Fresh out of film school, we yearn to direct our passion project, have our story seen and acknowledged and, yes, maybe even acclaimed.
And the last thing we want to do is work in advertising. We’ve all had the thought at some point and resisted it. Slum it in the mainstream? No. You earned a Bachelor of the Arts, not Crafts.
Truth is, though, commercial video production can be an essential part of the journey—now more than ever—and it’s common for filmmakers to make commercials to support their careers. So here’s how I got here:
I graduated with a thesis film that did quite well on the festival circuit, but afterward I was getting any offers for a next job in video production. I worked as a production assistant, a camera assistant, and a camera operator.
I kept at it. Between gigs, I made two features, including Who Is Arthur Chu? which premiered at Slamdance. While it was a step in the right direction, we weren’t even close to recouping the budget, and it was unclear as to how many more self-funded documentaries I would have to make before I could finally make a career of it.
Within months, I found myself back on job sites looking for work. I saw a Facebook post for FCB’s in-house Director of Photography and applied with the hopes of getting an interview while I was in town for Hot Docs. I got the job, but I still had no idea how to become a commercial director, and I didn’t see this as the path—it was a junior position, and I would have to spend most of my time editing.
However, within a couple of years, I directed a campaign that won gold at Cannes. The landscape is changing, and you can do some great work without being repped by a production company (see No. 5 on this list).
So if you’re looking to break into making commercials? Here are a few ways to have a go at it:
Most advertising agencies have an in-house production team. While they mostly focus on post-production, there’s usually at least one full time videographer to cover any low-budget live-action needs.
To find these advertising agency jobs, start by going through the top ad agency websites: BBDO, Cossette, DDB, Sid Lee, etc. Find their local market websites and look for the production arm of the company. For example, BBDO Toronto has Flare, and McCann has Craft. You might have to dig a little, but find contact information for the “Head of Production,” the “VP of Production,” or the “Executive Producer (EP).”
If they don’t have an in-house team for live-action, they usually have a roster of freelance directors/DP’s which they can “white label” when the job doesn’t have money to go to a production house. Don’t worry if you don’t have a background in commercials either. Just be sure to sell your strengths!
Many of the reels they see will look polished but homologous. Distinctive storytelling stands out.
This route is how you make connections with the creative teams who may hire you one day. As brands continue to look for cheaper outlets for content, this in-house role has become more integral to the streamlining agency workflow.
These are smaller advertising companies (mostly operating in the digital or media space) that frequently hire filmmakers to shoot video content for brands. Search for marketing companies in your city that offer video or production services. Check their client roster to make sure that they collaborate with companies that have high brand awareness (and not just the local gym or hair salon), then make sure their work aligns with your vision and style.
Many of the brands we work with at FCB also collaborate with marketing teams for content (especially when partnering with influencers creating content for social media platforms). Both marketing companies and agencies get hundreds of emails from people soliciting their services.
Keep it personal. Tell them why you like their company specifically. Include a link to your reel if you are a DP and full spots if you are a director. These can be short films or music videos if you don’t have any commercial samples in your portfolio.
While it is a visual medium, avoid putting your emails in newsletter form with lots of embedded photos; it may be mistaken for junk mail.
Branded content has been around for longer than agencies want to admit, and there’s plenty of content creators making films and commercials directly for brands (Redbull, Otterbox, and Yeti, to name a few). How can you work for a brand you love? Reach out to them!
Start small. Seek out a contact for their CMO (Chief Marketing Officer) or anyone else on their marketing team (LinkedIn could be a resource if you don’t have any luck on the company’s website). It helps to have a specific idea in mind, particularly if it means working with one of their brand ambassadors. You should reach out to them before approaching the CMO. They may have more pull given their fame (e.g., athletes, musicians, influencers).
It will help if the brand has a history of working with filmmakers. For example, visit the Yeti short films page.
If you are still not getting much of a response (which is common), you can also take advantage of video crowdsourcing platforms like Tongal. These services help connect brands directly to content creators Brands like LEGO, Paramount Pictures, and Nickelodeon who have a need for creative content will post a public brief, almost like a video production RFP.
Tongal offers opportunities for everyone, regardless of your location or experience level. Whether you're seeking an entry level video production job, are a seasoned professional, a director, or an animator, Tongal has work for you. You can earn funding based solely on the merit of your idea and your capability to bring it to life.
Have a plan in place before you pitch! Tongal's guide to pitching is a great place to start. This is an opportunity to make connections with brands and showcase your creativity. Even if you don’t get the green light, you'll still have a polished spot for your reel.
Traditionally, brands hire ad agencies to make the creative and those agencies bring on the video production company. This approach is for bigger budget jobs; therefore, more experience is required to get on those rosters of directors, cinematographers, editors, and production designers.
Starting with any of the above paths will help you get more work in your portfolio and get noticed by a production house. If you choose to bypass options 1 through 4, you may want to consider shooting a spec ad.
Make sure you understand the brand first. Sure, put some money into the camera rental, as production houses will want it to have the same look as other work in their portfolio (lots of strategies here, but that warrants its own separate blog post).
Sometimes a production company may help you finish a spec idea or put you on a low-budget commercial, providing you use the same resources they would give other directors on their roster. This is especially the case if you’ve done some great work but don’t have any commercials to showcase.
Keep in mind that brands, creatives, and video production agencies all want to see that you can do one thing well. Don’t be afraid to be known as someone specifically adept at directing stop-motion, product ads, or comedy. After directing a spot with Giannis Antetokounmpo, multiple production companies contacted me looking for someone who has experience working with athletes. Know what you want to do—and what you excel at—and focus on it as you grow your portfolio.
Several websites list the top commercial production companies in town. Adforum has a pretty comprehensive list. However, your best bet is to research the market you’re in and start with the smallest companies first.
6. Individual Crew Positions
An often overlooked way of getting into the industry is by applying for a film crew job and working your way up. You’ll make connections and gain experience along the way. If you’re starting in a production assistant job, make sure you let the line producer know that you are interested in the camera or art department. Be sure to send follow-up emails to department heads after each shoot, as they often bring on their assistants.
Did you know you can find film crew jobs on Tongal? Fill out your portfolio on Tongal and post in project forums if you want to be considered for a crew job. You can also apply for Tongal's On-Set Apprenticeship Program, which pays you to work on a film crew and learn from a department head or director.
In the meantime, keep making material you’re passionate about (even if it is on your iPhone while quarantined in your bedroom). Don’t worry if it doesn’t appeal to agencies or brands yet; it will help you find your voice.
And don’t forget about the power of networking. We often isolate ourselves in these competitive silos. But the reality is most people get jobs through the connections they’ve made.
Finally, don’t forget to be patient. I’m ten years out of film school and still “breaking in,” so just be patient. Be kind, work hard, and the rest will fall into place in time.
Are you a filmmaker looking for your big break? Tongal can help you find paid work with the world's biggest brands.
