Broadcast Beat Magazine 2017 IBC Show - Page 50

nology - coupled with the usual dramatic reduc- tions in the price points for production and post- production hard- ware and software. The lower cost of equipment has made taking services in- house a viable and practical alternative for both brands and agencies during a time where complex, integrated, multi- platform advertis- ing has become the norm. When you consider the impact of these changes, it is not hard to understand why it is difficult for agencies to pivot on a dime from a broadcast/print-driven world to a production landscape where s mix of creative content with unique sets of requirements resides on numerous platforms. year’s worth of production of responsive social videos. Essentially, the goal is to determine the best method of producing each asset, clearly under- stand the level of quality that it requires, and bal- ance those considerations with cost issues and practical requirements. These considerations may include deadlines, the volume of work, and many other factors. PRODUCTION TIERS One of the ways we help our clients deal with this complex landscape is by identifying “tiers of pro- duction” as a way to classify the type of execution required to satisfy the demands of each project with the most cost-effective approach to deliver- ing the appropriate level of quality. The first step of the process begins with iden- tifying the tier and defining overall goals and corresponding assets to be produced. Once the creative expectations for the content are clear, then figuring out how to execute the production and choosing internal or out-of-house creative partners becomes much simpler. In the broadest sense, tiers of content production can be organized on a scale from highly commod- itized solutions driven by the cost and volume of assets required – to quality-driven, one-of-a-kind solutions, with price as a secondary consideration. Since finding the best value for the price is always a goal, the means of execution can be anything from a classic competitive bid situation with high- level production companies, to an RFP for a full 50 • Broadcast Beat Magazine • www.broadcastbeat.com Obviously, the level of quality required for a Super Bowl spot versus a series of corporate training videos is not the same, so it’s essential to be clear about where on the scale - from cost to quality - the work needs to fall when it completed. (See Fig 1 below which represents one way we com- municate with our clients to help prioritize their goals:) COLLABORATION The reality of today’s advertising landscape is that a wide range of deliverable and content types necessitates multiple creative partners with different capabilities, styles and production meth- odologies. From a creative standpoint, special- ized services provided by multiple sources can be a good thing, but it means that projects require a sophisticated level of collaboration between all of the creative partners. The solution can be as simple as the lead agency or a single digital agency taking responsibility for coordinating several agency partners and pro- duction entities that are collaborating on a small scale multi-faceted project or a large integrated,