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 : September 2010
45 SEPTEMBER/OCTOBER 2010 CAMPAIGNBRIEF POST PRODUCTION 44 CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2010 Postmodern: Suckers for advertising perfection THE KEY STAFF AT POSTMODERN have a long history in the field and borrow from many disciplines when coming up with solutions for their advertising clients. This makes the emblematic marine totem, a com- pletely appropriate one for the Sydney-based visual effects and design company. Work completed this year includes impressive campaigns for leading brands such as Optus, Mother, TAC, V and Abu Dhabi-based TDIC. All of these TVCs have seen senior directors return to Post mod- ern to harness the talent for which the company has built an interna- tional reputation. The work in 2010, while quite different in style is notable for its high-quality and big-screen feel. If a filmic quality is evident in the work, it might be further evidence of the company’s problem-solving prowess and intelligent design; qualities that saw the company snapped up in April when Postmodern caught the eye of the US-based CIS Visual Effects Group. Its pedigree in film is also grow- ing, having completed visual effects for as yet un-released features, Oranges and Sunshine and Sleeping Beauty as well as Luhrmann’s Australia, Death Defying Acts star- ring Catherine Zeta-Jones, Knowing with Nicolas Cage, as well as Daybreakers, a major sci-fi feature starring Ethan Hawke and Willem Dafoe. Executive producer, Andrew Robinson, explains that while it is ‘business as usual’ in terms of the company’s structure and operation, the new relationship will deliver some key advantages to TVC teams. There must be something in the water this year, because just like Paul the ‘psychic’ octopus which kept people entranced with its oracle-like predictions during The World Cup, the team at Postmodern are making the right choices and kicking some impressive creative goals. “We look forward to bringing CIS technologies and capabilities into our creative pipeline as well as an extended network and knowledge base. Our staff have done some great advertising work this year and certainly it has benefited from them working between the two disci- plines. “Importantly, directors and agen- cies enjoy working with our people. They have excellent experience, understand the TVC process and enjoy the challenge of bringing a vision to life”. Bigger and more Explosive One of the most head-turning Australian TVCs of the year was the latest campaign shot by director David Gaddie to sell Coca-Cola’s ‘Mother’ energy drink. The concept was to keep building on the new brand direction of the beverage which took market share after it was famously rebranded away from being an ‘all natural’ energy drink to one that delivered real punch and adrenaline-fuelled action. The ‘Motherland’ ad delivers this in spades, by taking the viewer on a journey through the ultimate fanta- sy fun park for men, full of impossi- ble roller-coasters, jet-fuelled dodgem cars and epic explosions. The screen is packed full of effects that would rival many an action film. Together they create a very convincing world which is testa- ment to Gaddie’s imagination and the team at Postmodern. Says James Rogers, Vfx supervisor on the job: “The effects are photo- real yet at the same time hyperbol- ic. The 3D and 2D teams worked to David’s direction to achieve this look. The footage was shot both at an old rail yard in Sydney as well as Coney Island, New York and LA theme parks, so digital set-exten- sion was essential to weave all the elements together. “There are also some really fun camera angles and the final aerial shot really helps to give the ad tremendous scale.” Client: Coca-Cola Mother Title: ‘Motherland’ Vfx supervisor: James Rogers Prod Company: The Colony Director: David Gaddie Producer: Sue Walker Agency: Smart, Sydney Last Girl on Earth, now in Space Another David Gaddie piece recently completed by Postmodern is a new spot for Optus that helps to sell their prepaid mobile phone service by offering customers a chance to win one of 500 double passes to see pop superstar Rihanna live in concert when she comes touring in Australia. Full 3D set pieces in space are the feature of this TVC as well as some cheeky animated penguins and a fully-integrated singer who floats around in zero gravity. The ad design also pays homage to the Star Trek films, with Rihanna plucked from a concert onto the Optus spaceship via a ‘transporter’ and a final tag featur- ing the logo similar to the much loved franchise. Rogers adds: “It’s all these little touches that help to create a world that is fun and believable”. Client: Optus Title: ‘Rihanna’ Vfx supervisor: James Rogers Prod Company: The Colony Director: David Gaddie Producer: Sue Walker Agency: M&C Saatchi Death on Two Wheels The fast-paced, kinetic feeling of riding a motorbike and its associat- ed dangers is brought vividly to life in a TVC that presented a number of challenges to the team at Postmodern. “We have worked with Lance Kelleher a number of times, with some of our previous collaborations for Kelloggs leading to various awards, so we know when Lance givesusacallitisgoingtobea challenging job”, explains Robinson. “The challenge with this commer- cial was to seamlessly integrate scenes together and especially tran- sitions that took you from being a third party to the point-of-view of the motorbike rider.” To achieve this effect the team at Postmodern had to use a combina- tion of compositing work and 3D elements to link the various pieces of footage together. The end result is a TVC that real- ly does take the viewer on a ride and helps them to think of the dan- gers of riding a motorbike, especial- ly speed and traffic. Client: TAC Title: ‘The Ride’ Vfx supervisor: James Rogers Prod Company: Curious Films Director: Lance Kelleher Producer: John Rogers Agency: Grey Advertising Melbourne Dawn of a new World New Zealand director Vincent Ward of What Dreams May Come fame always takes you on a visual journey. His latest effort with BWM and Postmodern was for the master developer of major tourism destina- tions in Abu Dhabi, the TDIC. The company is behind some of Abu Dhabi’s most prestigious pro- jects including the Zayed National Museum, the Louvre Abu Dhabi, the Guggenheim Abu Dhabi Museum, the Performing Arts Center and the Maritime Museum. Rogers says: “Ward is fantastic at creating these painterly worlds, full of detail and colour. Our job was to paint a picture for him through visual effects of what Abu Dhabi will look like as it is developed over the next twenty years. “The lighting, texturing and cam- era movements were an important feature of this commercial to achieve a photorealistic look for cre- ations that are still very much at the blue-print stage. Our team had to work off these drawings and archi- tectural impressions to faithfully create what will one day stand in Abu Dhabi.” Client: TDIC Prod Co: Luscious International Vfx supervisor: James Rogers Director: Vincent Ward Producer: Tim Berriman Agency: BWM An Animation Home Run Building on the success of its ani- mated TVCs, V energy drink takes viewers on another fun adventure, this time with a bunch of bugs play- ing baseball. The full 3D spot is full of detailed character animation which helps to bring a cockroach, stick-insect, caterpillar and moth to life as they play an indoor innings in front of a computer desk. “This ad really helps to showcase the depth of talent that we have at Postmodern. In this case it was actually directed in-house which is wonderful given the flow of the piece, not to mention its great sense of humour. “It is not a style of ad you might normally associate with Post mod- ern, in fact a number of people told me they thought the animated spot had been done by a competitor. I just love this spot because it has a great ‘Pixar’-look to it.” Client: V Title: ‘Mothball’ Prod Company: Postmodern Vfx supervisor: James Rogers Director: James Rogers (Postmodern) Agency: Clemenger BBDO Sydney X-Factor marks the Spot Postmodern has also created some complex broadcast work, with one of the most distinctive promos of the year for Network Seven’s X- Factor. The spot features a crowd swarm- ing around a central stage before being sucked up into the sky, revealing a huge X-Factor logo. A big-screen feel was created by using specialist program ‘Massive’ of (‘Lord of the Rings’ fame) to create throngs of people and to deliver realistic movement at a tiny level. Glossy 3D, crash zooms, the rous- ing music of Carmina Burana and a stellar cast of presenters including Natalie Imbruglia, Guy Sebastian, Ronan Keating and Kyle Sandilands all combine to create an attention-grabbing promotion. Robinson says: “We treat broad- cast work with the same design-led technique as we would on a TVC and once again I think the promo had real scale and slickness with great visuals and a large stadium feel.” X-Factor Title: Promo Prod Company: 7 Network Director: Richard Swann Client: Network 7 Robinson has been buoyed by the work being completed at Postmod- ern, especially over the last twelve to eighteen months and has also noticed a recent reinvigoration amongst consumers as well. “Against a difficult economic peri- od it is exciting to see that there is new enthusiasm amongst audiences for the medium of television, with digital multi-channeling, improved affordability of high definition sets and the advent of 3D TV all con- tributing to the trend. Cinema attendance has also grown, so far this year the annual box office is up a healthy 19 per cent according to the Motion Picture Distributors Association of Australia (MPDAA), and tickets sales do not look like slowing. “Postmodern is well positioned to deliver some great content to these audiences. We are very much look- ing forward to the next year as our talent and technique develop even further especially with input from our overseas mother company. We already feel this has begun to crys- tallise and look forward to being challenged by Australian TVC directors in the near future.” Coca-Cola Mother ‘Motherland’ Optus ‘Rihanna’ TDIC Transport Accident Commission ‘The Ride’ V ‘Mothball’ X-Factor promo
May June 2010