Producers often talk about their work in terms of process – tools, timelines, and tracking. Efficiency is usually the headline. But somewhere between the schedules and spreadsheets, I noticed producing felt less like management and more like one of my hobbies: baking.

Spend enough time in the kitchen, and the parallels between baking and producing become hard to miss. At first glance, baking feels cozy and intuitive. Producing, on the other hand, sounds technical, structured, and serious. But to me, baking isn’t just about following a recipe any more than producing is just about updating timelines and tracking budgets. They both rely on the same balance of planning, creativity, and trust in a process you can’t fully control.

I’m not saying that producing and pastry-making are interchangeable skills. But they serve similar purposes. Both ask you to take an idea that exists only in your head and guide it step by step into something tangible that other people can experience.

Every baking project starts with intention. You don’t just turn on the oven and hope for the best. You decide what you’re making, who it’s for, and what kind of outcome you want. Is this a quick weeknight treat or a showstopper for a big event? That’s not so different from deciding the goal of a video or defining the scope of a project. 

Then comes preparation, the least glamorous but most essential part. Measuring ingredients, preheating the oven, lining pans. In video production, this looks like scheduling, scouting locations, and lining up resources. None of this is particularly exciting, and it’s often invisible in the final product. But skip it, and everything falls apart.

And yet, despite all that structure, baking leaves room for intuition. You learn to read the oven, to notice when something looks “right,” even if the timer hasn’t gone off yet. That’s experience talking. It’s the same instinct that tells a producer when a plan looks perfect on paper but won’t survive contact with reality. These moments aren’t written into the recipe or the project plan, you earn them by doing the work over and over again

Of course, not everything goes as planned. Cakes sink. Cookies spread too much. Projects hit unexpected roadblocks. Sometimes you do everything “right” and the result still isn’t what you imagined. But rarely is it a total loss. Mistakes are lessons and you learn to adapt.

In the end, baking and producing share the same truth: the magic isn’t in the final result alone. It’s in trusting that small, deliberate actions will add up to something meaningful. Whether it’s a cake or a corporate video, the satisfaction comes from knowing that what exists now didn’t before, and that you guided it there, one step at a time.  

So the next time you sit down to produce a video or map out a project, try thinking like a baker. Let the idea rise. Let it rest. And then trust your instincts to know when it’s ready to go in the oven.

Bringing her apron and action by Alex Miller

I’ve been directing creative in one form or another for over 40 years. Let that sink in. Before cell phones, the internet, or personal computers, there was me – pitching concepts and writing scripts, just as I do today. Except now, I have a cell phone, Wi-Fi, and a MacBook Pro. I also have gray hair, spinal stenosis, and local, regional, and national awards in every creative medium.

And I have, as always, very little interest in “think pieces” littering LinkedIn about things you can do to maintain your creative “edge.” Visit a museum, exercise, explore nature, start a journal. That all sounds like a lot of work just to get better at work. Everyone seems very invested in helping me “keep my creative juices flowing.” (BTW – is that even a thing? I don’t need to be “juicy”; I’m a creative director, not a turkey.)

I’ve built a long career in the business of creative, so of course I take it seriously – but I don’t spend an ounce of thought on how I actively “cultivate” it. I rely on a more passive pursuit to sustain my creative inspiration. It’s my foolproof method of feeling creatively alive, and it’s not for everyone. But if you want to know, this is what I do:

Nothing.

Not a thing.

In order to re-invest, re-energize, and re-engage, I recline. For example, I find a couch, put on a James Bond movie I’ve seen 345 times, let my eyes glaze over, and enjoy the fun. I can kill a weekend better than anyone. Not that it’s a competition, because competing would be doing something.

Psychology Today says, “Sometimes doing nothing is the best something you can do.”

A guy with an important-sounding, hyphenated name writes, “Doing nothing is a great way to nurture our imagination. Slacking off may be the best thing we can do for our mental health.”

And as someone said Albert Einstein once said, “Creativity is the residue of time wasted.”

Some people are wired to always be doing something. Fortunately, I don’t suffer from that affliction. It takes a special kind of discipline to have none. Spending my childhood watching TV is how I learned to write and tell visual stories, so watching TV now isn’t time wasted, it’s time spent honoring my origin story.

But you do you. If museums top off your tank, great – and good luck parking. For me, nothing refuels my craft like the art of doing nothing. Athletes rest between games. Why wouldn’t creatives? 

So the next time someone asks what I did last weekend and I say, “Not much,” what I’m really saying is, “I worked all weekend.”

Enough already, Jonathan Markella

Social media teaches a hard truth: audiences scroll fast, decide faster, and rarely wait for a slow start. Most content fails in the first five seconds – your audience isn’t waiting, they’re deciding. Too often, videos never get a chance to breathe. They lie flat, horizontal and lifeless, while the world scrolls by without a second thought. 

So what does this mean for your next video? Simply put – it may never be seen. People don’t pause for logos or clever taglines. They care about what makes them stop. Attention is vertical – it climbs, it demands, it forces you to earn it. It rewards tight intros, bold visuals, and moments that hit instantly. That’s what I call vertical storytelling – learning from the most demanding format and applying those lessons to every video, no matter the screen.

When we think vertical, every frame has purpose. It guides the eye, lands the point, and refuses to let go. Take the lessons from social media, and suddenly every story can rise – tall or wide, it doesn’t matter. Attention stays where it belongs.

Don’t just rotate your phone. Rotate your approach – lean into the angles that command attention, and watch your stories stick. 

Thinking Vertical by Mark DiTondo

In a world overflowing with information, the ability to communicate clearly, confidently, and authentically is more than a skill – it’s a superpower. That’s why being a presentation coach isn’t just a job for me; it’s a calling.

I’ve seen firsthand how powerful it is when someone steps into their voice. Whether it’s a nervous entrepreneur pitching their first idea, a student presenting research, or a leader rallying their team – when they speak with clarity and conviction, something shifts. They’re not just delivering information; they’re inspiring action, building trust, and creating connection.

For me, coaching presentations is about more than perfecting slides or rehearsing scripts. It’s about helping people uncover their unique communication style, overcome fear, and embrace their story. I get to witness transformation -when someone who once dreaded public speaking begins to enjoy it, even thrive in it. That moment when they realize, “I can do this. I have something worth saying.” That’s everything.

I believe everyone has a message that deserves to be heard. My role is to help them shape it, own it, and share it with confidence. It’s deeply rewarding to be part of that journey, and it’s why I do what I do.

Because when people speak up, they change the world – one presentation at a time.

Authentic actions by AHW

Sales has a reputation for being all about the “big pitch” – the dazzling monologue that “wows” the client and wins the business. But here’s the truth: don’t we all like to talk? It feels good, it feels smart, and it feels like progress. Except in sales, that instinct is often the very thing that gets in the way. The real winners aren’t the ones who can talk the longest, they’re the ones who know how to ask better questions and then stop to listen. 

Good questions unlock honest conversations. Ask someone “What’s your biggest challenge this quarter?” and you’ll get surface-level answers. Ask “What’s keeping you up at night?” and suddenly, you’re not a salesperson anymore, you’re a problem solver. The best salespeople aren’t experts in delivering “the pitch;” they’re experts in uncovering “truths” people don’t always say out loud. 

Most prospects can smell a script a mile away. What they don’t expect is someone who remembers that small detail they mentioned last week or picks up on what they didn’t say at all. Listening isn’t passive – it’s active, and it’s a superpower that builds trust faster than a flashy deck ever will. 

Let’s talk about rejection. It stings – no way around it. But in sales, rejection is data, not drama. A “no” tells you what didn’t work or what priorities shifted. Treating rejection as research keeps your ego out of the way and keeps you moving forward with good questions and sharper instincts. 

Your energy, confidence, and curiosity walk into the room before your product does. People buy from people, not logos. If you show up like someone they want in their corner, the sale often takes care of itself. 

These lessons aren’t about gimmicks or quick wins; they’re about building a mindset that keeps you sharp for the long run. When we’ve learned to ask better questions, listen harder, and stay humble, we stop “selling” and start collaborating. And that’s where the real magic (and the real business) happens. 

Ears before ego by Joel Kaplan

Every day, I make myself take a walk. Sometimes I take my camera with me, sometimes I leave it behind. Regardless, my goal with each walk is just to notice.

The way the light splashes on the ground through the trees, the sound and smell of the water from a sprinkler in the park. Anything that evokes a response in me, I take mental note of, and maybe a photo if it feels right.

Noticing is more than observation, it’s a way of slowing down, of tuning into what resonates, and of letting the overlooked details guide how we see and tell stories. In creative work, whether editing a film or shaping a brand message, the art lies not just in what we make, but in what we choose to pay attention to.

These little moments are what can turn an ordinary project into something more moving, more human. When starting an edit, I watch the entire interview; not just the answers from producer notes, not just the last take that “nailed it”, but for unique “in between” moments.  Someone laughing at something said off camera, the way someone shifts in their chair or wrings their hands trying to answer a difficult question – these moments often go overlooked, but can be used to tell a visceral, human story.

In the end, noticing isn’t just about gathering material – it’s about cultivating presence. The more we attune ourselves to the details that often slip by, the more depth and honesty we can bring to our work. Whether behind a camera, in the edit suite, or going for a simple walk, creativity begins with attention. By honoring the subtle, fleeting moments, we create stories that don’t just inform or impress but connect – reminding us, and our audiences, of what it feels like to truly be human.

Being human by Bryan Fusco

Why spend time developing a personal style when TikTok can do it for you? It’s too easy! Every week, a new aesthetic surfaces, cycles through your feed, and disappears. Welcome to the era of hyper-curation; where social media thrives on endless micro-trends that burn bright and die fast, pushing creators into a constant loop of “what’s next?” 

It’s not just fashion influencers keeping up with aesthetic cycles; it’s creative teams navigating shifting design trends, marketers chasing engagement, and brands wondering how to stand out without selling out. There’s this quiet pressure to keep reinventing yourself online – stylistically, creatively, visually. Social media doesn’t just encourage self-expression; it gamifies it. This kind of cultural whiplash leads to something we’re all feeling: trend burnout. And while keeping up can be fun, it can also start to feel like you’re creating more for the feed than for yourself. You don’t have to know what you like – just what’s trending.

This mirrors the way we approach personal style and content right now: it seems less about self-expression and more about performance. It’s all about looking like you didn’t try, even when you absolutely did. One particularly amusing example is the bag charm trend – keychains that look like a thoughtfully assembled collection of trinkets, when in reality, they were manufactured to look effortlessly unique. The same can be said for the endless stream of trending aesthetics, where “trend hoppers” cycle through styles at a breakneck pace, reselling anything that no longer fits what’s in right this moment.

And while brands aren’t always as flexible, they’re just as susceptible. Take the current obsession with bold minimalism in design – oversized type, ultra-clean layouts, high contrast color palettes. It’s everywhere. The temptation is to adopt the newest visual language before the competition does, or because the competition did. But at what cost? In a landscape of constant adjustment, it’s worth asking: Do I actually like this? Or did the Internet convince me I do?

Personal style – and creative identity – doesn’t have to mean rejecting trends altogether. It’s more about knowing when to jump in and when to skip it. The best creators aren’t immune to trends. The stuff that cuts through isn’t always the most polished or trendy, it’s the content that feels grounded, intentional, and real. It’s all about striking a balance; learning to play into some trends and leave some to other creators; finding what resonates with both the algorithm and your brand.

It’s a fine line between staying relevant and becoming just another copy of a copy. The Internet doesn’t need more beige content. What stands out is what feels real. Good content is responsive, not reactive. Originality isn’t about being first – it’s about not being fake.

So yes, convenience is tempting. The fast-moving trends, the plug-and-play aesthetics, the algorithm-ready packaging. But just like building a wardrobe, if you buy into everything, you’re left with nothing that really reflects you.

Real reflections by Erin Gieselman

The first time AI truly caught my attention was when I saw that now-famous image of Pope Francis in a big, puffy white winter coat. I thought it was a clever Photoshop job—someone had probably pasted his face onto another image. But then I learned the whole thing had been generated from scratch, purely from a text prompt. That’s when it hit me—this wasn’t just another image-editing trick. This was something different.

Like many in the creative industry, my first reaction was excitement. AI was being pitched as a miracle—type in a few words, and out comes a flawless, detailed image straight from your imagination. If you’ve ever struggled with creative execution, this sounded like a dream. But the dream faded fast.

I put AI to the test on a real project, trying to generate cross-section visuals of underground layers for a client. It seemed like the perfect use case—after all, AI could create the impossible, right? Instead, I got hallucinations. The AI kept adding fossils, underground rivers, even lava flows that led to volcanoes. No matter how clearly I refined my prompt, it wouldn’t stick to reality. It was like AI had a compulsive need to impress me, throwing in details I never asked for. What was supposed to be a shortcut turned into an exhausting process of trial and error.

This is something a lot of clients (and even some creatives) don’t understand about AI. They assume it’s as simple as typing a sentence and getting a polished, perfect result. They don’t see the hours spent wrestling with prompts, fixing weird distortions, and correcting details AI refuses to get right. Every time I’ve used it, I’ve had to step in and refine the output manually.

That doesn’t mean AI is useless—far from it. Today, I mostly use it for generic imagery: abstract backgrounds, skies, oceans, outer space. If I need something broad and flexible, it’s great. But the more specific a request, the harder AI struggles. It’s not a magic button; it’s just another tool.

I’ve also seen how AI’s perception has shifted. At first, creatives feared it would replace them entirely. Then, frustration set in as people realized it wasn’t as powerful as promised. Now, there’s a more balanced view: AI is here to stay, but it’s not taking over. Design tools are integrating AI directly into their workflows, making it a supportive feature rather than a replacement. This is where the real potential lies—not in eliminating human creativity, but in enhancing it.

I’ll admit, AI tricked me at first. I believed the hype and expected miracles. Now, I see it for what it is: useful but limited. I still get frustrated, but I’ve also learned how to work with it, rather than against it. AI will keep evolving, and so will we. It won’t replace designers, but it will change how we work. And if used right, it might even make us better at what we do.

Evolving insights by Rodrigo Philbert

As a motion designer and animator, traveling has always been one of the most effective ways to expand my creativity. Living in the Czech Republic and exploring countries like Austria, Germany, Portugal, England, France, and Italy has shaped how I see and approach my work. Each city has its own rhythm, aesthetics, and energy that spark fresh ideas. 

The classical architecture of Vienna inspires sophistication in my work, Munich’s urban art pushes me to explore and experiment with new possibilities, and Lisbon’s unique light and vibrant colors always shift my perspective on composition and movement.

Cultural diversity fuels my creativity. Observing how different people express themselves through art, design, and animation drives me to rethink and reinvent my own style. And the unexpected twists and turns of travel requires adaptability. Thinking on my feet and communicating in different languages teaches me to be more creative and resourceful in ways I hadn’t expected.    

I love to document my travels with photos and video, capturing visual references that often find their way into my work. Engaging with locals broadens my horizons in ways a traditional travel guide never would. When I can, I try to unplug from my digital world to let the moment, and my creativity, flow freely.

For me, traveling isn’t just about seeing new places—it’s about gaining new perspectives, new ideas, and new ways of creating. Every trip is an adventure, not just to explore the world, but also, my own creative potential.

Moments that matter by Luciano Marcao

Let’s start with a simple truth: once upon a time, if you were an artist, you had two options – gallery or bust. If you didn’t know a curator, a collector, or a guy who knew that guy, good luck getting your work seen. But fast-forward to today, and the game has changed – completely. 

Digital platforms haven’t just disrupted the art world. They’ve thrown it into a spin, pirouetted it across the internet, and handed the spotlight to creators who used to be stuck backstage. And frankly, it’s about time. 

From White Walls to Worldwide Feeds 

Instagram. Behance. Etsy. TikTok. Even LinkedIn, surprisingly. These aren’t just platforms anymore – they’re art galleries with scroll bars. Artists now showcase their work directly to audiences, unfiltered and unframed, sometimes quite literally. A painter in Nairobi can find fans in New York. A digital collage made in Seoul can go viral in Berlin. Geography? Optional. 

No need for velvet ropes or whispered critiques. Just hit “post.” 

The New Middlemen (Spoiler: They’re Algorithms) 

Of course, the gatekeepers didn’t disappear – they just changed form. Now it’s the algorithm deciding who gets seen. It’s fickle, mysterious, and allergic to consistency. But artists are learning to dance with it, treating it like an eccentric curator who sometimes wants cat videos and sometimes wants high-concept video art shot on a flip phone. 

Still, the upside? Access. Lots of it. No MFA? Doesn’t matter. If your work resonates, it finds its people. 

Monetizing Creativity, One Click at a Time 

Let’s talk money – because yes, artists need to eat too. 

Digital platforms have opened new revenue streams. Patreon lets fans fund creators monthly. Gumroad, Ko-fi, and Substack offer digital storefronts for zines, illustrations, and exclusive content. NFTs had their five minutes of fame (and for some, a decent payday), and who knows – maybe they’ll evolve into something more sustainable. 

It’s not all sunshine and sales, of course. There’s a hustle involved, a pressure to constantly create, engage, post, repeat. But the autonomy? Worth it. 

Community Over Clout (Well, Sometimes) 

Here’s something beautiful: the sense of community. Artists lifting each other up, sharing tips, collaborating across borders, teaching, mentoring. It’s not all about the numbers. It’s about connection. It’s about art that says something and people who respond with more than just emojis (though we love a good 🔥). 

The digital age has made art more democratic, more diverse, and, dare I say, more fun. 

So, What Now? 

We’re still figuring it out. The landscape shifts daily. Platforms rise and fall. But one thing’s clear: digital is no longer the future of art – it’s the now. Whether you’re a painter, a poet, a pixel-pusher, or just someone who loves staring at a well-lit image on a phone screen, your part of it. 

And that’s kind of amazing. 

By Someone Who’s Seen It All (and Still Loves a Good JPEG) Momina Yasir

Property of Focus Features.

MK3 producer and fellow MK3 blogger Haley recently explored the art and science of movie trailers – how they masterfully tell a story, teasing just enough to spark intrigue while leaving audiences wanting more. And she’s right. When done well, trailers are an essential part of the cinematic experience. But what if I told you that a single image could have the same, if not greater, impact?

Are Movie Trailers Giving Too Much Away?

We’ve all been there, watching a trailer only to realize you’ve basically seen the entire movie. The plot twists? Revealed. The funniest scenes? Already laughed at. The movie climax? Played out in those two trailer minutes. In an era where attention is currency, movie trailers often lean too heavily on over-explanation, leaving little mystery for audiences to uncover.

Now, compare that to the silent power of a movie poster. A single still composition, if done right, can ignite curiosity, build anticipation, and leave viewers with more questions than answers. It’s an art form that can tap into emotions in a way trailers sometimes fail to do.

The Magic of a Well-Designed Poster

Take Nosferatu (2024), for example. Its posters captured a raw, eerie intensity, dripping with passion, tension, and atmosphere. Every version of the poster told a different story, yet each was equally unsettling, making it impossible to look away. On my way in to see Nosferatu, I saw the poster for the movie Sinners, starring Michael B. Jordan. I love an evil Michael B. – remember Black Panther? So, when I saw that poster, I immediately put the movie on my watch list.

This is where movie posters have an edge. Instead of spoon-feeding the audience, they intrigue. They ask the viewer to fill in the gaps, to imagine the story before even stepping into the theater. When done right, posters spark a conversation. Who is that shadowy figure? What does that cryptic tagline mean? These questions linger, and that’s what makes posters such an effective marketing tool.

A Better Strategy for Movie Marketing

While trailers will always have their place in film marketing, posters have the potential to do something trailers often don’t: let the audience’s imagination do the work. A well-designed poster campaign, featuring multiple designs that capture different facets of a film, can keep excitement alive long before (and after) a movie’s release.

For marketers, it’s a lesson on the power of restraint. Sometimes, saying less, or showing less, says more. Whether marketing a film, a product, or a brand, leaving room for intrigue can be the hook that gets audiences truly invested.

Keep Them Wanting More

I think the best and most exciting way to market films is to leave the audience with questions. Give just enough to let your audience know this is something that will entertain. It’s baiting at its finest. Unanswered questions let the plot of film exceed your expectations, and leaves the audience open to wherever the story goes. Posters allow just enough to make people want to see more.

The power of the poster by Abayomi Harper

My favorite part of the cinematic experience – and bear with me for a moment – is the coming attractions, the previews, or as they’re called in the business – the trailers. While most people walk in 15 minutes late to avoid them, I make it a point to arrive early, so I don’t miss a single one. Not only do they provide a visual guide to help me determine my movie-going schedule for the next 6 months, but they also offer a very disciplined, big screen example of the art of storytelling. 

In order to know what a movie trailer is, it helps to know what it’s not. It’s not a miniature version of the movie itself. It’s more of a teaser, an appetizer. A trailer needs to have enough information to draw you in but not enough to spoil the plot. What’s the point of going to a movie when you already know what’s going to happen? (And to be clear, I’m not talking about movies that can be watched repeatedly. As a chronic “movie re-watcher,” I’ve seen Interstellar at least four times and don’t plan to stop there.) A great trailer offers a brief, compelling look into the tone, style, and feel of a movie. It builds excitement, stirs intrigue, and leaves you wanting more. 

One of my favorite recent examples is the teaser trailer for the movie “Companion”. https://www.youtube.com/watch?v=PhcLjiVtgco

Property of Warner Bros. Pictures

My reaction after watching this trailer was immediate: I’m going to see this movie as soon as it comes out. Gold star to the editors for this one!
 
The trailer is brief. It’s visually striking. It doesn’t overexplain the plot. You quickly learn who the main characters are, that it’s not your typical love story, and that it will absolutely end in a bloody mess. What more do you need to know? Ticket please!
 
In our creative world, we spend just about every day filtering through the clutter to find concise and engaging ways to tell a story. Clients often give us twenty-page documents full of value prop information and RTBs (reasons to believe). It’s our job to boil it down to messaging that really matters. And it’s not just about condensing twenty pages of information into a 60-second video – it’s often about conveying a message with just enough information to tease the audience, spark curiosity, and leave them wanting to learn more. Ticket please!

Movie magic musings by Haley Noviello