Problems And How to Manage Them

Most of us will probably panic when we hear our partners go ‘We have a problem..’. A quick search will reveal these associative words; complication, dilemma, dispute, headache, obstacle, and issue. We have heard scary stories about not managing problems and them festering into monsters. It is rarely a fun thing in the production of a 3D animation, VFX, or motion design project!

So what exactly is a problem? For us, we define it as a concern or situation that prevents a task from being completed. Once identified, it needs to be addressed lest it grows to complicate the production process.

So what is actually a problem? For us, we define it as a concern or situation that prevents a task(s) from being completed. Once identified, it needs to be addressed lest it grows to complicate the production process.

THE PROBLEM WITH THE PROBLEM!

If there is a problem then just find the solution to it and everything will be fine, right? Yes. And no. Finding the right solution is only part of the process. When a problem arises, other issues will start to surface as well. Consider this situation where the problem comes in during a 3D animation production:

‘I know this is not ideal, but we are keen on changing the environment to an underwater setting. After seeing the first pass, we decided to go ahead with something more aquatic than futuristic. We will also have to increase the duration by an additional 15 seconds because we need more shots for our social media adaptations’.

Simple request. We just need to change the futuristic setting to something aquatic and increase the duration, and then that would solve everything. But a creative producer or project manager would immediately flag these issues as well:

Does the creative 3D animation studio have the expertise to execute this new treatment? If not, what are our alternatives?
Extending the duration will require more time and resources. Do we have the appropriate amount of resources; both hardware and manpower?
Is there enough budget? We are already at the first pass, have produced the shots, and most likely used up half of the budget.
Since this looks like a re-work, we will probably have to restart the conceptualization phase again. Will the client be receptive to this? Especially when it comes to time and money.
Does this new request fit the product or narrative? Is it a want or a need?
How did this decision come about and why is it being implemented now? Was there a factor that influenced this request? If yes, what is it and can it be controlled?
If we accede to this request, will the client expect us to be just as accommodating in the future?

We can immediately see that a single issue has several underlying problems. Think of it as an iceberg, where most of its unseen mass lies below the surface of the water. This is what makes a problem a problem for most creative producers and project managers.

Right off the bat, we can see that there are other hidden/underlying issues from just a single problem. Think of it as an iceberg, where most of its unseen mass lies below the surface of the water. This is what makes a problem a problem for most creative producers and project managers.

Firstly, it is a variable that makes it tough to foresee what it is or anticipate when it will happen. It also brings about a series of other issues, creating a gap (wider than it seems!) in the production process. This limits the possibility of crafting specific contingency plans for overcoming or managing problems. Thus, it is only natural there is a stoppage in production whenever we face a major issue.

Stoppages are delays that will lead to more time to complete the project. And more time equates to more money, a really sensitive conversation to have with most of our partners.

PROBLEM? YES PLEASE!

If Problem is a Marvel character then it has to be Thanos because it is inevitable (get it?). Problems, internal or external, will always exist in every project, and the only difference between them is their severity. Now that we have acknowledged this important fact, it’s time to look at the other side of the coin.

Problems, internal or external, will always exist in every project and the only difference between them is the severity.

Problems can be good. Surprised? The very process of solving and managing problems can be beneficial to everyone. It can turn problems into positive catalysts for project betterment and creative growth. But only if you can position them as opportunities instead of risks. In such cases, problems can:

Incite serendipitous creativity: In trying to solve a problem, there is a chance that we can be inspired by something and produce a really interesting solution that elevates the project to a whole new level.
Provide a chance to improve the work: The downtime in trying to find a creative solution can be used to re-assess and make improvements to the work that has already been done. For example, half of the team can continue to make fixes to the lighting and animation of some shots while the rest is brainstorming ideas.
Encourage artists to grow: Tough times do not last but tough people do! The challenge of tackling a problem facilitates creative growth while cultivating the spirit of teamwork within our studio. It also provides us with the opportunity to identify high-potential individuals who can be groomed for senior roles.
Educate and elevate individuals: Problems can arise due to unfamiliarity or lack of understanding. You should use this chance to educate your partners on considerations and the repercussions that can arise from the problems. Explain the situation to your artists so that they can understand how and why such problems come about. This way, both parties can level up and learn things beyond their normal scope of work.
Foster the relationship between partners: Most partners understand that the problems they bring to the table will complicate the process and given the chance, they will try to avoid it. This is where we can practice empathy and try to understand their predicament while realigning our positions as collaborative partners, working towards the same objective.

THAT EUREKA MOMENT!

So we have a problem, and we need to solve it. How do we go about doing that? There are various methodologies and approaches that can help you and your team to manage problems. As a creative studio, we use the IDEAL approach for most of the problems that we encounter:

‘I’ – Identify the problem. The first step in the approach would be to figure out what is the exact problem and what are the decisions to be made.
‘D’ – Define the context of the problem and goals. How is this problem affecting the narrative? Does it affect the rest of the stakeholders? What are its implications on the production process? What are the objectives to be met?
‘E’ – Explore possible strategies and solutions. All alternatives, big or small, should be considered because there is always the possibility of coming up with an effective solution.
‘A’ – Act on the best solution/strategy that the team has come up with. It may take some planning and negotiation for the proposal to get through but it is important to carry out the necessary actions for it.
‘L’ – Look back at the implemented solution/strategy to evaluate the outcome. Feedback from the partners can help to determine the efficiency and effectiveness of the entire problem-solving process.

There are various methodologies and approaches that can help you and your team in managing problems. As a creative studio, we use the IDEAL approach for most of the problems that we encounter.

Our immediate efforts will be on the first three steps of the process because of how crucial they are in aligning goals and managing expectations. To us, it is really important to identify what the problem is and the reason behind it. This allows everyone to acknowledge the problem and understand the scale and limitations that it brings about. It also sets the parameters for the exploration phase of solving and managing problems. Without these, we will be working off assumptions rather than a defined set of information, which adds more risks to the entire process.

It is also worth noting that the last step is something that we are advocates of. Upon project completion, we will set up a meeting as an internal after-action review (AAR) and share 3 important things:

The problems that we have faced in the entire production (What and why)
The necessary actions that stakeholders have taken in solving or managing problems (Who, when, and how)
The learning points that we have gathered from the project (Who, what, why, when, and how)

The AAR allows us to share these things to educate and inform our artists on the decision-making and problem-solving processes. When faced with similar problems next time, they can adapt or use existing solutions.

EAT THEM FOR BREAKFAST!

If you have been producing for a while, you can probably relate to the saying ‘Anything that can go wrong will go wrong!’ and can attest to how true Murphy’s Law is. We acknowledge that problems are part of the process, and when positioned properly, they can be beneficial to the stakeholders.

Ultimately, you need to have one or more problem-solving methods tailored to your business needs. These processes help to soften the blow and manage problems and partners’ expectations early on. They will enable you to come up with relevant solutions at any point in time.

Graphics by: Loy Qian Ling (https://www.instagram.com/odddough/)

We produced a short animated film! Watch it here: https://www.behance.net/gallery/161030507/A-True-Storey-A-Creative-Manifesto.

Or find out more about the Needs and Wants in 3D animation and VFX projects here: https://masonry-studios.com/needs-and-wants-in-3d-animation-and-vfx/ to help you understand your projects better.