Producing Tomorrow's Producers: Corwin Carroll on Grit, Curiosity, and Relentless Drive

Known for championing powerful storytellers who have a keen understanding of the latest technology, Corwin Carroll has been in the branded content business for close to twenty years. Corwin’s experience and technical understanding bridge both agency and production sides, offering clients thoughtful, creative solutions from concept through post.

In 2023, he founded Good Times with Eric McCasline to create a diverse artistic community capable of creating standout work across scope and complexity. The company’s first projects include campaigns for Got Milk, Southwest Airlines, and Samsonite, among others.

Corwin’s entrepreneurial spirit has led him to build out new disciplines at multiple studios, creating new workflows and processes to support global teams working at the highest caliber. Before launching ArtClass Post in 2021, Corwin co-founded Big Block Live in New York, where he initially served as head of production.

He became an executive producer across all divisions in Big Block’s NY and Los Angeles offices, developing the company’s roster of directors, design, and VFX artists. Prior to that, Corwin was a line producer and senior agency producer at Ogilvy NY, traveling the world for brands like Intel, SAP, and IBM.

Corwin is passionate about organising chaos. He understands the impact of strategy on a project’s success, and the benefit of utilising advanced tools, including virtual productions and artificial intelligence.

LBB> What advice would you give to any aspiring producers or content creators hoping to make the jump into production?

Corwin> Advertising budgets might be fragmented but they are climbing as a whole, and the competition is fiercer than ever. These days, every streaming platform offers an ad-supported tier, alongside robust social media strategies—both paid and organic—not to mention integrated print, digital, and design content.

That’s great news for those just starting out—this business has always rewarded showing up and putting in the work and there are more opportunities for that. The traditional path—starting as a PA, stepping up to office PA, then coordinator, PM, and eventually line producer—is still the way most people go but there so many more entry points into the business now.

Regardless of which route you take, it takes grit, curiosity, and relentless drive to thrive in this world.

Short answer? Find any corner of the business that will let you put in the reps. Stick with it until something else within the industry catches your eye.

LBB> What skills or emerging areas would you advise aspiring producers to learn about and educate themselves about?

Corwin> Technology as a whole. AI isn’t going anywhere—how can it enhance what you’re creating? Beyond that, advancements in hardware, lighting, and camera tech continue to push boundaries, letting us achieve more with fewer resources year after year. Stay on top of these shifts and explore how they can bring fresh, creative solutions to your projects. 

LBB> What was the biggest lesson you learned when you were starting out in production - and why has that stayed with you?

Corwin> It's tough. The days can feel endless. Stay with it. Surround yourself with those who recognise what you bring to the table, and keep growing alongside them. 

LBB> When it comes to broadening access to production and improving diversity and inclusion what are your team doing to address this?

Corwin> We’re a minority-owned business and are always on the lookout for fresh, diverse viewpoints. Stories can be told through countless lenses—that’s what makes this work so exciting. I truly believe that bringing a variety of perspectives into the bid process leads to stronger, more dynamic creative results.

LBB> And why is it an important issue for the production community to address?

Corwin> We need to find a path to bring more production work back to the US. While working internationally and teaming up with incredible talent worldwide is always inspiring, our crews and technicians here at home are facing real challenges. Tough discussions are overdue within our industry about what’s making it so difficult to keep projects stateside. There’s got to be a way to create a healthier balance—one that uplifts both our local teams and the global production community alike. 

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?

Corwin> I think there’s room for a conversation here, but it might not be all that necessary—clients seem to understand there’s space for both methods. If you’re able to provide end-to-end content that meets their needs, it’s clear you’ve taken the time to hone a diverse set of skills. And if they’re producing work that could hold its own against Super Bowl-level campaigns, it’s just a matter of time before they’re playing in the same league.

I think what gave "content" a bad name was squeezing 200+ deliverables into one shoot. A scattershot strategy might land a few hits, sure, but I think the industry is already shifting because the best campaigns or pieces of content are always tailored—built with their platform and audience in mind, even when working at a high volume.

LBB> If you compare your role to the role of the heads of TV/heads of production/executive 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?)

Corwin> When I started out, those positions typically went to folks with a set number of years under their belt. These days, it feels more like a sink-or-swim scenario. You might land the title before you’re fully prepared, but what truly counts is how you handle it. If the opportunity comes your way, stay humble and step up to the challenge. 

LBB> When it comes to educating producers how does your agency like to approach this? 

Corwin> The only way I know how is exposure. I think agencies are uniquely positioned to give exposure to all tiers of work in the market and act as the launching pad for a lot of people's careers (including my own). 

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?

Corwin> You’re always refining your skills in this industry, and with time and experience, you can begin to shape the kind of projects you want to pursue. Lately, I’ve noticed a rise in well-backed opportunities specifically geared toward directors with a social-first approach. Those who’ve dedicated their efforts in that space are now finding doors opening that more seasoned veterans might not have stepped through. 

Being skilled and disciplined is crucial in this industry, but there’s also a bit of luck involved—sometimes it’s just about timing or being in the right spot when it matters.

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?

Corwin> The most remarkable folks I’ve met in this field are both masters of their craft and constantly curious learners. In any creative space, the drive to keep evolving is what keeps you moving forward—lose that, and you risk getting frozen in place. 

LBB> Clearly there is so much change, but what are the personality traits and skills that will always be in demand from producers?

Corwin> That seems to come up a lot in what I’ve said—taking the highs with the lows and staying prepared for when opportunity knocks. I’ve been fortunate, and I owe a lot of that to the people who’ve put their faith in me along the way.