A Life of an Art Producer : An Interview with Cali Capodici
We’re excited to release the second installment in our series of interviews about the life and times of creative professionals in our industry.
We reached out to Cali Capodici, Lead Art Producer at DH Philadelphia to see if she could give us some insights into what her role is as an Art Producer. We also had the opportunity to ask her about upcoming trends, how photographers can get her attention, the highlights the best treatments she’s seen and the details on a favorite promo she once received.
A big thank you to Cali for taking the time to give us deep insight into the state of the industry from an art producer perspective.
What is your job title and how does that translate into what a week in your professional life looks like?
I am the Lead Art Producer for DH Philadelphia, NY, San Fran and our sister agency, Evolvr. I help out on a few other sister agencies so my week is very busy. I’m juggling multiple productions, reuse requests and also trying to stay on top of the latest trends and news in the industry. It’s different everyday, which is one of the reasons why I love my job.
What are the challenges in your job?
I would say staying organized and also trying to keep everyone’s best interests in mind. It’s my job to protect the agency and my client, but I am always looking out for the photographer and the rep as well. I take my relationships very seriously and I always want to make sure our requests are fair to the artists. I firmly believe that if you take care of them, they will always take care of you.
Staying organized, because there is so much going on. I’m running from one meeting to another, trying to put out fires or just keep things moving. My desk can get a little cluttered.
Are you seeing any changes in the industry?
It seems that a lot more productions are for multiple platforms: video, digital and print. Gone are the days of just a plain old photo shoot for a one off insert in a magazine.
What is different about working on a shoot with multiple platforms as it compares to a print only shoot?
The obvious stuff: bigger team, more players, more opinions and decisions. But also it’s great to see everyone collaborate and bring to life a campaign with multiple pieces that still has consistency in the look and feel.
Do you see any new trends that are presenting themselves?
Clients are loving moving portraits, that seems to be a big hit right now. And anything that can set them apart from typical print production, new ways to utilize these assets.
What makes a photographer interesting to you? Do you like seeing personal projects, a social media presence and the genre of work they shoot, for example?
All of that! I really love when a photographer has a passion project, something that speaks to who they really are. My biggest thing I look for in a photographer is to just work hard and be nice to people. If I’m going to be on production with someone, and as we all know it can be stressful. I want someone who can pivot and keep their cool, someone who is flexible and wants to get the best possible creative. I also want to know that they are going to take care of my team and I. We put all our trust and money into that one artist. I want to know they are a solid person and will deliver.
When you are in concept phase for a campaign are you already thinking of the artist you would like to use?
Absolutely, I like to get an idea as early as possible but I’m always willing to adapt as the creative comes to life.
How do you typically find a photographer that would be a good fit for a campaign?
From doing this for a while, I have a good idea or meeting someone new at Fotoworks. I also go to Reps sites and scour their artists. Honestly, I go on the Art Producers forum a lot and ask my peers. I love getting personal recommendations.
How often do creatives know the talent they want to work with for a campaign before you show them your suggestions on artists?
That’s one of the great things about working at DH. My creatives really truly trust me. They may send someone my way as a type of work they like, but they want me to send them the artists who I think will be the best. Then we make the decision together, as a team. It’s one of my favorite things about the amazing people I work with. They value my creative eye and opinion.
With respect to budgets, when you receive a set of layouts, do you generally have an idea of where the quote for that photography will come in?
Yes, but that’s because I am normally telling my team where I think the costs are going to come in. So I can get a sense from my team if this is something they can afford to do or not. I always share my budgets too unless I genuinely don’t have an idea.
How often are treatments required for a photographer to secure an assignment?
Almost always, and honestly sometimes it sways the creatives decision. I have watched first hand how a photographer who was really just thrown in the mix to fill out a triple bid come to take the lead because they were so charismatic on the call and really took the time to learn the brand or the idea behind the campaign. They asked all the right questions and then delivered a stellar treatment. Every photographer should be EXCITED about a creative call. We are looking at you and believe you are the one with the eye and the talent to bring this to life. Remember, this campaign is often something that my team has worked on and fought for months, so if you aren’t really jazzed about it then it can hurt their feelings or make them completely uninterested in you.
What do the best treatments have in them that is compelling?
Saying thank you, saying you’re excited, talking about your work and why you would be right for this campaign. If you have a personal experience that you feel really sets you apart from someone else. And pulling in the right kind of photos for reference, even if they aren’t your own!
Do you work with the same artists frequently?
Yes, because I know I can trust them and they will deliver. Also, because I have strong relationships with them or their agents. I have certain expectations when I work with someone, I know everyone needs to get paid, but at the end of the day it’s really about building relationships. I love having people I can count on and they know they can count on me to have their back. That being said, I also love finding new artists. I think it’s important to bring in fresh work for my teams to see.
What is your preferred method of receiving promos from artists?
Just give me something different, something that makes me stop and look or makes me want to hang it on my wall. I also love anything with a good sense of humor.
What is the most memorable promotion you’ve ever received?
A few years ago for Valentine’s Day I got a heart shaped box with a magnum condom in it, I thought that was hilarious, it had all the Art Producers at BBDO talking about it.
Is it easy for a photography agent to reach you by phone?
No, please don’t call me. Just email or if we are close shoot me a text. I hate phone calls.
How many agent or photographer meetings do you have in a typical month?
If I’m not traveling I try to do at least two. I think it’s important to meet new people or show fresh work. I also just love meeting people and chatting about the industry. I love this work, so I love hearing other people’s stories.
You have a lot of portfolio shows. Tell us what stand out about the best of them?
Good food, someone who is present but not too in your face. Someone who is just there to have a good time and genuinely talk about how talented their artists are. I think when you are genuine and truly excited about your artists it really comes through.
Please identify a few ways that photographers/directors can make your life easier.
Just know that we are on the same team. I’m fighting for you, but I’m also fighting for my agency. It’s like I tell the students I teach, just work hard and be nice to people.
