DRCT and Producers' Alliance unveil groundbreaking pitch reform for German advertising production

In a significant move to modernise the pitch processes for advertising production in Germany, the Directors' Association DRCT and the Producers' Alliance Advertising Section have collaboratively unveiled a pitch reform. 

Set to become the standard for all pitches from 2024, a core element of this reform is the 'pitch cost share' model, ensuring proportional remuneration for the pitch costs borne by production companies and directors. Recognising that directors invest substantial time and creative effort into pitches, the new model is designed to foster mutual respect and trust, benefiting all parties in the creative process.

We spoke to all five DRCT board members - directors Claas Ortmann, Elisha Smith-Leverock, Hanna Maria Heidrich, Micky Suelzer, and Jessica Benzing - about what the reform means for the industry going forward.

Can you summarise the pitch reform and the changes it will make to pitching in Germany?

Claas Ortmann: The four pillars of the pitch reform are Respect, Transparency, Trust and Fairness. To us, these points best summed up what we found lacking in our industry at current.

The guidelines ensure we as directors – same as our production partners - are valued by being compensated for our efforts and by minimising the waste of resources on uncertain projects, recognising the importance of our time and creativity, and allowing ample space for quality work. We also want to be provided with clear, comprehensive information about the pitch and its outcomes, fostering an environment of open communication and continuous improvement. 

We are convinced that introducing a nominal Pitch-Fee for the average 33 hours of unpaid work a pitch requires, has the potential to level the playing field, ensuring that all directors have a somewhat equal footing. 

We also request that our intellectual properties be respected by not using our ideas with others and, if inspired by our suggestions, to engage with us in fair compensation discussions. Finally, with our call for fairness, we urge the recognition and inclusion of marginalised talents.

Elisha Smith-Leverock: We strongly believe that the introduction of compensation for pitches will go a long way towards making sure these principles are taken seriously. Further, we are convinced that introducing a nominal Pitch-Fee for the average 33 hours of unpaid work a pitch requires [source: Free The Work], has the potential to level the playing field, ensuring that all directors have a somewhat equal footing. 

This crucial step addresses the unsustainable environment where many, particularly marginalised directors and those without ample resources, are dissuaded from contributing due to the daunting prospect of investing countless unpaid hours. By making this change, we want to cultivate a more inclusive and sustainable ecosystem for all directors to thrive.

Above: DRCT board members Claas Ortmann and Elisha Smith-Leverock.

How were the terms discussed? What stipulations were seen as essential and who influenced these decisions?

Hanna Maria Heidrich: Amidst the pandemic's upheaval, with job cancellations even post full confirmations, the challenges facing directors crystallised. 

This period exposed the toxic work environment, characterised by uncompensated labour, lack of transparency, and individual vulnerability. From these shared concerns, DRCT was conceived. 

We, alongside many directors, began to voice our frustrations about the industry's pressures. We heard producers had felt similarly cornered by the system for quite a while. Recognising the mutual struggle, we crafted our Pitch Reform Manifest and contacted the Producer Alliance of Germany. We had always envisaged compensation not as a burden on producers, but as a responsibility of clients and agencies.

We had always envisaged compensation not as a burden on producers, but as a responsibility of clients and agencies.

We emerged from our collaborative discussions with a shared vision. Both directors and producers felt the need for industry improvements. Our pitch reform, therefore, represents a joint effort to address these concerns and foster a more cooperative and productive environment.

How do you think similar associations should address the situation in their territories? Is there anything that makes the reformation unique to the German market?

Jessica Benzing: While we can't generalise globally because each country has its unique challenges and models for pitching, our contact to other international existing and emerging groups hints at a universal trend towards change. 

When directors and producers unite, meaningful change is achievable.

We hope Germany's unique partnership between directors and production companies can inspire other markets. Our goal? Transition from the old "free pitch" model to one where everyone's efforts are recognised and compensated. 

Central to DRCT's strategy in the German market is our partnership with the Producers Alliance. When directors and producers unite, meaningful change is achievable. On the other hand, we have observed that the Spanish directors' group, ADDP, is gradually and independently achieving change. After their potential partnership with the Spanish Commercial Producers Alliance fell through, they opted to go on strike in May, and now they are beginning to see some changes.