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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : Campaign Brief May-June 2013
MAY/JUNE 2013 CAMPAIGNBRIEF Australia and in a happy coinci- dence the Flux guys from Auckland had just opened an office in Brisbane. The guys, led by Paul Gillett, pulled out all stops. They went way above and beyond what we'd hoped for in the time avail- able. And they did it all with a mas- sive smile. We highly recommend them and can't wait to work with them again," says Vallis. Now that Flux have planted their feet firmly on Australian soil, they are looking forward to working with and developing local talent whilst also having the advantage of calling upon the resources and assets of the Auckland studio. "Having the right people can be the difference between what is good, and what is exceptional," says Gillett, and Flux believes that the right people are worth hanging on to. In fact, the studio is one of the biggest in New Zealand, second only to Peter Jackson's Weta Workshop. The large number of experienced 2D and 3D animators, editors, compositors and directors working inhouse means that Flux is able to take on anything that is put in front of them. At any given time, Flux has at least one TV series in production, and this year is a particularly excit- ing one for Flux with a number of homegrown ideas about to kick off. Airing in August, 'Wiki the Kiwi' is set to be a big success, with pre - sales to the ABC. This is just the latest in a long line of well loved children's TV shows, which encom- pass animation disciplines ranging from traditional animation (Staines Down Drains Series 1) to high end 3D (Buzzy Bee & Friends) and digi- tal 2D animation (Sally Bollywood). Shows such as Master Raindrop and Puzzles Inc. have enjoyed significant international success, and the half- hour live action/animation combi- nation series Tiki Tour continues its triumphant run into a third series with over 300 episodes already completed. The inhouse production of TV series has its benefits for the com- mercial side of Flux as well. "Long form offers us stability and absorbs many of our overheads including hardware and software updates, which means we can give super competitive quotes," says Flux producer Sue Chambers. "Not because we cut corners, but because we are constantly involved in R&D on new software and pro- duction methods at the expense of the TV division and we are able to maintain a stable of experienced staff, many of whom have been with the company since animation was a craft. We continue to develop new talent through the studio and we are constantly learning new tricks from our international co- production partners. All this means that the commercial client will see more production dollars on screen with cutting edge, contemporary design." While TV series provide Flux with long-term stability, it is the exhila- rating and ever changing world of advertising that has been the back- bone of Flux's development. "I love commercial work" says Gillett. "The pressure of a tight deadline is exciting and with so many different clients, each with very different projects no two weeks are the same. Not to mention the satisfaction you get when you see a happy client and a piece of work you can be proud of." Flux is particularly proud of their commercial projects, having had the opportunity to work with big names both locally and interna- tionally. They have produced con- tent for almost every bank in New Zealand, including the famous and long running 'Westpac Doodles' campaign that ran both sides of the Tasman. Other successes include New World supermarket's 'Cleverbask- ets' campaign, which brought to life 3D shopping basket characters in a live action supermarket scene; and Subway's 'Italian Window' com- mercial, a great blend of live action over traditional 2D backgrounds. Then there was the online cam- paign for Dominate hair wax, which won the award for Best in Television & Cinema Animation (non CGI) in the Asia Pacific Ad Awards and was shortlisted for the Cannes Lions advertising awards. Not all projects have been home- grown however, with Flux taking advantage of favourable exchange rates to secure high profile work globally from the US to Norway. An alliance with US creative agency The Famous Group has seen Flux's work on the jumbotrons in Times Square, as well as featuring as half- time entertainment in the NBA, NFL, NBL and NHL for teams such as the New York Knicks, Houston Texans, San Diego Padres and the New York Rangers. Gillett agrees that working inter- nationally has its benefits: "Working across time zones has proven to be an advantage for the team, with time differences creating a kind of 24 hour working loop. The old adage "it's 5pm some- where" rings true for 8am too. At the end of the working day in Auckland, we would send the work off and it would arrive in the US just in time for the start of their working day." Last year saw the team create a promotional piece for Disney Pixar called 'Cars Take Flight'. The stop- motion animation which involved building an entire race track set in- studio clocked up an impressive 3.3 million hits on YouTube. No doubt, much of the success of Flux can be attributed to founder Brent Chambers' passion for the industry. An animator above every- thing else, Brent started his career working on Disney and Warner Brothers cartoons such as Darkwing Duck, Animaniacs and Tiny Toons, before starting a studio of his own. Flux has come a long way since the pencil and paper days of Chambers' garage, where iconic Kiwi campaigns such as the all- singing, all-dancing farmer duo of 'Ches 'n Dale' springboarded Flux onto the radar of agencies across New Zealand. These days, the family of over 30 talented staff call a state-of-the-art studio in central Auckland home, complete with the latest suite of digital tools and an olympic class pingpong table to keep handeye coordination skills up to industry standard. "One of the secrets of success is to surround yourself with brilliant people. Then you can't go wrong," says Chambers. With three more children's TV shows in the wings this year, a host of high profile campaigns on the go and new territory to explore, the future looks bright for the Aust- ralasian animation powerhouse. So, while we may never agree when it comes to who's responsible for pavlova (it tastes great either side of the Tasman), Flux is happy no matter where it calls home. More info: fluxanimation.com.au or firstname.lastname@example.org. Sara Lee - Minis Subway - Italian Window Toyota - New Year Wiki The Kiwi Westpac - Open Home
CBNAT JAN-FEB 2013
CBNAT SEPTEMBER 2013