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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2008
But time moves swiftly, and in 2005, at around twelve years of age, Electric Art was soul searching, asking themselves, like any pre- pubescent young adult, what the future held. Deciding that it was better to lead than to be left behind, Electric Art began on the path of 3D production, and has never looked back. The 3D department is one of Electric Art’s biggest areas of growth, and one that needs the most TLC, says Jonathon Eadie. “The amount of research that goes on in that room is incredible,” says Eadie. “Because 3D for print is relatively new, the team are expanding their skills through their own study. Just like when we started retouching, the more challenging the job, the more we learn.” One of Electric Art’s prize creations is a realistic, 3D crocodile. The client, Roskin, decided that they wanted a beautifully lit crocodile, and given that crocs aren’t renowned for posing quietly, print producer Lawrence Katsidis decided to give the 3D department at EA a shot. The crocodile required many hours of work, with the department often staying back well into the night. So, is it the accumulation of long hours that gives Electric Art it’s edge? Jonathon Eadie concedes it’s a major contributing factor: “We’re big enough now that some of the longer standing employees can mentor the new kids on the block, so I guess in that way, the knowledge gained over the years can be passed on to others.” And that’s quite an accumulation of knowledge. Bruce Bigelow, Caroline Miller and Inness Robins, have between them over 30 years of experience, most of it gained at Electric Art. “It’s hard to imagine now, but when Inness first started here he was deep etching,” says Miller. “I think it makes the company stronger to invest our time and knowledge in young retouchers rather than trying to keep it all to ourselves.” And as more young talent joined the ranks of the core team, Electric Art experienced a very real growth spurt. From one manager, three retouchers and a scanner the company now includes two producers, one accountant, one marketing manager, three 3D operators, one IT technician and four additional retouchers. Oh, and one Pug- “Princess” the Electric Art mascot. Seventeen staff (plus one Pug) in total- way too many staff to be holed up in the pokey offices of Electric Art at Mount Street in North Sydney. Eadie attributes the final stage in Electric Art’s growth to the move to Surry Hills. “I like to think it’s when we changed from short pants to long,” says Eadie. “We wanted somewhere that reflected who we are.” The new studios are in a converted warehouse, with crooked white walls partitioning individual departments. Tucked in various nooks and crannies you can find a drum kit, a ping pong table, a huge LCD television and on most afternoons- some cold beer in the fridge. Electric Art decided to celebrate the milestone of fifteen years in business with a “family” portrait. Photographer Waded was briefed to create individual “gothic” characters based on each employee’s personality or interest. Starting at 7am in the morning, a team of hair and make-up specialists set to work turning the normally casual staff into gothed up, glamorous charicatures. “As a company we are the sum of all our staff,” says Eadie, who thrives on the individual personalities and characters that he is surrounded by daily. “I thought it was a fitting way to celebrate.” To see more of Electric Art’s work, go to: www.electricart.com.au Photographer: Waded. Camera supplied by Sun Studios- Sinar Hy6 with eMotion 75LV. Written by: Shevonne Hunt.
May June 2008