As the advertising landscape changes and grows–with ads reaching consumers via an ever-growing number of media channels–from video games to cell phones to online and beyond–the role of a producer is changing, moving beyond executing TV ads. For this week’s series on agency producers, SHOOT canvassed producers about how their roles are changing as content expands. The questions: How is the role of a producer changing as advertising needs to be produced for more and more media platforms? What skillsets are necessary for this changing role? What’s the best way for a producer to stay on top of changes? Here are their responses:
Susan Cook and Tom Dunlap
Co-directors of broadcast production
Wieden + Kennedy, Amsterdam
The ever-increasing number of media choices, formats and postproduction techniques are bringing more creative possibilities to the table. The producer needs to be present from the beginning of the concept stage, in order to inform and communicate all the ways to take advantage of these options.
Understanding the brief is key to suggesting the right approach, which might be an alternative or an addition to the traditional TV spot.
It has become more necessary to maintain good communication with the media planners within the agency, in order to make the most of what they know and can apply to the idea. The ability to brainstorm with various people and disciplines brings out the best use of the resources at hand.
It also remains important for a producer to stay up on the technology and how it affects all phases of the production process. A campaign can cross a variety of platforms, and we need to go the route that gets the best creative product across the board. One example would be the continuing evolution of hi-def and its prevalence. A producer needs to understand what film vs. video means when shooting and finishing, and if that’s the right choice to make for the project.
As always, a producer needs to stay curious. Both within and outside the industry there is a lot of experimentation happening–and it’s happening fast. It’s important to watch, listen, and not be afraid to ask questions. When we see something we find interesting, the best way to learn is to pick up the phone and go straight to the source.
Sandra Miller
Executive producer
The Production Farm, New York
The commercial world is changing so fast that the best thing a producer can have is an open mind. It’s all about new ways of doing work, new media disciplines and new deliverables. As with everything else, we have to seek out the people who have experience in what may be challenging to us, and learn from them–whether it’s hi def, cinematic release, 24p, virals, co-branded promotions or low budgets. Producers need to trust the young bucks and smaller production companies in this business as they have grown up immersed in these new media and have not been spoiled or tainted by big budgets. They have learned the hard way and have a lot to offer.
On the client side, producers must also learn to offer an ‘option B.’ Oftentimes clients with small budgets haven’t thought about options like hi-def or 24p. They do not know the tools we have to save money and keep our creative output exceptional–so it’s our job to educate them.
Producers can stay on top of these new changes by simply experiencing and embracing them. We need to be open to honing young talent and re-educating old talent. Clients will naturally adapt to the new landscape if we as producers communicate and present it effectively.
Aaron Royer
Associate director of broadcast production
Grey Worldwide, New York
The successful producer is now responsible for all integrated content. The “make it happen” skillset that they apply to commercial production needs to include all areas of content production–print, Internet, and longer format. The framework of any 360 idea requires a central point person; producers naturally fill that role, insuring a creative idea is fulfilled in all mediums. Any truly integrated idea has more creators, more vendors, and more distribution channels–the navigation of this process is critical, and often uncharted, and requires an enthusiastic producer to get behind it.
The best way to stay on top of change is to be the person driving the change. Producers at Grey are asked to bring back branded content of some form from each television production–whether it’s for the Internet or print, or a musical idea.
Monique Veillette
Head of Broadcast
72andSunny, El Segundo, Calif.
Actually, I believe that the role of the producer is not changing–just their vocabulary. A producer is a producer. Simply, a producer is a creative problem solver who manages challenges every day–whether it is to produce a Saturday barbeque or to oversee a $5 million international television commercial. Any project–big or small, old or new–is inherently riddled with challenges for even the most seasoned producer.
Therefore, the best producers are diligent researchers who are organized, inquisitive, empathetic, passionate, courteous, optimistic, creative, calm and confident in their abilities. Yet, they are also humble–because a little humility brings a broader perspective and a willingness to solve the unknown. A new media platform is another opportunity to produce groundbreaking work.
To stay on top of things: Read–the trades, tech magazines, the daily paper and interesting international publications. Read about what is going on everywhere and anywhere. Attend local and global festivals and events inside and OUTSIDE the industry–production conferences, Sundance, Slamdance, shorts festivals, NAB, film releases, documentaries, museums, live shows, etc. Get out there. It will make you a more well rounded person and producer. Ask questions of your editors, directors, fellow producers and creatives. Find out what they are excited about in the industry. Scour the Web for updates.
