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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : November December 2008
T VC PRODU CT IO N and directed by Adrian Hayward as well as a collaborative project with Storm Surfers. The Big Wave film wit h sp onsors Red B ull and Mitsubishi was written and directed by äht’s McMillan an d sound pro- duce r C hris Neliu s f or The Discov ery Channel. Web site and online ac ti vit y tra cking crew’s progress has an an ticipated audi- ence reach of over one million. Towell expects the evo lvement of new media will continue, resulting in advertisers and clients coming in as investors rather than sponsors for integrated content. “We find ourselves working at the grass roo ts l evel of s cript de velop- ment wit h clients who respect and trust wha t we c an offer to make a great TVC that w ill se ll pro duct. These relationships formed over the years ha ve strengthened, s ecuring us re peat business. T he a gency is comfortable, the client is co mfort- able and we are fortunate enough to be producing great work with peo- ple that we really like,” he says. The dec rease i n the demand f or traditional TVCs and the ne ed to adapt your business model accord- ingly, is the biggest challenge facing the ind ustry, ac cording t o Mike Vanderfield, ex ecutive produ cer, 8 Commercials. Sa ys Vand erfi eld: “Obvi ous ly mor e a nd more mone y i s be ing spen t onl ine, wh ich defin it ely diverts marketing budget away from traditional TVCs. Competing wi th big TV production c ompanies on long fo rm wor k is dif ficult, but achievable. “Branded content is all t he go , which is simply long form advertis- ing for n ew and old m edia. It remains to be seen if the process we use to c reate a thirty-second TVC funded by cl ients can del iver long form wo rk. We ar e doin g some longer form work, for ex ample, we just completed an AFC- funde d documentary an d we h ave s tarted doing small br anded co ntent pr o- jects, but it is not profitable bus i- ness yet,” he says. Clients a re spending le ss acr oss the board , which me ans the pro - duction industry has to work harder than ev er and become increasingly resourceful at facilitating TVC pro- duction on much tighter budgets, adds Stephanie Ceccaldi, exe cutive producer, Brilliant Films. “This of ten results in pro duction companies having to redu ce thei r margins. Subsequently p roduction companies are at mor e risk finan - cially,” she says. Brilliant Films has been setting its sights o n the international market, pursuing work in Ch ina a nd t he Middle Ea st. Recent ly, i t ali gned with a c ompany based in Eas tern Europe, exposing it s d irectors to work in a different and developing market. “I t also enab les our cli ent s t o work abroad with a diverse array of talent and i n some cases, increased production value,” she says. Brilliant has broadened its pool of directors in a less conventional way by br inging on s eve ral fre elance 34 CAMP AI GN B RIEF Ceccaldi - Brilliant Films has been setting its sights on the international market, pursuing work in China and the Middle East. “It also enables our clients to work abroad with a diverse array of talent and in some cases, increased production value,” she says. Fragmentation is the biggest challenge the industry is facing, according to Ritchie: “We have a fragmented market and I believe the audience’s minds within that market are equally fragmented. The attention span is shorter, not longer. Short form work is more than relevant, it just needs to be as entertaining as the programming that surrounds it.” Towell expects the evolvement of new media will continue, resulting in advertisers and clients coming in as investors rather than sponsors for integrated content. directors to work with them on spe- cial projec ts, most o f which a re based overseas. It has also re cently invested in long form projects and will continue to do so as it is impor- tant to keep i ts creative perspective fresh and to invest in the sk ills of the directors it represents, sa ys Ceccaldi. Paul Friedmann, execut ive pro - ducer at Flying Fish, says the gen- eral consensus is that to survive in the current cl imate p roduct ion companies need to l ook fu rther afield for income streams. For example, Flying Fi sh ru ns a separat e mus ic clip and conten t company, FishnClips, as a c onduit for young creative talent and a way to service an alternative client base. The t eams get involved in a range of smal l budget creat ive project s that generally have a fraction of the budget of a commercial. In the last four months it has worked on pro - jects for Yahoo!, Goat B oy, Red Cross, Faker, The Veronicas, The Vines, Vaness a Amor osi, an d Gyroscope. Fried man n names h ighe r cre w costs, higher location fe es, c on- struction costs, recent pay roll tax issues , wor kers’ compe nsat ion costs, and facing th e p rospect of pr oduc tion bu dget s t hat have stalled at 2001 levels as the biggest challenges. “To counter this, and for a p ro- duc tion company t o sur viv e, we have had to s tay current and rel e- Watkins: “The 35mm TVC will always have its place, or at least until the new technology can replicate the inherent qualities that film delivers. The new media market is an opportunity and is one that we are grabbing with both hands.” vant to a c hanging industry and take a more flexible approach. As an example the option of shooting on HD as both a financial and prac- tical solution has been one step for- war d for compan ies . W het her shoot ing on t he Sony F23 or the RED camera, with a well structured work f low in post production, the results can be a stonishingly good and the sa vings can be attractive,” says Friedmann. Friedmann adds that two years ago, some productio n companies went to the wall in spectacular fash- ion: “That isn’t something that our industry should be proud of. It was pleasing to see th is y ear, however, that a couple of well known pro- duction companies closed on their own their terms, choosing their own time, having set the bar very high for us all,” he says. Flying Fish’s independent feature film, Locked In was a finalist at the IF Film Awards. It also gave Flying Fish the oppor tunity to involve Sony, Ocean & Earth and a food man ufac turer in product place- ment. Mike Watkins, general manager of Film Con st ruct ion, whi ch has offices across Australia and New Zealand, suggests that as a region, Australia and New Zealand band together to promote the benefits of area, supporting initiatives such as New Zealand government’s Trade and Enterprise initiative, set up this purpose. NOV E MB ER/DE CE MB E R 2 0 08 Friedmann - two years ago, some production companies went to the wall in spectacular fashion: “That isn’t something that our industry should be proud of. It was pleasing to see this year, however, that a couple of well known production companies closed on their own their terms, choosing their own time, having set the bar very high for us all,”
Awards Dec 2008
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