Jason Dollery, creative director at Sandstorm, on the creative and financial benefits of shoot-to-match

At one point, once a campaign was live, the filmed content was final.

Of course there was the option to change the end-board, product, or the language in post-production (so other territories could utilise it), but the film itself was stand-alone and fixed. If you wanted to extend the campaign it meant going back to the creative agency and essentially starting from scratch with no, or limited, existing assets or guidelines from the original campaign.

Then back in 2014 at my production company Sandstorm, we started to build into our creative approach the potential for re-shoots in the future.

Everything in the production was documented, from light set-up and equipment choice, to the products used in hair & make-up. Post-production templates and grade settings where also stored.  All of this was agreed with the creative agency and everyone was aligned that in the inevitable situation of other communication platforms requiring content we could use these guidelines internally to produce lower budget work in specific territories.

This forward planning allowed us to add-in or re-shoot scenes with new elements that perfectly match the original film. It was also amazing to add in time-tailored social content that addressed live events.

Think of what betting companies do now in between live games with real-time odds, and you have the principle for what we were doing back in 2014 only with new footage not just on-screen graphics.

The technique of re-shooting content and amending it after the post production stage is referred to as shoot-to-match. It’s an ideal solution because it delivers the same standard of visual identity and quality across multiple channels for a fraction of the budget. 

It also has the unlikely result of neutralising the perceived conflict between end-to-end production houses and creative agencies…once it is understood and worked into the schedule rather than hidden from one another.

The ‘new’ above-the-line creative, deserves the agency price tag, and as brand stake holders we should understand it is unreasonable to think our agencies can provide the same level of creative and execution for a platform with a fraction of the budget. Shoot-to-match allows end-to-end production companies to pick up where the agency (in my experience) can bottleneck. Freeing the creative agency from the hassles of multiple small budgets and allowing them to focus on the big creative projects while the brand gets the highest quality performance optimised content, with a higher return on investment. Thus driving more demand for creative branded content.

The results in both ROI and time management when using shoot-to-match for me, were so significant that I now educate other marketers on the production options available.  One of the ways we do this is via educational videos. You can watch the latest Sandstorm Insight Film on the topic of Shoot-To-Match presented by myself the Creative Director of Sandstorm and Senior Producer Marie-Ann Morrell as we explain and showcase that even without blueprints or assets the team recreates entire scenes for the likes of Honda in just a matter of days ensuring the continued success of the campaign.

Watch Here: https://www.sandstormfilms.com/shoottomatch

Staff Reporter

Share this story

Share Televisual stories within your social media posts.
Be inclusive: Televisual.com is open access without the need to register.
Anyone and everyone can access this post with minimum fuss.