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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT SEPTEMBER 2013
SEPTEMBER/OCTOBER 2013 CAMPAIGNBRIEF IN GREAT SHAPE feels vibrant at the moment with plenty of diverse briefs. For us there has been a big increase in the num- ber of orchestral scores which is always fun. Mark Beckhaus: "As we're in Sydney and New York, we see things from two markets. Australia has always been strong and continues as such. We've been in the US for five years and I got here just after the crash." Ramesh Sathiah: "I think people take music and sound seriously and I don't feel it's an afterthought, in fact we quite often get involved before the shoot, and at times even when the idea is being pitched." players in the music world. It's never been cheaper to set up a stu- dio, but Eardrum's criteria is about working with the best people, not the cheapest or the newest. Mark Beckhaus, Nylon Studio As we're in Sydney and New York, we get to see things from two distinct markets. Australia has always been strong and continues as such. We've been in the US for five years and I got here just after the crash. Throughout this time we've man- aged to grow and expand but it's been a roller coaster and competi- tion is fierce. However, this year I really feel like there is a lot more optimism and growth. Dan Higson, Smith & Western The industry seems to be in good shape. Things are great for us. It's been a huge year already, with some out- standing work coming out of the Smith & Western speakers. We're getting some really exciting work from all over the world as well as some great local work. So the state of the industry as far as we're con- cerned is really good. Klang There have been some fairly large structural changes, particular- ly in the music industry over the last few years. These changes have been driven by shifts in the way music is consumed since the advent of streaming and downloading of content. More than ever before, people now have access to an incredibly broad range of content. People producing music can also now target audiences in new an interesting ways, so depending on your market, you can directly piggy back the release of music into social networks via blogs, music sites, iTunes, Spotify, Rdio, JJJ unearthed, music aggregators, indie labels, major labels, Facebook, Bandcamp, Soundcloud, and any number of niche modes of distribu- tion. So generally speaking getting music heard is both easier and more complex at the same time. In terms of the creation of sound I think there has generally been a swing away from creative sound design in commercials but hopefully that is just a passing phase. The prevailing aesthetic for ad music still seems to be along the softer / acoustic lines and generally fairly safe styles in terms of music. Maybe this is a reflection of a safer tone more gen- erally in advertising. Bought tracks are also quite prevalent at the moment particularly in terms of tar- geting the 30 to 5o year old market. Rafael May, Rafael May Music It Charlton Hill, Uncanny Valley It depends from job to job however generally speaking I'd say the bud- gets have returned to a more respectful place where there is just reward for the services delivered. Clients and agencies will once again pay for a quality product if the results speak for themselves. Barry Stewart, Sound Reservoir Economics seem to control produc- tion budgets more than anything. Having said that, we have seen among our biggest creative budgets this year as well as some that have been a little on the slim side. On balance, we feel we're not being squeezed too hard. Andrew Stevenson + Hylton Mowday, We Love Jam We are still seeing decent and large budget produc- tions. Clients and creatives respect creative audio however we find the timelines are the most pushed ele- ment. Ian Lew, SongZu The clients who really want to work with us still seem to be finding the money. We turn away any jobs with budgets that do not allow us to give the full Song Zu treatment of multiple choices of tracks, live players where required, the best vocalists etc. We get approaches from potential clients asking us to take on smaller budgets and give them less choices or creatively compromise in other ways but we don't want to do that. We put the same amount of effort in to worldwide pitches as we do for our pro bono jobs. At the end of day the best marketing we can do for ourselves is what people hear on air. Ralph van Dijk, Eardrum Radio budgets are always relatively low, but you get what you pay for. A lit- tle extra investment in casting and directing makes the world of differ- ence to a radio campaign. The agencies that really care about get- ting the best results will treat their scripts with respect they deserve. Mark Beckhaus, Nylon Studio In the US budgets are definitely on the up, for us anyway. I think this is partly due to the economy improv- ing and also a move back to origi- Are clients and agencies allowing decent budgets?
Campaign Brief May-June 2013
CBNAT NOV-DEC 2013