How can you shift the odds in your favor when it comes to preparing for the dreaded pitch? Check out our guide to building pitch reels to share winning work with the world.
A Tradition Stuck In The Past
Let’s face it: the traditional agency pitch is a drawn-out, sprawling, cumbersome process that has made its way into all aspects of creative business development.
From selling agency services to proposing high-profile campaigns; from bidding on big commercial production projects to placing new talent – in every creative endeavor, agencies, boutique firms and reps dutifully invest time, creative energy, and resources into frustratingly rigid dog-and-pony shows. And talk about rigid: according to pitch consultancy ID Comms, today’s agency pitch process has been in place since the early 1990’s. In other words, “most consultants’ pitch templates are older than the internet.”
Even during the COVID-19 pandemic when accelerated changes swept through so many other industries, these archaic processes still remained in place, keeping agencies tied to stagnant and unproductive methods of developing new business – while the rest of the world raced ahead. Basically, we’re stuck with the traditional pitch.
The Creative Cost
Yes, the process is rigid and time consuming. Yes, the average agency surveyed in industry report The OUCH! Factor™ spent 22.2 days’ worth of staff time last year on each pitch they entered (equal to one employee working one full month per pitch – 11 times a year). And sure, the odds of winning the pitch after all that work are around half, according to the same research. It couldn’t get any worse, right? Wrong.
New studies have shown that the traditional pitch process actually undermines the core strength of an agency or commercial production company: your creativity.
“We’re meant to be in the business of creativity, but the focus has shifted,” says MullenLowe Group UK’s Lucy Taylor in a Campaign Live article from March 2022, Resetting the pitch process and bringing the soul back to adland.
Pitches can be very stressful and lead to burnout, posing a serious problem for clients, who require an ecosystem of dynamic agencies doing great creative work, which is “the lifeblood of our industry,” says Andrew Lowdon from ISBA, the trade body representing advertisers, in Marketing Week. After all, says Jemima Monies of adam&eveDDB in the Creative Salon, “New business should be a means of nurturing talent, rather than draining it.”
How can you shift the odds in your favor when it comes to preparing for the dreaded pitch?
The Agency Reel: The Win Before The Pitch
Consider the common, basic criteria clients use to determine the fit of any agency— essentially, the admission price for you to compete: you understand the clients’ business, the vision, their immediate need · you have experience in their industry you’ve got a recognizable roster of previous clients you’ve got the right mix and level of capabilities you’ve shown you can personalize your solution to them
With one creative reel done right, you can prove to your prospects that you possess all these characteristics, before you invest valuable hours into a pitch.
A good reel will help pave the way into a prospect conversation, while leading with proof points they care about— giving them confidence to include you in the brief.
Better yet, a reel will allow you to learn earlier in the process (even before the competition begins) whether the client feels you’re a good fit. Then you can determine whether to continue to invest, or weed out the clients that aren’t a good match, and, instead, pivot to the next important project.
What’s important to note is this: the best reels reflect the specific client who’s watching it, and demonstrate what you can do for their exact needs. That airtight resonance of your work with the client’s needs is what gives a reel the best chance at hitting every one of their initial criteria.
Sizzle On Demand?
Of course, every client is different. That means the best reel you can use is one that’s customized for each client. And creating custom sizzle reels professionally can get very expensive—up to $10,000 per minute of finished video, or more in many cases.
And that’s the conundrum: on one hand, a reel made just for the client you want to pitch will be far more effective, and ultimately win more of the right clients for your agency or firm. On the other, it’s risky, involved, and expensive to professionally create a bespoke agency reel each time, when you have no idea whether you’ll land the project.
If you’re going to engage with multiple prospects while trying to beat The OUCH! Factor™ odds, it makes sense to scale your reel-building capabilities internally. Doing this will allow you to conduct business development proactively and more swiftly when you want to get ahead of the pitching cycle; reduce the expense and time of customizing every reel; and most importantly, increase the “at bats” your reps can get for you with as many clients as you can handle.
Best of all, with the right tools, it’s possible to build reels quickly with the people you have in place (whether internal talent or outside reps), using the content you’ve already created. Just make sure the tools you choose have what it takes to hit all the right marks with clients.
Agency-Friendly Requirements For Reel-Building Tools
As a secure and highly customizable media management and reel sharing solution for 1,500 creative companies around the globe, Wiredrive has had marketing teams, agencies, and commercial production businesses as our customers for more than a decade. Our customers have called Wiredrive one of their favorite solutions for making custom reels – and the software includes a complete set of features designed specifically for this capability, called Library.
We’ve examined the usage of hundreds of Library customers and categorized their reel-building requirements into three major themes. Keep reading for the specific features you should look for when considering your own internal solution for custom reels.
First Things First: Streamline Steps
Every additional process it takes to get from your content to your finished reel is another obstacle between you and your potential clients.
Think about all the disparate components involved in delivering a video show reel today—from cataloging and finding all the pieces of content you want included, to getting them from where they are into the right format and location for production, to designing a template to showcase them – and look for a solution that eliminates steps all along the way.
Connection To Asset Catalog
Everything starts with the assets. Since the reel is your resume (tailored, of course, to your prospect), you’ll likely draw from the entire library of your creative work as the source of raw materials for the final portfolio. Why not use a presentation tool that connects directly to those assets?
Instead of having to start from scratch and think about “Wait a minute, was that on Vimeo? Do we still have that in storage?” choose a solution that doesn’t require people to take the media out of one system and move it, transfer it, or send it into another system.
When you have a library of all your final finished work, already uploaded, cataloged, tagged, and easy to find, you can easily use it as the back-end of your media source and then wrap a show reel around it.
Consolidation Of Multiple Tools
Most agencies and production teams could be using up to a half dozen or so different tools to present and share their work. Anything from downloading media from their company Google Drive to creating Keynote presentations that link to Vimeo videos, to collecting everything in a video site like Wistia, and even creating custom websites to host pitch reels.
Not only does this involve a multi-step process to collect assets and deliver a polished reel, but it also means paying a half dozen monthly fees for different tools—along with the multiple storage costs across those tools.
Find a front-end solution that consolidates a lot of discrete tools that don’t talk to each other, and instead contains everything in one platform that handles each task, all collated together. Otherwise, you end up paying for that many vendors, and taking on the administrative overhead of the fragmented landscape.
Keep Things Simple
This is the next major theme: you want tools that are simple enough that anyone who needs to can create a reel when prospects need to see one. And “anyone” could even mean your sales reps who have a prospective client on the line that wants to see something right now.
Your responsiveness alone—along with your quick-turnaround capability of a beautiful presentation—will make a strong impression from the start.
Easy for Non-Designers
If most of the people pitching your services are natural-born salespeople, not natural-born designers, one requirement to look for in augmenting your in-house reel capabilities is the ability to create impressive-looking output without being a professional designer.
Prebuilt templates, customizable design themes, and drag-and-drop presentation building are valuable features that any presentation software should have. The further ability to simply plug in the desired asset and have it “just work” saves many nail-biting hours otherwise spent struggling with incompatible file formats, complicated editing software, and painstaking adherence to creative guidelines.
Brand-Customizable
If there’s any caution around allowing reps and other non-creatives to build effective agency reels, it’s that you have clear standards for external-facing presentations, fixed guidelines for what they should look like, and a reluctance for people to simply make their own and go off-brand. After all, that’s a recipe for what should be a captivating portfolio to turn into Myspace really quickly. Regardless of whether your staff and reps are creatively gifted or visual newbies, ensure your solution can be deployed under a model of brand control. Set up templates that do fit the model, and then that template can be applied automatically to hundreds, thousands of presentations that get sent out for all the things that you do.
No Code Platform
It’s worth mentioning that bringing the tools for reel-building in-house doesn’t necessarily mean everyone needs additional tech skills (or a new hire to manage the solution). Many small companies would contract with a web development firm to create bespoke client branded web pages, but then the agency would still need to figure out how to get them the assets they need, how to ensure client assets are secure, how to specify the correct analytics. It truly is cost-saving, complexity-saving, and time-saving when the platform doesn’t require staying up to date on technology skills.
Embrace Analytics
Posting a sizzle reel on YouTube could show you the number of views, daily trends, and so on, but with the right tools you can gain enough knowledge over time to know in advance whether your pitch will have a chance.
Reporting And Insights
How powerful would it be if you could eliminate uncertainty around the business development process? To have insight about whether your reel was viewed (or wasn’t), the knowledge of how widely it was shared, and potentially, even the confidence to determine whether you’ll be selected?
Make sure the solution you choose has enough data reporting built-in that you can make better, faster, and more effective decisions about the presentations and reels you’ve sent out.
It’s one thing to check the basic box of “So oh, could you use a Google Analytics code and put it on the web page where the video was shared?” But it’s another to be able answer questions around, for instance, how much media was viewed by your recipient. Was only a short clip viewed and then the window closed, or did the recipient stay engaged enough to view the entire reel? Was it shared with other people? In what time span was it viewed?
All of these types of insights can signal interest, consideration, and urgency of a decision—or it can indicate that your creative efforts should be spent on the next promising account. Find a solution that helps you make better, more profitable decisions.
Make Your Next Pitch A Fast One
The agency pitching process isn’t going away anytime soon. But with tools that let you quickly put your prospective clients’ vision front-and-center – using the beautiful work you’ve already created – you can get on the shortlist, and possibly even short-circuit the distance to a winning pitch.
Wiredrive Library puts your entire media vault at your fingertips. When all your assets are so readily available to your team, you can empower your stakeholders, sales and marketing teams to easily create and send video reels and multimedia presentations of finished work, to help present your work effectively – and win more pitches with less pain.
Want To Learn More?
Discover why agencies and commercial production companies have found that Wiredrive by EditShare makes a difference in their pitching workflows.
Check out this case study to find out how Australia-based video agency New Mac became more efficient at responding to business opportunities, and improved how they present themselves in those opportunities.
EditShare’s video workflow and storage solutions power the biggest names in entertainment and advertising, helping them securely manage, present, and collaborate on their highest-value projects. To learn more about how EditShare can help your video production team, contact us today.
EditShare versatility supports the university’s esteemed science studies
Boston, MA – March 1, 2022–EditShare®, the technology leader that enables storytellers to create and manage collaborative media workflows, today announced that Hong Kong Metropolitan University has expanded its investment in EditShare, installing FLOW media management and EFS shared storage as the core content platform for its Nursing Simulation program.
EditShare’s integration with the program’s SimCapture, which is used to record and assess student performance, provides a centralized repository and archive that educators can easily access, share learning outcomes and proof of performance. The innovative workflow was designed and deployed by EditShare Channel Partner Viewcon.
“Video is one of the core components of our high-quality training and education. It helps us track trends, improve learning and document methods and time spent on practical training,” said Wilson Yau, AV Technology Manager (ALTO), Hong Kong Metropolitan University.
Prior to the installation of EditShare, Hong Kong Metropolitan University stored the files on standard storage, using Windows Explorer to search and locate videos. Yaucontinued, “For audits and official records, our university keeps its videos for seven years which equate to hundreds of thousands of video files. EditShare worked well in our AV Production Studio and we knew it would automate many of the manual processes that come with storing and sharing video at this scale.”
The innovative workflow features EFS tiered storage with integrated production, nearline and archive capabilities. FLOW serves as the control layer, automatically migrating video content, including simulation records, from the SimCapture to EFS. Metadata is automatically added to the video and includes key information such as teacher, student, session and other notes. Staff can log into the web-based FLOW dashboard, search videos on a number of angles, add further notes, share, and playback practical sessions.
Yau explained, “Prior to EditShare, staff would manually put all this information into the file and then drag and drop it into the storage. There are roughly 140 files recorded per day so this task was incredibly time-consuming, tedious and prone to human error. EditShare was able to build a custom workflow that automated all of the manual tasks, ensuring these were accurately documented and available for viewing moments after they were made.”
EditShare’s Chief Revenue Officer, Said Bacho comments, “EditShare has deep expertise in the education market. Our systems are used by educational institutions all over the world which speaks volumes of its agility to adapt to specialized environments like Hong Kong Metropolitan University’s Nursing Simulation program.”
EditShare is a technology leader that enables collaborative media workflows on-premise, in the cloud, or in a hybrid configuration. With customer and partner success at the heart of EditShare’s core values, our open software solutions and robust APIs improve workflow collaboration and third-party integrations across the entire production chain, ensuring a world-class experience that is second to none. The high-performance software lineup includes media optimized shared storage management, archiving and backup, and media management, all supported with open APIs for extensible integration.
“Have you ever tried the experiment of saying some plain word, such as ‘dog,’ thirty times? By the thirtieth time it has become a word like ‘snark’ or ‘pobble.’ It does not become tame, it becomes wild, by repetition.”
— G.K. Chesterton
The word authenticity has become wild to me, liberated from the confines of its OED definition by repeated use in the ad briefs I read and the pitch treatments I write as a freelancer. It’s gone feral, free to explore new identities.
Semantic satiation is the name of this phenomenon. The term, coined by psychologist Leon James in 1962, refers to a type of fatigue. “If you repeat a word,” says James, “the meaning in the word keeps being repeated, and then it becomes refractory, or more resistant to being elicited again and again.”
Could the authenticity that The Washington Post calls for in its gritty “Democracy Dies In Darkness” campaign really be the same authenticity Fiji Water hopes they’ll get from an aspirational Instagram personality? I’ve regurgitated the word so many times that I’m no longer convinced I know what it means, but I do know it’s what everyone wants.
Trust fails and falls
According to a recent survey asking more than 1,500 people in the United States, the UK, and Australia about their marketing preferences, 90 percent responded that authenticity is important when it comes to choosing which companies they spend money on. Forbes attributed this desire for authenticity to recurring corporate transgressions like data mining that have left consumer trust at an all-time low. “To win the hearts and business of your target customers,” the author writes, “you have to convince them you are trustworthy.”
Until recently, the most noticeable trust-building exercises companies have done with audiences have been based largely on look and feel — think of the rise of docustyle commercials and branded documentaries. But, no matter how authentic an ad looks to a viewer, they know it’s always going to be a fantasy/reality hybrid told through a subjective lens, all meant to sell them something. Authenticity campaigns are emotional — they strike deepest when they evoke feelings that ring true.
However, what rings true for audiences has been exponentially refining itself through a process similar to semantic satiation. Repeated depictions of reality become refractory for savvy twenty-first-century audiences. In 2019, for example, no one would think The Blair Witch Project was depicting real events the way people in 1999 certainly did (including my boyfriend at the time, who thought I’d taken him to a snuff film).
Audiences now require more, an integrity that goes beyond the lens. The process behind how they’re being marketed to matters. Interestingly, two strategies that are addressing this head-on are user-generated content (UGC) and influencer marketing, methods that seem on opposite ends of the spectrum but are actually united in authenticity’s ultimate goal: connection.
Straight from the source
“There was a whale, deep in the ocean, being suffocated by a rope from a ship,” says Keith Marmon, business affairs manager at The Mill, an Academy Award-winning VFX and content-creation studio. “The scuba divers approached, and the whale looked at them. You could actually see the whale give consent to the divers to cut the rope. It was incredibly emotional.”
Marmon is describing a clip he’d seen of GoPro footage sourced by Catch&Release, a San Francisco-based company taking UGC in an interesting direction. “You could, technically, re-create that,” he adds. “But it’s not the same.”
UGC is a nebulous term for online material made discoverable by people who aren’t necessarily sharing it with the intention to sell. The content could range from Facebook or Instagram posts to original artwork, music, or video clips. Companies most frequently use UGC in marketing — say you publicly post a video of your Mount Rainier ascent and then the mountain guide company you used contacts you to ask if they can share it on their website.
With the rise of social media in the past decade, companies claim that UGC humanizes their campaigns and bolsters their overall marketing strategies, primarily because recommendations made by people who post their footage for fun, not profit, feel more genuine. However, navigating social media to find the nice things people post about your business is such a time-sucking morass that a number of aggregate platforms — Stackla, TINT, CrowdRiff, and Yotpo, to name a few — have sprung up expressly for this purpose.
Like the aggregates, Catch&Release also offers a searchable platform for its customers, but that’s where the similarities seemingly end. One of the company’s essential strengths lies in its staff of curators. “They know all the nooks and crannies,” says Marmon. “They’ve studied the patterns of where the premiere stuff lives on the Internet. [Their skill] ends up taking a lot of time and obligation off my team.”
Catch&Release has carved a niche by focusing on the production industry, which CEO Analisa Goodin believes has become increasingly reliant on technology to scale up to the content demands of the digital economy. “Creative teams are trying to achieve more with less time and less money,” she says. “We believe that found content — already made, already shot, online, discoverable — as long as we can license it, becomes a great supplement to original production.”
She illustrates what she means by pointing to the recent “Seafood with Standards“ Red Lobster campaign her company worked on. Red Lobster wanted to break from its shrimp-dipped-in-butter-style commercials to a “brand anthem,” the kind of ad that declares who a company is and what they stand for. However, the company had a tight budget and an even tighter turnaround. Within three weeks, Catch&Release culled from the Internet enough verité-style footage of fishermen and women (who fished in locations from which Red Lobster actually sourced fish) that Red Lobster was able to produce a collage-style ad with a multi-faceted and emotionally moving message.
Had Red Lobster attempted to document the daily grind of fishing boats in different locations for themselves, it likely would’ve cost millions of dollars, required the services of more than a hundred people, left an enormous carbon footprint, and taken at least three months to produce. Additionally, as is often the case with “real story” branded content, the “real people” featured aren’t compensated the way actors in a regular commercial would be because it’s a “documentary.” Because it used sourced material, Red Lobster had to license the footage and pay the people whose lifestyle it was showcasing and who initially shot those videos solely for their own community.
While other UGC platforms focus solely on social media and then rely on the terms and conditions users agree to on the platforms for licensing (“ . . . you hereby grant to Instagram a non-exclusive, fully paid, royalty-free, transferable, sub-licensable, worldwide license to use the Content that you post on or through the Service”), Catch&Release widens its net to the entirety of the Internet and then works with independent content creators one-on-one to procure rights. Goodin says, “When we ask you to do something like, ‘upload your master file’ or ‘get model releases for your friends that appear in the shot with you,’ it’s because the client has already seen your work, they love it, and there’s a 95 percent chance you’re about to get paid.”
Catch&Release’s resourceful approach not only provides cost-cutting solutions and an added dimension of authenticity to docustyle commercials and branded documentary, it’s arguably a new style of storytelling more akin to the archival footage collage documentaries director Adam Curtis makes for the BBC than typical ad-world templates. “It’s a different process, a reverse process,” Goodin told the Women Worldwide podcast last year. “Clients are starting to come to us and say ‘Here’s what we’re thinking about shooting. Can we start with Catch&Release, find out what’s out there, figure out where the holes are, and then fill those holes in by shooting?’”
Under the influence
If I were to pinpoint the moment when the meaning of authenticity became murky for me, it might be when I watched a ring-lit YouTube influencer named Andrea Russett — who had been described to me as “authentic” — extol the virtues of Argan Oil of Morocco’s dry shampoo from her funky fresh bedroom. “They must have meant aspirational,” I thought. The whole thing just seemed so orchestrated.
I thought of the documentary Jawline, which chronicles sixteen-year-old Austyn Tester on his quest to become an Instagram influencer. To me, what Tester posts on his Instagram account is aspirational, the best version of his life. What’s authentic are the barely-scraping-by struggles he goes through in Jawline.
But, according to Maria Gonima, I likely felt this way about Russett because I hadn’t been following her or personalities like her since I was fifteen. I hadn’t watched her cry on screen and then, after she apologized for not posting for two weeks because she was having a rough time, I didn’t post an emotional comment saying that I, too, have had rough times. Gonima, formerly at Fullscreen and now the head of Big Smile, a marketing company that specializes in influencer engagement (among other services), says, “Now some of these kids are twenty-three, and their viewers have been with them for eight or nine years. Grown up with them! That’s a relationship to an audience that just doesn’t happen with traditional advertising.”
Russett rose to YouTube fame as a fourteen-year-old in 2009, when her video entry for a Justin Bieber contest went viral. Since then, Russett’s 3 million subscribers have stuck with her as she got her first job, dyed her hair purple, blew up on other platforms, started an acting career, began smoking weed, and came out as bisexual.
They’ve also watched her team up with L’Oreal and Sour Patch Kids, brands that want exposure to a loyal audience who follow Russett and trust her recommendations. However, according to Gonima, it’s Russett who has the final say in how she’ll talk about them. “Behind the scenes, there are people fighting on behalf of the influencers,” she says. “A lot of time, they’re not going to say or do exactly what brands might want them to because, ultimately, the influencer has more power than the brands.”
But what about influencers faking sponsorship for status reasons or the whole Fyre Festival debaclewhen Kendall Jenner and Bella Hadid didn’t disclose that their posts were sponsored and sold their followers on an epic fiasco? According to Gonima, as long as influencer advertising laws are followed, social media audiences can be trusted to know when someone is being inauthentic just as much as television audiences can.
“A lot of time, they’re not going to say or do exactly what brands might want them to because, ultimately, the influencer has more power than the brands.”
“There’s the side where the follower knows they’re being sold to, but they don’t care because they want to live that flawless skin life,” she says. “That’s just like commercials, like a CoverGirl ad. Then there’s the other side where the influencer is like ‘Hey, I’m a person like you. You’ve been with me for a while now — come with me while Discovery Channel pays for me to go around the world for a week!’ It’s a tone and trust that’s built over years.”
Influencer marketing is predicated on a one-on-one relationship that’s continuously evolving over time and intuited by viewers. It relies on something that looks more like the ups-and-downs of a friendship than a condensed storytelling experience. So, even though the halo lighting might conspicuously accent the considered, jaunty placement of a background pillow and the influencer’s intensely on-point hair, the aspirational aesthetics framing what a YouTuber chooses to show the public don’t just immediately erase the authentic feelings and trust the viewer has developed for the influencer and his or her world.
Authenticity in influencer marketing is measured by a completely different metric than something like the UGC-heavy Red Lobster commercial, but, as strategies, both UGC and influencer marketing have evolved into effective tools for evoking the more refined emotions of today’s reality-savvy viewers. The goalposts for what constitutes authenticity to any given audience are continually shifting, keeping the industry on its toes.
“To be honest, I really do hate the word authenticity,” admits Goodin. “We haven’t been successful in finding an alternative word ourselves.”
“Transparency?” I offer.
“I thought about that too,” she says. “And then I was, like, ‘Ah, I don’t know.’ Maybe we just need to make up the word. I need to make up a new buzzword.”
“Like imagineering,” I say.
“Exactly,” she says. “Why not? Why can’t we?”
The video opens on an unremarkable kiosk on the edge of New York’s Bryant Park. The kiosk is stocked with newspapers and magazines, and a stoic, silent proprietor perches behind its cramped counter, ready to do business. As background music plays over a sped-up shot of crowds passing by, the camera zooms in on a rack of publications with headlines that are, um, surprising.
“Dems Want Christians to Wear Badges”
“Texas Now Recognized as Mexican State”
“Hollywood Elites Are Using Baby Blood to Get High!”
Puzzling? Sure. Far-fetched? You bet. But that’s the point. Everything is made up, and it’s all gibberish — but it’s gibberish drawn from 100 of the most heavily shared “news” stories on social media in 2018.
Viewers are meant to be deeply skeptical of what they see in The Fake News Stand, an award-winning production from TBWAChiatDay made in collaboration with pro bono client Columbia Journalism Review, a nonprofit publication tracking the state of U.S. journalism through the startling upheavals of the digital news era. Its mission is especially challenging under the administration of President Donald Trump, who favors the term “fake news” to describe unflattering coverage of him or his policies and who calls the media the “enemy of the American people,” a variation on similar sentiments from totalitarian leaders such as Mao Zedong, Joseph Stalin, and Nazi propaganda minister Joseph Goebbels.
Working with the agency on its second project to counter the postfactual environment of the Trump years, CJR and the agency set the project date just ahead of the 2018 midterm elections. Throughout the day, they engaged passers-by who idly leafed through the roster of fake titles: The Informationalist, The Manhattan Daily, Hussle, New York Paper, and The Weekly Journal. Every one of the slickly plausible covers, vivid visual echoes of TIME, The Economist, The New York Times, The Wall Street Journal, and People, was bogus. But inside, each made-up publication contained a thoughtful, direct insert full of tips on recognizing misinformation, complete with tips on taking a skeptical, fact-based approach to news found on social media.
A public mission, an agency challenge
For Alex Lumain and K.S. Shanti, who spearheaded the 27-person TBWAChiatDay team that produced the 2-minute spot chronicling the late October 2018 day when the real stand was taken over by fake news, the project was a dam erected against the flood of gibberish, lies, and clickbait often mistaken for reliable information just because it’s easily found on the Internet.
“The plan was to bring fake news into the real world,” says Shanti, a TBWA creative who discussed the ad at a reception for one of about two dozen advertising industry awards the spot has garnered. It’s also been the subject of 300 news stories across 103 countries and seen by roughly 2 billion people, according to the agency’s count.
“We had to bring these crazy headlines into a tangible form,” says Lumain, the chief designer for the spot. “By creating these tangible publications and these headlines — well, they were all ludicrous — it was meant to make people wonder, ‘If it’s in print, does that mean it’s real?’”
The one-day exercise in “making people take responsibility for what they read” was an adept, pointed response to a postfactual environment where the term “fake news” has become a weapon in a deeply polarized political environment, says Kyle Pope, editor and publisher of CJR.
“The term ‘fake news’ had become largely useless, because it meant so many different things to so many different people. It ranges from disinformation from Russia to — depending on your politics — the front page of The New York Times,” he says.
The project went on to win awards for industry excellence, branded experience, typography, and design, including a Clio and multiple Cannes Lions honors. While its production costs are unknown, the video followed up on CJR and TBWA’s “Real Journalism Matters” June 2018 print campaign. That effort featured photos of readers perusing magazine and newspapers with similarly fictive headlines: “Dad’s Facebook Posts,” “Some Guy’s Blog,” and “Retweets From Strangers.”
The successor newsstand project “took two minutes to come up with, but the execution took weeks to months,” TBWA/Chiat/Day New York chief creative officer Chris Beresford-Hill told AdAge the day after it appeared. “It felt like a natural extension — taking what people widely consider fake news offline was powerful — but how do we scale that and make it a bigger deal with the midterms approaching?”
Firing back when words are weaponized
Pope, who said the campaign and its print predecessor received an enthusiastic response from its parent publisher, the Columbia University Graduate School of Journalism, after the idea of turning “fake news” back on itself was explained to seasoned journalists and academics whose mission is to teach students entering a profession where truth matters.
“The way people read the news on Facebook and Twitter means there’s almost no differentiation between what’s garbage and what’s not,” Pope says. “Distrust of all institutions is up sharply, whether that’s Congress, the police, the church, or the press. We’re in a time where the president is trying to weaponize this distrust against the press, and we’re trying to help people see what’s real and what’s not.”
The public service dimension cemented the agency-client relationship, with abundant mutual admiration.
“The way people read the news on Facebook and Twitter means there’s almost no differentiation between what’s garbage and what’s not”
“We get to work with amazing clients every day,” says Shanti. “And it was no different with CJR. They believed in the concept and were very collaborative and ambitious. In whatever we’re working on, we’re always striving to find a way to involve our brands within culture, and with The Fake News Stand, we hope it would strike a chord with people and the media, and it did.”
The partnership came about when the agency reached out to CJR. For Pope, who has testified before congressional committees on the threat Trump poses to press freedom, it was a novel, rewarding experience.
“This was a new thing for us,” he says. “They said, ‘We’ve seen what CJR is doing,’ and they were super-enthusiastic about it. They were really committed to it. I can’t speak highly enough about them.”
TBWA and CJR are currently working on a third collaboration focused on climate change, which Shanti calls a natural outgrowth of the enthusiasm spawned by The Fake News Stand. There were many reasons why the entire team and agency were really excited about the campaign, from the timing — just ahead of the midterms — and the nuanced, inventive layers it required from design and concept to helping spread the dangers that fake news poses, he says.
“We all felt that strongly about getting this message out there,” Shanti concludes. “We’ll see how we did when the next election comes.”
It happened during a very Lifetime channel moment on the series UnREAL, a searing satire of behind-the-scenes reality TV machinations. The showrunner of the fictional TV hit Everlasting had just proven she was actually the show’s creator by slamming her original pitch document in front of her slimy boss, who’d taken all the credit himself. The scene should have been high drama, but I was too focused on the document’s design. It resembled a self-published volume of inspirational poetry laid out in PageMaker and spiral bound at Kinko’s. It cracked me up.
That’s because my day job is creating those exact documents, the pitch treatments directors rely on to spell out their vision for a project as completely and clearly as possible. I know how high the bar is on these things — they’re seen by investors, network development teams, studio heads, ad agencies, and the agency’s clients.
I also know they have a life past the pitch, frequently becoming invaluable crew guides well into production. Treatments these days are nothing less than glossy mini-magazines, replete with lush visuals, clever layouts, illustrative GIFs, germane reference videos. They’re also often made entirely within a 24–72-hour timeline.
In ye olden times
It wasn’t always this way. According to Megan Kelly, founder of New York City-based production company Honor Society, the treatment on UnREAL was probably accurate — maybe even fancy — for when Everlasting, which wasbased on The Bachelor, would have been pitched. “About fifteen years ago,” recalls Kelly, “I remember pitching on a [commercial] job, and the director was shocked he was being asked to write up a couple paragraphs in a Word doc about his idea.”
Within a few years, however, written pitches became the norm, penned by the directors themselves or occasionally by a production company employee, who might work off a template. Soon visuals were added into the mix, and the writing began to evolve. Then, as Kelly says, “it eventually grew into what we have now: coffee table books.”
The birth of an industry
This great leap forward is undoubtedly linked to the rise in services specifically dedicated to creating treatments. At some point in the early 2010s, companies like The Betterment Society, Content Muse, and The Moon Unit responded to the industry’s growing need for well-written and well-designed treatments by assembling stables of writers, flexible in both style and schedule, and designers who were adept at researching and laying out images tailored to whatever project they’d been hired for.
“The more our writers and designers create treatments,” says Jason Bitner, who started The Betterment Society in 2011 with his wife Danielle, “the better they get. With each treatment, our staff improves, treatments get better, and the industry as a whole is pushed forward.”
Sandra Newman regards the service her company Content Muse provides as a smart investment for directors and production companies: “If you book the job, it pays back. But even if you don’t, you’re still left with a solid treatment” — one that the client can keep as a representative calling card for future opportunities.
The companies offer help for all kinds of pitches — television, film, live events, VR experiences — but they tend to work most frequently with commercial directors, whose production timelines are much shorter. “It’s not unusual to write treatments based on 80-page briefs that are needed in two to three days,” says Katniss, a mononymic writer and spokesperson for The Moon Unit. “That can be daunting to someone who’s just returned from shooting another job overseas.”
When to reach out to a treatment company
Production companies might opt to outsource treatments for several reasons. Occasionally it’s a language issue; the director might be a non-native speaker or simply a visual thinker whose talents lie in expressing concepts through pictures instead of words. Sometimes it’s experiential — maybe an editor transitioning into directing needs help understanding the scope of what the bidding process entails. More often than not, though, it simply allows directors to maximize their time.
“It enables us to do more pitches,” says a director I’ll call Rees. [Note: Rees didn’t want to be identified because the industry expects directors to be the sole creators of their treatments. More on that later.] “Sometimes you’ll be in the middle of production, and a pitch comes up. You can only do so much.”
“Sometimes you’ll be in the middle of production, and a pitch comes up. You can only do so much.”
Let’s say Rees is two days into shooting a cereal commercial when he’s approached to bid on a light, comedic campaign for an aftershave. He and his producer will then get on the phone with the agency to be briefed. During this call, they’ll learn how soon the treatment is needed — this can range from several weeks to several hours but, on average, is about three to four days.
According to Newman, agencies “used to ask two or three directors to bid on a job, but now it can be four or five.” Bitner believes this uptick in competitiveness has led to the treatments themselves being seen as emblematic of a director’s vision and competency. “The better you can make this thing in three days,” he says, “the better you can do a full shoot in three days.”
It’s at this point in the process that Rees’s production company will reach out to a treatment service like Content Muse or The Betterment Society, which will in turn assemble a writer/designer team based on availability and compatibility. The writer will be brought up to speed by reading campaign documents and listening to a recording of the call Rees had with the agency. Typically, writers will then embark on a first draft by working off an outline Rees may have scribbled down between takes on the cereal commercial, but just as often, the writer will simply speak directly with Rees so the two can hash out how he wants to present his ideas on anything from camera angles and casting to visual effects and sound design.
“People are often worried that [outsourcing] takes away from the director’s voice,” says Katniss. “But treatments are always written in the director’s voice. Some people digress, some people are short, some are funny. My job is to reflect that and make sure it comes across and honors the idea.”
Chameleons wanted
I agree with Katniss: A treatment writer’s strength lies in shape shifting. However, it’s a tricky balance. According to Dave Gregg of Community Films, a Los Angeles-based production company, “When directors don’t respond to certain writers, it’s because they’ve done something too general. Some directors have a strong point of view and it’s easy to pick up on their voice, but some don’t and it’s more of a challenge. I like when writers bring an element of themselves into the process because, as I’m finding more and more, treatment writing needs to feel personal.”
Sample pages from a treatment
Before the first draft is even done, the designer will typically collaborate with Rees on finding images that fit the tone of the aftershave’s campaign. (In general, designers and writers collaborate individually with the director rather than with each other.) Since treatments aren’t public facing, getting permission for images is never an issue, allowing designers free rein to use all kinds of copyrighted photos, screen captures, or reference videos. Once the writer finishes a draft, the designer can begin the layout process. Rees will then go back and forth with both of them to hone the final draft.
“When I do my own treatments,” says Rees, “I spend a lot of time trying to make them funny. I get too caught up trying to do jokes rather than crafting well-designed ideas. Looking at someone else’s draft and just getting to be an editor gets me out of that headspace.”
“I’m finding more and more, treatment writing needs to feel personal.”
After Rees and his producers sign off on the final draft, the treatment is sent out, typically as a PDF. Since the documents themselves are usually packed with links and videos, agencies and their clients view them digitally on desktops or projected onto screens in conference rooms. However, according to Megan Kelly, the documents are increasingly being used to inform production, winding up in pre-production books or getting printed out on sets to aid production designers and cinematographers.
Each of the treatment companies said they were constantly exploring new ways for clients to present their final drafts. “Getting your ideas across in this era, you’re constantly fighting for attention,” says Gregg. “If you can keep the surprises coming, that’s great.” Advances in software are beginning to clear the way for building pitch websites or creating project-specific GIFs — ambitious new developments, especially considering treatment writing is a service that isn’t officially acknowledged.
The silent treatment
“When we first started,” says Danielle Bitner, co-founder of The Betterment Society, “it was a big secret that treatment companies even existed. Even now, I’m not sure. Are agencies more aware of us, or are we still on the hush-hush?” This anonymity is a big part of The Moon Unit’s identity— all their employees use science-fiction-based pseudonyms. Part of the secrecy comes from the fact that there’s a misconception within the industry that directors aren’t presenting their own work if they outsource their writing.
“I’ve always made a big point to do my own treatments,” says Rees. “It’s where I hammer out ideas and make them better. And this remains true. But at some point four or five years ago, I got really busy and brought in help. It’s just a different process, helpful in its own way.”
The fact remains that outsourcing pitch documents isn’t cheap. As Newman pointed out, it’s an investment — one that might give some directors an unfair advantage. “We’ve won and lost jobs based solely on treatments,” says Kelly, a consideration that may not have even been in the cards in the Everlasting days. However, as treatments continue to be held to higher standards, it seems clear that how ideas are presented will continue to grow and evolve out of necessity, someday nailing the look of today’s “coffee table book” pitch documents to a specific era in the late 2010s that we can all laugh about in the future.
Egg Music, a musician-staffed creative house, uses Wiredrive to manage tight review and approval deadlines, pitch new business, and make their mark in a rapidly evolving industry. They specialize in composing original scores and songs for films, television shows, commercials and web videos, and their music has appeared in some of the best-known campaigns of recent years for brands such as Nike, Target, Microsoft and Chevrolet.
Nailing every deadline
Egg Music works with clients who are constantly on the go and expect to view media on their mobile devices without having to download files. The team relies on Wiredrive to deliver multiple audio tracks that are often attached to large video files. These deliverables must undergo several rounds of revision within a very short timeframe. “Since we started using Wiredrive we’ve never experienced an issue that prevented us from making a delivery on time,” explains Eric Fawcett, founder and executive producer. “There have been many times where a client told us they appreciated our well-organized deliveries. How we deliver our media is as important as what we deliver, and Wiredrive helps us to do that consistently.”
“We win and retain business not just by doing great work, but by maintaining seamless workflow habits that our clients never question. Wiredrive plays a central role in that.”
Winning new business
Wiredrive also plays a critical role in pitching business for Egg Music. Since competition in the music industry is fierce, Egg Music relies on Wiredrive Library to build custom branded reels tailored to decision makers at the target company. They can present work through an Egg Music branded system, and know that the interaction is going to be seamless and easy to use.
Interface design for business success
Egg Music has been using Wiredrive since 2008. They were previously using file share tools to manage their workflow and media. Since making the switch, Egg Music has experienced improved functionality and aesthetics. “Wiredrive is elegant, flexible, and works consistently—that means everything in the industries we play in,” says Eric.
Digital Asset Management (or DAM) isn’t new. DAM solutions have been in play for years at the larger corporate level, but it is becoming more and more prevalent in smaller businesses due to the sheer volume of files being created by today’s content producers. And, with that content explosion comes a new problem facing these organizations – how do we capture and reuse all of this great stuff we’re making?Here are a few items to consider:
Not every DAM is the same
Some DAMs products provide industry specific solutions where as others focus on more generic universal capture and storage. It’s a good place to start by thinking about the particular best practices and norms in your particular industry.
Not every file is the same
It beginning your evaluation of the right DAM, start with the types of files that are most critical to your every day. For example, while you might need to store all kinds of files, certain playback or preview functionalities might be imperative, like reviewing large videos or images. This alone might limit certain DAM products and focus your choices. Even then, files like video have additional criteria that need to be considered like quality, resolution, performance, and compatibility. Some product support video, but might support high-quality ProRes playback.
How do you value your collection?
How do you place monetary value of your asset collection? Can you distill that to a value per asset? While there isn’t a magic calculator for determining this, it’s good to think about at least conceptually. One reason is that DAMs (good and bad) often come at a considerable upfront costs including the core software, setup, integrations, training, etc. Understanding how the size of your asset catalog and it’s potential growth will help you understand how one solution or the other will provide adequate scale and ultimately long-term sustainability.
Metadata requires flexibility
Flexibility is the key here, plain and simple. As I’ve already said, not every file is the same and how files are described is even more unique. Let’s look at two file types: Videos and Spreadsheets. While videos might require a meta-tag for director, spreadsheets would never. Moreover even within a single file type like video, it might need to be described with different tags and in different orders. Here is an example:
Video #1 = broadcast commercial
Director: John Doe
Agency: MyAgency
Editor: Jane Doe
Runtime: 0:30
Video #2 = digital billboard
Category: Out of Home:
Type: Digital signage
Placement: Outdoor
Agency: MyAgency
Two things of note: the first is that video #1 has a director, while video #2 does not and has it’s own specific tag needs. The second is that while both have “Agency”, it is less important based on it’s prioritized order. Sounds simple enough but not many DAMs solution require this kind of flexibility.
Where do you need reach?
Part of good DAM is not being left on a prison island. Thus, integrating with the greater media and workflow ecosystem is imperative. It’s one thing that capture and store, but make sure that you can push/pull assets from other places for easy research and reuse. In addition check to see whether the DAM solution has out-of-the-box connectivity to the applications most used in your most common workflows.
Who can do what?
While consolidation and accessibility are key, not everyone needs access to everything. In many cases some assets are more sensitive in nature, thus require strong security measures to be met and enforced.
Will your people use it?
While this might sound a bit odd, culture, as I have written, might be the most crucial part of selecting the right DAM. Many people looking to bring DAM into their organization don’t even realize they are using something already. Every company has a baked-in culture for organizing, searching, and trafficking, even if their version is an unmitigated free-for-all. Trust me when I say that preferences exist in your business, and if ignored, whatever you do is doomed before it gets off the ground.
A well-thought-out metadata structure can mean the difference between landing that big job and aimlessly searching for the right spots to send. Just like a book needs chapters, media files need metadata to help you find exactly what you need, when you need it.Here is a quick guide on how to get your files organized:
1. There is no such thing as too much data
Don’t be afraid to go overboard with categories and tags. Yes, it’s more work in the beginning, but in the long run, you are going to save yourself a lot of time and headache.Setting up a good metadata structure from the start ensures that all your files will be in the right place before you even start adding media. This helps prevent the frustrating task of editing and re-editing files over and over when you later realize that there aren’t enough data points to find what you are looking for, when you need it most.
2. Visualize how you would search for assets
Imagine a giant vault filled with all of your media. Then, think about all the different ways that you organize that media and ask yourself, how do you find exactly what you are looking for?Is it organized by director or year? Do you search by the agency that the job was for? Is it organized by genre? Do you identify media by specificities, like “Cannes 2015 winner” or even, “Talking dog on a jet ski?”How do you, as a media manager, keep tabs on all your work so that you are able to stay on top of things? How would you look for things in a pinch? Spend some time working through this exercise and make note of what people ask for when archives or reels are requested.
3. Map things out
After you have visualized your search process, create a document to organize this information:
Create a spreadsheet and title the far left column, “category,” and label the column to its immediate right as “tags.”
Below the category column, write down all of the top level values that you thought of in tip no. 2. This would include categories such as director, editor, production company, year, genre, job code, and so on.
Under the tags column, start adding the unique values that correspond to the categories to the left. For example, tags for “director” could include Ang Lee, while tags for “genre” could include comedy.
Create a “Keyword” column for any data points that do not fit under the main categories that you defined. (More details in the next tip).
Once this data is structured, you can go into your system, and add the values ahead of time so that everything is in place when you start uploading your files.
4. Use keywords
Keywords are your friend. Think of categories to tags as a parent-to-child or one-to-many relationship. For every bit of identifying data that does not fit under a parent category, (e.g. Cannes Winner, CGI Water Shot, Best of 2015, etc.), you should create as a keyword. This is where you will want to also include the odd identifiers that help you find things when you need them (e.g. summer sales reel, job winner, do not use, or “for reference only”)You’ll be surprised by how often a single, critical asset is identified with a word or phrase that doesn’t fall under a traditional category definition. Keywords are your tool to keep track of these outlier pieces of metadata.
5. Audit when needed
Your data will change over time and chances are, you will think of new and better ways to organize things in your system. Don’t be afraid to try something different, revise or start over. A good metadata structure should make it easy to find and keep track of your work. The process is a journey. Have fun, and try and learn something new along the way!
Want to learn more tips about how to organize your media library? Contact Wiredrive support.
If you’re a freelancer in the creative industries, having an online portfolio is critical. Most designers, art directors, copywriters, and cinematographers — just a few job titles in the creative fields — maintain their own up-to-the-last-good-project site because they know it plays a huge part in getting more work.
But I’d argue everyone in our industry should have one — from the greenest production assistant all the way up to the A-list editor or commercial director who lets their editorial or production company website do the talking for them.
Here’s why: A website should show the work you’ve been part of creating.
That’s probably obvious. But people interested in hiring you also want to know what you’re like to work with, and your website is your best chance to let them know that — but in your own words.
“People interested in hiring you also want to know what you’re like to work with, and your website is your best chance to let them know that — but in your own words.”
Here’s an example of what I’m talking about.
My old employer Wieden+Kennedy had a screening series where accomplished filmmakers who straddled the line between the film and commercial worlds would come to Portland and give a sneak peek of their latest feature film to a roomful of the agency’s producers and creatives. The hope was that they’d get commercial work down the road based on that screening.
After Yann Damange screened his film ‘71, which won him a British Independent Film Award for Best Director in 2014, a creative director asked how he’d found such great kid actors. Simple, he replied, I go to boxing gyms. The kids are confident, and they’re used to taking direction, Damange explained.
A few weeks later, W+K sold a Nike football (the non-American kind) commercial that featured a cast of kid actors. They thought of Damange immediately and hired him specifically because of his answer earlier.
This is exactly the kind of outcome a production company roster-style website would never communicate, but a site created by a creative person could and should. Believe me — I reviewed hundreds upon hundreds of portfolio websites every year while I was a co-director of Wieden+Kennedy’s in-house ad school WK12.
So, I’m going to share some key pieces of advice for making a great portfolio site that’ll make clients and recruiters keep looking versus turning away.
1. Don’t overthink it
All too often I hear people talk about building their website like they’re building the pyramids, but unless you’re trying to get jobs making websites, don’t build one from scratch. Use any of the easy-to-use, off-the-shelf portfolio site products like Cargo Collective or Squarespace that have tons of well-designed templates to choose from.
I highly recommend a style that has project thumbnail images on the homepage, any one of which you can click on to see the full project. It’s easy on the eyes and the industry standard.
Pick your best projects, choose a homepage image, post a video or still assets of each project, and a write-up that explains it. Then finish it off with an About Me page and your social media links and there you go.
You should be able to go from no website to a website you can show to friends for feedback in a day.
2. Curate it
Don’t put everything you’ve ever done on your website.
When I was looking at WK12 applicants sites’, I’d look at the first, second, and fifth projects (just to see how deep their experience went). If I liked what I saw, I kept clicking. If I didn’t see anything compelling that made me think or laugh or lean in, I’d move on. If I was on the fence, I’d click on something near the bottom of the homepage that looked intriguing.
Most creative directors, potential clients, and recruiters similarly take a quick scan before deciding if a person is worth a closer look, so show the good stuff. You need at least six good projects but probably no more than fifteen. You can share more, especially if you’re so good you have, like, fans. But if you’re mostly using the site to get work, no one is looking at more than fifteen projects.
3. Make it personal
Freelancers tend to lead with their biggest, most corporate work because it makes them seem legit and hirable.
But here’s the thing: Most corporate work is pretty boring.
And very rarely are you truly able to showcase your voice and creative talents within the confines of a client’s project.
Share the stuff you made because you wanted to make it. The projects that show your true voice and talents. The “personal projects” that you’d show your parents or an old friend from high school are the same ones that are going to interest or excite anyone.
Sure, you need to include some paying work to show you get paid to do what you do. But the only client looking to hire a copywriter who showcases dull corporate blogs they’ve written is a client who wants their corporate blog to stay boring.
4. Tell the story of each project
Don’t just say you worked on a project, although being super clear about your role is important. Over the course of a few paragraphs, tell us the story of the project from your perspective. What did you learn? What was your A-ha! moment of inspiration? What particularly thorny problem did you think your way out of? Share a great anecdote or humblebrag about how wildly successful it was.
This is that chance I was talking about to give clients a peek into how you think and work so they feel more confident about hiring you.
If you cast kids out of boxing gyms because they’re confident and used to taking direction, tell us! If you were the production assistant and your primary contribution to a project was charging walkie talkies and going on coffee runs, be honest about that.
But also talk about the experience in a way that tells producers that you’d make a great production assistant to hire and groom into being a production coordinator on the fast track to producing.
5. Sharpen your About Me page
All too often people use the About Me section of their website to showcase how hilarious they are or to show off their third-person writing skills.
That’s okay but not at the expense of clarity. Be sure to tell people exactly what you do, what makes you great at it, and the kinds of projects you want to take on.
Anyone looking to hire you — even on a really big, important job — doesn’t have lots of time. The quicker you can communicate these things, the faster they can decide if you’re a potential fit for the job.
So there you go.
If you have already have a site, great. Make sure you’re not making any of the mistakes above.
If you don’t, and you’re still reading, go for it. If you start right now, I bet you can come up with something to share with friends, your parents, or that old college buddy by tomorrow afternoon.
New Mac, an award-winning, Australian-based video production company, uses Wiredrive to produce branded videos, training, and educational content in order to create meaningful connections with audiences. Helmed by founder and managing director James McPherson, New Mac is more than a production company—it’s a think tank for creativity; a resource that brands trust to tell their stories. We sat down with James to hear why they chose Wiredrive to produce high-quality video for corporate Australian brands.
What makes Wiredrive different than the tools you are currently using today?
Wiredrive is a tremendous resource for us when it comes to business development opportunities because we’re able to review, approve, and pitch work in one single platform. We have an entirely cloud-based workflow (except for offline editing work), and Wiredrive is the final piece of the puzzle for us to work in a single system. It’s very exciting when you find a tool you like and it’s easy to use.
What was previously lacking in your workflow that you are now able to achieve with Wiredrive?
We have never had the ability to archive our work before in a way that’s quick and simple. Our previous archive was a dreadful experience, and was a tedious task if you didn’t have all the right info. It is very easy for us to search and find things in Wiredrive Library thanks to the metadata, tags, and keywords we use to categorize our work. As a company that produces as much as 3,000 deliverables per year, it is extremely powerful and valuable for us to see all the work we’ve produced over the years.
“Wiredrive makes us extremely efficient in how we’re able to quickly respond to business opportunities, as well as how we present ourselves to those opportunities.”
How does Wiredrive perform with the current state of Internet bandwidth and speed in Australia?
Wiredrive’s speed has worked great for us; it’s efficient compared to other U.S. services we’ve used in the past—and that is critical. It’s important for our clients to have a great viewing experience so that’s why speed, performance, and upload functionality are the top three reasons why we chose Wiredrive over other tools we were evaluating.
How is Wiredrive going to help your sales team?
It’s a healthy platform that really simplifies communication between our sales team and clients. We’ve significantly cut down the turnaround time for creating and pitching reels. As a result, we’re now able to work faster and this is huge for us.
To learn more about New Mac, visit their site: www.newmac.co
