Meet the Next Generation of Producers
Adland talks a lot about ‘the next generation of talent’ – and that’s just as true in the world of production as it is in creative or elsewhere. We hear about mentorship opportunities, grad schemes, youth programmes, encouraging gen-z voices... but who are these up-and-comers that are set to take the industry by storm?
LBB’s Ben Conway went on the search for some of the rising stars of the production world – people who have graduated from assistant roles in the past couple of years, and are now starting to make their mark.
So, prepare to meet your (new) makers! Get to know some fresh faces on the scene below.
Cheyenne Enninful
Producer at Untold Studios
LBB> What got you into production/filmmaking?
Cheyenne> When I was younger I remember visiting the MTV offices as my aunt was working there at the time and I was just in amazement. After that visit, I decided I wanted to be just like her when I grew up!
LBB> For you, what makes a good producer? And more widely, what are the key elements of a successful production?
Cheyenne> I think a good producer still asks questions. We’re [not just] there to facilitate but to ask the right questions and elevate wherever we can. It’s also important to remember we are all humans! Errors can happen and being able to identify and learn from your mistakes is so important.
LBB> What kinds of productions do you look forward to, or want to specialise in, most?
Cheyenne> Music videos will always hold a place in my heart.
LBB> What are the two projects you’re most proud of, or that changed the trajectory of your career? Tell us a bit about them!
Cheyenne> One of my proudest projects to date isn’t out yet but we really pushed to have a female heavy crew as the industry can be very male-dominated.
The Last Dinner Party's ‘Sinner’ music video is definitely one of my proudest projects. I hadn’t worked with the director before and it was a challenging brief as it had to be shot in one take. We clicked and the whole project fell into place perfectly, and it ended up being nominated for 'Best Live Video' at the UKMVAs.
The J Hus 'B.A.B.Y' album trailer is definitely up there for one of my proudest projects. From briefing to delivery we turned it around in a week which is mental! It was all shot in a day with our first location being outside of London and then our last location in South London. It was a whirlwind with lots of different elements which needed to come together seamlessly, from sound design to VFX and VO, but the end result was amazing.
LBB> What is the most valuable lesson you’ve learned so far in your career?
Cheyenne> You have to take leaps and really go after what you want. Your career can only really progress if you do and if you put in the work.
LBB> What currently excites you about the future of production? And what can the production landscape be doing better?
Cheyenne> I think the production landscape can be doing better on the front of giving opportunities to the younger generation that are trying to get their foot in the door. I do think people really struggle if they don’t have any experience, and they just need people to give them a chance.
Jack Kirkwood
Producer at Smoke & Mirrors, a Tag Company
LBB> What got you into production/filmmaking?
Jack> In my formative years, when I first started to fall in love with film, I used to obsess over the soundtracks used during big movie scenes. Why this song? What does it mean and how does it add to the on-screen drama? I thought it would be cool to the guy who worked with the director to select songs for each scene. One memorable example for me would be from Martin Scorsese’s 'Goodfellas'; the scene where we see Robert de Niro’s character smoking a cigarette whilst Cream’s ‘Sunshine of your Love’ begins playing (though, saying that, it’s possible Scorsese picked that song himself!)
LBB> For you, what makes a good producer? And more widely, what are the key elements of a successful production?
Jack> It may be cliché but I think a solid working relationship with the director or client is the best foundation of any successful production. For me, the ability to form those relationships, listen and respond to ideas and remain receptive yet flexible has helped me gain an understanding of opportunities and sometimes even limitations, this level of communication is so integral to understanding client needs and managing expectations.
LBB> What kinds of productions do you look forward to, or want to specialise in, most?
Jack> I love the variety in my role but particularly I really enjoy working with our colourist Ben Rozario. We’ve worked together on a few really exciting grade projects now and each time I am stunned by the talent and innovation delivered in his final product. At the end of each project that we have worked on, I feel like I have gained invaluable knowledge when it comes to colour grading.
LBB> What are the two projects you’re most proud of, or that changed the trajectory of your career? Tell us a bit about them!
Jack> Though I feel privileged to have worked on some really great projects in recent times, these are the two I am most proud of:
Cadillac presents ‘The Turned-Up Test Drive’
Though I cannot share this one yet, this was a really fun project (full post-production minus colour grade). I had the chance to work with some amazing editors, MGFX artists and, not least, our audio team who are absolute wizards!
Corella - 'Drifting', directed by Jay Creagh
I had a great time working on the colour grade of this one, featuring some truly amazing colour work by our colourist Ben. The storyline itself is tinged with nostalgia and emotion… though I can’t say too much without ruining the plot.
LBB> What is the most valuable lesson you’ve learned so far in your career?
Jack> To be confident and trust my intuition. It’s quite surreal to reflect on how much I’ve learned and developed over the last year alone – but I also have an incredible team to thank for that.
LBB> What currently excites you about the future of production? And what can the production landscape be doing better?
Jack> New and exciting talent. I think there are some immensely talented directors out there who are producing world-class work; most of whom are doing so on shoestring budgets. I think we all know we should be doing our best to reduce our carbon footprint individually and as organisations. Post production has it’s own role to play here and I’m determined to help where I can.
Ravenna Bouckaert
Producer at Bastion Make
LBB> What got you into production/filmmaking?
Ravenna> I’ve been a storyteller since I learnt to speak. It’s this lifelong passion for storytelling which led me to studying performance making at the Western Australian Academy of Performing Arts (WAAPA). Whilst I was developing a career as a young actor, I got an insight into the producer’s role. Then, when covid hit in Melbourne’s lockdown, I was fortunate to get work as a casting agent. Casting gave me the opportunity to meet a diverse range of producers making a broad style of content. I found the producer’s role enticing and the macro lens to storytelling was a good fit for me creatively. To solidify my career pivot, I jumped into a master’s in arts and cultural management at The University of Melbourne, and now, here I am, producing!
LBB> For you, what makes a good producer? And more widely, what are the key elements of a successful production?
Ravenna> Good collaboration. Being able to discuss various ideas and approaches, and work in a multidisciplinary, collaborative way is the key to a good production. Understanding that everyone around you has years of experience, whether they are producers, creatives, DOPs or stylists – everyone adds to the wealth of knowledge. Collaborating openly will make the production the best it can be and increase the quality of productions you work on moving forward. I learn heaps from having colleagues with years of experience – I’m privileged to work with such amazing people.
LBB> What kinds of productions do you look forward to, or want to specialise in, most?
Ravenna> I love content that focuses on community and the human experience of diverse Australian communities. Documentary and charity content, reportage, and journalistic content. It’s exciting to get out there and meet people who you’d never ordinarily have met and be a part of bring authentic stories to Australian audiences. It’s exciting to be a part of the process of amplifying cultural voices. We have a responsibility as an industry to use our power to share stories that may otherwise remain hidden, to help give a voice to the voiceless. My skills as a producer place me perfectly to help tell these truths sensitively, creatively and authentically.
LBB> What are the two projects you’re most proud of, or that changed the trajectory of your career? Tell us a bit about them!
NRMA - The Legend of Eddie Gilbert
Engaging with a remote Indigenous community and telling their story not only opened my eyes to a group of people whose story deserved to be told, but taught me a lot about agile, travelling productions and the skill of interviewing community in a sensitive and culturally sensitive way to capture those stories. The experience taught me a lot about storytelling – engaging with community in real time to best reflect the truth of their lived experiences.
Budget Direct - Dwayne Bennett x Dolphins NRL
This production was a challenge due to the unique and fun stunts we had to shoot in a short period of time. We had talent on the roof of Suncorp stadium, drone shots, 50+ extras on location, shooting at the airport – the list goes on. The logistical challenge was fun to tackle, and the joy of working with a full-sized crew was a great learning experience for me. I learned a lot about larger scale productions, and about how to get authentic comedic performances on set, while still working to a specific brief.
LBB> What is the most valuable lesson you’ve learned so far in your career?
Ravenna> That the joy of producing is problem solving – being an agile producer who can think outside the box to get the shot is satisfying. Some of the best outcomes come from needing to think creatively about how to bring a project to life with all the limitations we might have. Also, having a great network of crew to fit any brief is the most important asset to any producer. You are only as good as your team!
LBB> What currently excites you about the future of production? And what can the production landscape be doing better?
Ravenna> The world of social campaigns and sponsored content is both a challenge and an exciting new horizon. The way we communicate is changing, becoming more dynamic than ever. We are living in an attention economy which is getting more competitive. We are witnessing the industry rise to that challenge. I think the production landscape should view these new trends as an opportunity. This applies to small-scale content (like TikTok), to full blown feature films. Productions like 'Barbie' are showing us that entertainment and sponsored content are more integrated than ever, and embracing this will only allow us to amplify our cultural voices.
Zoe Quadflieg
Producer at PXP
LBB> What got you into production/filmmaking?
Zoe> I’ve always been fascinated by the merging of the left and right brain. I grew up with creative parents and was lucky to constantly practice creativity. Through repetition, my taste level and abilities sharpened, but it never came naturally. I posed a question to myself: how can I leverage my strengths to continue to be surrounded by creative minds? Aha! By helping them with skills that are harder to find in a leftie brain: structure, organisation and a framework for their ideas. I snuck my way in through a social media internship where I knew nothing beyond my own Instagram use, and from there, scooched over to production by finding a stressed-out producer and offering them support.
LBB> For you, what makes a good producer? And more widely, what are the key elements of a successful production?
Zoe> There’s the standard answer: organisational skills, problem-solving, attention to detail, creative vision, collaboration, client management etc. Sure, all true. But what makes me a good producer? Practising the opposite of my strengths. I would describe myself as to-the-point, direct — all things I’m proud of which have pushed me forward in my professional journey. Though, if you’re a producer, I’m sure you or your peers have heard the word therapist used synonymously with producer. At my core, I’m far from that. Especially in Minnesota, home of 'Minnesota nice', I can come across as a real pain sometimes. Flexing my gentle, active-listening, emotionally-regulative side has done wonders! The converse of your best qualities can shed light on what skills may need some love.
LBB> What kinds of productions do you look forward to, or want to specialise in, most?
Zoe> Big budgets and mad cool creative ideas! But for real, my favourite productions are those with an established team, partners, clients, etc. Moving past establishing relationships and ways of working and right to focusing on the creative is a crucial time-saver with constantly shrinking timelines. I love to keep building on our teamwork – and friendship – to continually level-up the production.
LBB> What are the two projects you’re most proud of, or that changed the trajectory of your career? Tell us a bit about them!
Zoe> I grew up as a producer working with the Arby's brand, so here are two productions within the last year that I’m proud to share:
Arby’s put a restaurant on top of a Colorado mountain to launch their Big Game (elk, venison, bison) burger. We enlisted Street Factory Media to make it happen. We were hit with constant curveballs, but somehow pulled it off. There’s nothing quite like standing at the top of a mountain in the wilderness with your coworkers at the end of the day with a beer in hand.
Ving Rhames has been the voice of Arby’s for 10 years. Ving is fed up with the Arby’s slander like “who even eats there?” and acts out. The “We Have The Meats” campaign survived through 4 CMOs, 2 of which had input on this spot – a feat our team is darn-tootin’ proud of.
LBB> What is the most valuable lesson you’ve learned so far in your career?
Zoe> Fess up! We all make mistakes. Sometimes it stems from a lack of experience, sometimes it stems from a big ole brain fart. We can often sweep it under the rug, and sometimes our mistakes leave a bad taste in your creative team or clients' mouths. Hey, it’ll be OK. Call up the folks affected and give them an apology and a path forward. It might not smooth it all over, but ownership is a big step to getting blame and resentment out of the way.
LBB> What currently excites you about the future of production? And what can the production landscape be doing better?
Zoe> Millennials and gen z are loud about protecting work-life balance, and I’m stoked about it. Life is so much more than your job, and the advertising industry is notorious for soul-crushing hours. It happens situationally, but it’s also easy to accept a new norm before you realise you missed the flowers blooming in your nearby park. I’m excited for our generation to become leaders and hopefully push for a better balance. I fully believe that a happier and healthier human can do better work in fewer hours. Let’s prove it, friends.
Fiona Dunn
Producer at TRUCE
LBB> What got you into production/filmmaking?
Fiona> I always really loved storytelling and watching films. I had a vivid imagination and was drawn into making things. I got my start in audio post as a studio assistant at a busy studio and I was hooked, working long hours, learning so much and lots of running around getting lunches. After becoming a post producer there, I wanted to understand the building of creative and joined the agency Special Group. After a valuable stint in agency land, I’ve been lucky enough to become part of the filmmaking process joining the team at TRUCE!
LBB> For you, what makes a good producer? And more widely, what are the key elements of a successful production?
Fiona> Being adaptable and knowing what’s important / pivotal to the production and what’s really going to add value. There will always be changes that come in during the process and being able to weather those and maintain your core vision (and your cool) is a great skill. All productions rely on collaboration and what makes them successful is the ability to trust your crew and production partners.
LBB> What kinds of productions do you look forward to, or want to specialise in, most?
Fiona> I really look forward to creating more story driven commercials. The landscape in advertising can often look for quick branding solutions but the ones I think that stay with audiences are those that can create a whole world in that one minute. Or getting to work with a brand who enjoys a bit of risk taking with their messaging, embrace the quirk, embrace the bold!
LBB> What are the two projects you’re most proud of, or that changed the trajectory of your career? Tell us a bit about them!
Fiona> In my first week at Truce, I was asked if I wanted to produce a music video for Alison Wonderland and director Prad Sen which I jumped at it with great enthusiasm. I had yet to be on this side of producing before and it was an amazing opportunity to work closely with the director, and immerse myself in the creative process. It was a great learning curve that allowed me to creatively problem solve and think through how I can be a better producer.
Another of our directors Josh Dawson had the opportunity to create a 3D gaming world for JBL alongside a live shoot component. I worked alongside Josh to coordinate the build of the 3D elements that were core to the campaign, a process which took three months. The creatives had incredible attention to detail and we were given the opportunity to really collaborate creatively in making our gaming world that lived within the ad itself. You don’t always have an extended period of time to work with an agency and client to create something so rich and layered, and so I relished that opportunity to build something together.
LBB> What is the most valuable lesson you’ve learned so far in your career?
Fiona> Ask questions and keep asking questions. The producers I look up to and hope to learn from are the most curious people I’ve worked with. They seek answers from others habitually and then know who to turn to when they need an answer on the next production dilemma.
LBB> What currently excites you about the future of production? And what can the production landscape be doing better?
Fiona> Productions have had to adapt to producing content at a very fast rate, whilst also requiring a high level of work to be delivered. Incredibly innovative technology has never been more accessible. We’re getting to utilise robot motion control and visual effects more and more frequently, that previously was at a price point out of reach for your average budgets. Which allows for a higher quality of work produced, in shorter timeframes and it’s only going to get better from here.
Diversity is top of mind for me. When I’m in production meetings – what’s the gender diversity looking like? Does our casting reflect what we see in the world? How can we be as inclusive as possible, and what are we doing on a regular basis to shift the needle? It has to be a continued and thoughtful conversation which unfortunately doesn’t always take priority.
