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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT SEPTEMBER 2013
POST PRODUCTION CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2013 the bar on every job we do. Colin Renshaw, Alt.vfx There has been massive changes in the indus- try over the last few years. There has been a big changing of the guard and it's great that we have been part of that. Then there has been all the M&A, so for every new player on the scene there is one swallowed up by one of the big holding companies. People bitch about the democratization of the technology and how that's screwing it all up. I still believe in artistry and I think it's about the talent. We sell people and ideas. Not edit suites. Nigel Mortimer, Blockhead The bal- ance is about right. There are a good number of very skilled vfx houses keeping competition sharp. Tim Kentley, XYZ Studios See my answer to the current health of the post production industry. Nic Harman, Cutting Edge We tend to focus on ourselves and what we can control rather than other com- panies in the market. The competi- tive set is so blurred these days any- way it's hard to comment on the number of players out there. I think strong competition is good for clients in the long run, and it keeps us on our toes in terms of innova- tion, that's what is most important. some amazing artists from all over the world. A project comes in and we say "who is the best destruction dude in the world? Let's get him." And luckily they respond in kind. We have a good reputation for looking after our crew. I cook them dinner. I do mean lamb shanks. You also need to be able to give artists flexibility to work the way they like to work and giving them the resources they need and not try and force them into some convolut- ed pipeline. Nigel Mortimer, Blockhead Being lucky enough to work on high pro- file commercials means we tend to be approached by the top talent. Tim Kentley, XYZ Studios XYZ has built its reputation on one leg - sheer creativity. A great benefit of this is that we attract creative scripts, and are also very attractive to top freelancers - they see our work and want in, which is lovely. Bruce Carter, Toybox There are a lot of amazingly talented people around. The skill levels and general knowledge of artists at every level is up. We don't seem to have any problem attracting or keeping them. Nic Harman, Cutting Edge When people see and hear our vision for the future, see our infrastructure, talk to our people and get a sense of the opportunity, we're finding top talent are happy to talk. Bruce Carter: "The whole concept of 'post' production is outdated. Technology has changed the way everyone works. Film has long been abandoned as a capture medium and production is now a series of interlinked specialist processes that overlap or even run parallel to each other. The altering of old hierarchies is one of the fundamental shifts occurring in the industry. Some have adapted and are using these changes to their advantage, others are yet to do so" George Kacevski, Engine Let's be honest, there's never enough bud- get to do things the way we'd like to. It's come down to being resourceful and coming up with solutions to suit the client, budget and brief; rather then inflating a budget to suit our personal creative goals. Emma Danes, Fin Design+Effects The answer is a simple no, but I recognise that this is the story all the way up the chain. Advertising agencies and production companies are dealing with the same issue. This is why collaboration between all parties is so very important so that collectively we do not compro- mise on the end creative whilst remaining financially solid. Rick Schweikert, FSM No matter which way we answer this, it comes out sounding wrong. We want more, we're greedy. There's not enough, its sour grapes. We remain in a transition phase. Marketing budgets are spread across many different avenues. Marketing managers will have dif- fering opinions on the percentage they spend on digital, print, tv, con- tent, conference, POS, direct, mail, low cost, high end -- it goes on. And a change of marketer can flip an organisation's spend on its head. But in general terms, the answer is no. There is an unhealthy drive for savings that has the potential to damage the industry and the prod- uct we create for our clients. Kent Boswell, Resolution Design I'm sure everyone will sing the same song with me when I say budgets are getting tighter while clients are expecting to see more and more on screen. I think in some cases (cer- tainly not all) there is a lack of appreciation or understanding that the businesses we all own and oper- ate do have high overheads and cost money to run. Andrew Shostak, Method Studios I would be surprised to hear one post company answer yes to this ques- tion. Of course there's always pres- sure on budgets, always has been. Our job, our client's job and our client's clients job is to deliver the very best bang for an advertising buck possible. So we always work very hard with our clients within their budgetary restrictions to provide solutions that deliver the highest possible creative results. There's always a way! Colin Renshaw, Alt.vfx You know it's rare to see a script that is prop- erly budgeted. But I am a glass half full kind of guy and see it as anoth- er challenge to overcome. You have to ask yourself "How can we make it work? How can we do this smarter?" and if you can't do that, just say no. It doesn't just have to be about dropping your pants and bending over. Nigel Mortimer, Blockhead There is a big difference between markets Nic Harman: "Right now it's an exciting time to be in the game. VFX is strong for us, both locally and internationally; the TVC sector is performing well, and longform has really come alive. " How hard is it to attract the top talent? George Kacevski, Engine Attracting top talent is actually quite simple. Create top work and keep current top talent motivated and inspired. Simple. Emma Danes, Fin Design+Effects Attracting top talent, I believe relies heavily on one's company's reputa- tion and profile and not just the quality of your work but also the quality of the working environment your company offers. Rick Schweikert, FSM We've been fortunate to have a diverse and sta- ble talent pool for some time. Recent competitor closures have seen movement of good staff to alternate companies. There does always seem to be good options available for most positions, it's just a matter of making sure they are the right cultural blend for your compa- ny. Kent Boswell, Resolution Design Our work and reputation have become a beacon for many digital artists who look to join our growing team. Having said that, we have built up a very strong team from within over the last 12-18 months - a team that I am extremely proud of. Andrew Shostak, Method Studios Right now we're in a great position where top talent is seeking us out so I'd have to say it's not been a prob- lem for us to this point. Our philos- ophy has always been simple; to create an environment that allows artists to come to work and do good work - this is pretty attractive to good talent and this in turn attracts great clients with great projects. Colin Renshaw, Alt.vfx We have been lucky at Alt. to work with Are clients allowing suitable budgets for post production?
Campaign Brief May-June 2013
CBNAT NOV-DEC 2013