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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT SEPTEMBER 2013
SOUND+MUSIC CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2013 nal composed music and away from licensed tracks. In Australia budgets have remained firm for us. Dan Higson, Smith & Western Some are, some aren't. Which has always been the case. Some agencies respect music - they put the time and attention and money into it. Others still don't seem to under- stand that walking in with a patheti- cally small budget at the last minute is not going to produce the best results. It doesn't matter to us cre- atively if the budget is small - we'll always do our very best to provide outstanding work - but a good bud- get goes a long way to helping make that process more pleasing for everyone. It's always good to have your work appreciated creatively as well as financially. Klang Budgets haven't really increased that much over the last few years particularly with the new expectation of additional on-line content. Rafael May, Rafael May Music Budgets have not gone up for a long time so we have to be more efficient in producing work. We have a lot more overlapping of jobs even on a daily basis than before. Charlton Hill, Uncanny Valley UV has been very lucky in that over the last few years it has been big budget productions that have been the mainstay for the stability and Ralph van Dijk: "Radio budgets are always relatively low, but you get what you pay for. A little extra investment in casting and directing makes the world of difference to a radio campaign. The agencies that really care about getting the best results will treat their scripts with respect they deserve." expansion of the company. As the industry continues to freshen brands more regularly, we're relying less on long term music rollovers and more on all encompassing buy- outs. Barry Stewart, Sound Reservoir Budgets are the big 'moving sands' of the industry at the moment. We have see both 'generous' and 'not so generous' budgets. On balance, most agencies seem to be realistic about what things cost. Andrew Stevenson + Hylton Mowday, We Love Jam See our last answer. Ian Lew, SongZu I'm based in Singapore now and certain indus- tries in Asia that previously made a lot of high-end, big budget, regional productions have definitely scaled back their TV advertising, banks and telecommunications companies in particular. Budgets of course are being pared back across the board so we need to do a lot more individ- ual projects to meet our outgoings than we previously needed to do. Ralph van Dijk, Eardrum Not in my world. Mark Beckhaus, Nylon Studio I'm seeing some big music budget jobs creeping back to the kind of num- bers we were seeing pre-crash. Of most interest is that I'm finally see- ing big music budgets for digital campaigns. For a long time I didn't really pursue this kind of work as the money was terrible. I'm now seeing good numbers for music for digital campaign music. The other side of this coin is that sometimes the production on these things can Are there enough big budget productions? Smith & Western - from left: Dan Higson, Ant Smith and Nick West: "Some agencies respect music - they put the time and attention and money into it. Others still don't seem to understand that walking in with a pathetically small budget at the last minute is not going to produce the best results," says Higson drag on for much longer than for TV spots, given a lack of on on-air deadlines. The lack of a broadcast deadline can sometimes mean months of revisions as people have the time to fiddle. Dan Higson, Smith & Western Nope! You can never have 'enough' big budget productions?! We're finding, rather unusually, that the big bud- gets are coming from the more left- of-centre projects. ie Not your 60- sec Brand TVC. One of our biggest productions this year was for a worldwide online project. Very exciting and fun to work on. So no, you can never have 'enough' big budget productions, bring'em on! Klang There could always be more big budget productions. Rafael May, Rafael May Music Never! Charlton Hill, Uncanny Valley A final sound and/or music mix by necessi- ty remains one of the last links in the production chain. How much forethought is put into it depends on how important sound is to the story and how experienced the pro- ducer is in preparing us for that. Due to the broad skill-set of our team, UV is often brought in to advise sonic brand direction and decision making at job start. Is sound or music still a bit of an afterthought or are you brought in earlier in the past?
Campaign Brief May-June 2013
CBNAT NOV-DEC 2013