11

 

TRACKING PRODUCTION

 

The Importance of Tracking

Tracking a project in animation can be a colossal challenge unless it is handled with forethought, diligence and consistency. An animated feature production typically has tens of thousands of complex interdependent elements to track—not only when they are initially created, but also as they undergo multiple iterations. Combining the need to know the location and status of each of these elements while managing a crew of as many as a hundred plus artists and technicians, often in multiple locations, makes the development of a robust, well-organized tracking system imperative. Successful production tracking is therefore one of the key ingredients to ensure that a project is completed on time and on budget, potentially even exceeding the expected production quality. The ultimate purpose of the tracking system is to connect all of the many facets of a project, including the budget, schedule, assets created, and footage produced in order to reflect their interdependencies and status, thereby enabling the producer to have an accurate and succinct “live” overview of the pace of production on both a macro and micro level. Using the data generated by the tracking system, the producer is equipped to guide and manage the project efficiently from its inception through delivery.

If you are lucky, you work at a production studio where there is already a tested and reliable tracking system in place. If you have such a jump start, creating new charts or templates to suit your style of working and/or the unique requirements of the project should be expected. If, on the other hand, you don’t have a fully developed system in place, you will have to determine the best approach to getting one set up for your show. When prepping for a project, make sure to allow enough time to sort out this critical element and work with an IT expert and your CG supervisor (if applicable) to determine the best path to follow. As you make your selection, you need to ensure that your system is flexible and nonlinear. Take into account the basics— that materials will be revised multiple times and story and editorial changes will affect production dates constantly. Your system will need the capacity to be adaptable, keep detailed records, and easily update information as priorities change throughout the schedule. Building from scratch can be costly, but if that option is available to you, be sure to allot enough time to determine workflow and shot progression through the production pipeline, as programming the process will inevitably take longer than expected. There are also off-the-shelf products that can be licensed and/or used as a template to be tailored for your specific project. It may be that you are responsible for only the pre-production and post-production tracking systems if you have a subcontractor handling the production and therefore you do not need a complex system for that part of the work. In this case, it may make sense to keep your costs down and to create something relatively simple in-house such as the charts offered in this chapter. With that said, be sure to check that your subcontractor has a tracking system in place with the ability to provide you with any necessary data you may require.

When building your system, define the workflow up front and determine data to be tracked and reports to be generated from both a “macro” and “micro” standpoint. A tracking plan should be based on your project’s master schedule. This schedule should be used as context from which to analyze how a project is “tracking” to the original budget, schedule, and list of assumptions. Determining the various reports, standard or specialized, that need to be generated as early as possible is very helpful in gearing a system to meet your needs. Also, the type of information that needs to be communicated, to whom, and in what form should be taken into account.

A tracking system is made up of multiple components that vary, based on the type of project you are producing. It is the organizational process that defines the workflow for everyone involved. All work created must be tracked from its inception to final iteration. Linking to the editorial draft and keeping versions organized and clear is critical in ensuring that everyone is working on or with the correct asset and not wasting their time on elements that are out of date. Keeping up-to-date records of all notes, creative or technical, for every single asset built throughout the project is also vital to an efficient workflow.

Production management and artists all need to be acutely aware of the need to keep their applicable information up to date in the tracking system. This form of participation by the entire team can best be achieved when the tracking system is configured as a secure, cross-platform, web-based portal to the project. Each individual user has the ability to enter only specific sections of the tracking system that pertains to his or her area of expertise and is held accountable for each entry he or she makes. The team member’s customized access allows his or her interaction to be both streamlined and targeted. How to enter appropriate information into the system is an important part of the crew training that should take place when commencing a new production. If not, the reports that are generated will not be useful, as the data will be invalid and counterproductive in helping a project stay on target.

Equally as important as accurate reporting is that the tracking system serves as an essential tool in facilitating the daily workflow of the crew. The entire production staff can log in to this database in order to determine their daily tasks and to view production notes and pertinent communications. Utilizing the tracking system, the management team assists the artists by prioritizing assignments and providing them with access to the latest information regarding any asset or shot. In this setup, the tracking system functions as a virtual production hub where team members can collaborate as an ensemble. Artists can view work in progress by other team members and see how their work fits into the larger picture. When questions arise, they can communicate efficiently via screen sharing and posting notes.

No matter how a project is structured for execution—entirely in one physical location, as a virtual studio, or through the use of subcontracting studios—the tracking system is the glue that keeps all of the production components together while moving the project forward expeditiously. The production tracking system can be integrated into the production process to serve the following purposes:

• Master schedule
• Development tracking
• Tracking software development and application
• Macro and micro charts

• Pre-production
• Production
• Post-production

• Artwork for ancillary groups
• Archiving of digital content

Turning Production Chaos into Pipeline Central

Don Parker, Co-Founder and CEO, Shotgun Software

As we began to create systems to manage notes, track artist assignments, parse cut info from editorial, notify people of important changes, and generally make available all the latest information we had about the movie for everyone to access any time, the studio began to transform itself into a much more efficient machine. We got to a point at which the director would give a note in the edit suite on a shot, and the pre-vis team would deliver a new revision back to the editor before the meeting was over. The time between creative iterations was quick, and we could react swiftly to any change or idea.

Now that’s a pipeline.

We ended up moving the company, partnering on the production portion of the project. It gave us the opportunity to further develop our toolset over the next year to support a team of hundreds of people who were widely spread across multiple companies and locations. We made a lot of mistakes and tried hundreds of things, each of which helped us understand what a pipeline can and should be.

What we had built was a flexible framework to store and share all important production data, along with a set of tracking and communication tools, as well as hooks for automation. And although it was an amazingly educational experience to figure out how to build a pipeline and tracking system while in the midst of a production, let’s just say there are better ways to use a production’s time and effort, and we are glad to be on the other side of that challenge now, with toolsets in hand before any green light says go!

Master Scheduling

An approved budget provides the context for creating a master schedule which in turn generates the information for production tracking. As modifications to the plan are made throughout production, referencing this macro timeline is a way to monitor whether a project is tracking to the original list of assumptions such as the delivery date, budget, and expected quality. Taking into account the project’s complexity, the schedule is used to plot out the timing for the key production phases and to inform reporting efforts throughout production. By establishing the specific dates for meeting pivotal production goals such as start of pre-production, the producer can further break down the workload into micro schedules. The individual departmental due dates create the project’s tracking framework and establish how much work has to be accomplished on a daily, weekly, and monthly basis in order to complete the production on time.

Development Tracking

As an idea first begins to take shape, a record of all of the original materials should be archived. Development tracking requires a reporting system that can indicate status or location of the various elements being created, including script development and conceptual artwork exploration.

When a specific timeline is established for the development phase of a project, the producer can set up dates by which particular tasks must be accomplished and made available for the buyer’s/executive’s review and approval. Having targeted dates pushes the writing process forward, and the availability of detailed notes regarding elements in the script that are problematic helps the creative team focus their efforts and continue to whittle away at the specific weak spots until story issues are resolved.

As visual development gets underway, the tracking system can be used to create and manage a list of the main assets and potential design treatments. Alongside the list of artwork needed, the production team can create a visual reference library. By archiving stills and videos that illustrate possible ways to explore artistic choices, the director can be specific in communicating his or her design expectations. As assignments are handed out, artists are able to securely log in to the project’s tracking system and access all material needed. At the same time, artists are made aware of the timeline for the work to be completed, and as soon as the assignment is finished, they can post the artwork for the director’s review.

Another use for tracking production development can be for research on the history of the project. Even if a particular idea or image is not used at first, the director or producer may decide to re-visit it. It is therefore useful to have information readily available on the creator of the content and where the material in question is archived. An example can be found in the case of writing that may need to be reviewed in order to determine whether screen credit is applicable.

Tracking Software Development and Application

Software development is another key production component that can be managed using a tracking system. Early in the production stage, the producer must determine the amount and type of research and development necessitated by the project’s production design in the context of its budget and timeline. As the tools are developed and tested, both the software programmers and users benefit from having a shared virtual space where they can communicate objectives, report problems, and set up completion dates that match the production requirements.

Macro and Micro Charts

Macro tracking is accomplished through the creation of charts that provide an overview of a specific stage of production such as pre-production, production, and post-production. Micro tracking, on the other hand, encompasses charts that monitor the minutia of a specific step. These types of reports track assets as they get developed and approved and/or monitor shots as they go through the various departments. The macro and micro tracking of the data on the project are interdependent, in that macro charts set the overall goals to meet key production stages, whereas micro charts pace the work progression in order to fulfill these dates.

In order to start tracking production on both macro and micro levels, it is important to establish a nomenclature or a defined naming system and numbering convention. By creating this labeling method, all production staff share a common language that enables them to refer to a specific shot and the various iterations it undergoes and how it fits into the show. Depending on the project, it may require the use of all or some of the following codes: asset type, asset name, asset ID, act number, sequence number, reel number, shot code or number, insert number, version number, and layer number.

Once the project’s nomenclature is established, the producer can develop his or her pre-production, production, and post-production tracking charts and reports. The following sections include samples of generic tracking charts for the key production phases to be used as reference or guides to the type of charts that a producer may need to create. The concepts behind each of the charts can be applied to either CG or 2D projects. As is the case for all charts in this book, they should be reconfigured to meet the needs of the particular project. (See Chapter 6, “The Production Plan,” for an example of a master schedule.)

Pre-production

After a script has been green-lit for production, a macro-schedule can be created to establish and track the project’s key milestones. There are many elements to be tracked in preproduction such as script and storyboard revisions, element designs, art direction keys, and voice recording (See Chapter 8, “Pre-production,” for more detailed information on the preplanning required for specific production steps.) Figure 11-1 shows a generic pre-production macro tracking chart starting with design through completion of the animatic. Right from the beginning, it is critical to consistently evaluate patterns of meeting production targets or the lack thereof. The tabulation of the “Offset (+/-)” information enables the production team to assess where there might be reasons for shortfalls and implement solutions in order to keep the project on track.

Figure 11-1 Generic pre-production macro tracking chart.

Depending on the individual elements that require monitoring, a multitude of steps require micro reports. APMs/PDMs and coordinators usually create and update these charts when they are assigned to the specific departments and are responsible for tracking the details of what is being completed, when and by whom. Figure 11-2 is an example of a micro chart that can be used to track design elements such as character assets, location assets, and props through modeling and rigging. The information on these charts should be linked to the files that the artists can access so that applicable production notes and directorial comments are available at all times.

Critical to keeping production on track from the beginning is setting up alert systems to communicate asset revisions. The tracking system can be configured to tag specific information so that when an update is made that pertains to a given series of shots, all individuals whose work is related to that particular element are immediately made aware of the change. This kind of automated information dissemination allows the team to be more in sync and to avoid wasting precious time. At the same time, when production accounting is directly connected to the tracking system, the producer can request a tally for the approximate cost of a revision and assess its financial impact.

Production

With the sheer magnitude of all that needs to get accomplished during production, it is easy for a shot to get lost in the shuffle. The tracking system therefore functions as a check-and-balance for the show, ensuring that everything is in place, accounted for, and most important, in progress.

It is vital to chronicle a shot’s path from its initial entry into the editorial draft and to follow it as it enters the production stream, tracking it as it goes through each department and is assigned, completed, revised, or approved for the next phase. Because so many staff members work on a given shot, the tracking system should provide the management team with “live” shot location and status information. Additionally, tracking provides a record of each artist’s actual output and assists with inter-departmental and intra-departmental quota planning.

Generating a weekly macro report for the production stage is a great way to gain a quick overall view of a show’s status. This report would reflect all of the major departments, the scheduled or projected start and end dates, their actual start and end dates, and the percentage of work completed in each area. When a particular department is ahead or behind schedule, the difference between the expected goal versus the actual work completed is shown. This number, also referred to as an “offset,” tells the producer and buyer/executive how successfully the show is progressing. When the numbers fall short, the producer can detect where obstacles may be in the production path, based on the offset number shown for each individual department. See Figure 11-3 for reference.

Figure 11-2 Generic pre-production micro tracking chart.

Questions to ask when analyzing the chart include: Is there enough inventory available for the department? Are there any “on-hold” shots that count as inventory in a given department, but actually can’t be worked on due to script revisions, for example? Are all artists aware of the needed output,? Are the quotas realistic and achievable? Finding answers to questions such as these and fixing the problems as early as possible is vital. By detecting the weak links right from the start, the producer can control the show. On a micro level, he or she can avoid poor weekly performance; on a macro level, the producer can stop the production quality from slipping.

Tracking the status of individual shots is integral to assessing the project’s progression. The evolution of a shot from its inception through final color is illustrated in Figure 11-4. The chart tracks the shot’s key information, including the name of the artist presently working on the shot, the assignment date, and its due date. Dates and any applicable notes are entered on the tracking system as the shot gets completed in one department and is sent to the next. The production management team is responsible for entering and maintaining this data in collaboration with the artists. This record of information allows the management team to sort specific fields such as “approved shots” and determine how much work has been completed. When this type of data is linked to the initial budget and the projected weekly cost for each department, the production accountant can evaluate each department’s output and work inventory and provide the producer with an accurate cost report. This data generated by the accounting department is highly critical information for the producer in terms of how to navigate the production at hand and when he or she has to create budgets for future projects. Although every production will have its own unique requirements, drawing upon the studio’s accumulative experience allows the producer to generate more accurate budgets.

The information on the production tracking system is essential to managing a project; it is also a perfect communication tool for sharing shot details with the artistic and technical crew. Figure 11-5 is a shot breakdown chart from Luna. It illustrates the creative technical requirements for shot Luna 04_710. It is a consolidated snapshot of all key items for the artists to consider with regard to animation, effects, and lighting. During the brain trust phase (see Chapter 9, “Production,” for details), the director articulates his or her specific vision for each shot and the department leads discuss how to best implement the director’s objectives. This information is then placed on the shot breakdown chart and is maintained and updated as the shot progresses down the production pipeline. This template is highly useful for both in-house feature productions and projects that are sent to subcontracting studios.

Figure 11-3 Generic production macro tracking chart.

Figure 11-4 Generic production micro tracking chart.

Figure 11-5 Shot breakdown chart for Luna 04_710.

Tracking Subcontractors

For projects that are sent to subcontractors, it may be possible to integrate the domestic studio’s production tracking system and/or to set up online file sharing protocols. Having a web-based shared tracking system with the subcontracting studio can have numerous advantages, including a more efficient means of communication and sharing of production data. Depending on how the reporting system is set up, it is important that the producer receive a weekly production report. If a project is in trouble, it may be necessary to receive more detailed information on a daily basis, which can be easily accomplished through the shared tracking system or through requesting specific reports. However, once the project has been outsourced, the producer typically has access to only a macro perspective and must rely on the subcontracting studio for tracking the production minutia. The chart in Figure 11-6 provides an example of the production tracking information as generated by the subcontractor. This template can be used to illustrate the progression of a television episode as it starts in the animation department and proceeds all the way through compositing and delivery. Because there are always multiple episodes going through the pipeline, this chart reflects how the productions will overlap and indicates their current level of completion on a weekly basis.

Tracking Retakes

It is important to track the status of each and every retake so that no shots are missing and no incorrect elements are included in the final color images. This process can be very time-consuming and requires the documentation of a significant amount of detail on the tracking system. The specific information noted for the retake must be concise and clear as to exactly what elements require a redo.

The retake report includes:

• The episode or sequence number
• The act number or the reel number
• The shot number
• A clear explanation of the problem, noting the frame numbers when applicable
• Scheduled due dates for review

Figure 11-6 Generic subcontractor tracking chart.

When this information is tracked, it summarizes the number of shots per episode/sequence that are in different stages of revision, or “takes.” It gives the producer a quick look at the project’s overall status. It can also be a useful tool to evaluate the quality of work provided by a subcontractor based on the amount of retakes needed per show. It is necessary to keep track of the status of each individual shot’s expected completion date in order to make sure that all retakes will be sent back and approved in time for picture lock.

Post-production

During post-production, the producer tracks and compares actual dates with the scheduled dates to assess the status of the project. The chart in Figure 11-7 outlines the steps required for delivery on film and digital format for theatrical productions.

Most feature projects have multiple deliverables and should be made available for both film and digital distribution and presentation. Television shows are typically completed and delivered as digital files or on tape. Figure 11-8 tracks the various stages needed for this format. Final videotape masters and an element reel are required for final delivery and archiving. (For detailed information on post-production steps, see Chapter 10, “Post-production.”)

Talking Beyond the Tracking

The most important point to keep in mind when tracking a production is accuracy, because if production tracking is inaccurate, a project can become completely unglued. From a general perspective, however, tracking is just one mode of communication on a show, and clear communication is key to a production’s success on every level.

Artwork for Ancillary Groups

The production tracking system is an indispensible tool for facilitating the artwork needs for all ancillary groups that play a major part in promoting and selling products related to the project. For feature films that are considered a mainstream theatrical release, there can easily be as many as a hundred external companies that require artwork in order to fulfill their part of the merchandizing lineup. The vendors range from companies hired to create the accompanying interactive game to the book, toy, clothing, and accessory lines. By allowing controlled access to content that is specifically created for this purpose, the producer can avoid work duplication, save time, and most important, maintain quality control. (See Chapter 12, “Distribution, Marketing, Licensing, and More,” for more details on ancillary needs.)

Figure 11-7 Generic post-production tracking chart: film and digital cinema package delivery.

Figure 11-8 Generic post-production tracking chart: videotape delivery.

Communication Is Key

Jinko Gotoh, Producer

I’ve been called “Ms. Wolf,” “The Cleaner,” and an “Administrative Vulture,” just to name a few of the colorful unofficial titles in my past. That’s because on many occasions I’ve been asked to rescue or reorganize distressed productions. The reasons these shows become distressed are many, but I have found that they usually involve a lack of communication, or some form of miscommunication at the very least.

Animation is a very long, rather slow process: I always tell people that if you’ve never worked on an animated feature, on one hand, it’s like watching paint dry. On the other hand, when the production has gone awry (when I’m called onto a set), it often feels like the crew is being engulfed in the quicksand of a bottomless money pit, surrounded by a lot of pointing fingers, yelling, crying, and other interpersonal drama.

If a production is properly monitored and managed on a week-to-week basis, most “quicksand” situations are avoidable. But what is not trackable on quota charts and production calendars is the effectiveness of communication among people up and down the crew list. Bottom line: if the communication isn’t working between all parties, the movie will ultimately suffer creatively; there will be delays, and the project will go over budget. With that in mind, here are some classic situations that can happen on animated projects, especially with first-timers, in which proper communication is key to climbing out of the quicksand:

• The story is not working but the show is in production. If a choice is made to start prior to a solid script being ready, make sure that everyone is aware of the risks they are taking. Suffering from full-on denial, I’ve heard, “Don’t worry. We can fix it in animation.” Or “It’ll be fine when you see it in color.” Communicate to all people involved that this is just impossible without incurring significant costs.
• The complexity and scale of the work and/or the process has been underestimated. If this happens, everyone needs to stop and discuss options to pull back on the complexity and ensure that the production can get back on track before it is too late. Never believe the talk that “We can fix it in the next department” or “We can catch up on our schedule down the line.”
• Poor or inaccurate production reports. Communicating the status of a project and projecting ahead with regard to potential delays is key to success. Make sure to have a strong system that ensures regular reporting to everyone on the team so they know what is happening.
• Bad chemistry exists between key personnel. When conflict arises at the senior level, the crew morale suffers greatly, like a family beleaguered by a bad marriage: it’s hard to sustain positive energy day-in and day-out, and ultimately, this negativity will be reflected in the end product. Although it is expected that a certain amount of friction will exist among strong personalities in a creative environment, it’s important to deal with interpersonal conflict sooner rather than later. In most cases, the director or producer is not going to get fired, and studio executives aren’t going away, and in the interest of making a successful animated project, everyone needs to learn how to get along.

To avoid these pitfalls, it’s simply important for everyone to communicate clearly and honestly. Know that fear often prevents proper communication, but realize that delaying bad news only makes a situation worse. Animation production has an assembly line component to it. It’s like making widgets, and if you are making the faulty widgets, the sooner in the assembly line you fix the problem, the better. Otherwise you will have a lot of expensive and unusable widgets—nothing worth showing on the screen at the end of the line.

Archiving of Digital Content

Once a project has been delivered, all content must be organized and archived for future reuse or reference purposes. Because the tracking system is set up to house the production files from their inception and through the course of the project, it can now be used for storage. Because each asset has its own specific coding, there is an inherent classification system that allows all material to be easily retrievable.