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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September 2010
53 SEPTEMBER/OCTOBER 2010 CAMPAIGNBRIEF SOUND+MUSIC 52 CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2010 spot shows a mid-30s man driving around in his Sportage, who gets caught up in the music. “It’s a great use of music, and really well directed by Tim Bullock,” says Cudlipp. “It’s not necessarily an innovative use of music, but great to see a good ad where music is central to the idea.” He also likes ‘Piano’ for Match.com, which won a Gold Lion in Craft at Cannes 2010 for Best Use of Music. Directed by Si & Ad of Academy Films, London for Mother, London, it features a couple meeting in a music store – he’s strumming a guitar and she’s playing a keyboard about what they like, turning to meet each other as they finish the song. Two Australasian spots were also awarded in sound design at Cannes with a gold for the New Zealand Book Council’s ‘Going West’ via Colenso BBDO Auckland, which uses animation to inspire people with the power of the written word. Sound design was by Mikkel H. Eriksen, Instrument Studio, London. A Silver Lion went to James Boag’s ‘The Island’, set on an island where everything seems mysterious and magical, was direct- ed by Noam Murro of Biscuit Filmworks with sound by Soundtree UK/Nylon Studios. Sandcastle’s business is split pret- ty evenly across features, TV and local commercials. There’s not much demand for international commercials at the moment, says Cudlipp, who in the next year expects growth for Sandcastle to come from international films and music licensing. Recent commercials work has been for clients including McDonald’s , Mazda, MasterCard, Hyundai, David Jones, Vicks, Milo and AAPT. It has also worked on TV shows including Packed to the Rafters, City Homicide, Tangle, Cloudstreet, Hawke and in features, Tomorrow When the War Began, Wog Boy 2: Kings of Mykonos and The Waiting City. Risk Sound’s business flows main- ly from Melbourne-based advertis- ing agencies, with some national clients who work with the studio remotely as well as short films, ani- mation, corporate and documentary projects. Then there’s substantial demand for national and interna- tional linkups in the form of ISDN and Source-Connect voice-over recordings, an area that has been growing for Risk. Recent TVCs include spots for clients such as the Heart Foundation, TAC road safety and seatbelt campaigns, CGU Insurance, Coles, Hungry Jacks, Mini, Honda CR-V, 7-Eleven and Brad Power: “Technology allowing composers to work from their bedrooms makes it tougher for larger facilities to keep busy. Recording studios within some of the larger agencies makes it harder to get work from them.” P2P file sharing – 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, say Hayward: “Firstly, record labels are now aggressively seeking to make up for the losses in revenue from CD and download sales. 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.” Seek.com.au. “We are the last in the chain for television, which saw a lot of recy- cling of old stuff, so that meant very little sound work if any,” says Paul Baxter, senior sound designer/spe- cialist manager sound at Risk Sound, on the impact of the GFC. “Radio budgets were small, few and far between,” he says. “Unfortunately a lot of the radio broadcasters are offering little or no production costs for radio when clients book media through them, which cuts boutique specialist like ourselves out of the equation total- ly. Coming out of last year howev- er, we still managed to idle along comfortably. This year has definite- ly picked up a bit, but things are still not the way they used to be.” For Bruce Heald, creative director of Noise, the main issue facing the sound and music industry in 2010 is ensuring that original composi- tions continue to get the recogni- tion and prevalence they deserve. “Creating music and sound for a brand is ongoing and requires an understanding of the target audi- ence to create a lasting connec- tion,” he says. “The best long-term results always come from sound and music companies who work specifically in advertising because of the wealth of experience they bring to the process.” Noise’s main business still comes from commercials and TV channel branding with the digital space and international opportunities expect- ed to be growth areas. Heald says becoming a finalist at Cannes Lions this year with the Optus ‘Whale’ composition via M&C Saatchi put Noise on the international map, resulting in a broader range of work. This year Noise has been working with TV channels, for example, on the launch of the new ‘Go’ channel, the branding of the Winter Olympics for Channel 9 and the rebranding of Lifestyle You, work- ing with Gabriella Cilmi. Commercials work includes the worldwide Heineken campaign, Vodafone, NRMA and the audio rebranding of St George. Heald admires ‘A piece of mind’ created by BLUWI Music and Sound Design for the Anti-Animal Testing campaign via Grey Worldwide that also won a gold Craft Lion for ‘Best Use of Music’ at Cannes this year. “It drew a large range of emotions from a single instrument, which was very moving,” he says. From a creative process perspec- tive, the team at Noise were also extremely proud of the aforemen- tioned Optus ‘Whale’. “The music was an intrinsic part of the entire campaign and we worked with the creative team from the outset, which is rare,” says Heald. “M&C and Optus wanted to do something out of the ordinary and the entire concept was devel- oped around the music. The music then went on to form the basis of the interactive digital campaign – as part of a dedicated whalesong web- site, where people could compose their own whale communication using sounds from the music, ring tone downloads and screen savers. This way of working broke new ground and we were excited to be part of that.” For Heald, the industry is adjust- ing itself to the new way of working and the next 12 months will solidify that. He says: “Cheaper production and shoots, combined with the wealth of different delivery meth- ods, mean people can take more risks creatively – which is a great thing for the industry as a whole and especially for music and sound design companies. It allows people to branch out and do things that were ‘no go’ before due to the cost of production.” The GFC seems to have slowed down the TV Networks’ roll-out of full HD TV broadcasts, says Barry Stewart, managing director, Sound Reservoir, specifically the opportu- nity for commercials to be delivered in full surround sound. “Given the advent of 3D TV, the natural progression would surely be for 5.1 surround sound to match?” he asks. It also meant a marked increase in both the quantity and quality of radio production for Sound Reservoir. This was reflected in the high standard of entries in the 2009-2010 Siren Awards, as well as Australia’s success in Cannes 2010. Sound Reservoir’s Paul Taylor worked on the Gold Lion winning WWF ‘Monkey’ for Leo Burnett, the Bundaberg Rum ‘Friday Night Football’ campaign via Leo Burnett Sydney, which won Bronze for Best Use of Music and/or Sound Design and the Silver Lion winning Radio campaign for HBF ‘Radio Chaos’, ‘Sound of Nothing’ and ‘Your Passenger’ via Meerkats Perth. Additionally, Sound Reservoir’s Lukas Farry, Barry Stewart did the sound design for Leo Burnett Sydney’s WWF ‘Earth FM’, which won a Silver Lion Radio Craft Award for Best Use of Radio as a Medium Most of Sound Reservoir’s work comes from overseas and local advertising. The big growth areas predicted by Stewart are 3D sound for both the Internet and TV, and Digital Radio. All of which require superior quality production tech- niques. Some of its recent jobs are the WWF/Ben Lee Film clip, ‘Monkey Returns’ for Leo Burnett Sydney, ANZ ‘Barbara’ for Plaza Films and M&C Saatchi Melbourne, Bundaberg Red ‘Show Down’ for Leo Burnett Sydney, GIO ‘Brand campaign’ For Leo Burnett Sydney, For Heald, the industry is adjusting itself to the new way of working and the next 12 months will solidify that: “Cheaper production and shoots, combined with the wealth of different delivery methods, mean people can take more risks creatively – which is a great thing for the industry as a whole and especially for music and sound design companies. It allows people to branch out and do things that were ‘no go’ before due to the cost of production.” Steinlager ‘Pure’ for @radical. media Sydney and Publicis Mojo New Zealand. Stewart says that natural sound design is back, with the use of more intellectual and contemporary music. For him, one of the standout commercials of the year for sound design is Nike’s ‘Write The Future’ campaign with the soundtrack Hocus Pocus by the band Focus. Directed by renowned Hollywood director and producer Alejandro G. Iñarritu (21 Grams, Babel), this epic football journey unfolds through a match of goal line clear- ances, game-winning tackles and lightning footwork that literally send a ripple effect across the world. The agency on the three- minute film was Wieden + Kennedy, Amsterdam. Technology allowing composers and sound designers to work from their bedrooms makes it tougher for larger facilities to keep busy, says Brad Power, creative director at Sydney-based Stellar Sound. “Also, recording studios within some of the larger agencies makes it harder to get work from them,” he says. Stellar’s main work comes from TV series and radio. He’s also see- ing opportunity for technology to emerge that might be able to com- pliment S3D, other than surround sound. Recent projects include work for Nickelodeon, Lindt chocolate and music for 3 mobile. Television commercials that Power admires include Cadbury’s ‘Fish’ via Fallon London, released as part of its ‘Spots vs. Stripes’ campaign in the lead-up to the 2012 London Olympics, which he likes for its clever use of music. He also nomi- nates Nescafe Frappes via McCann -Erickson Prague for its sound design. For Andy Evans, musical director, Gas Inc, he wishes he’d written the jingle for the Campbell’s Chunky ad, ‘Fully Loaded Can’. He also likes the Standard Chartered Bank spot directed by Ethiopian artist Ezra Wube via TBWA. It was part of a series where four artists from around the world were briefed to create a short film based on their interpretation of the bank’s tagline, “Here for Good’. “I saw it before it had any music, and the piece on the final commer- cial blew me away,” says Evans. “It was nothing like I expected. There would have been the temptation to load it with sound effects, but instead a Belgian composer wrote a beautiful song and recorded it in Swahili language. The end result was a really beautiful marriage of vision and music.” The big issue facing the industry, according to Evans, is Digital Asset Management, or DAM – an acronym he likes to use every time he has to deal with it. “With the move from traditional media into newer territories such as online and phone apps, agencies can find themselves needing several versions of any finished mix,” Bruce Heald: “Creating music and sound for a brand is ongoing and requires an understanding of the target audience to create a lasting connection.” v Rafael May: “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.” Ramesh Sathiah: “We’re almost past the ukulele, mandolin, cute folkish singer phase. Elliot Wheeler you have a lot to answer for!”
May June 2010