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Hey guy, I have this book out. Wondering if you could help me spread the word. It teaches you how to write KPI’s for an IDB perspective. I am in the market to switch career back to my original so I am open to assist especially non-profits address their data issues. Anyway guys if interested send me a DM. https://www.amazon.com/Key-Performance-Indicator-Development-Guide/dp/B0B5K9W5JC
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Not sure about UK. But I know it doesn’t exist in some countries like Japan and it even seems in Canada. The Producers have to do it all.
And in LA, many want people with law degrees. Especially for tech companies.
You’re welcome! This is quite interesting. And thank you!!
But even within the US, every agency works a bit different. Sometimes our Account/client managers handle pieces like legal clearance. Or Project Managers might handle something like Network Clearance.
Some agencies in the US have Traffic Managers that specifically handle that piece (traffic and network clearance) and they are part of the BA department. We also have Talent Managers in the department who pay reuse to the actors and manage those budgets. (These depend on the size of an agency as sometimes the BA person does it all if it’s a small agency) And we aren’t all Union. There are some agencies that work non-Union. A few of them are well known too.
Years ago it was 1 BA Manager for every 2 Producers basically. But then client budgets started getting squeezed and higher ups squeezed BA because they didn’t know what we really did. (Only if we messed up and got sued or huge fines from the talent union) Recently I know of a BA manager who’ve worked with like 12 Producers at once. Quite insane and that person quit because it was way too much work. (This is when a strong Head of Production is key as they can fight to hire more BA managers.)
We can either focus on one client if it’s a really big one like an insurance company. Or we can work across multiple clients if those clients are smaller and/or produce less work than the big ones.
Always depends on the shop, regardless of location. Some places it’s all your business and legal side of production (contracts/rights & clearances/celeb partnerships) some places it’s just admin or localization.
MAL London/Beijing/LA -mostly the same all around, very clearance and legal heavy with some localization.
Smaller shops in the US might just be admin functions - RPA/David&Goliath/Saatchi&Saatchi, 99% just paperwork and financials because they have other people to do all the fun stuff.
Very shop specific - the more admin style ones have one person for music for all their offices, and one or two legal people. Vs a place like 72 or MAL depends more on their individual teams and their local counsel. I’m more into doing the contracts/negotiations/figuring out creative solves vs processing invoices, so that’s the fun stuff for me. Somehow we started calling it “modern BA”, though I don’t know where that came from…