Showing the Other Side to Higher Education with the National University

How do you market a higher education degree, beyond showing the degree certificate and career benefits? You focus on the way a degree programme can fit into an already busy life, and adds a poignant ‘and’ to the way someone describes themselves. They can be a business exec, teacher, waitress, or a parent, ‘and a student’.

Underscored by a moving string score composed by Jon Sigsworth, the campaign directed by Duncan Winecoff via Stadium highlights how courses at the National University shape not just a student’s life, but the people around them too.

Chosen as an official selection at the Berlin Commercial Festival for its cinematography – the work of director of photography duo Persona – the spot merges camera footage with iPhone footage shot by talent to add a sense of realness and authenticity.

Taking a look behind the scenes of his directorial decision making, LBB’s Abi Lightfoot caught up with Duncan to learn more about the spot.

LBB> What was the brief like for this project, and why was it something that you were keen to take on?

Duncan> The brief was to create a piece that moved away from the usual ‘degree and career outcome’ focus of university spots, and instead tell the stories of the real lives that National University supports. As soon as I heard that, I knew it was the kind of storytelling I wanted to lean into – human, intimate, layered. It was a chance to show education not as a transaction, but as a deeply personal journey, framed in moments that feel lived-in and real.

LBB> The campaign hones in on the people and their lives beyond University – can you tell us more about this approach?

Duncan> The idea was to meet the students where they actually live – in their homes, at work, with their families – because that’s where the real stakes of education play out. We wanted to show that earning a degree here isn’t just about what happens in a classroom, but about unlocking possibilities that can transform an entire life. This approach let us honour the resilience and complexity of the people NU serves.

LBB> How did you set about casting this campaign?

Duncan> Casting was about authenticity over polish. We were looking for faces, voices, and dynamics that carried truth – relationships that could be felt without being over-explained. Some of our actors were experienced, others were brand new to being on camera. The key was spending time with them before the shoot to build trust, so that once we were rolling, the camera could simply witness real connection.

LBB> How did you set about scouting locations, and how did you manage the short timeframe?

Duncan> In four very full shoot days, there’s zero room for wasted moves. New Orleans offered an incredible palette – historic texture, diverse neighbourhoods, and an emotional warmth in its spaces. We scouted for locations that could pull double duty: giving us visual richness and fitting multiple story beats in a single footprint. That flexibility meant we could work fast without sacrificing production value.

LBB> Did you make use of any interesting or unexpected filmmaking techniques, and if so, what were they?

Duncan> We leaned into a mix of planned structure and loose, observational shooting. Long-lens voyeuristic shots gave us an intimacy from a distance, while handheld work kept us in the moment with our subjects. It was about creating space for spontaneity inside a tightly managed schedule.

LBB> You collaborated with DP duo Persona on the cinematography, what added depth and insight did their expertise bring to the shoot, and how was the final spot enhanced by it?

Duncan> Persona have an incredible instinct for the emotional arc of a scene. They’re not just capturing an image – they’re capturing a feeling. Their ability to shift seamlessly between documentary sensitivity and cinematic composition meant we could be nimble and still come away with frames that felt intentional and artful. 

LBB> Can you tell us more about composing the score with Jon Sigsworth? What story were you hoping to tell or reinforce through sound?

Duncan> Jon and I wanted music that would build momentum without overwhelming the humanity on screen. We leaned into an instrumental track that had a pulse, almost like forward motion, while keeping space for quiet beats. The goal was to carry the audience through different lives and moments, tying them together emotionally without a single word.

LBB> What was the biggest challenge you encountered over the course of the project, and how did you overcome it?

Duncan> The biggest challenge was balancing a diverse set of stories in a short runtime while making each feel complete. The solution was discipline – being ruthless in the edit about what truly served the emotional through-line, and letting some moments breathe while others moved quickly. That edit discipline, thanks to the deeply talented Esy Bardon at Cabin, was what kept the film cohesive without losing its authenticity.