Related Posts
Bowl Leader
Pro
Accenture India Lately there are so many hr openings with Accenture in almost all portals naukri, indeed, monster, linked in etc but there is not a single response infact I have the cc number wherein status is reflecting as hr will contact you ..but I have not received any revert, tried emailing the hr through a reference got an auto email stating out of office nd shared his contact number to connect, when tried calling hr,he was annoyed but I guess he forgot that he himself has shared the number. Accenture Ind
More Posts
Bowl Leader
Additional Posts in Creatives
What was your “That’s it, I quit” moment
New to Fishbowl?
Download the Fishbowl app to
unlock all discussions on Fishbowl.
unlock all discussions on Fishbowl.
What?! Of course. Both creatives should be there to ensure the concept is correctly portrayed. It’s your idea.
You really gonna trust an Art Director with your dialogue?
Gotta protect that script... 👊
There is no typical in the sticky icky wild west of advertising anymore. Copywriters should go, but’s it’s not uncommon when budgets don’t allow for it.
But when you do go, your job is to make sure you get the shots you need, get the performances you need, keep an eye out for consistency, suggest alt lines to your producer to pitch to your director (if your CD is open to improv), approve wardrobe and set decoration, give the okay to move on to the next scene, request more shots if you don’t think you’ve got what you need, eat craft services after the crew, befriend the director to ensure you get production swag, to name a few.
In my experience it's often a question of budget because the art side/ CD is higher priority, plus an account person to manage the client and a producer. The CW is often the 4th or 5th priority on the attendance list. Better chance to go if you can connect it with specific need (chance for rewrites or adlibs needed, needing to collaborate on other work during the shoot, important meetings or reviews you can also do with the client while there, etc). CWs are first priority for radio and broadcast recording sessions though...
I’ve had the same experience as F1. My partner always goes, but I often don’t.
Madness. Of course they go. They wrote the script. Both team members should be at all shoots, so long as we aren’t talking about like a table top food shoot where VO is recorded later.
Valid point
Coach
Never not been on a shoot. Well over a hundred. Crazy talk. The CW/AD team are the key creative decision makers. The CD picks winning ideas, schmoozes a bit, pushes where needed, chimes in as needed, makes sure things stay on course, but the team is in the trenches from day one.
Ads can change a billion times from concept to ship and no one knows more about what to do with it than the team. How to dodge bullets. How to win. Nobody cares more about the details. No one has more ideas to try. Absolutely pivotal they’re both there start/finish as invaluable resources.
You need to work for a different CD. A good one will have you present your own work / own it, and expect you to bring new smart ideas forward so they can pave the way to making them happen. Obviously the CD is the leader and should guide the creative vision and strategy, but I also always felt like if my team was killing it, it only made me look better plus they worked harder when I got them in the spotlight and got them credit for their work.
I'm struggling with this too. At what stage in my career will I finally be able to go without question? Will it ever happen? How do I prove I'll be useful without getting to demonstrate my usefulness?
Obviously it's better when both the writer and the art director goes on the shoot
But if the budget doesn't allow it...
CD art goes=writer goes
CD copy goes=art director goes
Coach
The investment the client makes sending a creative on production is utterly miniscule compared to the media spend and countless other fees and expenses. There are a million more places to pinch pennies than what is literally the most important thing agency people do, which is to actually make ads. Not strategize or plan or rebrief or focus group or make deck 7.2 or circle back or brainstorm or jibber-jabber at award shows and conferences and creative committees and whatever other unproductive nonsense agency people tool around with... no, actually making ads IS the real thing.
If an agency can’t defend the need for it’s people to be present when the ads are actually being made (I mean, just think about that) and, for whatever careless reason a team has not been budgeted for somehow... the CD should stay home. Send a producer and a team. Don’t screw someone out of the experience. Stay home and realize how things have gone awry at your company and try to fix them.
Mentor
A writer should def be there. The writer CD might do it which is unfortunate as how will you learn? But the worst case scenario is they don’t bother with a writer. There are so many times where a script works but for some reason sucks on shoot. You need a writer to quickly fix the dialogue so that at least you get footage of better lines.
I think it’s great that so many creatives are passionate that creatives should shoot their projects, and I couldn’t agree more, but I think it’s important to point out the reality that not all creatives can go on all shoots all the time. At some point, agencies have to make a decision. There may be only so much budget for travel. There may be senior-level creatives the agency needs to send to keep them happy. They may know the client doesn’t like juniors on set, or the client really likes a CD who hardly touched the project. Maybe it was a gangbang with 6 creatives and only 2 can go. There are lots of reasons why someone who should be on a shoot doesn’t get to go.
Not trying to be a Debbie downer. I just think it’s weird to see so many people respond so emphatically that of course you should go, when we all know that’s not always the case.