Nine campaigns. Three years. The same account, every role on the call sheet.

Cricket’s brand truth, that once people switch they stay, needed to be proven with real people, not actors. No scripts written before casting. No guaranteed stories. Find actual Cricket customers with something genuine to say, build spots around what they’d actually tell you, and integrate Cricket’s animated character cast into the same frame. Deliver everything in English and Spanish. Scale it across broadcast, OLV, social, and still photography. Do it again next quarter.

This was new ground in 2022. No playbook existed. We built it.

2022, Considerations / Hall of Happy Customers. The first real-customer testimonial campaign on the account. Produced it, and established how to find real customers, cast on genuine story rather than look, and structure spots around what people actually said. Director Emily McDonald. It set the template for everything that followed.

2022, Calendar of Happy Customers. Second cycle, same year, tighter timeline. Led production. Director Jasmin Guinn, editor Jeremy Kaller.

2023, Q1 Testimonials. Photo Producer and post support. Stills from this shoot live in the photography section.

2023, Duets. Producer on a remote-shoot format with director Jasmin Guinn. Six paired-character spots.

2023, Q4 Testimonials. Post Producer and Photographer. Shot the stills for this cycle, some of the strongest Cricket photography in the archive.

2024, Paul Proposal. Long-form piece: real customer Paul Tawczynski proposing to his girlfriend, built around the Cricket relationship from a prior testimonial. Colorist on this one. Covered by Shots as the account’s first long-form organic social film.

2024, Interruption. Re-edit and reanimation of existing footage. New edit, swapped character VO, a completely new spot from material already in the can.

2024, Cricket Nation. Full shoot, lead producer. Real customers, new cast, same format, tighter and more confident because by this point the process was locked.

2024, Transparency. LA shoot, produced. The strongest visual execution in the series.

Nine campaigns over three years, all on the same account. ARGONAUT kept bringing me back in whatever seat the cycle needed: lead producer on some, photo producer on others, post producer, photographer. By the last cycle I had worked every role on the call sheet for this client.

The real casting process was the job no one sees: finding real customers with compelling stories, vetting them, coordinating legal and business affairs on talent agreements, and building production around what those people would actually say on camera. The spots were downstream of that process.