Client Project (ADMA6007) - Assessment 2

Summary of Project Aims

The primary goal of this project was to create a short, emotionally resonant film that aligned with Nikon’s brief. Nikon sought a piece that would inspire younger creatives by showcasing how the brand supports storytelling, exploration, and personal growth. My aim was to connect Nikon products with a genuine, personal story that could motivate the brand’s target audience while staying true to my experiences.

Balancing authenticity with brand expectations was a key challenge. Nikon’s feedback confirmed that prioritising personal storytelling over overt product promotion resonated well with younger audiences, who “prefer authentic, relatable content over overtly commercial messaging” (Fromm and Read, 2018, p. 46). However, I was mindful that excessive introspection might make the piece feel niche for a global brand, highlighting the importance of balancing personal narrative with broader appeal.

Kolb’s (1984) experiential learning cycle was evident throughout the project, both in the film’s content and its development. The film itself, as well as the process of creating it, can be seen as inherently reflective, aligning with Kolb’s (1984) experiential learning cycle. While the film predominantly embodies the reflective stage, the act of crafting it also involved elements of experience, conceptualisation, and experimentation. This highlights how the creative process naturally mirrors aspects of the learning cycle, even if not following a strictly linear progression.

On a personal level, this project was an opportunity to demonstrate my ability to produce professional content for a global brand while maintaining my creative identity. As Neugebauer (2009) notes, successful professional practice requires demonstrating value beyond creativity. I aimed to prove that my approach could meet Nikon’s standards while also positioning my personal brand as compatible with theirs.

Nikon’s feedback validated the project’s success, acknowledging that the film effectively captured the emotion the brand aims to evoke. This aligns with Fromm and Read’s (2018) insight that “Gen Z audiences respond best to content that is authentic, emotionally resonant, and relatable,” highlighting the importance of storytelling that feels genuine. Nikon’s team member Amy’s comment that the film was “Nikon standard” affirmed the professional quality of the final piece.

Feedback from social media further supported the film’s appeal to younger creatives. Stephanie Davies noted that it might inspire her daughter, indicating that the message extended beyond young creatives to those who influence them. This multi-layered audience impact was an outcome I had hoped to achieve.

On a personal level, the project was not just about meeting the brief but also about maintaining my creative identity while working with a global brand. Korah’s feedback that the film “didn’t feel like an ad” and Caitlyn’s remark that it was “more storytelling than just wildlife” confirmed that I successfully balanced brand integration with personal narrative.

Specification: Evolving from Pitch to Final Film

The final film remained largely consistent with the concept presented during the pitch to Nikon. My initial pitch outlined a short, reflective piece aimed at younger creatives, focusing on how photography shaped my personal and creative journey. The emphasis was on storytelling rather than product promotion, framed through an introspective voiceover. Nikon’s positive feedback during the pitch reassured me that this approach was effective, particularly the decision to maintain continuous speech to support pacing and reflection.

What Stayed the Same:

• Core Concept: The idea of the film as a message to my younger self remained central, maintaining an emotional and introspective narrative that aligned with Nikon’s brief. This approach was essential to preserve authenticity.

• Voiceover: Despite feedback suggesting a more dynamic delivery, I retained the original voiceover from the pitch as it captured the internal monologue’s personal tone. Experimenting with an AI-generated version felt inauthentic, reinforcing my choice to keep a human touch (Kingsnorth, 2022).

• Structure and Pacing: The film’s slower, reflective rhythm was intentional, maintaining consistency with the original vision. Nikon’s preference for continuous speech to engage younger viewers influenced this decision.

What Changed:

• Visual Representation of Past Self: Initially, I planned to include shots of a younger version of myself to depict past struggles. During production, I found these shots felt contrived, disrupting the film’s reflective pacing. Instead, I focused on the opening office scenes, which felt visually stronger.

• Framed Photo Scene: The original storyboard featured a framed photo of a lynx, but I opted for a fox image in the final film due to its striking green tones and better contrast within the scene. While Brett Aggersberg suggested the lynx would have more impact, I prioritized visual cohesion.

• Simulating Rain: A planned rain shot was adapted using a garden sprinkler due to unexpectedly good weather. This maintained the rugged aesthetic without delaying production.

The final film closely matched the initial pitch, as confirmed by Nikon’s positive feedback, which praised the consistency between the original concept and the final product. Peers also noted that the film’s alignment with the storyboard reflected careful planning. This outcome reinforced the importance of adaptability while maintaining core ideas, as Kolb’s (1984) experiential learning model suggests.

By remaining flexible without losing sight of the original vision, I balanced creative integrity with practical adjustments, ensuring the final output remained faithful to both the brief and my creative intentions.

Research Summary

Research was integral to both the conceptual and technical development of this project. One of the most significant influences was Nikon’s own Human Prompt campaign, which demonstrated the value of integrating personal storytelling within branded content. This insight directly informed my approach of framing the film as a reflective, introspective narrative rather than a product showcase.

Attending The Photography and Video Show (TPS) 2025 further reinforced this approach. Observing Nikon ambassadors who shared similar creative practices reassured me that my style—prioritising human connection over technical specifications—aligned well with Nikon’s current branding. This experience validated my focus on storytelling as a means of building a personal connection with the audience.

Analyzing Brooke Bartleson’s promotional film for OM SYSTEM revealed the challenge of balancing cinematic visuals with authentic storytelling. While the visuals were strong, the scripted voiceover felt disconnected from the natural imagery. This reinforced my decision to retain a more conversational and genuine voiceover, even if it lacked the dynamic tone some feedback suggested.

In addition, I examined Nikon’s broader marketing strategy, noting their recent pivot towards cinematic video content and storytelling, particularly after acquiring RED Digital Cinema. This insight shaped my decision to shoot in N-Log and N-Raw, as it highlighted Nikon’s commitment to high-quality video production.

Reflecting on this research, I found that my instinct to focus on authenticity was supported by both academic and industry perspectives. However, the process also made me more aware of the challenges of balancing personal voice with brand expectations. By critically analysing how other brands handled similar content, I strengthened my commitment to maintaining an authentic, personal tone throughout the film.

Technical Review

The technical execution of this project required careful planning to maintain high visual quality while balancing practical constraints. To achieve this, I used the Nikon Z6iii and Z9 cameras, chosen for their ability to shoot in N-Log and N-Raw, which offered flexibility in colour grading and dynamic range. This choice was influenced by Nikon’s recent focus on cinematic content, particularly following their acquisition of RED Digital Cinema. Shooting in these formats allowed me to align the project’s visual quality with the brand’s professional standards.

To enhance the film’s aesthetic, I employed both a dolly and a gimbal for dynamic yet stable shots. The dolly was particularly effective in creating a parallax effect, adding depth and movement that a static shot would lack (Brown, 2008). The gimbal was used to maintain smooth motion during handheld sequences, which complemented the film’s introspective and natural tone. This technical approach aligned with my goal of blending cinematic quality with personal storytelling.

Working with Sam Higgins as Director of Photography (DoP) was crucial, especially for scenes where I needed to be in front of the camera. His involvement not only ensured consistent framing and shot quality but also allowed for creative collaboration. As Batty et al. (2019) suggest, integrating other perspectives in filmmaking can enrich the creative process, providing valuable feedback and practical support.

Production and Planning

My planning process included detailed shot lists, an AV script, and a storyboard, which helped maintain consistency throughout production. My approach balanced static, stable shots with dynamic movements to keep visual interest while maintaining the reflective tone. The unpredictably good weather posed a challenge, as the brief required a rugged outdoor shot. I adapted by using a garden sprinkler to simulate rain, demonstrating the value of flexible problem-solving during production (Brown, 2008).

Health and Safety

Health and safety were prioritised throughout the project, as outlined in the risk assessment. Filming in outdoor locations presented challenges, including uneven terrain and changing weather. Regular crew communication ensured awareness of risks, while the small team size made safety management practical. An unexpected incident occurred when Sam was bitten by an insect, likely a spider, resulting in an infection that required antibiotics. This highlighted that even well-planned shoots can encounter unforeseen health issues, reinforcing the need for vigilance and adaptability. As Brown (2008) states, “no matter how thorough the planning, unpredictable challenges can arise during production, requiring flexibility and quick decision-making.”

Post-Production

Post-production was carried out using DaVinci Resolve, selected for its advanced colour grading capabilities, essential for processing N-Log footage. One technical challenge was matching shots from varied lighting conditions, which required careful grading to maintain consistency. Kingsnorth (2022) highlights that maintaining visual coherence across diverse footage is crucial for professional output. This process made me more conscious of the challenges posed by multi-location shooting, particularly when aiming for a cohesive aesthetic.

Reflecting on the technical process, I believe the choices made—both in terms of equipment and filming techniques—supported the project’s aim to produce a visually engaging and authentic film. Collaborating with a DoP, using cinematic camera settings, and maintaining adaptability in challenging conditions were key factors that contributed to the final outcome.

Outcome

Reflecting on the final film, I feel a sense of accomplishment, both creatively and professionally. The project successfully balanced personal storytelling with brand expectations, aligning with Nikon’s creative brief. Receiving overwhelmingly positive feedback from Nikon, including the statement that it was of “Nikon standard,” validated the approach I took. This feedback reinforced that maintaining an authentic, introspective tone while subtly integrating the brand was the right decision.

However, the project was not without challenges. One key issue was managing brand assets. Although I knew the importance of using Nikon’s correct fonts and logos, I did not follow up assertively when the assets were delayed, resulting in the film I presented not including the Nikon fonts. This highlights the importance of proactive client communication—a key element of professional practice. As Neugebauer (2009) states, “effective client management requires clear, consistent communication to ensure expectations are met.” In future projects, I will be more structured when requesting essential assets.

When I eventually received Nikon’s animated logo, I experimented with its inclusion, but it disrupted the film’s pacing. Prioritising the film’s reflective tone took precedence, so I reverted to the static logo. Maintaining narrative flow while balancing brand integration is crucial for preserving authenticity (Kingsnorth, 2022).

A technical issue that still concerns me is the slight colour temperature shift in the match cuts, visible in the “Nikon” text on my hat. While unnoticed by others, it bothered me as a creator, highlighting a common challenge in creative practice—balancing the pursuit of technical perfection with practicality. As Brown (2008) notes, “over-focusing on minor details can detract from the overall creative process, especially when deadlines are tight.”

Feedback on the voiceover varied. Some suggested a more dynamic delivery, but I chose to keep the original, understated tone, as I felt it matched the film’s introspective nature. While I did experiment with a synthetic voice alternative, it sounded unnatural and poorly produced, failing to capture the personal tone I was aiming for.

Nikon’s feedback also suggested enhancing the sound design to improve immersion. While I aimed to create a natural audio environment, I now recognise that additional atmospheric layering could have increased depth. This highlighted the need for balancing simplicity with sensory engagement, especially in branded content.

Another area for improvement is the caption formatting. Some captions end awkwardly or have too few words, disrupting the film’s natural rhythm. Although this was not highlighted in feedback, I believe improving the captions would enhance both accessibility and aesthetic flow.

Conclusion

Completing this project has been both professionally rewarding and personally fulfilling. Working with Nikon, a brand I have admired throughout my creative journey, was not just an exciting opportunity but also a challenge to balance personal storytelling with brand expectations. While I have produced professional content before, this project was particularly significant due to my personal connection to the brand and the ambition to showcase my creative identity within a globally recognised context.

Reflecting on the process, I recognise that the project’s success was rooted in balancing authenticity with professional standards. While feedback from Nikon and peers confirmed that I effectively maintained the personal, introspective tone, it also highlighted areas for improvement—such as sound design, VO delivery, and ensuring timely access to brand assets. These insights will inform my approach to future projects, especially regarding proactive client communication and refining technical elements without compromising the narrative.

This experience reinforced the importance of adaptability and critical reflection, echoing Kolb’s (1984) experiential learning cycle. While the project’s development was iterative and fluid rather than linear, it ultimately led to a piece that resonated both personally and professionally. The overwhelmingly positive feedback from Nikon has boosted my confidence, affirming that my creative voice can align with industry standards while maintaining personal authenticity.

Going forward, I aim to continue developing my skills in balancing storytelling with brand integration, maintaining professional communication, and managing technical details effectively. Working with Nikon has not only strengthened my practical skills but has also reinforced my commitment to creating authentic, emotionally engaging content that reflects both my creative vision and client needs.

Appendices

Bibliography

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Bartleson, B. (2025). Wildlife Photographer Brooke Bartleson and the OM SYSTEM OM-1 Mark II. OM SYSTEM.

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Nikon (2025). The Human Prompt Campaign. Nikon.

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