The director is arguably the most important role in a video production. They are responsible for guiding the overall vision of the project, ensuring that the final product effectively communicates the desired message and meets the client’s expectations. They lead the production team and collaborate with the writers, producers, cinematographers, and editors to bring the story to life.

A professional in this role will understand the art of storytelling and visual language, which allows them to guide the production team in creating a cohesive and engaging story. “Part of the director’s job is focusing on efficiencies as well as aesthetics,” says Jeremy Weiss, who has been working as a director under the Lemonlight umbrella going on one year now. We recently caught up with him to discuss how he envisions his role and the many advantages Lemonlight presents that allow him to be a master of his craft. Check out the full interview below:

How long have you worked with Lemonlight? 

I’ve been working with Lemonlight since October 2022.

What’s your favorite Lemonlight project you’ve worked on?  

It’s tough to name a single project as my favorite, but if I had to choose, it would probably be a recent spot for IQBar. This shoot was a particularly enjoyable project because the creative concept itself was imbued with a fun sense of humor and energy.

We were able to translate that quirkiness into the colorful wardrobe and art direction, energetic camera moves, and a great performance from an actress who really understood the comedy of the creative.

What’s your favorite part about working with Lemonlight? 

My favorite part about working with Lemonlight is the large variety of products and services that I’m able to create commercials for. One project may be for consumer electronics, while the next might be for a healthcare product, and the one after that for a food product. This type of variety keeps me engaged and inspired, as I’m constantly learning something new each time.

Additionally, the team at Lemonlight is very collaborative, which makes it a great work environment to create in.

When you’re on set, how do you think about setting up and capturing the perfect shot for each scene? 

Because of the fast-paced nature of commercial shoots, we have to be very economical with our shot planning. I would love to be able to spend an entire day on set dialing in every frame and camera move to be perfect.

However, part of the director’s job is focusing on efficiencies as well as aesthetics. Having that one amazing shot isn’t going to work if you use up so much of your shooting schedule to capture it that you’re not left with enough time to complete the rest of your shot list.

The perfect shot is one that propels the edit forward, clearly communicates the intended message, and fits within the budget and time limitations of the shoot day. The fun and challenge of working in this medium is finding how to work within those constraints while still bringing a visual vocabulary that includes style and production value.

Are there specific things you look for? Are there things you try to avoid? 

One thing that I look for when planning a shoot is to see if there are any instances of shots with multiple camera setups that can actually be combined into fewer, or one. Depending on how the shots are designed to play in the edit, something as simple as swapping a lens can provide for a similar sense of visual variation as a different setup, but without the time and energy that might be required to relight an adjustment in camera placement.

Even better is when two shots can be combined into one by way of a camera move. As long as you’re certain this serves the story and the timing in the edit works out, it can be a great way to reduce time on set and maximize the production value of the scene. The time saved from eliminating a camera setup means that time can be reinvested elsewhere in the schedule. And if there’s one thing that we can always use more of, it’s time.

In terms of things to avoid, I would say that one of the most important is to be wary of making too many shots too complex. With all the tools available to us these days, it can be tempting to pour every trick in the book into every single shot, but oftentimes simplicity is the key.

If you have a shot (or shots) that have a level of complexity, try to offset them in the schedule by making other shots particularly simple. Also, have a simplified shot as a back-up plan if your complex shot isn’t working out.

Overall, my goal is to always strive for a balance between style and efficiency.

When you watch videos, what sticks out to you, catches your eye, piques your interest, or inspires you most?  

One of the things that inspires me the most when watching a video is when I can sense the level of care and attention to detail that was put into it. Whether it’s from unique lighting, camera moves, or even a very simple but solidly executed concept, I can appreciate when something has been crafted by a team that is passionate about their work, and proud of what they are creating. That enthusiasm can be infectious, even through the screen.

What is the best piece of advice you’ve ever been given as a director? 

The best piece of advice I’ve been given as a director is to think like an editor. Each shot is a piece of the puzzle that the editor will be putting together. You should be able to see the completed picture in your head, and where each shot/puzzle piece fits. You also need to be sure that there are no missing puzzle pieces that are needed to complete the picture.

What piece of advice would you give to someone trying to become a commercial director? 

Don’t let perfect get in the way of perfectly good. As directors, it’s in our nature to try to make each shot the best we possibly can. And while that’s admirable, it can also be a hindrance if you’re not realistic about what’s possible on the day, don’t manage your expectations, or get too attached to an idea or concept.

So take the time to plan and prepare for each shoot. But when it comes to shots or setups that are tricky or complex, hope for the best but prepare for the worst. Keep the bigger picture in mind. Know that you may not be able to achieve absolute perfection while still keeping your schedule. Have a simpler back-up plan for that shot, and know when to use it.