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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT NOV-DEC 2013
20 CAMPAIGNBRIEF NOVEMBER/DECEMBER 2013 TVC+CONTENT PRODUCTION Anna Fawcett- Filmgraphics Entertainment: “We have been affected by a number of things like constantly advancing technology, a proliferation of outlets, social media being the main one, our strong currency and the cost of filming here” Jonathan Samway - Prodigy: “In the space of 12 months we had the Australian dollar trading above the US dollar then slumping. Secondly, we had for most of the year a Federal Government that could not instil any confidence into the business community. This led to agencies looking O/S for talent and locations” the literal way that marketers think, we tend to be seeing a lot of safety- first type stuff. So the process at times threatens to overwhelm the fact that we are making a creative product - it’s about managing cre- ative risk first and foremost which is not ideal. To help with this though we have the more expansive and adventurous medium of the web- film. Overall, creative conservatism is fashion though, so no doubt we will be seeing the fashion change. In the meantime we are enjoying mak- ing stuff that is usually challenged for money and time but is always rewarding, stimulating and fun to do. GEORGE McKENZIE - ROBBER’S DOG: The further erosion of budgets and turn around times. MICHAEL RITCHIE - REVOLVER: By the way, I think the issues are great... I think the biggest issues are dealing with the diversity of production required (and that goes beyond film), but also when making film, making it more efficiently and more impactful than ever before. Simple. PETER GRASSE - CURIOUS FILM: TOTAL CONFUSION! Production companies are openly working to compete with agencies and vice versa. Two symbiotic enti- ties competing for the same dollars and awards in the same space seems counterproductive. On one side, are production com- panies marketing themselves as dig- ital agencies whilst others fragment to capture a ‘content’ market both boring and broad. On the other, are agencies touting themselves as one- stop-shops able to direct and pro- duce, albeit less for less and further cheapening client expectations. Curious is not going to play in that space and I urge other produc- tion companies to follow suit. We know who we are and do what we do best. We don’t need to be jacks- of-all-trades. We are the masters of one – the art of storytelling with Grands Prix on both sides of the Cannes fence to prove it. Smart clients seek talent that con- sistently delivers great work in their area of expertise. Dummies don’t. Hence, in the long run, dabblers in gimmickry and doodlers document- ing uninspired consumer experience are doomed. The only solution is to focus on our unique strength as creative agents and talented filmmakers to deliver inspired films telling memo- rabel stories. I vote collaboration over confusion. Let the dweebs fight over clients that don’t know any better. The result will be a sub- stantial improvement for the entire industry. JO DE FINA - THE OTTO EMPIRE: The traditional model of advertising, as we all know, has changed. Adjusting to that change is still a challenge the entire industry is fac- ing. But we’re all in this together. Budgets are moving away from TVCs and being spread out among other areas of production - most particularly online content. Clients and agencies are either producing lots of small spots, or one big spot, and the mid range TVC work is much more limited. We are all still adapting to this, but I find this challenge exciting. WILF SWEETLAND - THE SWEET SHOP: The GFC really didn’t hit the local industry. We had enough clients advertising throughout that period trying to increase marketshare, that things were pretty much situation normal. JONATHAN SAMWAY - PRODIGY FILMS: The local industry survived the GFC... however, the strong Aus dollar wreaked the most damage. It sent work outside of the country and it had companies well and truly looking offshore for supplementary work. ALEX HAY - JUNGLEBOYS: I think it has recovered, clients are spending money and there is good momen- tum. However, I think what the GFC has done is alter marketing executive’s perceptions of budgets. There was a time during the GFC when production companies, crew, post houses, sound studios etc, reduced their rates right down to just cover their costs and make a very small profit margin. Clients were getting more than they were used to for less than they were used to paying. For suppliers it was more about doing the work with the hope that in time budgets would return to normal. However, I feel in a lot of cases that this has set expecta- tions at a certain level and clients still expect to spend the same amount as they did in the GFC. For suppliers, it’s not about making big profits again, it’s about making a profit and being able to pay Have things picked up since the GFC? Lawrance: “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.” v CBNAT NOV-DEC2013_MASTER_CB-FEBRUARY-2007 19/11/13 5:25 PM Page 20
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