Creating Spec Commercials for a Reel?

R

ReelFilmGeek

Well-known member
So I have recently been doing a rebranding on my photo work as I plan to start freelancing a lot more as I transition from my 9-5. I also plan on redoing my Demo reel for video work. Right now I have a small pool of clients but a lot of the work I don't want to use in the reel due to either not being interesting enough or focused in the style of work I want to do. So I was thinking of shooting a few spec commercial pieces so I can have some example finished projects that show what I do, along with segment of clips for a reel that push my limits as a cinematographer.

However I wanted to ask if anyone had tips for shooting work for your reel and if you did a spec commercial, did you make up a brand, use a major brand, or maybe partner with a local brand (and maybe get payed if they liked the piece). Any advice would be welcomed as my current reel (seen here https://vimeo.com/137784843) really doesn't show what I can truly do as I have learnt so much more over the past months so I want to produce something stronger.

P.S. Also any tips on calculating a daily rate would be extremely helpful as I think we can all agree that is one of the hardest parts of freelancing.
 
I'm surprised nobody has chimed in on this, but I'll put my 2 cents in.

If you can partner with a local brand, that would be good. Networking and symbiosis are useful and may help you land future work. Second choice would be to make up your own brand. I'd avoid using a major brand, mainly because it seems deceptive to me -- implying you'd actually been hired by that brand. Any kind of disclaimer you tried to use would just distract from your work. But don't make up 'silly' brands -- unless you're making a funny spec commercial. Try to use brand names and such that would seem like real products or services.

That's what I would do. Hope it helps. Good luck!
 
Every time I see a spec commercial using a well known brand, they are not even close to how a real commercial from these brands would be.
You might come close in look and feel by hiring professional actors, shoot on Alexa or RED, control every aspect of lighting (like on a high end shoot), show production value through awesome locations and props, hire a film composer for sound design ask, get an experienced colorist for grading aso.
But in the end specs most often are trivial, lame jokes that just put a well know product at the end.
(Maybe someone can post some better examples, this might be too subjective...)

So, maybe you rather take one of your photo clients (the one with the most interesting brand or market), offer him a free shoot in exchange for creative freedom and catering and talent fees...?
Are you always working directly with clients or do you know any agencies?
If the later, you could always start telling them you are interested in doing more video work, higher budget projects. Maybe you're just not on their who-to-call-for-what list yet...
 
Have you thought about approaching a local charity or non-profit and offering to make something for them? It could be a win-win and do some good.
 
Andrius Simutis said:
Have you thought about approaching a local charity or non-profit and offering to make something for them? It could be a win-win and do some good.
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I am actually looking into what charities I have around me that are doing interesting events. I have one or two in mind but will look out for a few more because like you said its a win-win and its for a good cause which is even better.
 
I've worked on a number of PSA's for charities. Generally it's pro bono and you are not necessarily going to get creative freedom, though the closer you are to the head probably the better. I'm generally doing post sound on them so things are fairly locked in by then. A lot of these organizations are run by committees (the smaller ones anyway) and that can be a PITA.

I'm not trying to dissuade you since this is a great way to get some work out and you get "real" points since you had to please someone. The problem with speck ads and reediting or re-imagining existing work is that you didn't have a producer breathing down your neck and everyone (who might hire you) knows that, so the work gets heavily discounted. But PSA's tend to be at least as full of complications as paid gigs.
 
Noiz2 said:
But PSA's tend to be at least as full of complications as paid gigs.
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...which is a great learning experience!

You're right about the committees, but if you're coming to them and offering your services free of charge you do have more leverage.
 
I might suggest entering some of the mofilm.com contests. They give out small grants for some of them, and you might as well get to make a spec that might win you something tangible.
 
All you are doing by showing "spec commercials" is reinforcing you don't do commercials for a living....hence not a great work reference.

Suggestion above about community service etc are a far better way to showcase your work.
 
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