Raylin Valles of Ducktape Studio on making ads that don’t kill the idea
In the world of advertising, an idea is a fragile thing. It’s a spark, a whisper, a fleeting moment of clarity that, if handled correctly, can become something unforgettable. But between the pristine pages of a creative deck and the chaotic reality of a production set, that spark can easily be extinguished. It’s an industry-wide game of telephone, where brilliant concepts often get lost in translation, diluted by miscommunication, or flattened by a production process that prioritises logistics over the soul of the idea.
This is the gap that ad filmmaker Raylin Valles, Founder of Ducktape Studio, has set out to bridge. Having spent years within the agency world, he saw firsthand how often the baton was dropped between the creative team and the production floor. The result? Work that was technically proficient but creatively compromised. With Ducktape Studios, Valles is trying to build not just a production house, but a creative partner—a place where agency veterans and production experts speak the same language. Their philosophy is simple but potent: be "idea-first." This means treating every project as a partnership, not just a production order, and ensuring the final execution doesn't just match the creative vision, but elevates it.
In the following conversation, Valles unpacks what it truly means to be an agile, idea-led studio in an industry under constant pressure. He discusses the fine art of balancing agility with the scale of global brands, the unique demands of directing everything from comedy to fashion, and why he believes the Indian production scene is finally being recognised for its creative might, not just its cost advantages. From the high-wire act of landing a joke in a 30-second spot—like in his Snickers ad where a hungry driving instructor turns into an over-the-top action director—to the nuances of creative decision-making across different cultures, Valles offers a candid look at the evolving landscape of advertising and the timeless importance of protecting the idea.
Edited excerpts:
What gap in the industry were you trying to address when founding Ducktape Studios?
When we started Ducktape Studios, it wasn’t about being the biggest or loudest. It was about solving a very real problem we saw from our time inside agencies: too often, great ideas were getting lost in translation between the creative and the production floor.
We wanted to create a production house that could bridge that gap, one that truly understands the creative process, respects the strategic intent, and brings obsessive focus to craft. A place where the execution elevates the idea, not dilutes it.
Most of us at Ducktape have worked in agencies ourselves. We know what it means to protect an idea, to fight for the nuance in a script, or to turn chaos into something beautiful on set. That understanding is core to how we work: with empathy, clarity, and relentless attention to detail.
And that approach seems to be working. Over the past year, we’ve been fortunate to be recognised across most major international advertising award shows for a variety of campaigns we’ve had the joy of producing in close collaboration with our agency partners. Most recently, we were shortlisted at Cannes Lions for Film Craft and picked up a Bronze for producing the Amazon “Box to Beds” project.
For us, these awards aren’t just a validation of craft, they’re proof that when agencies and production speak the same creative language, truly standout work can happen.
At Ducktape, our aim is simple: to partner with agencies and clients to create work that’s unforgettable—for the idea, the craft, and the impact.
You describe Ducktape as “idea-first” and “agile.” What does that look like in practice, and how does it differ from traditional production workflows?
For us, being idea-first means everything begins and ends with the core of the idea. No matter how visually striking or technically ambitious a film is, if it doesn’t serve the idea or elevate it, it’s missing the point.
At Ducktape, we treat each project like a creative partnership, not a production order. From the first conversation, our goal is to build around the heart of the script whether that means refining the visual tone, rethinking performance direction, or finding unexpected but truthful moments that make the film land harder.
Being agile, on the other hand, is about eliminating unnecessary layers and embracing clarity and speed, especially in a time when timelines are shrinking and expectations are rising. Our process is lean but creative-led. We get in early, stay close to the idea, and remain open to changes as the film evolves without ever letting quality slip through the cracks.
We also recognise the sheer effort that’s gone into getting the idea to this stage, the strategy, insight, rounds of feedback, and approvals. So when it reaches production, we treat it with the kind of respect and rigour that ensures the final output does justice to all the thinking that preceded it.
Ultimately, our job is to make something people will feel. And that only happens when the production is built around the idea not the other way around.
How do you balance agility with scale—especially when working with global brands that often involve complex approval chains?
Agility isn’t about rushing, it’s about staying sharp, prepared, and adaptable, even when the process is complex. And when you’re working with large global brands, that balance becomes essential.
I’ve had the opportunity to work on a wide range of brands over the years - Amazon, Apple, Pepsi, McDonald’s, Google, Volkswagen, Flipkart, Hero, Godrej, P&G, Zomato, Suntory Global Spirits, to name a few and if there’s one thing I’ve learned, it’s that each brand comes with its own creative language and internal rhythm.
So before anything else, the first step is always immersion: understanding the tone, the audience, the legacy and then building something fresh that still feels completely aligned with that brand world.
Scale brings complexity, yes but I’ve found that when you bring stakeholders in early, communicate clearly, and keep the vision focused, the process becomes smoother, not harder. Everyone wants to make great work. It’s about finding that common ground.
Agility, for me, means being flexible without ever losing sight of the idea. The goal is always to craft something memorable, meaningful, and on-brand while making the process feel collaborative, respectful, and creatively fulfilling for everyone involved.
You’ve worked across a wide spectrum from comedy to fashion films to automotive, to animation. What do these genres demand from a director that traditional ad filmmaking doesn’t?
One of the great things about coming from the agency world is that you're constantly switching genres, sometimes within the same day. That built-in versatility has been a huge advantage for me as a director. I had the chance to work on everything from FMCG to fashion, tech to automotive, and was fortunate to win some international recognition for those campaigns while still on the agency side.
So when I moved into direction, that trust was already there. A lot of the creatives I had worked with knew I wasn’t tied to one style or tone which gave me the freedom to explore a really broad range of work right from the start. And that’s been a big part of what defines Ducktape today: we’re not boxed into one genre or aesthetic. We can shift gears, adapt, and still hold onto the craft.
Each genre brings its own unique challenges. Comedy demands precision especially with performance and pacing. Fashion and beauty are all about tone, rhythm, and detail. Automotive films need scale and control. Animation requires patience and early problem-solving. What ties it all together is the ability to honour the brand while still creating something that feels fresh and unexpected.
The only genre I haven’t fully explored yet is the emotional space—the kind of work that lingers quietly and hits you in the gut. That’s something I’ve been itching to do. And I’ve promised myself that this year, I’ll finally take that on. Hopefully, we’ll make something that not only tells a great story, but leaves people a little misty-eyed too.
The traditional agency-production model seems increasingly under pressure. What’s driving the shift toward more integrated, idea-first production studios?
There’s no doubt the landscape is shifting. Every year, new production houses emerge hungry, talented, and eager to prove themselves. But it’s a tough space to break into, especially when more and more agencies have their own in-house production.
That pressure has led some younger or underutilised production houses to approach clients directly with ideas. While I understand the instinct, everyone’s trying to survive and stand out, I’m not sure it’s a move that always benefits the long game. When production houses start positioning themselves as creative originators, it can put them at odds with the very agencies they hope to work with, blurring lines and raising trust issues.
Personally, I believe in respecting the ecosystem. If a client doesn’t have an agency, sure we’re happy to partner and work on a project. But if there’s an agency involved, we see ourselves as collaborators, not competitors. That clarity helps build long-term relationships based on trust, not just opportunity.
At the end of the day, great work comes from shared vision and mutual respect. The model may evolve, but the fundamentals of partnership shouldn’t.
In your view, how are client expectations changing when it comes to timelines, budgets, and creative collaboration?
Clients today are more involved and that’s a good thing. They know their brand inside-out, and those insights are incredibly valuable to us. I always welcome open collaboration, especially in the early stages. That said, most of the clients we work with also respect the production process and give us the space to do what we do best. That balance is key.
Timelines, of course, are tighter than ever. Sometimes, media is locked in before production even begins, and we have to move fast. But speed can’t come at the cost of quality. We’re always upfront. If we can’t craft it properly in the time given, we’d rather pass than deliver something half-baked.
As for budgets, it’s a mixed bag. Some clients are more cautious, others continue to back ambitious work. Either way, we’re selective. If we take something on, it’s because we believe we can do it justice.
In the end, expectations may shift but our focus remains the same: make great work, protect the idea, and collaborate with respect.
You’ve written about humour being both risky and rewarding. What makes it such a difficult tool to get right in advertising?
Humour is one of the toughest genres to pull off—because it’s so subjective. What makes one person laugh might fall completely flat for another. And in advertising, where you’re often trying to land a joke, deliver a brand message, and wrap it all in 30 seconds—that’s a high-wire act.
The trick is knowing that there’s no one kind of humour. There’s dark humour, deadpan, satire, observational, absurd, self-deprecating—the list goes on. So it’s important to stay flexible and let the tone of the script guide the approach, rather than forcing a signature style onto everything.
Having worked in places like New Zealand, Bangkok, and India, I’ve been lucky to experience wildly different comedic cultures and learn from some truly brilliant creatives. That exposure has helped me adapt and shape humour in ways that feel honest, relevant, and fresh—rather than formulaic.
It’s not easy. But when it lands, it’s incredibly rewarding. You’re not just grabbing attention—you’re earning a reaction. And in today’s cluttered landscape, that kind of response is gold.
You’ve worked in agencies across New Zealand, Bangkok, Malaysia, and India. How does creative decision-making differ across these regions?
Having worked across New Zealand, Bangkok, Malaysia, and India, I’ve seen how geography shapes creative culture. In New Zealand, there's a deep respect for craft and storytelling, and clients often trust you to lead with the idea. Bangkok is visually fearless and emotionally rich, but creativity moves through a more layered, hierarchical process. Malaysia balances ambition with pragmatism, great ideas fly, but only after they’re sold internally. India is a different beast altogether. It is fast, high-stakes, beautifully chaotic. Decision-making is quick, but layered, and the diversity forces you to think sharper, go deeper, and stay rooted in local truth. The creative instinct stays the same, but the way you get there changes with every border.
Indian production houses are seeing more global traction today. What’s driving that shift in your view? Are cost advantages still the primary draw, or is the creative capability now just as competitive globally?
It’s no longer just about cost. That used to be the conversation ten years ago when people saw India as a budget-friendly production hub. But that’s changed. What’s driving the shift now is creative agility, world-class storytelling talent, and the ability to craft and deliver great work.
At Ducktape, we’ve seen first-hand how global brands and agencies now come to India not just because it's affordable, but because they know they’ll get bold, inventive work that can hold its own on the international stage. The ideas are sharper, the crews are hungrier, and the energy is unmatched. India isn’t just playing catch-up anymore.
As the lines between agencies, production houses, and brand teams continue to blur, what needs to change in the way these partnerships are structured—contractually and creatively—to avoid clashes and ensure alignment?
At Ducktape, we’re very clear, we’re not in the business of blurring lines. We respect the ecosystem. Going directly to clients when there’s already an agency in place feels like biting the hand that feeds us. It’s not how we built Ducktape, and it’s not what we believe in.
That said, we do see younger production houses often struggling to get enough work or older ones trying to stay relevant, taking a more aggressive approach and reaching out to clients directly. It’s a reality of the market right now, but it’s not our philosophy.
We’ll only work directly with a brand if they don’t have an agency on board. Otherwise, our role is to elevate the agency’s vision and deliver craft that makes everyone look good. The best creative outcomes still come from partnerships rooted in trust, not turf wars.
Virtual production, AI-generated content, real-time rendering—how much of this is genuinely impacting workflows, versus being more speculative at this stage?
There’s definitely momentum, but we have to separate the buzz from what’s actually useful. As a director, I’ve seen AI and real-time tools streamline certain parts of the process especially when it comes to montage-driven films or visual-heavy spots. For moodboards, pre prod docks, and early look-development, it saves time.
But beyond that, especially in India, the heart of our work is still performance, emotion, casting, and cultural nuance. Humour, for instance, is incredibly local. Timing, tone, brand personality, these things still need a human hand. AI can’t yet direct a layered performance, or cast someone who instinctively feels right for a brand.
So yes, the tools are evolving. But at this stage, they’re best seen as assistants and not auteurs. The craft of storytelling, especially in our market, still belongs to people who understand people.
What part of the traditional production process do you think is most ripe for disruption?
Pre-production, without a doubt.
It’s the part of the process where the most time is lost and where the right kind of disruption can create the most value for everyone involved. At Ducktape, we’ve been investing heavily in reinventing this stage: using tools like AI-assisted design, look development, stylised stills, animated characters, and fully built visual worlds, so that our clients can get much closer to seeing the film the way we see it, early in the process.
This isn't about replacing people or creativity, it's far from it. It’s about making space for sharper decision-making, faster approvals, and stronger creative alignment. When used intentionally, these tools help us trim timelines, optimise budgets, and reduce last-minute chaos without ever compromising on craft or quality.
And the ripple effect is significant. A well-prepared shoot leads to fewer surprises in post, faster CG and VFX turnarounds, and far more control over the final film. In an industry where expectations are high and timelines keep shrinking, that’s not just helpful, it’s essential.
Lastly, as brand content becomes indistinguishable from entertainment, what new skill sets will production teams need to develop?
The line between branded content and entertainment is definitely blurring and honestly, that’s a great thing. But at the heart of it, our job remains the same: to tell a story in the most compelling way possible, while keeping the brand’s truth at the centre of it.
What’s changed is how we go about doing that.
We’re no longer working with guaranteed attention. Today, we have to earn every second. That means branded content now has to hold its own against the best of global entertainment. Audiences are watching the finest storytelling from all over the world, so their benchmark has gone up dramatically. And rightly so.
That’s why we need to create work that truly grabs them, stories that surprise, shock, move, entertain, or make them laugh out loud and share it with friends. Whether it’s a bold new idea, a fresh kind of humour, or an emotional moment that strikes a nerve, the goal is to evoke something real.
As production houses , we have to partner more closely than ever with creatives to make the scripts sharper, the worlds more immersive, and the performances unforgettable. We’re not just here to shoot a board, we're here to shape something memorable.
In the end, it’s simple: we’re here to make work that connects. Whether it’s ten seconds or twenty minutes, a one-off spot or a full-blown content piece if it moves people, it works.
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