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 NOV-DEC 2013
THE INDUSTRY Michael Ritchie - Revolver: “We never had the GFC, however as a consequence our dollar rallied above the currencies of countries that we are wanting to attract work from. So ironically with the strength of our economy over that period, we saw a massive drop off in shooting OS stuff here in this country” OLIVER LAWRANCE - PHOTOPLAY: The production and advertising landscape is constantly in flux, and all of us need to adapt. We don’t need to reinvent the wheel though. What production companies still do best is the craft of storytelling. The digital realm does not change this, on the contrary it brings us opportunities for new and interesting ways to present and interact with the audience through these stories. We need to embrace this move and to play to our strengths, chasing quantity of content projects is not necessarily the right way to go. You still need talented directors and storytellers to truly engage audiences, and this talent is our industry’s backbone. For Photoplay, smart digital content is about close collaboration with clients / agencies in areas we can see our directors and creative pro- N O V E M B E R / D E C E M B E R 2 0 1 3 ducers being able to add something special to campaign, to create stories that are more engaging and build a bigger audience. And definitely not doing endless videos of boring interviews to fill a Telco’s website. COREY ESSE - EXIT FILMS: Diversify- ing your core business to be able to meet the changing landscape of production, more content and experiential ideas, less TVCs. ANNA FAWCETT - FILMGRAPHICS: Every production company has to constantly adapt to stay relevant in an ever changing business. A business where creative, production, post, digital all seem to cross over. We have agencies with in-house production companies, post houses doing production, production companies with post facilities. Everyone is trying to find ways of Peter Masterton - Plaza Films: “It’s a difficult time for the big idea, because there’s a feeling that it’s a bad look to appear too flash or frivolous and, given the literal way that marketers think, we tend to be seeing a lot of safety-first type stuff” doing things cheaper. Hopefully the end result wont be a totally eroded business where expertise is no longer valued, but just a different model which works more efficiently but still values the core skills of storytelling and continues to support a film industry which is part of every country’s culture. SUSANNAH DILALLO - RAPID FILMS: From my point of view the main issues we are facing are challenging budgets and tighter timelines. This is of course nothing new. Another issue that we’re seeing more and more is the competition to win the job. The Australian market is saturated with directors so it’s becoming increasingly cut-throat. Budgets get slashed to become more competitive and it can get to the stage that unfortunately no one wins. The key for us is staying competi- tive while at the same time delivering great work consistently. It really is a fine line to tread. MICHAEL COOK - THE FEDS: The obvi- ous issues are decreasing budgets and less time. But increasingly concerning is the number of jobs where creative is not completely signed off, which means consequent changes and additional costs make jobs even harder once awarded. Introduction of industry standards and agreements, as championed by the Comms Council, will help ease the increasing challenges when negotiating budgets with clients. PETER MASTERTON - PLAZA FILMS: It’s clear that the business has changed completely, particularly in the last two years. It’s a difficult time for the big idea, because there’s a feeling that it’s a bad look to appear too flash or frivolous and, given C A M P A I G N B R I E F 1 7
CBNAT SEPTEMBER 2013
CBNAT FEBRUARY 2014