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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : November December 2007
T V C P R O D U C T I O N STATEOFTHE At Cannes this year Tim Piper, a young Australian creative working at Ogilvy & Mather Toronto, sent shockwaves through the industry when his short film ‘Evolution’ for the Unilever product Dove won the Grand Prix in both TV andCyber. Piper not only wrote and co-art directed the spot, he was also the director. Apart from scaring ‘real’ commercials directors to death, the double win sent a positive message to the market that, rather than causing the demise of the TVC as had been predicted for so long, the internet could be the production industry’s saviour - by extending the audience beyond the restrictions of the television screens in any one nation. CB talks to some of the big players to see where we’re at and where we’re headed, in our annual TVC Production special report. THE LINES ARE BLURRING between online and TV, basically because people are spending more of their time online with the power to watch what they want to watch at their fingertips, suggests Rob Galluzzo, managing director of cutting-edge tvc company @radical.media. This is also extending beyond the inter- net to mobile phones, however he points out there is a difference between ‘made for mobile’ and viewing content on mobile phones. “Made for mobile is already obso- lete. People talking about it are already a year behind the game. Making great content that enter- tains – that’s the trick. The fact that the new iPhone has a YouTube button is testament to this,” he says. With technology travelling at such a ferocious pace, the ad world is flattening and he predicts more clients will start looking outside the Australian market - as the Commonwealth Bank did by taking its account to Goodby Silverstein & Partners, San Francisco. “It’s the Wild West at the moment. If you have courage, insight and creativity you can win more that ever. I believe the key is to entertain,” he says. As Adam Wells, executive produc- er and principal of Republic Films points out, it’s a case of do or die – already in the US 40% of all TV programmes watched are time shift- ed by the viewer. “Traditional TVCs are no longer to be relied upon to engage the cus- tomer - because they just aren’t watching. What they are watching are 360-degree campaigns like ‘Revolution’. My understanding is that traditional clients’ budgets used to be split 10-15% to TV pro- duction and 85-90% to other media and marketing. Now, TV produc- tion is split between online, viral, mobile, games, experiential, inter- active – vertical and 360 degree campaigns,” he says. Wells expects the lines to blur even more as clients stick more than their toes in the water, but predicts they won’t do this until it sells product. “In the US, Europe and here, to a lesser extent, the products are sell- ing; but it takes a braver client to sign off a 360-campaign than a straight print, TV or radio spot. I still believe one fundamental truth – 36 C A M P A I G N B R I E F “When we make an ad now we make an ad that people all over the world are going to be looking at, so that’s very exciting,” says Masterton (above) who thinks the key to getting things sent on is to make sure it is really funny or really spectacular. when the Australian government allows full blistering internet speeds, the platform becomes redundant,” he says. The Sydney Film Company’s Peter Cudlipp says there has never been a boundary between online and TVC as far as production com- panies are concerned: “The impedi- ments to the convergence have been lazy media companies, over-promis- ing ISP’s and bloated free-to-air networks. Way out of our hands. It’s all sound and image to us. There’s interest in creating com- mercials for any delivery mecha- nism,” he says. When they make an ad now the first place it is released is online, according to Peter Masterton, exec- utive producer of Plaza Films. The latest is the Paul Middleditch- directed Pure Blonde TVC for Clemenger BBDO Melbourne which has already received just short of 100,000 hits from Vividas and YouTube combined. [Going one better was the George Patterson Y&R, Melbourne created VB ‘Symphony’ spot, which has over 150,000 hits and no paid media or PR back-up whatsoever - although that may have been more to do with Foster’s severing its ties with Patts, than a brave marketing move. It’s almost as though they wanted it to sink without a trace!] “When we make an ad now we make an ad that people all over the world are going to be looking at, so that’s very exciting,” says Masterton who thinks the key to getting things N O V E M B E R / D E C E M B E R 2 0 0 7
AWARD Awards 2007
September October 2007