Shadowing a Commercial Director: Start with a Creative Mindset

Welcome to Shadowing a Commercial Director: Part 2 (otherwise known as Behind the Beard), a commercial directing course by Jordan Brady that demonstrates how to take an idea and punch it up to all-new creative heights! 

While guiding you through the creative process, Jordan showcases his case study from a successful Toyota spot and how to take a character from a 5 o’clock shadow to a wizard-length beard. This out-of-the-box thinking was very effective in garnering attention and selling lots of cars; and most importantly, Jordan is very proud of it. 

This lesson includes the first three videos of the course highlighting how to start with a creative mindset, how to balance logistics with creative, and how to develop your own unique approach as a commercial director.

Start with a Creative Mindset:

The main purpose of this course is to encourage filmmakers to always imagine the words on the page in the most creative way possible when breaking down the script. 

Some questions to ask yourself:

• What is the story I want to tell? 
• What is the most creative way that I want to tell this story? 
• What does the camera see?
• How am I going to execute my idea? 

What do all of these questions have in common? You and your creative point of view. However, this is also a two-fold question, because the other side of that is a craftsman’s perspective. You must break it all down shot by shot and get the most out of your time shooting. 

For Jordan, his whole M.O. is based on impressing the idea of always minimizing production logistics to maximize performance time with the actors. This could be an actor reading her funny line, a dramatic scene, or a product shot for a hamburger. It’s all about what’s happening in front of the camera.

Shadowing a Commercial Director: Part 2

Punch up your ideas to new creative heights!

• 16 Lessons
• 2 hours and 5 minutes of instructional videos 

In Shadowing a Commercial Director: Part 2, virtually shadow award-winning commercial director Jordan Brady and explore his creative process behind a long-running commercial campaign.

This course goes beyond theory, offering a deep dive into how Jordan approaches a script. Learn how he breaks down the text, constantly pushing creative boundaries and envisioning the most impactful ways to translate words to life on screen. Witness a prime example of this in action with a captivating case study. Jordan will walk you through the conceptualization and execution of a memorable sequence of scenes involving the transformation of a character’s beard — from a simple five o’clock shadow to a full-blown wizard’s length. This case study is a testament to the power of attention-grabbing filmmaking.

But Jordan’s philosophy extends beyond just creative brainstorming. You’ll learn his valuable approach to planning and logistics. Discover how he prioritizes minimizing production logistics to maximize performance time for actors. Through exclusive behind-the-scenes documentary footage, you’ll witness his interactions with filmmakers, the ad agency, and the actors. Jordan’s engaging commentary will provide context. This allows you to see how he navigates the production process. It also fosters a collaborative environment that brings his vision to life.

Additional Resources

To further enhance your learning experience, the course also includes bonus resources. You’ll receive the original agency script marked up with Jordan’s notes, his video treatment that translates his ideas from paper to a visual format, and even his director’s shooting boards — a blueprint for how he executes the scene on set.

Whether you’re an aspiring commercial director, a filmmaker seeking to elevate your creative approach, or simply someone fascinated by the secrets behind successful advertising campaigns, this course offers an invaluable opportunity to learn from a master. Join Jordan Brady and take your commercial directing skills to the next level today!

About Jordan Brady

Jordan Brady directed four narrative feature films, three full documentaries, and over 1,200 national & regional commercials. All this plus Maria Bamford’s acclaimed Netflix Comedy Special. Working with advertising campaigns for brands and agencies all over the world, Brady directed industry giants from comedy stars Will Ferrell, Kevin Hart, Keegan-Michael Key, and Rory Scovel to pop icons Arnold Schwarzenegger and country music legend Brad Paisley. He has also directed campaigns starring actresses Kathryn Hahn for Chrysler and Lamorne Morris for Buick.

Notable advertising awards include multiple Clios, National Gold, ADDY’s, Gold Promax Award, One Show, D Show, Pencil, and AICP Awards. Brady’s work is routinely spotlighted on AdWeek, Ads of The World, and Agency Spy.

In 2016, Brady completed his passion project. A feature documentary trilogy that reveals what it takes to be a stand-up comedian: I Am Comic stars Sarah Silverman, Leslie Jones, and Louis C.K.; 2014’s aptly titled I Am Road Comic stars Pete Holmes and Marc Maron; and I Am Battle Comic took Brady to Afghanistan, Kuwait, and undisclosed parts of the Middle East where he performed stand-up comedy for our troops stationed there.

Navigate the Film Industry like an Entrepreneur with Edgar Esteves

Award-winning filmmaker and activist Edgar Esteves drops into the Filmmakers Academy studio to chat with Brendan Sweeney about what it takes to create a successful business in the film industry. Listed in Forbes 30 Under 30 in 2020, Edgar discusses some serious truths about the industry, like whether you need an agent or representation, or if you can navigate a prosperous career on your own. Not only that, but Edgar shares insights into how he manages his own business relationships. 

This is a must-watch for filmmakers rising in their careers. Edgar gives some serious advice about ego and what you should look for in colleagues running a production company. 

LISTEN TO THE FULL EPISODE

FOCUS ON RELATIONSHIPS OVER MONEY

We say it over and over again, relationships spark and sustain careers! However, one of the biggest mistakes filmmakers make is focusing too much on the money at first. Sometimes you have to build trust and show that it’s not just about business. For instance, you may want to grow with a certain accomplished filmmaker or even brand. 

Busta Rhymes complimented producer and director Edgar Esteves for doing just that. The rapper previously worked with an editor who charged an extra $10K to show up to set. However, with Edgar, it wasn’t like that at all. Edgar never brought up money and displayed his appreciation for the opportunity. To Edgar, he was more interested in earning his trust. $10K can come and go but it’s the relationship that can last forever. 

That said, Edgar also notes that it’s a risk and they can tell you to kick rocks. So, it also depends on the person, and you want to be cognizant of who you do a favor for. 

“If it works out, then amazing. If it doesn’t, then I understand that you know what, I tried my best. And maybe there’ll be another opportunity come in the future. But I think earning people’s respect is more [important] than anything. Like, I don’t even have a commercial rep. How are we doing a tequila commercial today? It’s because I know certain people, you got me? It’s all relationships. The people that I was good to six, seven years ago, are now in a position where they can make the decisions and come back to me.” 

Of course money matters, but that will come later. And in the long run, you will earn much more as a result of the relationships you make. On the flip side, if you’re hiring filmmakers, always treat them fairly and nicely. If you have an opportunity to pay someone a little extra because they earned it, do it. It might sting in the short term, but in the long run, Edgar insists you’ll make it back 10 fold. 

DO YOU NEED AGENTS AND REPRESENTATIVES?

Some filmmakers prefer to have the support of agents and representatives while others prefer to navigate the industry by their own networks and relationships. There is absolutely nothing wrong with either choice and depends on the filmmaker. 

So, for a self-starting filmmaker like Edgar Esteves, he shines in front of people and navigates the industry with an entrepreneurial spirit. While others may prefer to do the job and go home, Edgar embraces the opportunities in the film industry and fearlessly takes charge of his career.

According to Edgar, your success is about who you surround yourself around. He quotes Kendrick Lamar who said it hurts the most when you fall from the top. With that in mind, Edgar didn’t want to be at the top of his career only to crumble because of his ego. So, he surrounded himself with childhood friends and family to help run his business. 

“If you fall, we all fall together,” explains Edgar. “And if we rise, we all rise together. And that’s kind of how I like to build my company. And it does take a lot of hard work. But you have to remove your ego, and just be like, I’m gonna be that person to bring all this together. And whether I get credit for it or not, I don’t care. You got me? It’s just more so I want to help these people. I think it’s the right thing to do.” 

In the agency they opened, Edgar ensured that everyone on the team had equity in it. Some people will invest all their time into a company and one day they leave and that’s it. Edgar doesn’t feel that is moral and prefers to run his business fairly. 

WHAT TO LOOK FOR IN A DIRECTOR

Edgar believes resilience is the most important characteristic for any director, producer, or other kinds of filmmakers. 

“Are you going to let this life beat you up,” asks Edgar, “Or are you going to rise to the occasion and rise like the phoenix that you are?” 

There are plenty of opportunities to lose it on set. Between all the filmmakers, labels asking questions, and collaborating with celebrities, it can be a lot to manage. Especially when everyone has a hand in the pot and wants their voice to be heard. 

However, at the end of the day, it’s up to the director to manage all the personalities around them. You must be able to handle your emotions and keep from snapping at people. 

“I’ve seen directors just be disgruntled. And everyone was like, ‘I will never work with you.’ Five years later, they have no career. And it’s sad to see. But you have to control your emotions. You have to be respectful. And you have to be willing and open to learn and understand that we’re all students. And at the end of the day, if you see something I’m doing wrong, approach me and tell me and have transparency. But I feel like nowadays, everyone’s so scared to talk to each other that no one’s telling each other.” 

Since Edgar Esteves is a director and producer who also runs his own company, he has learned when to let go and pass opportunities to colleagues. He finally reached the point where he is making music videos between the range of $300,000 – $700,000 and feels at the top of his game.  

That means he is super busy and doesn’t have the bandwidth to solely dedicate his attention to each and every project. For that reason, you will often see Edgar’s name beside fellow co-directors like Jon Primo and Juan Felipe. 

“I wasn’t even about to do the World Cup video if it wasn’t for Juan Felipe,” recalls Edgar. “That’s what people don’t understand. I was in Colombia and I was like, I was with him. And I’m like, ‘Man, I just got this opportunity to do this video. It’s called ‘Tukoh Taka’. I was like, ‘What is this?’ I listen to the song and like alright it’s cool. It didn’t have Nicki [Minaj’s] verse on it yet. But I was like, ‘Damn, I’m just really busy and I’m really focusing on my film right now.’ And then Juan’s like, ‘Yo, if it’s with FIFA, like don’t turn it down.’ I was like, ‘Alright, man, well, if you want to drop a treatment, I can look over it and give you my notes, and then we can work on it together.’ And we did that. And that’s what happened.” 

This is one of the many reasons why you want to build a team to support you. Edgar lives by the advice of none other than Jay-Z, “If everyone’s a crutch around you, you’re never gonna fall.” 

Edgar also shares his own motto: “Alone you can go fast, but together you can go far.” 

“I think that’s like a real mentality that we put into our company because we want to be in this together. And we want to rock and we’re gonna blow up together, and we’re gonna be all happy for each other’s success. Sometimes as a human, not even filmmakers, we get a little bit caught up in ego. But I’m lucky that I feel like I’ve worked on myself in the background that I come from. I’m just very grateful to have what I have.” 

DIGITAL SWORD POST-PRODUCTION

Edgar’s career really took off in 2020, which was also at the height of the pandemic. That year, he did 111 videos and business was absolutely booming. So, Edgar turned to his best friend Joan Pabon and said that they should start a post-house. 

So, Edgar and Joan approached their editor friend Cal Laird and asked him if he wanted to start his own company. Cal did but didn’t really know where to start. Edgar offered to give him the infrastructure of Blank Square to work within and build his new company, Digital Sword. 

When they decided how to split up the business by percentages, Edgar looked to Phil Knight and Nike with the 51/49 rule as an example. “This is where people can’t be greedy.” Since Edgar wouldn’t be editing, he offered outright to take a smaller percentage of the company. 

With Joan and Cal as majority owners, they came together and now have eight to ten editors working for them on a given day in a Hollywood office. They have an entire floor to themselves. Then, Edgar has one office for Blank Square there and they help offset the cost. 

“We all work together to make sure things are great. Like I have two rooms, they have four. But then when we go there, they feel like they have six rooms. And when I go take my clients, they feel like I have six rooms, because in a way we do. But that’s what is so important about trust and partnerships.” 

MENTORSHIP AND SHADOW PROGRAM

There’s so much you can learn on set but it’s a challenge to pick up everything from the ground level as a Production Assistant. Sometimes it’s best to be a fly on the wall and see everything the director is doing firsthand. Fortunately, Edgar Esteves has set up a shadowing program that brings you virtually on set with him. And all you have to do is text “Shadow” to the phone number he provides. 

“I just had this girl, Anastasia, and she came to the tech scout, the prebuild, the prelight, the shoot day, and she also came to the editing side. And she saw everything — she saw the conversations that I had with the artists, and I’m like, ‘And you got paid for that.’ So it’s like, learn. And she’s like, ‘What do I do on set?’ I’m like, ‘Nothing, learn. I’m paying you to learn.’” 

Edgar and his team at Blank Square turn down millions of dollars of work every year. They constantly receive quotes for $10,000 and $20,000 videos. Sure, they might be too low for Edgar but they could be a fantastic opportunity for rising filmmakers. So Edgar thought it would be a fantastic idea to share those opportunities with filmmakers that are growing in their shadow program. 

“Now that I’ve built the network of producers around me to lead them in the right way, and give them insight and be like, ‘Hey, now your treatment is too expensive. Here, change this idea before we send it in blah, blah, blah. And like having people like that, that’s a great tool. Because, you know, directors will be like, ‘Alright, here’s a $50,000 brief.’ And they’ll be like, ‘Alright, well, here’s a million-dollar idea.’ And it’s like, we would love to do it but we only have $50,000 as a client.” 

From this kind of mentorship and collaboration, directors young in their careers can learn the reality of budgets and what is possible for given budgets. 

WATCH THE FULL INTERVIEW 

This is only a segment from our interview with director/producer Edgar Esteves. To get the full picture of his experience forming successful businesses in the film industry, listen to the audio for free on Spotify or iTunes. 

•  Spotify
• Apple Podcasts
• Google Podcast
• Podcast Index

To watch the full video interview, become an All Access member today!

As an All Access member, you get full access to all other Finding the Frame interviews as well as every course and lesson instructed by industry professionals. On top of that, you gain entrance into our exclusive community and can use the FA app to enhance your skills while on the job!

How To Write a Winning Commercial Directing Treatment

For the Commercial Directing Tip of the Day, director Jordan Brady succinctly explains how you can win over the ad agency with your director’s treatment. Find out what Jordan does at the end of the agency phone call to increase his odds of winning the job.

Learn more about working with ad agencies, directing actors, leading crews, and thriving in the industry by becoming a member of Filmmakers Academy.

Commercial Directing: On Set Shadowing 

Virtually shadow a commercial director on three unique commercial spots!

• 16 Lessons
• 2 hours of instructional video

Commercial Directing: On Set Shadowing places you virtually on set with director Jordan Brady for three unique commercial spots.

Starting out, Jordan guides you through the shadowing process and explains what to do before the agency phone call. Then, he directs you through set etiquette and how to manage the crew, performers, and the ad agency. From there, Jordan guides you through each of the three spots and concludes with a massive brain dump.

COMMERCIAL DIRECTING MASTER CLASS

Learn how to direct commercials like a pro!

• 22 Lessons
• 2+ hours of instructional videos

In Filmmakers Academy’s Commercial Directing Master Class, director Jordan Brady reveals the crucial steps to becoming a working director. You will learn to build and manage your career as a filmmaker for major brands and advertising agencies.

Above all, Brady breaks down how to get hired as a director followed by how to navigate pre-production, production, and post-production. Chiefly, he uses his own work as case studies to support the learning experience. For instance, expect to learn the ‘Brady Method’ of casting, how to manage pre-production meetings, the Rules of Engagement on set, how to manage your Refers to those involved in the technical production of a film who are not actual performers.

” data-gt-translate-attributes=”[{“attribute”:”data-cmtooltip”, “format”:”html”}]”>crew, work with actors, and much more.

Who is Director Jordan Brady?

On top of 1,200 national and regional commercials, Jordan Brady directed four narrative feature films, three full documentaries, and Maria Bamford’s acclaimed Netflix Comedy Special.

Working with advertising campaigns for brands and agencies all over the world, Brady directed industry giants. These include comedy stars Will Ferrell, Kevin Hart, Keegan-Michael Key, and Rory Scovel to pop icons such as Arnold Schwarzenegger. Additionally, he directed campaigns starring actresses Kathryn Hahn for Chrysler and Lamorne Morris for Buick.

Notable advertising awards include multiple Clios, National Gold, ADDY’s, Gold Promax Award, One Show, D Show, Pencil, and AICP Awards. Likewise, Brady’s work is routinely spotlighted on AdWeek, Ads of The World, and Agency Spy.

In 2016, Brady completed his passion project; a feature documentary trilogy that reveals what it takes to be a stand-up comedian. I Am Comic stars Sarah Silverman, Leslie Jones, and Louis C.K. Then, 2014’s aptly titled I Am Road Comic stars Pete Holmes and Marc Maron. And I Am Battle Comic took Brady to Afghanistan, Kuwait, and undisclosed parts of the Middle East where he performed stand-up comedy for our troops stationed there.

Join Filmmakers Academy Today!

Want to learn more about commercial directing? Then join Filmmakers Academy today for courses, lessons, resources, mentorships, and more!

Directing Commercial Actors

In this excerpt from the Commercial Directing: On Set Shadowing course, director Jordan Brady shares how he collaborates with actors on set, referencing his Toyota “Staycation” spot as a case study. Learn how Jordan conveys his ideas and how he works additional cutaway shots into the schedule.

Let’s take a look at some of what Jordan covers in the lesson below.

GIVE CLEAR DIRECTION & MOTIVATION:

The premise is Pat and Mrs. Pat book a hotel room with a nice view for their staycation. When they look out the window, they are surprised to find a Toyota dealership.

One of Pat’s questions about the script was if he knew they booked the room with the view out the window. Jordan’s take was that both Pat and Mrs. Pat were surprised when she opened the curtain. Also, the viewer is intrigued. What is this view? 

The answer was ultimately in the script but it was a turn for the actor to think out their motivation. 

UNDER-PROMISE & OVER-DELIVER:

Jordan recommends that you always grab a cutaway shot because it gives you another puzzle piece to work with. 

Mrs. Pat turning with no dialogue is not on the boards for the day, however, Jordan did draw it during the scout. He also previously told the AD and DP about it. 

Then, if they’re running on time, Jordan can grab the cutaway shot. Jordan had Mrs. Pat do it three or four times in just one take. This shot works for the final edit because it bridges together a couple of shots. Up until that point, they shot in one direction the wide and close-ups of Mrs. Pat and Pat from the side.  

By under-promising and over-delivering, Jordan is able to manage the expectations of the agency while also overachieving. This complimentary angle makes it a better spot that feels bigger before the reveal of the dealership. 

Commercial Directing: On Set Shadowing

Virtually shadow a commercial director on three unique commercial spots!

• 16 Lessons
• 2 hours of instructional videos

Commercial Directing: On Set Shadowing places you virtually on set with director Jordan Brady for three unique commercial spots.

Starting out, Jordan guides you through the virtual shadowing process and explains what to do before the agency phone call. Then, he directs you through set etiquette and how to manage the crew, performers, and the ad agency. From there, Jordan plunges you into each of the three spots and concludes with a massive brain dump.

Access the complete course by becoming a Filmmakers Academy member today!

About Jordan Brady

Jordan Brady directed four narrative feature films, three full documentaries, and over 1,200 national & regional commercials, as well as Maria Bamford’s acclaimed Netflix Comedy Special. Working with advertising campaigns for brands and agencies all over the world, Brady directed industry giants from comedy stars Will Ferrell, Kevin Hart, Keegan-Michael Key, and Rory Scovel to pop icons Arnold Schwarzenegger and country music legend Brad Paisley; plus, he has directed campaigns starring actresses Kathryn Hahn for Chrysler and Lamorne Morris for Buick.

Notable advertising awards include multiple Clios, National Gold, ADDY’s, Gold Promax Award, One Show, D Show, Pencil, and AICP Awards. Brady’s work is routinely spotlighted on AdWeek, Ads of The World, and Agency Spy.

In 2016, Brady completed his passion project; a feature documentary trilogy that reveals what it takes to be a stand-up comedian: I Am Comic stars Sarah Silverman, Leslie Jones, and Louis C.K.; 2014’s aptly titled I Am Road Comic stars Pete Holmes and Marc Maron; and I Am Battle Comic took Brady to Afghanistan, Kuwait, and undisclosed parts of the Middle East where he performed stand-up comedy for our troops stationed there.

5 Steps for Sustainable Film Production

How green is your set? If you’re not careful, productions can leave behind an enormous footprint, full of plastic bottles, cardboard boxes, endless clumps of gaffer tape, and any other material you can imagine. 

Commercial director Jordan Brady invited his friend and fellow director Kristyna Archer to audit one of his commercial sets for True Gentleman Industries. In addition to being a talented director, Kristyna is also an eco-evangelist. Luckily, running a green set doesn’t need to be difficult at all. It’s all a matter of mindset. 

Follow along below to learn how you can audit your own set to ensure that it’s environmentally friendly! 

WATCH HOW TO BE GREEN

Follow along as Kristyna examines Jordan’s set and highlights the do’s and don’ts. Then, she shares the alternatives you should consider to improve the footprint of your own production.   

How green is your set? from Jordan Brady on Vimeo.

1. DISTINCT TRASH AND RECYCLING BINS

How often do you step on set and find one bin with an assortment of trash and recyclables? For example, when Kristyna looks into a lone blue bin, she finds much more than just plastics or paper products. 

You can remedy this by keeping a trash bin next to a blue recycling bin. Production is busy so you need to organize your set to make recycling second nature. 

The same goes for catering. Keep a green bin nearby for your food waste and organics, it’s that simple!

2. WATER STATION WITH RECYCLABLE CUPS

How many times have you walked on set and found an endless supply of plastic water bottles? This is an absolute no-no when it comes to maintaining a sustainable set. 

Instead, use a water station so workers can replenish their refillable water bottles. And if you use disposable cups, make sure that they are recyclable. If they’re coated in plastic then they’re no good! Remember, paper beats plastic. 

If you can’t get around a disposable water solution, then turn to water in aluminum cans. Aluminum is better than plastic because it breaks down much faster. 

3. RECYCLE SET PIECES

There are plenty of ways for the art department to make environmentally sound decisions. One major tactic is to reuse art supplies and set pieces. 

When collaborating with the art department, make it known that sustainability is a must.   

4. PAPER RECYCLING VS WATER WASTE

Waste is pretty much unavoidable when it comes to catering. This is where you need to use discernment and weigh the pros and cons. You can use paper plates but they can create a lot of waste. Although, if you use something like ceramic plates, they require washing which creates water waste. 

There’s no ideal solution. Consider the size and scale of the production. Less water is needed to clean reusable plates and utensils for smaller productions. For larger productions, maybe use biodegradable paper plates. Either way, this should be a topic of discussion for your production team to choose the right solution for you. 

5. LED LIGHTS ARE MORE SUSTAINABLE

Even the lighting packages you choose impact the environment. LED lights are the most sustainable lights. They’re not only more efficient but they are cooler than traditional movie lights. That way, it’s not so hot on stage. 

When choosing your lighting package, have a conversation with your cinematographer and key grip about the best environmental lights. 

THE BOTTOM LINE

All in all, maintaining a green set is easier than most think. It’s a matter of mindset and how you plan the production. If you are mindful of eco-friendly practices, you will embrace them during the planning process. 

As we discussed, distinctive bins for trash and recycling are ideal for separating paper and plastics from waste. A water station beats plastic bottles every day of the week, and if you need a disposable option, go with aluminum cans. Communicate with the art department to determine ways to reuse set pieces. Consider paper recycling versus water waste based on the size and scale of the production. And when it comes to lighting packages, LEDs are the most efficient.  

Kristyna also challenges her executive producers and production company to convey their green message to the brands and clients they work with. At the end of the day, sustainability is a collaborative process. 

For many filmmakers, environmental filmmaking is a new way of thinking. They’re focused on their campaigns and the creative. And sure, that’s first and foremost when it comes to getting more jobs. But, ultimately, filmmakers like Kristyna hope to also limit their footprint in production for the betterment of us all.