by clicking the arrows at the side of the page, or by using the toolbar.
by clicking anywhere on the page.
by dragging the page around when zoomed in.
by clicking anywhere on the page when zoomed in.
web sites or send emails by clicking on hyperlinks.
button in toolbar for more information.
Email this page to a friend
Search this issue
Index - jump to page or section
Archive - view past issues
Please subscribe by clicking on the link to receive
Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : January February 2010
THE CRAFT 48 CAMPAIGNBRIEF JANUARY/FEBRUARY 2010 ELECTRIC ART MANAGING DIRECTOR Jonathon Eadie founded the com- pany in 1993, sinking $500K into the start-up and was joined by cre- ative director and partner Bruce Bigelow 13 years ago. The two became friends when they'd shared studio space in the 1980s. Concentrating on high-end creative retouching -- leading to the compa- ny positioning of 'Play God' -- they grew the business into a respected player with 12 staff. They have been involved in many of Australia's most awarded print campaigns, working with top cre- ative directors and photographers. "What might have been shot last year is now realised at Electric Art totally on computer," says Bigelow. "It's not that photography is dead, it just has a new relation called vir- tual photography. The ability to do stuff you couldn't is happening at an exponential rate, and to mimic reality or create the unreal is becoming easier." Eadie says the shift in focus is being driven by the market with demands for advertising to do more than just sit there. "Advertisers still want the high level of finish that print provides but they are interest- ed in it moving, albeit only be a few frames initially," says Eadie. "When we were in New York recently Bruce and I noticed that the billboards are no longer 24- sheet, they are entire buildings and they are in LCD. The resolution wasn't great but it will improve as the screen technology improves. If you imagine a billboard on the free- way you don't want an ad going on there, you just want a slight move- ment, for example, a girl flicking her hair. It's got to be slow enough so that it's not missed by the pass- ing audience." In early 2009 Electric Art signed with US agent Elizabeth Poje and Associates and since then has been in demand internationally with commissions for the US, and more recently Russia, Mumbai and London. However, work from Australian agencies still makes up the bulk of its work, accounting for about 60-70 percent of its work- load. Eadie says that while the budgets tend to be bigger on the interna - tional jobs, the overseas agencies are attracted by the work Electric Art has done for the local market -- which tends to be edgier with a very high level of crafting. What they are being asked to do has also changed. Work that three years ago would have been shot separately and painstakingly put back together is now created over a week in 3D with another week or two of retouching. "Crocodiles, cars, aircraft carriers, cars in unreal locations -- what I'm finding really exciting is that the demands that are being put on us we are pulling out skills," says Eadie. "Br uce's backgro und is in industrial design and he has an interest in architecture which he is using to design the room that the Capturing a life-sized giraffe nestled half-way up a tree for a Wellington Zoo campaign was challenging enough but in the near future Electric Art will have that giraffe climbing the tree and winking at passers- by. Now that print production technology is catching up with the imagination, the Surry Hills-based company is expanding its repertoire, and agencies around the world are turning to them for print animation, pre-visualisation and virtual photography. Electric Art plays God Electric Art founder Jonathon Eadie (left) and partner Bruce Bigelow Toyota (Saatchi & Saatchi, LA)
May June 2010