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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT SEPTEMBER 2013
SEPTEMBER/OCTOBER 2013 CAMPAIGNBRIEF uncomfortable zone It's an incredible amount of chore- ography considering we only had one rehearsal all up." The other challenge was work- shopping the performance of the lead nose picker; finding the bal- ance between being noticeable enough for the crowd audience to recognise what he was doing whilst remaining convincingly real. "I'm pretty certain the majority of the stadium still have no idea that it was planned," Photoplay Films producer Belinda Dean said. "It's fantastic that even online audiences have been arguing over whether it was set up or whether he was just caught out," she added. When it came to producing the 'Uncomfortable Serenade' stunt, the most challenging part was cast- ing the 'serenador'. The role required an incredible amount of bravado. The campaign needed someone without shame or hesita- tion -- someone willing to lay them- selves on the line. This person also had to marry this attitude with musical and improvisational come- dy skills. "A large part of the comedy stems from the actor's ability to sponta- neously expand and improvise on the situations and make up the songs accordingly -- each song takes its lyrical inspiration from the vic- tim, their physicality, what they're eating, how they're reacting and why, oh why, won't they love him! It's a really hard brief to fill," Noakes added. The next big chal- lenge was tailoring the serenador character in rehearsals and striking the psychological balance between charming and uncomfortable while steering clear of coming off like a disturbed creep. On the day of filming in Hyde Park, Sydney, Noakes had a two- way discreet earpiece radio set up, which enabled him to prompt the talent and to gently steer him into uncomfortable waters. The camera department mostly kept their dis- tance to let the serenador have his space with each subject. "This was pretty hard to do con- sidering the 1200mm lens we were shooting on is about as inconspicu- ous as a German tank." In the campaign's latest execution, 'Comfortable Confessions', Noakes admitted it was a big ask to reel off humiliating, exposing or con- fronting stories in front of a camera team. He explained the biggest task was coaxing the confessors into an emotional space where they felt comfortable to say exactly what was on their minds. "It's amazing what people will say when they feel they have licence to do so, but issuing that licence and their trust is diffi- cult." To achieve this confidence, Noakes made sure the camera team had a very stealthy presence. The cameras used to capture the interior of the confession cars were tiny unmanned Go-Pro's, that are dis- arming and about the size of a smartphone. This meant that when the confessors were sitting in the Kia, they had control of the space, adverse to an interrogation style confession. The other big test was the post production workflow on the day; streamlining the process from capturing the confessions, into a suite and exporting out to the big screen quickly enough for the con- fessors to watch themselves, post it online and share with friends on Facebook. "There's definitely a certain aes- thetic that audiences expect when capturing stunts and live experi- ences." He said it goes back to risk management as many online cam- paigns have faked the live aspect of stunts in order to have more con- trol. However, he warns that online audiences are like "infinitely resourced detectives" able to dissect every detail to determine whether a stunt is real or not. From a production point of view, producer Dean said the process was more or less similar, although with a stunt you are setting something up that you intend to capture unso- licited reactions to and in an experi- ential campaign, like the 'Comfortable Confessions', you are asking people to involve themselves in the campaign idea. "To help get the ball rolling faster, we had an editor on site ingesting and cutting the confessions for broadcast onto the big screens in the shopping centre," she added. "Once people saw what we were doing, there were plenty who want- ed to take part." According to Innocean CD Scott Lambert, Kia is a client that is keen to engage with the public from as many different touch points as pos- sible: "Our 'Never an uncomfort- able moment' concept leant itself to so many great ideas that it really just came down to how many we could do within budget. This latest content beautifully supported the main above the line campaign, by taking the 'uncomfortable' position- ing, and bringing it to life in unex- pected, irreverent ways." takes place in front of 30,000 footy fans at the recent Essendon vs. Greater Western Sydney AFL match. An Uncomfortable Serenade - The second Kia Cerato 'Never an uncomfortable moment' stunt sees a staged actor cast to go up to strangers to serenate them with his guitar in a Sydney park.
Campaign Brief May-June 2013
CBNAT NOV-DEC 2013