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With the speed at which advertising is evolving, there’s no room for complacency. You adapt, or you fall behind. Anyone who has worked in the agency world knows the feeling: the nagging inner voice that, even after sleepless nights of working and reworking, never misses an opportunity to ask whether or not you actually took that project as far as you could’ve.

Fear of all-things-average is, at once, the bane of creativity—and the driving force behind it. We wanted to further dig into this idea, so we talked to seven industry-leading creatives on reaching the top and staying there.

Sometimes, you’ve just gotta shoot your shot. After returning from paternity leave, Creative Director Danny Hunt called a meeting with the executive creative directors at The&Partnership and said, “I want the Argos account.” And that was that. He went on to create the iconic “Book of Dreams” spot, along with a massively successful installation, that helped catapult his career even further.

We launched our Behind the Work series to feature incredible filmmakers and the skills required to produce great content. In season two, we’re pulling the curtain back on the creative processes that precede the work these filmmakers create. As we spoke with The North Face’s creative team about their short film Lhotse, we noticed gems throughout. In-between anecdotes of avalanches and 8,000-meter summits, there were so many branded content truths that extended beyond the project. It takes a lot of skill and experience to successfully produce a film like this one, and we wanted to share these takeaways with you. Here’s The North Face’s creative team on what it takes to make a film like Lhotse.

They say, “A bad carpenter blames his tools.” But, if you’re looking on the bright side, the right tools can be made even more effective when put in capable hands. We see it all the time at Filmsupply—creatives license our filmmakers’ incredible work and turn it into something new and incredible. We live for it, but we don’t often get to take a peek into the process behind it, this metamorphosis. Luckily, Michael Quinones and Ian Watt gave us this rare glimpse.

The past year has taught us a lot about what really matters, and the same goes for advertising. As productions were canceled or pushed back, agencies around the world were forced to take a second look at the brief and come up with something they could create with resources at-hand. What they came away with was the fact that you don’t need a massive production to tell a compelling story. You need a message and a creative way to deliver it.

Occasionally Filmsupply’s blog features articles from guest contributors. Today’s article on the state of the commercial industry comes from our CEO Daniel McCarthy. I promise I’ll only use this phrase once: 2020 has been unprecedented. And whether we return to normalcy next year or not, I do know there’s no going back. We experienced permanent
When you’re watching a piece of branded content, there’s a reason most of them end with a blue-chip logo. Producing a film for any brand involves many unknowns, the biggest of which is what it will actually do to benefit the company. As one of the riskiest forms of advertising, it helps to be holding