What Does an AI-Powered Agency Look Like

Justin Levinson (00:00)‍

Hey guys, welcome back to another episode of the Agency Side Podcast. I'm your host, Justin Levinson. Today's guest is Sylvan Tron, managing director of Cylinder Studios. Sylvan leads a modern creative studio that's bringing together brand design, content production, influencer marketing, and AI to help brands move faster and create smarter. In today's conversation, we dive into the future of creative agencies, how AI is reshaping the industry, and what it takes to build a culture of innovation. Sit back and enjoy the show.

Great to have you here, Slavon. Thank you for for speaking with us today.

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Sylvain Tron (00:41)

Yeah, thank you. I've been looking forward to the conversation. Yeah.

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Justin Levinson (00:43)

Yeah. I'd

love to get into your origin story and kind of learn about your your background and how you got into this world.

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Sylvain Tron (00:51)

Yeah. So where where to start? I guess I'll I'll I'll give you the like I was born in France, but I won't spend too much time for my early, early years. But yeah, I was born in France and then in ninety nine when I was seventeen, I came on a like exchange program for a couple of weeks to the US in New York. And three days into that trip I was like, you know, I think I'm gonna stay here. This feels this feels right. So I called my parents. I like, Hey, you know what, I'm gonna I'm gonna stay. So to their credit, they somehow

found within themselves to to to let me do that. And I actually started my career in the film business as a as a PA on productions. I was doing a lot of the like bigger movies in New York in the early 2000s and then you know did that for like five, six years. Then I started a film company, working in the international sales space, so representing film rights on the international marketplace and working with a lot of films that were premiere at premiere at Sundance, Cannes, Berlin, like all the big festivals, which

is a very noble cause. and then, you know, once you're actually in it, you realize kind of how how hard it is to make money at it, which is good if you're in your late twenties and it's okay and you're kind of traveling around, you're working with really cool filmmakers, like that's awesome. And then the kind of the realities of living in New York kind of catch up with you and you're like, at some point at some point I probably need to look into making some money. And so my

partner at the time bought me out of the company and I went over as a as a senior producer at RGA. and this was probably like 2010, 2011. And RGA was starting to like really experiment with with content and kind of thinking of different ways to get work done and not necessarily like, you know, keeping a lot of the work in-house, not outsourcing most of the production work. And so for me, coming from film where a producer is really

a creative part of the process, if not the creative part of the process. It was kind of a nice entry into the agency world and and and made sense. So I was there for about three years and then moved over to Havas where I was the head of content for North America for about four years. And then I moved then moved to LA, started my own agency, McKinney, which is part of the Chell Agency Network as well, where I I am currently via Cylinder. McKinney acquired us in 2019.

Spend a few years at McKinney as the managing director of our LA office. Then you'll see there's probably a a pattern here. But then I left to start a design studio since apparently I can't really sit still and I need to be building companies. Did that for a couple of years. The design studio was acquired by Cylinder Studios, again, part of the Chell Agency Network, and I've been here for for three years. So as part of the Acquire.

My creative partner and myself came in and he and someone else run creative and I I run Cylinder Studios as part of the deal. We got kind of absorbed. Design was added into what was historically a production studio. And yeah, I've been here for three years, Monday

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Justin Levinson (03:43)

That's amazing. What's your your day to day within the company now? What are you what are you doing? Like your just your basic day to day tasks, I guess.

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Sylvain Tron (03:50)

Yeah,

well Task, I mean, I I've done I think a d a decent job at creating space for myself to think, which I think is critical today. So, you know, I think there's of you know, the your your typical like, you know, operations, dealing with fires, pitches, dealing with clients and organizing, you know, kind of the day to day running of the company and make sure that we're continuing to make money and do good work, etcetera.

But probably I'd say like a good like thirty to forty percent of my time, and I'm hoping that it can even grow to about fifty percent, but thirty to forty percent of my time is really spent on really figuring out what it means to be a design studio and a production company in twenty twenty six, figuring out what it means to be AI powered, figuring out where we're gonna be in a year and what it's going to look like.

And so I think you just need, you know, you just need the time and space to be able to think about those things and kind of put things on paper, brainstorm, whiteboard, whatever it might be. But I you know, I owe it to the people who work at the company, owe it to the holding company, owe it to myself to kind of constantly be looking at like what is how how is this going to be evolved in in this ever evolving world that we that we're currently on.

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Justin Levinson (05:11)

Yeah,

and I'd love to get into AI and some of those things as well. For for those for those who aren't familiar though with with Cylinder Studios, maybe you can tell us just a little bit about you know, what you guys do and you know, always interested in learning about like, you know, interesting projects and you know, things you're doing and and and things you're proud of that you've done in the past.

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Sylvain Tron (05:29)

Yeah. Yeah, of course. So we're a as I was saying, we're a a design and production studio with an influencer arm. So really sort of like three main pillars of brand design, production, and influencer marketing. And historically, so Cylinder was launched officially in the US about in twenty twenty one, I believe, give or take. And historically it was the the internal studio of the holding company.

And from my time at Havas, I had some experience with internal studios and also what it can do when an internal studio like starts going direct to clients, right? I think you know, a lot of people are looking to go direct to clients. I think the the shape of a creative company, an agency is is changing. Clients have different needs. And while there is still a need for, you know, your more traditional creative shops, there's also a need for a company that can get to work perhaps a little a little quicker. And so

When I came as part of the the aqua hire that I was mentioning earlier, I was talking to our CEO and I was like, Well, you know, be great to come and and and run Cylinder. We're gonna continue to work with all of our sister agencies, right? We have four. But I think there is a real opportunity to also try to become our, you know, stand up our own company and and and go directly to to to clients. So that's that's been kind of the the origin story and we've been we've been working directly with clients for for a couple of years.

And mostly on a project based basis. And what's been what's been great is that we're, you know, again, we're able to continue to work with our sister agency as the internal shop. And then we're also like building out like a real outward presence where, you know, we're yeah, we're we're we're building Cylinder Studios and and and creating a brand around it. And so we've seen a lot of success where you know if you br if you break it down, you have

brand that needs a strong visual identity is at some point going to need some sort of content, right? Whether it's you know above the line or social or whatever, they're gonna need things made and then they're gonna need things amplified. And the best way to do that today is is influencers, right? So this narrative of like, hey, we're gonna design your brand or redesign or design your product, whatever it might be, right? And then we're gonna create the campaign that goes along with it. And we'll have the knowledge from the brand design process that we'll be able to infuse into production.

And then we're gonna hire influencers to amplify it, right? So that's the I would say that's our ideal pipeline. Does it happen every time? No. Sometimes sometimes someone is like, Hey, you know, I just need brand design or I just need an influencer campaign. So of course we do that. But when it works at its best, it's when we have all three things. And for clients who really need like sort of strong brand governance and brand understanding.

Clients who then want to pair the ideation process with the production process in a way that, you know, doesn't take months and months. And then clients who then want to be working with with with influencers. So that's kind of when we're at our best, it's when we have all three pieces together and and we're kind of taking them through the entire you know, the entire process I just described.

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Justin Levinson (08:33)

Are some pe are some brands still hesitant about the influencer part of it? It's like

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Sylvain Tron (08:37)

In in what way? Like w the

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Justin Levinson (08:39)

they they like the funnel, but they don't necessarily see the value, you know, in that influencer as part of the whole process.

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Sylvain Tron (09:21)

It's funny, I think I think there's a lot of brands that are perhaps not skeptical, but less into the the design piece. I think with design you're not necessarily talking to marketers, right? You might be talking to a CEO, you might be talking to a founder, you may be talking to a marketer, but not always. I've found, you know, and I was I was in Cannes a couple of weeks ago and you know, I think at this point most brands that I've that I'm talking to are really interested in the creator space, whether they are fully engaged or or getting into it. I think a lot of them

'Cause it's a it's a little bit of the Wild West. I mean, the whole industry right now is the Wild West, but I think the creator the creator industry specifically. And it's what is true is that they're they know they need to do it, but it can be hard for them to know how to engage with it. And I think certain certain companies offer different things. Obviously, different clients are set up differently. And you know, someone might be like, well, we can ID influencer, but the contracting is on you. We can do the strategy, but then the rest is on you. And so for us, we've been really like we can

do everything end to end where, you know, if you we can either plug into your team or if you don't have an influencer team, we'll just do everything from from strategy to ID, to working with the influencer and co-creating to you know contracting and then and then delivering the delivering the work and measuring it. So so yeah, on the cre creator side every everyone's doing it. I think on the on the design side it's it's always kind of

Very interesting to me how a lot of sort of like bigger legacy brands don't necessarily have a full system available to them, which I think then makes everything harder, right? Like if you don't feel know exactly who you are and how you show up in like a a very deep way, then once you get to trying to come up with an idea for for a campaign, it's making the work a lot a lot harder. So that's probably what I'm what I'm seeing more as a whole. But the the yeah, the the creator space, I think everyone is pretty bought in.

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Justin Levinson (11:12)

Cool. So you were back in France recently?

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Sylvain Tron (11:15)

Yeah. I was. I I had a bit of a ridiculous trip, which is gonna sound like a flex, but was kind of I went to Seoul for a so Chell Agency Network, Chell is a Korean holding company, so I had an event in Korea. Then I went to Tokyo from there and then I went from Tokyo to Cannes, and then I was able to work in some time with the family and then spend a couple of days in Paris and came back, so Nice. Yeah. Maybe too much of a flex, I don't know, but it's a lot in two weeks. But yes, I wasn't fine.

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Justin Levinson (11:44)

That's that's nice. We were able to see some some family. Do you get back there very often?

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Sylvain Tron (11:49)

Yeah, a couple usually a couple of times a year. Like once once in the summer and once for Christmas. I'm gonna my wife and I are gonna go again in about a month for a little little little vacation to spend some time with with my folks. So

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Justin Levinson (12:01)

That's wonderful. I've never been to to France before. I've always wanted to go. I guess the the closest I have to it is actually I have a house in Vermont and about an hour and a half where we're in Montreal. Yeah. So a lot of time there. But I understand the French might be a little bit different when you speak to somebody from Montreal. Is it how was the communication?

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Sylvain Tron (12:19)

Yeah, it's it's it's a little different. I mean the the the Quebec accent varies and you know, sometimes there's I have some some friends from Quebec who like their their French is like fairly close to mine. Yeah. And some others who sound very, very, very different. So there's so there's a range and I think there's a lot of different expressions. I think is the is the is is the big thing. There are certain things where sometimes my even me I'm like, I don't totally know what that means. But but if you if you

If you do go to France I have a good I have a good list for Paris. So cool. You know, if if and when you go, just hit me up and I'll I'll I'll hook you up with

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Justin Levinson (12:55)

I think I'd love to take the family there. But yeah, we go to Montreal sometimes. We for our for my wife's fortieth birthday, we went to John Lennon where he had his he had a bed in there for like when he was doing like the peace and love thing. He they John and Yoko did a bed in at this I'm forgetting the name of the hotel. But we stayed in the exact room where Lennon stayed for the night.

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Sylvain Tron (13:13)

Which is which is pretty wild. That's amazing. Yeah.

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Justin Levinson (13:17)

getting on a tangent here. yeah, it's interesting to to to learn, you know, about your pipeline and how how that all works. If you can, if there are any any like projects or things you know, that you have worked on or that you are working on that you know, you could you could talk about.

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Sylvain Tron (13:31)

Yeah. Yeah. So we're well actually we we we shot a couple of weeks ago and we're shooting again today, but we just well so as I was saying, we're mostly project based when it comes to our own work, which which makes sense based on what based on what we do. And we recently won a project for Play Doh, which is owned by Hasbro. And Plato's coming out with a a new product that's geared towards grown ups. So it's not it's not for kids.

it's a l you know, it's similar to what what Lego has been doing with like, you know, partnering up with Star Wars and things like that, where it's like if you want to kind of find the the child in you again, you might you might pick up a set. And so they came out with this line called Play-Dohlooms, which gives you the ability to make flowers, these like very kind of beautiful bouquets of flowers out of out of Play-Doh. And so it probably took like a lot of R and D because there's this they have this mechanism by which it's actually kind of

easy to make the flowers and you end up with this like actually really beautiful things. And so the product was announced a couple of days ago is doing really well. And so we we're doing yeah, we're we're we're doing the campaign for them. So and that that will be the campaign launches in in in August. But you know for for us like we do we do quite well when we work as kind of the extension of an in-house team, right? Because we're very used to that in our in our day to day with our our sister agencies. And so for them

You know, they have they have a bit of an internal agency, they have an internal production group where it's kind of everything flows through that. And so for us, you know, they when they came to us, they were like, Hey, we need an idea and then or we need a campaign idea and then we need the ability to produce it like pretty quickly. And so that's kind of where we do really well because during the concepting phase and we had all about like, you know, three weeks to a month, right? And I'm I'm

I'm not here to like push speed because that's not the the the the point. I think just the efficiency of being able to have creatives that are thinking about a campaign at the same time that an EP is looking for directors that could be that could that that that could be shooting it. you know, in some cases the director kind of gets involved in the process at a at a very high level. And then once the idea is bought in to be able to be like, Great, well, we have already the director, like we can shoot in two and a half weeks, right? So that's

That's what that's what happened on happens on this. And it's yeah, it's a it's a good case study to kind of, you know, bring in production as close as possible to the creative process. You know, I was I was talking about RGA earlier, and then when I went over to Havaz, you know, to be frank, I was a little like taken aback by the by how late in the process production is always. As much as, you know, you have tons of agencies that are like, yeah, no, pr production is like so important to the

That's the core of what we do, whatever. And I think for some it's true. I think for most it's still this process of, you know, a project that goes from strategy to creative, you know, account orchestrating the whole thing and then like then gets to production. And

And I just think that today there's just, you know, such a need for for making work, making a lot of work, making a lot of work on a budget, on a timeline, that you know, bringing production as early as possible in the process, you know, as early as into the concepting phase is is super, super important. And so on Plato that's what we were able to do.

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Justin Levinson (16:41)

That's exciting. Well I'm excited to see this product too, 'cause I I might be interested in bringing my inner child back. I get some flowers with my wife. It

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Sylvain Tron (16:49)

It's yeah, totally. I mean it's it's such a fun such a fun such a fun project, you know. It's it's it's a cool cool product, cool brand. Yeah, we're we're we're super psyched by that one.

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Justin Levinson (17:01)

It's great that how everybody kind of works together and it's efficient. I'd be curious to learn a little bit more how the team collaborates. Do you guys do a lot of remote stuff? Do you guys come into an office and for a think tank or how does that work best for you?

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Sylvain Tron (17:15)

Yeah. Best. How does that work? Best is a good is a good is a good question. I mean, I think so. We're we're across three main offices with two smaller offices, right? So I'm based in LA, we have an office in LA, we have an office in New York, and we have an office in Durham, North Carolina. And these are like sort of our three main hubs. And then we have a smaller office in Phoenix and a smaller office in Toronto. We we work in office Tuesday, Wednesday, Thursday. Monday and Fridays are, you know, work from anywhere, work from home. And

Think what's been hard as you know the whole world came back from COVID, which you know now is whatever, four or five years ago, but we're still we're s we're still still kind of coming to terms with it, is this idea that like, you know, you come into an office, but you might be spending your entire day on Zoom with someone who, you know, you might be in LA and then you spend your entire day on Zoom with someone who's on in Durham and you're collaborating that way. So I think for us, you know, we're still we're trying to kind of staff

People kind of where they're at to the best of our ability. We're trying to be, you know, as liberal as we can be with our travel, right? Like we're not gonna put someone on a plane for for any reason. But, you know, if we're working on a pitch or you're working to on on a project, like there's a lot of value in being in person. So it's like, okay, if we can

If we can make it work where someone can like, you know, come into LA or go into New York for like two, three days to like actually be in person, we we really, really try to do that. But otherwise, yeah, it's just you know, it's a big kind of big Zoom collaboration. And yeah, it's it's it's you know, it's hard. It's it's I don't know, you know, it's a it's it's a hard thing to hard thing to crack, but at the end of the day I think that, you know, we're we're we're never gonna go back to five days a week.

think three days a week is a really nice kind of is a really nice balance. Yeah. And, you know, I talk to lots of people who are still like fully remote. My you know, my wife is a f fully remote, in a roof fully remote job and, you know, I at some point it's nice to see people and have lunch outside of your kitchen and and and and and all that. But yeah.

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Justin Levinson (19:24)

Totally. While we're talking about sort of workflows and how how collaboration happens, I'm curious how AI is changing the game for you and how that is infused in your workflows.

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Sylvain Tron (19:37)

Yeah. So I went through so last last year, a little bit the year before, but l last year was really when we really started like upskilling everyone in the company. 'cause I I I try to not be in the business of predicting the future. 'cause I 'cause I 'cause I 'cause I don't know. What I do know is that

the things that we're all saying like two years ago or even a year ago, like, no, that will never happen. Like that'll never be possible. Like is happening today and is is is is happening. So I'm not betting against anything. Right. And so so last year we wanted to do a lot of really foundational work as it relates to AI. And I think that the, you know, the biggest piece is the employees and getting the employees comfortable with it.

So we brought in an outside coach, someone who I was also working with who's a Stanford professor who had a whole program on on AI and like using LLM, like building GPTs and projects and like how can you sort of like infuse like an innovation mindset within within a company. So that was a that was a big part of our of our year last year. Then we also sort of created kind of reasons to use it. So we you know, we we part participated in a

in a competition that was put on by New York Festivals and LTX, which is an AI platform where we were partnered up with a nonprofit to make a video using AI. So and we ended up winning the the the competition. But that was just kind of a really an excuse to be like, hey, we have this project, we have to be working with AI, like let's, let's, let's figure it out. And that that that that really worked out. So if last year was kind of foundational and just kind of talking about it a lot, getting people comfortable with it, getting people fluent with it.

Then now this year is really about, you know, and I kind of have been calling it like AI 2.0 for cylinder, right? Like if last year was 1.0, this year is is is 2.0. And that's about really like creating an operating system that sits at the center of the studio that that is built on AI and that really like operates how we how we run. And so, you know, of course the the kind of the the the low-hanging fruit, if you will.

in a workflow is like, great. So, you know, we're gonna be making videos, right? Like we do a lot of production, we're let's start doing AI with it, you know, using AI for our production. It's like that's definitely a piece of it. But I think it needs to be this operating system needs to serve our clients but also serve our employees just as much, right? So anything from from HR to culture to like any information, like n knowledge base of the of the company.

processes, client knowledge, et cetera. Like that needs to be a part of the operating system. Otherwise you just kind of you're only doing like half half half the work. So so we've been we've been we've been building I mean I'll call it a platform because I think people still like to see things on the screen and be like, I can click here and I can click here and I can do this for that. But we've been we've been building this operating system that again, yes, serves like both like internal people and and and external. And and we're you know we're not we're not gonna

We're obviously not competing with the tech platforms 'cause we simply can't. So I think for us it's like when we're looking at a workflow and looking at this operating system, it's looking at a few things. One, it's like, you know, are there some things that we can build ourselves, right? Like building has never been easier. So are there things that we can build ourselves?

There is definitely leveraging third party software and different models, right? Like we're not gonna recreate a video model, we're not gonna recreate an LLM. So like leveraging that. And then certainly humans, because humans still need to be need to be in the loop, right? So it's like

the collection of these of all all all these things that that make up a workflow and that's how we're approaching the the the the operating system. And we're we're also like really continuing to you know when I was saying that building is easy, I had a I had a a presentation yesterday where I was talking about how now like everybody is a developer. You know, so I'm not gonna do this the famous video of like the Microsoft guy who's just like on stage being like developer, developer. Like I'm not not sweating enough for that. But but I do think that, you know, there is a real reality to like

you have a problem and sometimes it can just be answered easily, like the same way you would use Google, but sometimes you just need to build something to solve that problem. And so we are and you know, tech historically was built like very much like top down, right? Like AA agencies didn't build it.

And be, you know, we would license a product and say, hey, employees, you now have to use this. So here at Cylinder, we we're really trying to kind of, yes, there's some top-down approach to creating what we need to create, but there's also like a bottom-up where the best ideas are going to come from the employees. And if if today building and coding is easy, then who best to come up with those ideas and building them, then the people who are actually having the issues, as opposed to

you know, someone who might be a couple of steps removed making decisions for them. So we have a one way that this comes to life is we have a just an innovation award, which is quarterly where, you know, an individual or a team of people who built a product and submitted it officially like can win five thousand dollars. So it's, you know, we've committed some money to it for the year. And and you know, we have like a a contract reader that came out of it. We had a, you know, a coloring book.

that came out of it. But it's, you know, it's really about, you know, implementing this mindset of like, hey, just like don't be scared. You g you just you have an idea, try it. And odds are that like in a couple of hours and then it just kinda gets faster and faster, you can use it. And so we're using some of these things, you know, as part of this innovation we have, you know

Some of it is just what it is. It's a fun, it's a fun project and it's a super cool use of AI and we celebrate it at an all agency and that kind of it it it sort of ends there. In some other cases, we're implementing it into our our operating system and it ends up in our, you know. So right now we have this thing called apps.cylinder.com where sort of like all of our AI apps that we know we're making official are are housed. And you know, there's a few of those tools that that people have created that do end up

on in in in the OS and that are now being used by the whole the whole company.

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Justin Levinson (25:53)

It's amazing. T a real win win and and a morale booster of people can you know come up with these ideas and also get compensated for it.

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Sylvain Tron (26:00)

Yeah,

exactly. Yeah, exactly. And and and people need to you you really have to shift your mindset and and and it's it's yeah, if if if if that that's probably the biggest the biggest the biggest thing, right? Yes, the workflows, all that, but if the mindset isn't there, I mean I have two post-its like right here on my computer that says like how can ha AI help me figure this out, right? And that's just a r it's just it's dumb, but it's a little reminder that there is, you know, just a reminder to to to to to ask it.

And and that it's it's here and it's available.

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Justin Levinson (26:33)

Certainly a tremendous resource. I'm interested in getting to know who you are outside of the work world. what kind of things do you enjoy doing, hobbies, things you like?

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Sylvain Tron (26:44)

well I won't spend too much time on it 'cause I'm pretty terrible at it, but I have a few guitars so and I see that you you you you you you do you you do you do as well. Yeah, I have a I have a friend who collects guitars and so I ended up with like two or three guitars that I definitely do not deserve, you know. But

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Justin Levinson (27:00)

If

it makes you happy, that's that's great.

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Sylvain Tron (27:02)

Yeah, yeah. Yeah, yeah, exactly. But no, I think probably, you know, film is is is the big the biggest thing that I'm that I'm passionate about outside of outside outside of work. You know, it's kind of it's where I started my career. I still have a lot of friends who who who work in in that and so that's that's really where probably I spend, you know, most of my most of my my whatever time is left in my brain is is is is spent kind of thinking about that and you know, watching films.

I have I have a somewhat unofficial little film club with a friend of mine in LA where we we gather every couple of weeks and nice and and and and watch a film. So that's that's that's probably the the the the biggest thing that I do that I do outside outside of work.

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Justin Levinson (27:45)

Yeah. Any favorite films that you could recommend?

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Sylvain Tron (27:48)

I mean I'll I'll probably stick to maybe just this year, but I just saw the invite, the Olivia Wilde movie, which was really good and kinda had no business being this good and she really just kinda directs the crap out of it and and the script is incredible. It was it was a not a not a surprise 'cause I had heard some good things of about it coming out of Sundance. But but but yeah, really good. All takes place. It's four actors in an apartment for for a couple hours and

Just really, really masterful. So I would I would say I would say this one and then by the I will have seen it by the time this this comes out, but I'm going to see the Odyssey tonight. So Cool. Awesome. Well,

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Justin Levinson (28:25)

So

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Sylvain Tron (28:25)

are you going?

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Justin Levinson (28:27)

I have I was thinking about going to see that. Yeah, I'm definitely interested in it.

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Sylvain Tron (28:31)

Yeah, it's I mean, it's supposed to be great. I'm I'm not seeing it in IMAX though, so we'll see. But I'm sure I'm sure it'll be I'm sure it'll be I'm sure it'll be good.

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Justin Levinson (28:40)

Cool man. Well Sylvan it was great having you on and having a great conversation and and offering value to the community. If you want to check out your work, Sylvan, where where can people check out you know all the works that you guys have been doing?

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Sylvain Tron (28:53)

Yeah, you should go to Cylinder Studios on Instagram, Cylinder dot com website. But yeah, I think Instagram is a is a is a good place to see some of the work and then that we you know, we we treat each each post as a little as a little content series and so there's a lot of kind of you get a feel for the the vibe and the culture of the company and and for the people. So yeah, Cylinder Studios is an Instagram.

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Justin Levinson (29:15)

Awesome man. Well have a good rest of your day. Appreciate it. And

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Sylvain Tron (29:17)

Yeah, thanks Justin. This was great.

Bye well. Bye. Talk later. Bye.