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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT SEPTEMBER 2013
SEPTEMBER/OCTOBER 2013 CAMPAIGNBRIEF Barry Stewart, Sound Reservoir Audio post and music production really aren't an afterthought, so much as the end of the production line. On occasions that is a good thing, sometimes...not! Having said that, over the past 20 odd years, there has been a steady drift towards scored music and as such, this has meant earlier inclusion in those projects. Andrew Stevenson + Hylton Mowday, We Love Jam It really does depend on the client and the way in which they work. We are working current- ly on a couple of projects in which music and sound is being consid- ered early in the process. From experience, the earlier we are brought in on a project the greater the collaboration and the more time allowed for production and a better result. Ramesh Sathiah, SongZu I think people take music and sound seri- ously and I don't feel it's an after- thought, in fact we quite often get involved before the shoot, and at times even when the idea is being pitched. In fact we are asked to be involved in pitches for accounts on a regular basis. Some jobs a post score is the way to go, but other times we sup- ply ideas for the edit or in the case of jobs like Bundy 5 and Smirnoff the music was pretty much com- pleted and it was shot like a music video. Ralph van Dijk, Eardrum It'll always be an afterthought, it's a fact of life. We're asked to do a lot of last- Barry Stewart: "Audio post and music production really aren't an after- thought, so much as the end of the production line. On occasions that is a good thing, sometimes...not! Having said that, over the past 20 odd years, there has been a steady drift towards scored music and as such, this has meant earlier inclusion in those projects." Klang - from left: Paul Healy, Brendan Woithe and Ryan Grogan: "It must be said though that there has been a certain commodification of music occurring. For example, at pitch stage there is now often the assumption that the winning track will be pretty much good to go when chosen from the competing interests." Hylton Mowday and Andrew Stevenson from We Love Jam: "We're excited to be working in the industry more than ever. Great ideas are flowing and there are great people with which to work. The Music and Sound industry still craves great work." minute voice casting, but we have systems and databases in place to cope. Mark Beckhaus, Nylon Studio I'm seeing a lot more thought going into music earlier in the process these days, particularly in the years post-crash. Again, this is likely a part of budgets improving and agencies having more time and resources to plan and think about the process. With sound, if it's seri- ous sound design people are also planning in advance. Dan Higson, Smith & Western We find it depends on the job. Many of our jobs this year have started with music as the kernal and we've been brought in before anyone else. Music was integral to the idea in these cases and we were engaged early on, to kick the production off. One spot we worked on this year had people singing to camera - to ourmusic-andwehadtogoonset to help the director, so we were there all the way through the pro- duction. Another example where we were brought in early would be where a 3-minute piece was entirely choreagraphed around our music. But to answer your question, some agencies don't seem to care as much as others. Cultures are differ- ent in each agency - some agencies definitely seem to care more about their music and sound and give it their full attention and allow the right amount of time. They attend presentations in person and get involved in the sound design and mix, happy to hang with us in the studio working together to get the best result. Others are happy to sit in their offices, checking MP3's on their email when a job is ready to present, worrying more about the type face of a disclaimer rather than the sound. I don't believe they are all THAT busy that they can't make time to swing by our studio, grab a beer and listen to a mix on some fantastic speakers with us. Why wouldn't you want to do that? The best jobs for us tend to end up with the client in the live room playing guitar, bass or drums jam- ming with us! Klang It depends on the role and importance placed on the Sound and Music from the get-go. If it is seen as integral to the end result then generally discussions start early. It must be said though that there has been a certain commodifi- cation of music occurring. For example, at pitch stage there is now often the assumption that the win- ning track will be pretty much good to go when chosen from the com- peting interests. Maybe this is a reflection of tighter time constraints within the agencies or maybe it is an indirect result of changes in music consumption generally or maybe both. Rafael May, Rafael May Music I find that I am more and more creating music prior to shoot or during early stages of the edit. And if not, often I am consulted on the sound design/music at the script stage. This is something I push for wher- ever possible. Ian Lew: "Both the markets we operate in (Sydney and Singapore) seem to be quite buoyant."
Campaign Brief May-June 2013
CBNAT NOV-DEC 2013