Dan Zalewski III’s Post

How to go from a 16-year-old production assistant to opening your own multi million-dollar creative studio in 4 years: I started working as a production assistant at age 16, but I always knew I wanted to be a producer. So I had to start working my way up … from the very bottom. The first thing I did? Start turning down jobs as a production assistant and look for gigs that would get me to the next level. At this point, that meant hunting for “production coordinator” jobs. So I became a production coordinator. After being a production coordinator, I knew I needed to get into production managing. So I became a production manager. From there, I focused on getting into “line producing”— the next step up. Again, I turned down the stability of production managing jobs whenever possible, giving me the capacity to accept more line-producing work. So I became a line producer. This process repeated over the years — work hard to prove myself and then take the leap to get to the next level. And finally, at the age of 20, I started my own creative studio, SixTwentySix. Through every transition, from one role to the next, I consciously took the risk of losing work to make space for what I really wanted. I’ll be honest, it was a pretty uncomfortable place to be. But so many of the founders I look up to have said the same thing: Want to accelerate your own growth? Get comfortable being uncomfortable.

"Fix it in prep" This is my favorite mindset when I walk into each project. We often hear on film sets the term "we'll fix it in post" which is basically admitting that there's no way to fix the issue during filming and it's now the post production team's responsibility to fix it. Oftentimes I notice there's many people with the "we'll fix it in post" mentality, and often these are issues that could have been easily taken care of if someone had fixed it in prep. But how do you fix a problem before it becomes one? Well that's when I come in, as a Production Coordinator and Assistant Director that is my job. To ask the right questions to avoid issues that could potentially arise during the run of a show. I of course can't predict the future but I like to be prepared to fix the problem as efficiently as possible. I create systems that make it easier for everyone involved in the project to find the easiest ways to find answers. It is honestly my favorite part of the process. The best part of the “fix it in prep” mentality is that it doesn’t only apply to film sets and film production. I bring this approach to every project I do, whether it is an art installation or a proof of concept for a marketing campaign. Check my website to see all the projects where I have learned to how to “fix it in prep”! www.mariagastorga.com #ProductionCoordinator #Scheduling #FixItInPrep #ProblemSolving #OpenToWork #FilmProduction #AssistantDirector

How getting laid off from my entry-level digital video producer job led me to become a TV executive producer within 2 years: In 2020, I got laid off and was collecting unemployment. I had to make a decision: A. Get another job at a company ("not risky"). B. Make my side hustle film projects my full-time gig ("risky"). I decided to take the risk and go 100% all-in on my film projects for a year straight. I downgraded my living situation, cut expenses, picked up part-time work when necessary, and dedicated my time towards building a body of work. 1 year later, I sold the original film concept for what is now my first unscripted TV show on Prime Video & Amazon Studios. Every rejection is a lesson. It forced me to re-evaluate, adapt, and figure out a way to keep going. The REAL risk was staying at a job that wouldn't value or promote me for years. The REAL risk was building somebody else's dreams. The REAL risk was not going after what I wanted to do in my life. - Enjoy this? ♻️ Repost it to your network and follow for more. Want to level up your career? I work 1:1 with creatives, directors, producers, and filmmakers through my Filmmaker Accelerator Program. https://lnkd.in/gbAzjvxF

Title: Embracing the Hustle: A Day in the Life of a Production Executive POV: Ever wondered what goes on behind the scenes of a beach shoot? Picture this: a three-hour drive, a crew and cast of 23, and the pressure to execute a flawless vision while keeping everyone safe and satisfied. It's all in a day's work for a production executive like me. From managing logistics to ensuring client satisfaction, every moment is a balancing act. But amidst the chaos, I prioritize mental health, because a clear mind is key to success. Let's dive into the exhilarating world of film production #BTS, #setlife, and making magic happen! #instapro #instago

IT IS NOT YOUR JOB - To feel guilty when taking leaves. - Ensuring your manager is in a 'good' mood. - Figuring out how the client can have a high production film on a low budget. - Keep the client happy on weekends. - Laugh at a senior's joke because they are your seniors. - Say yes to everything just because you are the junior most member in your team. - Bring home that task list because the client has a last minute request. Job is a job. You can love it hate it find it fun or annoying but it should not expect more from you than your skills to get the work done. #Copied

As a production manager, You must plan meticulously and listen to provide support in every aspect of a video shoot. You make the impossible possible, going above and beyond for everyone in the organisation. The word "No" doesn't exist in our vocabulary. These skills are your competitive edge, ensuring you lead with excellence. #ProductionManager #VideoProduction #Teamwork

Well done Crispin, your growth continues at pace…

Most of you know me as a filmmaker, but for the past three years, I've had the pleasure of working at Picture Head, the world's largest trailer finishing company. I was brought on board to launch their first-ever Premiere finishing division. Building a global team from scratch has been an absolute blast. We crafted a new workflow and landed Amazon as a major client. If you've seen trailers for Lord of the Rings, Arcane, or Air on your TV or smartphone, that's likely our handiwork. The folks at Picture Head are truly top-notch at what they do. I've honed some new skills you wouldn't typically associate with a documentary director, like integrating a global workforce, designing a communication system for 300 employees, streamlining financial workflows, and developing a post-production pipeline that churns out hundreds of files daily. With the pipeline now running, the job is complete. It's an interesting time out there, so I'm open to many things. I'm searching for documentary work, but I also have a lot of knowledge in post-production, corporate optimization, and even launching a business. Have something in mind, I'd love to hear it. #Filmmaker #Documentary #PostProduction #CorporateOptimization #BusinessGrowth #Collaboration #NewOpportunities

Producer & General producer: what Is the difference? I’ve decided to touch upon this topic when I’ve realized one thing just recently: I know all of our clients very well — I’m aware of who they are, what they love, how they communicate, what they do,— but at the same time, despite the fact that many of my clients treat me well, they have absolutely no idea who I am or what I look like. In fact, it’s quite fascinating but this is what a General producer faces, one way or another. And this happens for a reason. I believe the producer (and not the general producer) is always the face of the project. This is the person who’s responsible for it, who manages it, and — it’s vital — builds relationships with the client. The General producer, in turn, appears at the first meeting when the client is introduced and then only in case of some difficulties with the client. The producer takes everything into their own hands because they are the head and heart of the project — this is something worth remembering. That is the reason I felt such a weird feeling when I realized our clients know me, but at the same time, very few people know who I am personally. I always try to be a little bit behind the scenes, but still be aware of and manage all projects. At the same time, I trust my team entirely. Therefore, yes, I believe the chief producer is, first of all, a bit of a gray eminence grise who simply manages everything, but he doesn’t necessarily need to be in everyone’s sight, and being behind the scenes is very good. #ProducerRole #ChiefProducerRole #RelationshipsWithClients

One anecdote I like to leave with students at the end of every semester is, we are all gatekeepers. All of us, at every level of industry, have SOMETHING to offer to someone less senior to us. As a producer and EP I can always share with associate producers, production assistants etc. And they inevitably ask - but what can a PA share? You can talk to recent grads or high school students about your experience on set. How to show up professionally. How you got your job. Show them how to edit or use a camera. You can recommend them for gigs. To answer the question of how do we get more of "us" in there, it takes "us" opening any door we can, no matter how big or small. #production #videoproduction #directing #filmandtv