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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2007
TV C PO ST P RODU CT ION ble to craft a job. “Still, the futu re s eems qu ite buoyant at the moment wi th com- mercial work being very active both locally and in ternati onall y. The biggest toys to be introduced will be cameras such as the Red came ra, which wil l r evolutionise acquirin g images, p arti cularly for pos t. A s always we will do whatever we have to do to remain on the fore front of technology.” As f or edito r D anny Tait , t he aforementioned former p artner of Postmodern, he’s en joyin g b eing back in a b outique at the Glebe- based T ait Ga llery . Rece nt j obs include a glo bal spot for He ineken for th e upcoming Rugb y World Cup out of S ingapore as w ell a s Subaru and Mizone locally. One of the big issues facing edi- tors is that t he TV C marke t is shrinking, says Tait: “There haven’t been many new players in the game in the past 10 years, there ’s a few, but in S ydney you can co unt the editors wh o a re doing the bulk of the work on two hands and they are the same guys who have been doing it for years. If I was a young e ditor getting starting out I would be wor- ried about the long terms prospects. Most of the good young ones seem to hea d o verseas as soo n as t hey have a half decent reel,” he says. The fact that there’s less money in the business is evidenced by closure of four post houses through mergers in the past five years and the recent consolidation of three e diting com- panies into one. Tait also sees the answer in diver- sifying into other areas such as fea- tures, programs and documentaries: “I think being involved in long form projects with the idea of ow ning a share sounds interesting to me. In Australia not many produ cers are willing t o pay you your u sual r ate but i f thi s was o ffset with some ownership i t would definitely make it more attractive. I hope to still be cutting in my seventies. It would be a great way to grow old,” he says. The company will be representing Richard Leroy whose recent credits include iRobot. He will be re locat- ing to Australia soon. For Michael Eder, general manag- er of The Lab Sydney, the big gest chang e i s the introduct ion o f the creative pitch team where a creative director, head of 3D and head com- positor g et together and co me up wit h pi tch ideas f or adv ertising agencie s a nd p roduction compa - nies: “T his has been reall y well received, not only locally , bu t it ’s had a hug e imp act in the over seas market. Of ten when you go in to a pitch, d epending on wha t it is, it could be 3D, or heavy in design, or it c ould be a lot o f com posi ting work, s o we have p ut th ese th ree people together. The fee dback and the amount of overseas work we ’ve had from this has bee n exc eption- al,” says Eder. Recent jobs inc lude a Sams ung spot shot and posted in HD, which is the first job to go to air in Korea in HD, and they are now working on the follow up spot. 52 CAM PA I GN B RIE F Tim Kentley (XYZ Studios): “The trick is making the technology work for the idea.” Lewis Pullen (Omnilab): “Post production is still a large proportion of our business and it’s a cultural change for people to understand that we are broadening our outlook on life and that we are building up other parts of our business.” Eder agrees with his competitors that the indust ry i s experiencing some unc ertai nty. While the re’s been lots of quoting, not all projects are being realised – e ither they are getting vetoed in research or they’ve been put on hold. However, after a sl ow three mon ths ar ound t he financial year, Eder ex pect s it t o pick up again later this year. Althoug h T he Lab pr imar ily works on TVC s, it is se eing a l ot more enquiries for branded content work . I t’s al so expa nded fr om telecine compos iting to t aking on more design and 3D projects. For example, it is completing Erky Perky, the kids’ show being made through sister company Ambience Entertainment. For Alastair Stephe n, exe cutiv e prod uc er, En gine, t he past 18 months have been ex tremely busy: “We have built strong relationships with a diverse client base that are all doing well, which we l ike to think we are partly responsible fo r a nd the diversity not only keeps us busy, it keeps it interesting” he says. “It’s a very c ompetitive bus iness. Hence we regularly assess our inter- nal and external relationships an d how we can provide a b etter ser - vic es for ou r clien ts. W e have geared our faci lity wit h staff an d infrastructure that allow us to adapt and react to our clients needs with a primary focus on process and pro- ducing consistently inventive, mem- orable work.” Recent work is across advertising, design and broadcast d esign mar - kets including a summer i dentity campaign for Foxtel and Ar ea 51, TVC c ampaigns for Hutchison 3 and Benadryl with The Camp aign Pa lace, Lex us wit h Saat chi & Saatchi, installation work for Red Simon Rosenthal (Iloura): “The software can cost an awful lot of money, even the 3D software can be frightfully expensive by the time you’ve got 30-40 copies. A decade ago everyone was talking about Flames and Infernos and while we can continue to have those systems we are heading in a different direction.” Bull and the Launch of th eir F1 Team as well as a channel re-brand for TV1 on the Foxtel Platform. Another person sick of the t ired old “t ight budget” l ine w hen i t come s to post budget s, is Tim Dyroff, creative director of Sydney- based Resolution Design: “This has been during a period of enormous corporate profit and share market growth. In a way the two add up. I think it is pretty obvious when we see a commercial we have done on a shoestring budget pl ayed u p t o three times in one a d b reak that marketing bu dget s are focus ed more on air time than on produc - tion values. I think this is killing the television audience (high repetition) and not maki ng t he best of the money that is clearly avail able t o promote a prod uct or a brand ,” says Dyroff. While there is plent y o f t alent locally, he does fear that Australia is losing some of its b est pe ople t o other markets and care er pa ths as overseas wages and o pportunities present themselves: “We have taken on quite a few designers and trained them which has been a very reward- ing process for us. Mo st of ou r clients have bonded well with these ‘new kids on the bl ock’ and co n- tribu ted to the ir w ork a nd sk ill acquisition . Some clien ts d on’t seem to understand the need to give back by being patient a nd c lear. Fortunately these ar e the minority. I generally think good crea tive tal - ent is drawn to a particular compa- ny for a variety of reasons, not just money. At Res olut ion w e try t o provide interesting wor k, a uniq ue creative environment an d an open creative dialogue wi th e ach o ther and our clients.” The las t wor d g oes to T im Kentley, founder and design direc- tor of Melbour ne bas ed XYZ Studios, who believes the moving image is only limited by the imagi- nation with technology breaking down traditional barriers. Accepting that agencies a nd the ir budgets come in all shapes and s izes, XYZ Studios tries to work with creative directors who are genuinely looking for something new. Says Kentley: “That’s where our pos ition i s clear: we don’t run a competitive studio, we run a cre- ative studio. We will p resent our treatment, and if they want to buy into our ideas, they need to pay appropriately to resource the birth of that idea. Often you do a work for less, for love, but at the same time we have won our share of jobs where we were the most expensive of the bunch - because the agency recognises the value of our c reative treatment. Offering design leader- ship with guts goes a long way.” With such a bag of tricks used to cr eat e c ommerci al art, Kentley insists it’s a great time to be in the game: “We get to mix film with Maya to create the astonishing and new. We a lso have a subsi diary company called Apple, Autodesk and Adobe working flat out for us making mad tools, so there really is no excuse for outputting a visual cliché wi th s uch an ex ces sive palette,” he says. “The trick is mak- ing the tech nology work for the idea. I don’t know what the future holds, except that it will be the same a s t he past: defined by the prescient people who take the con- ceptual idea and exhale it into the visual medium in a way that defiles the s tatus quo. The only thing holding us back i s that antiquated necessity called Sleep.” J JU L Y /AU GUST 2007
September October 2007
May June 2007