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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2008
POST PR OD UCT ION situation with SAG is cre ating a downturn i n p rodu ction. This i s crea ting unce rtaint y in fi lm fo r 2009 but we’re having a great 2008 and ou r film sla te is pretty muc h full fo r the rest of t he y ear,” say s Kelly. The in dustry is heading towa rds matu rity, is how Tim Kentley , director of Melbourne-based XYZ Studios, sees i t: “The ground s hift- ed f rom the traditional structure of ‘production’ and ‘post production’ in ea rly 20 00. With t he advent o f film visual effect s f inding their way into c ommercials, with animation directors st epping into l ive-ac tion with motio n control cam eras, 3D tracking and the l ike, that line was blurred and broadened with a pro- liferation of post houses,” he says. Internationally, the market is now revertin g to speci al isation wh ere you are an edit house, or an anima- tion h ouse, a grading hou se, or a VFX ho use, b ut A ustra lia i s sti ll stuck in the post production model, of agency to post house, which is a model that is breaking fast, he says. “XYZ h as s witched feet fr om being a post house to being more a label th at r epresents th e b est a ni- mation directors,” says Kentley. For An imal L ogic’ s Carte r, the biggest c hallenge con tinues to b e how to do good work in an increas- ingly competitive environment. “Although there is a greater adver- tising spend, advertisers want to get their message and their brands out there in an increasingly spl intered marke tplac e. P eople h ave m ore choice ab out what kind of content they want and where they want it , and the control they want over it, so the c hallen ge will be a dapting t o that environment,” says Carter. Rec ent c omme rcials ou t of Animal L ogic include Vo dafone’s ‘Fold’ dire cted by Pa trick Hughes, Mars’ ‘Mar s your day’ directed by Sean Meehan, Sony’s ‘God of War’ direc ted by S cot t Hunter an d Car lton Draught’s ‘ Sky Troo p’ directed by Paul Middleditch. Postmodern is a co mpara tively recent entrant t o the featur e f ilm market, having moved into this area thr ough rec ommenda tio ns fr om commercials directors wh o moved into f ilm. Credits i nclude Gi llian Armstrong’s Death Defying Acts, the Spierig b rothers’ vam pire flick , Daybreakers, and has found a good balance between its feature film and commercials work, which is coming from the local, and increasingly, the Chinese market. Re cent TVCs include s AN Z’ s ‘Unlimited Transactions’ for M&C Saatchi Melb ourne, Coca-Col a’s ‘Summer of Us’, fo r Sing leton Ogilv y & M ather and Smith’s ‘Thinly Cut’ for Clemenger BBDO Sydney. Postmodern ha s d oubled its 3 D team and increased its management team with Josie King joi ning as exe cut ive produc er an d Chad Malbon coming on board as a pro- ducer f rom Animal Logic , working across bot h the feature fi lm and commercials side of the business. Postmod ern’s founder/managing 48 CAMP AI GN B RIEF Kent Boswell (zspace) Ray Smith (Cutting Edge) The biggest player in the game, Omnilab Media, has moved to position itself as a vertically integrated content development and media service business across its 14 companies. It has made a major play for the international feature film market, helping bankroll a number of projects. For example, the feature film The Bank Job, about the famous London bank heist, directed by Roger Donaldson, is an Omnilab co-funded project as is W, the controversial biopic about US President, George W Bush, directed by Oliver Stone. director, Andrew Rob inson, p re- dicts the next big thing for fe atures wi ll be stereoscopic p ictures, as technology allows for th e produc- tion of 3D films without dual cam- eras. Hol lywo od d irector J ame s Cameron’s upcoming films, Avatar and Battle Angel are s hot in 3D using HDTV camer as an d the Fusion Camera System. “It i s g etting easier t o post . There’ s talk of 3D scre ens to g o into your home so you can watch it without all the glasses and p ara- phernalia so down th e tr ack we’ll have all that,” says Robinson. While he has high hopes for the impact Digital Imaging ( DI) will have, he thinks some p eople ha ve tried to jump in too early and make it the only solution: “If it’s going to be a film prod uct or a hi gh end effects product then maybe DI, but if it’s going to be a nicely shot com- mercial with some graphic s, then there’s no point,” he says. Pullen remains a be liever, sayi ng that The Lab has invested heavily in the latest DI equipment, includ- ing two Baselig ht digital grading suites that are now being used on both TVCs and film projects su ch as t he u pc omin g t elemovie, Scorched: “We now have two digital grading suites, fed b y t he o nly Northl ight 2 film scann er in th e Southern Hemisphere, Nuke desk - Lewis Pullen (Omnilab Media) top syst em, a nd four new dual Avid/Final Cut Pro suites. This is to accommod at e mor e d igi tal acqui siti on, s uch as t he Red Camera. We a re currently upgrad- ing our Flame suites and installing a new NetApp network with 52Tb of dat a sto ra ge capacity,” says Pullen. Internationally, Omnilab is pick- ing up work from the US, Canada, Japan and Korea. Other proje cts over the past year include Two Fists, One Heart, directed by Shawn Seet, Sea Patrol and Erky Perky Series 2. It has worked on TVCs for clients including Milo, Omega Gen Krill Oil, Nurofen, Samsung, Arnott’s Shapes and Camp Quality. Hires include Al Hansen in fea- ture film grading, Marcus Timpson in colour grading, Eric Schaechter in commer cial 2D, Jo Spillan e in film compositing/2D, Tony Cole in VFX, Clinton Downs in commer- cial 3D, Peter O'Connor in digital services and Stewart Dean in film producing. For Cutting Edge, the Chippendale facility has been reno- vated and had upgrades including the new Baselight grading system and the expansion of its 3D and VFX capabil ities. The Bri sbane office got a new telecine. In Sydney, new hires including ? Sharon Pearson as executive JU L Y /AUGU ST 2 0 08
May June 2008