Media Parents

“How did you get into Branded Content?” is the question I am often asked these days. With British (and global) TV facing a grim decline, short-form content seems to have become the industry’s golden ticket, writes PD & Edit Producer Anika Pilnei.

PD Anika Pilnei on a shoot https://www.mediaparents.co.uk/freelancers/18539/anika-pilnei

To be honest – I stumbled into Branded Content by pure chance – and quickly fell in love with it, having worked primarily in TV before. I have produced and directed across Specialist Factual, Factual Entertainment, and Documentary, focusing primarily on History & Archaeology, True Crime, and Travel, Adventure & Food. My work spans both retrospective and observational storytelling, often featuring in-depth master interviews across multi-episode series.

My journey in the world of Branded Content began as Creative Producer [Middle East & Asia] for an international De Beers Jewellery campaign celebrating women in the Arts. The success of that campaign led to more projects, including campaigns for Earth Day, Destination Canada, Canon, Barclays, Amex and Meta, where I worked as both Director and Producer/Director.

https://www.mediaparents.co.uk/freelancers/18539/anika-pilnei

My language skills and cross-cultural expertise, which had previously opened doors in TV, proved invaluable in Branded Content as well. And, I am genuinely fascinated by people, their life stories, their perspectives, fears and aspirations.

The key to creating authentic stories, whether it is 30”, 5’ or 60’, is to listen and observe without judgment. Understand your story and your subjects, get close, but always respect their personal boundaries. Know when to push and when to pull back. It works in TV and basically everywhere else – a truly ‘transferable skill’!

Creating short-form content is just as fun and demanding as long-form. The core principle remains the same: story is everything. But with short-form, you have to make every second count. You have to deliver a powerful message with greater precision, be visually bold and creative, and push boundaries. C Suite contributors are equally high-maintenance as major TV personalities, social media influencers throw the same anxious temper tantrums as your already famous TV Chef.

Anika Pilnei across a crowded room at Media Parents Autumn Drinks. To see more pics from the event go here:https://blog.mediaparents.co.uk/2024/10/media-parents-autumn-drinks-gallery/

Over the past decade, I’ve successfully navigated both the TV and Branded Content worlds (with TV being my longer-standing home), refining skills such as multi-camera directing, shooting across various aspect ratios, crafting “insta-worthy” visuals, and adapting to the nuances of corporate environments. While I’ve grown to appreciate the unique challenges of working within the “belly of the corporate beast”, my passion for TV and the art of classic, long-form documentaries remains as strong as ever.

In TV, favourite projects include sensitive access-driven works such as Manson: The Lost Tapes (ITV) and the award-winning landmark series Jerusalem 24 (ARTE). I love working with archive —  be it historical, personal, or extensive law enforcement footage, and in the past, I have dipped my toes into producing dramatic recon as well.

While my professional work is very ‘peopley’ as Snoopy would say, I am increasingly dedicating my time to environmental initiatives and (animal) charities, hoping to work with Foundations and Initiatives beyond TV and Corporate to utilise my storytelling skills to drive meaningful and lasting change in an increasingly challenging and sometimes upside-down feeling world.

To book Anika for branded content or TV work please go here: https://www.mediaparents.co.uk/freelancers/18539/anika-pilnei