1) When it comes to directors, I’m looking for the best creative fit first. Everything else (scale/complexity of the work, agency or client credited, etc.) comes second. If a reel isn’t appealing visually, emotionally or comedically within the first couple spots/content pieces, it will probably get passed over. So, even though it’s kind of obvious, lead with your most engaging work. Also, if you’re sending a reel for something specific (particular client, agency producer or EP, etc.), it definitely helps to do some homework and customize for that specific intent versus sending a broad “catch all.” You’d be surprised how many reels I get which have nothing to do with the type of creative or clients I work on.
2) For producers, the same advice applies, but with some modification. If I’m evaluating talent for possible staff or freelance, I want to know you can handle what you’re being considered for and/or are a good fit. I’ll look at complexity and breadth of work on the reel. Have you produced animation, retail, comedy, complex storytelling, and so on? Also, agencies and clients you’ve worked with definitely get a closer look. Creativity is still a piece of it, but I’m looking for the skill set of a producer first since I can’t be sure how much creative input they’ve had in the work on their reel.
What Technology is a “must be proficient in”:
Programs like those in Adobe Creative Suite are tech you should have some familiarity with. Decreasing budgets and time, coupled with less willingness to take creative risks are leading to more proof of concept edits before work is sold. If you add in the increased need for ultra-low budget content, I think knowing the basics of software like Premier, After Effects, Audition, etc., especially among more junior producers, is a good thing. Yes, final editing/animation/audio on larger projects should be left to skilled full-time artists, and not producers (or creatives) who dabble in it, but some basic skill in those areas is definitely the future of production departments.
Career-Life Balance:
It might sound simple, but turn it off. Yes, there are times when I have difficulty putting down the mobile phone, but having four kids made me realize there’s life outside of advertising. I’m not one to take frequent breaks during the day, so I go pretty hard at it when I’m in the office or on set, then try to spend as much time as possible with family when I’m home (again, it doesn’t always work out). Also, take time to decompress. Our jobs are pretty stressful, so take some time to get lost in things that aren’t advertising or production related.
