HELP! Its not often somebody will post here suffering from writers block but theres a first time for everything. I have been asked to write a short article on how a client, not experienced with the protocols of editing and post-production, can get the best results for their project working with the editor and other post-production people. The article is aimed at people working in the marketing department of a company (or similar) where somebody has been tasked with overseeing a corporate video. What would be some of your suggestions for working with an editor and/or producer? Many thanks.
Brian Levin: Make sure to involve your key decision makers early on in the process, the easiest way to frustrate a video professional is to approve something, only to send it upstairs and find out that its not at all what the boss wanted, and its back to the drawing board. This also keeps the cost of additional revisions down.
Andrew Rendell: Dont use jargon. Be clear about what you want to achieve (is it to sell a new product or get more clicks on a website or disseminate information or what?).
Jesse Colaizzi: In addition to content and project purpose being settled up front, workflow should also be mapped-out early on the project, like how many rounds of notes/revisions there will be, what the editors target delivery deadlines will be, and turnaround time allotted for the client to provide comprehensive notes (not piece-mailed). I have clients who work in advertising and yet still cant gasp these concepts… which then ends up putting the project into extra innings and overages. Good luck!
Arthur Bell: Well…to begin clients dont tend to work with editors. they work with a producer or agency – who owns the project…and They engage the crew – but to your question…all I need to hear when I as the head of our agency takes a meeting with a client – is what problems are they actually trying to solve, do they have anything they have seen as reference of what they love, do they understand its not what it costs, its the value of what they receive, etc.,Why do they want to make this investment etc. We are all sales so let us be a part of your sales team for a bit…you do what you do well and let us help scale your, differentiate your brand, get you out of a hole….etc whatever it is they are actually willing to their hard spend money on. My 2 cents.
Adrian Smith: Well the reason the article has been requested is that many people in marketing departments do find themselves working directly with an editor – or as the post says and/or a producer. In this day and age it is not uncommon for the producer and editor…See more
Arthur Bell: Well 3 of us here all edit but when it comes to the core of the story and creating an arc for that in pre production, filming, etc someone has to own the client and own the story. Our editors need a target and I let them have their own creative path. I…See more
Adrian Smith: Thats great Arthur. Now back to the article I need to write.
Julie Griesert: I second what Jesse said – a well-mapped out schedule. I often find that new clients underestimate the time it takes at the end of the process (coloring, audio-mixing, mastering). They often think that when the project is approved, they should then receive the masters right then. Also, they should figure out what the delivery specs are in advance. Often when it comes to the end, they arent sure what the specs are and have to go through several channels to find out. Another thing that is great to have from the client is the brief. Sometimes a producer gives a client a form that has questions like: Who is the audience? What are the 3 or 4 main messaging points? What would you like the takeaway to be? etc
Adrian Smith: Some great comments so far. How about in the edit suite itself? I have heard from many editors about how their clients drive them up the wall by doing such things as clicking their fingers when they think a cut a should come. Whats the best way to interact with the editor in the suite? My own preference as both a producer and an editor is give the editor the space to create a first cut before coming in. Or if its a longer project cutting one-or-two scenes to make sure youre on the same page. Quite often a client needs to see what they dont want before they they figure out what it is they do.
Arthur Bell: Oh ya every client says sure I can handle roughs but most cant, because they dont know the process well enough to trust the process. But I also believe and live involving the client in every aspect. In educating them, we help lesson surprises on either side.
Jesse Colaizzi: Sometimes I have sit-ins with clients who want to chit-chat about everything under the sun, except the actual project, all while Im trying to focus. I wish there was an easy way to say, shut it!
Ð–ÐµÐ»ÑÐ· Ð¢Ð¾Ð¼Ð¾Ð²: First rule : know what you want. And if not, the editor knows it better than the CEOs wife ðŸ˜‚. Ask him and trust him. The worst clients are those who cant decide what they want and constantly want changes, just because they are insecure.
Jesse Colaizzi: Heres another pro-tip: The project is doomed without an actual writer. Unless the client is a writing firm, they are not writers and shouldnt write the damn script to save pennies. A good writer can turn mind-numbing raw content into an impactful project. Equally, a good writer can take a volume of great inherent story, and keep it laser focused on the essentials. If I had a nickel for every time I had to make this argument…
Jesse Colaizzi: For me, your question has spawned an airing of grievances that are probably more about me venting than helpfing you. Sorry, but thanks!
Adrian Smith: I feel and share your pain, Jesse.
Annemarie Bain: Following! Great stuff!