Healthcare TV Commercial Production Case Study

Innovations in Pediatric Healthcare Dr Steinberg o Innovations in Pediatric Healthcare Case Study

Nicklaus Children's, Innovations in Pediatric Healthcare, Dr Steinberg

Nicklaus Children's, Innovations in Pediatric Healthcare

TL;DR: n2 Productions produced "Innovations in Pediatric Healthcare," a polished interview series for Nicklaus Children's Hospital built to look like a special segment on a major network. Seven physicians across the Orthopedic, Sports Medicine & Spine Institute, the Heart Institute, and the Neuroscience Institute were each featured in a two-minute spot and a sixty-second cut-down, anchored by trusted Miami journalist Beatriz Canals. The campaign was shot over three production days using a four-camera method that captured interviews and B-roll without slowing the physicians down, then finished with a custom 3D animation package, original music, green-screen compositing, and a professional color grade. Each spot closes on its institute's end card with a QR code. Neil Nunez directed and produced the series end to end.

Setting the Scene

Executive Producer & Director: Neil Nunez
Production Partner: n2 Productions
Agency Partner: AB&A Advertising
Client: Nicklaus Children's Hospital
Project Type: Branded healthcare interview series (broadcast and digital)
On-Camera Host: Beatriz Canals
Featured Physicians: 7 doctors across 3 institutes
Timeline: 3 production days (2 interview days + 1 host day)
Primary Output: 7 two-minute spots + 7 sixty-second cut-downs (14 deliverables)

We're not just trying to save the child. We're also trying to save a childhood.
Dr. Thomas Utset-Ward, from the orthopedic oncology spot

The Campaign Concept

The brief was specific. Nicklaus Children's wanted a series that did not look like institutional healthcare video. It needed to feel like a special segment you would see on a major network, the kind of polished medical feature a news station might run, with a trusted face guiding the audience from one expert to the next.

To carry that, the hospital and AB&A brought in Beatriz Canals, a journalist with years of experience and real standing in the South Florida community. Beatriz opens each piece, hands off to the physician, and returns for a mid-segment break that sets up the next part of the conversation. The two-minute versions are not a doctor talking straight through for 120 seconds. They are structured the way a broadcast segment is structured, with a host, a subject, and a clear rhythm.

The series name does real work. Each spot is built to show innovation on screen, not just describe it: scoliosis imaging with Cobb-angle measurement, surgical navigation systems, 3D craniofacial modeling, and advanced tumor imaging all appear as the physicians describe their work. A custom 3D animation package built from photography, video, and animated text opens each piece, and every spot closes on its institute's end card with the "Where Your Child Matters Most" line and a QR code that drives viewers to a dedicated landing page.

The Production Challenge

Seven physicians, three institutes, and a single window to capture all of it. The doctors are surgeons and department chiefs. Their time is the scarcest resource on the project, and the schedule had to respect that. Every physician needed a sit-down interview and a separate run of B-roll inside the hospital, and the look across all fourteen spots had to match, regardless of which doctor was in the chair or which day the footage was shot.

There was a continuity layer on top of that. Nicklaus Children's supplied its own archival B-roll, including footage from operating rooms that an outside crew cannot access. That hospital footage had to cut together with everything n2 shot without pulling the viewer out of the spot.

Constraints at a glance

Seven physicians, each needing an interview and a separate B-roll run, with very limited time per doctor
Three different institutes represented, all held to one consistent broadcast look
Hospital-supplied archival and operating-room footage had to match n2's footage in the edit
A green-screen interview setup that had to composite convincingly into finished environments
A host series shot separately that had to frame and connect every physician segment

Building the Network-TV Look

The visual standard was set before a single doctor sat down. Each spot was designed around a custom-built 3D animation package that combined photography, video, animated text, segment bumpers, and transitions. When Beatriz hands off to a physician, when the physician finishes, and when the spot moves to the mid-segment break, an animated transition carries the cut. None of it is stock motion. It was built for this series so every piece would feel like it belonged to the same broadcast.

The interviews were shot on the hospital's green-screen stage, which let each physician be placed into a clean, controlled environment that matched the polished look of the package. The lighting on that stage was not left to the building. Even though the studio has its own lighting, all of it was supplied by n2 Productions, and more specifically by the n2 Grip Van, with a gaffer and grip shaping each setup for the doctor in the chair.

The Interview Days: Efficiency by Design

The doctors were captured across two interview days at the hospital. Day one covered the Heart Institute and Neuroscience teams. Day two covered the Orthopedic, Sports Medicine & Spine Institute group, along with a young cancer patient whose story tied into the orthopedic oncology work.

Each physician moved through the same flow. The doctor arrived, went through hair and makeup, put on the lab coat, and got a lighting setup adjusted specifically for him or her. The interview ran about an hour. Then, instead of breaking the day, the crew followed that same doctor straight into the hospital to shoot B-roll while the physician was already there and already comfortable.

Four cameras, fewer takes

The efficiency came from how the cameras were configured. Two Sony FX6 bodies served as the primary interview cameras on tripods. Two Sony FX3 bodies were pre-built on DJI RS3 Pro gimbals, balanced, with lenses and wireless transmission already set and ready to move. There was no breaking down the interview rig to rebalance a gimbal. When the interview wrapped, the team picked up the FX3s and walked.

In the hospital, the two gimbal cameras ran together, one wide and one tight, on the same action. That meant the doctors rarely had to repeat anything. A real moment was captured from two angles at once, so the forty minutes to an hour of B-roll time per physician produced usable, spontaneous footage instead of staged retakes. The wireless transmission also let Neil and the AB&A creative director monitor what the camera team and DP were capturing in real time.

A four-person unit moved with each doctor: two camera operators with gimbals, a gaffer carrying extra batteries and support, and a key grip with a portable light to augment the hospital's existing lighting where a hallway or office needed a little shape or backlight.

Where the hospital footage came in

The finished B-roll is a blend. There is the coverage n2 captured of each physician in the hospital environment, and there is the archival footage Nicklaus Children's collected over time and through its own internal team, including operating-room footage that only the hospital could provide. The doctors were also captured interacting with each other and with patients moving through the hallways. Matching those sources cleanly became a post-production priority.

Anchoring the Series: The Host Day

A full production day was dedicated to Beatriz Canals: every intro, mid-segment bumper, and outro that frames the physician interviews across the series.

The morning started in the hospital's own television studio, which was used for two of the intros. The studio has its own lighting, but n2 still brought in its own package and lit it to the series' standard, with a dolly and slider to keep movement in the shots. The goal was a glamour look for Beatriz, not a flat news read. From there the team moved into the hospital to shoot bumpers in an interesting hallway and at a fountain.

The outros were handled at night, at the fountain directly in front of the Kenneth C. Griffin Surgical Tower. The FX6 cameras held up cleanly at high ISO, capturing the night with no meaningful noise. Beatriz was lit with a large five-by-three-foot source on a dolly, with smaller accent lights filling in. The real star of those shots, though, was the background: at night the surgical tower lights up like a luxury hotel, and it gave the outros a setting that sells the production value on its own.

Post-Production: Finished With Intention

The finish is where this series separated itself from standard healthcare video. Nothing was slapped together or run through automatic filters in the edit.

Color

Every spot was professionally color graded by veteran colorist Matthew Perin of Color Wave. The job was not only to give the series a consistent look, but to make the footage shot on the n2 cameras match the footage from the hospital's own cameras, including the archival and operating-room material. Watched as a finished spot, nothing pulls you out. The sources sit together as one piece.

Compositing

The green-screen interviews were composited by Alex Enciso, a collaborator Neil has worked with since 1999, who built a proper wrap into each shot, not just a clean key. Beyond removing the green, the composite carries a little of the environment's light and tone back onto the physician, so each doctor reads as genuinely standing in the scene rather than cut out and dropped in. These were composited carefully to look real and to look their best.

Sound and Original Score

The audio was treated with the same care as the picture. Dialogue was rubber-banded, leveled, and matched by hand from the doctor interviews to Beatriz's segments, with noise handled in the louder hospital environments. On top of the mix, original music was composed for the series by Robert Morales, a longtime n2 collaborator. Each spot carries several distinct cues: the opening animation, the host intro, the bumpers, the bed under the physician interview, the bumper between segments, and the closing. Every one had to be placed and mixed to land on the edit and hold the network feel from open to close.

Innovation, On Screen

he series earns its name in the imagery. Across the seven spots, the work the physicians describe is shown, not just stated. The scripts gave the edit a clear target for each institute, and the B-roll and graphics were built to match: the EOS ultra-low-radiation imaging system for scoliosis, an intraoperative MRI and the ROSA surgical robot in neurosurgery, bedside heart-defect closures for fragile newborns, digital surgical planning for craniofacial procedures, and custom implants that grow with the child in orthopedic oncology. Each is captured in frame so a parent watching understands what the doctor is talking about.

1
A four-camera capture method. Two FX6 interview cameras plus two FX3 cameras pre-built on gimbals meant the team could finish an interview and follow the doctor into the hospital with no rig changes.
2
B-roll without retakes. Running a wide and a tight gimbal on the same action captured real, spontaneous moments and kept the limited time with each physician productive.
3
Lighting owned by n2. Even on stages with house lighting, n2 and the n2 Grip Van supplied and shaped the light, including a night exterior that held clean at high ISO.
4
A host series that ties it together. A dedicated day with Beatriz Canals produced the intros, bumpers, and outros that frame and connect every physician segment.
5
Source-matching in post. Color grading made n2 footage and the hospital's own archival and operating-room footage cut together as one.
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Compositing with a real wrap. Each green-screen interview was integrated into its environment with matched light and tone, not a flat key.
7
Original music, not library. A full set of original cues per spot, composed and mixed to the edit.
8
A complete graphics system. Custom 3D open, animated transitions, lower thirds, and per-institute end cards with QR codes driving to dedicated landing pages.

Required Output	Planned	Delivered	Status
Two-minute spots (one per physician)	7	7	Complete
Sixty-second cut-downs	7	7	Complete
Total spots	14	14	Complete
Custom 3D animation package	Yes	Yes	Complete
Host intros, bumpers, and outros	Yes	Yes	Complete
Per-institute end cards with QR codes	Yes	Yes	Complete
Original music score	Yes	Yes	Complete
Professional color and compositing	Yes	Yes	Complete

Protect the scarcest resource.The physicians' time set the schedule, and the four-camera method was designed to get the interview and the B-roll without making them wait or repeat.
One look, many sources.Treating color and compositing as continuity work, not cleanup, let the hospital's own footage and n2's footage live in the same spot.
The finish is the product.Original music, hand-matched sound, and real compositing are what make a healthcare spot read as a broadcast feature instead of a corporate video.

Why Teams Work With n2

n2 Productions is led by Neil Nunez, a Miami director and producer with more than 30 years of broadcast and commercial production experience. n2 works directly with agencies and healthcare marketing teams to turn approved creative into shootable plans that protect the schedule, the budget, and the look, from brief to final delivery.

For healthcare campaigns, that experience matters. The work often involves real doctors, children, families, tight approvals, bilingual needs, and locations with little room for confusion. n2 brings the local crew, production planning, direction, and post-production oversight needed to carry the project from brief to final delivery.

Get in Touch

n2 Productions - Miami video production company

Innovations in Pediatric Healthcare

Setting the Scene

The Campaign Concept

The Production Challenge

Constraints at a glance

Building the Network-TV Look

The Interview Days: Efficiency by Design

Four cameras, fewer takes

Where the hospital footage came in

Anchoring the Series: The Host Day

Post-Production: Finished With Intention

Color

Compositing

Sound and Original Score

Color

Compositing

Original Score

Sound Mix

Innovation, On Screen

How n2 Brought It Together

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What Was Delivered

Why This Production Approach Mattered

Why Teams Work With n2

n2 Productions - Miami video production company