CASE STUDY
TARGET / HUNTER

OVERVIEW

The Target / Hunter campaign is an example of a post solution in which Irving Harvey stepped in to manage and facilitate the tight timeline and extensive deliverables of the video component of a multi-platform advertising campaign. By taking care of the technical details, Irving Harvey was able to allow our client to focus on the big-picture creative considerations while keeping delivery on-time and in-budget. 

Irving Harvey was brought on by Artist Commissions, a management and production company that represents various renowned artists. Target was throwing a unique event called the Hunter for Target Ultimate Family Festival at the Rose Bowl in Pasadena, CA, featuring OneRepublic, Charlie Puth, Charli XCX, Troye Sivan and DJ Questlove and hired Ryan McGinley and Artist Commissions through agency Chandelier Creative to direct produce the photo and video campaign surrounding the event for their new line with Hunter. 

The video component was scheduled to be edited while the shoot and event were in progress in order to turn around content for immediate posting, and there was a long list of deliverables to be fulfilled in the days following the shoot. Irving Harvey was tasked with designing the workflow to allow the edit to happen as fast as necessary as well as managing the client review process and facilitating the delivery of all the various edits and aspect ratios.

PRE-PRODUCTION

The turnaround requirements were established early in the planning stages of the project, and it was clear to all that they would present a challenge in execution. Irving Harvey worked with Artist Commissions and Chandelier to coordinate all the details of the post setup, including data workflow, camera settings, hardware considerations, workspace setup, and delivery schedule and details. In the days prior to the event, Post Producer Samuel Gursky scouted the event location to ensure that the needs of the editorial team would be met. 

Additionally, the videos produced from the shoot would feature footage captured in a prior lifestyle shoot also produced by Artist Commissions. Irving Harvey helped to coordinate pre-edits using this footage in order to determine exactly what shots would be required on the shoot day. This allowed the production team to draft very specific shot lists for the camera operators. 

Production

Due to the work done in pre-production, the actual production went as smoothly as possible. Production assistants went around the event to the camera teams throughout the shoot to pick up cards on regular intervals and the data manager was able to quickly offload the footage to fast master drives and solid state runners for the editor and assistant editor to use immediately. The specific shot lists meant that the camera teams were able to get exactly what was needed quickly and drastically reduced the quantity of footage for the editorial team to sort through.

POST PRODUCTION

The majority of post production happened prior to the event in the pre-edit stage and on set during the event. The pre-edit stage allowed editor Steven Rico to carefully plan out the final spots without the rush of the quick turnaround to worry about. Irving Harvey was able to coordinate between Rico, Artist Commissions, and Chandelier to get the spots to as final a state as possible. Thanks to all the work done before the shoot, editorial on set was a breeze. The editorial team received exactly the footage they needed, and approvals came quickly as the creative team knew exactly what to expect having already worked with the edits. Gursky coordinated reviews and notes with the creative team and client while managing deadlines, allowing the editorial team to focus on their edits without being distracted by logistical considerations. Even with all the normal production curve balls thrown and the attention of the creative and client team being divided between the event, photo work, and video work, the delivery timeline was able to be kept to thanks to the smooth workflow.

DELIVERY

After the shoot, Irving Harvey coordinated the delivery of a long list of additional deliverables in various lengths and aspect ratios. Irving Harvey was able to supplement the work of the editorial team to reformat the edits and check all deliverable files as well as execute final delivery to the agency and delivery partners. Irving Harvey organized the delivery requirements into a shared database allowing all parties to keep on top of the delivery status in real time.

IN CONCLUSION

The Target / Hunter campaign was a great example of the relatively new requirements and challenges of the web and social media advertising age. With a huge number of platforms and outlets and all the various formats needed accordingly, delivery requirements for content have become much more extensive and turnaround is expected to happen immediately. Irving Harvey is able to offer post solutions that, like in the case of this project, take the burden of such complicated technical details off creative teams, allowing them to focus on their creative goals.