JustFab’s Post

Brilliantly done as always

Chances are you are hiring production professionals who are faking it. This is just facts. Most up and coming in the regional markets weren't trained, weren't brought up on set, or in a production office. Production isn't easy... well unless your creative is weak and you have a big budget, then its impossible not to screw it up. And many have figured out, hire a good DP, say yes to everything and "you too can be an exec producer or even a director!" I'll leave you with this. In Wherespot FB group this past week this was a post: A client wants to hire me to produce a few commercial spots in Houston. The project requires Talent, Director, DP, key grip with gear, and multiple locations, so maybe a location scout. So my question is, what is the person called to put all these pieces together? Would that be the Production Manager? I am looking for a person in Houston who can help me put all these assets together and give me price points for these individuals. Any assistance would be greatly appreciated. Sigh... this was not satire. This person was being hired to "produce" for a client, and literally asked for help "producing" the job without knowing what he was being asked to do or how.

Good opportunity

How to go from a 16-year-old production assistant to opening your own multi million-dollar creative studio in 4 years: I started working as a production assistant at age 16, but I always knew I wanted to be a producer. So I had to start working my way up … from the very bottom. The first thing I did? Start turning down jobs as a production assistant and look for gigs that would get me to the next level. At this point, that meant hunting for “production coordinator” jobs. So I became a production coordinator. After being a production coordinator, I knew I needed to get into production managing. So I became a production manager. From there, I focused on getting into “line producing”— the next step up. Again, I turned down the stability of production managing jobs whenever possible, giving me the capacity to accept more line-producing work. So I became a line producer. This process repeated over the years — work hard to prove myself and then take the leap to get to the next level. And finally, at the age of 20, I started my own creative studio, SixTwentySix. Through every transition, from one role to the next, I consciously took the risk of losing work to make space for what I really wanted. I’ll be honest, it was a pretty uncomfortable place to be. But so many of the founders I look up to have said the same thing: Want to accelerate your own growth? Get comfortable being uncomfortable.

What has happened to all the producer jobs? I've not got any further insight, so it's a bit of an open question. Thankfully it seems like the industry is slowly ticking back to life with Talent Manager and Facebook picking up speed with the job postings, but, I've maybe seen one or two producer jobs. So what does this mean for producers like me? Do we need to take a step down and apply for AP gigs? It's not like I'll be handed a series producer job. Are teams moving forward to consist solely of APs and PDs? It leaves us floating in limbo. I get budgets are being stretched, and even more so now, but a producer on location supporting a director and focusing on editorial and story is an essential component that productions need. What does everyone think? #tvproduction #producers #tvjobs

Two fantastic opportunities in the UK

Most of you know me as a filmmaker, but for the past three years, I've had the pleasure of working at Picture Head, the world's largest trailer finishing company. I was brought on board to launch their first-ever Premiere finishing division. Building a global team from scratch has been an absolute blast. We crafted a new workflow and landed Amazon as a major client. If you've seen trailers for Lord of the Rings, Arcane, or Air on your TV or smartphone, that's likely our handiwork. The folks at Picture Head are truly top-notch at what they do. I've honed some new skills you wouldn't typically associate with a documentary director, like integrating a global workforce, designing a communication system for 300 employees, streamlining financial workflows, and developing a post-production pipeline that churns out hundreds of files daily. With the pipeline now running, the job is complete. It's an interesting time out there, so I'm open to many things. I'm searching for documentary work, but I also have a lot of knowledge in post-production, corporate optimization, and even launching a business. Have something in mind, I'd love to hear it. #Filmmaker #Documentary #PostProduction #CorporateOptimization #BusinessGrowth #Collaboration #NewOpportunities

As the Operations Manager of a content channel, my role is unusual. I don’t just crunch numbers and punch them into Spreadsheets. No. I’m basically the shield of the business. Complete with an eye-catching star, a la Captain America. Like a shield, I protect our channel from any bad contracts or potential poor publicity. I surround and equip the creatives to do their work, removing them from day-to-day admin. I throw myself into the deep end to fix problems, and I attend meetings nobody else might understand. Simply put, I sacrifice my time and energy to keep all team members safe and happy. That’s the responsibility of an Operations Manager for a content channel. #Operations

#wouldyouratherwednesday Team builders. Which person would you rather hire: Person A: 20% chance of being a 10X producer, 80% chance of failing and having to be let go w/in 3 months, 0% chance of being an average producer. Person B: 80% chance of being an average producer, 20% chance of failing and having to be let go w/in 3 months, 0% chance of being a 10X producer. As always, please show your work in the comments.