How the Agency Works B a Process–Manual

how the agency works b a process–manual

developed & written by ed burgoyne

How the Agency Works Ed Burgoyne

Introduction

“How the agency works,” is a reference manual that explains the basics of process within an advertising agency.

This process manual is meant to be used as a general concept guide, since agencies will have different approaches to their own workflow.

This book is several years old, and I am currently working on an updated version.

In later editions, the process manual will include an expanded process guide that will include web and broadcast projects.

© 2001, 2009 Edwin Burgoyne This version has been customized for a medium sized agency and is based on process systems and procedures previously developed by Ed Burgoyne. edwin burgoyne 345 goffle road ridgewood, nj 07450 v 201.444.1816 c 201.452.2416 [email protected]

How the Agency Works Ed Burgoyne

Table of Contents

Agency Workflow Path ...... 5

Basic Workflow Steps ...... 28

Agency Basic Concepts ...... 35

The Account Group ...... 43

The Production Group ...... 63

The Production Studio ...... 78

The Creative Group ...... 95

Addendum 1 - OPI ...... 100

b agency–workflow

How work progresses through an agency in detail

How the Agency Works Ed Burgoyne

Client Brief The Agency The Brand Positioning Critical Path of a Project Analysis, Research and Positioning

Research The following steps detail the typical workflow in an agency. This version of the critical path is for smaller agencys and assumes that the agency does not have a seperate strategy department, nor an art Creative Brief buyer, project management in this path is split between the junior account team and a production traffic department. Job Plan & Tactics The main path steps are:

Client brief Start-Up Meeting Brand Positioning and Research

The Creative Brief Begin Work Work Initiation

Start Up Meeting Creative Concepting Revise Old Project Plan the Media Begin to Concept, Revise Audience Research, Refine if Necessary and/or Plan the Media

Create the Creative Create the Creative Schedule the Media

Produce Schedule the Media & Bill

Produce

Bill

How the Agency Works Ed Burgoyne

Workflow - Step 1 - Starting the Process, the Creative Brief & the Status Report

Element: • The account executive fills out a visors, the studio manager, the their projects, once daily, a The client briefs the account plan- job number request and requests a traffic director, media, art buyer. “WHAT’S HOT FOR TODAY” ner and the account management job number from the appropriate • Traffic will then begin it’s process. follow-up be e-mail the night team on the project(s) at hand. traffic or production coordinator. However, if necessary, the account before (or at least that morning) to all participants, including Actions: • Once the creative brief is executive should meet with the approved, a meeting with the creative team to review and begin supervisors, studio, production, The Client, creative, production, traffic and their part in the process. art buyer (if applicable) and traffic • The client is responsible for pro- director from the appropriate media team should take place • See side bar information on, viding the agency with a market- traffic person. Daily status depending on the scope of the “filling out a status report.” ing brief, an RFP, and/or as little project. reports help the other department or as much information about a Traffic and/or Production, managers and individuals in • The account executive updates project that they choose to give. • Traffic issues a job number. managing their workload for their weekly client status report. It is up to the Account Team to each client. The agency has weekly meetings • Traffic creates the master “job ask the client the right questions, to review these status reports. bag” that is used to hold the to form the creative brief and to Mandatory participants can be creative or production history get the agency the information traffic, production and account hard copies for the entire length they need to get the project executives. The creative team is of the job. completed, on time, on budget encouraged to either be present • Internal work now begins (if and on strategy. or be on call if questions arise. creative costs are on a fee basis) The Account Executive, • At the completion of the meeting, but no out-of-pocket costs should • The account planner & account the account executives will revise be incurred prior to an estimate executive creates a creative brief the report according to any com- generated and client approval. distilled from client information, ments made at the meeting and • Although traffic should have daily prior background notes, focus E-mail or send interoffice copies conversations and follow-up with groups and research. to all participants and their super- departments that are involved in

How the Agency Works Ed Burgoyne

Critical Path - Workflow - Step 1 - Starting the Process, Step 1 - The Status Report and Organizing the Creative Brief & Status Report Client Project Information

Client Element: 8. Responsibility of team, Briefs Agency Keep your client information team assignments up-to-date with status reports 9. Status of estimate: Account Executive To be developed, Writes creative brief and your reference books. ief In development,

Re Actions: vise br vise br With Client or Client

Re Agency Staff Reviews creative brief The Account Group, approved, Completed, ief • Review and construct a detailed To be billed, Estimate, etc. Client Job Plan by utilizing the agency Reviews creative brief backgrounder/start up • Organize and keep reference questionnaire. books for the following items: Traffic / Production Account Executive Account Executive - Client Estimates Open job number / Creates Schedule Creative brief approved Updates Status Report(s) • With the traffic coordinator, - Media Schedules, Plans & maintain the client status report. Insertion Orders Internal Start Up Meeting Keep a detail record of what your - Examples of each piece of Traffic or AE Gathers: account is doing, by creating and creative in hard copy format. distributing a client status report.

Media Use the below fields for creating Copywriter Art Director Traffic Production Begin Planning Stage If Necessary your report: 1. Project Name 2. Job # 3. Insertion date, due dates or end date 4. Ad sizes/colors 5. Components/elements/quantity 6. Status—last task completed 7. Next steps for that week

How the Agency Works Ed Burgoyne

Workflow - Step 2 - Schedules, Estimates & Due Dates; Creating a Plan of Action

Element: formal estimate is then circulated • Traffic gets all internal Create a client estimate for final signoff. department approvals. and internal schedule. • The approved formal estimate is then presented to the client for Actions: approval. The Account Executive, • Traffic (and/or production) • Account executive briefs traffic prepares the schedule taking into and production of a desired cre- consideration the needs of creative due date(s), insertion ative production and client needs. date(s), print delivery date(s) or • The schedule is then distributed start-to-mail date(s). A pre-pro The Schedule: 5. If the client, themselves miss any to the AE to present to the client. milestone dates, the account execs (pre production) meeting will 1. Schedule(s) should never be pre- Once the client has approved the sented to the client without prior will be alerted to possible sched- take place to review the work. estimate and schedule, work will approvals from all departments ule changes. Account execs will need to alert the client that the • The AE is responsible for getting then begin. involved. end date will be jeopardized. client approval of the estimates • Traffic will then distribute the 2. Schedule(s) should be generated 6. It is the account exec’s responsi- and schedules. schedules internally. only by the production/traffic dept. bility to explain to the client that Traffic and/or Production, • Each step of the job is to be requesting changes at scheduled, including time for 3. Since the schedule(s) are some- specific stages of the job can • Production will generate an esti- times developed before concept client to make internal reviews impact the final end date. mate, using the agency template development, it is very important and obtain legal approval. All of 7. Traffic will alert all participants if based on information provided by to keep in mind that the schedule the client’s responsibilities should may need to be revised as the they are needed to stay late or the AE on the Job Plan.The esti- come in early for reviewing mate- be bolded on the schedule. Keep project unfolds. mate is then routed for internal rial. If that person is not avail- in mind that the client will most 4. If traffic is missing pertinent able, they must arrange coverage review. likely review any schedules for information, it will delay the and inform traffic, so as not to development of the schedule(s). • Upon initial approval, the esti- approval. He/she could use the hold up the routing process. mate is then entered into the internal schedule or a condensed accounting package. The final milestone version.

How the Agency Works Ed Burgoyne

Workflow - Step 3 - Beginning New Creative Work; the Job Order & Approved Media Schedule Form

Element: Traffic • Traffic will gather all vital infor- should review and approve all Client approves estimate, • Traffic is responsible for tracking mation and hard copies needed sizes. The flow chart should route and pre-approves media buys. all work internally, making sure for work to begin. This informa- with the job. A combined media tion will be tracked and placed and print spec form can be Actions: deadlines are met within in each department (creative or produc- within a “job bag or jacket.” Each created and used. The Account Executive, tion) in order to accommodate round of changes will be tracked • Inconjunction with the media • Responsible for client approval the master schedule. (in the job bag AND recorded flow chart, a insertion order book of the estimate, a signed into the accounting software) and • Traffic will work with the creative should be kept for each client. media schedule form, and placed back into the job bag so a director to determine availability It is also helpful to keep a publi- the appropriate start work / job “history” can be created. The of the account’s assigned lead cre- cation spec book that is updated job plan form(s). job history is vital in trafficking ative team or assign alternative regularly with the most frequently and keeping track of job informa- • Initiate and hold internal start-up creative team if necessary. The used publications. tion through the agency. and planning meetings. creative team consists of an art • Upon job completion, the traffic • The account executive should director and copywriter and may • In addition to keeping job bags department should distribute a create and distribute the prelimi- include an online or offline for individual accounts, the traffic final hard copy example of the nary media schedules. designer. If an alternate team is department should create a mas- creative to the appropriate ter reference book for each client Creative & Production assigned, the lead creative team account team. should still be involved in the that contains approved examples • In regards to all jobs not covered project to provide input even if of the creative. under a fee based arrangement, they are not the assigned team. • Traffic will create it’s own media no jobs should be started without flow chart with the publication(s), signoff of an approved estimate • Traffic has it’s own work order space closing, material closing, and/or media schedule. forms and spec sheets using the information found on the account size(s), colors, pub contact name, • Upon client concept approval, group’s job request form. If phone number, extension dates the art director discusses execu- needed they will consult with and key codes if applicable from tion options with production. production to fill in any missing the media plan. Production information.

How the Agency Works Ed Burgoyne

Workflow - Step 3 - The Copy Writing (or Manuscript) Stage Client Input AE Gathers info and distributes:

Element: • Traffic will record all client Client approves estimate, changes with the accounting Copywriter Art Director Traffic Production CD and copywriting begins. software as change orders. Actions: • Upon manuscript completion, the traffic department should The Account Executive, distribute a final hard copy Internal Routing • Responsible for providing the example of the creative to the copywriter with client materials. appropriate account team. Copywriter • Initiate and hold internal start-up and planning meetings.

• Responsible for issuing detailed vise Creative Director

client change orders to traffic. Re Copywriting Art Director • Copy is developed by the copy-

writer. Copy works with creative vise Re in defining project parameters Proofreader and creative concepting. • Proofreading and final comments should be routed before circulat- Traffic ing copy to client.

• Upon final approval, copy will Account Executive give text to the art department. Traffic Client • Traffic is responsible for circulating copy between the AE, art director(s) and CD. Copy Approved

How the Agency Works Ed Burgoyne

Workflow - Step 4a - New Creative & Art Direction

Client Input Element: staff to develop designs based on Starting the creative engine. creative brief and approved copy. Account & Creative Team Start Up Meeting Actions: • Be able to review work with CD prior to client meeting. The Account Executive, • Provide Traffic with a copy of the Art Director • The account team generates a all the creative presented for the creative brief distilled from job bag. client information, prior back- Creative Director ground notes, research or account • Meet with the production staff before presenting creative ideas, planning and presents it to the Copywriter / Editor creative team. to confirm production costs will

remain within budget. vise

• The account group meets with Re the team to discuss the creative Production & Traffic, Account Executive brief, the project, and to discuss • Traffic will circulate the layout

the timelines. with the final copy manuscript as Proofreader • The account manager is responsi- backup. ble for all client copy and art • Production will review the layout Production approvals. The AE sends the to determine if a revised estimate Reviews & Begins specs & Prod Est. client the artwork for approval or production spec sheet is neces- keeping in mind the client sary. Traffic Makes file & client copies submission guidelines. The AE • Traffic will work with the AR to will give to traffic a copy of what prepare the client submission to was presented to the client. the client requirements. Account Executive Creative & Art Direction,

• Once the manuscript process is Client under way, the CD will direct the

How the Agency Works Ed Burgoyne

Workflow -

Step 4b - Revising Existing Creative Client

Element: Traffic & Production, Account Executive Approval of additional charges • Traffic will circulate the changes (if any), client, media and internal from the account exec. Traffic will Creative Changes Mechanical Changes Traffic schedules. ensure all change orders are Actions: entered into the computer system. Copywriter Studio Artist The Account Executive, • Revisions must be clearly indicated on the reader. The art • Responsible for client approval of director should clearly indicate on vise additional costs, an accurate vise Art Director Art Director / Copywriter Re Re

the file the revision number. Re media schedule form, and the vise appropriate change order form(s). Proofreader Proofreader • AE reviews client changes, makes Re vise sure changes are clearly marked on the complete layout. Creative Director Traffic

Copywriter and Art Director, vise Re • When the creative is received Account Executive Creative Director from traffic, the copywriter reviews the changes and then gives the changes to the AD, Traffic Account Executive who oversees the revisions. • The changes are made by the art department then given to traffic for circulation.

Presentation to Client

How the Agency Works Ed Burgoyne

Workflow -

Step 4 - Revising Existing Creative Client in the Production Studio

Element: • The changes are made by the Account Executive Approval of additional charges production studio then given to (if any), client, media and internal traffic for circulation. Creative Changes Supervised Studio Changes Traffic schedules. Assumes work to be Traffic & Production, changed in simple in nature and • Traffic will circulate the changes the art director has overall creative from the account exec. Traffic Copywriter Studio Artist responsibility will ensure all change orders are Actions: entered into the computer system. vise vise Art Director Art Director / Copywriter Re Re Re

The Account Executive, • Revisions must be clearly vise • Responsible for client approval of indicated on the reader. The art Proofreader Proofreader additional costs, an accurate director should clearly indicate on Re media schedule form, and the the file the revision number. vise

appropriate change order form(s). Creative Director Traffic • AE reviews client changes, makes vise

sure changes are clearly marked Re on the complete layout. Account Executive Creative Director Copywriter and Art Director, Production Studio, Traffic Account Executive • When the creative is received from traffic, the copywriter reviews the changes and then gives the changes to the production department, the AD oversees the revisions. Present to Client

How the Agency Works Ed Burgoyne

Workflow - Step 4 - The Media Plan

Element: the approved media plan and dis- and quantifying research estimat- 4. Brand’s Past History Create the media plan. tribute to the creative and pro- ing audience size and characteris- Positioning of the brand in its duction staffs. tics of the media choices available Actions: category with historic data on The Media Department, to the planners. volume and share, together with The Account Executive, • The media planning staff will • The Media Plan will include: user profiles, both demographic • The account exec will work with create a media plan that is specific 1. Target Audiences and lifestyle. the media department to prepare and clearly states, but not limited 5. Seasonality Requirements the media plan. The plan should The definition of the best to, the following items: who the be presented to the client with a prospects by demographics, geog- Information on seasonal varia- media effort is intended to reach; clear-cut set of objectives to be raphy, and lifestyle. This informa- tions in consumer consumption whether broad reach or intense achieved by the media expendi- tion is gathered early in the plan- habits or purchase behavior. This frequency is of greater impor- ture. The plan should include a ning process and is most likely should also cover category tradi- tance; what seasonal factors may highlight summary of the strategy compiled through a syndicated tion (timing of new model intro- shape timing and weight levels or strategies to fulfill those objec- research vendor like MRI. ductions, clearance sales, holidays, across the period of the media tives. 2. The Competitive Scene etc.). buy; geographic requirements; 6. Geographic Factors • The account exec is responsible to creative needs (print or broadcast, Information on competitive brief the media department with need for color, editorial enhance- spending and media usage by The whole pattern of historic and as much information as possible ment, etc.). direct competitors, typically put current variation in both category before it is created. together by either the account and brand development, by mar- • Typically, the media plan will group or in some cases the media ket and region, leading to adjust- • The account exec and media staff include other important informa- department. ments in weight across the total will make all continue to evaluate tion such as, an update on current geography involved. the performance of the media advertising activities for the prod- 3. Primary and Syndicated plan if needed. uct or brand, market trend infor- Statistical Research • The account exec will produce mation on the product or service media scheduling forms based on category involved, tracking data

How the Agency Works Ed Burgoyne

Workflow - Step 4 - The Media Plan

Client Input

Account Group Requests Media Recommendations

Media Planner Makes Recommendations Re vise

vise In House Approval Re

Account Group

vise Reviews Media Plan Re

Production / Traffic Reviews Media Plan if necessary

Account Group Presents Media Recommendations

Client Reviews and Comments

Account Group Distributes Approved Media Plan

How the Agency Works Ed Burgoyne

Workflow - Typical Internal Step 4 - Internal Routing Proofing Sequences of Creative Comps or Production Mechanicals

Element: Traffic Client Creative Changes Routing internal creative, • Creative changes and approval client or production changes. steps are repeated until final client Account Executive Writes up changes Actions: copy/layout approval—at which point the account exec will notify The Account Executive, the traffic manager, and the Traffic Manager Writes up changes in System • For excessive creative changes, the account exec will sign off and account exec discusses them approve going to the mechanical directly with the copywriter and stage. Art Director / Copywriter art director in a meeting. The • Traffic will organize “routing appropriate creative or production parties” when scheduling becomes vise Production / Traffic

traffic manager must be informed Re

tight. However, the proofreader Re and present when comments are vise should always be given time to received. review the work on their own. Proofreader • For simple copy changes, traffic can go over comments on an existing job with creative or the Creative Director studio staff if they are easy to vise

understand and minimal. Re Account Executive • Mechanicals are not to begin without client approval of the copy and layout. Changes must Traffic (file copy) be encouraged at the initial copy/layout stage since sequential client changes can easily escalate Client agency costs.

How the Agency Works Ed Burgoyne

Workflow - Step 4a,b,c - External Routing to the Client

Element: signed, changes can be made. used as a way the agency is Routing creative or media • All client comments and changes exempt for issues that arise after schedules to the client for approval. must happen in a timely fashion. the client has signed off. The account executive is responsible Actions: Otherwise it will effect changes in their schedules, due dates and for ensuring that the client’s The Client, costs. changes were made to the client’s • The client should be made aware satisfaction. The Account Executive, of some important facts concern- Traffic, ing their responsibilities in • Account executive is responsible • Client changes and approval steps approving creative or media for circulating the creative, layout, are repeated until final client schedules. That they are responsi- copy, artwork, storyboards,scripts copy/layout approval—at which ble for approving the schedule, and media schedules directly to point the account staff will notify and will return the materials back the client and for gathering all traffic, and account exec will sign to the agency in a timely manner. information needed in order for the “OK To Set/Begin The agency shall remind the additional changes to be made, or Mechanicals” stamp. client that if the materials are not to receive final approval. returned by a designated time, • The account executive is also • All artwork, concepts and materi- that the projects deadlines will be responsible for getting the als will be clearly marked to indi- in jeopardy. The client should also changes back in a timely fashion, cate to the client if the piece is in understand that the excessive and to notify the client if those the creative or mechanical stage, changes could cause the schedule changes will effect the overall what revision number it is. This to be changed. schedule, costs and due dates for information should be recorded in the mechanical (Quark) file name • The client must designate who their jobs. as well. within the organization may sign • Although the account executive approvals and authorizations. does get a “final signoff ” from the Once an authorization has been client. The sign-off should not be

How the Agency Works Ed Burgoyne

Workflow - Step 5 - Photoshoot & Art Creation

Element: • Before the creative is presented to should indicate if art is stock so After client approves a creative the client, the art director should that traffic will know what & concept, the art director makes review the work with the creative when to return the art to the final selects on execution style, director for final approval. artist or what is to be filed away photography and illustrations, if • Account exec and/or art director in the central files. any are to be used. present final art selects/final • Retouched art will be reviewed in Actions: comps to client for approval. a “loose” matchprint or kodak approval. The imager or produc- Art, Design or Creative director, AE, Art Director, Production, tion manager discusses the proofs • Client approves art and traffic • Art director selects the photogra- directly with the art director and gives to production to begin pher or artist. The art director production. The creative director retouching. If studio is handling then discusses with the produc- should also approve any major the retouching, art director and/or tion and account staff the costs of campaign creative work as well. production should discuss with the artwork. I Mechanicals, sizing for publica- the imager together. • A photo schedule is then created. tions, etc., should not be held up The Art Director must go Production, for final art approval. through the production • Upon retouched art approval, department for approval of all production may release for film outside costs. and color proofs. The print • Art director, production and art production spec sheet should be buyer coordinate schedule, costs, revised as the artwork is being shoot(s) and/or illustration and created and completed. inform traffic of status. • Production and/or studio returns all art to traffic. The spec sheet

How the Agency Works Ed Burgoyne

Workflow - Step 5 - Example Concept Approved Continued of Production Workflow Photographer Selected

Starting with Photography Pre-Flight & Pre-Press Estimate & Photographer Approved

Produce Hi-Res PDF Pre-Production Casting, Location selection

Proof PDF file The Shoot Studio or on Location Publication Printer Ship to Image Approval Review and Select Image

Publication Prints On-Press Client Approval of Selects

Check Ad in Publication Bindery Retouching

Fulfillment Image Proofing vise Re Re

vise Mail Retouching Approval

Spot Check Mailing Place Image in Mechanical

Composed Proof Approval

Continued above left

How the Agency Works Ed Burgoyne

Workflow - Block 6 - Scheduling the Media

Element: • Insertion orders should be • Inform the account staff and Client has approved the media checked against the media plan. media department if the plan - you can now create the • It is the AE’s responsibility to fol- publication gives different media schedule. low up with the departments to information than what is on the media schedule. Actions: make sure you are meeting your deadlines. If the creative, copy or • Include a copy of the released Account Executive, art materials come in late on your materials in the job jacket. • Media Schedule Forms must be timelines, you must make sure filled out with all complete infor- that you change your media mation. Typical information on schedules to reflect a realistic the sheet includes the name of date to meet the publications’ the creative, the publications the closing dates. ad is running, the size, the inser- Traffic & Production, tion date, the publication material due dates and indicate any special • Review the media schedule and information. Indicate if future the production timelines to con- insertions are pick up or new cre- firm that the media schedule is ative. Missing information can achievable. mean missed deadlines. • Call all publications to review if • On odd media, the account staff the media schedule is accurate, should meet with the creative and check for correct sizes, pub specs production teams to discuss the and deadlines. production issues. • Follow up with the publication to • The media schedule should be ensure that the materials have updated if the media buys change been received on time and will be during the media plan. inserted properly.

How the Agency Works Ed Burgoyne

Workflow - Step 7 - Producing the Mechanical, Starting the Production Process

Element: ensure that the proper paperwork • The mechanical will be circulated mechanicals. If the job is com- Client approves the copy and accompanies the project and that to the AD, AE, Production, CD plex, the art director may need to layout and account executive alerts it will be logged in for billing and Copy before it is submitted be present as well. traffic that it is “O.K. to begin cre- purposes. AE’s should not com- to the client for final review. • Routing is to the proofreader, ating mechanicals.” municate with the art studio • Revisions to the mechanical will copywriter, art director, creative unless traffic is informed. Actions: be treated as with all client revi- director (if applicable), production • The AE is responsible for releas- sions and generate a client change and to an account executive. The Account Executive, ing internally approved mechani- order. account exec should always be last • Revise your time schedules now cals to the client for final signoff. • Traffic alerts the art director of so that all questions can be that you can begin the mechanical No mechanicals will be disked the “OK To begin mechanical” answered. Mechanical reader, stage of your projects. released by the agency without and requests that the final files be whether b&w or fiery, will have • The AE is responsible for provid- final approval of mechanical. released to the production artist. art as FPO. Mechanicals should ing the traffic department with a • The AE provides the traffic It will be assumed for all projects never be held up for final art. signed off, client approved cre- department with a signed off, that the studio will need to • Traffic repeats the above steps for ative. client approved creative. rebuild the comp file unless the any revisions or stamps the • The account executive reviews the • The AE will present finished art director has already built it to mechanical with an “OK for time schedule and end dates. mechanicals to the client for production specifications and has Disk/Release to Production” or an Communicates with the traffic & approval. The AE will mark up alerted traffic to this. “OK for Disk/Release to Pubs.” production department on any the Client comments and/or • Traffic hands over, in a routing • If the ad is sent as a pdf file to scheduling changes needed. approves on the mechanical(s). folder/sleeve, the signed “OK To the pub via email, a copy of the • The account executive shall take Traffic & Production, Set” stamped copy and layout, Insertion Oder (I.O.) should have into consideration the time spec sheet, updated schedule, pur- been already faxed to pub(s). If • Traffic will circulate the mechani- schedules of the art studio for chase order and folding dummy film is being sent directly to cal to the studio artist, using the their work and plan accordingly. (for print) to the studio manager pub(s), a copy of I.O. must be latest back-up signed by the to begin creating electronic attached. • All new work for mechanicals client. must go through traffic. This is to

How the Agency Works Ed Burgoyne

Workflow - Step 7 - Producing the Mechanical, Starting the Production Process

• There is a standard 2-day disk Studio, (CD) release upon approval of a • The studio will not begin any project. If traffic is to give the work before all pertinent info is disk to production for release, stu- given and there are no outstand- dio should provide traffic with ing questions. Art directors must two fiery printouts and proof let traffic know where the files from the disk. One can be given can be easily retrieved, if they to traffic to route to proofreader have not be given directly to the and account exec and then filed in production artist. the traffic job jacket. The other • The production artist gives traffic should be released to the printer printout of mechanical(s) to (or client) with a copy of the disk route. Mechanical should always directory and disk release form. If be printed at 100% and on a laser a folding dummy is required, it not a xerox copy. A “slug” indicat- should be included as well. B&W ing the agency job number, studio is fine for the dummy. If the disk job #, pass #, file source, P.O.# is released after hours, traffic will and date must be on the reader. run the output from the disk to Traffic keeps the “OK To Set” proofreader and the account exec copy and layout as the backup and first thing next morning to make attaches to the mechanical. sure that what was released was Schedule and spec sheet are indeed correct. attached to the folder. • Traffic keeps copies of backups, released mechanicals, disk directory and disk release form in the traffic job jacket.

How the Agency Works Ed Burgoyne

Workflow - Step 7 - Final Review of Released Materials,

Element: changes, a change order is Film/Blueprints/MP review of final generated and materials are released art for either a printed corrected if necessary. piece or adwork for publication. • The production manager presents Actions: the materials to the agency (via traffic) for final review. Traffic/Production, • Printed samples should be • After the disk is released for film circulated within the agency (generally 3 working days) the for review. production manager will review the materials and submit them to traffic for agency circulation and approval. • Traffic circulates the materials with the last client signed off mechanical hard copy. • If the material is approved, the traffic department makes a color copy of the material and the film/proof is sent to the client for final approval. • The client must sign off on the material before printing or release to publication is possible. • If the client or agency makes

How the Agency Works Ed Burgoyne

Workflow - Step 8 - Billing your Projects, Reconciling & Reviewing Account Profitability.

Element: • A copy of every invoice must go The job is completed and needs to to the Account Group and to the be final billed. Production Director. Actions: The Account Executive, • Reviews the job edits, approves over charges, signals under charges and reviews with production to ensure all charges are in and job can be billed. • Review the accounting report in a timely fashion to review what new jobs can be billed if possible. • All Broadcast Production jobs should be reviewed by the Broadcast Producer. All others jobs including creative will go to the Print Production Director. These departments review all charges, make comments and sign off on all jobs. • These accounting job jackets will then be returned to the Accounting Department.

How the Agency Works Ed Burgoyne

Monthly Billing Process Billing as a Team Responsibility

Element: in 2 working days of receiving the supervisors, the edits will then be a job is no longer active, or was Monthly Billing Review. At the edits to ensure all jobs can be placed back into accounting for only opened for estimating pur- start of each month, the accounting billed by the end of the month. actions such as; poses. A job can only be killed if department will distribute for rout- • Production will have 48 hours to Hold. Indicates job is still in no time or expenses are on the ing purposes a billing “edit” report review all charges, make com- progress, hours are not over, do job. If there are expenses, the for each individual job. ments and sign off on all jobs. not bill, hold for next month costs must be marked as to where review. the costs should be transferred to. Actions: The edits will then be returned to the Accounting Department, who Make Changes. Make changes as • All changes to the “edits” will be The routing process: will make the changes. This will indicated on the bill. Adjust time, group reviewed and signed. No • Do not close a media, broadcast, leave time for a second round of mark time that is not coded prop- party should hold onto the edits radio or print production job for review on any edits that need it. erly, indicated adjustments in for more than 48 hours. A billing without confirming with The Account Executive will then preparation for final billing. prompt review process will allow the appropriate department head have 4 working days to approve Pull a report. Indicate for time for accounting to generate if all costs are in. Jobs should not any jobs in order to be billed that accounting to pull a secondary final bills for the month. be closed with outstanding costs. month. They must sign the report for reviewing outstanding • Within the first week of each invoices and return them to the purchase orders or time. month, accounting will generate a Accounting Department. Close job to traffic. Indicates that there should be no further billing summary sheet for each • The Accounting Department will time placed onto this job, and individual job, called an “edit,” then have the time to backup and that by “closing the job to traffic” they will then group them by cut final invoices, for final man- means that no further change product and client and distribute agement review to be mailed to orders are allowed on this job. the “edits” for routing. the client. Ok to close & bill. Indicates that • Account Executives are responsi- How edits should be marked; this job is ok to bill, no further ble for going through the reports • After the “edits” for the jobs com- time or expenses are going to be and marking each up each one plete their routing from the billed to the job. and passing the edits onto pro- account group, production, and Close & Kill. This indicates that duction. This must be done with-

How the Agency Works Ed Burgoyne

Monthly Billing Process Billing as a Team Responsibility Accounting Prints out edits

Account Executive Reviews Edits & Marks up

Production Reviews Edits & Marks up

Hold vise Reviews Edits & Marks up Re

Accounting Make Changes Reviews Comments

Accounting Pull a Report Makes changes or approves

Review Job Billing “Edit” Accounting Close job to Traffic Produces final invoices

Ok to Close & Bill Reviews and approves invoices

Close & Kill Reviews and approves invoices

Accounting Mails invoice

To Client

b agency–workflow

and now the “short” guide to how work progresses in the agency...

Client Brief The Agency Workflow Path The Brand Positioning and Condensed Workflow Analysis, Research and Positioning

Market Research

Creative Brief

Job Plan & Tactics

Start-Up Meeting

Begin Work

Creative Concepting Audience Research, Refine if Necessary Revise Old Project Plan the Media

Create the Creative

Schedule the Media

Produce

Bill

Workflow - Starting the Process & Information Flow

The client briefs the agency Scheduling The Weekly Status Meeting Daily Hot List • The account team creates and • Traffic prepares the schedule and • The account executive updates • Traffic will distribute and main- issues a meeting call report. gets approval by the creative & their weekly client status report. tain a daily, “What’s Hot for • Account begins to develop a production team before present- • Weekly agency status meetings Today” status email each morning creative brief. ing to the Account Group. are held to review client status to the agency. The night prior to the day the hot list is issued, all • The account executive requests a • The schedule is then approved reports. team participants, i.e. the account job number from traffic. by the AE and presented to the • Traffic updates master schedule to teams, creative director, produc- client. Once the client has reflect changes given during • Traffic issues a job number. tion, will provide input to the approved the estimate and meeting and distributes. • Once the creative brief is schedule, work begins. traffic department with regard to • Account team updates their status approved by all parties, • Traffic then updates the master work needed for the upcoming reports. a start-up meeting takes place. schedule. day. • The account group requests an • Traffic is then responsible for • Although work is scheduled based estimate from production. updating and maintaining the on the master status report, the • The estimate is routed & schedule. hot list reflects any changes that approved internally. occurs during the week. Team members can use it as a guide to • The client approves the estimate, what work is being assigned to work begins. them. If there is work that is not on the hotlist for that day, the account manager will be required to meet with the CSD and assigned traffic person before work begins. No account management team member shall give out work without notifying traffic. 30

Workflow - Work in Progress & Information Flow

Client approval of the estimate Internal routing Internal approvals Revisions: • Studio • When the account group gets • Traffic tracks all work internally, When routing the agency work, • Art Director client approval of the estimate making sure deadlines are met please keep in mind that it takes • Copywriter or a signed media schedule within in each department (cre- time to circulate the work through • CD & or ACD’s accounting should be notified to ative or production) in order to out the agency. If a key person is • Production begin the invoicing process. accommodate the master sched- not available to sign off on the • Proofreading • The account group fills out a start ule. work, notify the proper supervisor • Account Services work - job plan form and initi- • Traffic will work with the CD to or account team to ensure that Final Release: ates, if necessary an internal start- determine availability of the their is a replacement signature. • Studio Artist up planning meeting. account’s assigned lead creative • Art Director Key signatures for routing work: • Traffic will schedule all internal team or assign alternative creative • Copywriter work related meetings. An agency team if necessary. Comps for internal presentation: • CD & or ACD’s • Art Director • Production master calendar will be kept to • Traffic will maintain a “job bag or • Copywriter • Proofreading manage all meetings scheduled. jacket.” Each round of changes • CD • Account Services will be tracked and placed back • Any jobs not covered under a fee • Client into the job bag so a job “history” Comps for external presentation: based arrangement, should not • Art Director can be created. be started without signoff of an • Copywriter approved estimate and/or media • Upon job completion, the traffic • CD schedule. department should distribute a • AE • Signed estimates should be final hard copy example of the • Partner / VP creative to the appropriate distributed to the production 1st Mechanical or Preflight: staff and the CSD. account team. • Studio Artist • Art Director • Copywriter • CD & or ACD’s • Production • Proofreading • Account Services

Workflow - Work in Progress and the Creative Stages

The New Creative Stage The Copy Stage Revising Existing Creative Routing to the Client • The account group meets with • The AE provides the copywriter • The account group is responsible • The client should be made aware the team to discuss the creative with client materials, holds a for client approval of additional of some important facts concern- brief, the project, and to discuss start-up meeting if necessary and costs, an accurate media schedule ing their responsibilities in the timelines if necessary. notifies traffic of client changes. form, and the appropriate change approving creative or media • The AE is responsible for all • Copy should be proofread order form(s). schedules. That they are responsi- client copy and art approvals. The and routed internally before • Prior to handing the change ble for approving the schedule, circulating to the client. AE sends the client the artwork orders to traffic, the AE reviews and will return the materials back for approval keeping in mind the • Upon approval, copy will provide the client changes, makes sure to the agency in a timely manner. client submission guidelines. text to traffic and will forward to changes are clearly marked. The agency shall remind the the art department. Although work may be posted to The account manager should client that if the materials are not the agency FTP site, the AE review their changes with the returned by a designated time, must view the posted work before traffic manager prior to the hand that the projects deadlines will be notifying the client. off. The traffic manager will make in jeopardy. The client should also understand that the excessive • Internal reviews are required prior sure all corrections are under- changes could cause the schedule to presenting work to the client. standable before handing over to the staff for changes. to be changed. • Traffic keeps a copy of all the • The account management staff creative presented for the job bag. Copywriter and Art Director, must get approval from the traffic • When the creative is received • Production meets with creative manager or CSD for changes that from traffic, the copywriter before presenting creative ideas, effect the existing schedule. It is reviews the changes and then to confirm production costs will always more prudent to get back gives the changes to the AD, remain within budget. This can to the client with a realistic dead- who oversees the revisions. happen at the creative review line than provide one that you are stage. • The changes are made by the art uncomfortable with. department then given to traffic for circulation.

Workflow - Work in Progress - Creative to Mechanical

Client approval of creative Executing the creative Scheduling the media The mechanical Stage • The Account executive is respon- • After client approves a creative • The Media department produces • The AE gives traffic a signed off sible for circulating the creative, concept, the art director makes the media schedule based upon copy of the creative and retouch- layout, copy, artwork, story- final selects on execution style, the clients needs and the ing. approved internal schedule. boards,scripts and media sched- selects the photographer or artist. • Production produces the mechan- ules directly to the client The art director then discusses • It is the AE’s responsibility to fol- ical based on the production specs • Although the account executive with the production and account low up with the departments to and the mechanical is circulated make sure you are meeting your does get a “final signoff ” from the staff the costs of the artwork. internally until all parties approve deadlines. If the creative, copy or client. The account executive is • A photo schedule is then created. the mechanical. art materials come in late on your responsible for ensuring that the • Art director, production and art timelines, you must make sure • The AE is responsible for releas- client’s changes were made to the buyer coordinate schedule, costs, that you change your media ing internally approved mechani- client’s satisfaction. shoot(s) and/or illustration and schedules to reflect a realistic cals to the client for final signoff. • Client changes and approval steps inform traffic of status. date to meet the publications’ No mechanicals will be disked closing dates. are repeated until final client • Client approves additional costs if released by the agency without copy/layout approval—at which necessary. • Traffic will call all publications to final approval of mechanical. point the account staff will notify review if the media schedule • Photoshoot or stock art is pur- • Revisions to the mechanical will traffic to begin mechanical. information is accurate. chased and retouching begins. be treated as with all client revi- • A “prepro” or preproduction • Traffic will follow up with the sions and generate a client change • Retouching is approved internally meeting will be scheduled prior to publication to ensure that the order. before presenting for lient materials have been received on the layout being turned into a • The studio will not begin any approval. time and will be inserted properly. mechanical. work before unless there is a signed production estimate.

Workflow - Final Review and Approval

Final review of materials • Traffic will circulate any final proofs or materials with the last client signed off mechanical hard copy. • When the material is approved, the traffic department makes a color copy of the material and the film/proof is sent to the client for final approval and shipped to the vendor. • The client must sign off on the material before printing or release to publication. • If the client or agency makes changes, a change order is generated and materials are corrected if necessary. If the agency is going to incur additional cost, the client must be notified and the costs approved by the client. • Printed samples should be circulated within the agency for review before the materials are shipped to the client.

b agency–workflow

general agency concepts

How the Agency Works Ed Burgoyne

Agency Basics Meeting Types and Definitions

Project Start Meeting Media and Production Meetings Pre-pro(duction) Meeting ative campaign, media components, It is the very first internal meeting, These meetings occur throughout Once the concept is approved, the etc. Discuss the cultural relevance where everyone is made aware of a the concepting/planning stage. team meets to discuss the produc- and cultural impact of the cam- new project. This is an informa- They are meant to encourage col- tion strategy and issues on how the paign. This includes looking at tional meeting where the team is laboration and communication concept will be executed. Based on results; quantitative, qualitative or briefed of the project, staff mem- between the media department and the discussion the mechanical stage anecdotal evidence of the cam- bers will work together to gather the creative services department to of the project will begin. paign’s impact. Some of these materials for the next two meet- ensure the agency will meet budg- Preflight Meeting results may come from client ings. This meeting is often com- ets and deadlines. Prior to the final mechanical being sales/share/ratings reports, while bined with the kickoff or Strategy Internal Approved creative, the team comes together other examples may be seen on the meeting. Concept Presentation Meeting to discuss and review production street or picked up organically by Strategy / Brainstorm Meeting After the creative/media concepts specs or issues before the final files sit-coms, music, movies, etc. We After we’ve been briefed, we meet have been internally approved, the are released. will review the schedules, discuss any problem areas, celebrate suc- internally to discuss the brief, our agency meets to share concepts and Broadcast Traffic Meeting cesses, and figure out what we can preliminary thoughts, potential talk about what needs to happen Once the media buy and rough cuts do better the next time around. opportunities, etc. Discuss prelimi- before we present those concepts to are approved by the client, meet to nary schedules and budgets and the client. (i.e. revised estimates or review the media buy, Guidelines Internal Debrief of assign estimating duties. This presentation strategy) for Broadcast Traffic, and Client Project Review meeting may develop a communi- Internal Debrief of Broadcast Traffic Instruction Because all departments do not cations brief that will be presented Presentation to Client Forms internally. attend the client project review, to a client. the team will meet afterwards to Because all departments do not Internal Project Review debrief everyone. Kick-Off Meeting attend the client presentation, it’s At the end of a project, the team After the Communications Brief imperative that the team meets meets internally to review the has been presented and approved afterwards to debrief everyone, and entire project. The team will review by the client, meet internally for a specifically discuss next steps. the original strategy, the full cre- job kick-off.

How the Agency Works Ed Burgoyne

Agency Basics, The Dreaded, but Essential Time Sheet

Whether the agency works on a analyze the profitability of client • Make sure that you properly • Studio staff should have close to fee or project basis, the way the relationships. record the correct job number and 85-95% of their time as billable. agency makes money is by Therefore, the agency should fol- task on the time sheet. Be aware • Non-billable time would include, calculating how many hours the low some simple guidelines for that the time you put on your time spent working on new job will take to complete the given recording and tracking their time: timesheet becomes a record that business plans, administrative tasks. The agency becomes prof- will be used and in some cases, • Time sheets should be done daily time, company meetings, itable when a fair amount of hours shown to the client. and handed in at the end of the company promotional projects are estimated and a fair an accurate day (or entered into your agencies • Avoid having the staff use any and time off, such as sick, amount of time is used and billed accounting system) before 10 “fee” or “catch-all” job numbers, it personal and vacation time. to the client. A.M. the next morning. The is easier to justify and negotiate Although the agency can have a sooner timesheets are done, additional costs with a client if a idea of how many hours a job may the more accurate and fair clearer record of how time is take to complete, it is still an esti- they will be. spent on individual jobs during mated amount of time. Therefore it the month. This can be an invalu- • Time sheets should record a set is in the agency’s best interest to be able tool for estimating future amount of billable time each day, aware of the amount of time being jobs or reporting clear overs or minus the time for a lunch break. accrued to a job. Time sheets and unders to a fee based client. For each work day, a goal of 7.5 time/task recording are the funda- hours of billable time should be • Time spent on meetings should mental source of determining the met. Bill in quarter hour units. be applied to the jobs discussed. revenue that the agency earns. It In some cases another project • If someone works early, late, or on provides important financial, number will be given to the the weekend, the time should be administrative and managerial agency for time spent on client recorded for the additional hours information. Time entry can show meetings. and compute staff time charges for worked for that day. If you work • Travel time to a client or for each of the clients, ascertain indi- 11 hours for one day, record the client business is billable. vidual or group utilization and to time spent.

How the Agency Works Ed Burgoyne

Agency Basics Keeping Track of Spending

Out-of-pocket or OOPs, are purchase orders on behalf of the expenses that come in two forms. client/agency by confirming the One, where goods and services are agency has a signed agreement or bought outside of the agency for estimate from the client the covers the sole use of the client, and the costs on the purchase order accordingly, must be billed to the request. client. Two, where goods and Costs for the agency should services are bought outside of the only be approved by the assigned agency for use solely by the agency. supervisors and acquired by issuing Both forms of expenses, however, a purchase order generated by the should be tracked and approved accounting department. prior to purchasing. For our clients, we are contractually obligated to have prior approval, and clients have the right to refuse payment if the costs exceed the pre-approved amount. For internal costs, the agency needs to keep track of what it spends. Approval of purchases starts by issuing a purchase order request that will initiate an approval process and a generation of a purchase order. In many cases, the production/media manager for the agency can issue approval and

How the Agency Works Ed Burgoyne

Agency Basics Setting Hourly Rates

In the past, traditional agency Agencies will often not have the Now we adjust the total hours to person may be 100% billable, an management felt that their com- same internal calculated rates, since arrive at the billable hours. This account executive working on new pensation for their company would each business will have it’s own compensates for the fact that some business or administration person be higher if they convinced their unique overhead and salary costs of the time we are sick or on vaca- may not be. Industry average of clients to hire them on a fee basis. that would apply to only that com- tion or taking the day off for July billable time seems to be around Recently their has been a trend pany. However, agencies centered 4th or Christmas. Naturally, we 60% to 80% billable. However, I towards alternative agency/client in certain geographical locations would still like to be paid for those recommend that you set a goal of compensation. may have rates that are comparable. days, even though we can't bill for 1600, which is close to the 80% them. So we have to look at just billable figure of 1664 hours. However, in most cases, agency’s This standard for configuring the number of billable hours we will still use a fee system that is agency/client fee agreements is Calculating Overhead really have. Traditionally, ad agen- comprised of an estimated cost that often based on the number of Next, we must look at the real cost cies have reduced 2080 to 1600 and calculates X amount of hours at an FTE’s assigned to the client’s that each person represent to the use a number between 1600 and hourly rate of Y. Although an account. One FTE stands for business. That is, not just the per- 1400 that will be used as the stan- agency fee might be comprised of “fulltime employee equivalent.” son’s salary, but any associated over- dard number of billable hours. multiple hourly rates for individual Billable Hours head that the business incurs. This Remember, the larger the number staff members, one way to reduce, Before we can review the formulas, would include some personnel of base hours, the longer it takes or discount the hourly rate, is to we first need to determine the related expenses such as employer fullfill those hours. A higher hourly take the average hourly cost for the number of billable hours for your share of payroll expenses or self- rate and a low count can equal a staff (or what is often referred to as staff. We start with the number of employment tax, health insurance, lower hourly rate with a higher a “blended” rate) and apply that billable hours in a year. In a normal disability, life insurance, and other count. cost to all of the estimated time. work week you have 40 hours. "non billable" expenses that are Although the blended rate is often (However, if you discount one hour When calculating the total number vital to the business. Other things used, the agency will still set out to for lunch you have 35 hours.) of billable hours, you may want to in this category may include the determine the individual rates for When you multiple the 40 hours consider what percentage of a par- prorated cost of computers, and each staff member. by 52 weeks a year you get 2080 ticular person’s time is billable. other office equipment and fur- hours per year. Although a creative or production nishings as well as a prorated cost

How the Agency Works Ed Burgoyne

Agency Basics Setting Hourly Rates

Formula 1- Example A: you take the person’s salary and Formula 3- Quick Overhead Calculation Person’s salary is $50,000, multiply it by 3 you get the total Let your accountant help decide. A quick way of determining hourly multiply & add 20% = $60,000, costs plus a 20% profit ratio. Or The quick and easy formulas have rates for staff members is by using multiply by 2 = $120,000, multiply by 3.5 to get to a 40% been used in agency’s for a long the formula below. This formula multiply & add 20% = $144,000 profit ratio. time, however nothing beats having over-simplifies the calculation of divided by 1600 hours = Once you decide on your factor your accounting doing some home- overhead, by simply stating that the $90 an hour. multiply that number to the salary work and actually calculating your part of the agency’s overhead Example B: and divide the entire number by overhead so you can properly apply assigned to the individual is equal the number of billable hours to get it in figuring your hourly rates. Person’s salary is $75,000, to that person’s salary plus 20%. the hourly rate. This is important, since all agencies multiply & add 20% = $90,000, (Only use this percentage if it cov- will have varying overhead costs multiply by 2 = $180,000, Example A: ers your costs for the person’s bene- dependent on their rent, leases, multiply & add 20% = $216,000 Person’s salary is $50,000, fits, insurance and annual bonuses.) electric, administration costs and so divided by 1600 hours = multiplied by 3 = $150,000, on. Feel comfortable at night by In order to figure out the hourly $135 an hour. divided by 1600 hours = rate, you first need to determine having this done. It will give you Formula 2- $93.75 an hour. the number of billable hours for the most accurate basis for deter- Hourly Rate By Factor Example B: that person. mining which final formula you And even quicker formula is to Person’s salary is $75,000, use. Next take the annual salary and take a person’s salary multiply it by multiplied by 3.5 = $262,500, add 20% (for the cost of benefits), Finally - Calculate your Agency a factor. divided by 1600 hours = and double the costs for your over- Blended Rate for your client’s indi- $109 an hour. head. Take that number and add 0- By multiplying a person’s salary by vidual needs 40% for your agency profit. Divide 2.5you will get the cost of the per- the total number by the number of son’s salary, benefits and overhead. billable hours and you will get to Multiply it by a higher number to your hourly rate. add in your profit. For example if

How the Agency Works Ed Burgoyne

Agency Basics FTEs and Agency Fee Compensation

Agency compensation is based on For example, if the agency thinks For example, if the agency thinks For example, if the agency thinks a formula that in general tries to that they will need 5 people on the that they will need 5 people on the that they will need 10 people on cover the amount of time the account (5 FTE’s) for one year, account (5 FTE’s) for one year, the account (10 FTE’s) for one agency is going to spend on the then the cost would be figured out then the cost would be figured out year, then the cost would be figured client’s business. Although the by the following: by the following: out by the following: agency may get commission on Fee Formula: Fee Formula: Fee Formula: media or production purchasing, or Agency blended rate = $175 an hr. Agency blended rate = $200 an hr. Agency blended rate = $200 an hr. even additional income from the creative services area, the fee is the Agency billable hours = 1400 hrs. Agency billable hours = 1600 hrs. Agency billable hours = 1600 hrs. main form of agency compensation. 1 FTE = $245,000. 1 FTE = $320,000. 1 FTE = $320,000. Earlier we mentioned how the 5 FTE’s = $1,225,000 yearly fee. 5 FTE’s = $1,600,000 yearly fee. 10 FTE’s = $3,200,000 yearly fee. agency might figure out it’s hourly or about $102,000 a month, or about $133,333 a month, or about $266,666 a month, rate and the amount of chargeable or 7,000 billable hours a year. or 8,000 billable hours a year. or 16,000 billable hours a year. hours an employee is billable. This rate multiplied by the hours is equivalent to one agency FTE bill- or the reverse, able cost. (Keep in mind that the Client’s budget is $3,000,000 yr. FTE doesn’t mean you are locked 1 FTE is equivalent of 1600 hours into a dedicated staff member, the FTE is used as a time equivalent.) Agency blended rate = $200 an hr. Here are some examples of fee 1 FTE = $320,000 arrangements that vary hourly rates which equals 9.375 FTE’s. and overall billable hours per FTE. or 15,000 billable hours a year. In some cases, it may be better to lower or raise your rate depending on the amount of hours you think will be billable to the client. 41

How the Agency Works Ed Burgoyne

Agency Basics Alternate Forms of Compensation

In many cases additional forms of Although there has been a trend Services not normally And in a few circumstances, the compensation will be made to the away from charging commission, included in the fee. production estimates may include agency that is on top of the agency agencies will strive to do what is Fee agreements should be very spe- production management and fee. This compensation may be in financially in the best interest of cific about what types of services traffic or project management. the form of commissions on themselves and their clients. the agency will provide, and addi- Trends production or media purchases, Some agencies increase their rates tional services not provided in the There has also been a trend for charges for the agency’s creative to compensate for the loss of fee will then be estimated and agencies to bring traditional color services department or other forms commission, where some agencies billed to the client on a project by house related work inhouse. This of agency charges. have gone completely away from project basis. This may be typical enables the agency to charge for Commission charging them. of clients who originally asked for color house related items that it Dramatic changes in agency com- In the past the traditional rate of traditional ad campaigns, but not would have normally passed pensation have occurred over the commission on print or production internet related work or perhaps through as out-of-pocket costs. years, “According to the 2004 ANA related purchasing was .17625% PR or research related projects. These production services may Agency Compensation survey, a mere and varies from 0% to 20%. Creative Services (Production & include high resolution scans, 10% of the 112 major advertisers Production commission is Studio Services compensation) retouching, proofs and final file surveyed said they still pay commis- traditional charged on outside Traditionally, agency fee compensa- creation and releasing. sions, down from 21% in 2000. vendor bills for items such as scans, tion included all staff members To read more about trends in Nearly three quarters (74%) rely on art purchases, color house work, related to the clients work minus agency compensation, read the new either fixed/hourly fees or a blended printing and manufacturing. the production studio. In some 2004 ANA Compensation report, compensation model that includes Media commission has also varied agencies, sperate production esti- available at the ANA bookstore at: fees and commissions (8%).” from 0%, 3%, 5%, and up to 15%. mates will be created for the client www.ana.net (Source ANA Press Release) Media commission is traditional to include hourly or flat rate The AAAA also has a variety of However, in the past, agencies have charged on purchasing advertising charges for studio mechanicals, agency compensation related publi- traditional been able to charge a space in print, out-of-home, broad- proofreading, color copies, final file cations available at www.aaaa.org commission on out-of-pocket cast and other mediums. creation, final file releases, discs, client costs in relation to media or programming and more. production (print) purchasing. 42

b group-account

How to initiate, track & bill your job.

How the Agency Works Ed Burgoyne

The Account Group

Account Services, which includes • Coordination, analysis and the a vp or account service director, integration of research account supervisors and account Quarterly Client Reviews executives, is the link between the • Business performance Agency and its clients. Account • Financial performance Services plays the lead role in Hours vs. retainer developing strategic direction for Product budget recap all accounts/projects, in being the Relationship Performance Agency’s advocate with our clients • Strategy and in being our clients’ advocate at • Creative the Agency. Account Services also • Media has P&L responsibility for all • Production accounts, as well as responsibility • Research for forecasting revenue and meeting Points of Client Contact revenue/profit goals. • Daily status update email/phone • Responsibility as point person Account management roles include: Ongoing management of the account • Brand stewardship, navigation, architecture. • Project leadership • Day-to-day management of the account • Budget management • Ongoing market / competitive analysis

How the Agency Works Ed Burgoyne

The Account Group The Account Group Status Reports Meeting Call Reports

The Account Group is responsible departments and individuals. Do All client meetings/calls concerning for maintaining status reports on not assume an e-mail is the best major decisions, budget informa- each individual client. format to transfer important tion, nextstep changes discussed, They should reflect all of your open information. A verbal verification require written call reports to be jobs, new work and work that ensures understanding. ALL distributed within 48 hours after needs to be billed. work-related changes should be your meeting. Please distribute the reported on a Job Change Form notes to all attendees & depart- Each status report should reflect and distributed. ment heads; your production, the following information on all of media and creative teams. These your jobs: Job # & Name, Status of If needed, you should call a reports should also be issued for all the Job, Next Steps and Milestone separate meeting for jobs require major client/agency discussions, (deadline) dates. further detail. and internal planning meetings. The status report should be updat- Without these reports the different ed once a week. All account execu- departments will work in opposite tives will review major points on directions. their status reports at the Monday It is the account groups’ morning status meetings. responsibility to make sure all If you are unavailable to attend, you agency and/or client parties are must have an account manager who informed. is to represent your account at the meeting, prepared to go over your account status. If your client’s work status has changed during the week, it is your responsibility to inform the various

How the Agency Works Ed Burgoyne

The Account Group Initiating Work

All new projects and project E-mails are not the appropriate handed to production with signed- It is vital to give Production and changes must be recorded on a medium for job changes. off approvals. This will avoid errors traffic a copy of each approved project initiation form. To open a No verbal job requests. in picking up wrong creative files. Media Schedule Form. job there must be written input. All work for your clients, research, Account Executives should never A face-to-face meeting meeting new business, media, creative and commit to a deadline without con- between AEs and the creative production require this form to be sulting with Creative & Production and production teams before filled out. first. Client deadlines have a direct starting any decent size projects impact on cost and quality. is mandatory. Work initiated for creative, Fill out all parts of the creative All Project Initiation Forms must When communicating with the brief on the form in order for your contain key due dates, budget, client it is helpful to refer to the job to start. Meet face-to-face with quantity, size, color, pub/site list, agency “backgrounder” question- the creative person/team if possible. media recommendation/informa- naire to better help you ask all the For all new or major revision jobs, tion (including contacts, if there are questions needed for starting a you are required to have a start-up client-dictated or non-standard project. This form can be shared meeting. publications), technology informa- with the client so that they know tion, specifications, shipping infor- Work initiated for production, what information the agency needs mation, and any other important Upon approval of an ad or project, in order to get a job started. pieces of information that would the Account Group is responsible Without the project initiation affect the use of the final produced for setting up a pre-production form, or job plan, no one will have materials and how this would affect meeting with all parties involved. a record of your changes or your the method of implementation. A copy of the approved creative request for work. This form must The Account Group must also must be stapled to the project initi- be given to the appropriate produc- issue Media Schedule Forms to ation form and handed to production, media, creative team, and order Media space. account planning (when it’s tion. It is important that the research-related). approved version of the creative be

How the Agency Works Ed Burgoyne

The Account Group AE Internal/Client Status Report Example

How the Agency Works Ed Burgoyne

The Account Group The Project Initiation Form Example

How the Agency Works Ed Burgoyne

The Account Group The Media Plan

The media plan is a document on current advertising activities for files, both demographic and here to highlight differences among and/or presentation that starts with the product or brand, extensive lifestyle. In many larger-scale con- the choices. a clear-cut statement of objectives market trend information on the sumer categories, sub-sets by fre- Seasonality Requirements to be achieved by the media expen- product or service category quency of purchase or volume of Information on calendar variations diture. Commonly, it includes a involved, and a wealth of tracking usage are also included. If appro- in consumer consumption habits or highlight summary of the strategy data and quantifying research esti- priate, information on pricing, purchase behavior. This should also or strategies to be employed to ful- mating audience size and charac- packaging, distribution, and other cover category tradition (timing of fill those objectives. The plan is teristics of many of the media marketing components are included new model introductions, clearance based on an allocated budget for a choices available to planners. where they might be significant in sales, holidays, etc.) as well as the specific period of time. shaping the media effort. For example, a comprehensive timing of promotions beyond obvi- The media plan is a specific, logical media plan will collect and analyze Target Audiences ous climactic conditions. statement that clearly sets out a many of the following: The definition of the best prospects Geographic Factors number of factors, including, but The Competitive Scene by demographics, geography, and not limited to the following: who The whole pattern of historic and Information on recent tracking of lifestyle. The unique characteristics the media effort is intended to current variation in both category spending and media usage by direct of heavy users and brand-loyal reach; whether broad reach or and brand development, by market competitors and, if appropriate, sig- users are important here as clues to intense frequency is of greater and region, leading to adjustments nificant indirect competitors. A sharpen targeting as accurately as importance; what seasonal factors in weight across the total territory good media plan will give an over- possible. may shape timing and weight levels involved. all assessment of the competitive Primary and Syndicated across the period of the media buy; The culmination of the research scene, as well as an analysis by key Statistical Research geographic requirements; creative phase results in choosing specific price points, geography and season- needs (print or broadcast, need for Market and media tracking statis- space units, frequency, demograph- al segments. color, editorial enhancement, etc.). tics are used to provide numerical ics and overall budgets. Media may Brand´s Past History detail for trend analysis and for Typically, the media plan common- select one publication versus anoth- matching up consumer profiles to ly calls on a considerable, in some Positioning of the brand in its cate- er due only to a lower cost per pub, media coverage patterns. Indexes of cases extraordinary, range of infor- gory with historic data on volume or they may schedule fewer publi- concentration are normally used mation. This will include an update and share, together with user pro- cations in a more costly publication

How the Agency Works Ed Burgoyne

The Account Group The Media Plan

that has a better reach in the client’s market. Once the plan is completed, the media planner will create a media grid, that will translate each space unit into a dollar unit and total the estimated costs for each publication on the plan, and a grand total for the entire plan. This plan is then presented to the client.

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The Account Group The Account Group The Insertion Order Media Schedule Forms

The insertion order is the form send a proof of which ad is to run. Media Schedule Forms must be that the media department gener- The insertion order should also filled out with all of the informa- ates to tell the publication that it contain any notes should the mate- tion on the sheet. If the media and must schedule a specific advertise- rial require special attention. production departments do not ment, for a specific date, for a spe- If the publication is picking up an have the full information filled out cific size or unit. It will also specify old ad, you still need to send the on the forms, your deadlines might the ad’s position, and the subject or publication an insertion order. The be in jeopardy due to lack of infor- name of the creative. An ad num- publication should also be called to mation. It is your responsibility to ber, or job number must also be see if they can still use the material work with the media department to included on the form that matches that was sent previously. There is a make sure that these forms match both the creative proof guideline set amount of time, that varies the media schedule. It is the AE’s and the insertion order ad number. from publication to publication, in responsibility to follow up with the This form must accompany the how long they will hold advertising departments to make sure you are publication materials when they are materials. meeting your deadlines. If the cre- sent to the publication. Without ative, copy or art materials come in this form, your pub materials will late on your timelines, you must sometimes be ignored and you can make sure that you change your miss your run dates, since it takes media schedules to reflect a realistic time for communication to flow date to meet the publications’ clos- through the publication. ing dates. The insertion order should say which reproduction material is being sent. If you send a copy of the form via fax, you must always

How the Agency Works Ed Burgoyne

The Account Group The Account Group Estimates Billing

Estimates are based on the infor- price lists; others may constitute You cannot close a media, broad- jackets will go to the Broadcast mation you provide. You are established agency experience aver- cast, radio or print production job Producer. All others will go to the responsible for getting all pertinent ages; still others may represent the for billing without confirming with Production Director. These depart- information to the production, results of supplier estimates or the appropriate department head if ments will have a week to review media or broadcast department so competitive bids. all costs are in. Jobs should not be all charges, make comments and they can generate your estimate. For print collateral work, that the closed with costs still floating sign off on all jobs. These jackets Every production estimate must be agency is not producing, it is the around. will then be returned to the signed by yourself, the production agency’s practice to pull at least one The Accounting Department will Accounting Department, who will and account directors. set of digital proofs (Kodak issue a report on all open jobs to then arrange jackets by client and give these to the Account Please be wary of job cancellations Approvals) before going to the final each Account Executive within the Executive responsible. Account on your projects. If a job gets can- film stage. This digital proof is first 3 working days of the month. Executives have 4 working days to celled, please review your costs to then marked up and sent to the Account Executives are responsible approve any job in order to be see what charges (internal or exter- printer along with the artwork on for going through the reports and billed that month. They must sign nal) if any, can be billed to the your disk. Your collateral jobs marking which jobs can go to edit the invoices and return them to the client. should reflect this charge. or hold status, and return this Accounting Department. The estimates may include such report to the Accounting The Accounting Department will items as photography/illustration Department. This must be done then have 1 week to backup and fees and expenses, model fees, sets, within 2 working days to ensure all cut final invoices to be mailed to styling, photo lab work, retouching jobs can be billed by the end of the the client. A copy of every invoice or color separations, duplicate month. must go to the Account Group and material, quantity proofing, as well The Accounting Department will to the Production Director. as miscellaneous production issue edits for those jobs AE’s expenses. Some of these estimate request and attach job jackets for figures may come from vendors’ approval. All Broadcast Production

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The Account Group The Account Group Schedules and Project Planning Typical Timeline

Planning your project: closing date from the publication, For a color advertisement, scheduled to appear in several magazines closing Print production estimates are best and help to create a smooth work- on August 1, such a plan might look like the following example. (Note that prepared after your client has flow. not all calendar days are working days.) approved the layout and copy So that creative and production concept of an advertisement or an Start of creative work May 28 steps may be executed with preci- Layout and copy approval date June 8 entire ad campaign, collateral or sion, a time schedule must be Preproduction / Bidding / Estimate June 12 direct mail. planned at the outset. It should Illustration / Photography Start June 17 Be mindful of your deadlines. If work backwards from the closing Illustration / Photography Finish June 30 you know a job milestone is going or final delivery date when all Selects / Art Approval July 2 to be missed, please make everyone material must arrive at the publica- Start Retouching date July 3 Start First Mechanical date July 5 aware. With such tight deadlines, tion, or printed pieces arrived to Retouched artwork and mechanical finish date July 9 each missed date means that the the client. Final client art approval (if needed) July 12 agency can very easily not make a The next major steps in the pro- Preflight / Prepress Mechanical July 13 media deadline. duction of a print ad, collateral or First proofs / Mechanicals ready to ship July 16 The continuous liaison between direct mail are the estimating, bid- Duplicate publications’ mechanicals started (if needed) July 17 Additional Approvals July 21 Production and Traffic (or Project ding (if applicable), scheduling, and Shipping date of all publication materials July 28 Management) is one of the ordering of photographic or illus- prerequisites of cost-effective print trative artwork and its preparation production. After the original pro- for reproduction. Magazine closing dates are nor- timespan, which usually results in duction timing schedule has been Decisions on who who will be mally 6-10 weeks prior to the issue costly overtime payments to suppli- established, your print producer doing the retouching and scanning date, while newspaper supplements ers, besides creating quality prob- will cooperate with your traffic are just two areas that require close 4-6 weeks before publication. lems. In the labor-intensive graphic coordinator. Together they will pre- cooperation between your creative Daily newspapers have closings of arts field, time truly means pare revised estimates, obtain nec- and production groups that can 1-3 days. Frequently, an entire pro- money—our clients’ money. essary extensions of the material influence effectiveness. duction schedule will have to be pressed into a shorter-than-normal

How the Agency Works Ed Burgoyne

The Account Group The Account Group Standard Timeline in Working Days for 4-Week Timeline for a Stand Alone, a Stand Alone, Non-Integrated Print Ad Non-Integrated Print Ad with no Photoshoot

For a color advertisement, scheduled to appear in several magazines, A typical Newspaper or Magazine ad, done in 20-22 working days. depending on the complexity will require 2-8 weeks. The following is a Note the quick client turnaround time. Add additional time if new guide in working days. An average a 3-6 week schedule is used, depending photography is needed. on what final steps are needed.

Start of creative work 1 Creative Work 2 Layout and copy development 2-3 Layout and copy development 2 Internal Approval 1 Internal approval 1 Internal Changes 1-3 Production Cost Estimates 2 Client approval of creative 1-2 Agency Presentation to Client & Client Approval 2 Revisions to creative 2-5 Artwork creation (stock photo, illustration etc.) 5-15 Final creative sign-off 1-2 Create Mechanical & Layout 2 Photoshoot 5-15 Internal Proofing 1 Selects chosen & approvals 2-3 Client approval of composed ad 1 Retouching 2-7 Produce Film/MP, or pdf files for pubs 2-3 Create Mechanicals 2-5 Ship 1 Internal Proofing 1 Client approval of composed ad 1-2 Last Minute Client Revisions (if necessary) 1-? Produce Film/MP, or pdf files for pubs 2-3 Ship 1

How the Agency Works Ed Burgoyne

The Account Group The Account Group The Integrated Campaign Typical Steps & Timeline for Market Research

Total timelines to launch an integrated campaign can vary greatly. There This is a typical schedule step form for providing market research for a new can be a tremendous amount of difference in just deciding how much client or product. research and brand analysis is going to take place. A larger ad budget can Note that market research timing can vary greatly, depending on what type mean more expensive and extensive production, and even the client’s ability of material is being researched and to whom with. to commit to an idea can play into the time it takes to produce a campaign. The 3 main parts of Launching a campaign are: Start up meeting 1 Estimate 2-3 Market Analysis & Research Research 2-7 Creative Development Questionnaire / Positioning / Discussion Guide development 5-10 Statement internal review 2 and Execution & Production. Initial client presentation 1 Copy due internally 5-10 Examples of Lengths to Completion from time of initial client input: Copy to client 2 Express Quick Average Extensive Client comments & approval process 2-5 Recruitment and/or Translations (if needed) 3-5 Market Analysis/Research 0 3 6 8 Moderator Briefing 1 Creative Development 0 3 5 6 Focus Group Research 3-15 Execution & Production 0 3 5 7 Moderator’s report and analysis 3-5 In Market 1 1 2 2 Topline findings and strategic recommendations development 3-7 Research and strategy presentation to client 1 Total weeks 1 10 18 23 Approval of brand strategy and communications platform 1-5 Final Bill 5 Every agency and every client will be different. There are plenty of times that we all bang out an ad in a couple of hours, days or weeks. However, to produce a campaign that is relevant and effective you must apply the proper Typical deadlines: amount of time your agency needs to produce the campaign. As short as a 7-8 week schedule to as long as 16 weeks.

How the Agency Works Ed Burgoyne

The Account Group The Account Group Timeline for the Creative Development Timeline for the Production & Execution for a Print Ad in a Integrated Campaign for a Print Ad in a Integrated Campaign

Typically creative development surrounds concepting (3-5 ideas) of one After the creative concepting part of the job is completed and the client has piece of the campaign, i.e. a journal ad. Please note that some creative approved the concept, the agency will develop a production estimate for development jobs may include additional rounds of concepting or market producing the ad. research that tests the concepts. Creative Development jobs do not typically include time or costs for producing art or materials. Start up meeting 1 Estimate 2-3 Start up meeting 1 Concept internal review 2 Estimate 2-3 Copy development 5-10 Concept development 10-20 Copy to client 2 Concept internal review 2 Client comments & approval process 2-5 Client Presentation 1 Layout development 3 Copy due internally 5-10 Photoshoot (if needed) 5-15 Copy to client 2 Select shots / approvals 3-5 Client comments & approval process 2-5 Retouching 3-10 If needed... Layout to client & client comments 3-5 Additional Rounds of Concepting & Approval 3-7 Mechanical development to client 5 Final client approval & final changes 4 If testing... Disk release 2 Focus Group Research 3-15 Review proofs 2 Moderator’s report and analysis 3-5 Produce mechanicals for publications (if needed) 3-10 Topline findings and strategic recommendations development 3-7 Ship 2 Research and strategy presentation to client 1 Final Bill 5 Approval of creative concept 1-5

Final Bill 5 Typical deadlines: As short as a 5 week schedule to as long as 10 weeks. Typical deadlines: As short as a 5 week schedule (additional time for testing) to as long as 12 weeks.

How the Agency Works Ed Burgoyne

The Account Group The Account Group Typical Steps & Timeline 6 Week Timeline for a for Direct Mail to First Mail Drop Typical 4-16 page Brochure with Printing

A typical collateral or direct mail execution, done in 20-22 working days. A typical 4-16 page brochure, done in 30-35 working days. Note the quick client turnaround time. Add additional time if new Note the quick client turnaround time. Some of these steps may be photography is needed. condensed when work continues simultaneously.

Start up meeting 1 Creative Work (Up to 16 pages) 4 Estimate 2-3 Layout and copy development 3-5 Concept internal review 2 Internal approval 1 Copy development 5-10 Production Cost Estimates 2 Copy to client 2 Agency Presentation to Client & Client Approval 2 Client comments & approval process 2-5 Artwork creation (stock photo, illustration etc.) 5-15 Layout development 3 Retouching 2-10 Photoshoot (if needed) 5-15 Create Mechanical & Layout 4 Select shots / approvals 3-5 Internal Proofing 1 Retouching 3-10 Client approval of composed ad 1 Layout to client & client comments 3-5 Printer Pre-press 2 Mechanical development to client 5 Print on Press 3 Final client approval & final changes 4 Bindery (if needed) 2 Disk release 3 Fullfilment and mail 2-3 Review proofs 2 Final Bill 5 Printing 3-10 Mail House 3-7 Typical deadlines: Mail 2 As short as a 6 week schedule to as long as 10 weeks. Final Bill 5

Typical deadlines: As short as a 8 week schedule to as long as 10 weeks.

How the Agency Works Ed Burgoyne

The Account Group The Account Group Timeline for the Production & Execution Broadcast Campaign of an Out-of-Home Campaign 1 to 3 spots (with typical :30s, :60s)

After the creative concepting part of the job is completed and the client has For three broadcast spots done in 3 to 5 months. approved the concept, the agency will develop a production estimate for Note the quick client turnaround time. Some of these steps may be producing the ad. condensed when work continues simultaneously.

Start up meeting 1 Estimate 2-3 Creative brief development 5 Concept internal review 2 Concept development 5 - 10 Copy development 5-10 Internal approval 1 - 2 Copy to client 2 Client approval 3 - 5 Client comments & approval process 2-5 Begin network clearance Layout development 3 Revisions 3 -5 Photoshoot (if needed) 5-15 Final client approval 3 -5 Select shots and approvals 3-5 Bidding (including music and talent negotiations) 10 - 15 Retouching 3-10 Director and budget approvals 5 Layout to client & client comments 3-5 Pre production 10 -15 Mechanical development to client 5 Shoot 5 - 10 Final client approval & final changes 4 Post Production 10 - 15 Disk release 2 (Add two weeks if CGI or animation needed) (10 - 15) Review proofs 2 Final network clearance and trafficking 10 Produce mechanicals for various medium 3-10 Final Bill 5 Ship 2 Posting 5 days (prior to posting start date) Typical deadlines: Final Bill 5 As short as a 12 weeks as long as 5 months.

Typical deadlines: As short as a 5 week schedule to as long as 11 weeks.

How the Agency Works Ed Burgoyne

The Account Group Last note on deadlines

Take charge of your clients and their deadlines. Be mindful that accuracy does require a minimum amount of time to achieve. For example, type changes, if brought in to the studio by 11AM, will be made by 5PM that evening. If brought in after 11AM, changes will be made by noon the following day. Any jobs or projects requiring faster turnaround must be approved by the production director and possibly your client for necessary overtime. If your work is leaving the office late, it is your responsibility to make sure either yourself or someone from account services is available to approve your jobs.

How the Agency Works Ed Burgoyne

Internal Charges In-house billable items

Depending on the capabilities of the in-house production and creative department, there are a number of products that can be sold directly to the client in a production estimate. The following is a list of items that are considered chargeable. In-house color copies Materials that the client requests for their internal meetings, i.e., posters/mounting, leave behinds, etc. Discs that are used to transfer files to the client or vendor The creation of .pdf files for publication use Internal transfer of files electronically, via adsend, or ftp Downloading of client requested files to disc Internal color proofs, matchprints veloxs, etc. Internal scans

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Account Team Members Responsibilities and Roles

The Account Supervisor agency can provide. This includes executives briefs creative, media, meetings. While the account executives and gathering client or agency prepared PR staff. Duties will include; research, competitive analysis and account coordinators have much of Provide clients with budgets and Updating information pertinent to existing marketing plans or a struc- the day-to-day contact with the estimate updates. the status of all jobs, producing the ture client/agency Q & A session client, the account supervisor is Assists in client billing process and client status report. responsible for the relationship and staying on top of products and account receivables. Produce timely contact reports. between the agency and the client. markets in which the client oper- Writes client contact reports. The account supervisor’s main goal ates. Produce and distribute job requests is to review all strategic and media From an agency viewpoint, the Prepares monthly revenue forecasts. and change orders. decisions formulated by the various account supervisor acts as the main Account Executives Makes sure the sign-off of various agency departments before delivery spokesperson for the agency, Team members have the primary agency documents including cre- to the client and to review the cre- overseeing the execution of the client contact the “day-to-day” ative blueprints & estimates. ative concepts as to whether they approved communication pro- project management of the Meet with the senior management meet the creative brief and the grams, while identifying new assigned accounts. The work with group to inform them of all client strategic goals and marketing plan business opportunities with the all of the agency departments to activities. of the client. existing clients. move projects through the agency. Account Coordinator The account supervisor manages all Other duties can include; For example, they may meet with or Assistant Account Executives of the assigned account executives the creative director to review the Presents and sells agency recom- The account coordinators provide and account coordinators/assistants creative issues, with the pr director mended communication plans, cre- administrative support and back-up to their accounts. concerning publicity, with the traf- ative concepts and media plans to for account services. From a client view, the account the client. fic department concerning schedul- They are responsible for supporting supervisor analyzes the client’s ing and traffic. Maintaining direct, day-to-day the account group which may requests and marketing plan to They are responsible for gathering client contact. include; produce a coherent, focused and information on clients, products, Receive client briefs. most cost-effective/value-added and competition needed for the Setting up meetings. communications plan that the Inconjunction with the account agency backgrounders and start-up Setting up or conducting research.

How the Agency Works Ed Burgoyne

Account Team Members Responsibilities and Roles

Developing presentations from materials provided Following up on jobs and projects internally and externally when requested. Make travel arrangements, provide shipping instructions. Set up internal and external meetings.

b group-production

The role of production.

How the Agency Works Ed Burgoyne

The Production Department Responsibilities

The Production Department is responsible for coordinating all in-house and outside preparation of materials, whether the medium is printed, electronic or digital. Traffic and Production Estimates The Purchase Order Purchasing Schedules Job Bags & Histories Client Artwork Policy Workflow & the Studio

How the Agency Works Ed Burgoyne

The Production Department The Production Manager

The production manager is responsible for estimating all agency jobs, including all creative or production services and for external out-of- pocket costs from outside vendors. The production department is responsible for creating the estimates and pricing for all agency services, this includes internal hours, in-house charges and estimates/pricing from outside vendors. The production manager issues all purchase orders for the agency, reviews all vendor invoices and to ensure that the price quoted to the client matches the final billing. The production manager maintains and develops relationships with vendors, always seeking out the best possible service and price.

How the Agency Works Ed Burgoyne

The Production Department Estimates

Production prepares each estimate Estimates must always be approved based on the Project Request Form by the Account Executive, and/or the media schedule. Any Production Manager, the Account information not supplied on this and Production Director. form will delay or alter the prepara- All changes to an estimate must tion of an estimate. be approved by the Account Estimates take 3 days for standard Executive, Production Manager, jobs, and 5 days for jobs that need Account Director and Production vendor bids. Director. Based on Production Manager availability and AE input, general approximate budgetary numbers may take less time. The Production Department should obtain at least 3 competitive bids on all projects. Although the final choice of vendors may weigh in each vendor’s ability to meet the quality standards and timelines needed for the particular job.

How the Agency Works Ed Burgoyne

The Production Department The Production Department The Purchase Order Creative Purchases

Purchase Orders must be filled out The person responsible for filling All outside purchasing must be for all items and services ordered. out the P.O. must sign the invoice accompanied by a purchase order. The Purchase Orders are generated upon receipt and forward to The Creative Department and using the accounting computer sys- accounting. When signing invoices Account Staff may not buy artwork, tem. The Purchase Order must you must initial, with the date of photography, or creative services note the client, job number, date, approval, job number and account- without approval from the produc- date of delivery, corresponding line ing line number. tion department. The production number for the Accounting system If an invoice is over estimate by department will generate a P.O. for (see Production for a list of $1,000, or more than ten percent all outside art purchases. numbers). Also be sure to include over the estimated amount, it must whether the purchase is taxable or be co-signed by the responsible non-taxable and an estimated cost. Account Executive. A copy of the Purchase Order The Accounting Department should be sent to the vendor, with should not enter any invoices instructions to attach a copy to the which have not followed the invoice they submit. Keep a copy procedures listed above. for your records. One copy goes in In addition, the Accounting the po book and two copies go to Department should not pay any accounting. vendor invoice over $1,000 unless Entering Purchase Orders into the we have: a) been paid by the client system has a dual purpose: 1) to be or at the very least b) billed the sure we do not receive more than client for this expense. one invoice for the job and 2) to ensure a job is not billed out until all invoices are in.

How the Agency Works Ed Burgoyne

The Production Department The Traffic Manager

The traffic manager is responsible for scheduling work throughout the agency. Once a job has been opened, whether through the traffic or production person, a step-by- step schedule and due dates should be created, with each step assigned. Every day the traffic manager will prepare a status report of all active jobs in the agency, giving each job a status. This report should be sent to everyone within the agency. The traffic manager keeps track of and moves jobs from one completed step to the next. As changes in timing occur, whether client, production or internal creative, the traffic manager should be informed so an accurate schedule can be created. In cases where there is a conflict of schedules, the traffic manager will alert the management team as to the problem or conflict and allow the management team to make a decision.

How the Agency Works Ed Burgoyne

The Production Department The Production Department Traffic & Schedules Traffic & routing Work

Typical Rules mechanical from the client, a disk When routing the agency work, Revisions: • Studio It normally takes 1-3 days for a will be shipped to the printer or a please keep in mind that it takes • Art Director print production schedule to be file sent to the publication within time to circulate the work through • Copywriter two working days. out the agency. It is the traffic generated on long term projects. • Creative Director manager’s responsibility to make All type changes, if brought in by • Production sure that the work is routed proper- 11AM to a production studio, • Account Services ly. If a key person is not available to should be made by 5 PM that Final Mechanical: sign off on the work, you must evening. If brought in after 11 • Studio notify the proper supervisor or • Art Director AM, changes will be made by account team to ensure that their is • Copywriter noon the following day. a replacement signature. • Creative Director NO work should be accepted • Production Key signatures for routing work: after 3:30 p.m. to be released the • Account Services • Client same day. This is extremely impor- Comps for internal presentation: • Art Director tant as agencies moves towards Note that both the account team • Copywriter releasing materials directly to and the creative team need to • CD publications. check in with the traffic depart- Comps for external presentation: ment before leaving for the day. If Any jobs or projects requiring • Art Director someone is not available to stay to faster turnaround must be approved • Copywriter sign off on the project in which by the Client in writing for • CD they are responsible for, they must necessary overtime, and is based • AE • Partner / VP let their supervisor and key person- upon staff availability. 1st Mechanical: nel on the project know. It is the Upon final approval, the produc- • Studio individual’s responsibility to brief tion department needs 1-2 days to • Art Director the designated person on the prep (or pre-flight) an electronic • Copywriter project. file. On final sign-off of the • Creative Director • Production • Account Services 69

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The Production Department The Production Department Job Bag & Histories Client Artwork Policy

Traffic keeps the main “history” of Without an Art Buyer With an Art Buyer the actual job, while, production Upon receipt of client or outside Upon receipt of client or outside histories are the responsibility of vendor artwork it will be logged vendor artwork it will be logged the Production Department. The with the Traffic Department and with the Art Buyer and labeled. Studio is also in charge of their labeled. The Traffic Department The Art Buyer will fill out an art own job bags (for billing purposes). will fill out an art information information sheet for the artwork. They are not to be moved from the sheet for the artwork. This will This will include client, job used, individual areas. Traffic is responsi- include client, job used, rights rights usage, copyright info, origi- ble for maintaining all type and usage, copyright info, original nal source, return address and art- proof histories in job jackets. If a source, return address and artwork work return instructions. Artwork person needs anything from a jack- return instructions. Artwork not not being used should always be et, they should make a copy of it being used should always be held held with the Art Buyer. No one and return the original back to with the Traffic Department. should have misc. chromes, slides traffic immediately. Do not remove No one should have misc. chromes, or original art in their possession. a job bag from its respective area. slides or original art in their Unless otherwise requested to be It is the responsibility of the possession. returned, the art buyer will file all studio artists and/or freelancers to Unless otherwise noted, artwork upon completion of a job return all job bags to the Traffic Production will file all artwork in the art files. Department upon completion of upon completion of a job in the the job cycle. art files.

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Retouching Workflow Workflow defined for in-house retouching and proofing services.

The following process occurs after 2. Estimating 3. Initial Color Review Meeting 4. Color Image Work Begins client concept and layout approval has • Project Manager or media to Objectives: Review 1st round of • Print production manager to taken place and an official job has supply an initial list of pubs and loose-color proofs to determine provide digital retoucher a job been opened: material closes to PPM/studio color/image corrections and jacket with the following: manager. creation from initial scans 1) Estimate of hi-res hours and 1. Pre-Production Meeting • PPM to discuss image color/ Attendees: Print production number of proofs allotted for the Objectives: Review layouts in retouching needs of job (based on manager, art director, digital job to the digital retoucher. preparation for photoshoot/illustra- direction of art director and/or retoucher, studio manager 2) A printed spec sheet, copy deck tion, discuss production scheduling client) with digital retoucher to • Corrections and direction for (if text is part of hi-res photo- with regard to timing of photo- determine estimate of hours and images should be documented shop file) and final approved pdf shoot and doing hi-res colorwork number of proofs required. on proof by PPM or digital file of comp to digital retoucher. in-house, make decision to/or not • Studio manager to provide an retoucher. 3) High resolution select scans on to do in-house with preference estimate to print production CD (if done out-of-house). always to do in-house manager for studio services, A loose-color proof should Attendees: Print production man- production manager completes accompany any image/scan to be ager (responsible for calling meet- out-of-pocket costs and distrib- reviewed at initial color meeting. utes estimate for approval prior to ing), Digital retoucher, art buyer, • Digital retoucher will make print sending to client. studio manager, art director, project production manager aware of manager and AE if needed • Production estimate signed by issues, changes made by art • After discussion of timing, project client. director, etc. as they arise. manager to develop production • Digital retoucher is responsible schedule and distribute for communicating to PPM when they anticipate files will be sent out for proofing (if done out-of- house) and a summary of changes being made if needed.

How the Agency Works Ed Burgoyne

Retouching Workflow Workflow defined for in-house retouching and proofing services.

5. Proofing Color 6. Review of Proofs 7. Creative review of loose color art director can sit with digital • Digital retoucher sends hi-res (Loose Color): Attendees for creative review: retoucher to go over changes files to colorhouse or makes proof Proofs from Colorhouse: Art director, PPM, digital retouch- on-screen. internally. If possible art director Print production manager will er, studio manager Art director and It is digital retoucher’s responsibili- should approve file onscreen inform digital retoucher, studio digital retoucher to review loose ty to inform PPM if they foresee before sending out for proof. manager, that proofs are ready for color proof. Color revisions, proof development of timing and costs issues. PPM is responsible for com- Files to Colorhouse: review. Loose color will be creation and review will continue municating this to studio manager, Print production manager will reviewed to determine if proof is until image is approved by art art director and project manager. let digital retoucher know whether acceptable and can be shown to director (and if necessary by client). files should be ftp’d or sent out creatives. (Creatives should not If timing is to be discussed, a on disk. If by disk, digital retoucher look at any retouching job until project manager should be present. will deliver disk to PPM. If ftp’d, PPM and digital retoucher have • Corrections and directions for digital retoucher will email PPM given their ok). images should be documented on when files have been sent. They OR Internal proofs: all proofs will also make sure files sent to col- Digital retoucher will inform PPM, • Most current loose proof to be orhouse have been received and in studio manager, that proofs are stapled to front of previous loose working order before leaving for ready for review. Loose color will proof and dated the day. PPM to communicate be reviewed to determine if proof is If needed to determine type legibil- when they expect proof will be acceptable and can be shown to ity, cropping, etc., loose color may available for review. creatives. If loose color is ready to be dropped into mechanical form be proofed and needs to be proofed OR prior to all final signatures on laser in mechanical (“composed”), digital Files sent to internal Proofer: mechanical. If so, it should be retoucher will inform PPM and Digital retoucher will email PPM clearly communicated by PPM to studio artist/studio manager that when files are sent to internal digital retoucher, studio artist/stu- they will provide hi-res files to stu- proofer and when proof will be dio manager, PM, AD that file dio artist to put into mechanical. available for review. being sent is for intermediate Studio artist is responsible for out- proofing and is NOT final put of proof and informing PPM, approved mechanical. studio manager that proof is ready for review. To avoid unnecessary proofing, the 72

How the Agency Works Ed Burgoyne

Retouching Workflow Workflow defined for in-house retouching and proofing services.

8. Composed Proofing Proofs from Colorhouse: 9. Composed Proof Review • PPM will notify digital retoucher, Digital retoucher will copy final hi- • Project manager routes proof with studio manager when all color is res files the appropriate art folder. copy of final laser mechanical approved. Digital retoucher Studio artist is responsible for plac- attached. Revisions, proof creation will provide low-res approved ing hi-res files within job folder so and review will continue until all color files to studio artist for that all files associated with job approvals are obtained. reside in same placement in mechanical. Proofs from Colorhouse: folder. Artwork is collected and • Final laser mechanical with final PPM will first distribute to studio then sent to colorhouse. low-res approved color in place is manager, studio artist, digital routed and all approvals/signa- OR retoucher. Studio manager will give tures are received. Internal Proofs: to PRJM for further routing. • PPM notifies studio artist/studio Digital retoucher supplies studio Internal Proofs: manager/digital retoucher that artist with hi-res files to be If proof is made in-house, studio approved mechanicals can be dropped into mechanicals for artist will give to PPM for T1’d, sent out on disk or proofed proofing. Studio artist is responsi- approval, PPM will attach approved to internal proofer. ble for replacing low-res files with laser mechanicals and routing hi-res files and making proof. stickers to proof and route to studio • Studio artist emails TM and artist, studio manager and digital PPM when files have been sent retoucher, studio manager to with a PDF of mechanical(s) PRJM, who will complete routing attached. They will also make sure process. that files sent to colorhouse have been received and in working order before leaving for the day.

How the Agency Works Ed Burgoyne

The Production Department Old Skool - Traditional Production Process

Pre-Flight All service bureaus are required to the way the ad will be reproduced. production of four pieces of film, The production department & stu- do a final check of the computer If you do not like the way the one for each individual color. dio are responsible for “pre-flight- files. This step is the first step in artwork looks, please speak up and Your print job might also include ing,” the checking of final prepress the process called pre-press, and the department will evaluate the “spot colors,” colors that are speci- files before creating them and could encompass checking the file issue. fied to match a particular color that sending them out on disk. This for the correct size, bleed, trim, Marking a Proof cannot be produced accurately with insures that the digital file is cor- image density, color and most When examining a proof and four-color process separation. In rectly set up for the appropriate importantly the trapping of your marking it up for corrections, be conventional print production, the medium before going to a service files. Although these items are descriptive and leave nothing to film & matchprint is then sent to bureau, printer or directly to a pub- proofed and corrected before any chance. the printer for producing plates and lication or via the internet. In addi- file leaves the agency. then final printing. tion, we advise all outside vendors • Use clear, concise instructions. Conventional & Digital Proofs Printing Plate to double check our files for correct • Circle the area or element in The service bureau will always pro- One printing plate is produced specs, file problems, d-max and question. duce a digital proof before “going from each of the four separation trapping. to film or file” on all ads of a cam- • Describe the differences between films. When these plates are inked Pre-Press & the Service Bureau paign. Previously, your print pro- what you see and what you want in the four process colors and When your production or studio ducer’s first proof was made with to see, and try not to refer to the printed onto paper, a full-color departments gather all the needed film & a matchprint or colorkey. original. image results. electronic files & artwork on a They might have even received Separations It’s important to remember that disks, it may or not be sent to a a “progressive proofs” of the film Most color printing is produced by this is not the time or place to be service bureau to generate the final converted to plates, showing all producing or “separating” the origi- making changes to the creative film or output. The agency will be colors singly and in combinations, nal full-color artwork into yellow, piece. It can be very expensive to producing the final files that will be and actually running the plates on magenta, cyan and black. When redo files, film or plates at this given to the publications. an offset press. Now you we send you hear the term “four-color sepa- stage. kodak approvals of a file to should rations,” they are referring to the

How the Agency Works Ed Burgoyne

The Production Department Old Skool - Traditional Production Process

Off to The Printer typically decline. However, if they multiple press runs. On all outside service projects intend to be on press, an account Running Multiple Ad Sizes above $5,000, a minimum of two executive, art director and a repre- Since it is relatively infrequent that bids will be required. Competitive sentative of the production depart- the client’s ad is to run in a single bidding among three suppliers is ment will attend. publication, material must usually required for jobs over $20,000. Once your job is up and running, be prepared for all magazines orl Bidding will take into considera- the printer will pull a press sheet newspapers or on your media list. tion a vendor’s ability to meet your for examination. You will either However, to ensure the best execu- deadlines, and quality. sign off on it or ask to make a few tion of a design, the agency will The Press Check adjustments. It is important to always produce a digital mechanical Your production manager will go remember that changes made to for each individual size. on press on all local initial print the art, beyond achievable color Ads in Newspapers runs where the client pays for an changes will be very expensive. The For newspaper insertions, on-press person. All other instances printer will have to then make your agency’s print production of on-press supervision is at the changes to the electronic file, pro- department probably provides discretion of the production duce new film and then a printing newspapers with pdf files, film or director. plate. If you ask for an adjustment, veloxes. 99% of newspapers across a few more sheets will run, and the The only way to ensure that your the country are accepting files sent process continues until you are sat- printed piece is printed the way you to them on disk or electronically. isfied with your project. Once you intended is to go to the press and This is the preferred method of sign off, the presses will be brought check the results. On very large or sending black and white ads to up to speed and your job will con- expensive press runs, the client newspapers. should have the option of being tinue to run. In some larger print asked to go on press. Although it runs, your print job might require a is appropriate to ask, they might much longer time to run, requiring

How the Agency Works Ed Burgoyne

The Production Department Job Descriptions

Project Manager / Traffic Manager Responsibilities: Prioritizes current proofreading Contributes to agency master publi- assignments. cation spec sheets. Coordinates assigned client's print Coordinates and schedules all creative and production projects. assigned agency projects, from cre- Routes approved concepts through Sends out adwork materials to publi- agency. cations. Calls to make sure that ative through to production and materials were received. completion. Prioritizes all schedules in conjunction department managers.. Routes estimates. Act as diplomatic liaison between creative, production and account Reviews work to ensure project Ensures appropriate proofing. management. directions are being met. Ensures projects are delivered on Enforce agency procedures while Checks all proofs for approvals time. maintaining the highest standards. and changes. Delivers clean job file folder to Maintain a daily “master schedule” Insures mechanicals are approved by billing when job completeness are for all clients works, projects & time- proofreading, creative, production met. lines into one master schedule and and account services and any changes Distributes P.O.s and copies of esti- handed out daily. are issued to the studio. mates. Final accountability for returning Traffics all assigned work. Prepares cost analysis sheet, quality project materials to appropriate staff Report status of projects on jobs on a control forms during project and once project is daily basis, via a daily “hot list” completed. Updates production log and project Updates master status sheet on a Daily Project tasks include: estimates and billing binders. weekly basis. Distributes at depart- mental meetings. Open job number/job file folder, To obtain deadline extensions from maintains job bag and job histories. publications, when needed. Ensure that only properly speced creative is trafficked Writes up job spec and job order/ request forms Creates “Weekly Traffic Reports” and distributes to account, creative and Manages all publication specs and production staff. deliverable (shipping) sheets and distributes to production and the studio.

How the Agency Works Ed Burgoyne

The Production Department Job Descriptions

Production Manager Responsibilities: Issues POs on a timely basis. Proofs incoming materials for con- Supervise assigned client's print Coordinates production activity Checks all vendor invoices against formance to specifications and moni- production projects. between project, account and creative both POs and estimates before sign- tors delivery schedules; maintains groups during job development. ing off. Signs off on bills in a timely control of projects. Maintains contact with various print- basis. Maintains an adequate proofs and ing vendors (Sheet, Digital, Web, Maintains and keeps up-to-date on collateral file system. Form, In-Line, Promotional all aspects for printing, production Adheres to the agency's operational Material, Dimensional) and postal requirements. and financial policies and practices. Maintains detailed project records, Advise their team of the best formats To develop a close working relation- from spec sheets to estimates to pur- and efficiencies. ship with the Creative Department chase orders. Gives creative solutions. conferring with Art Directors so as to obtain artwork suitable for good Supplies specifications for vendor Provides quotes to Account reproduction, iron out any problems, estimates Staff/Clients and receive specific instructions. Reconcile all assigned project billing. Requesting quotes from suppliers To suggest to Art Directors revisions Reviews and supervises all produc- Negotiating prices with suppliers in finished art that might facilitate tion materials generated from their Scheduling of print jobs between production or reduce its costs, or assigned projects. suppliers improve final reproduction in specific Acts as advisor for the creative and Order and production related media. account members of the team during materials. creative development to meet the Press approvals budgetary requirements of the pro- Help coordinate with the studio, traf- duction process. fic managers, and suppliers to ensure Maintains ownership of all projects all deadlines are met. in their group.

b group-studio

The production studio & artwork creation.

How the Agency Works Ed Burgoyne

The Production Studio Responsibilities

The Production Studio is responsible for the preparation of all in- house and outside mechanical materials, whether the medium is printed, electronic or digital. Starting Work & Routing Artwork Creation Procedures Artwork Naming Procedures Artwork Filing Procedures Typefaces Guidelines & Mechanicals Freelance Artists Outside Board Artists Releasing to Disk

How the Agency Works Ed Burgoyne

The Production Studio The Production Studio Starting Work & Routing Work Artwork Creation Procedures

Starting Your Work Routing Your Work All files are on the Client Server by The job jacket is your friend. All job histories submitted for alphabetical order. Within these Do not start any work without a changes should be clearly marked. hard drives there are folders for job ticket and job bag. Only the Upon making the changes, do the each client. Under each client are traffic or production people can following: update the revision folders for each job number. Each generate job tickets from the number and date, add your time job number contains folders for Account Executive’s project initia- spent to the time listed in the common art, media, copy and jobs. tion form. guideline, spellcheck the document The “jobs” folder holds the client’s jobs by job number. Do not accept work initially or and save the file. After spellcheck- directly from an account executive ing, sign off on the laser proof that No one is to work off of their local or art director. Make sure your the document has been spell hard drive for any reason. project and studio manager know checked. Save your work as you go along. about all requests. Once you have When handed a project or ad, note Depending on agency standards, a job ticket and a deadline, the art whether original file is to be the files maybe set up with crops, director can interact with the stu- worked on or if the file is to be trim, bleed, color bars and slugs. dio for as long as needed. called up and “SAVED AS” under For print jobs, it is still appropriate a new job number description. Upon completion of the work order to do rule outs or call outs. In (job ticket), please return your Do not add or change colors in a many cases, a set of separations revised printouts, disk, or requested file without approval. should still be printed (on laser project with the job jacket. The Job Use templates where applicable. paper) from the file prior to Bag must be accompanied by the Templates should be set up for releasing). actual printed job at all times. common jobs for major clients.

How the Agency Works Ed Burgoyne

The Production Studio Artwork Creation Procedures The Slug & Fpo images

• Slugger is a program that • All FPO elements e.g., die-cut, creates a job slug for each quark photo, lasered type, etc. are to be mechanical. Fill the slug informa- indicated using the custom color tion out as completely as possible “~FPO/Do not print.” and use it as part of every print • Create FPO page trim. out.

• In the Art Production Library there is an FPO flag:

• The FPO flag shown below is used to alert the staff that the studio is missing the final artwork from its files. As these images are created the studio will be supplied with the new image name and its document path.

FPO

How the Agency Works Ed Burgoyne

The Production Studio Artwork Creation Procedures File Preparation Checklist

The file provided by the art direc- found in this folder is to be con- • Spot color(s) and/or process sep- • When possible keep type at tor is to be utilized primarily as a sidered FPO and noted as such aration. whole or half point size units to blueprint for the final layout until indicated otherwise. In no avoid excessive rip time with high • Check that the color model’s def- mechanical. Files from the creative case should any art be introduced end output devices. initions and values are consistent department should be rebuilt to this folder without prior with the encapsulated files and/or • Check either for an attractive rag entirely or checked completely if approval. All art must be placed any other companion pieces. or a good reading break, address utilized as the final mechanical. in and linked to the appropriate kerning, especially at headline “Production Servers”. • All drop shadows and gradated If there is anything that is not clear sizes, consistent paragraph spaces art must be replaced by art creat- or needs to be resolved in regards • Open the picture boxes to the and proper formatting. ed in PhotoShop. to recreating or rebuilding the file required bleed. Be sure to indicate • Use a single hard return to indi- properly, note on the printout so if an image has been rotated or if • All fonts in an embedded EPS cate proper paragraphs and a that it can be addressed before the any additional retouching is file you’ve created must be con- soft return (shift + return) to next proofing pass. required to accommodate the verted to outline, please remem- break lines. bleed. ber to save an original version of The primary function of studio is the file for later editting. • Proper quotes (’98, “”) via smart to prepare electronic artwork and • Check font usage dialog box to quotes in Quark, pre-press files to the highest stan- ensure that no fonts have been • In Illustrator both the document prime marks ( 8¢ 3¢¢), created dards both from a typographic and altered by using the stylized setup>print & export and the with in Symbol w/option + 4, pre-press stand point. attributes, as in “B Helvetica attributes should be set to an out- not hash marks (' "). «Plain»,” not “Helvetica «Bold».” put resolution of 1200 d.p.i. The following is a checklist that • Use of rule above/below. Charts should be used to ensure quality • Check the document’s colors to • All Truetype fonts must be con- must be rebuilt correctly to facil- control. ensure it matches the print pro- verted to postscript. itate fast revisions and ensure duction specifications. This • Replace all art and photos with • Check typography for excessive exact spacing and formatting. includes indicating: repro-quality images located on tracking and/or horizontal/verti- • Use the feature called “Indent the “Art_FINAL” folder in the • The proper color models, cal scale (+/– 3 should be consid- Here” to quickly align text from appropriate job file. Any art not CMYK, Pantone, etc. ered the ideal maximum).

How the Agency Works Ed Burgoyne

The Production Studio The Production Studio Artwork Creation Procedures Opening Files in Quark & Flightcheck File Preparation Checklist

where you place your cursor. the In Quark, remainder of the paragraph will When opening an existing docu- be indented at that point. The ment, always select use custom Keyboard shortcut is command- preferences. backslash. It works great for bul- leted items (Is in this short arti- Never adjust an existing H&J defi- cle) nition without renaming the copy.

• Use hanging punctuation. In Flightcheck,

Use the Agency’s custom FlightCheck Preferences and Ground Controls.

It is very important that the proper preferences are in place when per- forming a flightcheck to a document. These settings are set for how we pre-flight our jobs.

How the Agency Works Ed Burgoyne

The Creative Department The Style Guide

The “Style Guide” is the agency’s indicate the use of italic in the final will not print correctly on some (periods..., with) after the ellipsis typographical guide on how type is piece, i.e., to always set a book title high-resolution output devices. and a full space after the second- treated on the printed page. All or publication in italic. Overall Instead use the font Universal ary punctuation. agency’s have their own unique set underscores are always replaced News with Commercial Pi font • Dashes and hyphens—have no of rules to follow on how type is with italic. and use its “h, M or N” characters spaces on either side. Adjust layed out into a mechanical format. h M N • Correct use of a hyphen (-), en ( , , ) which are true open manual kerning, if necessary to Although it is recommended that dash (–, represents the word “to”, ballet boxes. You may have to equalize the space on either side the agency style guide be followed “through” or “from” as in 9–5; adjust its size or apply a baseline of dashes and hyphens, especially from the initial client presentation never “and”) or em dash (—, for shift value to align them properly when used with numerals, i.e., of the layout, it is sometimes not parenthetical observations). The with the text. 1-800-70 / 1-800-70 necessary. However, it should be style is for no spaces before or noted that unless specific requests • Center type by centering • When using dashes with numer- after any hyphens or dashes. are made, all print files are changed optically. If necessary, hang als or all cap letters, adjusted to at the mechanical stage to match • No double spaces after punctua- punctuation as with justified or center vertically. the agency style guide to create tion. No double dashes, use an em flush right text. • The appearance and readability of consistency. There may even be dash instead. • Type set in initial caps, as used in consecutive capital letters or some client specific mandatories or • Always use nonjustifying spaces headlines or subheads should be numerals of three or more in text exclusion’s that are followed in or “command backslash” to align set without a period at the end. can often be improved by adding addition to the agency guide. characters. • Ellipsis is three periods...with no additional tracking and reducing It should be noted that the guide is their size 97–90%. e.g., from Use an en space (when Standard spaces on either side. It does not intended to follow typographic between one-quarter to one point Em Space is off ) to align single- need to get an extra period at the rules, rather than word processing at a 10 point size. When possible and double-digit numbers. end of a sentence. If using a prop- ones. er ellipsis with additional punctu- replace stylized small caps with • Do not use the Zapf Dingbats “n” the proper font and adjust for For example, a copywriter might ation, be sure to add a slight space ( I ) character styled with an additional tracking. use an underscore in manuscripts to outline to create a ballot box, it

How the Agency Works Ed Burgoyne

The Creative Department Quark Shortcuts The Style Guide

• The copyright symbol (©) however, an asterisk should be Nonbreaking spaceband Command + space should not be followed by a followed by a space. En space/figure space Option + space spaceband; in a properly mastered * Footnote style: Footnotes are separated Nonbreaking en space Command + option + space font it will have a built-in “shoul- from the text block either by a space, Flex space at 100% der” and should be followed never smaller than the general line (as defined in preferences) Option + shift + space immediately by the date. spacing of the text of the text area, e.g., ©2001 TD Waterhouse or by a thin rule. Nonbreaking flex space Command + option + shift + space • All punctuation, dashes and Discretionary hyphen Command + hyphen • Avoid using a typeface in which spaces should have the same En dash (number ranges) Option + hyphen you use excessive tracking or hori- style, color and format as the zontal/vertical scaling is used. (+/- Em dash (parenthetical) Option + shift + hyphen word preceding it; e.g., 3 should be considered maximum Opening quotation mark Option + [ Panasonic®, our voice acti... for tracking). It’s always better to Closing quotation mark Option + shift + [ • All punctuation should be placed find and use a typeface that is Opening single quotation mark Option + ] inside quotation marks. This rule designed with the attributes you Closing single quotation mark or apostrophe Option + shift + ] can be broken to ensure clarity. want rather than distorting one. Flush right Option + tab • These style standards have been • Use the agency Font Database, New paragraph Return incorporated within can be placed contact your production manager into custom XPress Preferences, for additional font additions or New line Shift + return these include Small Caps, super- modifying existing faces. Discretionary new line Command + return script, subscript and superior. New column Enter • There should be no spacing New box Option + enter separating an asterisk and word in the text; in the footnote below,

The Studio The quick guide

Starting Work: Buying artwork, stock-art, Routing: For Creativces, The Studio does not accept work that: photography, or hiring outside Once the studio makes a layout into a Save your work on the Server: comp artists: 1.) Has no job number, deadline, or mechanical it will be routed to you. Do not save your work on your local work order. Do not purchase or hire anything or 1.) Please take the time to get a harddrive. someone without pre-approval by the 2.) Without the Project good look at the layout. Things 1.) Use the Server called “ELVIS” broadcast art buying or print produc- Coordinator’s knowledge. might have changed from your and the volume called “Creative tion department and a purchase order Get a job number! initial layout do to production A-Z” to save your work. Save is issued. adjustments. your work in the client folder Two days before client 1.) When the art does come in, 2.) If you want to make any adjust- within a folder that has a job presentations: please notify/give it to the traffic ments yourself, talk to the pro- number. Refer to the attached department to keep track of. sheet. Reach out to the traffic and production duction/studio staff and then department, let them know if / when get a copy of the file from the 2.) Never write over an old job file you need extra help, mounting, etc. Client approval: studio. DO NOT pick up a to begin a new job. Make a copy When your layout has final approval, mechanical file from the server of the file using a new name. 1.) Make sure an extra set of what hand it off to the traffic person. and make the change yourself. Always save your work using is presented goes to the traffic Feel free to meet with the pro- the agency naming convention. department. 1.) Print out a copy of the layout with the file name on top. duction staff to go over changes 2.) If your layouts need to be that are difficult to explain in 2.) Mark up the hard copy with any proofed, let the traffic dept. written form. know ahead of time! comments. Mark any text or art that is FPO as FPO. Any ques- Style Guide: tions for production or the ae? All of your layouts will be adjusted to Write it down. fit into the agency style guide for con- 3.) Printout a disk directory as to sistency. We have provided the style where your file is located. guide for reference. 4.) Please be aware of the entire process of your job. Turning 1.) If you want to differ from the your layout into a mechanical style guide on a particular job, takes time. please meet with the studio and production manager.

How the Agency Works Ed Burgoyne

The Production Studio The Production Studio Artwork Naming Procedures Artwork Filing Procedures

The agency requires that everyone If your in the production depart- when the appropriate creative/art/ follow a common artwork naming ment, use the server called design director places all of your convention. The following are some “ELVIS” and the volumes labeled files in the “PRODDROP” hard general rules and examples. “Production A-E, F-M, T-Z” to drive on Elvis. Or an existing and • Always Identify the File. Begin save your work. Never save your approved mechanical exists in the with the Client, Product, Job artwork or files on your local desk- Production volumes. Number. i.e. ESPCORPXXX top. When a comp is to be made into a • A Short Description or Page In this server there are hard drives mechanical, the studio should go Number for an Artfile is (volumes) with individual “client” through the following procedure: Extremely Helpful. folders in alphabetical order. a.) Directing the comp images into i.e. pg2photo1 Each of these client folders con- the production folder. If you pick • Do Not Use the Following tains: folders for the master logos, up files from the “CREATIVE A- Characters when Naming a File: individual job folders and a folder Z” volume, make sure you DO &, %, /, \, :, ;, ?, +, [, ], (, ), *, @. for client web access. The “jobs” NOT LOSE the original set of folder holds the client’s jobs by job files in the “CREATIVE A-Z” vol- number. Never write over an old ume. Leave the original comp files job file to begin a new job. Always intact! You are making a new copy save your work using the agency of the files to be converted into a naming convention. mechanical. Each job on the production servers c.) Sort the files you just collected are separated into two folders: into the appropriate folders in the The Production folder. production mechanical. Make sure This is the folder where the pro- you place the vector art (i.e. adobe duction department begins their illustrator files) and the hi-res art job. Only start new creative jobs into the Art_Final folder.

How the Agency Works Ed Burgoyne

The Production Studio The Production Studio Artwork Filing Procedures Artwork Filing Procedures

Collected Folder Quark Mechanical Versions This is the place where we store Each time a job is routed, please the final artwork that was either add the revision # to the end of the released to the vendor, “collected job file name to indicate the new “Collected” Folder: CLIENT for output,” or received from the version. Please keep your “old” ver- Should ONLY contain entire vendor. Do not touch or alter any sions in the “OLD” folder. collected files that were sent to press or to client which includes material in this folder. PDF’s

Remember to save all work as you “Production” Folder: go along. Should ONLY contain Production Quark Files and 2 ART folders

“Art_FINAL” Contains all Art that is New Job Labeling Syntax complete and ready for press 000AAA999_NYT_Description_01 “Art_WORKING” Contains all Art that is not Finished or is Lores.i.e.”work in Job Number Pub† Revision # progress”also your psd files

Place OLD Quark Files Here. New Art Labeling Syntax 000AAA999_Description_01 “Logos_MASTER” Is where ALL Finished logos are kept. NO Client Logos Should Be in either Job Number Revision # ART Folder Unless they are Job

How the Agency Works Ed Burgoyne

The Production Studio The Production Studio Typefaces Freelance Artists & Outside Board Artists

Work off of fonts on your local All freelancers must fill out a Do not move any equipment. hard drive only. If you need a timesheet and hand them in weekly Do not upload or download any typeface that isn’t on your local with a proper invoice listing name, software. drive, copy over the typeface from social security number, total hours Do not put your own fonts on the the “fonts” folder located in the multiplied by the hourly/day rate computer. “Clients Server.” and a total amount due. Do not replace the desktop pattern. Only open typefaces from your All invoices submitted for payment local hard drives “Font Library.” will be paid within two weeks. Do not change, update or delete software on your machine. Use the agency recommended The agency offers no medical ben- PURCHASED Adobe Type efits, vacation or personal time for Selection, and keep all named fonts freelance workers. selected from within one company To optimize printing time and brand’s library. If you use a typeface schedules, check with everyone in that we don’t own, let us know and the area prior to printing a large we will work it into an estimate. file. Do not use fonts that were not We ask that all freelancers be con- purchased by the agency. scientious in regard to conserving paper and supplies. There is a phone located in the electronic studio for emergency and important phone calls. No personal phone calls are to be made or taken on this phone.

How the Agency Works Ed Burgoyne

The Production Studio Releasing to Disk

Once a job is OK’d to be released Collect Job to Disk to disk, please follow the below - Place a copy of collected files in procedure: “Final Mechanical Folder” Open the mechanical and check - Collect to CD-Rom or Zip for: - Label Zip or CD-Rom - Correct size, colors & bleed - Print a copy of the mechanical - Updated guidelines in color to size (If possible) - All gradations are in Photoshop FROM THE DISK. - Proper logos and trademarks - Print a copy for the job bag - All artwork and logos are - If 4 C, print separations. reproduction quality - Attach Pantone color chips to - All colorized Tiff files (used in Mechanical if appropriate. Quark) are correctly translated to - Mark all color breaks, FPOS, EPS Duotones. PMS Colors, varnishes, trim - Photos are scaled in photoshop to marks and/or print a copy of the within 10% of the actual size in layout if needed. Quark. - SIGN the Approval Form. Run Flightcheck & - RETURN DISK WITH Collect for Output: PRINTOUTS AND JOB - Check RGB vs. CMYK HISTORY TO TRAFFIC. - Proper resolution - Correct artwork files - Read flightcheck report for problems to solve

How the Agency Works Ed Burgoyne

The Production Department Job Descriptions

Studio Manager, Responsibilities Track usage & maintenance of all Track supply inventories for studio - (Lead Studio Production Artist) Responsible for all mechanical mate- studio devices; computers, printers, work with agency purchaser for all This position can be billed hourly. rials released from the agency scanners and digital cameras, etc. consumables. The Studio Manager acts as the main Supervise the creation of all art Maintain a clean studio and studio point person for all mechanical mechanicals for assigned clients, surrounding environment. materials related to a particular client of through comp to final disk release Estimate and invoice studio services the agency. They manage the creation of for the agency. all studio work and supervise other pro- charges for assigned clients(i.e. color duction or freelance artists. All ques- Track all misc. studio requests for copies, poster prints, discs, cd-roms, tions, regarding internal projects, new each assigned client. new business materials, etc.). business, etc., will funnel through the Act as lead studio production artist Review studio/production time studio manager. and quality control person for all schedules and estimates where assigned projects. needed. Manage studio production artists and Track and train all assistant and freelancers in completion of the freelance studio staff in all relevant individual assignments. skill areas. Schedule daily studio workload, Contact, hire & supervise all agency manage work changes. studio freelancers for assigned projects(inhouse/outside). Work with project managers/ production staff to accomplish all Maintain agency archiving and filing internal studio work. systems. Provide design and new business support as needed.

How the Agency Works Ed Burgoyne

The Production Studio Job Descriptions

Studio Production Artist Responsibilities: surrounding environment. This position should be billed hourly. Review assignments directly with the Work with staff to produce reproduc- Responsible for producing mechanicals Studio supervisor to determine the tion artwork for design, advertising, from layout or spec sheets for final pro- best method of execution. and other projects. duction. Produces materials for creative Produce computer mechanicals based Ensure the quality and accuracy of presentations, new business and internal on the creative concept layout and files that are created or sent to print projects. Create and ensure the delivery maintain the creative integrity of the publications or vendors. of correctly prepared, complete, accurate original concept. Communicate as necessary with stu- artwork to printers and manufacturers. Review prepress file specifications dio or project manager to eliminate prior to producing files and maintain and prevent errors and problems consistent file preparation suitable for Check artwork for completeness and outputting by publications or ven- assure adherence to standards dors. Monitor art preparation guidelines. Assist the studio manager in Recommend technical and procedur- developing methods to create and al updates and changes as needed maintain consistent studio file Assist in the collection and distribu- preparation. tion of assets for preparation of pro- Work with the Studio Manager in duction artwork as necessary developing color calibration tech- Assist in organizing, monitoring, niques that produce consistent file archiving, and maintaining files on results between the comp, layout and the server final mechanical. Track usage & maintenance of all studio devices; computers, printers, scanners and digital cameras, etc. Maintain a clean studio and

How the Agency Works Ed Burgoyne

The Production Studio Job Descriptions

Studio Production Prepress Artist Responsibilities: preparation. Assist in the collection and distribu- This position should be billed hourly. Lead production artist in the final Work with the Studio Manager in tion of assets for preparation of production artwork as necessary . Responsible for producing mechanicals production of all prepress files. developing color calibration tech- from layout or spec sheets for final pro- Trains and reviews prepress file niques that produce consistent file Assist in organizing, monitoring, duction. Lead responsibility for produc- preparation with other studio artists results between the comp, layout and archiving, and maintaining files on ing files for publication and press. to maintain accurate and consistent final mechanical. the server. Produces materials for creative presenta- files. Track usage & maintenance of all tions, new business and internal proj- Acts as main studio person to review, studio devices; computers, printers, ects. Create and ensure the delivery of monitor and maintain all studio out- scanners and digital cameras, etc. correctly prepared, complete, accurate put devices. Maintain a clean studio and artwork to printers and manufacturers. Review assignments directly with the surrounding environment. Studio supervisor to determine the Work with staff to produce reproduc- best method of execution. tion artwork for design, advertising, Produce computer mechanicals based and other projects. on the creative concept layout and Ensure the quality and accuracy of maintain the creative integrity of the files that are created or sent to print original concept. publications or vendors. Review prepress file specifications Communicate as necessary with stu- prior to producing files and maintain dio or project manager to eliminate consistent file preparation suitable for and prevent errors and problems. outputting by publications or ven- Check artwork for completeness and dors. assure adherence to standards. Assist the studio manager in Monitor art preparation guidelines. developing methods to create and Recommend technical and procedur- maintain consistent studio file al updates and changes as needed.

How the Agency Works Ed Burgoyne

The Production Studio Job Descriptions

Studio Imaging Artist Responsibilities: Acts as production artist where Work with the Studio Manager in (Retoucher) Scans and retouches all artwork necessary or specifically requested developing color calibration tech- This position should be billed hourly. according to the creative and to do so. niques that produce consistent color Provides scanning, color correction and production specifications. Discusses outside production ele- output from scanner to monitor to output device. retouching on assigned projects. Duties Works with the Studio ments required for job with various also include prepress and studio related Manager(SM), Production Manager vendors in conjunction with projects. (PM), all Production Staff and TM/PM/CD. assigned AD/CD’s to achieve Reviews all work for errors/omissions desired results. with Studio Manager prior to turn- In conjunction with SM, PM & PD, ing in work for Creative/AE/Client works with vendors to coordinate, approval. scans, digital output, outside Makes all requested changes/correc- color correction and outside tions promptly and correctly. retouching. Preflights, check all artwork for Advises creative on best way to correct press or usage. achieve approved concept via Act as Technical advisor to junior scan/illustration/scanning/retouch- staff. ing/pre-press techniques. May be called upon to maintain pro- Prepares proofs (black and white duction/pre-press related computer laser output or specified color output equipment, including but not limited per project budget). to scanning equipment, output Discusses final art with assigned Art devices, servers, web related software, Director/CD/PM for each project. software and all related hardware. Confirms all production deadlines Evaluate and scan original artwork to with Studio Manager/Traffic achieve acceptable reproduction qual- Manager. ity output.

b group-creative

The creative guide to artwork creation.

How the Agency Works Ed Burgoyne

The Creative Department Responsibilities

The Creative Department is responsible for execution of the client brand and creative briefs. Starting Work & the Job Jacket Artwork Purchasing Artwork Handling & Retouching Creating a Comp or Mechanical How to Name and Save Your Files

See Production Studio for: Artwork Naming Procedures Artwork Filing Procedures Typefaces Style Guide Guidelines & Mechanicals Freelancers artists & Outside Board Artists

How the Agency Works Ed Burgoyne

The Creative Department The Creative Department Starting Work & the Job Jacket Artwork Purchasing

The Creative Department should The Creative Department is You must have prior approval from not accept any work directly from responsible for initiating all print- the Production Department to buy the Account Group without the ing spec sheets. All specs must be photography, art, or creative servic- Traffic Department’s knowledge. reviewed with the Production es. Production will fill out a All changes to existing projects Department prior to releasing to Purchase Order, listing the usage should be run through the Traffic/ client or obtaining bids. Once and amount agreed upon. Production Department as well. approved, no one will change specs The Creative Department will also Do not start a job without the at the release of a project without sign off on all art vendor invoices. project initiation form, without a prior production notification and In the case of an overage, the per- Brand/Creative Brief, or a job client approval. son must write a brief explanation number. Upon approval to order art, of the additional charges on the Creative should check with the invoice. Production Department to ensure art is reproducible for the particular ad or piece, and that all the artwork’s uses are taken into consideration. It is the combined effort of the AE, Creative and Production teams to ensure that the artwork purchased meets all of the client’s requirements.

How the Agency Works Ed Burgoyne

The Creative Department The Creative Department Artwork Handling & Retouching Creating a Comp or Mechanical

Upon receipt of client or outside of one generation, affecting the Any files which contain mock art- The Creative Department is not to vendor artwork it will be logged quality of reproduction. work or low-res scans not intended set any electronic files using fabri- with the Traffic Department and No outside retouching of any art- for reproduction must be visibly cated or customized colors. Choose labeled. work is allowed without prior per- marked “FPO”. We have an FPO colors from the Pantone Matching However, all purchased art is the mission and communication with tag in the Guidelines master page System instead. Remember that responsibility of the Creative the Production Department. (in the EP Folder under these colors may be simulated if the ‘Guidelines’.) FPO must also be ad or project is running in 4/C Department when it is in the The Production Department will marked in bold type next to the process. Note all colors used in the agency’s possession. Any artwork or maintain awareness of the final art- Guideline. guideline. photography to be returned must work’s use so that any retouching is be labeled as such prior to handing done in the correct color space and All files should use the agency file Any stock photo used in comps over to the Production resolution. This information is vital naming system. must be labeled at the bottom of Department. to the successful completion of All files should be sized using the the file next to the guideline. The Please follow the artwork log in your artwork. document setup for page size. listing must include the stock photo house and the photo procedures with your traffic or All agency guidelines are to be set number. production person. in standard format, which can be All conventional artwork ordered copied from the Guidelines master by Creative must be in “scanable” page set up in the “EP” Folder form (able to wrap around a drum under “Guidelines.” scanner). Any artwork not on flexi- All jobs must be placed in the ble board runs the risk of being “JOBS” folder by respective damaged when it’s wrapped. If account. See the Artwork Filing supplied artwork is not in scanable Procedure in the Studio section of form, Production will shoot a this book. transparency to scan with the loss

How the Agency Works Ed Burgoyne

The Creative Department The Creative Department How to Name and Save Your Files How to Name and Save Your Files (con’t)

Use the Server called “ELVIS” and The job folder the volume called “Creative A-Z” This is the folder where the art New Job Labeling Syntax to save your work. Never save your department begins a job. All comp 000AAA999_NYT_Description_01 artwork or files on your local desk- artwork should remain in this fold- top. er. Only low-res or comp work Job Number Pub† Revision # In this server there are folders for should be placed in this folder. If each client in alphabetical order. any hi-res art comes in during the comp stage it should be placed in Under each “client” folder there is New Art Labeling Syntax folder for each job #. the production mechanical folder. 000AAA999_Description_01 MARK your Individual art files Each of these client folders contain with the agency naming conven- folders for individual jobs. The tion. Job Number Revision # “jobs” folder holds the client’s jobs by job number. When you are ready to release artwork to the production department Using the template on the do a collect for output, and place “Creative A_Z” to start a new job. your files in the Prod Drop Folder. Remember to start a new job you YOU MUST NOTIFY production must have the correct job number Artwork generated by the art to pick up and use these files. department. and use it to save your work. Never write over an old job file to begin a new job. If you need to make a For position only artwork. copy of the file using a new name. Always save your work using the agency naming convention.