Dear Art Producer - Kathleen Candelaria

With each episode, Dear Art Producer aims to bridge the gap between the photography and advertising communities, offering invaluable insights and fostering a sense of camaraderie among industry professionals. This week I sat down with Kathleen Candelaria, Freelance Art Producer. 

It’s been five years since her last visit on the podcast, and in that time, the world faced a global pandemic, our approach to work and production evolved, AI-generated content took center stage, and conversations around intellectual property, authenticity in art, and advertising have only intensified.

With so many shifts and hot topics emerging, I invited Kathleen back to share her perspective. With over 30 years of experience and a passion for collaboration, she’s helped bring creative visions to life for clients like Takeda, AmGen, Boeing, Kmart, Hampton Inn, and Johnson & Johnson.

Advocating for Talent and Finding Joy in the Work

When it comes to being persuasive with clients, Kathleen believes in open conversations. If a preferred artist isn’t chosen, she'll ask, “Why?", probing discomforts and offering reassurance that the production will run smoothly.

What drives her in the industry? Simply put: the people. Working with talented artists, traveling to new places, and staying in touch with long-standing collaborators brings daily inspiration. “I’m always learning something new,” she said, especially as technology continues to evolve. Even the most seasoned producers find joy in continuous education.

AI as a Tool With Limits and Ethics

AI is a hot topic, and while it's encouraged in some agencies, there are legal and ethical guardrails, especially in industries like pharma. Transparency with clients is key: if they’re not comfortable with AI-generated content, it’s off the table.

Producers are also scrutinizing tools to ensure they don’t retain confidential client data. And while AI can help with concepting, Kathleen believes that the final product still requires a human touch. “We still need the craft,” she emphasized. There’s concern about agencies treating AI like a shortcut, but she believes the industry will eventually balance experimentation with responsible use.

The Blurred Line Between Photo, Motion, and CGI

Although Kathleen specializes in photo production, 90-95% of her projects include motion in some form: GIFs, cinemagraphs, or even full video. The nature of the motion determines her first call: sometimes it’s a director, sometimes a photographer, or both. The process always starts with understanding the creative goals and intended usage.

CGI is also a frequent element in her work, especially in pharma. These complex projects often require educating internal teams and clients on what’s possible, and when changes are no longer feasible without budget or timeline overages. “Clients don’t always understand when we’ve moved on and can’t go back,” she noted.

How Artists Get Noticed and Why Email Still Works

Marketing to producers? Start with a smart, targeted email. It’s the most effective way to get on her radar. Artists should highlight new work, solve a creative pain point, or showcase a unique perspective. The subject line is crucial.

Once intrigued, she’ll bookmark the artist’s website, categorize them, and potentially revisit them later when a project aligns. Social media plays a secondary role, but email is still the first step. She reminded artists that even if they don’t hear back, their work might still be considered behind the scenes. “There’s a lot of work being looked at that artists don’t know about.”

Building Connections and Taking Chances on New Talent

The creative world is full of options, which can be overwhelming for both artists and producers. This producer empathized with the challenges of promoting yourself, especially for emerging talent. Her advice? Stay persistent and be personal. “When people are personable and personal, it resonates with me, I remember them better.”

When it comes to hiring vendors she hasn’t worked with before, she’s open to it, especially if the artist has strong production support. Whether it’s a trusted rep or a recommended local producer, she’s comfortable recommending new talent as long as she feels confident in the production’s execution.

Website Must-Haves: Clarity, Simplicity, and Personality

Navigating an artist’s website should be seamless. What’s most important? Clarity and structure. “Make it easy to navigate,” she advised. Clear categories and a clean presentation are essential. Artists should also highlight what makes them stand out, whether that’s a specialty, a particular aesthetic, or a unique skill set.

Bonus points for before-and-after examples when CGI or live action is involved. While not required, showing how something complex came together can be a compelling way to communicate technical ability. 

Creative Calls: Come Prepared, Be Engaged

The creative call is one of the most important moments in the process. Her biggest piece of advice: show up prepared. “Make sure you’ve read all the materials. Don’t ask questions that were already answered.” Artists should be ready to discuss casting ideas, production approach, and relevant experience that connects to the project.

What makes a bad call? Silence. Lack of questions or visible engagement signals disinterest. Conversely, great calls involve active listening, thoughtful input, and clear preparation.

Treatments: Yes, They Matter, A Lot

Treatments continue to be a crucial part of the decision-making process. Creatives read them closely, even if only parts are shared with clients. “The treatment is extremely valuable,” she emphasized. What helps? When artists are guided on what to include. For example, if a campaign involves CGI, artists should walk through their proposed process and illustrate how they’ll bring the vision to life.

While some artists hire writers to help craft their treatments, she acknowledged that AI could play a role here, helping to save time while still conveying the artist’s thinking. And from her perspective, anything that makes the creative vision clearer is a win.

The Awarding Process: The Weight of the Agency’s Recommendation

Clients typically defer to the agency when awarding a project. In some cases, a client might ask to include a specific artist in the bid pool, but unless they insist on using that person, the agency has the final say.

While this may seem straightforward, it means that every artist in a triple-bid situation must be a viable option. “Make sure you are not including anybody you don’t want to work with,” she tells creatives. That wasn’t always the case in the past, but now, all three artists need buttoned-up estimates, creative ideas, and strong treatments.

That shift has increased the workload across the board for reps, artists, and producers alike. It also means that when a client selects a different artist, it isn’t necessarily a reflection on the quality of work—it’s often just preference.

Bidding and Budgets: The Hidden Costs

Budget transparency varies. Sometimes a client shares a specific budget upfront, especially when concepts are being tailored to a fixed amount. Other times, the producer relies on experience to determine an appropriate number and chooses not to reveal the budget, especially if there’s room to work comfortably.

When budgets are tight or timelines are compressed, she’s clear with artists about what challenges they’ll face. “If it’s going to require very critical thinking to be efficient, I will let people know what they’re getting into.”

As the scope of work for bidding has grown—especially with the expectation of multiple versions and fast turnarounds—some production teams, especially on the broadcast side, have even started charging bidding fees. “It takes so much more to get a job and land an estimate that it costs money,” she said. With limited access to freelance producers and pressure to turn things around quickly, the bidding process is now a major production in itself.

What’s Next for Production in 2025?

As agencies evolve, so does the structure of production. Increasingly, internal agency production departments are being replaced by holding-company-owned production arms. That shift may not affect talent selection directly (yet), but it does impact how people like her work and find work.

“I need to keep an open mind about the kind of employment I’ll be able to get,” she shared. “It feels like more and more agencies are relying on freelance producers because they don’t need someone full-time 100% of the time.”

She admitted that she doesn’t yet know how these holding-company production groups find or engage talent, but it’s something she - and we - need to learn more about. “I think that’s a big question. I’d be really interested to hear how those teams are operating.”