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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT NOV-DEC 2013
34 CAMPAIGNBRIEF NOVEMBER/DECEMBER 2013 surate budget to do so. JO DE FINA - THE OTTO EMPIRE: Clients still aren’t allowing suitable budgets, but it doesnt just come down to them. Their budgets have been shrinking. We made the mis- take of everyone undercutting each other when things were super tight, so now the expectation is that we can continue delivering high-end work on a shoestring budget. It’s not sustainable. There will always be someone who will say they can come in and shoot a million dollar job for 100k, but you get what you pay for. We need to support each other, and make sure everyone is educated and aware of the real costs. From the moment a script is written, there needs to be an aware- ness of the real production and delivery costs. It’s all very well writ- ing an incredible idea if the client simply does not have the budget to make this idea come to life. As our budgets decrease, we still have crews putting their rates up. Something has to give. TVC+CONTENT PRODUCTION What are the problems you face delaing with agencies and clients? ALEX HAY - JUNGLEBOYS: A frustra- tion we share with agencies is scripts going to client and being approved without a producer cast- ing an eye over the script to make sure it can be produced within bud- get. It just becomes a waste of time for everyone and for the production company it can become a case of retro-fitting a budget to an ad which is never ideal. OLIVER LAWRANCE - PHOTOPLAY: The Above. And: When it comes to cer- tain types of digital content that are documentary or observational in style then a smaller crew is definite- ly the way to go. However some- times there are digital content ideas with digital content budgets that actually read like massive TVCs, except up the top of the page it says ‘viral’ or ‘digital content’. The fact that is says viral or digital content does not make the ‘three elephants and flying man’ any easier to achieve on the allocated budget. And on the flip side there are still so many digital content ideas which fail to engage audiences, yet could be much improved with earlier col- laboration with production compa- nies to help develop the idea and the nature of interaction, rather than only sharing the script four weeks before it’s due for delivery. COREY ESSE - EXIT FILMS: The biggest problem is ideas dying after you pitch for them, it costs a fair amount of money and time to pitch an idea and you end up with noth- ing except for the expense. The other issue is procurement, I don’t mind dealing with a cost consultant if they are fair and understand the intricacies of a job, many ask for ridiculous reductions or ask you to remove costs which means you need to now bid the job differently but they don’t offer you that oppor- tunity. ANNA FAWCETT - FILMGRAPHICS: We are all in this together; clients, agencies and production compa- nies. We all have the same prob- lems. SUSANNAH DILALLO - RAPID FILMS: I think mainly scripts being overwrit- ten... a 30 sec written as a 45 sec and, as mentioned above, scripts not written with the budget in mind. Within saying that we com- pletely understand the trickle down effect. Clients want more for less. That of course effects us. For us it’s about coming together with agen- cies and collaboratively helping manage clients and their expecta- tions. As far as we’re concerned every job is a team effort to give clients a really professional and fun production experience. MICHAEL COOK - THE FEDS: Trans- parency in the budgeting process. The outcome for all is ultimately better if the budget allocated and the flexibility around the figure are set clearly upfront. Another chal- lenge facing everybody - both pro- duction and agency - is the increase of clients locking in set deals and rosters of TVC production compa- nies - which blocks agency creatives from considering a full range of directors for each particular com- mercial. PETER MASTERTON - PLAZA FILMS: Lack of imagination and confidence of marketers, and the enormous numbers of them that prevent good ideas getting through. From the point of view of a business sector that has always operated in a very efficient way, there is a vast amount of time and energy wasted on over- analysing things and having too many people involved at almost every step of the process. It’s not uncommon for the ‘audience’ on set to challenge the crew in num- bers. Curiously, this is something the legion of procurement compa- nies seem to have missed. GEORGE McKENZIE - ROBBER’S DOG: Cost controllers. Every job is differ- ent and therefore has different needs. Trying to standardise shoot day costs is a farce. It’s money that would be better spent on the ser- vices it’s trying to rationalise. MICHAEL RITCHIE - REVOLVER: I do understand that clients are honestly dealing with reduced marketing budgets and a more complex mar- ket - this is happening simultane- ously. Really hard, and it’s predi- cated the notions that companies like us start arms like Will O_Rourke to enable alternative pro- duction for alternative spaces, how- ever at the same time, I would wel- come more discourse directly with consultancies so our production issues, day-to-day issues are under- stood as well. We work in a won- derful industry and understanding the issues from all sides is essential - for all of us. Lastly, you can go to places like mofilm for an off-the- rack commercial, however you can’t beat a great spot with an idea that is wonderful, and it’s made perfectly, for the right budget. PETER GRASSE - CURIOUS FILM: I am tired of hearing our industry child- ishly blame agencies and their clients. The biggest problem we face is trying to be something that we are not. We are a talented band of directors and producers telling remarkable stories, be it for brands or humanity. That has value, and so we survive. What are your main hires over the last year? WILF SWEETLAND - THE SWEET SHOP: In the past twelve months we have grown our offering a really talented directors. Joel Harmsworth from Melbourne came on board and launched with a stunning spot for Navy through GPY&R. Luci Schroder, also from Melbourne raised eyebrows with her hard to define style and from New Zealand Damien Shatford is so hot right now with his work for Steinlager, the Effies and MySky. Further afield Ben Dawkins from London joined us and recently worked with BMF Sydney on the latest FFA project, and also from London funny fella James Haworth chose us as his new home. Apart from direc- tors, increasing demand from our partners for us to work on non tra- ditional projects with them saw us bring Fergus Cahill on board in the role of Integration and Technology. Things have been pretty crazy for Fergus since he started with lots of really interesting work in the pipeline. JONATHAN SAMWAY - PRODIGY FILMS: Nick Simkins joined us as full-time producer which is a huge asset. Nick is one of the most level-head- ed and creative producers I have come across and everyone at Jungleboys loves working with and along side him. In February this year we signed director Alethea Jones for commercial representation and she has had an incredible start to her commercial career. In the space of a few months she has directed commercials for Bertolli, Kimberly Clarke and MyPlates. Alethea is shaping up to be an incredible comedy director and is held in very high esteem by Australia’s top comedy actors. We also signed animation genius Doug Bayne. Doug animated the breakers in our six-part comedy series for ABC1 The Elegant Gentleman’s Guide to Knife Fighting. Finally, we have just signed Trevor Clarence for Australian representation. Trevor’s quirky comedic style has been very well received in the Australian market. He has shot a Cadbury spot for Saatchi and Saatchi and an Aldi spot for BMF. We are very excited to have him on our roster. OLIVER LAWRANCE - PHOTOPLAY: Photoplay has hired Auckland pro- ducer Penny Hall to head up our NZ office, and we’ve also taken on a digital content producer, Suzanne Kim, who’s developing digital v Grasse: “Smart clients seek talent that consistently delivers great work in their area of expertise. Dummies don’t. Hence, in the long run, dabblers in gimmickry and doodlers documenting 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 memorabel stories. I vote collaboration over confu- sion. Let the dweebs fight over clients that don’t know any better. The result will be a substantial improvement for the entire industry.” Cook: “One problem is transparency in the budgeting process. The outcome for all is ultimately better if the budget allocated and the flexibility around the figure are set clearly upfront. Another challenge facing everybody - both production and agency - is the increase of clients locking in set deals and rosters of TVC production companies - which blocks agency creatives from considering a full range of directors for each particular commercial.” CBNAT NOV-DEC2013_MASTER_CB-FEBRUARY-2007 19/11/13 5:27 PM Page 34
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