Urban Digital Recruitment Ltd’s Post

As my time in Miami comes to a close and I evaluate the next steps, it's clear that… 🏃🏽♀️ Resumes reflect what we’ve already done, not what we’re capable of building. We’re assets to a company for what we contribute to their future, not their past. So what has my experience made me ready for? #ContentProducer with ideas and hustle for lifetimes. Multiple pitches on deck, with built-in merchandise and franchise potential, corporate training, and an abundant spiderweb of talent. ▶️ Connect me with your EPs, networks and development departments that produce impactful content. #TalentAgent #A&R developing impact-makers and artists with a message. Projectable collaborations for sponsorships, merchandise, appearances, music videos, scripted and docuseries development. ▶️ Connect me with production companies looking to develop their agency arm, record labels developing influential talent, and distributors breaking through the oversaturated market to supersede conventional vibes. #LiveEventProducer managing projects from A-Z: marketing, talent, logistics, budgets, investors, venues, sales, publicity, strategy, the one-stop-shop of production. ▶️ Connect me with your performance venues, performing arts centers, and multi-faceted visionary entertainment companies. The first person who came to mind when you read this post is probably the best choice. I love people. Could you connect me to the ones that you love too? So excited for what's to come. Thank you for reading, for caring, for the text you’re about to send and for being a part of the network that connects and uplifts. #BeingTheRevolution #ComingToACityNearYou

MEDIA LAWYER, TV AND IMMERSIVE ENTERTAINMENT, PART TIME (3 OR 4 DAYS) OR FULL-TIME, LONDON #copyrightlaw #filmproduction #iplaw #media #medialaw #tvproduction #parttime

MEDIA LAWYER, TV AND IMMERSIVE ENTERTAINMENT, PART TIME (3 OR 4 DAYS) OR FULL-TIME, LONDON #tvproduction #filmproduction #iplaw #media #medialaw #parttime

Why work for a small agency over a large one? This is a question I’m constantly asking when hiring at Nusa Films, how do we attract top tier talent who might be considering a role at a more established, bigger agency? There's a number of factors but I believe this is by far the most important: ⚙️ Being a big cog in a small machine We have a unique opportunity for creatives to work hands-on with some amazing brands like Ford, Casio & Nandos All whilst being able to fully own their roles and know that they've played an integral part in delivering an amazing piece of content And most importantly you have real automony over your role, with the ability to innovate certain areas of our work and make a real difference in the business (also if you're wondering, yes that is a small jelly bean on our ceiling) #video #videoproduction #film #filmproduction #creativeagency #socialmedia #socialcontent #contentmarketing

Most independent artist managers / service providers base their operations and actions out of fear; assisting an artist achieve an often unrealistic goal just to keep an artist on the roster. Often the artist has expectations that revolve around industry support and vanity metrics that put the subjective nature of the project / music at the forefront. When these expectations of the artist are (more often than not) not reached, the first person on the chopping block is *suprise suprise* - the manager. We need to support an artists’ understanding of what the ACTUAL role of an artist manager is. Further, we need to be supporting managers and service providers to ensure their communication with artists is at a level where the artist is really clear around what the targets and what the roles of each person in the team actually is. - It’s not the managers job to get shows, that’s for a booking agent. - It’s not your managers job to get editorial, thats your distributor & label. - It’s not your managers job to get sync, that’s a publisher. - It’s not your managers job to get radio / online placement, that’s a publisict. Managers delegate between the above, but are not responsible for performing that direct role. It’s not okay for managers to operate out of fear and unrealistic expectations because artists don’t know about the role they are hiring.. All for 15% of nothing. #artistmanagement #artistdevelopment #musicindustry

Will emerging talent make the distance? We've been out showcasing director talent from Presence and emerging creative talent from the Young Presence community to hundreds of agencies and brands over the past year. Along with Brad Smith, Kirby Forest and Jelvi Santos, the Presence team have been delivering countless donuts (and sometimes fruit when requested!) to huge groups of people in front of large screens. It's been a great opportunity to get back out there and meet the industry face to face after so much time huddled away. The new talent gets a brilliant reception. Everyone has an appetite for new work and new directors from all walks of life. But how do we help some of that talent get to the next stage? Particularly if they are a real talent that might not now make the distance and become disillusioned. Traditionally a production company would sign a director they felt had great promise. Go out and find the best test script in ad land that would suit that director and invest in growing their reel. It might take a couple of years but prod co's would often see a return on their investment as the director flourished and became famous. As the landscape has flattened and the "direct to your audience" channels have opened up, this has ebbed away. Now most agencies need a director to fill a specific need. And they need it quick. So that might mean getting the guy (and less often the gal) that has shot something close to their film before. Prod co's can't justify the same risk and expense that they used to. But every Jeff Low or Ian Pons Jewell started as emerging talent too. What, or who helped them last the distance? We are talking to young people every day, visiting schools and colleges and developing short film and test projects with them. There are now some fantastic platforms out there for new talent to get in front of the right audience (shout out to Shiny Awards). What might get them through? We'd love to hear your thoughts. It all helps as we try out new ways of developing talent that might just stay the course. Thanks. 🙏 #newtalent #newdirector #filmdirector #creative #director #youngpresence #presenceteam #filmschool #productioncompany #advertisingagency

Did you know that the most successful artists aren't necessarily the most talented ones? Shocking, isn't it? They are actually the ones who've learned how to monetize their art by understanding the business side of entertainment. Talent may open doors, but business acumen helps you stay in the room and command better gigs. As a booking agent, I interact with a slew of performers. I’ve noticed that those who treat their art as a business usually have more robust careers. They negotiate contracts effectively, build solid relationships with promoters, and know how to market themselves into profitable opportunities efficiently. So my advice to all performers out there is this - Learn about the business. Immerse yourself in marketing classes or read up on contract law. Sharpen your negotiation skills. By leveraging this knowledge, you'll not only become an exceptional performer but also navigate the corporate entertainment industry like a pro. What's one thing you wish someone told you when you started your career? Let’s discuss in comments below!

Job in Mexico and Colombia

Brilliantly done as always