COMMERCIALS AS MINI-FEATURES

Commercials, whether for showing in cinemas or on television, are still often made on 35mm film and therefore, from a production point of view, may be looked at as mini-features.

The romantic entanglements of Nicole and Papa with their Renault Clios are good examples.

But with running times of anything from 10 seconds to 2 ½ minutes (20, 30 and 40 seconds being the commonest lengths), the cost per foot of finished film may often exceed that of a feature film.

It is only in the final editing that the introduction of computer-generated special effects, computerised animation and graphics may differ from the completion process of feature films, although features use these techniques as well.

It is now possible to transfer video to 35mm film but unless the video is High Definition (1000 lines or more resolution), the quality is not great. But the introduction of Digital Non-linear systems of editing has meant that the transfer of film to disc and back again is perfectly satisfactory. (See Chapter 4, Documentaries, Page 96.) And soon, shooting, editing and screening or transmitting on DVD (Digital Video Disc) may become the norm.

Of course, all the effects that can be achieved digitally can still be done by conventional animation techniques or optically in a laboratory but the time and cost involved before results can be seen usually conflicts with the inevitably squeezed production and delivery schedules imposed by the advertising agencies.

ADVERTISING AGENCIES

It is in the agencies that commercials are born. And it is to the agencies that commercials production companies look for their livelihoods. The agencies invariably write the scripts, commission the whole production and, having supplied 100% of the finance, therefore own the copyright and the actual film and video material.

The agencies are acting on behalf of their clients whose products or services they have been commissioned to advertise, and the use of commercials may be only part of an overall campaign employing other media like press, posters or radio and the theme running through all the advertising may be linked.

There may be common factors in the casting of actors, the design and style of the production and this involves close liaison between the agency, their client and the production company.

Even though the total running time is short, the production cost is so high and the money spent on air time on television even higher that every second on the screen has to be analysed and made as effective as possible. This is why the script has to be vetted by everybody concerned with the campaign.

Storyboards and animatics

To help visualise the script, artists may also prepare storyboards (see page 90) and the agency may also prepare a trial commercial (sometimes called an animatic), filming the storyboard and adding a sound track to reassure everybody that the ideas really work.

This is not to say that when a really talented director receives a script, helps with a storyboard or sees a trial commercial, he cannot add an enormous amount of extra flair and individuality. In fact it could be said that in recent years there has been more creative innovation in the making of commercials and pop videos than in any other area of production.

So if you think you have the talent for writing scripts for commercials, try for a job in an agency with a busy film and television department; there is no better route to working later in a production company.

Similarly, agency producers in these departments, although not quite carrying out the role of a producer on, say, a feature film get to understand the business of production so well that they are often tempted to set up their own production company and either take on directing or producing commercials themselves or hire directors.

COMMERCIALS PRODUCTION

Commercials production companies are often fairly small set-ups built around the talents of one or more directors. Several of them may however be controlled financially by one group. Sometimes they may have an option on the services of a top feature director who is usually happy to direct commercials between making feature films.

The actual preparation, setting up, scheduling and shooting of a commercial is virtually the same as for a feature film except that the overall schedule is more likely to be measured in days rather than months.

There is another major difference. In the case of features, the whole organisation to make the film will probably have started from nothing; in the case of a commercials production company which depends on continuity of work, the basic company structure is permanent. This will include one or more producers and directors, a production manager, accountants, secretaries and runners in smart offices accessible to the advertising agencies. Some companies have their own editing facilities but many use outside facilities companies, depending on the amount and style of the editing required.

Thus, as with feature films, the design, camera, sound and the rest of the production department like assistant directors, script supervisors and so on will be engaged on a freelance basis for a single or series of commercials.

So the same advice applies to anyone wanting to get into feature films (see Chapter 2 on Features).

There are some basic differences.

• First, because companies who specialise in commercials have a permanent basic set-up, they are more easily contacted through directories listed in the Appendix.
• Secondly, there is more likelihood of employment for runners, tea persons, gofers, receptionists, secretaries or bookkeepers as the volume of production may increase at very short notice.

The success of commercials production companies depends very much on the talent and popularity in the advertising agencies of individual directors and these may even be a matter of fashion. So the amount of work can go down equally dramatically.

THE WAY IN TO COMMERCIALS

One way to discover the most active agencies and the most favoured production companies is to study the trade papers like Campaign, Broadcast, Marketing Week or Marketing and then write to the agencies and/or production companies that feature most strongly.

In addition to the job opportunities similar to feature films and the possibility of administrative jobs in production companies, let us examine the post-production of commercials and the various jobs involved.

POST-PRODUCTION

The editing of commercials follows virtually the same procedure as for features but, as stated in the note on page 38, editing on film has been increasingly superseded by digital non-linear editing. So what happens using this system and how does it affect possible starting points for people wanting to get into post-production?

Assuming the production has been shot on film, the exposed negative is sent to the laboratory as usual for processing but instead of a print being made, all the material is transferred to videotape which is sent to the editor as soon as possible. The assistant editor will then digitise the footage on to a computer desk-top editing system. The editor can now start assembling and rough editing the production. Pressures sometimes mean that this has to be done at night when the edit suite is available. The big advantage of this system is that the editor can get instant access to all video and audio material.

So, as with film, editing proceeds to a fine cut and, when everyone is satisfied (and with commercials this includes the client), the material is passed to a dubbing editor for all the sound tracks (music, sound effects and dialogue) to be edited in at the right places but still all on disk, the sound having been transferred from whatever the original was recorded on. After the dubbing editor has laid down all the sound into a sound station, the whole thing passes to a dubbing mixer for all the tracks to be mixed at the right levels but instead of doing this in a dubbing theatre (see page 56) the mixing is done on to a further disk via computer. Only when this has been completed can the disk be transferred to digital tape and thence to an optical sound negative which is developed in the laboratory, and the film is then ready for combined printing if it is to be shown in cinemas (see page 60).

For television programmes, commercials and features similar routes apply and certainly require the same skills and talent from the editors, but they must have the additional ability to operate computers. There are assistants employed at every stage and, here again, computer literacy or the ability to learn quickly is absolutely essential.

STARTING POINTS IN POST-PRODUCTION

Editing

Some production companies have their own editing facilities but many use companies that provide an editing service to different companies. These may have clients who produce commercials, documentaries or television programmes.

Their success depends on the reputation of the editors and their relationships with directors and their facilities but they also employ assistant editors and administrative staff such as receptionists and runners. So one good starting point is via these companies who can be found in the various directories listed in the Appendix.

Recording

A few production companies may have their own recording theatres for voice overs and dubbing but most use outside facilities.

As with editing services these recording companies have clients in different areas of production and in addition to recordists or recording engineers have recording assistants and administrative personnel including the ubiquitous runners.

So if your ambitions lie in the recording field and particularly in the invariably tight schedules of commercials production, go for vacancies in these companies.

Knowledge and qualifications in sound (see Chapter 7 on Training) obviously may be an advantage in the case of recording assistants, but enthusiasm and willingness to learn on the job or by attending courses once employed are almost as important if you’re starting as a runner or a receptionist.

Post-production facilities

Post-production facility companies have both editing and sound equipment and also provide visual effects so they are really a ‘one-stop shop’.

However, the ever increasing complexity of digital editing and its parallel facilities of graphics and effects means that technical training in these areas is definitely advisable (see Chapter 7 on Training) before looking for a job with these companies.

SUMMING UP

Working in commercials is a hectic existence but, provided you accept that the advertising agency is finally the king, it can be creatively satisfying, the money is good and it can be a stepping stone to other areas of production. The techniques used are often in the vanguard of creative inventiveness, mixing film and video, live action narrative, abstract animation, manipulated images, all edited on the latest non-linear editing system.

So if you are keen to work in commercials, study the technical press (see page 91) to find out the advertising agencies, production companies and directors who are most active and approach them via the directories (see Appendix).

NEW MEDIA

This is a growing area of production which encompasses the Internet, Intranet (internal communications via computer links) and DVD authoring for corporate and commercial use.

All these, as far as jobs are concerned, are really variations on commercials, documentary, animation and print production with producers, programmers, technical developers, managers and designers. There may be the usual openings for newcomers taking the tea person/ runner route but with one essential difference. Any hope of advancement must include computer literacy and IT skills, and keeping abreast of rapidly changing technical and creative developments.

For information about companies operating in this area, consult the trade magazines like Televisual, Creation and New Media Age.