.

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