Today we’d like to introduce you to Tre James.
Hi Tre, can you start by introducing yourself? We’d love to learn more about how you got to where you are today?
Like many others, my origin story goes back to the church. At the age of 12, my mother’s co-worker invited me to play drums in a children’s choir. After no rehearsals, somehow we end up playing at PeopleTV on 14th St in Midtown Atlanta. I never actually played drums that night- someone else did, but rather spent the entire night in the control room and talking to folks who worked at the station. That was the beginning of the end of music for me, but the beginning of me discovering my passion.
I spent a couple of summers there, starting working as a stagehand (underage) for various companies. Weazled my way into working for UPN69 (pre-CW Network days…I was actually at the CW launch party) and from there, I just keep going. From being a Stagehand for all sorts of tours and concerts rolling through Atlanta to working as ab AV Tech, doing corporate events- general sessions, breakout, hotel ballrooms, all that jazz.
That connection over at CW Network led to me dipping my toes into sports. So I was working the Comcast Sports South Friday Night football packages. My parents were taking me to SC and AL to run camera for football games. This was my real introduction to TV trucks and broadcasts, long before streaming was a thing – and this is what got me here today. I should note- that there were lots of production magazines during this time and I would order and read every single one. That is how I learned what all the gear did, then I would see the gear on a show and be like ohhhh, that’s how such and such works.
Working for nearly ten years on the Trumpet Awards, Bronner Bros. Hair shows, and even my first comedy special – Katt Williams’ Pimp Chronicles I Geel in love with cameras. Started working for BET when they had setup camp years ago at EUE Screen Gems. So after having spent years learning audio, video, staging (Yes, I hired and oversaw the crews that built stages for Morris Brown and Spelman’s baccalaureate and commencement ceremonies), lighting, etc. I’d worked as a Technical Director, Utility, A2, A1, L2, V2, playback op, etc. for all sorts of networks and companies- learning how they all work together…I finally got to a shot to Tech Manage my first show.
I got to tech manage quite a bit for Kevin Hart, Showtime, BET, and many others. After several years of that, and still working as an operator and technician, that morphed into me doing budgets and bids and going after my own shows. Taking on the Line Producer and Production Manager role. But I also wanted to be a Director. And then I was like seeing all these things that I felt I could do better or change and so started Production Rockstars. (S/O to David Dorleans for giving me that moniker. I owe him, big time.) And I started going after gigs in like 2016 where I would do all the hiring and be liasing with the Director. Because then and even still now, I’d do all the work and someone else would get all the money.
Then in 2018, I got hired by the UFC as the Director of Live Event Production. Had a blast. Traveled the world for 18 months, but most notably and importantly, I got to be the architect of an 80,000 SF media campus, known as at the UFC APEX. After leaving there in Sept 2020, I came back to Atlanta and it’s been grinding it out everyday with production and real estate up to this point.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
Well, I started in this business very young, extremely young. Very eager, probably not to the liking of certain coworkers. So when I got older, I certainly had to learn how to re-navigate this space with folks as an adult and not a child. And even once I became an adult, some people still treat you like a child.
Another struggle was staying busy at times. It’s freelance, and the work ebbs and flows. But sticking it out has certainly been worth it.
Great, so let’s talk business. Can you tell our readers more about what you do and what you think sets you apart from others?
Production Rockstars is a boutique production company specializing in live, virtual, and hybrid event production, live streaming, and broadcasting. We also create premium digital and social content, commercials, and network/streaming programming for Clients. For medium-larger Clients, we also take on the Event Management side of things too.
We are essentially the planners. Our business usually comes in one or two forms – another agency, production “broker”, etc will come to us with a project and ask us to handle on the technical production and sometimes creative elements of a show or project. Other times, the end Client will come to us and say look we need help with XYZ. So our work is a mix of producing, consulting, and being solutions architects for our customers needs and wants. Instead of coming to us and we say here’s out $50k or $100k package, you come to us and say I have $75k (or $750k) and let us back into that.
We don’t just production as equipment and people. We offer unparalleled and unmatched customer service. We educate our Clients during the sales process, ensuring they understand their options. When a client comes to us – we’re not like hey here’s a camera, we’re like here a 5 good options and various buildup and lensing options. Like let’s talk through the workflow and make sure we’re applying the best tools and proper tools to this job.
More than JUST a production company – it’s an ecosystem. And that’s where our growth is heading towards. Sure, we want to be great at doing physical production and business affairs – but also we see other services such as equipment rentals (location supplies + grip & electric, transportation), production studios, power distribution and temporary HVAC, catering, and education as natural progressions that we can make to serve both ourselves internally and other production companies externally.
But the biggest things we are doing right now is launching a 10,000 SF studio near Stonecrest Mall this June. There will be a 5,400 SF sound stage w/ grid, control room, podcast, kitchen, green rooms, office space, and glam suite. Oh, and PLENTY of WiFi and outlets to keep your phone charged.
What would you say have been one of the most important lessons you’ve learned?
Be humble. Keep learning. Stay fresh. Always gone be a hater, always- and they show themselves in many forms. People have to like you. Skill and experience is cool, but likability is a currency. Take care of your crew. Be transparent. Easiest way for your downfall is not to pay people on time – they hate it. Settle disputes privately. Be competitive. You can 10x better than everyone else but hustle, drive, likability, sometimes price, and just vibing with the Client helps.
Learn how to adjust to your Clients. Do we have rules? Yes. But if you see it can be long-term benefit to bending the rules, bend them.
Pricing:
- Varies based on budget. We do $15k shoots to $2M shows and $12M soundstage and control room buildups
Contact Info:
- Email: collaborate@productionrockstars.com
- Website: www.productionrockstars.com
- Instagram: @productionrockstars
- Facebook: Facebook.com/ProductionRockstars
- Youtube: YouTube.com/productionrockstars
Image Credits:
Cetera Jacobs (gODTalk)
