BDP-BIG DEAHL PRODUCTIONS joins the prestigious rep firm of Sharon & Perry. Sharon & Perry represent the Midwest/Texas and Southwest or what they refer to as the “Mid-coast Corridor”. Deahl, “What attracted me to S&P is their experience on both the agency and the post production side.” I also like that they have many areas of production and post-production represented on their roster which positions them as a vertically integrated resource.

“BDP brings a collective of tabletop directors that cover various styles and specialties. Whether it’s beverage, food, hard-line, soft goods, in-camera effects, high-speed or specific specialties such as chocolate, ice cream and cosmetics, BDP brings a wealth of resources within the tabletop arena that truly rounds out our roster”, says Sharon.

Sharon & Perry
Sharon Swanson

Perry Tongate

BDP Big Deahl Productions
Nicole Wasserman / Executive Producer



It’s normal for live-action production companies to have several directors on their roster.  It’s also normal that there may only be one or no tabletop directors.

Like Asian and European markets, U.S. commercial production has become more vertical, meaning more production resources and services under one roof.  This is a matter of necessity because agency producers and creatives time is so limited.  

Unlike some foreign markets the U.S. has not entirely embraced vertical production from concept to deliverables.  This is good and bad depending on whether you’re looking at it from the agency or client perspective.  

From the ad agency side there are some shops trying to offer soup-to-nuts but it doesn’t always produce the best work.  The best directors, composers, editors, CGI artists, etc. will be positioned with specialty houses who can bring them the best and most varied projects.  

ON the other hand, clients may enjoy the benefits of vertically integrated production through better economies, faster timelines and more efficiencies.  

So, is there a middle ground between total vertical integration and independent commercial resources?  It makes sense to take total vertical production and divide it into chunks (creative, directors/production companies and post).

  At BDP we know that matching a director to a project can be a challenge for creatives, especially in the world of tabletop specialists.  Our goal at BDP is to offer a consortium of tabletop specialists. 

Tabletop specialties include: food, beverage, ice cream, chocolate, hard-line products, soft goods, high-speed and in-camera effects, packaging, cosmetics and more.





Los Angeles/Chicago-based commercial production company BDP (Big Deahl Productions) has announced that Nicole Wasserman will be coming on board in the role of executive producer, beginning May 7th, 2018.

Big Deahl Productions director and founder David Deahl is excited to welcome Wasserman to BDP saying, “Nicole is armed with the experience and networking ability to take BDP to the next level. She’s smart and very personable! I look forward to creating a working synergy that energizes our team and our clients.”  

Wasserman was previously the director of sales at boutique editorial house Beast Editorial, and then moved into music production with studio Elias Arts where she assumed the position of executive producer. While at Elias Arts, Wasserman oversaw notable campaigns like the Apple Watch, Nike+ and Kevin Hart partnership in 2017, and last year’s National Hockey League’s Stanley Cup campaign, which won a Bronze Clio. Additional clients have included Microsoft, Google, Dunkin Donuts, Pepsi, Kraft, and Hyundai.

” I am excited to dive into the tabletop production world, I couldn’t imagine entering that space working with anyone other than David,” Wasserman says of her move to BDP.  “I’ve built so many great relationships in post-production over the years, bringing those experiences and expanding into the production space feels right.”

Big Deahl Productions is one of the industry’s most decorated tabletop production houses, with multiple Clio and Addy awards under its belt. 

Deahl teamed up with accomplished director Todd Klein (formerly of Silent Partners) to form the beginning of a tabletop consortium representing directors with their own unique blends of high-speed, food, beverage, product, and live action.  BDP has an impressive list of clients including McDonald’s, Coca Cola, Budweiser, Sara Lee, Kellogg’s, and other notable national brands.

BDP shoots for clients coast to coast, and has expanded its global reach, helming shoots in cities like Tokyo, Dubai, Milan, Mexico City, and Moscow.


Agencies Connect Production Budgets to Media Buy

The internet has the ability to target markets and demographics in a way TV hasn’t been able to do.  Combine that with the fact that posting content on the internet is much less expensive when compared to regional or national TV media buys.  More and more advertising dollars are moving towards digital ads.  Additionally, you have a younger demographic that doesn’t even watch traditional television any longer, preferring to watch only YouTube and internet content.  

In the past, production budgets have loosely been tied to media buys.  A Super bowl spot will have a large budget as well as national spots.  Regional TV media buys would traditionally have a lower budget, industrials even less and so on.  So, when agencies reach out to production companies, to shoot projects for the internet, the budgets are generally much lower.  Yet often they are expecting the same quality as they would get for something shot for national TV.  What you often hear from the agency is, “It’s just for internet.”

BDP is known for producing stunning imagery for its clients.  In order to deliver that level of production it makes no difference whether our company is shooting for the internet or a spot on Super bowl, our production costs are relatively the same.  There are well over 200 line-items in a production bid (not including any post) and leaving many of them blank does not give us the support we need to deliver the production value clients are used to.

While the internet is a less expensive medium for advertisers it can be a more effective way for them to reach their audiences so why not put those savings into the production?

“The basis of content on the internet is now shifting from text to video.  This allows advertisers to take advantage of the kind of branding advertising they are used to on television.”

Michael Wolf, CEO and Co-founder of Activate Inc.


Is GOOD PRE-PRODUCTION enough to keep you out of trouble?

What makes for a long day or a short day?  We all know that good pre-production and a sensible shoot schedule is the best way to avoid excessively long days.  Once in a while things can go so well that you finish early but the fact is we're nearly always cramming three shoot days into two.  

But, no matter how much pre-production you do or how well planned the schedule is, the days can be really long if you're working with clients that are opposing your every move.  You may have done your homework, but the client may have been so busy they couldn’t follow pre-production and are not up-to-speed on the first shoot day.  If the synergy isn't there between client and crew you can expect it to be a very exhausting job.    

On the other hand, it can be gratifying if you're working with a client who realizes they are part of a team.  You could have long days yet still feel invigorated at the end of the day because there is an energy created by all the clients focusing on a common goal.  

Don't think that doing solid pre-production will keep you on the straight and narrow.  Unless every single member on the team shares the same goal, there can be potholes along the way.