These Moments Matter
Emotion
It’s the driving force behind every video production professional’s work.
What do we want the audience to feel?
How do we want them to act based on those feelings?
These are two essential questions to ask before starting any production.
And what could be more emotional, more moving, more inspiring than working for a mission dedicated to finding cures for children battling catastrophic diseases?
In my work with St. Jude Children’s Research Hospital, I have the honor of meeting families and patients who are, arguably, facing the most difficult moments of their lives. I have the privilege of sharing their emotional stories with the world, in hopes that they inspire others to support the mission of St. Jude.
Over the years, I’ve interviewed hundreds of St. Jude families. When they speak about the care their children receive, a common theme emerges:
“St. Jude takes care of our entire family.”
“All I had to worry about was my child.”
“St. Jude gave us a sense of normalcy.”
It’s that last sentiment—normalcy—We’re Here For Them centers on. The idea that the care families receive at St. Jude allows them to continue sharing the small, everyday moments many of us might take for granted.
The script for this year’s 30-second commercial begins with the line, “These moments. They matter,” and ends with, “We’re here when it matters most.” These lines emphasize the importance of time with family while underscoring St. Jude’s role in providing unmatched care during incredibly difficult moments. As Director for this year’s commercial, my role was to bring the Creative Directors’ vision to life—to translate the script and mood boards into a compelling visual story.
This kind of project comes with all the logistical considerations of a typical commercial shoot, with the added responsibility of working with real St. Jude patients and their families. We want viewers to know that the children and families seen on screen are the very ones benefiting from the generosity of our supporters.
Because these families volunteer their time, we’re sensitive to their schedules. And since they’re not professional actors, we don’t expect them to hit marks perfectly or endure long hours on set. Typically, we have just 60–90 minutes with each patient—and during that time, I share access with our photography team.
So, as Director, I must:
Prioritize the needs of our families,
Stay true to the script and storyboards, and
Capture enough coverage to allow flexibility in the edit for multiple deliverables.
But how do you maintain high production value—through design, lighting, camera movement, and talent blocking—when you may only have an hour with your subject?
That’s the balancing act I faced while directing We’re Here For Them.
Maximize Coverage, Minimize Time
My top priority was to shoot everything with three cameras, each set at a different focal length and angle. Treating the shoot like a multi-cam sitcom was essential. It allowed me to maximize coverage while respecting the family’s time.
A single-camera setup would have required frequent stops and adjustments, leading to unnecessary downtime. With multiple cameras, I could get the footage I needed in just two or three takes, which provided me with plenty of options in the edit.
Flexibility Is Key
Another variable in St. Jude productions is the shooting schedule. Since we work with patient families, we often receive last-minute updates:
A family may only have 30 minutes instead of the full hour,
A clinical appointment might force a cancellation, or
A patient not previously scheduled may suddenly become available.
This means our production crew must:
Be ready to shoot at a moment’s notice,
Be able to pivot at the very last minute, and
Come up with new ideas that weren’t scripted or storyboarded.
Minimize Movement
To balance speed with production value, we minimized equipment setups. The less time spent moving cameras, lights, and gear, the more time we had to shoot.
I selected one small section of the front yard and one in the backyard as our primary locations. We never moved between them on the same day. Each space had to double as two different home environments, so I chose areas with varied backgrounds. By simply changing the camera’s direction, we could create the illusion of different locations—allowing us to light once and shoot efficiently.
Set Up Scenarios, Not Scripted Scenes
It can be intimidating for non-actors to step onto a set. Taking direction, hitting marks, and acting natural with all of the lights, people, and cameras is challenging. So, my goal is to create scenarios—not rigidly scripted scenes.
My goal is to stay as close as possible to the original treatment and storyboards, while remaining open to change. Maybe I don’t have as much time as I think I do. Maybe the child doesn’t want to act out the scenario we planned. I also invite families into the creative process:
What does your child like to play with?
Would she prefer to sit here or there?
What would make her more comfortable?
During our shoot, one patient gave us two takes, then lost interest in the scripted action. She wanted to do something else—so we gave her new toys, different action and filmed her interacting with her parents.
Was it in the original script? No.
Did it capture the essence of the concept? Absolutely.
That’s the balance.
So, at the end of the day, directing a commercial like this is as much about honoring our families as it is about capturing beautiful images. It’s about creating space for authenticity, where real moments can unfold naturally and powerfully.
Every frame we shoot is a testament to the resilience of our patients and the unwavering support of our donors. I take immense pride in the work we do as a video production team—not just for the technical execution, but for the heart behind every story we tell. Because when we get it right, we don’t just make a commercial—we make a connection.
And if you’re interested, here is the final commercial.
