Getting To Great Production


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ANA presentation on Getting to Great production based on a compilation of interviews across advertising marketing and production

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Getting To Great Production

  1. 1. Getting to Great Commercial Production As Presented to ANA July 1, 2008
  2. 2. Overview <ul><li>Objective - Identify opportunities for Kraft to get to great commercial production more consistently </li></ul><ul><li>Ten enablers for great production were captured </li></ul><ul><li>Sources for these insights included </li></ul><ul><ul><li>Association of National Advertisers </li></ul></ul><ul><ul><li>Members of The Landgraf Group (production consultants) </li></ul></ul><ul><ul><li>North American production companies (owners/executive producers in NY and LA; 10 altogether; all members of AICP) </li></ul></ul><ul><ul><li>Ad agency executive producers (Ogilvy, Draftfcb, McGarry, and EuroRSCG) </li></ul></ul><ul><ul><li>Advertisers known for doing great work (executive producers at Target, Coke, and Apple) </li></ul></ul>
  3. 3. “ Great Production” Defined <ul><li>Starts with a great creative idea, and then brings it to life </li></ul><ul><li>Often not a literal translation of storyboard or animatic; true to the idea, but takes it beyond what can be boarded </li></ul><ul><li>A spot in which a great director’s talent is manifest; in other words, the director adds to what was provided him/her </li></ul><ul><li>A well produced spot is engaging, entertaining, memorable; draws the consumer in </li></ul><ul><li>Undeniable in its appeal </li></ul>
  4. 4. Getting to Great Production Top Ten Enablers <ul><li>Great ideas </li></ul><ul><li>Risk taking </li></ul><ul><li>Time to do it right </li></ul><ul><li>The right budget </li></ul><ul><li>Three good bids </li></ul><ul><li>Appropriate testing </li></ul><ul><li>Deep expertise </li></ul><ul><li>Flat organization </li></ul><ul><li>Strong relationships </li></ul><ul><li>Clarity about TV </li></ul>
  5. 5. Top Ten Enablers <ul><li>Great Ideas – Great production starts with a great idea. A well produced mediocre idea is still a mediocre idea. </li></ul><ul><li>Risk Taking – Not everything that makes it into a great spot can be scripted or boarded; that’s why you need a great director, but if you have a great director, you have to get out of the way and let him/her direct. </li></ul><ul><li>Time – Production is where timelines get compressed (because of delays, false starts, and testing earlier in the project). Need time to further develop the creative, and then “finesse” the film. Forcing everybody into emergency mode is not a best practice. Don’t treat production as an afterthought. </li></ul>
  6. 6. Top Ten Enablers (cont.) <ul><li>The right budget – Great production doesn’t always cost more, but you don’t get the best result when you choose an expensive idea and then cut corners to make it affordable. (Coined by one producer as the “race to the bottom”). </li></ul><ul><li>Three good bids – Bidding is used best to get better thinking; it doesn’t make sense to start with a number and then force all the bidders to work with that number. </li></ul><ul><li>Appropriate testing – Use testing to enhance an idea, not to select from among alternatives. Don’t use the test results too literally. Doesn’t take the place of good, seasoned judgment and/or leadership. </li></ul>
  7. 7. Top Ten Enablers (cont.) <ul><li>Deep expertise – Leverage every available resource to ensure that you get the best work from the best people for the best price (Brand Managers are not qualified to make production decisions; at leading advertisers, such as Coke, Target and Apple, BM’s do not attend shoots). </li></ul><ul><li>Flat organization – Layers of decision making can kill an idea; group think is not a best practice; dilutes ideas to lowest common denominator, compresses timelines. </li></ul><ul><li>Relationships – Strong relationships, based on trust and respect, go a long way toward ensuring great work. </li></ul><ul><li>Clarity about the role of TV – Can’t expect television to “do it all” for a brand. Target, Apple and Coke are all focused on TV to deliver sight, sound, motion, emotion. </li></ul>
  8. 8. Great Production Myth Busters <ul><li>Myth – Great production can save a mediocre idea </li></ul><ul><li>Myth – Great production costs more </li></ul><ul><li>Myth – The best directors don’t want to work on food and they don’t want to work with non “sexy” brands </li></ul><ul><li>Myth – Managing production is nothing more than common sense and commitment to excellence </li></ul><ul><li>Truth – It can look better, but it’s still a mediocre idea </li></ul><ul><li>Truth – No it doesn’t; in fact it often costs less </li></ul><ul><li>Truth – Great directors are attracted by great ideas and great clients; turned off when they are micromanaged or disrespected </li></ul><ul><li>Truth – Great production, like great manufacturing, takes skill, experience, expertise – the deeper the better. </li></ul>