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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT NOV-DEC 2013
UP FRONT 32 CAMPAIGNBRIEF NOVEMBER/DECEMBER 2013 fat in every aspect of the industry here, including the amount of com- panies. PETER GRASSE - CURIOUS FILM: The easy answer is Yes, I wish it was less competitive. Yet, that’s the prevail- ing mentality of all the tall-poppy- toppling losers. Yet, we ignore that crowd. If we’d listened to them, we’d wouldn’t have aimed higher and our latest feature, The Rocket, wouldn’t have been selected as Australia’s entry to the 2014 Academy Awards. You have to ignore popular expectations and work hard to reap rewards. JO DE FINA - THE OTTO EMPIRE: Competition is good, and we have seen some great new production companies crop up over the last 12 months. News Ltd - Mini Chefs George & Gary iSelect -$52 Director - Robby Douglas Turner Tony Ashmore 0412332694 t o n y @piglet.com.au piglet.com.au Producer Suzuki Grand Vitara - Mini Pig TVC+CONTENT PRODUCTION Are clients allowing suitable production budgets? WILF SWEETLAND - THE SWEET SHOP: It depends on how the term suitable is defined. It needs to be directly related to the management of client and agency expectations - this is the area in which there are the biggest disconnects between production companies and clients and agencies. JONATHAN SAMWAY - PRODIGY FILMS: There is a real pressure on budgets. This gets brought up year upon year, but it is really getting very dif- ficult to achieve the production val- ues everyone is aiming for on the reduced budgets that are being put forward. Also with the advent of the ‘digital component’ it seems that the calculation is to take the tv bud- get and divide it in half: half for tv and the other half for ‘digital’. This works if the digital part is in line with the tvc and doesn’t if it is a completely different creative brief. ALEX HAY - JUNGLEBOYS: Production budgets are sometimes out of whack with the scope of the pro- duction. We do often get produc- tions that are properly funded but more and more, as production part- ners we are working with agencies and clients to solve problems by re- thinking scripts and restructuring the production to bring it in line with the budget. OLIVER LAWRANCE - PHOTOPLAY: Clients and marketing departments often allocate budgets which are totally unrealistic. Often there’s a gap between budgets allocated and what is required to actually produce the approved creative / script, and most production companies are forced to quote a realistic budget figure above the ballpark given by client. This must now happen on 90% of the content and commercial projects in our industry. We have a duty to do the creative idea and the script justice, yet often we need to negotiate the details as the budget may not allow for them. What can help prevent these issues is to begin the dialogue with production com- panies earlier and requesting ball- park quotes before the script gets to far down the line - we always like to do this and get involved at the earli- est stage possible. COREY ESSE - EXIT FILMS: On occa- sions they are and they are reward- edforit,yousayyestoalotmore things they want to achieve, they get more, more of everything, better production values etc. The fact is they are traditionally not allowing enough money and their expecta- tions remain the same. We are in an adjustment phase of how to do these jobs for the money and put the money on the screen and change people’s expectations of what being on set is like in this mar- ket with those restraints. ANNA FAWCETT - FILMGRAPHICS: Never before have client expecta- tions, compared to the budgets, been so high. SUSANNAH DILALLO - RAPID FILMS: It really depends on the client. Some clients are, others are not. Unfort- unately sometimes scripts are writ- ten without the budget in mind. MICHAEL COOK - THE FEDS: In the most part - no! But the real chal- lenge is when all parties are agreed on and working to an incredibly tight budget - but then faced with changes throughout the process and multiple rounds of approvals that go beyond the scope. PETER MASTERTON - PLAZA FILMS: Everyone is being squeezed of course, and production is no excep- tion. Mostly, budgets allow for fair- ly simple ideas at the moment. GEORGE McKENZIE - ROBBER’S DOG: No, not really. Every job is a finan- cial battle. Clients want the same product in less time and for less money. We all understand that the media landscape has changed and marketing budgets have to cover more mediums than before. But robbing Peter to pay Paul is not the way to go. Nor does viewing a film on a computer screen make the cost of its production any less. MICHAEL RITCHIE - REVOLVER: I hon- estly feel that the Australian pro- duction budget continues to attract a disproportionate amount of scrutiny and I am sure its primarily because we deal with a singularly larger and more conspicuous chunk than other areas of the client’s over- all expenditure. I genuinely believe we are incredibly efficient film mak- ers here, our mark up levels are minimum and significantly less than the States, like 40% less. There are ways to shoot doco-style projects and for the right project this can be enormously efficient and have a favourable budget outcome, howev- er I fear this has had a negative effect on projects that truly require production values. Truth is and I am bored saying it, if we now engage in making a commercial film or commercial project of any sort, its impact now has to be far more effective than ever before.....we all know the reasons why, just look at your own consumption of media. We need to craft our executions, albeit, filmic, sculptural, stunt, technological or architectural better than we ever have before and to do this we do require the commen- v CBNAT NOV-DEC2013_MASTER_CB-FEBRUARY-2007 19/11/13 5:27 PM Page 32
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