My First Year in Advertising: Production Edition

LBB’s long-running series ‘Producing Tomorrow's Producers’ speaks to leaders in the production space – EPs, senior producers, heads of production and more. Taking snippets from their years of experience, they offer advice to help shape the next generation of production talent. 

Experience is everything, and their advice is unparalleled. But for a newcomer entering the production space, the words that will really resonate will come from the voices most similar to their own. 

That’s why in this article, LBB has chosen to spotlight the talent at the beginning of their production careers. Featuring insights from across the realm of production – from advertising, events and agency production – the industry’s newest crop of recruits are united in many ways. They share a belief in the importance of mentorship, in backing your team, and making the most of every opportunity. 

Offering advice, candid reflections, funny anecdotes, and emphasising the importance of good snacks, take a read of what the industry’s newest voices from the likes of Spindle, Imagine This, Wonder (part of Amplify), We Are Social, Publicis Luxe and POD LDN have to say.  

Johnny Woodman, production assistant at Spindle

It’s been a whirlwind, in the best possible way. I’ve found myself learning fast, adapting quickly, and thriving in an environment that constantly pushes me to grow.

I actually came into the industry thinking I wanted to be an art director, and started out floor running on film and TV sets. But somewhere along the way, I caught the production bug. A friend sent me an Instagram post about Spindle looking for an office runner. I applied, was asked in for a couple of trial days, and officially started the following week.

Not long after I joined, I had the chance to PA on a short film, followed by a big commercial for adidas, and then a music video, all back-to-back. Being exposed to such a wide range of projects, each with different scales, budgets, and creative demands, has been a massive learning curve. Although those two months were intense, I quickly realised I was driven by the pace and excited to take on whatever came next.

I’ve also really valued the opportunity to learn from different production teams, both in-house and freelance. I’ve tried to soak up as much knowledge as I can from those around me; people who’ve been in the industry for years and bring a huge amount of insight and perspective to the table. I genuinely look up to my colleagues and feel lucky to be learning from such thoughtful, talented, and generous people.

One of the most rewarding parts has been seeing projects through from the very first deck, through pitching, pre-production, the shoot, and post, all the way to the finished product. There’s something really satisfying about watching the final film, knowing how many people, moving parts, and hours of hard work went into making it happen.

At Spindle, there’s a real culture of backing people early in their careers. I’ve felt supported, trusted, and encouraged to grow, all while working on projects I’m genuinely proud to have been a part of.

Gabriel Preston, head of engagement at Imagine This

Six months ago, I was desperate for a break. It was a tough year, but through a few unexpected conversations and generous guidance from the right people, I went from standing on a market stall to my first commercial set and runner role at Rogue Films. As cliche as it sounds, it's where I've always wanted to be.

Soon after I stepped into my first official job in production, Toby Walsham took the punt: head of engagement at Imagine This. An impressive title, sure, but inside, I was battling imposter syndrome and questioning my place in this crazy industry. At first, it was daunting being thrown into the deep end, and doubt definitely crept in. But I stuck to my plan, remained passionate and curious and leaned on the 1% rule...a lot can change in three months by improving just 1% every day.

Clarity came quickly through action. I began learning the ropes, navigating scripts and treatments, sharpening my knowledge of AI, honing my pitch game, understanding directors' creative voices, and making meaningful connections across the industry. Milestones followed, signing the right directors, completing the APA Producers course, and finding my place in a company that thrives on creativity, integrity, and success!

If I were to give any advice, it would be to find your mentors to help you find your values. I wouldn't be where I am without being annoying and learning as much as I could from them. When you’re new to the industry, understanding what’s important to you will help steer your career along the right path. Attach yourself to the people who have been there and done it. Put yourself out there, be that pest, and take every opportunity. Making coffees and unloading the dishwasher are massive ones when you start out; they’re the experiences that ground you the most when you're starting on this journey.

If the first six months taught me something, it’s never just about the break. It’s about what you do with it.

Janice Puati, production assistant at We Are Social

I joined We Are Social Studios in June last year, and it’s been packed with amazing experiences. From keeping morale high on a long shoot for Greenpeace, to clearing the set in time for Zoe Saldaña’s arrival at the BAFTAs and earning a place on the jury panel at the Shiny Awards – it’s been a whirlwind.

But let’s rewind a bit. It’s 2021, we’re post-pandemic, and I’m in the thick of a quarter-life crisis. I had just finished working a cold-call job asking people how COVID was treating them and whether they were staying at home.

Mid-crisis, I’m ranting to one of my girls about how unfulfilled I felt, and she suggests I sign up to the Creative Mentor Network. Honestly – thank God she did. I got matched with a lovely mentor who introduced me to the managing director of Lonelyleap. I joined as a studio assistant and learnt the ropes from one of the kindest, most creative teams I’ve ever met. That opened the door to working as a PA, and now here I am – still standing, still (extremely) caffeinated.

So, while technically not my first year in production, it definitely felt like it. Over the past year at We Are Social Studios, I’ve been on more shoots than ever before and have learnt more than I thought possible! If you're just starting in production, here’s what I’ve learnt:

- Say yes to everything. Panic about the logistics later.

- Have a banging snack table list. Source: Trust me, bro.

- Talk to everyone. Everyone on set has something to teach you.

- Be flexible. Things change. A lot. Roll with it.

- Ask questions – loads of them.

- Note down all your experiences and lessons learned. It’ll come in handy for when your confidence wobbles.

Start figuring out your goals. What content do you want to make? What kind of manager do you work best with? Do you want to stay in production or shift into another department down the line?

Adelaïde Rocherolle, junior creative producer at Publicis Luxe

Working in production is definitely challenging. When I first started, I was a production assistant in Los Angeles and little did I know that this two-year experience would not only shape me but also introduce me to my next employer: Publicis Luxe.

This pretty much sums up what happens on set: you meet people and talent from all around the world. Creative individuals all working towards the same goal: the craft of a masterpiece.

My best memories from discovering the industry came through my innocent eyes… I was so dedicated that once, in Long Beach, I was presenting my super interesting guide of LB’s best restaurants to the CEO and executives of one of the biggest French beauty brands. I was so focused that I didn’t notice that my coat was catching fire from a candle I had lit earlier to create the comfiest video village.

I think it was a funny situation from the outside, as we were all panicked; the clients were throwing water on me whilst a big celeb was on set right across from us. Anyway, we got through it. I wasn’t proud of it, but I learned something: don’t light candles on set.

Coming from working for a US production company, it was definitely a unique experience to switch to the agency side a year and a half ago. I gained an insight into the inner workings of an agency. A totally new side of production. It was like seeing two faces of the same coin.

My first steps at the agency were not easy. I had to discover the craziness of competitions, learn about all the directors on the market and build relationships with Paris’ producers. My first two weeks were a bit hectic. I had to replace one of my colleagues on a pitch, and I was a bit lost between PPM’s, Kick Offs, director’s treatments, estimates, and trying to fit a creation within a budget.

I remember asking the account team, “What am I supposed to do? How can I help?” If I could answer that now, I would just tell myself, “You’ve got to start somewhere; pick up your phone and start talking to people. Listen to what they have to tell you about their talent, guide them, and be the best intermediary between them and the agency.”

You need to find your place, and I think that’s the challenge of being a creative producer: knowing how to preserve production and creation at the same time. And at first, it’s not easy. Only experience will shape you, and each project teaches you something new.

Regis Andanar, marketing specialist at POD LDN

After spending my early career in advertising, I’ve shifted from creative strategy at a ‘big four’ agency to my first year at a production company start-up. It's definitely been a crash course in adaptability. I thought I knew fast-paced work, but production operates on an entirely different level.

One of the biggest differences between agencies and production companies is the shift from ideas to execution. Agencies focus on big-picture strategy and creative direction, while production is about making those ideas a reality - often under tight timelines and unpredictable conditions. In production, execution takes priority, with decisions happening in real time and problem-solving as a constant. Structure helps, but flexibility is crucial. This year has completely shifted how I approach creativity. Experiencing both strategy and execution firsthand has given me a deeper understanding of what it takes to bring ideas to life.

Max Hollick, junior production manager at Wonder

From conferences in the London ExCeL Centre to the golf courses of Scotland, and finally to the fields of Glastonbury Festival, my first year in production was fast-paced, full-on, and everything I'd hoped for.

Before stepping into the world of production, I was working as a roofer, until I got the chance to join a local crew on a motor show in Hanover. That experience opened the door to events and I was instantly hooked. I loved the excitement of working abroad, exploring unfamiliar places and meeting a wild mix of brilliant and wonderfully strange people.

At first, I'll admit the hotel stays and crew catering were major highlights (though that novelty has slightly worn off now!), but it was the buzz of being on site that really grabbed me. So when I returned to the UK, I started looking into production opportunities. It was a challenge at first – I didn't feel I had the proper skill set or enough experience. But I was keen to learn and happy to get stuck in wherever I was needed.

One of the biggest surprises for me was just how much energy goes into an event. The build-up can be intense. I felt a lot of nerves and pressure. Even small tasks, like making sure a single delivery arrived on time, felt huge to me early on. There were definitely moments in pre-production where I thought, "What if this whole thing doesn't happen because of me?" Looking back on it now, I know that there is a solution to every problem.

Once you're on-site, surrounded by a team that have each other's backs, there's a real sense of camaraderie, like being part of a well-drilled (Arsenal?) football team. The on-site role quickly became my favourite part of the job.

The long hours, sore feet and steel-toe-cap blisters all make it worthwhile once you're in the bar across the road from the venue, having a beer with your colleagues after a long 12-hour day and thinking, “We’ve done that!”