Recent years have been an absolute cat and mouse game for advertising agency producers and production companies.
What’s important? What do we do? In five years? In 10? Is the sky falling, or is this a wonderful opportunity?
In truth, the production side of things is more exciting than ever. But don’t confuse exciting with easy. Commercial production isn’t really commercial production any more–it’s morphed into so much more than the traditional industry in which so many of us grew up.
Yes, the ad business is tougher than ever, and production is intensely challenging; but it also has never had fewer rules. And for a kid who always pushed the boundaries, I find it more fun, fascinating, and inspiring than ever, even in these nostalgic days of Mad Men.
While the traditional commercial production professional may see excitement in exotic locations, unique film techniques, complex editing issues, and tight schedules, a modern pro should be getting turned on by the possibilities that exist in figuring out the next generation of production–which is now upon us.
Can old dogs learn new tricks? They’d better. And how exciting for all new dogs. Today, all the walls are down, and the first one to figure it all out, wins.
The needs of agency clients today have exponentially broadened production deliverables, with lots more to come. Agencies also need to deliver the goods on more production levels than ever.
If they don’t, clients will find someone who can. Now, you can complain about this–or you can find the fun, jump right in and figure it out.
After running my own production company, I returned to the agency side, primarily to get in the middle of all that is new. To learn, grow, and help shape the future. Raised at a traditional agency for 17 years, I left for 10 years to form Z Group Films.
During that time, I witnessed a huge shift in commercial production as we went from 90 percent commercials to a 60/40 percent split between spots and non-traditional projects.
It became a daily jigsaw puzzle–often with a piece missing. And now, being at the epicenter of all that is new in the production needs of 21st Century clients–putting all the right pieces together on the agency side–is to me an irresistible challenge.
Today’s media mix is crazy. What do clients need? How can we be smarter? What new communication vehicles are around the next corner?
What a great opportunity to be in the game–and to be the best at our game. Who’s going to stay and play? Who’s going to end up being left behind? Who knows?
The last question is my favorite because the answer is: No one.
And the fun part is…all the walls are down!
Dan “Ziggy” Zigulich is executive VP/director of creative production services at Draftfcb Chicago. He assumed the role this past summer (SHOOT, 8/22) after closing Chicago-based Z Group Films, which enjoyed a 10-year run. During his Z Group Films tenure, he also launched El Grupo Z, a film company specializing in U.S. Hispanic work. Prior to Z Group Films, Zigulich worked at Foote, Cone & Belding for almost 17 years.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More