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 : CBNAT SEPTEMBER 2013
CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2013 when it comes to budgets. Making the best possible piece from what- ever that budget may be is all part of the challenge. Tim Kentley, XYZ Studios The best agencies, which have great people and clients, like Droga 5 or BBDO, have appropriate budgets for sure. But there are also a few agencies that are willing to put at risk their clients' success and their own repu- tation by going cheap, in spite of a healthy media spend which I believe can be short sighted. You get what you pay for and we have had more than a few clients come back to us when we have passed on scripts that are not even close to budgeted appropriately. Bruce Carter, Toybox The whole concept of 'post' production is out- dated. Technology has changed the way everyone works. Film has long been abandoned as a capture medi- um 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. Nic Harman, Cutting Edge There will always be a broad scale of bud- gets on the table; the trick is finding the best possible solution, the most creative solution, to what you are presented with. Everyone would be happy to see bigger budgets of course, but that's not what we focus on. Has post taken on a more important role over the last few years? Are you called in a lot earlier on jobs? George Kacevski, Engine As soon as we re-positioned ourselves as a Design and Production company, we have been getting involved in projects almost at conception. It's been great for our artists to collabo- rate directly with our clients and be able to come up with creative solu- tions from the beginning of the process. Emma Danes, Fin Design+Effects Yes, absolutely. This has been increasing over the last 10 years and more. It's exciting and rewarding for us, as a VFX company, to be involved from the onset and impor- tant for our clients to utilise our technical expertise. Rick Schweikert, FSM In most cases we're called in soon enough. Within agencies and directors we deal with, there is a lot of experience. They know how to break down many jobs in the preliminary stages. We do prefer and offer to be involved as soon as possible, and sometimes that is followed through and neces- sary. Having said that, for more regular campaigns and development of ideas and strategy, I would jump at the opportunity to be part of devel- oping marketing and advertising campaigns from the ground up. Our input not just in technical terms but in strategic positioning, branding and design is often over- looked. Kent Boswell, Resolution Design Post production has become such an integral factor in most commercials these days that yes we are more often than not called in at concept stage to offer up our thoughts and suggestions on how to tackle a par- ticular problem. This is especially useful when dealing with any lean budgets, as we will often look for creative solu- tions to work within the set bound- aries. Andrew Shostak, Method Studios In most cases yes, we are called in at a very early stage and generally the best results are achieved when this happens. On most campaigns we're very active in supporting clients in the development and during pitch phase and this gives us both a great head start into the shoot and post cycle once awarded. We actually invest in a team of full-time concep- tual artists to pre-visualise the core concept prior to production com- mencing. Of course with complex CGI and VFX it's much more critical to engage us early to ensure the best execution and on these projects we work very closely with directors during pre-production and our on- set supervisors work throughout the shoot to make jobs flow seamlessly through the post stage. Colin Renshaw, Alt.vfx Yes definite- ly. In fact that's pretty common for us now mainly because of the con- ceptual nature of the work we do. And the truth is that sort of collab- oration involves a lot of work and it's given me a new appreciation for what the agencies have to go through to get an idea across the line. We have worked on projects that are 6-8 months in the concep- tual stage and then you shoot it and it's finished in three weeks. Crazy. Nigel Mortimer, Blockhead We're always involved from the script stage regardless of the complexity of the VFX, although this has been the standard for some time now. Tim Kentley, XYZ Studios It's always a mixed bag, from jobs coming in saying 'we want you guys to do this' to helping a agency pitch, to work- ing on animatics before the work is awarded. You have to take a posi- tive attitude to all situations, and for us, we don't mind the variance too much - it keeps things fresh and fun. Nic Harman, Cutting Edge Collab- oration at the front end of a project is something we've always been strong on, and our clients enjoy working with us this way. We've seen this style of partnership strengthen as the expectations of agencies and production companies by clients have escalated. Leaner creative departments are also keen to engage us early to help them achieve their vision and to help keep the creative standards high. What are the problems you face dealing with agencies and clients? George Kacevski, Engine One of the main aims we have at Engine is to show our clients what is possible. Our team is extremely passionate and obsessed with what they do; they know all about the latest gear, techniques and styles. The problem is, how do we implement these ele- ments in traditional, and mar- ketable, agency/client workflows. Rick Schweikert, FSM This could be a lose/lose question. I'll have a go. Time -- not enough of it. A couple more days on a schedule would raise the quality and it'd be ulti- mately cheaper. So much is getting crammed into the back end of the job and last minute decisions and changes are costing clients. Too many layers of approval also hinder the process. Trust. I wish I could say that all clients trusted their production and agency partners. Nothing gives us greater satisfaction than seeing a product sell through the roof or a brand increase its recognition. If we've played some small part in it, it's very rewarding. Agencies must be embraced as part of the wider marketing team. I'm not convinced this is always the case. Trust them, they want to succeed with you. So do we. Success. It's a peculiar Australian way, to deride success -- unless it's on the sporting field. If a supplier, agency, individual is good at their job and is prosperous, embrace them don't cut them down. I'd rather be surrounded by successful business partners working for me. Kent Boswell, Resolution Design Unfortunately a standout issue would have to be the very tight schedules that we are all having to deal with from the top down. So much so, we have been known to knock work back if the schedule won't allow us to deliver to a cer- tain standard. Sometimes even an extra day or two would literally make the world of difference. I'm a big believer that all the 'magic' happens right at the end of any production when you have the opportunity to apply those finessed moments throughout the spot. It often means the difference between a good and a great ad going to air. Andrew Shostak, Method Studios I wouldn't say there are any consis- tent 'problems' but the consistent common issue for us and for our clients is finding projects with chal- lenging and daring creative con- cepts and someone with the budget to execute them. We're all lucky enough to work in a very creative industry and what gets us up in the morning is being creatively challenged it's what moti- vates our artists to do better and it's what drives our industry forward. Nigel Mortimer, Blockhead The only real challenge thrown up occasion- ally by clients is the tightening of a schedule mid job. Tim Kentley, XYZ Studios The industry isn't perfect, but it func- tions. Often we find we are facing the same frustrations agencies are. We believe agencies would do well to have good systems in place when working with the post community. Bruce Carter, Toybox What's the old cliché?.. there are no problems, only opportunities.
Campaign Brief May-June 2013
CBNAT NOV-DEC 2013