Predicting the Future of Spot Production - Not So Easy

Blog post by Carey Melcher. Carey has produced TV commercials, visual effects, and some TV work for over 40 years. For 32 years, owned and executive produced for CMP, Inc.

As many of you know, Omnicom Group agreed to acquire Interpublic Group on Monday in a $13.3 billion deal that combines two of the world's largest advertising groups

So, how will this impact advertising production? I have some thoughts, and some WS folks may want to chime in with your thoughts on this news and comment as well. 

Corporation Merger Results 101: With a large combined “Ad Giant,” we can expect more layoffs, and a move towards more in-house production worldwide. It is also possible if not likely that all the sub-ad companies working under this colossal umbrella will exert influence over live-action production content and other forms of their media content production such as we’ve never seen before. It feels like the job market on the agency side has been nil, at best. This merger may exacerbate that. These companies will push to save a buck or two whenever possible. These ad giants are public companies, and it’s all about their bottom line and “shareholder value.”

This merger makes it more likely even more work will be produced in house, with freelance directors and/or staff directors. Directors will always be needed. Creative collaboration with independent Directors and Production Companies has historically been the lifeblood of commercial production and created the world we’ve been living in. Going forward, there may be more production jobs at agencies and in-house agencies at brands than at traditional production companies. 

A Big Topic is AI; these same ad companies will most likely bring AI production “in-house” (and why not?), just like they did with live-action over the years—decades. This is not a new trend. Believe it or not, Leo Burnett Chicago started one of the first in-house production arms in the mid-80s. Ogilvy also. Y&R as well.

The actors. What about the actors who went on strike so their AI likeness wouldn’t be used without getting paid? I believe actors will see less employment from spot production. In a few years, AI-generated people will be fantastic and believable and may replace live actors in some spots—not all, but many. Will we be seeing as well AI-generated tacos, cars and more?

TV commercials have always pushed the visual effects production envelope, and AI is the ultimate extension. Creatives will write and art-direct commercials specifically for new creative processes that make their commercials stand out. And advertisers will pay for that ’next new thing.

Another article in Monday’s  WSJ's Marketing section (12/9) states that global advertising revenues should top $1 trillion in 2025, one year ahead of previous forecasts. This is an impressive number, but in these times, a trillion dollars isn’t that big. Compared to broadcast TV, Facebook, Google, Netflix, and Amazon (and the other streamers adding commercials to their platforms) may very well come out on top vis-a-vis ad dollars spending. Importantly, the spend on digital advertising is currently 10x the spend on television advertising. Will digital advertising translate into more work for traditional production companies? Let’s hope for the best.

Commercials will always be needed. They’re still the best way to reach many people, especially during live events, sports, etc. But it’s unclear how the process will evolve or what the budgets will be. A plus: Some streaming platforms are having success with the traditional commercial format.

If you’re lucky enough to still work in this industry centered around TV commercial/content/social media production five, ten, or more years from now, you may consider how good it was in 2024/2025. 

As you know, this is a challenging business to make a living in. However, it is most satisfying because it is highly creative, both below and above the line, and yes, it can be fun as well—definitely not a 9 - 5 job

I wonder as well what Marshall McLuhan would think of today’s “Medium”.

Freelance Agency Producer - Virtual Event Recap

Another fabulous WheresSpot virtual event has come and gone.  The topic: Freelance Agency Producing.  You can watch the recording of the event here: 

WheresSpot founder, Perry Schaffer hosts three experienced agency producers about the current state of agency freelance producing.  With over 160 attendees, it has been on of our most popular sessions ever. I think that’s primarily a result of our fabulous guests.

Liz Graves, Kati Haberstock and. Lisa Kalb Schaffer

The conversation includes discussions about the differences between Agency Staff, and Agency Freelance producing, pay rates and fees (project vs. day rate - and what the hell - HOURLY ???), bosses and how to be part of the creative team - not just a manager, scope of work, skills (both in production and it the technology agencies use), marketing yourself, and finally… getting work!

The wide ranging conversation brings insight from our guests with over 100 years of combined production experience. The bottom line? There is plenty of opportunities for those who can think on their feet, are flexible, well trained and curious.

You won’t want to miss the recording of the event here.

Rewards and challenges of shooting on film in the digital age

Blog post by Nkosi Roma, cinematographer specializing in shooting on 16mm film.

I grew up in the age of digital photography, capturing moments on camcorders and iPhones and honing my editing skills on Final Cut Pro. As I grew up, my aspirations of becoming a filmmaker led me to explore beyond the digital realm and into the world of analog filmmaking.

It began with a lucky find—an original Nikon F 35mm SLR camera I picked up for $60 at a local thrift store. My first roll through the camera was nothing to boast about, but I was immediately drawn to the process and intentionality required to create each image.

As I continued to shoot both digitally and on film, I found myself gravitating more towards the latter. Film felt like art to me, while digital began to feel only like work. After years of searching for the right outlet for my creative goals, I finally landed a deal on an Arriflex 16 SR2—a pivotal moment that marked my full immersion into shooting on film. I sold all of my digital gear and dedicated myself to the craft of film cinematography.

Transitioning entirely from digital to film was a dream come true but it wasn't without its challenges. From sourcing labs and learning to load film, to promoting my work and troubleshooting camera problems, the slower pace of film demands patience— a vastly different workflow compared to the immediacy of a digital pipeline.

Despite some limitations—such as finite run times and higher production costs—What truly sets shooting on film apart in today's landscape is intentionality. Every project becomes a labor of love, demanding extensive planning, effort, and resources. The result? A higher caliber of storytelling, infused with emotion and authenticity.

Working with film has helped me to hone my technical skills and make me a better cinematographer. The optical experience, from using a light meter to framing shots through the viewfinder, has trained my eye to see light in the world as it is, freeing me to craft the image in my mind before stepping behind the camera.

The resurgence of film in recent years is undeniable, celebrating with four of five Oscar-nominated films for Best Cinematography in 2024. As a director of photography dedicated to shooting on celluloid, I take pride in contributing to the legacy of the craft and inspiring a new generation of filmmakers to embrace the art of analog filmmaking. 

https://www.nkosiroma.com/

http://Instagram.com/nkosiroma

http://youtube.com/nkosiroma

WheresSpot DEI Event Recap

Spotters: our Zoom presentations returned with a bang! The topic was “DEI and Commercial Production: A Discussion,” and there was high attendance. It was moderated by one of our founders, Perry, who led an important discussion with three panelists who are very well-versed on the topic: Tamika Lamison: Exec Director, Commercial  Directors Diversity Program, Wendy Stryker: Partner at Frankfurt Kurnit Klein & Selz PC, and Sallie Mars: recruitment & Creative Ops Consultant.

It is a complicated topic and a hard work landscape to navigate. The panelists were able to bring professional insights on many aspects of DEI including its relevance in today's market, a legal perspective, along with strategies to attract a more diverse group of hires. They spoke about how to make the workspace more inviting as well as the current state of affairs to bring more diversity into the production world both behind and in front of the camera. Many of the questions for the panel came from you guys, submitted before the session.

One thing was clear: diversifying this business is still a real challenge. The participant chat that accompanied the session showed many are highly motivated to do whatever is within their power to help overcome a persistent imbalance. One issue that seemed consistent was that folks need guidance in how and where to recruit more diverse candidates. We have included below a link to a resource guide created by AICP. There were also many good suggestions made by the panel spotlighting recommendations on how to make the workspace feel and operate in ways that make diverse team members feel welcomed. We recorded the session for anyone who wants to view it. We rewatched it and found it even more informative the 2nd time around.

Link to resources: https://aicp.com/initiatives/equity-and-inclusion/talent-resources

Thinking About Equity in Production

Blog post by Jonathan Shipman - Partner, WheresSpot; Consultant; former Agency producer, HOP of integrated production at McCann; HOP and MD at Framestore NY.

There’s a kind of post on Wheresspot that typically generates a lot of energy: when folks post about trying to fill a position with a stated preference regarding race and/or gender.

This stirs up a lot of feelings for me. I can not tell anyone how they should feel about anything nor am I here as part of the Wheresspot management to make a pronouncement on what our policy is or should be. I can not even speak to what the proper legal position is. Hell, I am no lawyer.

So please take this as no more than an opinion, from someone who has been in this business for a long time. Can’t tell you how much I hate writing that last bit. I am no statistician and I have no idea how many commercials I have produced, likely well over a hundred. Of all the commercials I have produced all but roughly six were directed by men; of the six that were directed by women two were directed by a married couple.

I can also pretty safely say that only two women have lensed a commercial I was involved with. Does that make me a misogynist? I don’t think I am. In all of my director searches, I never put out a spec calling for male directors only. I never required the DP to be a male. But them there are the facts. Though I can not prove it, I guess that for most agency producers of my generation, their male-to-female and white to *other* director & DP ratio would not be that widely different. 

Like I said I am no statistician but I’d say there is something wrong with these numbers. I don’t want to get into a debate about why this imbalance exists and while it may have gotten incrementally better in recent years, we are not yet at proportionally fair representation and we should be. I don’t have the answers, I just have my own opinions, one of which is that I am not put off by posts that state they are looking to fill a position with only a female or a particular race or ethnicity. I am not only not upset by these types of posts, I am encouraged.

How to Make a Million Dollars Podcasting

Blog post by Michael Porte, serial ad entrepreneur, Cofounder: WheresSpot. Founder: The Field, Nth Degree, AudioEngine, Calypso Films, Mad River Post.

We’ve all heard the old joke, and it definitely applies to podcasting…sort of: How do you make a million dollars from podcasting? Start with 2 million!

A few years ago when I decided that podcasting would be a great way to expand my production/post-production offering, I knew that the best way to get clients interested in a new format is proof of concept. So my team began podcasting. After 150 episodes of our own podcast “5 Things that make life better with Lisa Birnbach” and a successful two year series with InBev, “Talking on Tap”, I’m happy to share a few things I’ve learned.

Money

1) The old joke stands. Unless you have your own deal with a distribution outlet (iHeart, Audible, Spotify, etc). Don’t expect to make any money. (Only about 2% do). Seriously, Podcasting is very similar to the radio business. There are a million great stories to tell, but only a few places that will pay for them. It’s 10 times that way in podcasting

2) You can make a production deal with a production company who has a distribution deal, but usually that just means making back your production costs and maybe a few dollars for producing the show. Note: you often have to give up all the rights for the show (god forbid it’s a hit!). You may be able to share in advertising revenue, but it’s unusually hard to track.

3) For those of us in the business of advertising, the best way to make money is to partner with a client, and create a series as a work for hire. That way you are at least paid for what you are good at. Creative, and production.

Why I like podcasting, and what I’ve learned.

Storytelling

Apart from TV documentaries, I haven’t found a better way to tell stories than in podcasting. 

- Listeners have the ability to listen whenever they want.

- There is no set time limit for an episode. I suggest 20 minutes, but no more than 30. (NOTE: I almost never was able to follow this rule !!!) :-)

- There is no set number of episodes in which to tell your story.

Production

I owned an audio studio. So as an advertising entrepreneur, it was a no-brainer to produce my own podcast. I started out recording in a professional audio booth with an experienced audio engineer, and top of the line equipment. The same for editing and mixing. We spent hours on each episode—you can do the math. Except for the biggest jobs, or shows like my stepdaughter’s podcast “Letters from Camp” with Jamie Lee Curtis, it’s not the best way to spend your money, or your time. Many podcasts don’t need that level of production. It’s about the content, not the production values. I just finished listening to a new podcast with Stephen Colbert, Jimmy Fallon, Jimmy Kimmel, Seth Meyers, and John Oliver , “Strike Force Five”. The production is shit, but the content rocks! Unless you are those guys, you still need to make your podcast professional: make it sound good (well mixed). I was forced during Covid to figure out how to do that, and now there are many online tools like Descript, RiversideFM, Connect and ZenCaster, as well as traditional recording software like Audacity, Adobe Audition, Apple Logic, and Protools. All the above are great choices and pretty easy and standard to use. My suggestion is buy a couple of decent microphones (they don’t have to be studio mics). And that will go a long way to making your podcast sound good. Finally, record in a quiet room. It’s hard to convince client, and podcast guests that this is important, but it will save you a ton of time and really make the podcast sing!

Distribution

If you are doing a client podcast, you may be asked to distribute it. This is one of the most confusing parts of podcasting, but once you’ve figured it out, it should go smoothly. There are tons of hosts, just google them. Some offer more than others when it comes to reporting, but unless that’s important, they all seem to do a pretty good job. NOTE: These change all the time, so I’m not going to recommend any. Some to look at are:  Libsyn, Blubrry, Buzzsprout, Acast and Art19

NOTE: After 5 years in the Podcasting space, I still don’t believe most of the numbers that I get from my various hosting companies!

Awards

Yes!  There are awards… and associations. Check out “The Podcast Academy” https://www.thepodcastacademy.com/ and their awards show The Ambies for one.

Good luck, and good podcasting!

Getting the best deal on rented film, video, and photography equipment

Navigating the Quirky Universe of Equipment Rentals

Blog post by Jon Kline, freelance cinematographer, producer, fixer, and rental-shop owner.   jon@jonkline.com

An employee at Red Star in Madison, Wisconsin prepares a grip truck for a video production.

In the world of commercial video and photo production, there exists a near-impossible task known as "Equipment Rental Budgeting." It's a technical journey through a labyrinth of cameras, lenses, lights, and cables, and it often leaves even battle-hardened producers bewildered. In my years working at, and renting from, the largest and smallest equipment rental shops in North America, I’ve gained some wisdom that might just get your rental budget in line.

1. Explore the marketplace. Start your quest by visiting a few of the local rental shop websites. They can be useful for building budgets in your proposal phase. But remember, the posted prices are just the beginning of your odyssey, and a price on a website is different from a quote. A quote gives the rental specialists a chance to guide your equipment and accessory choices. If your gear list is missing some essentials, the rental shop can catch them in advance. When exploring a new market, always seek out two or three quotes, and use them as an opportunity to learn about the city, the companies and their philosophies. 

2. Start early. Time is your leverage to get a great price, and it’s also helpful for the rental shop to control their costs. Last-minute requests come with last-minute expenses. You’ll have the best options for inventory the sooner you start the process.

3. Reveal your budget. Transparency is key in your equipment rental odyssey. If you're restrained by a budget ceiling, share this with the rental specialists. They have the knowledge to make logical substitutions and keep your quote on the same planet as your plans. When you're comparing quotes from various competitors, let them know. They may adjust their prices, or at least illuminate differences between line items that you weren’t aware of.

4. Be flexible. Not every shop has every item available every day, and substitutions are part of the rental game. The more must-have items on your list, the more likely it is that the rental company will need to bring them in from elsewhere. Being adaptable keeps their costs down, which should translate into more price flexibility.

5. Unify your rental. Resist getting lost in the line items. Instead, focus on the grand total. The more you bundle everything under one umbrella – cameras, lights, grip, electric, and production support – the more your leverage grows. Rental managers are more inclined to grant discounts to grand, all-encompassing orders. Plus, your crew will thank you for saving them from shop-hopping. The days of highly-specialized shops in mid- and small-market cities are ending, and it’s a trend that can make your job much easier.
   There are times when it makes sense to pay your crew a kit fee. Don’t let responsibility for equipping a department get spread across multiple vendors/crew. If you need cameras and accessories from multiple places, have one vendor subrent from the others. Having one vendor accountable is best for everyone.

6. Think in projects, not just shoot days. If your project spans multiple shoots (even in multiple cities), gather all your quotes at once. This unified approach increases your chances of receiving a large discount. Rental companies may have other locations near your destinations, or they might have partner companies who can offer you favorable rates.

7. Know the standards. A weekly rate is usually threefold the daily rate, and a three day rental is usually just double a single day. Weekends and holidays are usually not charged for. If their policy deviates, don't hesitate to negotiate. Most shops will give you these terms if you request them.

8. Be a professional. This (hopefully) ain’t your first rodeo. Send your COI in right away, be prepared for a background check, and respond promptly when asked. Your onboarding is your first opportunity to show this company you’re easy to work with.

9. The art is in the ask. A quote is just the opening move in the pricing game. Polite inquiries will almost always bring the quote down by 10%. For long-term rentals and with established relationships, discounts of 30% or more are not unheard of. If you don’t ask, chances are you’re paying more than necessary.
   If you want something other than a discount, for example free delivery, or a little wiggle room on return time, don’t double up. Picking one focus in your negotiation increases the odds that you’ll get it. 

10. Prep to save money. You’re not renting an instrument, you’re equipping a symphony. Having all the pieces assembled for your rehearsal can unearth issues before they disrupt your shooting days. Expensive Monday-morning emergencies can be avoided, but usually not on Monday morning.

11. Nurture the connection. It's not just equipment; it's a relationship. Return the equipment in good condition, pay on time, and watch the karmic goodwill flow. To show your appreciation, write a glowing online review, or share some pictures from behind the scenes for social media. A few extra minutes is all it takes to stand out as a favorite customer. 

When renting a studio, the first place to get a gear rental quote is in house, but don’t let it be the only company you ask. Photo courtesy of Cinequipt in Minneapolis.

Armed with these tactics, you're ready to negotiate your way through the minefield of equipment rentals.  Good luck, and may your next shoot come in on time and under budget!

Scouting, Shooting near Wind Turbines

Jamie Vesay

Jamie Vesay is a Location Scout, Manager, Fixer, Producer, based in Omaha, Nebraska USA.  JamieVesay.com

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There is something mesmerizing about them. Wind turbines. In a group, they’re known as an array.  It’s when you get to be up close or go inside and be on top of one is when you really  appreciate and respect wind turbines for their scale.

As a Location Scout, I scouted and shot near many wind arrays, mostly in Nebraska and Iowa USA. Using these experiences as a reference, I’ll share my pro tips.

If you are shooting for the energy company or a related client, your access will be easier and more fluid. You can shoot from a nearby public road for wide shots, but know that most of the turbines are planted on PRIVATE PROPERTY. If you want to work close to them, you need PERMISSION. The access road to them is an easement and energy companies pay landowners. Drone operators: you’re going to do your thing. I can only strongly encourage you to do the right and legal thing if you plan to fly near them. Still, be safe.

SIDEBAR to those saying, “I don’t ask permission,” location scouting and management is as much of a professional process as production and operating the camera. If nothing else, you are being respectful of people’s property—it feeds positive production karma and does not make it harder for the next production.

In my opinion, the best arrays are on rolling hills versus flat land. There is simply more character and reference of depth. In Nebraska and Iowa we get the bonuses of grasslands, crops, livestock, and agricultural vehicles. The quantity of turbines on land that is topographically diverse make travel to that location worth it. 

If you plan on shooting for a full day or want the sunrise or sunset – consider lodging closest to them. Time of year is equal to and comparable with the time of day you’ll be shooting. In late fall and winter, the sun is on a lower southern track. Keep this in mind if you want the sun backlighting them.

Another hint about TIME OF YEAR at least in Nebraska: If you want green, early summer is most lush and best. If you want crops, later summer to early Fall is best. Understand if you are not shooting at these times, the land is brown, the crops are cut or non-existent or buried in snow, and there are no leaves on trees.

CAUTION about shooting in WINTER: Ice can build up on the blades and fall off. In extreme temps we’re talking heavy ice falling from a high point. Vehicle destruction and death can happen… Dress warm, stay focused, and be safe! 

If you are on top of one there is such a thing as being too high. The sun may be under them. 

Regarding WIND, yeah you might need some. Most turbines do move with even a slight breeze but every now and then, there is nothing. Hence, a non-spinning turbine is just not interesting. There are apps and weather websites to help track the wind. The following is important intel so please read slowly: Wind changes direction and turbines spin INTO it. If you pick a shot that looks great on the scout — the turbines could be facing the opposite direction (even profile to your view) and will look vastly different on another day. The best view of course is when they face you.

Here are two cinematography tips. Be sure to shoot near them with low light to capture the shadows of the blades whipping through the frame. And if it’s windy, show it nearby with trees swaying or grass blowing as a natural foreground element, connecting those to what you’re shooting.  You’re welcome.

Finally, as with any shoot, SAFETY should be paramount. While the wind farms are indeed mesmerizing, you should treat your shoot like any industrial environment. Weather, time of year, how close you’ll be working to them are all considerations. Also, have proper permissions. From the land owners to the owners of the turbines, please ask before you shoot. 

The engineering and design inside is incredible. And yes, the view from the top is crazy. As you can see, a climbing helmet, ample harness, and eye gear are all in play. Please don’t lose focus by the wow factor. Stay safe. Be kind. Have fun!

WheresSpot ProTips: posting and responding

Blog post by: Perry Schaffer

Perry is a trained, professional Rep, and founder of WheresSpot https://linktr.ee/pschaffer

Posting

Thoughts on how a post seeking help should be constructed

First, a post should be as complete as possible. A quality post gives you your best chance of receiving quality replies. Plus you are saving your time, and others. This is harder than you may think, what does a complete post read like anyway?

Here at WheresSpot we’ve learned a solid post should contain the following;

You should state who you are in relation to the project, for example: if looking to hire crew, are you the Coordinator, Production Manager, Producer, etc. Then clearly state the type of project; is it a film, a commercial, or something else? Be specific. Then you should always include the where, when, and scope. And rate, even if you can only be as specific as a range. Or give a ballpark. Director’s rates range from $1,000 or less to…the moon!

Recently one of us posted: “...Is there a "kosher" way for a DGA Director to do a one-off job with a Production Company that is not a DGA signatory?

I know some DGA Directors have a "status" that makes that easy but, what if the member does not have that type of membership?”

We thought it was complete and..we left out some key information that should have been included: it was for a commercial, not a film.

If you are looking for a freelance director then say “freelance only.” Including this kind of specific info is essential to getting helpful responses and again, not wasting time.

Makes sense Right?

Also when you are seeking a director reco remember most directors generally work in specific genres and those genres have subgenres. Comedy is a perfect example - it can be broad or subtle, physical, dialogue, or not. Again the more specific you can be the better the recommendation

If you have a reference for look and feel or style offer it. Just be as clear as you can—the more transparent the better. If you're working on a tight budget then say so, otherwise you are wasting everyone's time.

Finally please show some grace, remember the responders don’t work for you so “please” and “thank you” go a long way here.

Finally - not that people read or follow instructions - if you have a strong preference for how to be contacted - direct message vs in-line comments vs email, say so.

Responding

When responding to the specifics of the query don’t use it as an opportunity to fish for work. For example, if someone is looking for a Producer in City x, not appropriate to offer your services in another category.

You should always include the *basis* for your recommendation. if you actually worked with, or hired, one time or a bunch, the person or company you’re recommending, say that Think about saying *why* you are recommending this person, are they deeply experienced and/or uniquely talented.

Location scout with your ears, too.

Blog post by: David L. Minard

David helps businesses, video production companies, and everyday people by providing high quality sound recordings, moving pictures, and still photographs. www.Z9media.com

As a production sound mixer, my priority is to capture pristine dialog. It's rare to work in a location that is free of noise issues and so I employ every tool at my disposal to separate the noise from the performance. What shouldn't be rare, however, is avoiding locations with significant noise issues altogether.

 Imagine this:

You walk into a space - it's got high ceilings, spacious rooms, amazing detail, and even as a bonus, really good electric. But did you stop and listen?

Is it near an airport? A highway? A train track?

Does landscaping come by on the day of the week you'll be filming there?

Is there a parade coming through town?

Are you allowed to move the antique grandfather clock?

Can you turn off the wine fridge long enough to shoot?

Do the next door neighbors have a dog that barks constantly throughout the day?

Visuals are only half the battle. I've seen too many (mostly low budget indie) films die in post because they didn't consider that their sound has to be just as good (if not better) than their visuals. They get into the edit room and are quickly overwhelmed with audio issues. Even higher budget films which can afford ADR shouldn't use that as a crutch when they could have just avoided or solved noise issues in pre-production. Besides, nobody likes doing ADR. It's costly, dull, and the integrity of the original performance won't be matched.

 Consider this:

You'd never send a blind location scout to assess a location, why would you send a deaf one?

So when scouting, please take a moment to not only look, but also listen to the space and keep an ear out for noise problems. Better still, invite somebody from the sound team along for the scout to add their input. Thank you!

Sincerely,

The Sound Dept.