Scammer PSA

Overview

How a familiar face turned into a first direct hire

"Actually, how did we meet?" I think one of my previous clients mentioned they had worked with you and that I should give you a call. So I did, and we ended up scheduling a meet up, and tour of your studio. More recently though, Josh and I crossed paths on another PSA project. He was hired for audio, and I was on-camera talent. Small world. This project was the first time his company hired me, though.

The text came in about 5 days before the shoot, "Are you available for a financial-scam-awareness PSA, next week?" My response: "Absolutely!"

Between those few days, we finalized the date/time, location, HMU, wardrobe, rate, and a brief on the shoot over about 5 texts, that went a little like this...

The Scope of Work

From a vague idea to a specific moment

Basically, your job will consist of on-camera b-roll, interacting with your phone, looking concerned, for a scammer PSA. You'll just be sitting at home, scratching off a Visa gift card while on the phone with someone, then catching on at the last second that it's a scam and stopping before sending the codes.

Pretty straightforward, and simple. The main thing I noticed on set that was the biggest constraint was time. Seemed like they had a 30 second spot, that might even have a 15 second cut down, that would need to be able to convey a lot with simple body language. Luckily that language is universal.

The Process

What the collaboration actually looked like

Up to the actual shoot, there were a few things in the air, location, and dates. I told him I was flexible, either worked for me. Luckily, I'm local and mornings are usually my most "available" slots. Very little logistics on my part with those parameters. Once it landed on Monday morning at a private home, he sent wardrobe direction — "Keep it casual, errand-running clothes, no visible logos, bring some backups." This is always do, because I know my limitations with my current wardrobe.

I had a feeling there would be no HMU artist, so I just asked "any preferences for hair?" This would easily clarify if there were anyone taking care of that or not. (Little trick if you're ever unsure about something like that)

His response: "Let's go with hair up so your face isn't in shadow when you're looking down." Surprisingly, this ended up causing an issue no one would have anticipated.

Call time was 9AM, crew call an hour earlier, and I was wrapped by 11AM. The location turned out to be a genuinely great set, complete with two friendly fluffy cats keeping things relaxed between takes.

Once we were rolling, we noticed the room's lighting created a glare with my natural left part of my ponytail, so we decided the best solution was for me to switch my part to the right. It was a pretty quick fix, no real delay, and it's the kind of small adjustment that requires some flexibility in time and awareness.

The client had a few representatives in the room watching the monitors and giving feedback throughout the shoot. Everyone was polite and collaborative, and I came into the project recommended through a personal connection with their founder. A small reminder that this industry really does run on relationships, even the ones you don't expect to pay off.

The final PSA is currently pending release and client approval.

Client Feedback

In their own words

What I'd Do Differently

A small upgrade

Everything about this shoot ran smoothly, but it did highlight a gap in my wardrobe options. Going forward, I want to build out a stronger rotation of current, logo-free, solid-color pieces — the kind of everyday clothing that works across more types of sets without needing a special trip to find the right top. It's a small fix on my end that makes me faster to book and easier to dress for whatever the scene calls for. (Amazon has great selections for this at a reasonable cost, just need to find room in your budget to do this over time)

The Takeaway