by clicking the arrows at the side of the page, or by using the toolbar.
by clicking anywhere on the page.
by dragging the page around when zoomed in.
by clicking anywhere on the page when zoomed in.
web sites or send emails by clicking on hyperlinks.
button in toolbar for more information.
Email this page to a friend
Search this issue
Index - jump to page or section
Archive - view past issues
Please subscribe by clicking on the link to receive
Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : July August 2008
Smiths ‘Thinly Cut’ (Clemenger BBDO, Sydney) - Director: Mat Humphrey. Production Company: The Guild Beijing Olympics Opening Sequence (Seven Network) - Prod Co’s: Postmodern/Cybercity Films/Seven Design Telstra ‘Entertainment’ (BWM, Sydney). Director: Lance Kelleher. Production Company: 8 Commercials Death Defying Acts - feature movie BALANCEAT POSTMODERN background was created from s tills of various locations. “The only live-action that was shot was the main talent on the green screen with all the background cre- ated in 3D. NAB’s ‘ATM’ spot was different in that we weren’t exactly creating environments, but what we were trying to do was to create these very special plug-ins that let us do the ATM unwrapping effect that you see in the spot and also to cre- ate the rainbows that flick through the spots,” says Rogers. “To achieve a lot of the looks and James Rogers, Angus Reid and Andrew Robinson ed by J ustin Reardon of Curio us Film/Anonymous Content, via Clemenger B BDO M elbourne; Telstra Bigpond’s ‘Entertainment’, directed by Lance Kelleher f rom 8 Commer cials, v ia BWM and Smith’s ‘Thinly Cut’, directed by Mat Humphrey of The Guild, via Clemenger BBDO Sydney. Postmodern’s creative d irector Richard Swan worked closely with Network Sev en on t he B eijing Olympic de sign pac ka ge w hi ch included the opening titles, straps, billboards and on-set graphics. The JU L Y /AUGUST 2 008 project was six months in the mak- ing and gave Swan and the team the opportunity to c reate a complete package for this high profile event. Rogers says across these jobs there was quite a lot of 3D work involved, which reflects the strengthening of this side of the business. For example, the ANZ spot, which demonstrates that ANZ o ffers an account with unlimited transactions for just five doll ar s a month, required the construction of a fully 3D environment. Postmodern got involved prior to the shoot and the effects we a ctually c reated custom plug-ins f or all t he different jobs. Writing our own software allows us to extend the reach of our equip- ment in a very customized way rather than having to depend on releases coming from software com- panies to do a specific trick.” Often, innovations developed for the feature films are being fed back into the commercials work. For e xample, while working on Daybreakers Postmodern developed a way of rendering skin, something notor iously d if fi cult t o r ende r because it is slightly translucent. “The films have really accelerated our ability to deal with commercials in a slightly more intelligent way simply because we have that tech- nology de veloped and available to us,” says Rogers. “It also works the other way in that a lot of our Massive work was based on com- mercials and we folded that back into the films. Death Defying Acts had a lot of Massive work, there was a little bit in Daybreakers and the technology is currently being used in Australia.” From Reid’s perspec tive, Post- modern has achieved a good bal- ance between features, commercials and international work. Further- more, agencies have been embrac- ing their collaborative approach. “Rather than just being the post house people come to at the end of the job to finish something off, we are positioning ourselves to be an organization that can see the pro- duction through from start to finish, thereby adding more quality to the overall production. They may imag- ine they have a bottle exploding, but we can explain the options available to get it done, advising the person shooting it or sending people out on set to supervise,” says Reid. Robinson puts forward a solution for the age-old problem of small budgets and fast turnaround times: “Sometimes, you can offset that, so if you don’t have enough time but you can pay the money I can devote the whole place to get the job out or if you don’t have the money but you are going to give us the time to do it, that works too,” he says. CAM PAIGN B R I E F 59
May June 2008