Continuing with the Case Study… After we would do the estimate and make any adjustments required by the client or agency to secure the project, we would get some kind of commitment from the agency, whether it would be a P.O., a signed copy of the estimate or an advance check, we would just want to make sure to have something in hand before we proceeded.
But once we got the official okay, the next step would be to lock in the dates. So, that would mean putting a “hold” on the studio, assistants, all of the various stylists, and any talent that may have already been decided, although it is more likely that that would still be yet to come.
If one was using a producer, most of this would fall under their responsibility. We haven’t talked much about producers, but if your budget can afford one, they make your life infinitely easier as it is up to them to worry about most of these details and up to them to make sure it all comes together seamlessly. The majority of the stuff we will be talking about in the next series of posts would most likely be handled by a producer.
Once dates are locked in, it is time to get with the art director to start talking about “creative” .. or in other words, what this shot is actually going to look like. For shots like this I would usually bring the set stylist in on that conversation so that I am not having to repeat anything and it also reduces the chances of any misunderstandings or alternate interpretations.