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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September 2010
51 SEPTEMBER/OCTOBER 2010 CAMPAIGNBRIEF SOUND+MUSIC 50 CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2010 expand its sound design depart- ments in both Sydney and Singapore. Sathiah composed the track for the worldwide launch for the Sony Ericsson phones Satio and Ainio. The viral ‘Space Hopper’ spot, was released on YouTube, where it got over 1.8 million hits and the track, Abre Tu Mente, is available on iTunes. Directed by Tony Petrossian of PlayFilms Barcelona, via Saatchi & Saatchi Singapore, it has 500 people bouncing down the streets of Barcelona on colourful space hoppers. The video drove traffic to a website, hopperinva- sion.com, where visitors could cre- ate their own space hoppers and prepare to participate in the first online global invasion. The idea was to inspire users to be sponta- neous, generate and share their own entertainment and create their own movement using their Sony Ericsson phones from wherever they were. He also recently worked on the 90-second Bundaberg Red spot ‘Smooth’ directed by Plaza Film’s Paul Middleditch via Leo Burnett Sydney. As for what’s in vogue, Sathiah thinks we’re almost past the ukulele, mandolin, cute folkish singer phase. “Elliot Wheeler you have a lot to answer for! Currently I have to say it’s all very eclectic and simplicity is still in vogue. Small is the new big, it’s about musical ideas that prick people’s ears up.” He points to the Volkswagen ‘Enjoy the everyday’ spot, directed by Scott Lyon of Outsider for DDB London as an amazing piece of sound design. The track for the spot, made up from the sounds recorded in and around the Golf on the shoot, was composed and pro- duced by Paul Hartnoll of Orbital. “The idea of using sound effects to make a track has been done before, but it’s very hard to do well and it this case it was perfectly inte- grated into the idea and direction of the commercial and that’s the only way for it to work. They nailed it,” he says. A spot that’s impressed Chris Cudlipp, managing director of Sandcastle Studios, was Kia Sportage with hip-hop stars, Grandmaster Melle Mel and Furious Five member Scorpio and their iconic 80s rap anthem ‘The Message’. Directed by Prodigy’s Tim Bullock via Innocean, the THE BIGGEST ISSUE THE MUSIC INDUSTRY is facing is the general perception amongst end users that music has less value than it did before, according to Matt Hayward, EP/managing director, Eclectic Music Machine. He says that P2P file shar- ing – software to swap music, video and other files over the Internet – has had a massive knock on effect in the industry that has been twofold. “Firstly, record labels are now aggressively seeking to make up for the losses in revenue from CD and download sales,” says Hayward. “Advertising syncing has always been part of their core business but never was it as important to their overall survival as it is now. Secondly, it has ‘devalued’ music to some degree, meaning that clients expect to get more for less, as the idea of music costing nothing or next to nothing slowly becomes the norm in society as a whole.” The net effect has resulted in more competition as the labels drop their prices to compete with the music production companies, something that only serves to per- petuate the situation as producers and clients dictate how much they want to pay for music. “Moving to a subscription based model now seems inevitable for the majors and large independent labels, ” says Hayward. “Hopefully this will go a long way to shoring up and stabilising the value of music.” Domestic TVCs continue to be Eclectic Music Machine’s main source of income. Recent projects include Steinlager ‘Pure’ directed by Christopher Riggert of @radical media for Publicis Mojo New Zealand, GIO ‘Meticulous’ directed by Againstallodds/XYZ Studios for Leo Burnett Sydney and Qantas Socceroos ‘Unleash’, also directed by Riggert, for Lowe Sydney. For Hayward, the outlook remains positive – economies recover and start the next boom. “More money is being spent on online content production as clients and agencies finally figure out that the process involved in making it is no different than making a TV commercial and that in order to raise production values, you’ve got to spend the money, simple as that,” says Hayward. The fear around the time of the GFC has largely gone, concurs Rafael May, composer/sound design- er at Rafael May Music in Sydney. “We were lucky in that the work POST GFC SOUND+MUSIC REVIVAL Things up looking up for the local sound and music industry after the GFC, but there’s still challenges ahead such as the impact P2P file sharing is having on the music industry and the need to create several versions of any finished mix to run across online and phone apps. CB looks at the highs and the lows of the past year as well as high- lighting the work that pushed the boundaries in sound and music production. Paul Baxter: “We are the last in the chain for television, which saw a lot of recycling of old stuff, so that meant very little sound work if any. Radio budgets were small, few and far between.” Matt Hayward: “Moving to a subscription based model now seems inevitable for the majors and large independent labels. Hopefully this will go a long way to shoring up and stabilising the value of music.” Chris Cudlipp: “There’s not much demand for international commercials at the moment. In the next year I expect growth for Sandcastle to come from international films and music licensing.” Barry Stewart: “The GFC seems to have slowed down the TV Networks’ roll-out of full HD TV broadcasts. Given the advent of 3D TV, the natural progression would surely be for 5.1 surround sound to match?” never really stopped. The emphasis definitely swung to local rather than international TVCs probably because of the troubles in other countries,” he says. “There has been a lot of ingenuity in finding ways to produce good work on tightening budgets. Clients in tough times appreciate music that makes them stand out.” Rafael May’s main business is local commercials and local features with the occasional international project. May says there’s a constant move to web films with better scripts and production values. Recent projects include the Virgin Money Frequent Flyer launch for Happy Soldiers, where the music was recorded live as part of the film shoot. Highlighting that it’s the first Virgin credit card that earns points to fly on Virgin airlines, Virgin Money paid for the entire advertis- ing campaign with their Virgin Flyer Credit Card. It paid for the 107 cast, 60 crew, props, costumes, and animals, director, music and cameras, right down to the coffees. “It was great to be composer/ music director on the Virgin Money shoot with Ben Lawrence,” says May. “The concept was that the ad was ‘a making of’, and the music had to be recorded as it happened liveinshotontheday.Wesetupa mobile multi-track studio to record the New Orleans influenced track I’d written with piano, brass and a Brazilian samba drumming troupe. Lots of fun and a fresh result.” Then there’s the launch of the TV show, X Factor, and two feature thrillers – Road Train and The Reef and a web film for Samsung ‘Mr Knowitall’ via M&C Saatchi, which upped the ante on the production standard for online content. The fully interactive media piece tells a cautionary tale of a man who knows everything about everybody in his life, all thanks to information he has gleaned from using Samsung Social Hub, which delivers real-time updates from users’ social networks as they happen. Song Zu’s main business contin- ues to be advertising, with the addi- tion of one or two projects a year across feature films, documentaries or albums – for example, it is cur- rently finishing an album for a young singer called Ming Bridges. Song Zu’s composer/partner Ramesh Sathiah predicts computer gaming will be the biggest new industry for composers and sound designers. Song Zu is about to v
May June 2010