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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September 2010
editing, directing and even the requirements of iPhone and iPad apps. Dyroff says: “This technical know-how can be both complex and extremely satisfying for the designers, animators and composi- tors who have to be mindful of these different platforms and out- puts. Our production team have also become integral in assisting our clients during the early planning stages of a job, opening up the opportunities that ultimately lead to a much more integrated campaign.” He admits that as a business owner there were a few tough deci- sions to be made last year in order to ride out the GFC, but thinks the industry has picked up this year. He says: “Something positive which came out of the GFC was the sense that as an industry we were all in it together and we really benefited from the loyalty of many of our long-term clients and loyal staff throughout this period.” A large proportion of Resolution’s business is TVCs for the local and overseas markets, but it’s also see- ing much more branded content along with growth in print and web design and an increase in overseas enquiries, especially from China and the US. Recent TVCs include NRMA Motoserve ‘Baby’ directed by Dyroff via MercerBell, Coke ‘Open Happiness’ directed by Josh Frizzell for Ogilvy Sydney and Nissan ‘Ink’ directed by David Denneen for Whybin\TBWA Melbourne. Then there was broadcast design projects and branded content including the MTV Awards ‘Amaze Your Mind’ for BBC Knowledge, the 2009 IF Awards, and Tooheys Extra Dry’s ‘6 Beers of Separation’ produced by @radical.media via BMF. Roy de Giorgio joined Resolution as executive producer, and two new designers joined in the past few months: compositor Darren Coombes and Jimmy Yuan, who will be doing art direction and design work for an upcoming US beer campaign. Lara Allen also joined as a production coordinator. Nuke software has recently been added to all of Resolution’s suites and Dyroff reports that the com- positors and designers are enjoying a whole new world of possibilities, especially in relation to working with 3D and stereoscopic material. The company also continues to see the advantages of going desktop. He says: “With new upgrades 39 SEPTEMBER/OCTOBER 2010 CAMPAIGNBRIEF POST PRODUCTION 38 CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2010 IN MAY THIS YEAR, Auckland-based Digipost released Australia and New Zealand’s first stereoscopic 3D (S3D), a 40-second cinema commercial to launch the MINI SOHO 11 via DraftFCB Auckland, kick-starting a trend for S3D spots as clients start to experiment with the fledgling technology. Demand is expected to increase as more 3D TVs are sold and as more movies, TV shows and big events are filmed in S3D driving demand for com- mercials that match the content. Stereoscopic 3D is just one of the exciting trends occurring in the post production industry, according to Digipost’s general manager Stephen Douglas, who refers to 3D as the new Beatles. Digipost has also just finished a 3D print campaign using 3D glasses and its work on the Warner Bros feature, Yogi Bear, was in S3D. The first fully realised CG stereo- scopic commercial made in Australia, which aired in June, was a Target spot via The Campaign Palace, which Melbourne-based post house Iloura worked on. The team, headed by senior animator/ director Octavio De Lellis worked for two and a half months to create the Target rondels in ‘stereo’. In the spot, a quirky group of Target roundels are working in their toy factory to put the finishing touches on an iconic countdown machine, in anticipation of opening Australia’s Biggest Toy Sale. Iloura was already undertaking significant R&D in stereoscopy and was awarded the VFX parcel on Australia’s first drama stereoscopic feature film, James Cameron’s Sanctum, due for release later this year. “Stereoscopy brings with it a whole new process that needs to be carefully considered,” says Simon Rosenthal, executive producer of Iloura. “Shot layout and content needs to be scrutinised throughout the process to ensure the smooth transition from one shot to another. Being one of the first Australian companies to execute broadcast quality digital ‘stereo’ work, there was a degree of R&D required dur- ing production.” In May, Fox Sports became the first Australian broadcaster to air a live sporting event in 3D, televising the Socceroos farewell match against New Zealand on its new 3D channel, Fox Sports 3D. There’s a lot of conjecture about S3D, according to Rick Schweikert, POSTING THE FUTUREIN3D Following the move towards Stereoscopic 3D by Hollywood directors and special event programming on television, the Australian and New Zealand post production industry is gearing up to create S3D commercials, with the first spots airing this year. CB talks to the main players about 3D and a myriad of issues affecting the industry over the past year and into the future. Tim Kreibig: “As the range of platforms and media become more diverse and complex, so does the role of creative firms like Emerald City. We are exploring new forums such as augmented reality and 3D projection.” Rick Schweikert: “FSM is committed to Stereoscopic 3D. We believe in it. All the major broadcasters are looking at it or have done their special event broadcasts in S3D and it’ll get bigger and better.” Alistair Stephen: “Being prepared and ready for when marketers regain confidence is the aim of the game. Having a diverse offering is key to success in today’s climate - this will continue to be our primary focus.” Grant Everett: “When 3D TVs are more common and the networks are producing a consistent amount of 3D content and broadcasts it will bring more and more work into the industry.” v managing director of Sydney-based Frame, Set & Match (FSM), which worked on the broadcast. This includes questions such as what will drive S3D? Who and how will you watch it? Why bother in the first place? He says: “FSM is committed to Stereoscopic 3D. We believe in it, we’ve invested in it and we under- stand it. S3D won’t make a bad film or a poor production any better but it does add a layer or a texture that enhances the experience in cin- ema and now at home with the right type of TV. We know all the major broadcasters are looking at it or have done their special event broadcasts in S3D and it’ll get big- ger and better.” For Grant Everett, VFX supervisor at Sydney-based Engine, S3D is a serious game-changer. Engine has worked on a S3D TVC and there are more in the pipeline. He says: “We are also working on 3D R&D projects with leading knowledge-based companies in local and international markets. 3D is a serious game changer that brings challenges for content cre- ators including finding the capital expenditure for equipment and the right people with the right expertise to make successful productions. When 3D TVs are more common and the networks are producing a consistent amount of 3D content and broadcasts – mainly in sports and movies to begin with – it will bring more and more work into the industry.” Engine has recently invested in the new RED One camera with Mysterium-X sensor and is upgrad- ing its 2D and 3D offerings across the board. “This gives our clients greater flexibility to meet their creative, scheduling and budget challenges,” says Everett. “Combining the strengths of more powerful Flame suites with creative desktop applica- tions allows us to utilise talented artists on projects, maintain the quality of our design and tackle complex jobs to meet ever-tighter deadlines.” There’s a growing need to bring together good creative ideas with new technical possibilities and thereby find new ways of engaging audiences, says Tim Dyroff, creative director of Sydney-based Resolution. He finds it’s becoming increasing important to be versed in skills that aren’t traditionally ‘post’. T hese can include print and web design,
May June 2010