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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2007
GOTTALENT knows him – i f Tim c an do i t, we can a ll d o i t a nd t hat’s t errific, we’re reall y happy for him. We ’d love to have him back, we had a lot of fun. We are mates and we do stir each o ther, but a t t he end o f the day he was a terrific contributor to our agency.” What was he like to work with? “He was good, we are really lucky here at Clemenger Adelaide that we have a t eam of individuals who all get o n rea lly wel l. Tim’s g ot an amazing wor k ethic, he’s ve ry focused in the way he wor ks and he’s a ver y str ong conceptual thinker. He ’s n ot a fraid to t ry his hand a t d ifferent d isciplines. F or instance, he wasn’t a fraid to dir ect when the need arose and even com- pose simple music if he needed to. He’s a multi-talented bloke.” As f or the comment about being too ambitious, Knagge s ays he would never say that to anyone. “Like most strong creative people, Nick Law sits down for a chat with Campaign Brief at Cannes this year Tim’s got a very determined style in regards to his personality so like lots of people who h ave t he ability to have a vi sion and make i t come to life he might have come across as a strong personality to some people, but I don’t remember that particu- lar c onvers ation abou t him be ing too ambitious, I think ambition is a fantast ic attr ibute an d wou ld only ever encourage it.” Once in Canada, Piper freelanced at ag encies inc lud ing Saa tch i & Saatchi Toronto, before landing the job a t O&M in October 2004. He say s t hose ea rly d ays i n Canada were daunting. “It star ted off pr etty tou gh R/GA New York’s Nike+ won the Cyber Grand Prix and one of the four Titanium Lions. Nick Law was ECD ei ther t ime t o g o t o Syd ney, Melbourne or overseas. Don’t get me wrong, I feel really good about Clemenger BBDO Adelaide, it’s a really good company and I like all the people there, it was a close fam- ily, so it was hard to leave.” Knagge says during his two years JU L Y /AUGUST 2 007 at the agency Piper and Velis pro- duced some real ly good work for clients including Bank SA, Natural Gas and SA Lotteries and it’s won- derful to see him achieve what he just has. “It makes it so much more acces- sible for everyone back here who because no -one kno ws any of th e work you have done and moving to a new city is hell, you have no sup- port b ase an d y ou a re sp ending money on rent and don’t have any furniture but do n’t kno w whether to buy any because you don’t know how lon g you ’ll be ther e. You are definitely relying on a coup le o f lucky bre aks an d yo u n eed th em relatively quickly,” he says. He’s now associate creative direc- tor a nd t ends t o d irect h is ow n work, a hangover from his Adela ide days when he would dir ect to stretch the budget further. He cred- its two f riends, th e ph otographer/ director Ro han Smith a nd Shane McNeil with teaching him the basics of directing. ‘Evolution’ was inspir ed by Piper’s now ex-girlfriend Stephanie Betts whom he saw struggling with self-acceptance despite he r st riking looks: “It was easy for me as an art director – who sees a lot of models coming through the door for shoots – t o s ee h ow my own g ir lfr iend could be a billboard model, just like anyone can. So I used her as a sto- ryboard to experiment on and when I sh owed t he c lient w e en ded up using her for the shoot because the photographer thought she was per- fect for it,” he says. Piper k new h e h ad a h it o n h is hand the second he thought of the time lapse treatment. For about six months he’d been s ecretly ponder- ing the best way to show a before and after story to show young girls the difference between a top model and themselves i s nowhere near as distant as they think. “As soon as I thought of that treatment I thought it would be amazing to see. For me it wa s a n o-br ainer I j ust had to make it,” he says. He pitched the concept to Unilever and they agreed to it , on the condition he a lso made a s ec- ond film exploring a mother’s influ- ence on gi rls because res earch had shown this as a significant contribu- tor to self esteem. The second film ‘Daug hter s’, which was a One Show F inalist, wa s d irected b y Staav, who al so directed th e l ive- action on ‘Evolution’. Piper says he is e qually p roud o f t his f ilm a nd Unilever was incredibly supportive throughout the whole process. The method behind ‘Evolution’ is a simple animation technique com- bining j pegs of th e re touche r’s progress with 2D animation of the computer tool s su pered over. The biggest challenge was in post, which went three weeks over time due to a need to constantly simplify the live- action footage. Piper says: “We blew up the video footage 150% because I was unhap- py with the framing from the begin- ning. We also spent a day stabilising the head because the talent had no neck brace. Keeping the time-lapse feel over a s till image ( the photo) was ve ry tough. Ev entually we r an out of time to get it right, so I asked the animator just t o s peed e very- thing up except the neck stretch CAM PA IGN B R I E F ( 27
September October 2007
May June 2007