Danielle Elliott Email & Phone Number

San Francisco, Ca, Us

San Francisco, Ca, Us

San Francisco, Ca, Us

As Director of Brand at Trusted Health, I oversaw creative and brand for B2B and B2C. I was responsible for developing brand strategy, overseeing creative, and delivering elevated branded experiences.• Oversaw and led the brand team responsible for delivering creative strategy, data-driven insights, and creative campaigns that tie to business goals across B2C and B2B• Oversaw and led a brand refresh including launch of interactive brand guidelines and a digital asset management system• Maintained the integrity of the brand across all company marketing initiatives and communications by working closely with internal and external teams to shape strategically sound creative work• Assessed and evolved existing brand strategy and expression to reflect the ever-changing tides in the healthcare marketplace• Oversaw design and content updates to both B2B and B2C websites and worked in partnership with SEO partners for optimizations• Worked cross-functionally with Marketing, Product, Engineering, and Customer Experience to deliver a cohesive brand experience across platforms and channels

Seattle, Wa, Us

• Oversaw the execution of brand design creative projects supporting high profile, high impact business initiatives including the Amazon parent brand• Supported the brand design team leading parent brand design, governance, and consultation across the org• Partnered with Global Creative Director to manage workload and projects across brand design team including shepherding national campaign work, brand guidelines, build out of company brand portal, and socialization of brand updates across the organization.

Austin, Texas, Us

As owner of Danielle Motif, I specialized in lifestyle photography and brand consulting. Clients ranged from individuals, to small businesses, to global brands. As a brand consultant I provided a variety of strategic deliverables including foundational framework, competitor analysis, reviews of existing brand assets & materials, customer research, identification of an ideal customer, persona development, establishing a mission, vision, value proposition, brand promise, and brand attributes. I also mapped customer journeys and provided direction for brand expression including voice and tone, copy guidance, design direction, photography direction, and guidance for user generated content curation.As a photographer I created compelling visual narratives and product storytelling for premium brands such as Anthropologie, GoDaddy, SoHo House, Oiselle, University of Washington Athletics, Loka, Gather Seattle, Substantial, Rotie Cellars, Matthews Winery, and more. I attained featured images with attribution in Seattle Times, Seattle Met, Seattle Magazine, and 425 Magazine, lead a brand and flat lay photography workshop in partnership with fashion brand PacSafe to bring their product to life for local influencers, and gained recognition for memorable content and sophisticated aesthetic.

Seattle, Wa, Us

As Creative and Marketing Director at Blanton Turner, I oversaw creative, brand, and marketing across 70+ brands in the Pacific Northwest. I was responsible for inspiring creativity and guiding the team to develop thoughtful brand strategy, innovative creative, effective marketing, and memorable branded experiences. • Managed members of the BT Creative Team both in the office and also through remote work environments • Partnered cross-functionally with department leads and executive leadership to foster open communication and streamline workflows• Directed creative and marketing projects across graphic design, photography, copy, video, motion graphics, user experience (UX) and user interface design (UI)• Provided and oversaw copywriting for marketing collateral, and website development• Guided brand identity creation including logo, typography, color, voice and tone, and naming• Wrote and developed creative concepts for integrated marketing campaigns• Lead and developed brand positioning including mission, vision, value proposition, brand promise, brand attributes, and differentiators• Mapped the customer journey across all brand experience touch points• Identified key communication channels, developed marketing campaigns, and deployed marketing collateral and assets• Oversaw digital marketing efforts and 3rd party activations across paid, organic, social, SEO, geo, and email• Lead strategy, concepted, and wrote print collateral pieces, out of home campaigns, splash pages, landing pages, full websites, social media, and digital ads• Directed strategic marketing initiatives and objectives, oversaw budget planning and scope, and facilitated workflow updates for the briefing process.• Reimagined company core values, developed voice and tone, wrote new manifesto, and launched new company website• Wrote copy for internal and external company communications including emergency response communications and messaging during the pandemic

Seattle, Wa, Us

As Senior Brand Manager, I lead the development and evolution of CreativeLive’s brand voice and visual aesthetic across all touchpoints for three years. This included workshopping brand strategy with the CEO/founder and key stakeholders in leadership to get alignment on positioning and messaging. I collaborated with the Creative Director to build out the brand roadmap with a style guide and brand book. I was the creative and strategic lead for our photography framework and art direction. I developed the aesthetic style and partnered with freelancers and in-house photographers to establish best practices for our photo studio and on location shoots. I advised and concepted on projects from ideation to execution, launched multiple products with brand campaigns, wrote, directed, and produced brand-level video content, conducted consumer research and used the data to create customer personas and inform brand strategy, and I partnered cross-functionally with executive team members, and department leads to bring the brand to life.Highlights:• Lead brand positioning sessions and evolutions to determine the mission, vision, value proposition, ideal customer, voice and tone, attributes, and messaging.• Lead development of seasonal and brand-level campaign concepts and go-to-market strategy to inform performance-driven integrated marketing campaigns across social media, email, digital paid advertising• Lead the charge to elevate community stories from students, instructors, and employees to an integral component of brand architecture. As creators, they represented our core values and ideals best and therefore, the authentic backbone of the brand.• Collaborating with the product and engineering teams to work up the marketing launch strategy for an iOS and Apple TV app launch, as well as a new business initiative for subscriptions • Lead the effort to redesign and develop brand-friendly content to key company pages on the website

Seattle, Wa, Us

I managed the creative team in Seattle and San Francisco during a time of high-volume and growth at the company. I approached this leadership role from a place of creative passion, empathy, and enthusiasm. The team included graphic designers, illustrators, producers, project managers, visual storytellers, videographers, editors, and web content publishing. We were scrappy and efficient, executing on hundreds of graphic design and video assets monthly for teams across the organization. Based on the changing business needs, our team often fluctuated in size, responsibility, and direction, which meant I wore many hats. It was a startup cocktail. Here’s the mixology.Executive Producer• Oversaw hiring and managed the creative team, conducted weekly touch bases, and provided performance reviews• Developed guidelines for promo videos, standards for course graphics, and a project management framework• Managed external design agency • Filled in as project manager and producer where needed which included producing branded video content, writing and conducting interviews, working with a freelance After Effects artist to create channel-specific show open motion graphics videosCreative Director• Oversaw the marketing video and design teams’ creative output and provided critical and constructive feedback• Worked cross-functionally to build out visuals that served business goals• Wrote creative briefs, concepted brand marketing campaigns, and directed brand videos• Conducted team meetings with the product design team to align UX/UI with marketing.• Worked to motivate and inspire the creative team with check-ins to review trends, competitor work and discover new conceptual inspirationBrand Manager• Advised on and implemented external agency rebranding sprint, including on boarding internal teams on best practices• Maintained brand standards across the company• Conducted brand sessions with department heads to develop channel-specific style guides

Seattle, Wa, Us

I first began at e-learning startup CreativeLive as hire #32, as a Content Producer. It was my first time working for a visionary mission-driven company, and I was excited by the energetic idea that we were out to champion creatives through educational tutorials taught by experts. With so few employees, we were innovative, resourceful, and focused on creating high-quality creative education content and building company-wide, scalable standards, and workflows. As one of the first content producers at the company, I partnered with key stakeholders to develop our content playbook and vision for the classes, including marketing, production, budget, and content publishing.I collaborated with our business and photography instructors to develop their course content and optimize their Keynote and PowerPoint presentations for our live streaming events hosted on our interactive and immersive online platform. I produced and handled copywriting for promotional video shoots. I sourced students for our in-studio audiences through casting videos, coordinated with the set designer, line producer, technical director, chat room team, hosts, and marketing team members to deliver the most engaging classroom experience possible. I designed the workshop alongside high-profile authors, speakers, entrepreneurs, and photographers such as Lewis Howes, Jennifer Lee, Porter Gale, James Wedmore, Pamela Slim, Scott Robert Lim, and Susan Stripling. We’d use a vast array of elements from our toolkit to make each webinar sing, including hiring freelance graphic recorders to illustrate class content real-time, running social media contests, and facilitating photo critiques.During this time, I started to hone in my design aesthetic, as I needed to be a marketer for my classes, and we hadn’t yet built out an in-house creative team. Consistency was challenging, and this interest in bridging the gap between brand and creative lead me to my next role in the company.

Seattle, Wa, Us

I produced boundary-pushing and original marketing concepts on time and budget. I would oversee events, broadcast TV, motion graphics, radio, digital, guerrilla activations, out of home, and print (in-store retail and paid ads) for Ford, The University of Washington, Microsoft, Copper Mountain Resort, Taco del Mar, and Homestreet Bank. I collaborated with account managers, art directors, creative directors, copywriters, and designers to determine the scope and production objectives. We were scrappy, always did more with less, and still ensured the output was memorable and laddered up to the client’s strategic goals and vision. I was the point person for planning and paired with an associate producer in a supervisory role as a mentor and guide. I shared my extensive experience as a problem-solver and knowledge in media to encourage them to thrive and find success as they learned to navigate tight deadlines and all the moving pieces.Highlights:• I served as the photographer and producer for a print, out-of-home, and video campaign for UW in which we created assets for magazine and newspaper placements, a train station immersive takeover, and in-stadium presentations • For Taco del Mar, I orchestrated an overnight pop up beach volleyball event at Seattle’s Westlake Center. We dumped 100 tons of sand, groomed a regulation court, populated the area with a brand ambassadors, had printed swag, activities for all ages, a DJ, local volleyball teams, and we vacuumed it all up the next morning as though we were never there. • I photographed real employees from Homestreet Bank for an authentic, integrated campaign• I produced ‘Everyone Deserves a Snow Day,’ a brand campaign bringing the snow and fun from the slopes to Texas. We created a mobile snow machine in 90-degree temperatures, and we even snuck into the state capitol for our commercial TV spot. I facilitated casting for our street team, print production, permitting, travel, and video production.

New York, New York, Us

I began my ad agency experience as an assistant producer on T-Mobile projects where I worked alongside the agency’s veteran producers creating videos for various media buys. We produced pre-roll for YouTube, case studies, animations to play during broadcasts, and top-tier commercial spots with quick turnaround times. I assisted in director searches and gathered video clips and music for pitches and brand sizzles. Highlights: • I produced several radio and TV spots for Les Schwab. We partnered with Digital Kitchen to create animated television ads featuring real customers stories in an imaginative and playful execution. The process involved me being the liaison between the client, the internal creative team, and the external production house as we worked through the script, audio recordings, photo shoots, storyboarding, animatic phase, and the edits.• I assisted the executive producer, art director, and copywriters, for the first rounds of the iconic ‘girl with the pink dress’ T-Mobile campaign, directed by the talented duo of Josh Gordon and Will Speck. I coordinated travel for the creative and production teams, managed the entire process with our music vendors, and assisted during the edit, VFX, and audio sessions. • Internally, I kept focus on being solution driven. I analyzed our systems and worked in close coordination with our digital asset manager to set up new workflows for the team to optimize our output, minimize expenses, create a consistent way for us to keep our projects up-to-date, and allow for easy access to our finished deliverables. I also managed our vendor lunches, an ongoing series in which reps would showcase the work of upcoming photographers and directors. It was a team-building exercise as much as it was informative. It gave us the chance to connect outside of the typical project parameters and critically look at other work and vendors in the market.

I returned to Flying Spot as they refocused all their efforts on creating quality digital branded content, interactive videos and experiential installations for commercial and event marketing. I also mentored, coached, and trained two junior staff members. I taught them how to thrive in a production environment, balance multiple projects, and the necessity of time management. Projects booked for different needs and phases. I managed post-production on projects, and other times I’d shepherd it from concept through the shoot to visual effects and the final file and tape deliverables. I produced, coordinated, and project managed a wide range of video and motion graphics projects for clients such as Nintendo, Starbucks, Microsoft, Seattle Mariners, Phillips, Vulcan, T-Mobile, Russell Investments, University of Washington Medicine, Pepsico, and The Allen Institute. Responsibilities included account management and communication with the client, conveying feedback to the creatives, producing 2D and 3D motion graphic projects, scheduling and budgeting, managing edit and audio sessions including the designers, audio engineers, and editors’ calendars, model and talent casting, and other aspects of the production. We also shot and animated content for mobile devices and their UI and did typographic and character animations for in-stadium graphics packages on the big screen and at large-scale conferences and events.Highlights:• Managed all the elements for a multi-day, multi-venue Starbucks global leadership event with both print, animation, and video installations• Assisted in developing creative for several pitches and RFPs• Concepted and content produced a stop motion short for a Vulcan property in Seattle’s South Lake Union neighborhood, shot by photographer Chase Jarvis• Collaborated with creative director, editors, and animators on several company reels and internal branding efforts

Us

I worked on the television shows: “I Want Your Job,” “Move This House,” and “Sell This House.” For “I Want Your Job” I partnered with producers by conducting interviews with potential guests and helped coordinate shoot details to ensure each episode was dynamic and full of effective storytelling from start to finish. I executed on a variety of elements for the productions, including casting, location scouting, and travel. In order to work on multiple shows with such large crews and talent pools, I needed to become a master in multi-tasking. I wore many hats and capitalized on my attention to detail and organizational skills to balance everything.To create engaging programming for audiences and advertisers, the parameters of the casting process were extensive. I sorted through hundreds of submissions and collaborated with the show’s sponsors to determine the finalists. I would then travel to each location and interview and film the potential talent for the shows. I wrote summaries and would contribute recommendations for the producers and hosts to select from. I would often need to pitch my selects directly to explain my rationale for why I believed certain people would be the most compelling. Interviewing such a wide array of potential talent for these shows taught me a great deal about when to embrace your strengths. I’m an empathetic person by nature however in this context I had to be a team player and translate the business needs of our channel and our sponsors and be thoughtful about who I put forth to be featured in our shows. It wasn’t always a personal favorite but rather, the best fit for the casting challenge at hand.In addition to the casting work, I also booked air travel, accommodations, and rental cars for the cast and crew. I would pre-scout hotels and surrounding locations to ensure the quality was of a certain standard and make sure that the distances to our shoots would be reasonable for our production timelines.

I first started working for Flying Spot when they had started a production and motion graphics offshoot called Fly Motion as they were beginning development on a film criticism TV show, ala “Siskel & Ebert.” The project ended up being short-lived, but I was lucky enough to be asked to help pull together legal needs for a snowboarding documentary they were in edit on, called “Platinum.” I handled talent, location, and product placement releases and licensing for hundreds of people and products in the film after production had already completed. This involved extensive research, and meticulous detail work to track down every person featured in the movie, connect with each brand we had on camera and work with their marketing teams to get proper rights and approvals, and work with the editors and finishers to make any adjustments we needed in the piece itself. Given my background in film criticism, the film’s creators also graciously asked for creative feedback during the editing process, where I was able to offer directional guidance for the story. After the success of coordinating so many moving parts, I was given more responsibility and began to manage multiple projects, including assisting in the detailed development of more documentary-style video programming. For the TV special, “Miss Runner Up,” I worked with the show’s producer and editor to pull the edit together, create a short-form content pitch piece to shop it to networks, pick, source, and license the music, and write the story. In my final months at the company, I worked extensively on the rowing documentary “Voyage” and owned cast and crew travel, equipment rental and purchases, permitting and location scouting, and other logistics for the shoot.

My first role after college was working as an Office Manager Stuart Waks & Co, a post-production boutique editorial studio in Santa Monica. I was equal parts administrator and client services manager. We created mostly TV commercials for ad agencies such as Saatchi & Saatchi and TBWA Chiat Day. I was the receptionist and also in charge of keeping all the ad agency clients happy during their edit sessions with us. I worked in close collaboration with our producers, video editors, assistant editors, and videotape room manager to keep the office organized, welcoming, and an ideal space to work in. I ordered groceries, shopped at the weekly farmer’s market for flowers, acted as the client’s barista, took lunch orders, and helped prep, ship and courier reels and finished TV spots. I used standard software tools of the trade: Microsoft Word and Excel as well as FileMaker Pro, QuarkXpress, and I began to learn Avid from one of the associate editors.With advances in technology during this time, it was essential to come into work with a positive attitude and be prepared to do some problem solving every day. I worked proactively with other team members to make improvements to processes and systems to keep up with the industry changes.

During college, I wanted to take my passion for film and music and combine them into the ultimate career path. Thankfully, I was able to meet and intern for Lisa Brown Leopold, who had just broken out on her own as a music supervisor and started Five Mile Radius. Lisa had previously worked for music supervisor Bonnie Greenberg, and both of them worked in an office space shared with JIVE records. My experience was eye-opening and full of complex industry relationships and dynamics I couldn’t have imagined. Through Lisa’s mentoring, I was able to gain a strong understanding of how much music can transform a film and provide solutions to drive more engagement with the narrative. My involvement included organizing the music library and being very detail oriented with my projects. I helped research bands, labels, artists, songwriters, composers, publishers, and studios to help support Lisa in any way I could as she pulled together the soundtracks and legal agreements and contracts for films like “The Best Man” and “Where the Heart Is.” This internship showed me the ins and outs of the music and movie industry that I would never have known about otherwise. It’s where I started to learn about copyrights, licensing, performance rights, royalties, and the importance of getting your ducks in a row. I spent many days listening to music, cataloging music, and digging around ASCAP resources. I learned about negotiating and most especially, how to license for difference usage: TV, theatrical, web, cable, etc.

I interned at Totem Productions (director Tony Scott’s personal office) as Mr.Scott was in post-production on the film “Enemy of the State.” I worked closely with his two assistants and shepherded phone calls, ran errands, helped organize print materials for promotion of the film at press junkets, and maintained the guest lists and many details for the film’s multi-city premieres and parties. I worked for Mr. Scott’s office for two semesters and was able to interface with teams from Scott Free and RSA, thanks to his partnerships with brother Ridley Scott. It allowed me the opportunity to learn about other film and video disciplines as well as the processes and systems of film distribution. I was working alongside filmmakers of the highest caliber, and the experience was invaluable. My time at Totem was also a growing period for me as I was starting to find my footing in office culture. In addition to interpersonal development, I learned how to articulate information in a clear way in a fast-paced environment. Mr. Scott was an inspiring boss and an advocate for excellence. A personal highlight came towards the end of my time there when I was asked to photograph one of Mr.Scott’s dogs for an art piece he was having made for his home. Thinking back to this assignment, it might have been the very first time I took on a photo project for someone else. It was also a thoughtful request from the assistants, who knew I was looking to get into photography.

I always wanted to work for the Walt Disney Company. I grew up watching every film (live action and animation), I knew all the characters, and I fell for the fantasy and storytelling. So when the opportunity came to intern for Sally Field’s production company, Fogwood Films, on the Disney Lot (in the old animation building no less) I HAD to take it. I ran errands all over the studio, answered phones, and my personal favorite; I got to write script coverage. Ms. Field had an all-female team, and she focused on finding and developing her next project. The producers tasked me to read scripts and write summaries of the narratives.This internship provided me with the opportunity to participate in studio life and learn first-hand what production teams were looking for in a compelling screenplay. In the office, I started to get real-world insights into filmmaking. I was introduced to the concept of writing a treatment, how scriptwriters present creative, how producers vet projects, what goes into pre-production, and the notion of producing and directing stories with integrity in a space that often lacked gender diversity. Around the studio lot, I witnessed the robust rollout “Mulan” and the filming of “Armageddon.” I saw several strategically driven, big budget, multi-channel marketing blitzes, and I experienced the full force of paid media in action. It was an aspect of studio production that I found fascinating, and I had a front seat to watch it all unfold at one of the world’s largest brands. Marketing methods included blasts across all mediums. They would not only promote through traditional channels, but also they would generate merchandise and plaster the lot (and the entire city) with creative placements and cohesive messaging to create buzz and entice viewers to the theaters.

Ma, Film Critical Studies

Ba, Communications - Emphasis In Film Production