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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2008
POST PR OD UCT ION producer, Hugh Se ville a s head of compositing and Steve Anderson as a 3D artis t i n S ydn ey. I n t he Brisb ane he adquart ers, David Sergent has joined as an editor, Rob Conn and Du ncan McDonald as 3D Artists, and Vicki Lee as fac ili- ties manager. Rec ent c ommercials work includes sp ots f or Ho lden Ute , Strepfen, Mitsubishi, QUT, Paddle Pop Cenovis and Gatorade for t he Japanese market. Cut ting Edge has al so worke d on fe atur e film s: Daybre akers direct ed b y Michael and P et er S pi er ig , Foo l’s Go ld directed by Andy Tenn ant, Nim’s Island, directed by Jennifer Flackett and Mark Levin and Storage. Japan is a large international mar- ket f or Cutti ng Ed ge , which employs three f ul ltime Japanese nationals. “The work we d id for Tim Kentley (XYZ) the Japanese market in fi nancial ye ar 07/08 surp ass ed o ur pro jectio ns and we see m ore futu re g rowth as we continue to build our reputation in Tokyo. This i s ce rtainly some- thing that hasn’ t c ome ove rnight, we have been marketing to Japan for over fi ve years and th e qua lity and quantity of work we are doing is continuing to grow,” says Smith. Meanwhile, Iloura’s internati onal TVC work m ost ly comes fr om China. R ecent l ong-form p rojects include Where t he Wi ld Things Are directed by Spike Jonze, The Pacific, the HBO mini-series with executive pro duce rs S tev en S pielber g and Tom Hanks and D isney’s Colleg e Road Tr ip. It s commer cials wor k includes Drinkwise’s ‘Drin k Cycle’ directed b y Mark Mol loy for Exit Films vi a C lemeng er B BDO, Me lbourne , VicR oads’ ‘Tunnel Launch’ directed by Nice Trees for The Dire ctors Gr oup via Marmalade Communications and Honda Accord’s ‘Diff erent B eat’ directed by Pat rick Hughes fr om @radical.media for Draft/FCB. The chang ing media market h as also delivered new opportunities for Digital Pictures, adds Fleming. For example, DP’s digit al in teractive depar tment is partne ring mo re often wit h t he 3D animators for premium web based pr ojects such as th e NAB Socceroos c ampaig n the facility produced for Clemenger Blue Digital. “We a re c urre ntl y comb ining these two departments on another ma jor proje ct for a lead ing Melbourne a gency and we sen se this is p robably just t he t ip of the iceberg b ased o n what ou r clients are saying. Our work i s being s een on a greater variety of platforms, for example, web and mobile pho nes (EB), an d ou r sou nd d esign t eam are wo rking on we b sit es, ba nner ads and podcasts,” says Fleming. He adds that DP’s offer ing of an ext ensi ve 3D resource, a po d o f broadcast, web and DVD designers and flash de velopers has positioned DP as a de sirable partner for inte- grated projects. As we ll as the aforementi oned ‘Burst’, another f avourite spot was VB’s ‘Symphony’ dire cted by Nice 50 CAMP AI GN B RIEF Stephen Douglas (Digipost New Zealand) The plethora of small businesses based on desktop video technology is starting to show signs of receding as clients appear to be returning to seek out more reliable services to ensure deadlines and quality of service, says John Fleming, general manager of Melbourne-based Digital Pictures. “Digital acquisition, although a significant challenge, is providing some exceptional and unique commercials like Schweppes ‘Burst’,” says Fleming. Trees, also for George P atterson Y&R, Melbourne. Highlight p rojects i ncludes The Bank Job, Wher e the Wild Thin gs Are, an d t elevision pr oj ect s, Underbelly and City Homicide. Major hires at DP include Rohan Zerna as offline editor an d Mark McKenna, a Smoke an d F lame artist from the UK-based post facil- ity, Evolution. For Fuel, the past ye ar has al so seen a fairly even split of f ilm and comme rcials wor k. TV spot s include the Optus c ampaign o f 12 commercials featuring a men agerie of CG c ri tter s, such as t he r ac- coons, o strich and e lephant, the Wrigley’s campaign with CG char - acter work over four commercials, BMW’s ‘Hydrogen’, a fully CG commercial featuring liquid simula- tions which was done f or t he US mar ket an d V en erg y d rink ’s ‘Lifeguard’ which r equired a CG tor toi se i mpe rson at ing David Hasslehoff. Its film work inc luded The Spirit, directed by Frank Miller, Rogue, directed by Greg McLean, which won an AFI Award for Best Visual Effects and it is cur rent ly wor king on Bedt ime St ories for Disney, with Wolverine booked i n after this. Wit h a te am of 70, new h ir es include A ngus W ilson as lead Flame artist from Animal Logic and Andrew Shostak (MRPPP) Celia Nicholas as senior TV pro- ducer f rom Engin. Fuel’s IT and R&D depar tments have al so expanded in recent months as has the 2D and 3D departments. Asked about any increases in digi- tal, Stephen Douglas, general man- ager of New Zeal and-bas ed Digipost, says for him, content is content: “That is what we do at Digipost, but we have done some campaigns which started off just to be u sed for t he web, such as the Tiger Beer campaign for Saatchi’s, Auckland. We also worked on the very controver sial Sneakers viral campaign ‘Linger ie for Men’ for Colenso BBDO. What has been rewarding with the demand for dig- ital content is tha t we are bein g pushed to offer more creative solu- tions on how to approach a project. This has given us the opportunity to work side-by-side with some of the country’s top multi-media and interactive minds,” he says. As for new toys, Digipos t has recently installed new Linux plat- forms for Inferno/Flame/Smoke and just opened its new DI Suite, which features the Baselight 4 intermedi- ate grading system. While the TVC market has been quite challenging this year due to budget constraints, on a more posi- tive note, the features and TV pro- gramme side of our business has JU L Y /AUGU ST 2 0 08 ?
May June 2008