Today’s episode is Part 2 of a special two-part interview with three brand-side art producers; jump back in for the rest of this awesome conversation with Ken, Suzee, and Shayla.   Key Takeaways [:31] Heather welcomes listeners back to this special two-part live recording of Dear Art Producer and picks up the conversation with her three guests. [1:12] Motion came into photographer’s arsenal only a few years ago so some are now already directors and some are still figuring out the basics. Heather asks her guests what requirements they have as it pertains to motion. [2:07] Suzee explains that there are many configurations that depend on the client and project and that there is a learning curve since it’s a growing field. [3:38] Ken finds that it’s really easy to sell a photographer taking care of motion because it guarantees an aesthetic uniformity. [6:17] Shayla always needs some motion component. When the brief requires some video but the bulk is stills, she will look for photographers who are apt at motion or turn the stills into a GIF. [9:00] Heather speaks to the difficulties she encounters when agencies ask for ‘motion’ estimates without the client having any clear idea of what they want. [9:53] Ken is guilty of exactly that with Heather! [10:55] Everyone shares their perspective on and experience with ‘behind-the-scenes’ videos… Q.A. [14:23] Audience question: When looking at a photographer’s website for motion, what is the best format? Condensed reel? Finished products? And what about photographer/directors? [14:40] Ken, Suzee, and Shayla all say that raw, edited, and finished products should be on your website. [16:44] Heather’s advice for photographers looking to start with motion: Have a motion solution for your client. [19:22] Heather moves the conversation to treatments to ask how they are used, and what they should include and exclude. [20:00] For Shayla, treatments are a luxury that happens if time permits, and it does introduce the approach the photographer is going to take, which is really helpful if you’ve not worked together often and really useful for pitching the estimate. [21:22] Suzee echoes Shayla’s answer and adds that it helps drive the creative as well as logistics conversations around the project. But she does underscore how the number one most important driver for the final choice is the creative call. [23:49] Ken touches on what he expects from a creative call and treatments and how important they both are in terms of showcasing your vision, passion, confidence, and appreciation for the project. [26:36] Shayla speaks to the opportunity for “extra credits” that treatments and creative calls offer. [27:32] Heather reiterates the critical importance of being ready for the creative call — if you haven’t read the brief, say no and set a different date! Q.A. [29:43] Audience question: It sounds like there is no right way to do treatments, but ultimately what is a good treatment? Is it showcasing your experience to do a shoot? The research? [31:02] All of the above says Ken; he shares a couple of professional stories. Q.A. [34:44] Audience question: Have people ever charged for a treatment? [34:56] Suzee explains that it’s the cost of doing business and they would not pay for a treatment — but if you feel like you’re being taken advantage of, ask yourself questions. [36:08] Heather steers the conversation towards estimating and what it takes to get a job approved on the art production side. [36:56] Decks, decks, and more decks are Shayla’s constant work for relaying the information and data to the creative team in order to get to the unbiased best option for that project. But the speed of it depends on the company: Uber Eats is lightning fast at making those decisions. [39:08] Facebook has a very clear but rigorous process and Suzee does find that larger companies tend to have heavier red tape to wade through. [40:25] Cost consultants will add about four days to the whole process. [41:56] Suzee will call y