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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : Nov Dec 2010
working on similar things. We used Screen NSW to help us with per- missions for that huge McDonald’s Playland located in front of Customs House in Sydney,” he says. “I think they need to go fur- ther but it’s getting a little more proactive now and we are getting help at last.” It’s great that Auckland City is waking up to what the screen pro- duction industry contributes to the city, says Matt Noonan, executive producer at Curious, based in Auckland: “Auckland is still a great place to shoot and it keeps improv- ing slowly, but we need to keep pushing,” he says. “Curious has always pushed for the location that is best for the creative of any job, we love shooting in NSW, Victoria, QLD, SA and we love shooting in New Zealand.” With SPAA and all the location managers it works with in Australia really working hard at city, state and federal level to make shooting work well for all stakeholders, Peter Grasse, general manager/executive producer at Curious Australia, hopes something similar is on the cards in Australia: “But Sydney and Melbourne are still excellent places toshootin,andwegetalotof cooperation from the authorities,” says Grasse. “We also shot in Brisbane and Cairns this year with our favorite Swedes, Traktor, and found Queensland to be an awe- some place to shoot. That said, Traktor also really love New Zealand. The bottom line is that wherever we go, we take good care of whoever’s come along for the ride. It’s fun and next year will be no exception.” For Noonan the most exciting thing happening in the production industry is the breadth of platforms for entertaining and engaging con- tent. The biggest challenge is how budgets are allocated: “Trans- parency and open discussion is the most productive way forward, but I think a lot of agencies and media companies feel irrationally insecure about the changes we are working through,” says Noonan. While things have picked up after the GFC and he’s cautiously opti- mistic, the strength of the currency continues to have the greatest nega- tive impact: “Positively we’ve been encouraged to think smarter and more laterally,” he says. “Increasingly our briefs involves work across several platforms, but often involves a shit hot com- 31 NOVEMBER/DECEMBER 2010 CAMPAIGNBRIEF TVC PRODUCTION 30 CAMPAIGNBRIEF NOVEMBER/DECEMBER 2010 Revolver, one of Australia’s top production companies, is anticipat- ing a whole new ball-game post GFC and has launched a sister company, Will O’Rourke. Promoted as a next generation production company, the compam- pany launched in November 2010 with a team of top creatives drawn from broadcast writing, television, film, architecture and art. They’ll work in new areas that advertising agencies and brands are venturing into, such as art installation, the construction of a branded venue, a live event or something combining film with other innovation. The roster includes Revolver’s Steve Rogers and other directors; The Glue Society; artist Shaun Gladwell; architectural designer, Chris Bosse; The Chaser’s Julian Morrow, Craig Reucassel and Dominic Knight; documentary maker Sascha Ettinger Epstein with the addition of more creative talent as the company grows. Will O’Rourke has begun work on a large project event for Mojo for an international client, an architec- tural project with Droga5, a docu- mentary project with Host, and an entertainment project called ‘Watch With Mother’ - a sketch horror show launching online in mid 2011. Michael Ritchie, executive producer of both Revolver and Will O’Rourke, says they are bringing together unique creative talent across an extremely wide range of disciplines: “Marrying that with strong produc- tion support, we really should make extraordinary things happen - things that live both in front of and beyond the camera lens,” he says. Ritchie says production compa- nies are working hard to be ready for everything and anything: “New rules are afoot and we are all con- tributing to their inception,” he says. While there was some demand for international work, demand on the local commercials front is stronger than it’s been for some time. “There are some very high stan- dards of work coming out of this country. We are happening to do some branded documentary stuff, which is becoming more prevalent,” says Ritchie. Recent work includes a short film for Romance Was Born, an 11-part documentary for Tourism WA, a few music videos and a play. Commercials include VB for Droga5, via Steve Rogers; DB Beer via Colenso New Zealand and The TVC productionin2011:awhole newadworld? With SPAA and all the location managers it works with in Australia really working hard at city, state and federal level to make shooting work well for all stakeholders, Peter Grasse [above] hopes something similar is on the cards in Australia: “But Sydney and Melbourne are still excellent places to shoot in, and we get a lot of cooperation from the authorities,” says Grasse. “We also shot in Brisbane and Cairns this year with our favorite Swedes, Traktor, and found Queensland to be an awesome place to shoot.” “I feel that we do not stand together as an industry,” says Anna Fawcett [above]. “We are fragmented and undercutting each other to the point now where we have devalued our skills and highly trained professional directors are being bid against amateurs. In the USA they have AICP and in UK, APA, and these bodies protect their industry to a certain extent. We tried to get something happening with SPAA, but it just didn’t work out.” v Glue Society; Hyundai’s ‘The Decipils/In Ocean’; and Boost via George Patterson Y&R Melbourne directed by Tim Godsall. And Aaron Stoller has joined the roster. Revolver was named as one of the top 10 production companies in the world for 2010 by US-based online trade mag Creativity, coming in at number eight. Furthermore, Steve Rogers was named as the 9th most awarded director for the year, along with Curious’ Daryl Ward, who was the 8th most awarded director. Ward worked on two of the Cannes Grand Prix winning cam- paigns, directing the Orcon Broadband ‘Orcon + Iggy’ cam- paign via Special, Auckland, which won the Grand Prix in direct, and working on Leo Burnett Sydney’s Canon ‘EOS Photochains’ which won the Cannes Media Lions Grand Prix. Australia had an impressive per- formance in the Film Lions at Cannes this year picking up five overall - with two Gold, two Silver and one Bronze. Droga5 Sydney won gold for VB’s ‘Regulars’ direct- ed by Gary Freedman of @radi- cal.media and Leo Burnett Sydney won gold for WWF’s ‘Monkey’ directed by Revolver’s Steve Rogers, and this spot went on to win the TV/Cinema Craft Grand Prix at the Asia Spikes Awards. Silver went to Meerkats Perth for HBF’s ‘Working Less’ and ‘How it used to be’ directed by Niki Caro of Flying Fish and also to Colman Rasic Sydney for MTV Exit Foundation’s ‘Goodnight, Travel Well’ directed by David Slade of Anonymous Content, Los Angeles. The bronze went to Saatchi & Saatchi Sydney for Toohey’s New ‘Nana’ and ‘SMS’ directed by Justin Kurzel of Cherub Pictures. Revolver also picked up silver in the inaugural Film Craft Lions for Boag’s Pure ‘The Island’. New Zealand didn’t pick up any Film Lions but did win two golds in Film Craft for the New Zealand Book Reading campaign ‘Going West’ produced via Anderson M Studio in London for Colenso BBDO Auckland. On the move by Auckland City Council to release a new protocol for the screen production industry, which will make filming in Auckland even easier and more attractive to international and local producers, Ritchie says that it’s already good shooting in New Zealand: “The bodies here are Faced with a downward spiral of budgets and a highly competitive market coming out of the GFC, Australasia’s leading production companies have been diversifying into broader areas, successfully making a play for feature films, television shows, branded entertainment, installations and the digital space. CB’s Heather Jacobs talks to the main players about a myriad of issues affecting the industry over the past year and into what is promising to be an exciting 2011.
CB NAT FEB 2011