Dear Sean:

I'm a creative director at a small agency that does TV infrequently. We've had what I thought were some great ideas and storyboards in the past couple of years. The final commercials, however, have been disappointing to us all. I feel like we're screwing up in production, perhaps because we stick too tightly to the boards. Is it possible we're too "ironed down?"

Shortchanged

Dear Shortchanged,

I've seen a lot of good boards get ruined in production because somebody didn't know how to work at this, the final stage of the evolution of a spot. Unfortunately, having a good idea doesn't mean you'll get a great commercial.

Rule one-never stop creating! During production, there will be many opportunities for improvements and "magic, happy accidents." Not everything's on the storyboards, in the plans, on paper. Keep your mind open. Inflexibility and holding fast to ideas that can be improved as one sees the production unfold are never in the best interests of the final product. Let your client and your agency know, early on, that things may change in order to get an even better product. Keep working, refining, etc. right up to the very end, and never get complacent that you've done your part just because you're in production - and you've contracted a director and production company.

At the same time, don't nit-pick your director and production team. Keep out of their hair. They're fighting the clock to give you the best product in the allotted time, so distractions distract. Use the chain of command if there is one. If not, set one up. Everyone can't be talking to everyone and send and get clear messages.

Film production is much like a military operation. The director is the general. He talks to actors and department heads (cinematographer, art director, the assistant director, etc.) and they, in turn, talk to their assigns (lighting director or gaffer, camera operator, props, etc.). Disciplined communication makes for a quieter set and more organized and efficient procedure.

Appoint an agency spokesperson to talk to your director. Choose well. Pick your best creative mind and your best communicator. Choose a self-secure individual, a person who recognizes a good idea when he or she sees one, and doesn't need to "hear himself (or herself) talk."

Try to keep your key players together as long as possible through the job. Pay your director to supervise your edit (at least a rough cut). Who better could know what and why he or she shot certain elements and will have the vision to put them together in a way that works. Don't take control of your project back too early and miss the opportunity for even more creative improvement and continuity.

I hope these suggestions give you a better net result from your next production. Good luck!

Sean

http://www.seantracey.com

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