Producing Tomorrow's Producers: Encouraging Curiosity with James Beck
James Beck has worked in the dynamic realm of the UK and US ad industry since 2011. Proudly serving as head of production at RASCAL, he brings a wealth of experience and a proven track record of success. Originally learning his craft at The Mill London, he has collaborated with a wide range of clients in creative agencies such as BBH and Uncommon on many of the biggest campaigns of the last decade.
LBB> What advice would you give to any aspiring producers or content creators hoping to make the jump into production?
James> Adapt quickly, prioritise being helpful and learn quickly! Immersing yourself in the industry is the most effective method of learning. Engage in all facets of production to understand your strengths and gain a comprehensive grasp of the entire VFX process. Ascend the production ladder gradually, there is no rush. Gauge your readiness for the role of producer and its myriad of responsibilities.
LBB> What skills or emerging areas would you advise aspiring producers to learn about and educate themselves about?
James> Artificial intelligence (AI) is currently a highly relevant topic, making it advantageous for aspiring producers to delve into its integration into production and its application across various processes in VFX. I think becoming proficient in understanding various social platforms and their preferred content types effectively is another valuable avenue for aspiring producers to pursue as they are always ever changing with a strong reach.
LBB>What was the biggest lesson you learned when you were starting out in production - and why has that stayed with you?
James> Demonstrating resourcefulness and being proactive in acquiring new skills or embracing unfamiliar tasks are invaluable traits in this industry, especially VFX production. Cultivating an inquisitive mindset and consistently considering the various aspects of production will make you stand out.
LBB> When it comes to broadening access to production and improving diversity and inclusion what are your team doing to address this?
James> We've been actively engaged in initiatives aimed at broadening access to production and enhancing diversity and inclusion within our industry. One of our key strategies at RASCAL involves outreach efforts in schools and colleges, where access to the industry is often limited. Through these engagements, we aim to inspire and encourage young individuals to explore their creativity and potential contributions to advertising, regardless of their background or circumstances. At RASCAL we’re big believers in the power of diverse perspectives and know that great talent can be found everywhere.
Given our own massively varied journeys into VFX we’re committed to creating opportunities for individuals from all backgrounds.
LBB> And why is it an important issue for the production community to address?
James> Diversity is undeniably essential. It’s shown first-hand how it can spark creativity and innovation by uniting individuals from varied backgrounds and experiences. I think it's crucial for all sectors to prioritise diversity and inclusivity, but particularly in production, where the workplace should mirror the diverse environments we engage with.
LBB> There are young people getting into production who maybe don’t see the line between professional production and the creator economy, and that may well also be the shape of things to come. What are your thoughts about that? Is there a tension between more formalised production and the ‘creator economy’ or do the two feed into each other?
James> Blurring the boundaries without careful consideration and planning can result in lacklustre content output. However, I don’t think this means we should not suggest that integration isn't possible here. We’ve actually collaborated with content creators on projects of all scales in the past to big success. Nevertheless, our artists maintain a strong oversight, ensuring that our projects are crafted and executed in a way that addresses the brief perfectly. However, as a previous line manager of mine used to say “Education is not a one-way street”. We do recognise the value of learning from content creators, who often possess an interesting take on new techniques and tools. AI is coming for us all!
LBB> If you compare your role to the role of Exec Producers when you first joined the industry, what do you think are the most striking or interesting changes (and what surprising things have stayed the same?)
James> When I initially entered production, I felt the role of any member of production was often undervalued. Over time, as the responsibilities of producers have expanded, I think there is a new found and growing respect for the role. Nevertheless, we often find ourselves among the first to log on in the morning and the last to leave the office at the end of the day. The work hours, especially leading up to and during shoots, can be demanding.
However, I do think that there has been a shift towards prioritising mental wellbeing, leaving those practices of long hours in the office a thing of the past. At RASCAL we offer flexible working and try to accommodate every individual's needs.
LBB> When it comes to educating producers how does your agency creative studio like to approach this? (I know we’re always hearing about how much easier it is to educate or train oneself on tech etc, but what areas do you think producers can benefit from more directed or structured training?)
James> Starting out many years ago there was no such thing as formal training within our industry. You had to get a feel for it on your own two feet. This has come on leaps and bounds though in recent years. RASCAL are affiliated with the APA, and we are privileged to secure a spot each year in the esteemed Producer’s Masterclass.
We also prioritise informal internal training to ensure our team remains up to date of the latest camera tech and potential changes in the post-production process.
At the end of the day it's important in recognising that the very nature of the industry requires continuous learning.
LBB> It seems that there’s an emphasis on speed and volume when it comes to content - but to where is the space for up and coming producers to learn about (and learn to appreciate) craft?
James> Achieving both speed and quality is certainly possible and we often face these challenges in the fast pace of short form. This usually will require a healthier budget to upscale the teams working on the project though. Alternatively, prioritising craft while keeping costs low may demand more time. Striking a balance between the two is the tricky part and often is a decision out of our control.
LBB> On the other side of the equation, what’s the key to retaining expertise and helping people who have been working in production for decades to develop new skills?
James> We continuously encourage curiosity and collaboration within Rascal, encouraging everyone to learn from one another including production and creative teams. Lively discussions /debates on emerging tech and brainstorming sessions are commonplace when starting and approaching a project. Attending numerous conferences and events throughout the year are a fantastic way to keep up to date and discover ground-breaking work.
LBB> Clearly there is so much change, but what are the personality traits and skills that will always be in demand from producers?
James> I think it all boils down to possessing a keen eye for detail. Being adaptable, flexible with openness to change and the capacity to thrive under pressure. To take the initiative and effectively manage time are also crucial skills. Ultimately, a producer's role is to cultivate and ensure the delivery of a seamless experience. In my experience, the most effective producers often exhibit a talent for keeping their artists protected while ensuring a smooth and well run project on the client side.
