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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2008
Simon Rosenthal (Iloura) Andrew Robinson (Postmodern) BIGPROFIT “Ad reven ue is al so heavi ly impacted by the global economy. Retail wi ll cont inue, but bra nd advertising will be affected. At the Lab we are covering ourselves by inve stin g in CGI, VFX and all aspects of digital media, which is where the growth is,” says Pullen. With demand fo r digita l output increasing, The Lab now considers all medi a chan nels. “For TVCs where content is created once and distributed through many channels we have to be smarter about how to re-purpose this content. We now cr eat e an d al ign con tent for mobiles, DVDs, online, iPods, and iPhones to name a few,” he says. As par t of Omnilab Media, Melbourne-based Iloura is also see- ing the benefits of the parent com- pany becoming a major partner and investor in some high profi le pro- ductions both locally and interna- tionally, says genera l manage r, Simon Rosenthal: “This has provid- ed us with another revenue stream to the business and an opportunity for the staff to experience greater diversity. While there are sti ll huge JU L Y /AUGUST 2 008 inconsistencies with the volume and regularity of work on features, the rewards when they do come are very gratifying,” says Rosenthal. Another beneficiary of div ersifica- tion is Cutting Edge, with CEO Ray Smith attributing this for play- ing a pivotal role in the growth of the company over the past decade. Cutting Ed ge’s faci lity at Fox Studios was awarded ‘Long-form Facility of the Year’ in 2007. “You need the best equipment, you need the most creative people and you need wor ld-class infr a- struc ture. Advert ising has always been my personal passion but with- out diversity into growth sectors of Outside Broadca st and Reality Televis ion we could n ever have grown our business,” he says. Furthermore, developments such as the Red Camera is forcing a rethink of some post produ ction method ol og y, s ugges ts Smi th: “Whether it’s RED or other for - mats, digital gathering and grading is well and truly here to stay. The interface between post production and digital delivery platforms will homogenize more i nto t he n ear future as well,” he says. The pl ethora of small businesses based on desktop video technology is starting to show signs of receding as clients appear to be returning to seek ou t more re liable ser vices to ensure deadlines and quality of ser- vice, s ays J ohn Fleming, g eneral manag er of Melbour ne-bas ed Digital Pictures. “Digital a cquisition, a lthough a significant challenge, i s providing some exceptional and unique com- mercials l ike Sc hweppes ‘Bur st’,” says Fleming. Directed by Gar th Davis via George Patterson Y&R Melbourne, it won a Gold Lion at Cannes this year, and required DP’s digital f ilm specialists t o wr angle en ormous amounts of data with some sequences having been shot at up to 9,000 frames per second. Technology that Fleming i s most excited about is the 2009 upgrades for A utode sk p roduc ts a nd th e Final Cut Server for the Apple envi- ronment. Autodesk is branching out into a different l evel o f c haracter s etup which will chang e the way we model CG characters and rig them, concedes Dave Kel ly, COO/senior produce r, c omme rcials a t F ue l Vision Effects Desig n and Direction: “This will p rovide f or greater realism and expression – in a way that us ed to be only a fford- able by large studios with consider- able R&D b udgets a nd t eams o f programmers. I t will al so be inter- esting t o s ee what Apple i s doing after Shake,” says Kelly. While post and FX i s a competi- tive i ndustry, h e’s s eeing a more collaborative approach f rom many of th e post h ouses who gen erally recognise the need to work together for the benefit of the Australian industry as a whole. From a film perspectiv e, Kelly expects the s tate of the US dollar and the impasse in the SAG (Scree n A ctor s Gui ld) c ontract neg otiations to impact on the Australian industry. “The doll ar mean s we a re les s competitive with Californian com- panies, while the de-facto strike ? CAM PAIGN B R I E F 47
May June 2008