Another cycling analogy here (last one I promise!). This one is about momentum. For me, cycling to work is divided into three very clear types of terrain: downhill (easy), flat (neutral) and uphill (hard). After a long day, those uphills can take a lot out of me and I’m not the only one struggling.
But this post is about what people do on the downhills and flats. Every now and again, I’ll see a cyclist on the same route who takes it REALLY slow on those parts. I can understand that – conserving energy for the hills, I guess. But here’s the thing: on my route most of those downhills or flats end in a hill and the faster you take the easy parts the more momentum you build for the hills. Approach a hill slowly and you have to work so much harder to make progress. Whereas if you take advantage of the momentum you can build on the easy or neutral sections, half the work is done for you when you hit that hard section.
Production isn’t cycling but it still has its easy parts, neutral parts and its hard parts. There will be challenges. There will be struggles. So the more you can take advantage of the easy and neutral parts, the better. You can get that momentum going, you can build a bank of great work, make plans for the tougher sections ahead, create any buffers possible and buy you that bit of extra leeway for when things get hard. And they will get hard at times.
Even if you can take it easy… don’t. Keep pedalling.
It’s a cycling analogy today. I have recently been cycling into our lovely Mooshku studio to make some wonderful things for kids. Cycling is is a great way to travel but it’s not without its obstacles in Dublin city. One of those is a particular cyclist on my route.
When everyone is waiting at red lights (there are actually some cyclists who stop at red lights in Dublin… a few of us), this cyclist moves past everyone and goes to the front. Jumping the queue. Now there is an etiquette question there but that’s not the real issue. The issue is that this cyclist is a REALLY SLOW cyclist.
So this cyclist jumps to the top of the pack and, once that light goes green, every other cyclist is hampered by her lack of speed. They have to find safe places to pass, which isn’t easy in Dublin. And then it happens all over again if you’re unlucky enough to land at the same set of lights again. This cyclist gets in the way of other cyclists and becomes an obstacle in the journey we’re all taking.
So two things here relate to production and they both come from the basic reality that everything has an order in production.
1) Know the optimum order of events. There is usually a very clear set of steps in any production and they have to happen in the correct order. Find out what depends on the elements you are supplying. Who are they critical to? There may be opportunities to skip ahead but you might gain nothing doing so. You might even build in more problems to solve. So know your order. Unlike that cyclist jumping ahead and gaining nothing, assess the production equivalent of the cyclists around you and find that optimum order and try to stick to it.
2) Once you know your place in that order, keep the pace. Don’t slow down. Don’t delay the other processes coming behind you. They shouldn’t ever need to pass you. You must keep up with the schedule. Everything behind you depends on it. Don’t be late.
There are too many stages to animation production, too many potential logjams, to let one part of it break the whole production or put too much stress on everyone else trying to keep to the schedule. Be aware of the order and keep the pace.
Signal to noise ratio. It’s important. It’s important generally but especially important when making work for children. Your key plot points, your key messages, must remain clear for your work to have impact.
Bury those key plot points in more information and you risk them getting lost. Have too many key plot points and it all becomes noise, competing for attention and stuff will get missed. If something is not clear, clarify that point or remove it altogether rather than adding explanations. Don’t add bulk. That’s more noise.
I’m often asked to help assess whether a project has value or not, whether it’s one to pursue. Sometimes this is done with just the bare minimum of actual content – just a concept or characters or a book that doesn’t really cover much. The expectation is that I review the materials and come back with either ‘this project is terrible’ or ‘this project is awesome’. The bad news is that it is rare that something is instantly awesome. The good news? It is even rarer that something is absolutely terrible.
The reality is that the true answer should look like this: ‘this project needs work here, here and here and then you could have something really great’. What differs from project to project is the amount of work needed and where it is directed.
Great ideas are exciting and such a wonderful place to start. But the execution and development is everything. If not developed well or with additions that don’t fit or with changes that strip the concept of what was fun to begin with, what started as a great idea can still end up turning into a terrible show. And conversely, ideas that initially might seem weak or misguided or derivative can be moulded into really great shows when handled well. Whether initially strong or weak, the idea is just the starting point.
What it comes down to is the execution. It comes down to the work YOU put in and what areas get your attention.
So where does that leave you when it comes to assessing your project? It will usually always depend on one crucial thing: how much you believe in the project. Is this the one? Whether a great idea or not, it’s going to take work. The question is: do you believe so strongly in this project that you want to put all your time into it and really commit to it?
If you don’t, let it go. There are other ideas, more exciting ideas that will push you to make them awesome. But if you do, if you’re sure this is the one, then get to work and turn it into something awesome.
I love creative surprises. I love the little moments of life people can add that I didn’t see coming. The smiles that a spontaneous idea can bring to a scene. Life is full of surprises and getting that across in a story is really important.
But when it comes to production aspects, I don’t like surprises. Not one little bit. This comes from many years of production – concepts to scripts to storyboards to layouts, backgrounds, animation, compositing, sound, music and post. So many processes and so many things to keep track of.
What a production needs is certainty.
In a production, you have to know what’s coming up, when things are expected and what has been planned for. You have to manage your resources carefully and often those resources will have been set down very early in the process. If the needs of the production don’t always match the resources, you need to see this coming from a very long distance so that you can adapt and amend plans – basically so it isn’t a surprise when it happens.
Surprises in a production lead to flusters, misuse of resources and wasted time. So when you’re entering into a production, get to know your production inside and out. Know what you have planned for. If you are lacking any of that information, find it out. Write it down so you can’t forget it. Make sure everyone is aware of what things need to happen and when. And do a regular review of where things are at so you are always kept informed. Avoid the surprises.
If you keep your production as clear as possible, you can save the surprises for where you really want them: in the creativity.
I found myself unusually busy approaching the Christmas break. I had a lot to do and so a lot of things I would normally do at this time (like sending out nice mails to people), I didn’t get to do. It’s unfortunate and I apologise for you missing out on my usual catch up message this time of year. But no matter how good you are at time management, there is a point at which there is not enough time to get everything done. At that point, we have to knock things off our to-do list not because they are done or because they are no longer important but instead because other tasks have a higher priority and you will only get through a certain amount of them.
Prioritising is hard. It’s hard because it can feel like a failure if interpreted the wrong way. You can focus on the things that you didn’t get done. But look at the alternative. I often think back to school when it comes to this sort of thing. Every teacher gives you homework blissfully unaware of what homework the other teachers are giving you. Now I was a good student but even I hit points in a school day when I realised that there was simply too much homework to get done to any reasonable standard.
Did I prioritise and do what I can well? I did not. Instead, the feeling that it was now an impossible task gave me the feeling that the entire endeavour was pointless. I was doomed to fail and so why even try if it just couldn’t be done? Having a lot to do can give us a kick and motivate us to get through it. Having what is obviously too much to do is a terrible motivator. Nobody feels good about starting something they know won’t end well.
Cut to years later and my approach is different. I carefully select tasks and the order I work through them to ensure that each one is done well. Once something goes on my list and is in the correct order, I work through one thing at a time and I don’t worry about the next thing on my list until the task I am on is complete. That focus is crucial. And when the list has to be evaluated because it is just too long, I have to look at what I can assign to others and, when things just get too much, what I will drop. Better to get what is achievable done well than fail at the whole lot.
Prioritising is hard. It involves making tough decisions and then being okay with those decisions. It takes consideration, evaluation and a sense of what each task involves. But there are times it just has to be done. It’s an important part of getting things done. So prioritise. Get things done and get them done well. And if they can’t be done, there is always next year.