Ogilvy EP Jessica Coccaro on Erasing AI Fear and Making New Tech Part of the Process

Nashville-based production company Gear Seven pushes the limits of creativity, technology and possibility - and innovates like it’s nobody's business. Alongside a non-exclusive roster of directors and production capabilities, Gear Seven offers hardware, LED volume studios and virtual production via its sister companies Shift Dynamics and Arc Studios.

Gear Seven has teamed up with LBB to speak with agency production leaders about innovations in production technology and how it’s revolutionising commercial production. This series investigates the importance of education in this area for agencies and brands, and offers a fun opportunity to nerd out on all things technical, while sharing memories of their most awe-inspiring and unforgettable moments on set.

The latest interview is with Jessica Coccaro, a New York-based executive producer at Ogilvy. Prior to joining Ogilvy at the start of 2025, Jessica was SVP, group executive producer at BBDO New York, where she worked for nearly 10 years following roles producing at McCann and Crispin.

Speaking to LBB’s Ben Conway, Jessica discusses a recent innovative project involving people bidding for art with their emotions, reveals what she would like AI to achieve in production, and reflects on how smartphones changed producers’ lives for good.

LBB> Throughout your career – what was the most exciting or ground-breaking piece of ‘new’ kit or technology that was introduced to you and why?

Jessica> I’m probably going to age myself here but looking back, it was the smartphone that has probably had the most impact on my early days as a producer, and the ramping up of how quickly we produce. This is a life choice as much as it’s a career, and it would not be sustainable without this piece of technology. I just remember how happy I was to not be stuck at my desk or laptop to communicate. 

LBB> What are the technologies that you have your eye on now that either are having a big impact on how production is done - or have the potential to change things in a big way? 

Jessica> Anything and everything AI, of course! It goes without saying that AI will impact every part of production, but for right now, I am personally trying to focus on some of the tools that can help with some of the more day-to-day tasks and previsualisation. I think we’re all still learning how to make it the most effective creative tool and its limitations. I can’t wait until AI can help with resizing! 

LBB> What’s an exciting recent production that had a really interesting innovation or technological aspect to it?

Jessica> While this was a few years ago, it’s definitely one of my more recent favourite projects: I worked on an activation [for Bombay Sapphire] where we created an emotional auction for a piece of art.

Participants came into an empty room, with just one piece of art on the wall to observe while connected to a few different pieces of tech that measured things like eye movement, pulse, etc. We then devised a system with a tech partner to measure the reaction to the piece of art, and the person who had been deemed to have the best reaction won the piece.

It was one of these projects where we had to pull together a few days of content shooting, the tech piece and the event itself with very little time. It was exciting to figure out and pull off, as I had never worked on something like this – but also just to see how we can use all these disciplines to support a brand’s platform. It was challenging but a lot of fun.

More recently, I produced an AI-led project for one of my clients. Besides the obvious technological innovation, what was most exciting for me was being able to pull it off in time. Not only were we working in a completely new workflow/process, but we had 10 working days from the morning the concept was presented to delivery. It was really a feat to educate myself, the team, our clients and create something successful for the brand. It also erased my fear of AI, which, now that I think about it, probably made me the most excited!

LBB> Speaking with the team, we know Ogilvy has a focus on engaging with, and being part of, the wider production community – through initiatives like ‘Behind the Lens’ and more. As an EP on the agency side, how do you try to embed yourself in the wider production industry?  

Jessica> For me, it’s all about finding time to connect in real life, whether it be a lunch or seeking out other panels and events. We also make a real effort here as well to make time for screenings, which sometimes fall by the wayside, but it really allows for added connections and group discussion. 

LBB> What are some of the most impactful lessons you’ve learned from these efforts and initiatives so far?

Jessica> We are often stretched so thin and find ourselves racing from meeting to meeting. Getting a moment to slow down and listen to diverse points of view reminds me why I’ve stuck around in this business for so long. These efforts are really a ‘stop and smell the roses’ moment for me personally. 

LBB> You have production capabilities in-house, but also collaborate with external partners. What are some of the frequent reasons you look externally for production? Does it often involve highly specialised or technical solutions?

Jessica> Sure, that comes into play, but I like to look at each project specifically and strategically. I’d say client expectations of both creative, timing and budget are the priority for me in selecting external partners.

LBB> As an EP, what do you look for in an external partner, and your dynamic together?

Jessica> I think it’s all about communication and trust in the process. The ability to see the positive and push forward with a calm demeanor. Complete transparency as well. As an EP, it helps me manage everything on my end when I know that I have a solid partner. I am probably also an overcommunicator, so I do appreciate that as well in my partners. Also, please let’s laugh and vent together, too!

LBB> How are you ensuring that production is involved further upstream, and in creative conversations? Why is that important, and are there any new processes or tech assisting with this?

Jessica> I try to make time to read every brief and jump on as many strategy calls as I can. This is where it all starts to come together, and having a seat at those tables reminds everyone of the importance of production. We are the ones who pull
it all together in the end, so the more we can be a part of the creative journey, the better it is for the end product.

Now, with AI, the creatives can do way more in terms of visuals for how we sell in an idea. I think this really helps us get into their heads much quicker.  

LBB> Quite often, production involves trying to solve a problem that’s never been attempted before - and that can mean hacking existing technology or trying to find new technologies. When you get a project like that, how do you approach them?

Jessica> These are some of the best projects to get! I start by pulling in the full team to brainstorm, getting us all together in person to kick off. I’ve been lucky to have some very amazing creative technologists and integrated producers on my team, and we usually just break it down to research and tackle it piece by piece.

While I do have to rely on the more technologically savvy to figure out the nuts and bolts, I always find that these types of projects really benefit from an EP that can pull all the pieces together and figure out how to present them back to our clients.

I ask a lot of questions and parse it out as I would on any job, but ultimately, the new technology becomes just a part of managing the full execution, walking everyone through the process, the same as you would talk about the colour grade or the mix.