By JOHN HELD
ONE COLD SNOWY EVENING, not too long ago, seven advertising agency executive producers and producers trudged over to Photomag and recorded a round table discussion on commercial production problems. Recently I listened to that tape. Many of the same problems that existed then are still around. The problems haven’t changed, only the people, dressed differently and smoking less, have changed. Problems like-Why isn’t there enough time to properly produce a commercial? Why does everything have to be done by committee?
Often, after an interlock screening you saw stark terror on the senior account executive’s face. The commercial was not the commercial that the client had signed off on. The lighting was wrong. The package was outdated. It was like-"Houston, we have a problem." Then one brave soul said, "Don’t worry, we’ll fix it in the edit." There wasn’t a snowball’s chance in hell that it could be fixed in the edit. That person just wanted to leave the screening room as fast as he could so that he could get his resume out on the street.
Today, there would be no unsolvable problems in that room because nearly everything can be fixed in the edit. In fact the only thing that can’t be corrected is if the lens cap is left on throughout the entire shoot.
Today, if the color of the car should have been red not blue, well just go into a color-correct suite and presto-blue quickly becomes red. If the important copy should have been spoken on camera by the wife not the husband, then CGI will get those female lips going pronto. Need more people in the stadium scene? Call in the Flame or the Henry. A little CGI here, a little CGI there and viola there are now thousands in the stands. Flame, Henry, Inferno, Maya, Nega Def, Onyx and Smoke are a few of the tools available today.
Yes, we can solve screening room problems. But aren’t we beyond that? Why should problems even exist when you screen the dailies? Let’s push the envelope.
Agencies and advertisers want commercials that break away from the network clutter. Today’s talent of agency art directors, writers, producers, film directors, cameramen, music writers and editors are extremely creative. They should work together to make every commercial memorable. Remember, any idea or execution can be done on film today.
However, it is important that everybody who participates in the commercial be at the most critical stage of the commercial’s development-the pre-production meeting. The opportunity is there to come out of that meeting with more efficiency and creativity in both production and postproduction work. Today’s creative editor is similar to the agency personnel or director. He probably has a degree in film production, art, drama, music, graphics or photography, and knows the Flame, Henry, Inferno, Smoke, etc., etc., better than anyone else at the meeting. Suggestions can be made before the filming that would add creativity to the production. It might even save time and money during the production. Having the editor take part in pre-production meetings is a very effective way to ensure that the creative dreams of everyone come true.
Now, if we could only solve the other problems-like the production/completion time problem and the committee writing problem. Plenty of time to produce and finish a commercial? Unheard of. No longer an idea from column A and another from column B. Too good to be true.
Director Jack Begert Joins Biscuit For His First Commercial Representation In U.S. & U.K.
Biscuit Filmworks has added filmmaker Jack Begert to its roster in the U.S. and U.K. This marks Begert’s first representation in advertising, building upon his acclaimed work in music video and film. He is best known for his striking aesthetic and surreal use of visual effects, displayed in his feature film debut Little Death, which won the NEXT Innovator Award at the 2024 Sundance Film Festival. The film stars David Schwimmer, Gaby Hoffman, Dominic Fike, and Talia Ryder, and was produced by Darren Aronofsky.
Miami-born and L.A.-based, the USC Film School graduate began his career in VFX and as an editor. Begert has worked with iconic musical artists including Kendrick Lamar, SZA, Flying Lotus, Childish Gambino, and Olivia Rodrigo, and has independently directed international campaigns for brands such as Apple, Converse, New Era, and Reebok.
Shawn Lacy, founding partner of Biscuit Filmworks, said of Begert, “We are such fans of his work--and of him as a creator, thinker, collaborator, and great guy.”
“My creative approach is often about trying to discover something unexpected in the filmmaking process,” said Begert. “Biscuit is a place where I can bring my own perspective to the work and still feel supported. That philosophy is clear from the talent they represent, and I’m excited to join their roster.”
“Jack’s work blew me away the moment I first saw it,” said Rupert Reynolds-Maclean, managing director at Biscuit Filmworks UK. “He is a modern young director who clearly cares deeply about both craft and the necessity for it in his storytelling. Everything always pushes the narrative forward. We’re looking forward to making great work together.”
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