Commercial Portfolio
Below are a series of representative works. I thrive in situations where I marry creative storytelling with the needs of the product/client. I've had experience in brand marketing, product marketing, live "television" event, documentary narrative, and narrative fiction. On all of these projects I directed (or TD'd, in the case of CreativeLive / Chase Jarvis Live) noted are where I edited or shot as well.
This is my commercial reel with highlights from many of the works below.
This project was a real passion project for me at SAP. I wanted to humanize recruiters and take them off the beaten path. I wanted to make it a journey. This film got held up in the editing stage for over two years because of changes in the marketing strategy - but I decided to finish it anyway. Take it as a spec film for what recruiting could be. I wrote and directed this piece. Produced by Vanessa Avery and Yuko Inatsuki. Edited by Sam Gesley. Camera by Alex Adame.
The largest and most complex project at SAP, code named "Phoenix", it took everything I had to create something dialogue based, engaging, and humanistic, while at the same time telling the "top of the funnel" band story of SuccessFactors. I wrote and directed this piece. Produced by Vanessa Avery. Shot by Pablo Durana. Edited by Sam Gesley.
A nod to the contractors and freelancers that make my work possible, this video about the "total workforce" is fun, short and sweet. I wrote and directed this piece. Shot by Alex Adame. Produced by Vanessa Avery. Edited by Sam Gesley.
SAP SuccessFactors Mobile Solution from David Carr-Berry on Vimeo.
A product marketing / narrative marketing video, I'm proud of bringing the enterprise product out of the typical enterprise setting by giving it to a professional theater company. I wrote and directed this piece. Camera by Alex Adame. Produced by Kate Giller. Edited by Sam Gesley.
My second narrative marketing project for SAP SuccessFactors. Channeling some of the darker struggles of working into the night and presenting in front of a group of unsympathetic stake holders, I wanted to keep the struggle as human as possible, as well as play with the suspense of one-take shots to give a heightened sense of reality. This one had a slightly larger budget and a larger team to pull it off. I was able to bring together an excellent crew from my CreativeLive days as well as my art film projects. I wrote and directed this piece. Camera by Karl Mollohan. Produced by Vanessa Avery. Edited by Sam Gesley.
My foray into "customer testimonial" with a strong emphasis on the person being interviewed (not just the product or company) and choosing a theme - in this case keeping work human while still growing into a global company. I'm particularly proud of the lighting and background of the interviews. I didn't shoot the b-roll, just edited it from Mohawk. I conducted the interview and directed this piece. Camera by Alex Adame.
My first "narrative" marketing project for SAP SuccessFactors. I wanted to shake up the standard pedantic marketing offering by giving a character we could relate to and a larger theme than "business execution". I chose "being seen" and used the relationship with his manager as the key point of contact. It was completed on spec with a tiny budget borrowed from other projects, and it was so successful within the company that another, and another, and another were commissioned. I wrote and directed this piece. Camera by Alex Adame. Editing by Sam Gesley.
The Tim Ferris podcast I was particularly proud of - mostly for the new lighting I had just designed in Studio D at CreativeLive. Notice the matching light swaths behind each of them, Tim and Chase Jarvis. Notice the symmetry. I was quite proud of this as a good model of "Live Television Interview Lighting and Camera Design". I TD'd and designed the lighting for this piece.
My second major Stanford film, this one an inquiry into the chances of moving kids to literacy in 5 weeks using new technology including iPads. Great group to work with, great group of kids. I produced, shot, edited, and directed this piece.
Chase Jarvis Live was one of my last projects at CreativeLive. We managed to import a whole Seattle pheonomenonon - Chase's version of Creative Mornings - and adapt it to San Francisco and the studio that we had worked so hard to keep with its own identity. It was a a work of "melding the brands" and I think it was successful. Also great commentary on "side projects" - something I've taken to heart. I TD'd this piece, and designed the lighting.
The CGF film was a joy to work on. I got to merge two of my passions: film and wild nature - and have a product at the end that helped memorialize a great cause. Watch this one for the great helicopter shots we achieved, the natural wonder of the bay area, and to see what a few hard headed, nature loving people can achieve in keeping the bay area as beautiful as it is. I produced, shot, edited, wrote, and directed this piece.
This show was the finale of my contribution to CreativeLive. My redux of their camera design, lighting design, scenic design, and overall production aesthetic was achieved on this show. See it to see how I conceptualized "Studio C" from the beginning and was able to achieve it in the end. Nice dolly shots, crane shots, and handoff between the cameras. I designed the lighting, camera layout, and TD'd this piece.
This was my best Seattle CreativeLive show. I enjoyed using the natural light to my advantage and framing such interesting, contrasting photographers with my own lens. A pleasure and joy to be a part of. I TD'd this piece.
This is my commercial reel with highlights from many of the works below.
This project was a real passion project for me at SAP. I wanted to humanize recruiters and take them off the beaten path. I wanted to make it a journey. This film got held up in the editing stage for over two years because of changes in the marketing strategy - but I decided to finish it anyway. Take it as a spec film for what recruiting could be. I wrote and directed this piece. Produced by Vanessa Avery and Yuko Inatsuki. Edited by Sam Gesley. Camera by Alex Adame.
The largest and most complex project at SAP, code named "Phoenix", it took everything I had to create something dialogue based, engaging, and humanistic, while at the same time telling the "top of the funnel" band story of SuccessFactors. I wrote and directed this piece. Produced by Vanessa Avery. Shot by Pablo Durana. Edited by Sam Gesley.
A nod to the contractors and freelancers that make my work possible, this video about the "total workforce" is fun, short and sweet. I wrote and directed this piece. Shot by Alex Adame. Produced by Vanessa Avery. Edited by Sam Gesley.
SAP SuccessFactors Mobile Solution from David Carr-Berry on Vimeo.
A product marketing / narrative marketing video, I'm proud of bringing the enterprise product out of the typical enterprise setting by giving it to a professional theater company. I wrote and directed this piece. Camera by Alex Adame. Produced by Kate Giller. Edited by Sam Gesley.
My second narrative marketing project for SAP SuccessFactors. Channeling some of the darker struggles of working into the night and presenting in front of a group of unsympathetic stake holders, I wanted to keep the struggle as human as possible, as well as play with the suspense of one-take shots to give a heightened sense of reality. This one had a slightly larger budget and a larger team to pull it off. I was able to bring together an excellent crew from my CreativeLive days as well as my art film projects. I wrote and directed this piece. Camera by Karl Mollohan. Produced by Vanessa Avery. Edited by Sam Gesley.
My foray into "customer testimonial" with a strong emphasis on the person being interviewed (not just the product or company) and choosing a theme - in this case keeping work human while still growing into a global company. I'm particularly proud of the lighting and background of the interviews. I didn't shoot the b-roll, just edited it from Mohawk. I conducted the interview and directed this piece. Camera by Alex Adame.
My first "narrative" marketing project for SAP SuccessFactors. I wanted to shake up the standard pedantic marketing offering by giving a character we could relate to and a larger theme than "business execution". I chose "being seen" and used the relationship with his manager as the key point of contact. It was completed on spec with a tiny budget borrowed from other projects, and it was so successful within the company that another, and another, and another were commissioned. I wrote and directed this piece. Camera by Alex Adame. Editing by Sam Gesley.
The Tim Ferris podcast I was particularly proud of - mostly for the new lighting I had just designed in Studio D at CreativeLive. Notice the matching light swaths behind each of them, Tim and Chase Jarvis. Notice the symmetry. I was quite proud of this as a good model of "Live Television Interview Lighting and Camera Design". I TD'd and designed the lighting for this piece.
My second major Stanford film, this one an inquiry into the chances of moving kids to literacy in 5 weeks using new technology including iPads. Great group to work with, great group of kids. I produced, shot, edited, and directed this piece.
Chase Jarvis Live was one of my last projects at CreativeLive. We managed to import a whole Seattle pheonomenonon - Chase's version of Creative Mornings - and adapt it to San Francisco and the studio that we had worked so hard to keep with its own identity. It was a a work of "melding the brands" and I think it was successful. Also great commentary on "side projects" - something I've taken to heart. I TD'd this piece, and designed the lighting.
The CGF film was a joy to work on. I got to merge two of my passions: film and wild nature - and have a product at the end that helped memorialize a great cause. Watch this one for the great helicopter shots we achieved, the natural wonder of the bay area, and to see what a few hard headed, nature loving people can achieve in keeping the bay area as beautiful as it is. I produced, shot, edited, wrote, and directed this piece.
This show was the finale of my contribution to CreativeLive. My redux of their camera design, lighting design, scenic design, and overall production aesthetic was achieved on this show. See it to see how I conceptualized "Studio C" from the beginning and was able to achieve it in the end. Nice dolly shots, crane shots, and handoff between the cameras. I designed the lighting, camera layout, and TD'd this piece.
This was my best Seattle CreativeLive show. I enjoyed using the natural light to my advantage and framing such interesting, contrasting photographers with my own lens. A pleasure and joy to be a part of. I TD'd this piece.