Producing Tomorrow's Producers: "Every Job is a Learning Curve" for Simon Bath
Simon Bath has been in the production industry for almost two decades. After originally studying music and sound, he started out in post-production operations before transitioning to a visual effects production role. With 12 years of experience in London, including five years at The Mill, he relocated to Barcelona and joined Trizz. For over five years at Trizz, he’s been part of the company's expansion and commitment to creative quality.
LBB> What advice would you give to any aspiring producers or content creators hoping to make the jump into production?
Simon> My personal take - as a sweeping statement - is that production can take two routes, the hands-on project management producers, and then the more sales focused producers who are out there to bring the work in. Whichever route you find yourself more suited to follow, making connections and building relationships will be the cornerstone of success.
LBB> What skills or emerging areas would you advise aspiring producers to learn about and educate themselves about?
Simon> AI tools for sure - reading, researching and trying the new tools as they come up. There’s a lot of fear about taking the creative and humanity out of our industry but for right now, at least, there are some tools that can be used to great effect. In fact, Chat GPT is writing this reply right now….! (Joke! It’s not, I promise).
Even if it’s not being hands-on, it’s important to have knowledge of the new tools that are out there, to consider how they might be useful and also spot when they might be being used by someone else!
LBB> What was the biggest lesson you learned when you were starting out in production - and why has that stayed with you?
Simon> To be honest, there hasn’t been just one big lesson; it's been a constant development. What has become clear is that everywhere you work is a new experience, with new learnings. Adaptability is key. Stay flexible, open-minded, and eager to absorb new knowledge. This mindset has been essential, and allowed me to navigate the industry with confidence.
LBB> When it comes to broadening access to production and improving diversity and inclusion what are your team doing to address this?
Simon> This is something we/Trizz constantly have in mind, to broaden inclusion but also to work with creative minds from different backgrounds and perspectives.
While our resource team is always searching for new talent, we do find the most effective way to implement this is from homegrown talent, not least because of the unique way in which we work at Trizz.
LBB> And why is it an important issue for the production community to address?
Simon> It’s important our industry reflects the wider world and community rather than being a bubble or self-insulted, for ethical reasons but also because diversity is truly the spice of life and we should be making the most of the different talents and backgrounds from people of all walks of life.
LBB> There are young people getting into production who maybe don’t see the line between professional production and the creator economy, and that may well also be the shape of things to come. What are your thoughts about that? Is there a tension between more formalised production and the ‘creator economy’ or do the two feed into each other?
Simon> The creator economy, by which I mean individuals coming from a more self-taught, individual background, certainly has a strong presence in certain aspects of production and offers some fantastic creativity and exciting new ways to come up with ideas - especially in 3D and 2D disciplines, even directing to some extent.
But from our point of view - as a creative production company that utilises both live action and 3D/2D mediums - producers, artists or other production team members that don’t have knowledge and general understanding of the wider industry are always going to be putting a limit on themselves and possible future opportunities.
Professional production is essentially whatever delivers the end result for the client, and will be defined by the successful companies or individuals that are achieving that, but it would be very short sighted to ignore the history of our industry and the wealth of experience that’s out there.
LBB> If you compare your role to the role of the heads of TV/heads of production/ exec producers when you first joined the industry, what do you think are the most striking or interesting changes (and what surprising things have stayed the same?)
Simon> The number and structure of companies / studios out there now is a vastly different landscape than when I started out. Largely down to the development and accessibility of creative software tools (3D/2D) for use at home, and more recently the pandemic expediting the remote work possibilities.
Before the client was looking for someone down the street to work with, now it’s a worldwide market - creating seemingly endless opportunities, but also a complicated market within which to compete. Working relationships and trust now needing to be forged through video calls, which is not always the easiest.
In addition to that, there’s also a lot more content being made now - OOH, social media, etc. There’s a lot of creative potential but not always the budget to match expectations, requiring creative thinking on production approach as well as direction.
LBB> When it comes to educating producers how does your studio like to approach this? (I know we’re always hearing about how much easier it is to educate or train oneself on tech etc, but what areas do you think producers can benefit from more directed or structured training?)
Simon> Because our workflow and approach at Trizz is pretty unique, using both live action and VFX/CGI techniques and methodologies, the demands on the production team to be able to make informed decisions and manage clients are high. Every project is essentially different, so we focus on developing skills and an awareness that can be adaptable depending on the specific requirements.
In addition to technical training, we place a strong emphasis on experiential learning, working with diverse clients and brands across the globe. By providing opportunities to collaborate with international clients and navigate cultural nuances, producers can develop invaluable skills in client management, project coordination, and cross-cultural communication.
Ultimately, our approach to producer education is centred around empowering individuals to adapt, innovate, and excel in the industry, and be able to maintain clear and consistent lines of communication, both internally and with the client.
LBB> It seems that there’s an emphasis on speed and volume when it comes to content - but where is the space for up and coming producers to learn about (and learn to appreciate) craft?
Simon> Every job for me is a learning curve, there’s always something to get out of it. Otherwise I think it’d get boring pretty quickly. To learn and appreciate the craft is really about surrounding yourself with talented people and getting involved with the various steps of the process. Demand for social and digital content is just another evolution of the market, for which we need to adapt and provide for.
LBB> Clearly there is so much change, but what are the personality traits and skills that will always be in demand from producers?
Simon> Problem-solving skills are invaluable, and adaptability, like previously mentioned. Whether it's technical issues, resolving conflicts, or facing the unexpected, it’s production that must keep things on track - whilst staying cool and collected throughout.
And then bridging the gap between creative ambition and financial constraints - balancing artistic vision with budgetary limitations always requires a delicate creativity, and negotiation skills.
But ultimately, producers need to genuinely enjoy working with people. Building strong relationships with clients, collaborators, and team members is essential not only for a successful project but also to actually get something out of it, at the end of the day.
