Wednesday, December 23, 2009

If You've Finished a Scene and Your Client Says They Don’t Like It, Do You Start Over?

One thing to remember is no matter what kind of work you're doing, you're doing it for a client. Be it your animation director or a company paying you for your freelance work. The first thing I do is find out "what" they don't like. If the client is an animation director or the film/show director they should be able to verbalize what it is they don't like.

Unfortunately, in a lot of freelance work the client may not know exactly what it is they don't like. Working with them to try and nail down a clear idea of what they don't like about the work can save a lot of time and effort on the back end. Sometimes it's can be a simple fix and sometimes it's not. If it's not, then you salvage what you can and go from there. Animators are artists but when someone else is footing the bill then we become "hired guns" and in the end that means doing what needs to be done to make the client happy.

Guest blogger Matthew Russell

14 comments:

  1. Just experienced this with a client, not three weeks ago. We used a 'rough' line effect in our simple, stick figure style animation, in order to maintain the 'un-produced' art design. Client saw the style before production, in several similarly produced animation clips. When they saw it on their animation project, they HATED it - and even said so! I pushed my bruised ego aside, and recreated the sequence, (which basically involved deleting frames from nested loops). As a result, we went WAY over budget, because we had to redo all the timing. But, they loved the finish product and invited us back to do others with the idea of creating a promotional series. So, I guess it wasn't a total loss. This was one of those situations where we did everything right, but it STILL went wrong, which sometimes happens. You've got to pick yourself up and keep going, or the next guy in line is going to run you over.

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  2. Great info, also good addition Kristen.. thnx

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  3. I think Kristen makes a really important point up there.

    Using ruff animation to show the client how things will move is a logical method to save on having to, potentially, rebuild 'finished' work.

    BUT, unfortunately, (what a way to start a sentence, ugh) many clients can't make the mental leap to convert the rough into the finished and will find the rough work lacks appeal, or niggles at their investment concerns.

    We're caught between diablo and the beancounters. So it may be worth producing 50 frames of finished animation within the longer sequence of ruff work, to help the client visualise the goal.

    I know, it's extra work. So choose carefully. I reckon choose frames that would be fun to do. The boss will probably be more directive and help you choose the frames critical to making the sale. If the luck fairy is hovering over the lightbox (another name for a computer) at that moment, the two frame racks may be the same.

    It's all about how effective our communication is. If we are noy perfect at painting on our client's imagination with spoken words, then we have to provide the visual cues. And if the client is not an animator, the more 'finished' the examples have to be to help them.

    Back to the beancounters - so budget for that, or as Kristen points out, what seems to be a fiscal loss actually can build into future work that balances the books on the extra communication effort on the first client-animator interaction.

    Methinks.

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  4. I'm not a pro, but can't you get clients to 'sign off' at certain stages of the work? To say that they are happy with the direction/content so far?

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