Dan Watkins on Making a Precision Powerhouse

As the founder of Reel Factory, Dan Watkins has built a production company known for its high-performance execution and seamless end-to-end workflow. With an in-house crew, advanced camera technology, and New Zealand’s largest commercial film studio, Reel Factory delivers world-class production solutions from prep to post.

Dan has led the execution of major global campaigns for brands like Tourism New Zealand, Air New Zealand, Red Bull, NZTE, Kia, Ford, among a truckload of FMCG brands whilst working alongside top agencies to bring creative visions to life with precision and scale. His expertise in production logistics, technical execution, and high-end cinematography has made Reel Factory a go-to for complex, high-stakes commercial shoots—from high-adrenaline automotive content to intricate VFX-heavy productions.

With a focus on efficiency, innovation, and problem-solving, Dan has built a model that allows for premium content without the traditional layers of outsourcing. Beyond commercials, he is currently developing exciting documentary projects, expanding Reel Factory’s capabilities into long-form production.

A hands-on leader with an instinct for turning ambitious ideas into reality, Dan continues to push the boundaries of what’s possible in commercial production, ensuring Reel Factory remains a trusted partner for agencies and brands alike.

LBB> What first attracted you to production -- and has it been an industry you’ve always worked in, or did you come to it from another area?

Dan> I got into television at a really early age. Through high school, I knew all I wanted to do was work in film, so I bailed on school as early as I could, got into a local film school, and then dropped out halfway through when I landed a job at the leading local broadcaster, TVNZ.

I’ve worked across a massive range of roles in the industry — pretty much everything you can think of in production, from being a runner to a coord, PMing, locations, art assisting and casting to camera operating and directing. The only areas I haven’t dabbled in are lighting, and being on the tools editing.

LBB> What was your first role in the production world, and how did this experience influence how you think about production and how you grew your career?

Dan> My first gig was at TVNZ as a runner on a show called Mucking In. That quickly turned into being the contra manager, and then I started doubling as a camera op on the show once the producer realised I knew how to shoot. TVNZ was an unreal place to start my career. I got to work on all sorts of different shows with some incredible people who were happy to teach me on the fly. It was a proper hands-on education. Working my way up from the bottom across a ridiculous range of productions gave me a rock-solid foundation. I learned what works, what doesn’t, and how to get things done, no matter what chaos is happening around you. That experience definitely helped me carve my own path in the industry.

LBB> How did you learn to be a producer?

Dan> Honestly? By doing everything else first. Like I said, I worked across a massive range of roles, always looking for the next challenge. I was lucky to work under some seriously talented people who were generous with their knowledge. I was like a sponge, constantly learning and constantly looking for ways to level up. By the time I stepped into producing, it wasn’t a big jump — it just made sense. I’d already been part of every moving piece in a production, so I understood how things worked and, more importantly, how to make things run smoothly.

LBB> Looking back to the beginning of your career, can you tell us about a production you were involved in where you really had to dig deep, and that helped you grow as a producer?

Dan> There’s no one production where I had to “dig deep” more than others. Every job has had its moments. This industry is all about problem-solving and figuring things out on the fly, and that’s half the fun. I’ve worked on TV shows that felt like a vortex—where you go in, get completely consumed by the work, and then months later, you pop out the other side wondering what year it is. It’s full-on, but it proves you can run on fumes and still make great stuff. Every production has its challenges -- tight deadlines, tricky logistics, high expectations -- but that’s what makes it exciting. If it were easy, it’d be boring.

LBB> What’s your favourite thing about production and why?

Dan> The pace. The unpredictability. The people. The stories. No two jobs are the same, and I love that. You’re constantly working on something new, with different teams, tackling fresh challenges. And at the end of it, you’ve got something tangible to show for all the chaos. There’s something really satisfying about that.

LBB> How has production changed since you started your career?

Dan> Honestly? The core of it hasn’t changed much. The way we make things is still pretty much the same -- it’s just the speed that’s ramped up. Technology has made everything faster, which means expectations have risen too. It’s also given us the ability to do things visually that in the past would have been near impossible. There’s also no downtime anymore. You can be reached 24/7, and things move at breakneck speed. But the process -- taking an idea from concept to delivery -- hasn’t changed much.

LBB> What do you think is the key to being an effective producer -- and is it something that’s innate or something that can be learned?

Dan> Knowing when to take charge and when to let your team do their thing. It’s about trust. You’ve got to build a team of absolute weapons and then give them the space to do what they do best. Some people are just wired to be producers—they thrive in the madness, they love problem-solving, and they naturally bring people together. But a lot of the skills can be learned if you’re willing to put in the work and surround yourself with good people.

LBB> Which production project from your career are you most proud of and why?

Dan> The Air New Zealand Safety Videos are always a standout. They’re big, ambitious projects, and they put us on the world stage. We get to collaborate with top-tier creatives, work with the amazing team at Air New Zealand, and produce content that millions of people see globally. Plus, the sheer scale of those productions is always a wild ride -- coordinating huge teams, managing tight deadlines, and pulling it all off while keeping the energy high. It’s a challenge, but it’s always worth it.

LBB> What are your personal ambitions or aspirations as a producer?

Dan> To keep pushing boundaries in how we tell stories. Reel Factory isn’t a traditional production company, and that’s by design. I want to keep building it into something truly unique -- a company that can seamlessly shift between commercials, television, and film while keeping full creative and production control. We’re not just here to follow the standard industry playbook; we’re here to rewrite it.

LBB> As a producer, your brain must have a never-ending to-do list. How do you switch off? What do you do to relax?

Dan> Switching off is hard because everything sparks ideas. I’m constantly thinking about how things could be done differently, how to improve processes, and how to make something better. The only time I properly switch off is when I’m with my wife and kids. I try to be 100% present with them -- no emails, no calls, just real-time together. I’m not great at sitting still, though, so even when I’m ‘relaxing,’ I’m usually doing something active.

LBB> What advice would you give to people who are interested in becoming a producer?

Dan> Do as much as you can. Try every role. Learn how things actually get made. The best producers understand every part of the process, and the only way to get that knowledge is by doing. Be open, be honest, and work with integrity -- if people trust you, they’ll go the extra mile for you. And in this industry, that makes all the difference.