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 : Nov Dec 2010
TVC PRODUCTION 38 CAMPAIGNBRIEF NOVEMBER/DECEMBER 2010 think smarter to continue to deliver quality on reduced budgets, ” s ays Gibson. “The upside of this is that we are starting to see more oppor- tunities for our people from other markets as we can be competitive depending on what is being called for in the script.” With advertising a variable cost to most businesses, there’s been an impact on both volume and budgets emanating from the GFC. “Interestingly though we seem to see patches where there is a surge of projects, presumably where clients can’t hold off continuing invest- ment in their brands for any longer,” says Gibson. “A gain the ability to roll with the punches and deliver to expectation is an asset in these times.” Film Construction’s main busi- ness continues to be local commer- cials, but it produced work for off- shore agencies, as well as Japanese, US, and European production facil- itation. There’s been growth over the past year in the Asian market. New Zealand based director, Jesse Warn, directed three episodes of the successful US series, Spartacus, and he’s back in production on Spartacus, Season Two. And Andrew Morton recently shot the Nike ‘Run Unleashed’ campaign with Wieden + Kennedy in China. New signings include Sydney based Jonathan Nyquist, and New Zealand feature filmmaker Toa Fraser. Director Justin McMillan is about to go in to production on bringing 3D to his Storm Surfers series, and Film Construction has discussed the use of 3D for a couple of pro- jects, which ultimately have stalled due to budget restraint. “Unfortunately the costs associat- ed with 3D production are not small. In this environment cost will dampen demand we expect,” says Gibson. Location fees and council compli- ance are clearly a part of what we do, but is only part of the picture, says Gibson, commenting on the moves by Auckland City Council. “New Zealand is cheaper to shoot in already for a number of reasons, but it isn’t always the answer, and where a commercial is shot can often be decided on for reasons other than cost,” he says. “We recently have been helping an off- shore client quote a job where New Zealand was ruled out due to not having an expansive enough cityscape, so we are only quoting Sydney. While the costs are greater, the client at this stage is OK with that.” In 2008, the NSW Government announced a package of measures to slash red tape and give filmmak- ers easier access to prime locations. “This has assisted in the process, however would still love for coun- cils to be more film friendly as that would assist with our overall com- petitiveness,” says Gibson. Australian government bodies and industry has been very slow to act in this regard, says Stephanie Ceccaldi, executive producer at Brilliant Films. “Recently they changed some laws in the CBD of Sydney to ease the flow of production - which is great,” she says. “We are however, not competitive internationally in this regard. Filming is a great call- ing card and provides amazing tourism opportunities by sending film postcards all over the world. Hopefully, we will wake up and cut a lot of the red tape and fees that restrict the production process.” Brilliant Films’ main source of work is local TVCs – and they are in the process of developing some long form programming and shop- ping around a TV series. “We have also developed a feeder division – beyond 30 - which capi- talizes on client’s need for content for social media,” says Ceccaldi. “It’s a low cost volume based divi- sion. Providing up and coming directors opportunities and giving clients great bang for their buck.” Demand for its directors has been strong in Asia, especially Jakarta and Vietnam, along with significant demand from South Africa. In the past 12 months Brilliant Films has signed three new direc- tors: Anton Beebe with producer Tor Larsen to accommodate the demand of visual narrative and effects, Stephen Elliott as Brilliant’s feature film director now based in Sydney and available for TVC work and Abe Forsythe and his producer Matt Reeder, who took out first prize at Tropfest this year. TVC work includes Telstra BigPond’s ‘Kombi’ via BWM for John Polson, Football Federation of Australia (FFA) Paint’, ‘Sheet’ and ‘Spotlight’ via BMF directed by Abe Forsythe and BabyLove’s ‘Scaredy Dog’ via DDB Melbourne directed by Tim Pietranski. Overall, she thinks the industry is suffering post GFC blues: “To sur- vive, clients cut budgets and squeezed more out of the budgets they had. This can happen for a period - but a prolonged period will change the nature of the business,” says Ceccaldi. “Some clients were getting BMWs on Toyota budgets - but now its like for like and clients are strug- gling to get used to that. I guess that’s market conditions - people are busy again and want to be paid appropriately.” During the GFC, only the strongest survived, as it got very quiet there for a period, industry wide. “Coming out of the GFC there was a flurry of productions. It’s like everyone was waiting to pounce. There was a built-up demand. It all of a sudden started raining produc- tions after a prolonged drought.” “Recently they changed some laws in the CBD of Sydney to ease the flow of production - which is great,” says Brilliant Films’ Stephanie Ceccaldi. “We are however, not competitive internationally in this regard. Filming is a great calling card and provides amazing tourism opportunities by sending film postcards all over the world. Hopefully, we will wakeupandcutalotof the red tape and fees that restrict the production process.” Vanderfield [above] says they shoot in New Zealand quite regularly and he’s always found the country more film-friendly than Australia. This is especially the case in Sydney, where they shoot less and less frequently. And with the strong Australian dollar, New Zealand is more attractive than ever. Australia, on the other hand, almost seems keen to push work away, says Vanderfield. % director producer “lean meat, crusty top”/ marketforce - perth email@example.com +61 411 721 874 firstname.lastname@example.org +61 408 329 518 gobstopper productions pty ltd . p.o. box 75 . pyrmont . nsw . australia . 2009 s pie s mac mr /s s pie op yt t , crus at an me “le ” op/ th e-per corfte mark ood wtse perry w toby towell perry westwood gobstopper productions pty ltd . p.o. box 75 . pyrmont . nsw . australia . 2009 ood or ect dir toby towell email@example.com +61 411 721 874 perry westwood firstname.lastname@example.org +61 408 329 518 gobstopper productions pty ltd . p.o. box 75 . pyrmont . nsw . australia . 2009 ell wo yt ob t pr email@example.com +61 411 721 874 firstname.lastname@example.org +61 408 329 518 gobstopper productions pty ltd . p.o. box 75 . pyrmont . nsw . australia . 2009 er oduc pr gobstopper productions pty ltd . p.o. box 75 . pyrmont . nsw . australia . 2009
CB NAT FEB 2011