Tips on Being a Good Video Producer: Karen Fitante’s Strategies for Creative Success
Karin’s illustrious career, rooted in the vibrant energy of New York City and shaped by diverse experiences across North America and Europe, reflects a profound journey through the realms of advertising and film. She is a Senior Producer, overseeing projects across the world. Her early inspirations, academic pursuits at Boston University, and subsequent roles from internships to photo research have culminated in her leadership at KF Productions, where creativity meets execution in the production of captivating content for global brands and agencies.
We sit down with her to learn about her insights into the challenges and triumphs shaping the advertising and content creation industry as it has evolved over the past two decades. Karin offers invaluable lessons for aspiring filmmakers and producers. Emphasizing the importance of versatility, collaboration, and a problem-solving mindset, she underscores the essential qualities for success in this competitive field.
How have you seen client demands and expectations evolve in the advertising and content creation industry over the last decade?
The demands have increased specifically because clients now expect a much faster turnaround than they used to while expecting more to be done with smaller budgets.
I think that’s because social media has become so prevalent, and algorithms are really involved in determining factors like color or demographics. Back in the day, you weren’t able to view things instantaneously, especially with photography or even with film dailies.
Now, there is that immediate response. You can just check things out on a monitor. Things are expected to go a lot faster and not at the same cost as they used to.
How have you seen client demands and expectations evolve in the advertising and content creation industry over the last decade?
The demands have increased specifically because clients now expect a much faster turnaround than they used to while expecting more to be done with smaller budgets.
I think that’s because social media has become so prevalent, and algorithms are really involved in determining factors like color or demographics. Back in the day, you weren’t able to view things instantaneously, especially with photography or even with film dailies.
Now, there is that immediate response. You can just check things out on a monitor. Things are expected to go a lot faster and not at the same cost as they used to.
With the rapid advancement of technology, how has this affected the production process from your perspective?
I think it’s really affected things overall in a positive way because certain elements can be done a lot cheaper than they used to be.
It’s been changing the industry for a while. When I first started out in magazines, I worked solely with photographers, and photographers who did not make that transition to video kind of got shut out for a while. I saw a lot of careers take very different courses. Because it is changing so quickly, you really have to stay on top of it.
I’ve seen this really change the careers of many photographers and directors. For example, the addition of the Red camera for film really changed that.
How has social media, particularly TikTok, influenced the type of campaigns brands and businesses seek to create?
I think, especially with the influence of TikTok, things are moving much faster. Attention spans are probably not where they used to be. You know, back in the day, things almost had a cinematic quality to them.
And now it’s very, very quick editing, quick responses. Content needs to be degenerated so that it stands out for people who are scrolling and can respond to it very quickly.
Can you discuss the importance of collaboration in your field, particularly between agencies, clients, and production teams, and how it influences a project’s outcome?
I think it’s really important – flow. It’s not like you need to have the same vision, but I like it when everybody’s on the same page because then everyone can contribute to that particular vision.
And that gives the project flow. If everybody’s disagreeing, it usually holds things up. It takes longer. There’s no coherency in the final image that you get – when everybody can collaborate, and you can agree to disagree. That process can usually challenge someone to think out of the box and come up with a better idea.
But ultimately, that sense of collaboration is really important in any production.
Budgets can often be tight while expectations remain high. Can you share some strategies for maximizing production value while staying within budget constraints?
You need to speak with the client and figure out what aspect of the visuals is most important to them so that you can then know which areas you need to spend more money on. Basically, you pivot each budget to work within that space.
You can call in favors if you’ve worked in the industry for a while. I can call someone and be like, you know, I’ll get you on the next shoot, but can you just work at this rate for this one?
You can juggle things. I have a lot of really good relationships with prop houses, wardrobe, and stylists. If they’re familiar with you, have worked with you for a long time, and know you can hire them again, a lot of times, you can tweak the budget so that rates can come down in certain areas.
Are there any emerging markets or content trends that you’re particularly excited about or believe will significantly impact the industry in the coming years?
Well, the first one that comes to mind is AI. And I already know some photographers are using AI to assist with color correction.
One of my directors said he wants to use AI to do translations so that the final product is easily accessible to the Spanish and English markets. AI is still in the beginning phase. We’ll see what happens. I think if used properly, it can be beneficial, but I think it can also detract from creativity so that things become monotonous or soulless.
We’ll see what happens.
How do you keep your skills sharp and stay ahead of the curve in an industry constantly evolving? Are there specific resources or practices you recommend to professionals looking to grow in this field?
So I mainly produce, but I’ll get calls sometimes from ad agencies where they need an art buyer.
Or they need an in-house producer. I’ll take those if I’m free because I feel that it gives me a much more well-rounded idea of the industry. As a producer, you’re really only seeing it from one side. And when you’re on the other side, working from within the agency, as an art buyer or a producer, I think it kind of gives you a much more well-rounded perspective on how the industry works.
And I feel like it’s really helped me a lot.
There are some great websites out there for specific resources or practices. Photoeditor.com is excellent. I belong to several private producer groups, so if I’m in a bind and I need to call someone, you know, if I’m like, Hey, I need the, you know, a sound guy in Albuquerque, can you recommend someone? We help each other out that way.
Facebook actually has some good resources as well, so you can do some research into that.
When working on international projects, how do you navigate the challenges of cultural differences, both in content creation and in the production logistics?
When I’ve done international projects, I really prefer to hire local crews. I feel like that is a really big asset. Usually, I’ll bring an assistant with me and the director or photographer will bring an assistant out with them.
But we try to get the rest of the crew locally. There’s a sense of camaraderie when you’re on a shoot. So I’ll usually take my team out to dinner. You know, we all get to know each other that way. And it’s also really easy to pick the brains of the local crew just in terms of what’s trending there or, you know, more of the social nuances that we should be aware of specifically as producers.
What advice would you give to up-and-coming content creators and producers looking to make their mark in the industry?
There are several mentorship programs. I’m part of one based in San Francisco, So I do like to give back in that regard. Getting involved with people who are willing to teach or from whom you can learn is beneficial.
When I first came out here, I got hired by Bon Appetit magazine. I consider the photo director there, Liz Matthews, a mentor. She was just so knowledgeable. She fielded my questions. She gave me a lot of information. I could bounce ideas off of her. Having a mentor is a great experience.
Giving back is a great thing to do once you get more established. It’s rewarding in both ways. You’re both teaching each other.
In wrapping up this insightful interview with Karin Fittante, it’s clear that her journey through film and advertising is more than just a career—it’s a testament to the power of passion, perseverance, and creative vision.
You can reach her directly by visiting Karin’s website.
If you want to learn more about Karin and her personal journey, please check out our latest episode of the Industry Insights Podcast with host Jim Ellis.
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