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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 Holden Monaro shoot at the ZOOM studio Mark Toia in Spain shooting for Holden Holden Astra (Gerard Lambkin) Hear and Say (Gerard Lambkin) Gerard Lambkin Mike Hilburger TOIA TOYSWITH Mark Toia has always had an eye for the perfect shot. But it’s his ability to visualise the impossible that has taken ZOOM to the top. As new technology has evolved, Toia has found lots of new toys to play with as he teases imagery into a new reality. The ones he’s liked the most, he’s bought. It’s a simple investment strategy that has created amazing facilities and enabled Toia to keep doing what he’s always done: Having fun. TOIA’S FOYER HAS LOTS OF IMPRES- SIVE trophies on show. Impressive, but neglected. Mark isn’t particu- larly interested in showing those off. Not even to the first time visitor. He lost his passion for award shows years ago. It’s only that the young directors at ZOOM still enjoy com- peting and winning (and partying) that he even bothers to enter. Ignore the gongs. Grab a coffee, come upstairs, wander out the back. These are the bits Toia gets excited about. And it’s easy to see why. As his reputation has grown, so have his facilities. ZOOM has ploughed hundreds of thousands of dollars into infrastructure. Their editing equipment is the most pow- erful you can purchase off the shelf. This kind of grunt is often put to good use creating the most amaz- ing, stylised animatics that make for streamlined pre-production meet- ings. It also comes in handy after the shoot when edit options need to be explored prior to hard decisions locking in at the post house. Facilities at ZOOM include a very comfy client lounge strapped to the side of a very impressive two studio stage, one for standard shoots, one specifically set up for capturing footage for vfx. ZOOM also boasts its own grip truck full of dollys, cranes, cameras and everything else needed to smooth out a shoot gov- erned by budgets. Everything is 48 C A M P A I G N B R I E F designed to free ZOOM from a reliance on freelance support and give ZOOM’s directors and their clients greater bang for the buck and flexibility. Toia has the kind of global repre- sentation that many would die for. He pores over more than 300 scripts a year from all over the world. He is in demand, clearly at the top of his game, yet he openly admits that he hasn’t done his best work yet. Like all top directors he is still driven to achieve something new and unexpected. He is in con- stant pursuit of his favourite new piece, those few seconds of magic that he will never tire of watching. Toia is a self-confessed worka- holic. He is constantly searching for better ways to produce creative work, still mastering (and messing with) new software like a wide-eyed teenager. He knows communication is rapidly evolving and he’s deter- mined for ZOOM to be at the cre- ative forefront as it happens. Says Toia: “The world of TV advertising is changing so fast that you’d be mad not to change with it. Web, new media and product placement is going to rip TVC pro- duction a new arsehole.” Okay, so Toia might not be a poet. However, he may be a prophet. He’s looked at what’s hap- pened to tv production budgets in the USA and he can see that the winds of change are blowing this way. He’s adamant that advertising agencies should be partners and need to work together with produc- tion companies to find new ways to preserve creativity and ensure that everyone can still be rewarded for their work and their ideas. Tighter margins and a rapidly changing television landscape might represent big challenges for ZOOM, but Toia likes a good stoush. He boxed a bit when he was young. Of course the gloves were hung up quite a few years ago. These days it’s going toe to toe with his fellow directors at ZOOM, all good mates, that push him to pro- duce his best. This friendly rivalry has added a few jabs, hooks and uppercuts to a reel that already packs a hell of a punch. Toia’s new you-beaut-ute ad for the VE Holden is an evolution of the kind of car commercial expect- ed from ZOOM. No donuts. No AckaDacka. But with a Jet fuelled track and a drive through history with a simple but beautifully styled McCanns Melbourne script, Toia was definitely in his element. ZOOM directors are supremely comfortable with the latest VFX technology. When they look through the lens they see exactly how the finished scene will look. It’s this innate ability to compose complex imaginary frames with the flair of a 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