For Jimmy Vi, Filming Is Always Full of Fun Challenges

Jimmy Vi is a director based out of Toronto. Prior to finding his passion for film, Jimmy was a creative director in advertising with a distinct love for all things visual.

Jimmy’s work is about creating visual poetry that is rich in art direction while staying intimate and personal. His work with clients like Nike, Foot Locker, Universal and Sony Music has garnered millions of views.

On top of watching anime, gaming and listening to music, Jimmy spends his spare time supporting and running programming, mentorship and workshops for emerging BIPOC creatives with ‘ECRU.CLUB’.

Quintessential to his work are stories told with purpose through the lens of diversity in cultures and backgrounds.

Jimmy sat down with LBB to discuss his proudest latest work for McDonald’s, Nike and Mjolk…

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Jimmy> When I read scripts with an element of tension or have something at stake. Another thing would definitely be scripts with something to say. They tend to instantly make me visualise a specific look and feel of the world.

LBB> How do you approach creating a treatment for a spot?

Jimmy> Briefing calls are probably one of the most important steps for me when it comes to creating a treatment. I usually have ideas about the world or how a scene is written the moment I get a script. I use the briefing call as a space to really jam things out with the creatives and to test the waters.

Once I’ve soaked in the brief, I start going by feeling. Saving images that feel right visually or have the right lighting, wardrobe, casting, etc. I let all of these elements lie deep in my brain and it almost gets subconscious. Then I lay out what I want to say in each section of the deck.

Lastly I put it all together and line it up constantly with the brief to make sure I have all my bells and whistles checked.

LBB> If the script is for a brand that you’re not familiar with/don’t have a big affinity with or a market you’re new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it is important to you, how do you do it?

Jimmy> A big part of my job as a commercial director is seamlessly integrating the brand's story, strategy, and direction into the spot. If I’m working on something, I need to understand what I can do as a director and creative to help elevate their brand.

I’m constantly searching up their previous spots and campaigns, and pulling from elements that I liked and taking note of throughlines between their branding.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Jimmy> That’s a tough one because there are so many extremely important roles and relationships. It truly does take a village to create something great. I would even go as far as to say it changes in every step of the process.

During the treatment phase, I would definitely say my relationship with the agency creatives help me ideate and conceptualise a better treatment. In pre-production, most definitely a producer who could help support me logistically in making this all come to life.

On set beyond the entire crew (cinematographer, production designer, wardrobe, etc) I would say clients so I can get sufficient feedback and create what feels right for them.

Post-production editor to really help nail the overall feeling of the pieces and string everything together.

LBB> What type of work are you most passionate about – is there a particular genre or subject matter or style you are most drawn to?

Jimmy> I truly love work that pays an extreme amount to the visual language of the world. Every detail matters to me in the frame, from the colour of the walls, and the wardrobe palette to the style of lamp on the side table.

Subject matter and genre are just vessels for rich visual storytelling in my eyes.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Jimmy> I’ve worked with a lot of really awesome brands, including Zeiss, Foot Locker and Nike. I’m currently a little pigeonholed into fashion and lifestyle. I will forever love working in these genres and spaces, as they’re always super creative.

But I get just as much joy bringing that fun and creative perspective into other brands too.

Whether it’s a Coca-Cola ad, the newest Bose speaker or an ad for a new mop. As long as the script has an essence of humanity in it or reflects on life in some way, no matter how small of a sliver. I’ll find it and explore it deeply.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Jimmy> That’s a great question; film is always full of fun challenges. I’m not sure I can name a specific one but I always try to push ideas as far as possible.

Thinking, ‘how much can I get away with squeezing in the budget we’re provided for?’ I’m thankful to have a great production team and a lot of really all-star collaborators of cinematographers, production designers, stylists, colourists, sound designers and editors who’ve supported me throughout my career.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Jimmy> I often get complimented on how collaborative a director I am. I think it’s just as important to flow together throughout the entire process between the client, agency and myself.

When we all sing in harmony with each other and can trust each other is when some of the best work can be made.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?

Jimmy> I love technology and have always been pretty tech savvy. Virtual production is something I really wish to hone in on, as it truly does help solve production challenges.

Want to shoot in blue or golden hour for three days straight? No worries, got seven exterior locations that go from city streets to scenic lakes and then a forest? Stay cozy in a studio and get all those looks without moving!

If a piece of tech helps move us forward easier and opens up the world of creativity in terms of what’s possible, count me in.

LBB> Which pieces of work do you feel really show off what you do best – and why?

Jimmy> 'The Circle' - Zeiss: This piece is the result of a brand trusting me as a creative. We pulled off the near impossible with a six-day pre-production time and I’m really proud of this one. It’s a piece that reflects on life in a poetic way with all the characteristics of the lens.

I was one of the first individuals to use it and Zeiss used it as a showcase piece for their brand.

This spot inspired thousands of people to reach out to me and to then use this lens in everything from commercials to Hollywood features.

Airmax 95 Toronto, 'White Squirrel' – Nike: This piece is a really fun and light one. We went to a lot of locations and hung out with a lot of really cool people. This project shows how much I love putting my camera where we’re experiencing firsthand what the characters in the story are experiencing.

In this case, the infamous Bellwoods White Squirrel.

My McDonald's Rewards App: One of my favourite pieces to shoot because of how well the clients, agency and I gelled together. We truly flowed with each other and harmonised to create a smooth and pleasant experience and spot.

I knew from the briefing call that lifestyle photography was an important element for the agency. They haven’t shot lifestyle photos for McD’s Canada in years! The production team and I put extra care to making sure the stills were taken care of and had sufficient time and resources.

Being a director is about directing the holistic experience too. Beyond the experience of shooting I’d say even though this spot is a 16sec, it shows the amount of attention to detail I have for each frame. The palettes are curated from the colour of their wardrobe to the pillows and lamp shades. Every detail matters!

​Home - Mjolk: A spot for a luxury furniture brand. The spot really shows how I can take a simple idea of furniture for your home and turn it into something meaningful. It’s me finding that sliver of an idea and pushing it far by giving it a specific style.