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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT NOV-DEC 2013
22 CAMPAIGNBRIEF NOVEMBER/DECEMBER 2013 Wilf Sweetland - The Sweet Shop: “With our five offices around the world, we are exposed to varying levels of financial market repercussions. It is not so much the Aussie dollar affecting our business, as the cost structures of local talent etc that force us to look to OS production centres such as NZ and South Africa” Alex Hay - Jungleboys: “As production partners we are working with agencies and clients to solve problems by re-thinking scripts and restructuring the production to bring it in line with the budget. This is largely down to the rise of digital media and clients disbursing their marketing budgets across a range of media” people their regular rates to do a job, rather than having to ask for deals all the time. It’s also a pity when you see potential in a great script but it is compromised because of the budget. OLIVER LAWRANCE - PHOTOPLAY: Photoplay is still a fairly young con- tent company, we only started in 2009 when the GFC was in full swing. Over the past 4 years we’ve grown steadily and the last twelve months have been our strongest year ever... so I think the economic climate is fine but as a new compa- ny it’s difficult to gauge the effect of the GFC on the whole industry. I imagine we’ve mostly recovered but it's best to ask one of the produc- tion companies who have been around for 15 years. COREY ESSE - EXIT FILMS: I have been out of it for three years but it seems to be doing OK, there has been a lot of change in that time. I sensed America was coming out of it when I left. ANNA FAWCETT - FILMGRAPHICS: No would be an honest answer. But it is not only the GFC which has impacted on the industry. We have been affected by a number of things like constantly advancing technolo- gy, a proliferation of outlets, social media being the main one, our strong currency and the cost of filming here. This is a great oppor- tunity for our new Government to take action and implement some tax benefits for international clients. SUSANNAH DILALLO - RAPID FILMS: I don’t think it will ever be as it was before the GFC, but it has definite- ly improved. Clients are becoming smarter with the way they spend their yearly budgets. We are seeing more online and branded content than ever before which is exciting. The industry is changing whether we like it or not. It’s all about being able to adapt to the constant changes and thrive within this excit- ing, ever-changing climate. MICHAEL COOK - THE FEDS: Clie nts and agencies are back to full adver- tising plans again, but the pressure on production is ever growing as expectations continue to exceed budgets. On a positive we are see- ing more alternative content jobs where there is a chance to collabo- rate on innovative concepts with agencies and clients together. PETER MASTERTON - PLAZA FILMS: The legacy of what happened in 2008/9 is that production budgets are always lower, originality is viewed with suspicion, and the number of marketers has almost reached the number of secret policemen in the DDR. GEORGE McKENZIE - ROBBER’S DOG: These days, production companies can’t really rely solely on the NZ market. It’s too small and the local and international competition for scripts is too fierce. So, to make sense of post GFC NZ, we expand- ed our definition of ‘local’ to include Australia. We opened an office in Sydney to support that idea. So far, the plan is working. 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 shoot- ing OS stuff here in this country. On the flipside It did open the world for agencies, a fair bit of work went and is still going offshore. PETER GRASSE - CURIOUS FILM: No and it looks like it won’t. Rather than make new opportunities for themselves, most companies seem to be scrambling to bite off more of the hand that feeds them. That illustrates a lack of imagination and genuine talent. JO DE FINA - THE OTTO EMPIRE: Clients, consumers and the entire economy has changed. The indus- try is in a state of flux. The state of the Australian economic and politi- cal environment this year has also affected confidence. Leadership spills, elections...... But everyone is feeling it, not just our industry, so we are all in the same boat. WILF SWEETLAND - THE SWEET SHOP: With our five offices around the world, we are exposed to varying levels of financial market repercus- sions. It is not so much the Aussie dollar affecting our business, as the cost structures of local talent etc that force us to look to overseas production centres such as New Zealand and South Africa. JONATHAN SAMWAY - PRODIGY FILMS: As above. ALEX HAY - JUNGLEBOYS: Jungleboys has seen more overseas facilita- How is the Aussie dollar affecting your business? TVC+CONTENT PRODUCTION v Fawcett: “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 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 story- telling and continues to support a film industry which is part of every country’s culture.” WOR - Campaign Brief -.indd 1 13/11/13 11:18 AM CBNAT NOV-DEC2013_MASTER_CB-FEBRUARY-2007 19/11/13 5:26 PM Page 22
CBNAT SEPTEMBER 2013
CBNAT FEBRUARY 2014