Cindy Fluitt, Director of Production: On any given day, 50-75% of the production department at GSP isn't in the office. The day of this photograph, producers were in L.A., N.Y., North Carolina, Cuba, Australia, in San Francisco at recording studios or shooting Sprint phones or editing NBA, Comcast or Hyundai spots. Our group is 37 strong lately, with the long list of freelancers being reduced from 11 people to four people. We have a strong coordinator group (Team C) and assistant group. Our producers are constantly praised for the way they handle their jobs by vendors and clients. We're very integrated here, although not officially named as integrated. Our producers bob and weave between projects, and work together to blend interactive and broadcast and motion design and editorial disciplines.
Executive Producers: Barbro Eddy, Elizabeth O'Toole, Tod Puckett, James Horner, Tanya LeSieur, Josh Reynolds; Director of Production: Cindy Fluitt
Cindy Fluitt: When GSP moved to 720 California Street in 1997, there were plans in place for a dub room and a recording studio and one edit room. That would make it easy to record scratch VO tracks or make a 3/4" dub for a client presentation. Times have changed. Our MCR (master control room) cranks out thousands of digital files per week. Cameras and equipment are used all over the world, while experimentation with light writing [see motion group photo, right] continues in the studio. Our edit rooms and one audio suite run night and day. GSP Post is located on the E level of our building, which not only stands for entry level, but also for the entertainment level. In partnership with the Motion Design group, headed by Randy Stowell, GSP Post focuses on everything from creative development, a wide range of content?branded and unbranded, radio and spots for Nascar and the SuperBowl.
Suzee Barrabee, Head of Print Production: As silly and trite as it sounds, everything that we do in our department is based on teamwork and being a good team member. As everyone in our department functions as an art buyer and print producer, we follow a project from creative inception through final execution. This gives us the opportunity to work closely with the creative team to help them realize their creative goals and to give suggestions to facilitate the production process. We also work as a team with our project managers, account team and strategic group to keep the work flowing to successfully complete our projects. But, most importantly, we look out for each other. Everyone is a resource, everyone is a helpful hand, everyone shares a good story and everyone respects each other. And best of all, we have a lot of fun.
Randy Stowell, Head of Motion Arts: Bridging the creative department and tradition postproduction, the motion arts group at GSP is a collective of studio artists approaching creative solutions through motion graphics, visual effects, 2D/3D animation and motion-based storytelling. The group (as shown here) was instrumental in developing the hand-drawn light assets for Sprint. Projects range from quick and dirty creative development to fully realized webfilms, brand entertainment, network identity and of course the ubiquitous end tag/logo treatment.
MIKE GEIGER, DIRECTOR OF INTERACTIVE PRODUCTION
I oversee a group of about 45 smart and good looking people and am in charge of all interactive and emerging technology projects.
MIKE AND HIS EXECUTIVE PRODUCERS
From left to right: Heather Wischmann (HP), Derek Richmond (Sprint), Syed Naqvi (Hyundai), Amanda Cox (Doritos, Got Milk, Adobe) and me [Geiger] in the foreground taking a stabbing, actually a back stabbing.
THE INTERACTIVE TEAM
About half of the people in the interactive production department. Some of us had to be at a shoot or client meeting; others just don't like to get their picture taken.
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