Matt Coates Doesn't Sweat the Small Stuff

Matt Coates is a creative producer at We Know Video, and he didn't take the traditional route into production. He started behind the camera, shooting events and content for up-and-coming brands before moving into sales and project management. Eventually, he found his way back to where he belonged: production.

These days, Matt produces work for heavy-hitters like Asahi, Uber, and Amazon. But his background as a videographer and self-confessed gear-head means he brings something different to the table. He actually knows how to get the shot, not just how to manage the timeline.

That technical fluency matters. It means Matt can bridge the gap between what the creative team envisions and what's actually possible on shoot day. He works with some of the best creatives and specialists in the industry, but his hands-on experience means he's not just coordinating, he's shaping the work from the ground up.

LBB> What first attracted you to production - and has it been an industry you've always worked in or did you come to it from another area?

Matt> A cinematographer once told me, "I make things look pretty," and that about sums up why I started and why I'm still here. I love being a part of creating something beautiful in a digital world.

I actually started down the path of becoming a sound engineer but found I wanted something more visual in my work. Turns out sitting in a dark studio listening to a kick drum on repeat for hours wasn't for me.

LBB> What was your first role in the production world and how did this experience influence how you think about production and how you grew your career?

Matt> I started as an intern editor, and it was not great. To be honest, my start was slow, and it was not for lack of trying but more so for lack of great mentors. As I progressed, that experience stuck with me. I really wanted to give other new up-and-comers the opportunity to learn and gain insight from my experiences, so I took on a bit of a mentor role, helping guide newbies to different areas of production that they might be interested in.

There's no 'I' in crew. It takes a team to create something great, and collaboration only works when people actually feel supported. I always want people to have that opportunity.

LBB> How did you learn to be a producer?

Matt> Still learning! Always! I think it was a natural progression from videographer and project manager. You learn by being involved in productions, asking questions, and making mistakes -- which are unavoidable and key learning characteristics.

LBB> Looking back to the beginning of your career, can you tell us about a production you were involved in where you really had to dig deep and that really helped you to grow as a producer?

Matt> We had a job recently that involved stunts, road closures, animal talent, the police, and a whole lot of release forms — all within an insanely tight delivery timeline. Nothing teaches you like pressure and jumping in head first.

Diamonds, right?! The complex brief forced me to act outside my comfort zone, double down on questions, and even reach out to other producers for insights on how to proceed. All of which I now know, taking a job from completely out of my wheelhouse, to firmly in it.

LBB> A good producer should be able to produce for any medium, from film to events to digital experience. Do you agree or disagree with this statement? Why/why not?

Matt> I think what makes a producer good is their ability to communicate — onboarding themselves with the goals, targets, and creative vision of any agency, business, or director. A producer's job is to bring someone else's idea to life!

That said, a strong producer also knows what they are good at and where their gaps are. Sometimes the best thing for the project is to pull in additional resources or even a more specialised producer. So yes, a good producer should be able to execute anything, even if that means recognising their blind spots and bringing in additional support.

It's not about doing everything yourself. It's about making sure everything gets done right.

LBB> What's your favourite thing about production and why?

Matt> The opportunity to collaborate with a variety of creators, storytellers, and interesting people. I love finding myself in all sorts of strange and different situations.

LBB> How has production changed since you started your career?

Matt> Attention spans have gotten shorter, no question. The asks from clients and businesses are more around punchy hooks and scroll-stopping moments rather than longer-form storytelling.

LBB> And what has stayed the same?

Matt> The enthusiasm of people who work in it.

LBB> What do you think is the key to being an effective producer -- and is it something that's innate or something that can be learned?

Matt> I think it can be learned, but I believe that a positive attitude and a willingness to think outside the box, and allow for your ideas to be tested and challenged, is what is the key driver to effective producing.

LBB> Which production project from across your career are you most proud of and why?

Matt> A series of deliverables we created for the Asahi Group alcohol brand Sub Zero 'Thanks for Zero'. The project was fun, challenging, and fulfilling. I learned a lot and felt like I had genuine input on both creative and logistical decisions that led to a complex shoot running smoothly, a very happy client, and a successful result.

LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?

Matt> I have produced a series of work for the charity R U OK? Most recently, we created a five-minute documentary-style video about dealing with grief and loss, following Lach, whose wife Bec died suddenly from sepsis at 37, leaving him to raise their two young children alone.

The subject matter was heavy, but Lach's story was so compelling and raw that I found myself inspired to work harder and push further to make sure the output reflected the quality and strength of the person telling it.

I felt emotionally tied to the project and responsible for its success. We knew our job was to make people feel something and if the audience wasn't moved to tears, we hadn't done justice to Lachie's story. That kind of pressure was both exciting and challenging in equal measure.

LBB> Producers always have the best stories. What's the hairiest / most insane situation you've found yourself in and how did you work your way out of it?

Matt> I did have a lead talent pull out the morning of a large-scale shoot (he was sick). Luckily, my 1st AC was dropping off some gear and I remembered he does a bit of acting on the side. I quickly shifted the cast around and slotted him in. Crisis averted... sort of.

LBB> What are your personal ambitions or aspirations as a producer?

Matt> Variety. I want to continue to be faced with complex problems and continue to learn from them. Versatility across scale and style is what keeps this work interesting.

LBB> As a producer your brain must have a never-ending to do list. How do you switch off? What do you do to relax?

Matt> With extreme difficulty. However, I do think my ability to not sweat the small stuff has gotten much better over the years. What we do is not textbook, it's unique and different in some way every time. Sometimes some things do need to be figured out on the day, and letting yourself acknowledge that helps a lot.

A way to get me to this headspace is through exercise. Surfing and getting that extra energy out. This helps unwind the tension, think more clearly, and actually get through the to-do list faster.

LBB> Producers are problem solvers. What personally fuels your curiosity and drive?

Matt> You don't know what you don't know, and the only way to learn is by asking questions or throwing yourself in. New information is genuinely exciting to me -- that constant opportunity to figure something out for the first time is what keeps pulling me back in.

LBB> What advice would you give to people who are interested in becoming a producer?

Matt> Don't overthink it. Just start. Get onto shoots and never underestimate the power of being a runner. A runner can become anyone in production -- it's the ultimate way in. Get on those shoots, be useful, and save a producer's day. Helping a producer get coffees might sound trivial, but it's one of the best career strategies you can have.

LBB> From your experience what are the ingredients for a successful production?

Matt> Good communication, flexibility, and a willingness to try something new.
Communication keeps everyone aligned and prevents small problems from becoming much bigger ones.

Flexibility means you can pivot when something inevitably goes sideways on set. And being open to trying new approaches -- whether that's a different creative direction or a technical solution you haven't used before -- that's often what takes something from good to great. But also having people around you who genuinely give a shit about the work.

LBB> What's the key to a successful production-client relationship?

Matt> Again, never underestimate the power of good comms. Send that extra email, make that extra call. Constant updates support decision-making and keep everything transparent, so nobody feels unheard or unseen. It's also about trust. If a client trusts you've got their back, they're more comfortable letting you do your thing. That's when the best work happens.