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Managing Creative Projects as delivered to PMOZ Conference, Canberra 2009, PMI Sydney Chapter Breakfast 16th Sept, 2009

Managing Creative Projects as delivered to PMOZ Conference, Canberra 2009, PMI Sydney Chapter Breakfast 16th Sept, 2009

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Project Managing Creative Projects Project Managing Creative Projects Presentation Transcript

  • managing creative projects
    How to blend the best of traditional Project Management Techniques and Creative Processes & People
    Leigh Moyle - PMI Sydney Chapter
  • some inspiration
    Article by Diane Cheklich – available on PMI Marketplace ‘Lights, Camera, Project Management (2002)’
    Dianne’s bio
    Diane Cheklich thanks Ross Perot for launching her film career. It was the late 1990’s and she was working as an information technology consultant for Perot’s company. As a “promising female leader,” they offered her a mentor, she chose someone in TV, who then gave her the name of a cinematographer and told her to go make a short film. She did, and loved it so much she knew she had to find more space in her life for filmmaking.
    Making movies quickly became her film school. Diane already has a half dozen shorts and documentaries to her writing and directing credit (including the award-winning experimental, “Late”), many of which have screened in film festivals around the world. She recently acquired two feature film producer credits. TRAP, a psychological thriller, is available nationwide on DVD, and AMSTEROID is in post production.
  • the goal
    Share some of my experiences in creative projects
  • the goal
    Share some of my experiences in creative projects
    Show you how similar creative and IT projects are
  • the goal
    Share some of my experiences in creative projects
    Show you how similar creative and IT projects are
    Challenge you to bring your own creativity to your projects
  • thankyou to…
    AFTRS - Peter Herbert
    HyperdrivenProductions – Ian Nicholson
    BazLuhrman
    NRMA - Me
  • AFTRS
  • “It poses challenges in vastly different areas and requires legal, technical, organisation and psychological expertise.
    This profession demands the very best from those who pursue it.
  • He or she is the person who embodies the complete production and has a clear overview of what has happened, what is happening and what is going to happen. The Production Managers work gives the production the necessary structure within which the artists can create their visions”
  • Clearly someone in this position should be able to live with stress and conflict and still be enough of a psychologist and diplomat to avoid hurt egos and bad feelings on set”
    Directors Guild of America’s Production Manager
    job description
  • creative projects
    Have more complex teams
    Have more specialised skillsets
    Have a greater reliance on contractors & outsourced work
  • Writers, artists, model makers, lighting designers, set designers, special effects designers, mechanical engineers, software engineers, animators, programmers, graphics designers, carvers, painters
  • Writers, Graphics Designers, Usability Testers, Programmers, Editors, Web Marketing specialists, Thesaurus developers, Metatagging specialists, Infrastructure Engineers, Public Relations & Finance specialists, Instructional designers, Solution Architects
  • creative projects
    Require translation into structure
  • “The Production Managers work gives the production the necessary structure within which the artists can create their visions”
    script breakdown sheet
    storyboard
    vision
    daily call sheet
    daily production reports
    production meetings
  • creative projects
    Require creative space to be defended
  • “One of the main things that a project manager of a creative project needs to be able to do is to defend the space for creativity” Directors Guild of America Job Description
  • creative people
  • creative space
    Create a safe haven – the individual will feel safe exploring unfamiliar territory, testing new concepts and possibly failing
     
    State the objectives – Having a clear purpose and sound rationale serves as a touchstone and encourages the team to be experimental
    Cross pollinate the group – Ideation works best when there are differences in perspective, knowledge and background, the greater the perspectives, the greater the range of potential solutions
    Goveno 2001
  • creative space
    Facilitate – keep the process moving, preserve the best ideas, while encouraging and protecting potential breakthrough ideas
    Support the Team – Recognising and encouraging the efforts of team members, who generate and develop ideas, even when those ideas are not utilised or fail, will contribute again
    Communication Follow through – When sessions are completed with a set of action items, lessons learned and innovations, it keeps the creative process in motion
    Goveno 2001
  • creative projects
    Have more complex teams
    Have more specialised skillsets
    Have a greater reliance on contractors & outsourced work
    Require translation into structure
    Require creative space to be defended
  • PMBOK
  • time
    quality
    cost
  • time
    quality
    cost
  • scope
    time
    resources
    quality
    risk
    cost
  • scope
    time
    resources
    quality
    risk
    cost
  • scope
    time
    resources
    communication
    quality
    risk
    cost
  • scope
    time
    resources
    communication
    integration
    procurement
    quality
    risk
    cost
  • scope
    time
    resources
    communication
    integration
    procurement
    quality
    risk
    cost
  • Artifacts
    storyboard, contracts, script, actors, budget, Film Finance Commission, Props list, makeup, animals, lighting, daily production meeting, location, wardrobe, special effects specialist, producer, production accountant, testing, dailys(daily film review, security specialist, Estimated filming time, daily production report, call sheet, distribution contract, contract rates, public liability insurance, shooting, licensing, film risk rating
    scope
    time
    resources
    integration
    communication
    procurement
    quality
    risk
    cost
  • “The fundamental practices required to deliver a film production are well defined and aligned to the processes and knowledge areas of the PMBOK Guide. What makes motion picture project management different from many other industries, however is the degree or intensity in which these fundamentals are applied and by whom”
    Christopher C Ryan
    “Looking behind the scenes: Project Management in the Motion Picture Industry” on PMI.org
  • It’s a wrap
    IT Project Managers = Production Managers = Web Project Managers
    The Processes and Artifacts for Film, Web & IT are similar
    Creative Projects
    Have more complex teams
    Require translation into structure
    Require creative space & creative people to be defended
    Have more specialised skillsets
    Have a greater reliance on contractors & outsourced work
    The underlying philosophy of PMBOK is equally valid in creative projects
  • the challenge
    What did you want to get out of this session?
    To challenge you to bring your own creativity to your work by;
    Better understanding creativity
    Be more creative
    Create the space for creativity in your projects.