Nic Reader Is a Self-Proclaimed Creative Chameleon

Nic Reader is an award-winning director and cinematographer known for bringing thoughtful imagination and bold visual storytelling to every project.

With a proven track record across diverse genres and styles, Nic thrives in collaborative environments, elevating ideas through craft and vision. He believes true creativity comes from breaking boundaries – exploring fresh approaches while staying grounded in the project’s purpose and audience connection.

Nic sits down with LBB to discuss his recent impactful work with NoKidHungry.org , his approach to treatment and his upcoming projects to keep an eye out for…

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them.

Nic> You know, one of the projects we just wrapped, a spot for Dietz & Watson with our friends over at RTOP (Red Tettemer O'Connell + Partners), that one was a real joy. They asked us to build a custom sandwich hand puppet (yes, with actual Dietz & Watson meats and cheeses), and I’ll admit, I wasn’t sure how well it would work at first. But you know what? It worked better than we could’ve imagined.

We shot a series of back‑to‑school scenes with our little sandwich star, ‘Sammie’, all tied to Dietz & Watson’s partnership with NoKidHungry.org, helping kids in need. So this one wasn’t just fun, it had purpose. As a father of three, that hits home for me.

It’s the kind of project that checks all the boxes: out‑of‑the‑box creative, great people to collaborate with, and a cause worth championing.

As for what’s next… well, I’ve got some really exciting things brewing. But I’m a little superstitious. I don’t discuss a project until it’s underway. So for now, I’ll just say: stay tuned.

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

Nic> I think as long as we stay creatively hungry, there will always be new trends to chase, new tools to try, and fresh ways to approach a project. And that’s exciting.

The past few years have been especially rewarding. Shooting on volume walls, for instance, what a blast. You can create just about anything, as long as you respect the limits. And then there’s the other side of the spectrum, evolving from those big, sweeping productions to leaner, nimble campaigns, like the Sparkling Ice Olympic work we did through RTOP, or the Sheetz truck‑bed series. Those kinds of projects, where production threads right into a live event, they’re fun, they’re alive, they remind you why you got into this business in the first place.

Don’t get me wrong, I still love a big set and a massive crew, but the beauty now is choice. Depending on the client’s needs and the creative goal, we’ve got more tools at our disposal than ever before.

And really, no matter the trend or the size of the shoot, the mission never changes: connect with people. Reach the viewer. Stir something inside them, a laugh, a memory, a little spark of emotion. That’s the part that stays the same no matter the trend.

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

Nic> I’ll admit it. I’m a creative junkie. I can find the beauty in just about any deck that lands on my desk. Opportunities like that? They get my blood moving.

I’ve never been a one‑trick pony. I love diving into all of it, different formats, wild deliverables, content that refuses to fit neatly in a box. There are just so many stories to tell, so many perspectives waiting to be explored.

When I get a script or a deck, I’m not just reading it, I’m listening for the heartbeat. What makes this one stand out? What makes it worth telling? Once I find that, I start building from there. And then, I look for those moments, the ones where I can really connect. Because that’s where the magic happens.

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

Nic> My approach to treatments starts with listening, really listening, to the script or deck. I’ll read it over and over until I can find its heartbeat, until I understand not just what it says, but what it’s really trying to say. What do we want the viewer to take with them when it’s over? What should they feel in their gut?

From there, I start exploring. I look for the moments that jump off the page, and the quiet ones that don’t, and I ask myself: how can I elevate this? How do I make sure every beat serves the objective, that it all lands exactly where it needs to?

Once that vision starts to take shape, I dive into the fun part, writing and image‑hunting at the same time, pulling together inspiration boards that guide me like a compass through the process. And when it all clicks, when I feel like I’ve truly locked in on the soul of the piece, that’s when I start stitching it together, word by word, frame by frame, until the treatment feels alive.

LBB> If you're not familiar with the brand or market, how important is it for you to understand that side of the ad – and how do you go about it?

Nic> It's non-negotiable. If I don’t already know the brand or the market, that just means I’ve got homework to do, and I actually love that part. Digging into a brand’s DNA, voice, audience, and culture helps me shape work that’s not just cool-looking but truly meaningful.

Take White Castle. I didn’t have a strong connection at first, but once I dug into its voice, legacy, and quirky sense of humour, I was hooked. I went through their social content, old campaigns, even fan communities. That kind of research helps me figure out what makes the audience tick, and how far you can stretch creatively without breaking trust.

LBB> What’s the most important working relationship for a director when making an ad – and why?

Nic> There’s no single ‘most important’ relationship in filmmaking, because filmmaking, at its core, is a team sport.

It starts with creative directors, agency producers, and my own production team. If we’re aligned on vision and tone in pre‑pro, if we’re speaking the same language, everything else flows from there.

But it doesn’t stop at the top. Cinematographers, ADs, art directors, wardrobe, sound, every person on set brings something vital to the table. My job? To make sure we’re all rowing in the same direction, keeping the rhythm steady. That means clear communication, mutual trust, and yes – even bringing post into pre‑production. Because the more minds thinking about the end result early on, the stronger the work becomes.

And when it all clicks? When everyone’s locked in, firing on all cylinders? That’s when the really great stuff happens. That’s when the work starts to sing.

LBB> What type of work are you most passionate about? Any genres or styles that speak to you the most?

Nic> This is where I get into trouble, I love it all. I’m most energised by variety. Bouncing between styles, tones, and formats keeps the creative muscles strong.

That said, I’m especially drawn to campaigns that are smart, fun, and a little off-centre. Work that feels fresh and unexpected, that challenges the norm just enough to spark something new, that’s my sweet spot.

LBB> What’s the craziest problem you’ve come across during production—and how did you solve it?

Nic> We were on set filming a little movie with Tera Reid and Cloris Leachman, setting up a big night exterior stunt. The plan? A Mustang comes screaming around a corner and launches into a cornfield. Classic chaos. Everything was in place, lights, cameras, corn for days, except for one small detail, our stunt driver… never showed.

So, naturally, I did what any reasonable, safety-conscious guy would do, I volunteered myself. My producer, equally committed (or equally unhinged), slapped on a blonde wig to double as Tera, and suddenly we were starring in our own very unofficial action sequence.

One take. We got the Mustang up to speed, hit the mound, the car launched, and somehow we landed it in the corn with all limbs and egos intact. I’m not saying it was graceful, but it worked.

Moral of the story? When in doubt, wig up and send it. The show must go on. But no, safety first, always.

LBB> How do you balance collaborating with agency and client while still protecting the idea?

Nic> It’s a tightrope walk, for sure. Collaboration is key, but so is staying true to the vision we all agreed on.

When new ideas come up that genuinely elevate the work, I’m all for it. But if something starts pulling the concept off-course, that’s when it’s time for a respectful strategy check. I try to approach those moments with clarity and positivity, explaining the reasoning behind creative choices and offering solutions, not just roadblocks.

At the end of the day, we’re all on the same team, aiming for the same goal: great work. And sometimes that means knowing when to pivot, and when to stand firm.

LBB> What are your thoughts on bringing more diversity into the production world? Are you open to mentoring on set?

Nic> Absolutely 100%. This industry thrives on new voices and fresh perspectives. Diversity isn't just a buzzword, it’s the fuel that drives better stories and more original work.

I’m always open to mentoring or bringing in apprentices. Someone gave me a shot once, and I think it’s important to keep that door open for the next wave of talent. Sharing what I’ve learned and creating space for others isn’t just rewarding, it makes the whole process better.

I recently participated in a Full Sail Alumni showcase, where we had the privilege of speaking with potential students and answering their questions. It was a lot of fun, and hopefully, it inspired someone.

LBB> How do you handle different formats and aspect ratios when directing for modern campaigns?

Nic> I plan for it right from the jump. With so many platforms and formats out there, knowing your deliverables early is crucial. That way, we’re not just retrofitting a 16x9 spot into 9x16 after the fact.

If a vertical cut is critical, I’ll plan to flip the camera or even run a second body. I also make sure set design supports the framing across ratios, no wasted space, no awkward crops.

Ultimately, it’s about being intentional and designing with every screen in mind, so the work looks great whether it’s on a billboard or a smartphone.

LBB> What’s your relationship with emerging tech like, and how do you incorporate it into your work?

Nic> I love new tech, but only when it truly serves the story.

Whether it’s virtual production, interactive elements, or AI-assisted tools, I see them all as part of the creative toolbox.

Virtual production in particular is incredibly exciting. It opens up worlds we couldn’t access before, but it does come with its own set of constraints. We recently bid on a project that seemed perfect for the volume stage, multiple environments, full control, no location moves. But when we started mapping it out, we realised the camera moves we needed would push the limits of what the volume could handle without visual hiccups.

So we pivoted back to real locations. It’s all about choosing the right approach for the right project.

AI has also become part of my workflow. Whether it’s exploring visuals or quickly prototyping ideas, it helps me clear the noise early so I can focus on the good stuff faster.

LBB> Which pieces of your work do you feel show what you do best?

Nic> It’s tough to pick favourites, but there are a few projects that really feel like home – the kind of work that shows what I bring to the table.

My White Castle spots, for instance, definitely some of my favorites. They were weird, funny, visually rich, walking that fine line between cheeky and absurd. They gave me room to build worlds from scratch and elevate the experience. At the end of the day, yeah, we’re selling sliders… but who says it can’t be fun and a little artful along the way?

On the opposite end, there’s Pure Imagination with Audi, a reminder of how exhilarating it is to work on a volume stage. Building worlds digitally, then watching them materialise the moment you step on set? That’s its own kind of magic.

And then, there’s something deeply refreshing about going the other way entirely, heading out with a lean crew, minimal gear, and chasing the story as it unfolds. I always start with a plan, but I love the documentary-style approach of staying present, reading the environment, and finding the story in real time. That’s where you discover the unexpected angles, the quiet moments, the subtle details that bring the world to life and make the emotion stick.

Those three pretty much bookend my range: I love the stylised and surreal, but I also thrive in the simplicity of a great story and a lens to tell it through. Somewhere in that spectrum, between craft and chaos, that’s where the magic happens.

LBB> What’s a common misconception about you or your work?

Nic> You know, I think a common misconception about my work is that I only live in one lane – that if I’m building a surreal, stylised world for one brand, that must be all I do. Or if I’m out there chasing a story documentary‑style with a skeleton crew, that’s my box.

The truth? I love living in the spaces between. I’m just as comfortable building a world from scratch – weird, funny, visually rich – as I am leaning into the raw and unplanned, finding a story in the moment.

I think people see a single project and assume that’s my whole toolkit. But the real joy for me is being a creative chameleon: meeting the story where it needs to be, whether that’s cheeky and absurd, or quiet and deeply human. That’s where the work stays alive.