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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : January February 2008
TV C PROD UCT I ON Jasmin Tarasin / Pantene ‘Anna’ Kriv Stenders / Levis Part II John Warwicker / Underworld ‘Oblivion’ Steve Scott / Volvo ‘Angles’ How Pod keeps aheadof the pack The industry has been talking for some time about advertising being more than just the 30- second ad. The trouble is, nobody has really known what that meant. Well, almost nobody FOUND ED ON THE PRINCIPLE of embracing all avenues of creative work, whether commercial or pure- ly artis tic , Pod Film have be en building up their innovative muscle for the l ast ten years by explori ng the entire spectrum of creat ive pro- jects. And if the constant stream of awards and to-die-for commis sions is anything to go by, Pod Film seem to be o ne of t he most inter esting production houses in the country. Long before the term “cross-plat - form” became everyday adve rtising vernacular, the Pod team were hard at it , developing their fresh mix of art-adve rts, feature fil ms, graph ic design pro jects, photograph y, dig i- tal and on line projects and mu sic videos. And now tha t the bo und- aries hav e broadened, Po d Film is poi sed to take thei r approach to advertising to the next level. Ta ke John Warwic ker for instance. A founding member of the uber-influential collective, Tomato, in London, Warwicker has for t he pas t five year s been an in tegra l membe r of t he P od line-u p. Designer of the oft-emulated t itles for cult f ilm “Tr ainspotting”, and director of striking commercials for clients i ncluding Telst ra, Re ebok and Stol ichnaya, Warwick er has always managed to stay at th e fore of what is new and vibrant in the art world. Most r ecently, he has con - tinued to collaborate with electronic group Und erwor ld by de signing their coveted new album Obli vion. As w ell as d esigning the Album cover and concertina (with separate design s for the U S, Euro pe and Japan) Warwicker has desig ned Underworld’s accompanyin g tou r 48 CAM PA I GN B RIE F book and has been heavily involved in the design and a rt direc tion of their innovative web-journal, Book of Jam. But here’s the where it gets really interesting: his passion fo r h igh- falutin’ gra phi c d es ign and art direct ion meshes se amle ssly with his commercial work. One o f t he pion eers of ble ndin g film an d typography, Warwicker c ontinues to direct commercials around the world that break creat ive bo und- aries. To some in the indu stry, th ese artistic pursuits don’t have much to do with making great ads. But those in the Pod Universe dis agree. It is exactly this broad-based ap proach that has made their directors som e of the industries most sought after, despite the fact that, at times, con- ventional ad makers have been ner- vous to embrace their philosophy. Warwicker is not a lone in ha ving deep links to underground music and experimental art s cenes. P od director and illustrator, Steve Scott, recently landed a much-coveted gig anima ting t he n eo-psyched el ic motion graphics for th e r eform of Led Zeppelin in London. Played on a giant 28 metre high LCD display towering behind the Zep’s Marshall stacks , Scott’ s beautifu l k aleido- scope graphics were by all ac counts spectacula r. Cros sing ove r from dome stic-s cal e musi c vid eo to mega-scale ambient environmental gr aphic s i s no mean feat . And “Kashmir” never looked so good. Scott earned a reputation making animated clips for Salmonella Dub, Silve rchair and a sle w of o ther Australian groups be fore br inging his unique talents to adver tisin g. His s ixt ies bac helor-pad st yle graphics translate seamlessly across a number of media an d TVC for - mats and have garnered him enor- mous popular it y am ong clients looking f or something di stinctive and memorable. In fact it has become the Pod Film signature to move betwee n th e a rt world and advertis ing world wit h relative ease. While the f ilmmakers in the Pod family c ontinue to wi n awards, those with a background in fine art photography make a point of showing their work in galleries. Sally Shapcott, Ia in Mac kenz ie, and Chris Sferrazza all studied fine art photography a nd c ontinue t o pursue their creative impulses in the field. Mack enzie is a wor ld- renowned director wi th l oads of industry awards to prove it. But he also has an extensive bod y of art photography. Hi s r ecent exhibit ion at t he Yuill /Crowley Gal lery in Sy dney drew an illustrious crowd from the adver tising, film and ar t wo rlds. The invite es were g iven a unique look at the “non-commercial” s ide of Mackenzie’s work - b eyond the indelible images he has cr eated for Qantas and other hi gh pr ofile co r- porate clients in the US. Kriv Stenders has bee n pushing the boundaries of independent film for the past 10 years and his singu- lar vision is beginning to pay divi- dends. S ince d ir ect ing his acclaimed d ebut feat ure, The Illustrated Family Doctor, i n 2005, Kriv has continued to break down creative boundaries. Havi ng j ust been awarded Best Directo r a t the Australian Director’s Guild Awards for his thi rd feature fil m Boxi ng Day, Stenders is recognised as one of Australia’s most notable arthouse filmmak ers. Clever ly he has, throughout his c areer, managed to bring the film an d ad ver tisin g worlds t ogether. As l ong ago as 1999 Stender s dir ected the long format TVC for Le vi’s, a f ormat that has since been p opular with high -en d brand s su ch as B MW, Coca Col a and Schwepp es. His recent TVCS for Hutchison h ave won him a number o f p restigious awards in Asia during 2007. In light of shrinking a dvertising budgets around the world, it is the directors who have embrac ed t he move towards digital f ormats th at have really managed to s tay ahead of the game. Through his film mak- ing Stenders has had the freedom to explore new disciplines and bring what he has discovered to his emo- tive and recognizable TVCs. Indeed The Hollywood Re porter recent ly called Stenders ‘one of Australia’s most prominent and innovative dig- ital film makers’. Another young filmmaker explor- ing new formats i s Pod newcomer Maia Hor niak . Her d istinct ive filmic style u tilises contemporary motion graphics and compositing in a highly creative fashion. Her recent campai gn for Victoria Tour ism blends her unique storytelling style wi th powerfu l and memor abl e imagery. It is this well honed talent that saw Horniak nominated f or Kod ak AWARD New You ng Director of the Year in 2007. Jasmin Tarasin was initially drawn to fi lm by her pas sion for finding beauty in the everyday. Her well- watched fashion documentary for SBS Closet Tal es uncovered the secr et l ives of fi ve Au stral ian designers behind rever ed label s Ak ira, Willow, Lover an d Morrissey. Since then she has made a number of memorable film clips for female arti sts (one of whi ch recently won her an IF Award nom- ination for best direction). But it is her u pcomi ng campai gn for Pantene that demonstrates how she brings her personal style from docu- mentaries and music videos into the TVC format. Having neve r se en the need to separate their commercial from their ar tist ic wor k, P od Fi lm remai ns di stinct fr om so many other production houses who are jus t beginning to move beyond advertising in its conventional form. Choosi ng to blend thei r ar tistic instincts into all of their commercial and n ot-so-co mmercial pursuits, Pod is one company set to stay one step to the side a nd one step in front of this constantly c hanging industry. If nothing else, says EP Catherine Kerr, “our creative pursuits across the board keep us from getting stale.” J ANU ARY /FE BRU ARY 2 008
AWARD Awards 2007
March April 2008