Table of contents
Whether a shoot runs smoothly is settled before the camera rolls. Differences between ad film production teams rarely show up in the grade; they show up in whether the pre-production meeting happened, whether call sheets went out, and who was watching the floor on the day.
1. PPM: Put Disagreements Before the Shoot
The pre-production meeting walks through script, storyboard, location, cast, props, wardrobe and shooting order, with sign-off on each page. It produces three documents: locked script, call sheet, and a location and prop list.
Skip it and the set fills with "this shot was not supposed to look like this" — and every argument costs money. The client side needs both the marketing lead and the product lead present; missing one loses a whole category of information.
2. Shoot Day Timetable
| Time | Activity | Client role |
|---|---|---|
| 07:30–08:30 | Load in, lighting, camera test | Confirm the set |
| 08:30–10:00 | Environment and inserts | Confirm line or site status |
| 10:00–12:30 | Interviews and on-camera | Ensure speakers arrive |
| 13:30–16:00 | Product and detail shots | Provide units and operators |
| 16:00–18:00 | Pickups and footage review | Confirm usability on site |
The client should have one person present all day whose job is to decide, not to offer opinions. Every extra "I think" adds three takes and two hours.
3. Asset Management
Professional crews back up twice on the day — one drive on site, one taken away. Files are named by scene, shot and version. Confirm total volume and coverage of key shots at wrap, not during the edit.
4. Multi-Version Delivery
Few films ship as a single version. Contract for a horizontal main film, two or three vertical cuts, a clean version, and 15- and 30-second paid versions. The more versions one shoot yields, the thinner the cost per asset.
| Version | Length | Use | Edit focus |
|---|---|---|---|
| Main film | 2–5 min | Site, trade shows | Full narrative |
| Vertical cut | 30–60 s | Short video platforms | Result in the first three seconds |
| Paid cut | 15 s | Feeds | One benefit plus a call to action |
| Clean version | As main | Overseas or re-edit | Leave subtitle safe area |
5. Why Shoots Slip
Locations become unavailable, especially when a production line must stop. Speakers drop out on the day. Physical products differ from the script description. Weather disrupts exteriors. The first three are avoidable through the PPM; the fourth needs one buffer day.
6. FAQ
Why is there a talent fee? On-camera people fall into staff, models and featured extras, with different fees and usage rights. Paid distribution requires a portrait release.
Is one day enough? For a single scene and product, usually. Multiple scenes or line coordination need two.
Can we reshoot if we dislike it? Contracts normally cover pickups, not a full reshoot. Script sign-off deserves care.
Related
- See also: reels and a paid test shoot
- See also: five confirmation points
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