Setting the Commercial Production Agenda for 2024
With so much change in the production world and competing pressures vying for leaders’ attention, from carbon footprint and behind-the-camera talent diversity to budget pressures and platform proliferation - and the inescapable AI conversation - we were eager to find out which topics are top of agenda for the leaders of commercial production and how they will inform the future of the industry.
The task of setting the agenda for the part of our industry that keeps it moving day in, day out was no small feat, and the resulting feature is an unsurprising biggie. That said, every single one of the below words is essential, not just for those of our readers in production, but for the entire advertising industry at large.
Sergio Lopez-Ferrero
Production will remain a key part of marketing as it brings creativity to life and fuels content-hungry media platforms. However, it is going to be more of a strategic and value driver for clients. As soon as clients have ambition, they rely on their production teams to bring that vision to life, which is why we need to think about production in a more sophisticated way. We will not only execute their creativity but will work hand in hand with them to solve business problems.
AI will continue to play a pivotal role in the way we work too, serving as a key component for acceleration and scalable growth. In 2024, we hope to see the increased use of virtual studios amongst our clients, so that we are not limited by constraints such as time, location, and weather. With virtual studios, the opportunities are endless.
Furthermore, I believe that AI has been a catalyst in democratising talent, unlocking doors to exceptional creativity. This year, we hope to see a new generation of diverse talent emerge, offering them our unwavering support and cultivation. Recognising their value is important for the evolution of our industry and work methodologies in the years ahead.
Dustin Callif
We’re expecting to see a truly modernized live action content production workflow in 2024. Thanks to rapidly accelerating technology, production companies can provide clients and directors with new creative solutions to two of today’s biggest production challenges - less time and smaller budgets.
A big driver will be further integrating AI into post-production workflows to more quickly handle a range of VFX shots. Not only that, but AI will allow production shops to produce premium content, then scale it quickly for all kinds of channels, platforms and specs.
ROI is being evaluated more and more by CMOs, and directors and production companies that can show how more can be done with the content they produce will be the most attractive to brands and organizations.
Technology has also ushered in the era of API-driven personalisation. This year production companies and agencies will take a more modular approach to content production so that content can be even more personalised. I think we will move from general campaign work to developing campaign videos that can be personalized based on geography, time, profession, and more.
Nikki Chapman
Director of production at FCB London
2024 unlocks no bounds in terms of opening our mindsets to new production solutions and ai techniques.
Progressive strategizing and looking for new techniques will always be something CPOs/HoPs are challenged with. But the media planning conversations between clients & agency, including producers, are becoming more important as we look to make relevant and high performing content for platforms.
Setting your production goals against your agency ambitions is key. We often get lost in the weeds of over-producing and challenging our teams to find smarter & cheaper solutions without really questioning and strategizing where the content lives.
Nothing motivates me more than knowing the ambitions for our agency with a very clear direction on breakthrough creative, growth, producing stand out work as well as re-imagining the workflow against new AI techniques.
Challenging the production approaches to meet our sustainability KPI’s should be part of everyone’s objectives, not just production. Talking the talk is not going to make the difference – we need to see some cost-efficient solutions to drive this ambition and make significant change…Now that excites me! Making a difference to the way we produce content that changes the future ensures when I eventually leave this industry, I’ve made a difference.
Heather Collier
Right on the heels of the pandemic (which was arguably the most challenging time for production ever), 2023 was a tough but rewarding year in many ways. While the cost of doing business has gone up due to inflation, the number of deliverables beyond conventional broadcast has ballooned. Our task has been to find cost-effective ways to maintain a standard of work while managing these additional assets. This increased need for efficiency has translated into heavy lifting early in the resource planning stages. Developing staffing plans and budgets that align with the output is a mission-critical piece of the puzzle, so to speak. Producers must view a campaign package through a more comprehensive lens and ask tough but fair questions. Can we make this project work with our current budget, or do we need to rethink the concept? Can we ask for more money?
Our overarching production strategy is to make sure we have every available option at our disposal, contingency plans in place when needed, and the flexibility to pivot at all times. Choosing the right partners to bring our work to life is still a crucial piece of the equation which more than likely can’t be replaced. Collaboration and flexibility are critical qualities in our current roster of partners and just as important in determining new vendors to bring into the fold as well. What we have found is that, above all, working with the best person to tell the story will result in the most effective campaigns.
Technology has also made it an increasingly exciting time to be in production. On the GEICO account, for example, we’re leveraging cutting-edge tools to bring our favourite brand mascot to life across social platforms — something that wasn’t possible even six months ago. We’ve got plans for him to show up in all the expected places, and some unexpected ones too.
Omar Bustos
I expect there will be more budget volatility this year which will force agencies and brands to rethink how best to engage their consumers. Given the recent success of Barbie, I foresee an industry shift towards more branded entertainment. I hope more brands explore clever ways of developing their IP through interesting and engaging content. Entertainment can be the ultimate vehicle for brands.
While artificial intelligence will continue to be a hot topic of debate, AI as an existential threat for our industry isn’t going away. It’s not a question of ‘if’ it’s going to affect how we do business, it’s a question of ‘how and when’. While everyone in the world spins their wheels about how best to use this new tool, I recommend we come together as an industry to create our own best practices and guardrails. I believe that AI can expedite production and empower creative instead of replacing it.
From an entertainment standpoint, I think we should be prepared to endure more austerity measures by the big studios. As a result, I predict some of the studios will explore merging to help weather the storm. I also think an IATSE and/or Teamster strike is a strong possibility, which will put more strain on our already suffering industry.
Overall, despite the doom and gloom, I am constantly inspired by the work that is being produced, and I hope our industry continues along that path. I think there is still value in big ideas and only in the hands of great creatives can a campaign break through all the noise of our current landscape.
Rhiannon Lewis
Managing partner at The Gate Films, a Tag business and part of the dentsu network
Heading into 2024, we’re looking ahead to the sporting events happening in Europe this summer. With the men’s Euro 2024, the Olympics and the Paralympics all taking place over the summer months, we’ll be making sure we’re able to work on super quick turnarounds with bucket loads of flexibility.
These types of large-scale events will see brands working with all kinds of talent, and that can mean schedules and fixed dates go out the window – production needs to be able to react to athletes' availability and locations. In turn, this means we look for new and innovative ways to make sure production keeps up with opportunity. We need to expect the unexpected - new narratives, un-expected underdogs and short audience attention cycles all keep us on our toes.
These are times for using light crews, while maintaining the high-end production value brands want. We’ll definitely see the trend for shooting virtual production (VP) continue as brands look at their carbon footprint – but this year we may also see an increase in smaller, more flexible sets being used which will have a lot more ‘tabletop VP’ – perfect for things like food and product shoots, or shooting talent well ahead of time and placing them in different scenarios to suit the narrative.
Being part of dentsu’s wider production family means we’re at the sharp end of a world-class production engine, where content is not only being created at scale by teams around the world, but delivered to brands in a way which meets the demands of the audience, as well as their own sustainability and diversity ambitions. 2024 is going to be the year where we switch from having thousands of content assets in the mix, to potentially millions, so that every moment that’s captured through the lens, becomes the most meaningful and relevant experience for the audience.
Alison Hill
Prioritising underrepresented creators and focusing on diversity in our industry - whether that be in front of the camera, behind the camera, or in our own hiring - will always and forever be top of mind.
Another topic is AI - specifically, getting a deeper understanding of how AI and emerging tech can help us tell stories. We don’t know what we don’t know. If we don’t know how this stuff works, we can’t cook it into the work. And if we can’t cook it into the work then we can’t put it in a deck 100 times so that a client will buy it on the 101st time and take a chance on something ‘never been done before’. And this part really matters.
Otherwise, we’re in a sea of sameness. The industry has a bad habit of repeating traditional norms and limiting the innovative ways producers can get things done. Instead, they should prioritise what producers can bring to the table versus just the creative idea itself, whether that is innovation in designing, building or executing that great idea.
At Translation, we’re looking for a mix of those creators with fresh perspectives and new ways to get to great storytelling in order to achieve the ultimate goal: how do we get to the best work possible?
If the work is mediocre, it won’t matter what else you’re trying to achieve because no one will give you more of it. Can we do the same ol’ thing cheaper and faster? I mean, sure, yeah. As producers, our job is to get it done. But if we don’t have a good story to tell at the core, there’s only so much shine you can put on it.
Kerry Hill
Global director of production at FCB
In 2024, emerging technologies, platform proliferation, economic pressures and environmental activism will continue to cause friction and accelerate innovation within production.
In order to navigate and master these innovation drivers, we need to first embrace education. From revolutionary tech-enabled creative tools to copyright governance to carbon footprint management, we need to expand and sharpen what we know, and how we think and work.
There is massive potential in AI as a new avenue to unlock creativity, efficiency and effectiveness. The relationship between technology and human generated ideas and content will become closer, and the delineation more indiscernible. Creative ideation and content production will become more connected. Creatives and Studio Artists will work more closely together to marry the idea with the expression of the idea in the most imaginative and entertaining manner possible.
Matthew Marquis
At the risk of sounding like a bot or ChatGPT acolyte, it’s an exciting time in our industry. In looking at 2024, I think it’s safe to assume our industry will continue to be an ever-evolving work in progress, and the demand for video content will continue to grow with the introduction of ad-based streaming platforms while budgets and timelines continue to become trickier.
Success in this environment will demand more innovation and evolved skill sets. This shift will require even more open dialogues with clients on how best to apply innovation to existing processes. To that end, our emphasis at Golden LA with our creators and producers has been on learning and growing our creative and technological vocabularies, and becoming fluent in how to maximise every opportunity and, within that opportunity, every facet of production and creative processes. It will not be enough to lapse into the dogma of traditional workflows but in order to circumvent the historical model, we need to focus on empowering each director, creator and producer with an ever-growing set of tools. We preach quality, agility and inclusion, supported by a flat management org that allows for the easy internal flow of information, ideas and aspirations so we can all become each other’s teachers. I learn as much from our interns as they do from me. Ultimately, I try to think of Golden LA as an organism or singular entity comprised of a number of interconnected cells that need not only stay healthy today but relevant and salubrious tomorrow. If you are not ahead of it, you're behind it.
Kat Garelli
Of the many production resolutions I’ve made this year, putting the World in World War Seven is top of the list for me, as their newly knighted head of production. As we face soaring media buys and deliverables lists with dwindling budgets, it’s more important than ever to get smart about where and when we’re stretching our dollars – which often comes with stretching our legs on international flights.
So, I’ll be busy scouting for that diamond-in-the-rough foreign production locale to help us maximise resources, deliver the most generative productions, and ensure an inclusive global feel across the board on all the campaigns we have a hand in, if the creative calls for it. Whether it’s Estonia with its diverse locations (and up to 15 hours of shootable sunlight in the summer months) or Bulgaria with its prolific art departments, I’m looking forward to traversing the globe to find the absolute best partners for our directors, clients, and campaigns. Plus, even though it’s January, we all need to start stacking our frequent flyer miles and working on our sunkissed tans.
Tom Dunlap
Chief content officer at SuperBloom House
If we learned anything last year, it’s that the advertising landscape continues its rapid evolution into premium content that feeds our social and digital channels. Quality over quantity is a driving factor with speed to market being table stakes.
In this era, where authenticity and relatability reign supreme, the process of creation is just as significant as the final product. The spotlight is now firmly on the journey of creation, where the intricacies of production hold a paramount seat at the table.
The narrative has already shifted from merely "what big idea" is being created to a profound emphasis on "how" it's created and more importantly, "who” is creating it.
By integrating production strategy and an “All Media Production” mindset into the core of our creative process, we not only expedite timelines but also amplify the creative spectrum. Budget constraints are no longer limitations; instead, they transform into catalysts for innovative deliverables. By activating diverse and emerging creative voices from SuperBloom House’s Creative Collective right from the outset, our approach ensures a richness of perspectives that adds depth to the narrative and the production approach, and the fulfilment of content is seamlessly pre-programmed, creating a streamlined and efficient workflow.
Qadree Holmes
Founder/executive producer at Quriosity Productions
We have a lot of uncertainty existing in the 2024 marketplace in all sectors of business, not just advertising. We have an upcoming presidential election, possibility of a recession and advertising business models shifting.
Brands are trying to tighten their belts to brace for the impact of what this will look like. The greatest challenge is the consumer and how fast consumers will simply forget you.
Diversity, equity and inclusion seem to be a concept of the past that has proven to be performative. We can’t right the wrongs of American history by trying to correct cultural issues in business. That education starts at home. It starts with brands forcing real diversity within their own organisations. You can’t change the exterior outcome without changing the interior input.
Regardless, technology will be the driver of the future. How do we use AI and virtual/ volumetric production platforms as messaging tools? How can we utilise these tools to help create a more innovative creative process on behalf of the brands?
We will have succeeded in 2024 if the number of diverse directors, editors and photographer opportunities within the technology spaces of the advertising industry increase.
James Cunningham and Dom Thomas
Managing partners at Object & Animal
Building on the successes of previous years, Object & Animal is continuing to shape our identity as a hub for authentic, original storytelling, whilst helping to shape cultural change and promote bold content with intention and soul. Our most successful projects of 2023 were the ones which created cultural moments, and projects which blended different disciplines. For example, our Nike ‘Nitesport' [project] directed by Aidan Zamiri, coherently combined forward-leaning fashion with humour and nostalgia to create a new commercial space . There is great potential to build on this further in 2024.
Clever concepts expertly delivered is a trend which will never go out of style, and campaigns which take risks in a generally risk-averse time seem to be the ones with the most traction. This work engages the consumer emotionally, and execution with substance is more important than ever. Whilst we love a whip-pan and clever transition, we welcome newfound respect for carefully crafted spots which give you time to pause and think and feel. Realising that inclusion in all forms is now a pillar of what we do, not a trend but that there is a degree of responsibility that needs to be attached to ensuring that the right voices are telling the story, and that inclusion doesn't necessarily mean ticking every box in every spot, it is possible to be inclusive while still keeping to one core creative idea.
Julie Regimand
EVP, chief production officer at PXP
In 2024, we are transcending traditional production to become creative technologists. Every individual in the content creation space is evolving into a developer, using data to enable more efficient workflows. This advancement automates mundane operational tasks, imbues them with intelligence and provides creative solutions for generating content that connects, scales and performs. Our approach to production must be redefined: it’s about pioneering what’s possible. We are embracing a new paradigm where all creative work is content, all media is social, and the integration of data and media with technology reshapes our ability to accelerate growth for our brands. This transformative era ushers in a new breed of creators, with hybrid roles seamlessly integrated into the creative process. They are poised to deliver content that is not only impactful but also meticulously tailored to the dynamics of modern consumption.
Alexander Henry and Holly Rowden
Partners at Alfredo Films
Last year, Canadian advertising really leaned into visual comedy, and we had a great time experimenting with new visual techniques. As we move into 2024, there’s a noticeable shift towards more emotionally engaging, narrative-driven storytelling. This is an exciting development for us as filmmakers. While innovative camera and editorial techniques are important, we firmly believe in the enduring power of a well-told story.
In the midst of this creative shift, we’re also keenly aware of broader industry challenges. Our goals are to reduce our carbon footprint and ensure our teams represent diverse perspectives. Balancing budget constraints in an era of multiple platforms is another puzzle we’re actively solving, without compromising on the quality of our work.
Our campaign, ‘Black Elevation Map’ is a testament to this balance. As EPs, we got hands-on, travelling across America with just a minivan and a camera. It exemplifies how we can weave compelling narratives while addressing these critical issues. As for AI, while it’s transforming certain aspects of production, it can’t replicate the authenticity that comes from genuine human experiences.
At Alfredo Films, we’re committed to pioneering in storytelling that resonates on a deeper level, all while being mindful of the evolving landscape of our industry. Here’s to creating not just advertisements, but stories that linger and make an impact.
Garrett DeLorm
Two of my primary focal points in the New Year are cliché but worthy of the hype.
First is the maturity and omnipresence of AI. In 2023, we at Camp + King had great success concepting and executing ideas around individual AI tools, using various AI to augment specific areas of our production pipelines, and experimenting with an incredible variety of interesting offerings. 2024 should be even more exciting – with proven tools continuing to improve, closer AI integrations in other software and many of the currently-novel solutions evolving and being ready for prime time. I’m particularly interested in tracking the progress of generative AI for video, 3D asset generation, and model training. These advancements will enable us to develop creative solutions that were previously cost-prohibitive or even impossible.
Another big focal point is monitoring the evolution of XR and identifying what new opportunities catalyse. The way in which we consume and interact with information, content and advertising is always changing. And although widespread adoption of XR-centric hardware has been gradual, I feel a transformative development is just around the corner. When that does come, it will allow us to tell stories and engage with people in new and exciting ways.
And though it’s a bit further down the road, it is fun to think about what will happen when XR and AI combine and begin moving forward together.
Sophie Gold
Fortune favours the bold, and I believe that 2024 is the time to take artistic risks.
My persisting optimism is not just rose-coloured glasses, darling. Creativity is on the rise. It is because this year promises great challenges that we must unwaveringly dedicate ourselves to craft, the art and the soul of what we’re doing.
Only fearlessly original, fresh and unexpected voices will break through an oversaturated content landscape.
Modern audiences demand intersectional representation and crave authentic storytelling. Thus, our industry reaches a turning point.
New frontiers for commercial film beckon to be explored this year, with the expansion of advertising on streaming platforms and the billions of eyes tuning into the summer Paris Olympics.
2024 is a grand party, and AI is certainly on the list. As AI reshapes creative workflow, both the possibilities and limitations of artificial intelligence shine a new light on the value of innovative originality.
Now is the time to choose to be bold. Let’s explore creative unknowns.
Sue Loughlin
Our main focus for the start of 2024 is diversification - specifically, our expansion into live action. We’ve spent the last year and a bit planning, preparing and fine tuning the details, finding the right experienced producers and high quality directors with a great mix of styles and techniques to take this forward. We had been seeing more and more mixed media briefs over the years and worked with live action companies on those. Having the ability to streamline production and keep all elements under one roof with expertise on both animation and live action gives us a good edge for not only creative consistency and good collaborative communication, but also for a great economic balance. After our recent global expansion to New York and Hamburg, embracing the full live action side was the next logical step forward for us. I am excited to see how this develops and unfolds throughout 2024.
Matt Sanders
Head of production and executive producer at Superprime Films
With most schedules tightening and budgets shrinking, constraints become inevitable. But within these more frequent limitations lies a surprising spark: ingenuity. Ingenuity might be my word for 2024. The constraints of budgets push us to think outside the box, explore new filming locations, and bring in fresh collaborators. We continually rediscover the power of resourcefulness, which leads to innovative storytelling techniques and cost-effective solutions. I only see this trend continuing to propel production further – embracing global locations, new technologies and welcoming new creative talent into the fold.
The technological landscape in production is ever-evolving, and we're at the forefront of embracing its potential. We see AI not as a replacement but as a powerful tool to enrich storytelling and audience experiences. From AI-assisted research that helps us quickly understand things to image generation that helps spark visual ideas, the technology becomes a canvas for human creativity. We're also constantly learning new camera, lighting, VFX and virtual production tools that push the boundaries of what's possible. But where the true magic lies is in the human lens, the spark of creativity that crafts brilliant ideas and brings them to life. That's what defines our industry, and that's where our focus remains.
Diversity and inclusion have always been woven into the fabric of our company. We strive to see the world through different lenses, not just for the authenticity it brings but to craft stories that truly resonate with the diverse audiences we serve. The industry's push for fresh voices and inclusivity is incredibly encouraging, and I firmly believe it will be the bedrock of our industry's future success.
Diego de la Maza
I’m excited about the momentum building behind diverse storytellers this year. Hollywood is realising that diversity is more than a publicity play, but a new standard in culture. I predict we will see this momentum influence advertising in substantial ways in 2024. Audiences are not only celebrating but demanding authentic and diverse narratives.
The data speaks for itself. The commercial successes of groundbreaking shows like ‘Beef’ and the 2023 box-office powerhouse ‘Barbie’ have proven what the public has tried to tell us for years: that diversity is not just a box to check, it's a winning formula.
People are hungry for exciting and fresh perspectives that are disrupting the expected storytelling of the past. It’s exciting to see these stories go from small, independent projects (that sometimes garner interest because of awards season) to well-financed ventures with proper marketing and distribution.
Following the entertainment industry's lead, brands are recognising that aligning with diverse stories is not just socially responsible but also commercially viable. This should be seen as the writing on the wall for advertisers. A brand or agency not pushing for new perspectives will risk its relevance. It's no longer a question of if diversity sells; it's about how we, as advertisers, can authentically integrate underrepresented voices into our campaigns.
Toby Walsham
Despite a slow end to 2023, it certainly feels like 2024 is off to a flying start, and I think we can expect exciting things from our industry to come. Identifying the growing trends in production is by no means a guessing game, there is a clear emerging set of developments, from even shorter edits, to AI, and ethical spending as a form of business growth.
High quality video and stills content remains pivotal to brand needs, however I think we’ll see a huge rise of shorter content (think six second and under edits) at scale to meet the growing demand to keep up with the algorithms across social. My hope is that creativity doesn't suffer at the hands of high demand and volume. Those who can align effective creative with nimble production will be perfectly positioned to capitalise on this trend.
I don’t however see this as the demise of longer-form content. With Instagram and TikTok pushing their ability to host long-form content and build themselves as holistic entertainment platforms, I think we’ll see brands capitalise on this space and get more creative than ever with their brand storytelling.
Leah Lanza
Faced with a business landscape of unpredictability from economics, tech and social impact, shifts in how we approach production are inevitable - and minding the material change is crucial to our industry’s health.
Amid these trends, the notion of ‘do more with less’ is mounting pressure within the marketing scene.
More platforms. More personalisation. More audience segmentation. More contextualisation. More consistency. Equalling exponentially more content with less time and budget.
So, how do we assuage the demand?
Lean into AI? The transformative potential from visual effects, personalisation and automations will help the industry solution at scale. While refining labour-intensive, cost prohibitive activities is exciting - as it increases productivity and affords savings - the growth and innovation must be responsibly chartered.
In comes social impact. The drive to produce work in a more socially conscious way harmonises the speed in which we are acting on these industry reformations. It’s reliant on people connecting and collaborating to make more conscientious creative decisions. From carbon footprint concerns to behind the camera talent diversity, we are readily employing tools and programmes to deliver a social focus across business operations - keeping purpose driven, human centric experiences at the core of the work we produce.
Allyson Nevil
Executive producer at MOCEAN
I eagerly anticipate the opportunities at MOCEAN in 2024. We continue to see technology giants seamlessly evolving into entertainment brands, and more traditional brands are coming to us for our expertise. I am enthusiastic to contribute to this evolution, showcasing new marketing platforms and recognising storytelling's power in shaping these global brands. Exploring new design possibilities presents a great opportunity as screens expand, whether conceptualising for the vast Las Vegas Sphere or the compact Instagram feed.
MOCEAN has embraced AI as a useful production, cost-effective tool especially as it relates to pitching new projects and developing concepts. AI helps our clients quickly visualise the pitch phase when there are short timeframes. I'm excited to see the ways in which we will leverage innovative technology to enhance creative output and business development.
Internally, our business development team is actively cultivating collaborations in gaming and technology, expanding our services amidst these shifts. We always strive for a work culture of vibrancy and creativity, especially supporting and engaging our new talent in this post-pandemic work environment.
I look forward to the endless possibilities ahead.
Claire Long
2023 was difficult for the creative and production industry. We were pushed out of our comfort zones - having to lift heavier with bigger requests, squeezed budgets and broader reach required by brands.
Heading into 2024 there’s still uncertainty but there is also a rich canvas of real people living real lives, seeking to engage with content that reflects and connects with them authentically. I’m seeing trends towards less purpose-driven, more real experiences and voices. Greater representation across the board is being demanded by us, audiences, and brands. We will also embrace the rise of brand entertainment and AFP.
Yet longer decision-making processes, tighter timelines and continued strict budgets mean we have built and retained versatile, flexible teams to remain agile. We’ll be creating campaigns and executions that can be adapted and extended, enabling client retention, and ultimately reaching consumers when and where they choose. We remain curious - AI and data-driven measurements and analysis ensure we navigate platform proliferation, remain competitive and continue to add value without vastly over-servicing. Actively seeking collaboration – we’ll carefully select future partners for sustainable growth. We continue to strive for an even more inclusive workplace. Not because we are told to, but because it’s part of our agency DNA. More diversity behind the camera; mentoring and supporting those starting out in our fabulous industry.
Amanda Azoroh
The advancement of technology and the juxtaposition of people wanting to be authentically connected will take the way we bring creative to life to the next level. I’m most excited by the integration of real people, tech and authenticity across the board. There’s a sweet spot where things aren’t over produced. The challenges we faced these past few years are very different from the challenges ahead.
These areas will be key for production to tap into/keep in mind when building: Simplicity, authenticity, and tech. I predict the brands and teams who lean into these factors will take the lead.
Rani Melendez
In this dynamic production landscape, there is no ‘business as usual’. It’s a demanding environment, and it’s important to remember that you can’t be everything for everyone. The myriad possibilities vying to become priorities can become overwhelming… if you are not focused.
We [DOMO] are a small, modern company built from the ground up, and our approach to this moment is to put our efforts into ongoing talent development and, in tandem, create and nurture the opportunities that will foster creative growth and great work.
Discovering talent is no longer simply assembling skills - it’s about personalising the unique characteristics while fostering creative stimulation for each individual. We need to feed them. Challenge them. Support them. Investment in talent creates a diverse and skilled multi-disciplinary team that brings a range of perspectives and creative ideas. Table set.
In turn, this allows for co-creation opportunities to be maximised. Whether it be an agency, brand or third party (there are many ‘clients’ these days), we arrive ready to adapt, collaborate and innovate. Adding value to every project is paramount. Creatively levelling up work is the aim.
I believe by channelling our energy into these areas, we will create an ecosystem to flourish this year. Our continued and future success lies in adapting, innovating and resonating within every arena… we venture.
Tessa Banks
From emerging talent, to politics, to the Summer Olympics, 2024 is poised to be the year of the changing of the guard.
In the advertising production world, this solidifies what’s been on all our minds: Traditional commercial advertising is out, and branded entertainment and culture content is here. This change is the dream we’ve all been dreaming! We get to make truly entertaining and relevant content because it’s what consumers want, and it’s what brands need to succeed.
As we continue to evolve the content we create, we must also evolve how we create. Gone are the days of A-Z productions. No more handing your producers completely locked scripts to execute with little room for variation or error. This is the era of creative development throughout production, constantly evolving concepts and creative partnerships. So throw out that old-school conveyor belt process and start truly integrating with your teams (like we used to say we did but, come on, did we really?).
Jonny Kight
Freelance producer
We are in the exponential age of technology; however, we have told stories since we have been sitting around the campfires. Story and narrative will never go. It may shift through different mediums, but it will always be there. And whilst we have advertising, we will use stories to sell things, hopefully with some version of filmmaking.
But we are embarking on the fourth industrial revolution; maybe we are already in it? Each year, things move faster and faster, and we are already using AI to assist in pre-production, whether for concepts or helping pre-viz shots. I see this moving into post-production as an assist fairly quickly and into sound. This time next year, it will be much more integrated, and I dread the day I will use it on an actual shoot instead of a crew member. But tell me a new story, and I will always sit and listen.
