CREATIVE DIRECTION – MY APPROACH
I believe a strong Creative Director can champion his or her vision from concept to completion and be an inspirational leader throughout the entire process. Success can be realized when you properly and efficiently describe where you want to go, instead of just telling someone how to get there.
Gone are the days when a CD only needed expertise in one or two disciplines and have average client skills. It is critical that a CD excel in several areas in order to be a cost-effective solution to the agency and clients he or she works for. Over the years, I have worked tirelessly to develop my art direction skills (with comprehensive content storyboards), enhance my video editing capabilities, grow my video directing chops, cultivate a strong digital expertise, and continue to build on my copywriting and producing talents. But perhaps most importantly, I take a great deal of pride in being a trusted senior member of an account team and a supportive leader of staff and freelance artists.
Branded content is designed to target specific demographics, customers, or employees. I believe that “corporate” communications doesn’t mean concepts have to be unimaginative. There is no rule that says an employee engagement video can’t be unique, a company narrative can’t be emotional, or a facility tour can’t be entertaining. If there was such a rule, I’d be breaking it every day. I take pride in listening to the needs and objectives of the client, and writing content that is designed to exceed expectations. I make it a habit to produce detailed storyboards, so every decision maker has a chance to approve the creative direction before shooting or animation begins. I’ve been fortunate to develop content for financial firms, across health care, in the industrial space, and for a myriad of Fortune 500 brands. Clients have included: Nielsen, Sprint, Hertz, SONIC Restaurants, Caris Life Sciences, Aetna, Buffalo Wild Wings, DuPont, and many more.
Today’s tighter budgets have forced clients to contract producers who can wear many hats. I believe my experience lends itself to the changing needs of the industry. Back in 1994, I served as a post-production producer, where I became familiar with every aspect of the video post-production process, from estimates and rough editing to color correction and audio post. In 1996 I launched a music company and served as an executive producer for a wide range of music pieces and radio commercials. I ran a motion graphics projects firm for a bit, getting to know the possibilities within Cinema 4D, After Effects, and other programs. Finally, I’ve served as an executive producer on dozens of live-action productions. I have years of experience casting, finding the right locations, and contracting the best crews for every project.
EDITING | SHOOTING | GRAPHICS
As an experienced producer I understand the importance of adapting to meet the needs of my clients. Parameters such as budgets, schedule, and creative direction all come into play when assembling the best team. As brands have embraced economical video content production, I’ve expanded my offerings to include video editorial. I’ve edited well over 200 pieces of content on Adobe Premiere Pro.
The same “can-do” attitude applies for shooting and videography. After spending 20 years in a production environment, I feel comfortable working with rented DSLR cameras, and have a fair understanding of lighting techniques. Again, if the budget allows, and the distribution method demands it, I would contract the best DP for the job. However, I feel confident that my capabilities and creative talents will prove to be the right fit for most digital content.
With regards to graphics, I rely on my extensive experience with Adobe Photoshop and Adobe Illustrator to help me pitch my projects. Once an idea is approved, I then try to find the best vendor (art director) to take the concept to another level. I have designed logos and numerous other graphic elements as part of my services, many of which have ended as being client facing branding materials, but my preference is to hire graphic artists with a stronger skillset in this area.
(As a work-for-hire, the intellectual property of all original materials stay with my employer/client.)