Agency producers are the folks who make sure that a creative’s idea is feasible, and then put all of the elements in place to make a spot happen. In this Special Report, SHOOT looks at a few of the producers who are responsible for recent high-profile work.
In addition to their day-to-day duties of screening directors’ reels, going on location and making sure that the post process runs smoothly, agency producers must also keep abreast of changes in technology. For more years than anyone cares to remember, the standard for viewing broadcast work was always the 3/4-inch deck and reel. As John Noble, director of broadcast production at The Martin Agency, Richmond, Va., says: "Three-quarter lasted way too long. It’s the same reel my father was looking at when he was a creative director at DDB thirty-five years ago." To that end, several agencies have begun the process of converting to DVD to view work and make presentations. In "Final Frontier," agency producers give a progress report on the transition.
Andrew Chinich, executive director of broadcast production at Bozell, New York, has been with the agency for a little less than a year, but he has already contributed to several highly creative spots for the agency. Some of his efforts include Datek Online’s "The Wall," and the first-ever joint broadcast effort by the Milk Processor Education Program (MilkPEP) and Dairy Management. In "That’s Entertainment," Chinich discusses the similarities between advertising and show business. "No matter how you slice [advertising], it’s show business," he explains. "You go into a client presentation, it’s a little razzle-dazzle—you’ve got to entertain people. At the end of the day, that’s what we’re doing."
Meanwhile, Hyatt Choate, an executive producer at BBDO New York, helped create "Oz" for Federal Express. The Super Bowl ad, which featured footage from The Wizard of Oz, showed the Munchkins receiving a FedEx package. In "Spot Wizard," Choate explains how his editing skills helped him in presenting "Oz" to the client and the director, Joe Pytka of Venice, Calif.-based PYTKA.
SHOOT reporter Kathy DeSalvo discusses Super Bowl ads with DDB Chicago executive producer Greg Popp in "Popp Rocks." He was the producer on Budweiser’s "Rex," one of the most popular spots to air during the Big Game. Popp also discusses Bud’s Super Bowl ad strategy: "They tend to do more spots than there are slots for, and wait for the cream to rise," he says. "I think that’s a really good way to do it when you can afford to do business that way—which they can. By holding their costs in check, they’re able to overproduce."
When Nike agency Wieden & Kennedy, Portland, Ore., wanted to promote the Cross Trainer II, it created an ad campaign that started on TV and ended on the Web at whatever.nike. com. In "Between Screens," SHOOT senior reporter Justine Elias talks with Katie Raye, the interactive producer on the campaign, to find out how the broadcast and interactive departments work together to create a multimedia ad.
Finally, in "Producing Right," SHOOT reporter Sarah Woodward profiles Lisa Gatto, the agency producer behind the recent CNET campaign from Leagas Delaney, San Francisco. Gatto also works extensively on the adidas account, and produced "El Duque Dance," one of the six spots that helped earn directing team Joe Public of bicoastal Headquarters a Directors Guild of America nomination for best commercial director of ’99.
Enjoy reading about these producers; as always, your feedback is welcome.
Kristin Wilcha
Sr. Editor/Special Report
