The Crosspatch Times 7 - On Client Relations, Pt. 2: Production
If Part 1 of this series was the planning stage, this is the battle itself! Or, that’s what you’d think; ultimately, I think the greatest battles take place in post-production. However, your production window is still, obviously, of vital importance.
My goal for my blogs going forward is more brevity, because they take too much time to write and I want people to actually finish them. This subject is a good place to start that practice, because it’s pretty straightforward. Being on set can, of course, be incredibly complicated, but as far as client relations go, it’s usually the easiest time.
What follows is basically a list of the types of clients I’ve encountered on shoots. Most clients I’ve seen enjoy being on set–it gets them out of the office and puts them in (sometimes) unique spaces they’d never see otherwise. Do your best to make production fun for them!
Music videos be like…
The Absentee Client
This is the first and least common type of client. They aren’t actually on set with you, and while they may ask for a remote link to watch the proceedings, they only check in periodically. It sounds perfect and when it works out, it’s the easiest way to have a shoot. However, it can also be a trap.
The client is still in charge. If there’s a call that needs to be made, they still have to make it. If it takes time to get in touch with them, that hurts the production. If they’re not clear on the details, that can lead them to make a decision they later regret.
Basically, this category boils down to two types of people: 1) The client who really trusts you, is satisfied with the pre-pro work you did, and will be happy with the results if you do your job; 2) The client who thinks they understand the approach, and assumes you and they are on the same page about everything, who may then be upset when you interpreted something differently than they had in their head.
Generally, the best thing to do with any client is consistently invite them in and let them know you need their approvals to get anything done. A lack of experience often factors into the latter type of Absentee Client, and they’re receptive to feedback.
The Remote Client
Imagine this coffee in a paper cup for accurate on set experience.
As the name suggests, remote clients aren’t on set with you. They do request a video feed and they are watching it closely. If your clients are in another country, this is common.
My experience with this has been that maintaining a video stream for the duration of a shoot is a bit of a pain, and essentially requires an additional body to manage it. No one on set has the time to keep an eye on the feed 100% of the time and troubleshoot it if there are issues, so even though it’s inefficient and they’ll be bored most of the time, you do need that extra person.
The other unique challenges are likewise inherent to the medium–lag, poor video quality, and multi-step communication all work together to slow the shoot down. The client might ask more questions than usual because they can’t see as well as they could if they were there.
If you account for it beforehand with your budget and your personnel, it’s not that big of a deal. Just remember to mute the client’s audio feed between takes! It’s easy to forget that they can hear you and you don’t want to say something embarrassing.
The Easygoing Client
They come to set, open their laptop, and do other work unless you need them. They watch the takes and make suggestions, but they trust you to be good at your job. Their focus is often on specific, sometimes idiosyncratic needs that people further up the chain may have. They don’t have a horse in the race personally; they need to check boxes and make sure that they can answer questions from their bosses.
The intended implication here is that this client is rarely the “top dog.” They know how to manage their clients, so they’re not taking out stress on you. The more you work with this person, the more hands-off they’ll be. They’re usually either very friendly or totally aloof.
The Detail-Oriented Client
I hate it when they bring their magnifying glasses.
You’ll know if you have one of these when you’re in pre-pro. They can feel like micro-managers, but ultimately, you and they want the same thing. I always like having clients like this because they care. I have no problem answering questions–it’s an extra layer of protection for me to know that, if we’re rolling, everyone behind the camera is 100% confident in what’s in front of the camera.
The big thing I’ve noticed with people like this is that they tend to be nervous, sometimes anxious, and they can be reluctant to speak up and “interfere.” This is, again, an experience issue. I’ve had to have talks with clients, explaining to them that I’d rather they give me all their notes right away, and not after we’ve already done three takes. I might be happy with the third take, but they saw something on the first take that violated brand guidelines. Now three takes are useless. Make sure your detail-oriented client knows this is a safe space to nitpick!
The exception is if you know, beyond a shadow of a doubt, that they are going to send the shoot into overtime with their tinkering. If we’re shooting a full day and I know we could wrap early, but the client wants us to take the full 10 hours (for a commercial shoot), who am I to say no? They paid for it.
However, if you’re on the 10th take of a line you know will be delivered in a different angle than the one you’re shooting now, it’s probably worth it to RESPECTFULLY inform the client that they’re not using their time in the best way. Going back to my previous post, it’s all about letting clients make informed decisions.
The Celebrity Client
No, I don’t mean that your client is an actual celebrity. Sometimes, especially when you’re shooting for multiple days, corporations will send representatives from higher up in the company to “check in.” These people are your boss’ bosses and their presence is a Big Deal–it can often turn an Easygoing or Detail-Oriented client into a nervous wreck.
I’ve had instances where these people were totally lovely, low-maintenance, and respectful of everyone’s hard work. I’ve also met some who…weren’t.
They should start carrying these.
There’s a subsection of this group who treat the set like their own personal playground. It’s almost like they want you to fail so they can act like they exposed your incompetence, when in reality, they sabotaged your efforts. They request changes to everything, usually to feel like they made their mark. They’re not interested in your solutions or suggestions; they only want to see you and everyone else jump when they say so.
I haven’t found a better solution for them than to know when they’re coming, hope for the best and prepare for the worst. Grit your teeth and continue to communicate with your usual client–they’re usually as perturbed as you are, and while you should never trash talk their colleague, you can at least deepen your bond through the silent acknowledgement of a common enemy. Ask them if they need anything, what you can do to make their life easier, etc. The Celebrity is stressing them out more than anyone, so be helpful and understanding.
Another type of Celebrity client could be classified as a diva/o. This is someone who isn’t a celebrity, but thinks they are or will be soon. They are constantly unhappy–-they usually have no money but think they should have a $10M production around them. It sucks.
Most actual celebrities I’ve worked with have been quiet, very busy, but polite. They don’t like it when they’re asked to come to set if things aren’t 100% ready for them, which can be tricky but is totally understandable.
The Party Client
Some clients are there to party! If your client lives in another city and has small children at home, be prepared for them to want to cut loose. Take them to a nice restaurant, do some shots, and sympathize with their hangover the following day (while trying to avoid one yourself).
This may be the fifth time I’ve used this stock image in my life.
Conclusions
Having clients on set is a reality of almost any type of commercial production. Knowing which type of client you’re going to have is a valuable part of your prep work–asking them about their favorite snacks, beverages, and any dietary restrictions is always a wise move.
The client isn’t an enemy (I’m not counting the Celebrity client I listed above because they’re not your usual, everyday client). They want the same thing you do, and you need to work with them to navigate the project through production. “Difficult” clients are often the most exacting, and that’s not someone to shy away from! That’s someone who can push you and make you better.
