Angee Murray sat down with three Art Producers from some of the top agencies in LA and asked them a few questions about how they are hiring photographers to handle the ever growing client demands of multimedia platforms.
AXS: As social media plays a big part in the marketing of our clients, how is it affecting your productions? And do you lean towards hiring influencers for those jobs?
Andrea Flaherty: Some of our content has to be created with social in mind, but not specifically for it. For instance, we may have to create video edits that are within size and time limits for Instagram or Twitter, but that’s all. We do not handle social media accounts for our clients so we are not involved with the posting, tracking, etc. We do not hire influencers.
Cameron Ford: Yes, and no. While social media plays a role in the majority of our projects, hiring an influencer is dependent on the campaign and if it requires or benefits from partnering with an influencer to extend the overall media reach for our client. Shooting to meet the needs and dimensions of social media is always part of the conversation with a photographer when preparing for a shoot regardless of who owns the platform on which the imagery will ultimately live. In other words, sometimes we’re shooting solely for our client’s social media platforms, in which case a photographer’s social media presence/influence isn’t entirely relevant. Other times our client chooses to leverage an influencer’s social media platforms. Assuming the type of influencer social media platform desired for the campaign is one heavily based in photography (i.e. Instagram), then a photographer’s social media presence/influence is obviously extremely important.
Rachel Crain: Most of the time we have separate budgets for social media. We tend to capture a library of assets on our big shoots and social media will pick up shots. On occasion, we will hire a BTS photographer to capture images on our broadcast sets specifically for social media. The photographers that are selected for these shoots are hired for their look and talent. It doesn’t make a difference to us how many followers they have on Instagram.
AXS: Due to the multifaceted needs of clients today, what trends do you see in the industry, and where do see you it going?
Andrea Flaherty: Motion, motion, motion. Whether live action videos, animations, cinemagraphs, you name it – the digital space is becoming ever-present and moving images captivate much more than static. This includes mobile apps, interactive experiences, and virtual reality. Often times our video projects are a combination of live footage and detailed and dynamic VFX.
Cameron Ford: More of a production trend than an aesthetic one – we are constantly shooting photography alongside motion/broadcast sets. Experience and knowledge in navigating such is always a plus when sourcing potential photographers – and I anticipate will continue to be as productions for both still and motion become more integrated and efficient.
Rachel Crain: I have noticed a lot of photographers are creating cinemagraphs. As much as I think cinemagraphs are really intriguing, I don’t think it’s something every photographer needs to have on their site. It’s probably just another trend. It won’t be long for the next cool thing to takes its place.
AXS: So that said, do you frequently recommend or hire photographers for motion projects?
Andrea Flaherty: Yes. Many car photographers shoot both still and motion, so I frequently bid motion jobs with photographers we have previously done still shoots with.
Cameron Ford: We frequently hire photographers to shoot the still components of motion projects, but rarely hire photographers to shoot the actual motion elements. GIFs and Cinemagraphs, however, are recurring deliverables for many of our clients – and we regularly hire photographers to help capture those!
Rachel Crain: I haven’t hired a photographer specifically for a motion project, but for a combo of both. I think it helps a photographer to have video experience because we don’t always have the budgets for a big video production on integrated jobs.
AXS: Thanks for shedding some light on what is happening in the new trends of shooting but we can’t go without asking, what has been your most memorable promo that has caught your eye lately?
Andrea Flaherty: Promos that are relevant to the work done at the Agency. Someone who does their homework makes for a more thoughtful presentation.
Cameron Ford: I am drawn to promos that aren’t overwhelmed with or cluttered by photographer and agent branding. Contact info and branding is certainly important, but the most impactful promos are those that integrate said elements in a tasteful, simple way that doesn’t interfere with the art.
Rachel Crain: Unique special promos stand out. I received a beautiful set of 20 blank stationary cards with the photographer’s images on them that looked like a polaroid. I love sending notecards and this promo really caught my attention.
Prior to joining Agency Access, Angee Murray was an Art Producer at Saatchi & Saatchi L.A. Her 15+ years of working in advertising with high-profile artists has given her great insights into the type of work that stands out, how to make connections and how to nourish those relationships. She brings a keen eye and creative problem solving to the world of consulting.
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