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WALK THE TALK 8 >> PHOTO SHOWCASE 14 >> PIE MAN 44
>> HIGH SOCIETY 6 >> TV TOP TEN 47 >> TEST DRIVE 42
>> INK, SWEAT & TEARS 33 >> BLOODY TEACHERS 38
9 421902 251009
Arm yourselfNETWORK
Why fi ght fi re with fi re when you can smother it with a massive media impact?
While some spend their lives running from the heat, the real heroes feed off it. Arm yourself with some
seriously integrated firepower and save the day with Fairfax Media. Call us, (09) 970 4000 or (04) 474 0487.
Nigel Douglas Managing Director MediaCom
F A X 0 1 3 5 N D _ A M _ J u l y 1 0 . p d f P a g e 1 1 / 0 7 / 1 0 , 3 : 0 2 P M
AdMedia July 2010 1
contents
CONTENTS2 Editorial
3 Letters
5 Magazine Awards
28
14
Stock Libraries8
10
Experiential
What’s New
43 AUT Adschool
Report
Photographers
Showcase
The
Front Page48
38 AUT
mid-term
report
42 InterActive
Bytes
33
44
Pride In Print
Relationship
management
47 TV Top 10
6 DIY billboard 46 Technology
to Connect
2 www.admedia.co.nz
editorial
VOLUME 25 NUMBER 6
is a registered magazine published by Mediaweb LimitedPO Box 5544, Wellesley Street, Auckland 1141
Phone 64-9-845 5114, Fax: 64-9-845 5116Website: www.mediaweb.co.nz
EditorDavid Gapes – [email protected]
64-9-575 9088, 021 596 686
AdvertisingKelly Lucas
[email protected] 0443, 021 996 529
DesignerChris Grimstone
Production ManagerFran Marshall
New Subscriptionswww.admedia.co.nz/subscribe
Subscription Enquiries64-9-845 5114
Annual subscription rate NZ(11 issues AdMedia, 48 issuesFastline) - $196.00 incl. GST.
Publisher Mediaweb LimitedPrinting Benefitz
Distribution Gordon & Gotch
All content is subject to copyright and may be used only at Mediaweb’s discretion.Copyright © 2010: Mediaweb Limited.
ISSN 0112-6997 (Print)ISSN 1179-870X (Online)
2 www.admedia.co.nz
Just as this edition of AdMedia went to press, the news broke about the
huge expansion plans at Oktobor Auckland.
Oktobor is one of just a handful of top-end NZ facilities that already attract
international projects, but is now poised to become a much more
significant player on the global scene, competing directly with the US and
Europe.
The Omnilab Media-owned facility has formed a new arm, Oktobor Animation,
created in conjunction with Backyard Animated Pictures (USA), to create multiple
CG animated television series for Nickelodeon Studios.
Over the next three years, Oktobor Animation will become an international hub
for Nickelodeon’s rising number of CG productions. The facility has also secured
long-term contracts to work on other high-profile television series.
Staff in Auckland is currently 30 – but this is expected to increase to a crew of
over 120 artists & technicians by mid-2011 – rising to 300 by 2014.
That’s some expansion. The Oktobor people say they were inspired by WETA
Wellington, which owes part of its success to the strong commitment made by the
NZ Government to incentivise international producers to bring their films to the
region.
And the Government has again been to the fore in driving the Oktobor expan-
sion, providing assistance from the Ministry of Economic Development, as well as
the NZ Film Commission and Film NZ.
This is just the kick-start the sector – and the country – needed, and it comes
at a time when many companies are still struggling with the ‘recovery’. AdMedia
congratulates all the parties involved, and looks forward to reaping some of the
many benefits that seem sure to flow through to the wider industry.
Weapons ofmass employment
David Gapes ([email protected])
AdMedia July 2010 3
letters
LETTERS
Narrow-minded
Dear Ed:
I’d like to reply to Shirley’s letter, ‘Farcical & Cynical’ [about the
Steinlager Pure campaign] in AdMedia May.
I too, like you Shirley, work in the advertising industry and I’d have
to say your letter is quite surprising and narrow-minded (and, no I
don’t work for the agency that did the Steinlager Pure commercial).
Yes, you’re right, the actor isn’t a Kiwi, and no the commercial
wasn’t shot by a Kiwi director. So what? I work for an international
advertising agency that isn’t Kiwi, but operates in NZ. At the agency
we have many foreigners, who mostly work on Kiwi brands.
Should they all be fired? Should we not allow international agen-
cies to operate here? Should we all just work from one big Kiwi
cocoon? Why I am surprised at your letter is because you, out of
everyone (being in advertising agency yourself), should know that
we live in a global village. Communication and media are universal.
I have seen British ads with Mexicans in it, American ads with
Australians, French ads with Brazilians ... you get my point.
If a certain creative wants a certain look for and ad, then they
should go for gold. If it happens to be a foreign director, actor or
song, so what?
In football terms, since it’s the World Cup, that’s like Real Madrid
not using Ronaldo because he’s Brazilian, or LA Galaxy not using
David Beckham because he’s English.
It’s a pathetic argument. Vincent Gallo has a great and unusual
look, and if that’s what the creative team envisaged, then well done
on them for bagging him.
After all, if I have to see another ad with an All Black in it, I’ll puke.
Steve
Seatoun, Wellington
Effective
Dear Ed:
Our Mad Men 3 promotion with AdMedia & Fastline went down a treat.
I’ve often wondered if there’s any other publication anywhere that
has its readers read it so soon after they receive it as Fastline readers
do. It’s such an effective piece of communication for that industry.
It was perfect for us. Good one.
Danielle Beh
Metro EXP Events & Sponsorship Management
House call
Dear Ed:
Alice at Cannes emailed late last week to let me know that Special
is ranked No 8 Independent Agency in the World – in with the likes
of Weiden & Kennedy. Which is a brilliant, brilliant result for only
our second year in business.
Surely the best ever result by a NZ independent agency ... but to
top that, I received this letter from Parliament on Friday ...
Tony Bradbourne, CD, Special Group, Kingsland
VINCENT GALLO.
www.dvt.co.nz/smoke
Autodesk Smoke 2010 For Mac OS X provides fully integrated Edit, Conform, Track, Composite, Grading, Graphics and Keying tools in a single application. It has full support for importing Avid Media Composter and Apple Final Cut Pro projects and includes ProRes, P2, XDCAM and RED file format compatibility.This system gives you a way to finish your projects productively and creatively without having to bounce your media around between different applications.
Whether you’re an artist looking to expand your creative capabilities or a facility owner looking to differentiate your business with effects-centric editorial finishing, stand out from the competition with Autodesk Smoke 2010 video editing and finishing software. Learn more at www.dvt.co.nz/smoke
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Systems available from $1,650+GST per month.
www.dvt.co.nz/smoke
Autodesk Smoke 2010 For Mac OS X provides fully integrated Edit, Conform, Track, Composite, Grading, Graphics and Keying tools in a single application. It has full support for importing Avid Media Composter and Apple Final Cut Pro projects and includes ProRes, P2, XDCAM and RED file format compatibility.This system gives you a way to finish your projects productively and creatively without having to bounce your media around between different applications.
Whether you’re an artist looking to expand your creative capabilities or a facility owner looking to differentiate your business with effects-centric editorial finishing, stand out from the competition with Autodesk Smoke 2010 video editing and finishing software. Learn more at www.dvt.co.nz/smoke
Digital Video Technologies (NZ) LtdLevel 2, 45 Fairfax Ave, PenroseAucklandPhone: 09 525 0788Email: [email protected]: www.dvt.co.nz
Systems available from $1,650+GST per month.
AdMedia July 2010 5
adnaus
fistfu
l of gongs
Rising above the Chorus
TERRIFIC: HEALTHY FOOD GUIDE.
WINNER: BEAUTY NZ.
MC Raybon Kan
struggled to be
heard over the
hoots and whis-
tles of a crowd that got row-
dier as the night wore on at last
month’s magazine awards-fest,
the annual MPA Magazine Awards.
It might have been the loca-
tion of the AdMedia table but a
particularly vocal Tangible Media
group showed their support for
colleagues and colleagues-to-be at
the nearby HB Media tables drown-
ing out the hapless Kan. Maybe it
was just the generation gap; they
were after all, representing finalists
and support team in the Youth & Pop Culture section from
Tangible’s Real Groove and The Groove Guide.
HB Media’s Adrian Clapperton scored another fistful of
gongs, as expected, to add to his designer supremo collec-
tion. HB took its fair share of plaudits but seemed a little
subdued at having lost out on some of the plum awards to
smaller or more specialist trade titles in some categories.
Adrenalin’s Cathy Parker, a long-time MPA and awards
supporter, was over the moon at her first-ever awards for
her newish custom title Beauty NZ.
The Supreme Magazine of the Year was indie
publisher Healthy Life Media’s Healthy Food
Guide. “This is an involving magazine; simple and
effective ... a terrific achievement,” said the judges.
Healthy Food Guide’s track record since
launching in 2005 has been so remarkable, it
could/should have
taken out the Su-
preme Award in
2009 or 2008.
It’s the 8th highest
selling paid title in
NZ, surpassing even
the popular weeklies
like New Idea and
Lucky Break.
It’s the fastest-grow-
ing magazine out of
the 10 top-selling ti-
tles (eight of which
have declined YoY).
Circulation has grown in every audit in the five years
since its launch, and continued to grow after the launch of
Taste in late 2005 and Recipes+ in 2008.
In 2009, it became the #1 selling food magazine in NZ,
overtaking Cuisine in the June 2009 audit and widening
the gap in the December 2009 audit.
healthy food guide
Magazine of the Year 2010, The Magazine Awards
NZ’s highest-selling food magazine
307,000 readers per month
We can get your brands winning too! For advertising, contact Carlee Atkin [email protected] 09 304 1491
magazine
6 www.admedia.co.nz
adnaus
skin d
eep
High SocietyO
utdoor specialist APNO has
installed the interactive skin
hand-painted by the media
agency music lovers who at-
tended May’s Friends in High Places concert
in K Rd. The skin has gone up in Beach Rd
in the Auckland CBD, near the bottom of
Anzac Ave.
DOWNTOWN AUCKLAND.
THE APNO TEAM.
THE REVEAL: APNO’S KENT HARRISON REMOVES THE LAST
PIECES OF VINYL TO UNCOVER
THE LOGO.
We’re building the Paper Revolution piece by piece – love for paper is on the rise! Join the Spicers Paper crusade at www.paperrevolution.co.nz and write what you love best. Add it to the construction pile online before 12 August and go in the draw to win one of four Semi-Permanent VIP prize packs.
PROUD SPONSOR OF
We’re building the Paper Revolution piece by piece – love for paper is on the rise! Join the Spicers Paper crusade at www.paperrevolution.co.nz and write what you love best. Add it to the construction pile online before 12 August and go in the draw to win one of four Semi-Permanent VIP prize packs.
PROUD SPONSOR OF
8 www.admedia.co.nz
experiential advertising
JOSE ALOMAJAN (DROGA5).
SUBLIMENZ’S ROBERT BRUCE, ANNA WILSON (.99).
SublimeNZ md Robert Bruce was emphatic
– we couldn’t write about the experiential
sector without, er ... living the experience
ourselves. So, armed with a stack of Ad-
Medias (complete with June’s Experiential special
feature), Bruce squeezed a Moving Board™ into his
BMW to hand-deliver the magazines to creative shops
around Auckland ...
Walking the talk
PAUL MCNAMARA (REPUBLIK).
PAUL MANNING (OGILVY).
MURRAY REID (FEDERATION).
JAMES MOK (DRAFTFCB).
BRUCE EVERETT (OKTOBOR).
AdMedia July 2010 9
adshel advertorial
You gather your things, grab your keys and rush out the door. As you arrive at the bus stop, you glance at the poster
and make a mental note to visit the website at work. You wait around, look-ing for something to do until your bus pulls up...
If only that outdoor poster had in-corporated a mobile component, you could have downloaded the product video, received directions to the nearest stockist via Bluetooth, used a QR code to visit the website or even entered a competition via SMS.
Marketers have been waiting for mo-bile marketing to take off for years. In the past year, it’s begun to do just that. With improvements in mobile handsets, reductions in data costs and faster speeds, New Zealand is now home to more phones than people and mobile content consumption has increased significantly.¹
As more people spend more time outdoors, Adshel’s integrated strategy of mobile and outdoor media triggers consumers to engage with your brand outside their homes.
If New Zealanders love their mobile phone, we also love the outdoors with
a majority of mobile users spending a large amount of time out of home.² In fact, mobile users aged 14-39 are 29% more likely to be heavy out-of-home consumers and they consume more outdoor media than internet.
CASE STUDY:FLY BUYS MUSIC
Using 20 of Adshel’s Mobile Bluetooth sites in addition to a medium weight broadcast campaign, Fly Buys invited consumers to download three music tracks from renowned New Zealand artists – Stan Walker, Annah Mac and Seth Haapu – for FREE. The outdoor campaign, in support of New Zealand Music Month, ran on Adshel from 10-23 May 2010 – the first to take advantage of New Zealand’s first mobile out of home network.
• 28,628 Bluetooth prompts• 5,437 Bluetooth interactions • 19% opt in rate
By adding a mobile component such as Bluetooth, SMS, MMS or a QR code to your outdoor campaign, your custom-
ers can immediately interact with your brand and provide instant responses to your call to action. This, combined with an Adshel broadcast campaign, ensures your product remains top of mind at all times.
Integrate mobile into your Adshel campaign and make your outdoor count. Contact your Adshel representa-tive for more information.
Outdoor connects
1. NZ EC
ON
OM
IC D
EVELOP
MEN
T, 2. & 3. N
IELSEN PA
NO
RA
MA
10 www.admedia.co.nz
what’s new
Ad of the Month
WHAT’S NEW: [email protected]
The All Blacks and Graham Henry look tough as they send themselves up mercilessly in this glorious, deadpan pisstake for Sanitarium. Not only is the ad very funny but it packs plenty of cut-through punch, thanks to the pulling power of the Men in Black.
With all 64 FIFA World Cup games, SKY is every football lover’s happy place. However a lot of people have other commitments that mean they might miss a game. Or at least they did before this ad got them out of it.
Agency: DDB New Zealand Client company: SKY TelevisionBrand/product: SKYClient contact: Mike WatsonMedia: Newspaper Group executive creative director: Toby Talbot Head of copy: Paul Hankinson Head of art: Dave Brady Account team: Scott Wallace, Danielle Richards, Brad Armstrong Writer: Pip Perkins Art director: Jennie Ko
<<
AdMedia July 2010 11
what’s new
<<
“Love of invention will never die.” Karl Benz. For nearly 125 years Mercedes-Benz has set the bench-
mark that others follow. This outdoor, print and TV campaign, unfolding over the next few months, captures the spirit of innovation at Mercedes-Benz
that dates back to the invention of the car in 1886 and endures still.
Agency: Running with ScissorsClient company: Mercedes-Benz New ZealandBrand/product: Mercedes-BenzClient contacts: Coby Duggan, Kelly HarveyMedia: TV, Magazine, Newspaper, Outdoor Creative team: Drew Ayers, Mike Davison, Adrian Richards, Mario McMillanPlanner: Friday O’FlahertyAccount service team: Birgit C Hoeglinger, Afshin SaffariMedia strategist: Stacey McEntee
12 www.admedia.co.nz
what’s new
The mixandmatcher gave players the chance to spin for a prize holiday with two randomly selected Facebook friends. 74,348 Kiwis mixandmatched, clocking up 37,128 hours of gameplay and around 50,000 user-generated comments about the competition.
Agency: GladeyeClient company: House of TravelBrand/product: mixandmatch.co.nzClient contacts: Tim Paulsen, Alice LyonMedia: Web (Facebook)Creative director: Tarver GrahamArt director: Guy TrowbridgeTechnical lead: Ken VuProducer: Conrad BlightAccount manager: Soong PhoonSound design: Barnaby Marshall
<<
No matter what the occasion, Liquorland is always there for you.
Agency: HotfootClient company: Liquorland
Client contacts: Angela Butler, Sarah McClennanMedia: TV
Creative director: Kim EllisonAccount team: Juanita Neville-Te Rito, Michael Wood,
Casey McPikeMedia strategist: Peter Myles
Creative team: Kim Ellison, Paul Taylor, Martin BrownAgency producer: Nick Barnes
Production/film co: Film ConstructionProducer: Jozsef FityusDirector: Perry Bradley
Post production online: ToyboxSoundtrack: Liquid Studios
<<
AdMedia July 2010 13
what’s new
This idea brings to life the fact that the All Blacks use UP&GO to top up – anytime, anywhere.
Agency: Ogilvy Client company: Sanitarium
Brand/product: UP&GOClient contacts: Kit Rahman, Hayley Findlay
Media: TV Creative team: Damon O’Leary, Basil Christensen, Nikki
McKelvie, Posey WallMedia strategist: Spark
Writers: Damon O‘Leary, Basil Christensen Art directors: Basil Christensen, Nic Hall
Agency producer: Jane MillProduction/film co: Ogilvy Film 360
Producer: Angela HoveyDirector: Barry Fawcett
Post production: RedworksEditor: Sam Brunette
Soundtrack: Nich CunninghamFootage/ Production: Film 360 Degree
<<
<< There was no winner in the NAB June Newspaper Ad of the Month.
AdMedia July 2010 15
photography
The new wave
IndexIDC .......................................................................................................................................... 17
International Rescue ........................................................................................................ 19
Lightworkx ........................................................................................................................... 21
Flash Studios ....................................................................................................................... 22
Reload .................................................................................................................................... 23
Spid Advertising Photographer ............................................................................ 23, 27
Minnie Street Studios....................................................................................................... 24
Photo Warehouse .............................................................................................................. 24
Studio Lumiere ................................................................................................................... 24
Stephen Langdon .............................................................................................................. 25
Leon Rose ............................................................................................................................. 27
16 www.admedia.co.nz
photography
The advertising industry turned to
photography when it discovered
the power of a photograph to
convey the joys and benefits
of consumerism, says art historian Patricia
Johnston. “Advertising agencies, clients, and
magazine editors eagerly sought work by
Steichen, Penn, Avedon and others because
they recognised their modernism and
distinctive personal visions as effective
selling tools.
Those were the days! Commercial pho-
tographers today face challenges that
have some questioning the viability of the
business. The NZ Institute of Professional
Photography (NZIPP), which represents
over 400 photographers, says the median
income for a fulltime, self-employed com-
mercial photographer in NZ is around
$27,000. The average cost of running the
business – before they pay themselves – is
$80,000 a year.
“It’s not a glamour industry with huge
sums of money to be made,” says president
Craig Robertson of Rotorua-based Full-
frame Photography.
Competition is big; advertising budgets
are not. Stock libraries offer images in the
millions, sometimes for under a dollar and
often within hours. Magazines have shrunk,
and so have page numbers – a report from
the US Publishers Information Bureau last
year indicated a 41% decline in ad pages
since 2000.
“NZ is a fantastic place to live but as a
photographer it’s a hard place to realise
big dreams and ambitions,” says Chris
Sisarich. “Budgets are small, the time frames
are short. Unless you move to New York or
London it can be quite a struggle,”
Despite those shrinking budgets, clients
still expect the same high standard, says
Flash Studio’s Melanie Jenkins. “I’m also
finding that where once we’d do a quote
and the job would be confirmed, clients are
now holding off for months, putting shoots
off as long as they can.”
Commercial photographers are working
harder for less, she says.
Diminishing budgets were discussed at
the recent Advertising & Illustrative Pho-
tographers Association (AIPA) Image Na-
tion conference. “It’s a huge problem,” says
executive director Aaron K. And there are
many in the industry who don’t see things
returning to normal anytime soon.
A combination of wannabe photogra-
phers trying to break into the market, and
clients in saving mode who are prepared
to settle for less in the way of quality and
creativity, is having an impact.
Addressing Image Nation attendees, Dro-
ga5 Creative Partner Mike O’Sullivan sug-
gested smart clients will soon see the effect
this has on their brands and return to using
experienced professionals.
“It’s a bit like desktop publishing when it
first arrived and there was some shocking
design around,” says Aaron K.
O’Sullivan talks about old versus new
photography. “Huge amounts of time would
be spent on the aesthetic. I would argue
that’s becoming less important,” he says.
“It’s about the look and feel of the story
that’s happening in the photograph.”
The way people are viewing images
means technique is becoming less relevant,
he says. “They’re not looking at big beauti-
ful A2 things; images today are on all sorts
of devices. What’s important is they capture
the right story.”
Those new devices have seen an in-
creased demand for images and it’s pre-
dicted that in a few short years online con-
tent will be almost totally video. Is this an
opportunity for photographers wanting to
upskill and expand the services they offer?
“Having a good eye and knowing how to
compose translates well into that area, and
there are a number of top photographers
already working in the field,” says Aaron K.
On the downside, the investment required
is a hefty one, and just as today’s technol-
ogy allows anyone to become a photogra-
pher, anyone can become a videographer.
There’s a big demand for their best work, but NZ’s professional photographers also face shrinking budgets, competition from stock libraries, tighter deadlines and an invasion of amateurs. There’s also a trend from aesthetics to story capture. Patricia Moore reports.
LEON ROSE.
18 www.admedia.co.nz
photography
Talent, resources and business sense will
be needed to excel in a market that will
soon be as fiercely competitive as pho-
tography.
Video capture is changing the state of
photography immensely, says Robert Tra-
then. “HD video is now a standard feature
in all top-of-the-range camera bodies, and
with broadband getting faster, watching
quality videos will be expected on almost
every website.”
Newspapers will lead, he says, using video
still capture in hard copy and video online.
“My advice is to start shooting video and
learn how to edit because this will add
value to the range of work you can land and
could lead to directing TVCs.”
Moving into video is just one option.
Photography is an industry that offers a
great many opportunities to diversify, says
NZIPP’s Robertson.
Leon Rose says his recent exhibition in
Auckland was one way to promote his skills
and make a sale or two along the way.
top m
odel in focus Skinny thumbs-up
Newly opened Studio Lumière will feature in the next season of America’s
Next Top Model, filmed in Auckland late last year.
Owner Vanita Andrews says the photography studio was chosen in part for
its modern furnishing and facilities, which fit with the style of the glossy,
international show. “When we were decorating, our number one priority was
making it a beautiful space that was also really functional,” Andrews says.
“So we’ve got gorgeous furniture and wallpaper, but then we’ve also got one
of the few true infinity coves in the country, and a roof that opens and closes,
so you can use natural light if you like.”
Andrews says the studio’s privacy was also a drawcard for the show’s pro-
ducers. “It’s really light and airy, while still being completely closed off. When
you’ve got celebrities and a show to protect, that’s got to be a priority for you.
As for what went on in the studio, Andrews says: “It was all very top secret.
I basically showed them the espresso machine and left them to it.”
Studio Lumière is available for full or half days, with options for props and
equipment hire, catering and talent transport. Call Andrews (09 550 7383) for
an inspection.
CHRIS PARKER. CRAIG ROBERTSON. MICHELE RICHARDS.
AdMedia July 2010 19
photography
0823IR_admedia10.indd 1 12/07/10 3:19 PM
20 www.admedia.co.nz
photography
getting a
n e
dge Agents provacateur
Having an agent will definitely give a top-class photographer an edge, be it locally or internationally, says Michele Richards at
IDC Photographers.
“That edge flows across estimating, negotiating, licensing, production and promotion.”
An agent is a lot more than someone clipping the ticket, says Carla Rotondo at International Rescue.
“An agent nurtures, helps and enables their artists to succeed.”
And, she says, they’re insurance for the client. “We’re responsible and accountable for the work produced by our photographers.”
Agents share photographers’ concerns about local budgets.
“How hard is it for agents with no budgets and big expectations? It’s bloody tough but it makes us want to crack it even
more,” says Rotondo.
“We all know the old adage ‘you need to spend some to make some’. It’s the absolute truth. A good image needs crafting and
crafting takes time. And time is money.”
“Hopefully moving forward and coming out of the recession agency suits and art buyers will see the long-term value in push-
ing a little harder for quality, versus a rushed cheap image,” says IDC’s Richards.
But regardless of the budget, it’s essential a photographer provides a professional service, says Vicki Leopold at Reload. For
more junior photographers that may mean widening their skills, she says.
But deciding to be represented by an agent is a decision many photographers are reluctant to make. The fit has to be right,
says Richards.
“If you’re not both on the same page, or if one isn’t as driven or as focused as the other, it will almost always end in tears.”
Leopold reports the recession hasn’t driven an increase in approaches from Kiwi photographers, “However the number of
Australian photographers wanting representation has definitely increased.”
ROB TRATHEN. MELANIE JENKINS. MIKE O’SULLIVAN.
AdMedia July 2010 21
photography
Lightworkx Photography
Servicing New Zealand and Australia’s leading advertising agencies, design studios, and electronic specialists for over 15 years.
We are award winning commercial advertising photographers and retoucher team, with full in house production, studio rental and gear hire facilities.
Being 100% self sufficient means we are not only in a unique position to deliver sensational results, but able to deliver true value for money no matter what or where you shoot.
New ZealandDiederik van Heyningen +64 29 377 50 80
Represented in Australia by Rachel Shea, Blueprint Production & Management www.bprint.com.au +61 2 9518 4211
www.lightworkx.co.nz www.dvh.co.nz
Phone +6 4 9 37 7-7 733 · PO Box 90605, Auck land Mai l Centre 8-1 4 Madden S t reet , Wes tern V iaduc t , Auck land , New Zealand
Flash Admedia Ad.indd 1 6/07/10 2:14 PM
www.reloadagency.com
PHOTOGRAPHERS | HAIR & MAKE UP | STYLISTS | PRODUCTION | AUCKLAND 64 9 445 4664 | SYDNEY 61 2 8323 7788
24 www.admedia.co.nz
photography
M I N N I E S T R E E T S T U D I OT O P P H O T O G R A P H I C H I R E F A C I L I T Y , C E N T R A L A U C K L A N D
F I N D U S O N F A C E B O O K
C A L L : 0 9 3 0 2 3 0 4 3 , 0 2 1 9 5 6 2 3 1 T O V I E Ws t u d i o @ m i n n i e s t r e e t . c o . n z w w w . m i n n i e s t r e e t . c o . n z
AdMedia July 2010 25
photography
It’s important to keep abreast with every-
thing that going on and have as many skills
as possible, says Melanie Jenkins. “When
digital came around a lot of photographers
didn’t understand computers. They didn’t
know what to do. Even if they’re not going
to use skills like retouching they need to
know how to do it.”
What they must avoid, is becoming a
jack of all trades, says Chris McLennan.
“Stay true to your area of professional
excellence and only take on board new
ideas that enhance your current special-
ity area.” By doing this you may even be
able to charge more for a very specialised
service, he says.CHRIS MCLENNAN.
26 www.admedia.co.nz
photography
Experienced professionals see the great-
est need for upskilling in the area of busi-
ness practice. Craig Robertson: “Incomes
are low because photographers will gen-
erally put their art before their business.
That means there are many less experi-
enced photographers out there seriously
undercutting because they have little or
no understanding of what it costs to be in
business. That’s having a serious effect on
the industry as a whole.”
Prices have dropped to absurd levels, says
Chris Parker. “If people want a simple prod-
uct shot they’ll pay the lowest price they
can and be happy with the result because
it meets their need. What really needs to
happen is correct and sustainable business
practice. Some people have no clues at all
and charge an hourly rate slightly higher
than most wage earners and think they’re
doing well.”
(It’s perhaps significant that the line-up
of speakers at this year’s NZIPP Infocus
conference in September includes an ac-
countant and business adviser who has a
number of photographer clients.)
After 16 years in the industry, Leon
Rose says he finds himself “doing stuff he
wouldn’t have dreamed of doing a few
years ago”. It’s tough out there, he says,
with competition coming not just from
those prepared to slash prices to get the
job, but also from advertisers themselves.
“I’ve submitted quotes then been called
back and told that the client’s decided to
do the job himself. He’s got a pretty good
camera and probably some knowledge of
Lightroom or Photoshop but the quality
isn’t there.”
Rose says there’s an increased reli-
ance on retouching. “Rather than paying a
photographer to get things right on camera,
now they go, ‘oh, we’ll fix it in post’. That’s
also affecting budgets with more money
going into retouching than into the shoot.”
Businesses across the board have been
have been focused on saving where they
can and photographers are no exception;
for many, owning a studio doesn’t make
good financial sense.
When Jocelyn Carlin established Minnie
Street Hire Studio around 15 years ago, she
was something of a pioneer in what is now
an accepted mode of operation. “People
were going through a similar retrenchment
and opting out of owning studies and ex-
ploring the concept of hiring them.”
As photographers are forced to work
with smaller budgets, there are a number
of advantages, she says. “People require dif-
ferent things of a studio at different times
and, unless a photographer specialises in a
particular area and needs the same facility
most of the time, hiring can be a much bet-
ter and more cost-effective option.”
As well as studio and equipment hire,
Carlin, an experienced professional pho-
tographer, is always prepared to share that
knowledge and experience.
For Becky Nunes, the 2009 Epson/NZIPP
Commercial Photographer of the Year,
shooting has taken a back seat to her role
as lecturer in photography at Whitecliffe
College of Arts & Design.
“Photographers have always felt they are
the only ones who truly care about the
image and its reproduction. That has never
been more true, I fear.
“As photographers, we have to really un-
derstand our medium and fight for it. We
are the guardians of its value.” But today’s
commercial realities are very different to
the ’80s, when she began her career. “I
think it’s fairly clear those heady days of
vast advertising budgets and small numbers
of really good photographers are well and
truly over.”
tough b
ut g
ood Shooting stars
NZ photographers regularly produce world-class images. Chris Sisarich’s exhi-
bition Somewhere in the Middle of Nowhere, developed during a trip to Egypt
shooting a global Tourism Egypt campaign, was featured in the June issue of
Curator and will be part of a summer exhibition at Milk Studios in New York.
And Colin Monteath of Hedgehog House NZ, has had seven images achieve
final and semi-final status in the prestigious Veolia Environment Wildlife Pho-
tographer of the Year awards in the UK.
NZ is one of the toughest places in the world to do well in a professional
photography competition because the standard is so high, says Peter Eastway,
a judge at last year’s Epson/NZIPP Iris Awards.
CARLA ROTONDO.
AdMedia July 2010 29
stock libraries
The market is evolving and
expanding to include more im-
age users every day,” says Arran
Birchenough at Getty Images.
The challenge for stock libraries is de-
veloping new products and services to
enable those users to do their best work.
“If we offer them the right products at
the right prices and help them understand
how to license and use the content prop-
erly, the possibilities are endless.”
It would seem the financial meltdown
of the past 18 months has seen demand
increase. “Stock imagery is being used eve-
rywhere from the brainstorming process
to the finished campaign. To give you an
idea, five years ago Getty Images licensed
1.5 million images in a year. Last year we
licensed 22 million images in a single year.”
New uses demand new products and
services, and stock libraries are meeting
the challenge. “We believe that to survive
in an era of supermarket photolibraries
it’s important to add value to our imagery,”
says Colin Monteath at Hedgehog House.
Hedgehog offers a writing service that
covers everything from extended photo
captions to complete books and brochures
– even stamp first-day cover material. “This
adds huge interest to our daily work and
means clients are happy knowing the
written material accompanying images is
accurately captioned,” Monteath says.
Corbis continues to add new collections
all the time, says Dexter Fry, but its most
significant change is the huge expansion
of the Corbis motion website.
“It’s bigger, faster and easier to use and
stands us in good stead for the changing
trend toward moving images.” (At last
year’s Online News Association confer-
ence in the US it was predicted that 95%
of online content will be video by 2012.)
Getty Images is making a concerted effort
to provide more regionally relevant imagery
for NZ customers and its partnership with
Flickr enables Getty to offer even more local
content, says Birchenough. “We’ve recently
launched a free iPad app that lets creative
professionals search, save to a lightbox and
share over 24 million images.” He says a simi-
lar iPhone app, which will also be free, will
be available in the coming months.
Earlier this year, another initiative saw
Getty Images introduce Thinkstock, a
subscription product that offers millions
of royalty-free images, vectors and illustra-
tions in weekly, monthly and yearly sub-
scriptions from providers Getty Images,
iStockphoto and Jupiterimages.
“The collection provides all file sizes re-
gardless of the subscription package, plus
complimentary legal protection as part of
the subscription,” says Birchenough.
Emma Williams reports there have also
been changes at Canvass which has tripled
in size with new people and lifestyle con-
tent. “Our images have always had a very
authentic and unique look so we have been
concentrating on building content that re-
flects this,” she says. “Another development
has been the launch of Stockpile, an asset
management site that supplies corporate
clients affordable, custom-built libraries for
their photography and other digital assets.”
Photolibrary continues to update and
add new content and functionality, says
Jo Sowry. Recent additions include colour
search whereby clients can source an
image through colour preference, EPS
files – illustrations used in graphic design,
production music and editorial content.
“The evolution never stops and this
will be reflected in our soon-to-launched
new website with its new look, feel and
functionality.”
But does the world need the millions
of images now available? In an interview
last year, US stock photo consultant Ellen
Boughn said she believes the industry has
made the mistake of creating too many
of the same images over and over again.
Rather than nurturing photographers with
the vision to combine both art and com-
merce, and produce unique images within
the standard saleable subjects, she sees
creative decisions being driven by previ-
ous sales results. “This has resulted in a
With more people embracing more screens, the appetite for content has become insatiable. Patricia Moore talks to the people who supply most of the image content – NZ’s stock libraries.
ARRAN BIRCHENOUGH (GETTY IMAGES). JO SOWRY (PHOTOLIBRARY).
“
AdMedia July 2010 31
stock libraries
glut of images that all look alike,” she says.
“I call them the image du jour.”
Boughn, who has chalked up over 30 years
in the business, from rights managed to roy-
alty free to microstock, says something of a
perfect storm of events is affecting the stock
industry. “Relatively cheap digital cameras
with decent resolution, a thundering crowd
rushing toward microstock and helping turn
the best of them into serious pros, declining
revenues, an internet that sucks up photos
by the billions, advertising budgets in the
tank and magazines dropping dead.
“Some say revenues are dropping like
birds from the sky but overheads are still
flying high.”
That may be a somewhat pessimistic view-
point but it’s one shared by Brian Moorhead
at Focus New Zealand. “The product has
changed forever. There’s a new world out
there and it’s not just stock libraries compet-
ing with each other.
“There are photographers and other
agents and other methods of picture deliv-
ery all competing. If you want to stay in the
business you’ve got to think about extract-
ing the maximum value from the material
that faces the stiffest competition.”
Moorhead’s doing this by introducing
more royalty free content to the Focus
library. “Generic scenic images. There are 20
million pictures of Mitre Peak out there at
six bucks so there’s not a lot of chance of
charging someone $550. You either attempt
to extract value from what you’ve got or
walk away.”
The debate – and the confusion – among
users around which licensing model offers
best value, continues. But while royalty free
can offer the most cost-effective solution
for an extended campaign, there’s virtually
no control over where else that image has
been used, says Fry.
“We’re being asked more and more for
rights managed image sales history – if an
image has been sold before in NZ and for
what. We can’t give that assurance with a
sale of a RF image.”
At Photolibrary, Sowry says they always
ensure clients are aware of their options
regarding RM and RF and explain how the
licences work. “This information is always
available on our website. They’ve also added
services such as a free image research facil-
ity. This allows us to direct the client to the
licensing that best suits their needs and
wants so they get the most value from a
single image.”
Trying to educate image buyers hasn’t
worked, says Moorhead. “I’m over it. I don’t
think they understand they can buy a single
use for a campaign, just for print for exam-
ple, at a lower price than they’d pay for an
RF image. Some agencies are parting with
money without any negotiation. They want a
one-time shoot-and-forget kind of thing, and
that’s not compatible with any protection of
rights for their client.”
BRIAN MOORHEAD (FOCUS NZ).
DEXTER FRY (CORBIS). COLIN MONTEATH (HEDGEHOG HOUSE). EMMA WILLIAMS (CANVASS).
32 www.admedia.co.nz
stock libraries
Through the internet, stock images,
which Getty Images ceo Jonathan Klein
says were originally perceived as “the
armpit of the photo industry”, are now
more accessible than ever. And, thanks to
affordable digital cameras, everyone’s a
photographer with many of their images
finding their way into stock libraries.
But is the surge in quantity reflected in
lower pricing? Yes and no, says Birchen-
ough. “Many of the technical production
challenges that allowed us to charge
higher prices for mediocre images have
gone away. As such the value of these
images has reduced. But what’s also hap-
pening is there is now more high-quality
imagery readily available.
“The challenge for us, as an industry, is
to help our customers find it and use it.
When they do they’re prepared to pay
for quality.” THINKSTOCK.COM
[email protected] 300 7520 021 222 7991skype: canvassme
plainpicture
INK, SWEAT & TEARS
pride in print 2010
Winning the top NZ
print industry award
should be the cata-
lyst to put Fonterra
Canpac Hamilton back on track after
a catastrophic fire earlier this year.
Canpac won the Supreme Award with a
metal babyfood can that impressed the
judges for its technical excellence, allied
to the fact that it achieved international
recognition. Canpac also won gold for
this job in the Packaging category.
Canpac print plant manager Greg
Wardrop said the win would help re-
store morale. “The fire closed down our
production and was a very hard blow to
take,” he said. He paid tribute to com-
petitor NCI Packaging which came to
the aid of Canpac while its production
was disrupted.
Pride In Print chairman and senior
judge Scott Porter said for any packag-
ing to succeed in the global arena, it
had to be outstanding.
“There is a huge emotional attach-
ment between mother and baby, and
that is reflected in the relationship
between the product and the packag-
ing,” Porter said. “This is a super-tough
market for a packaging printer to make
an impression.
“This can represents wonderful col-
ours and density. Technically, they had
to print three whites to achieve that
density. These guys are a credit to the
industry.”
SUPREME AWARD: BABYFOOD CAN (FONTERRA CANPAC).
34 www.admedia.co.nz
SPECIAL COMMENDATION: CARDBOTS PIMP MY PAPER WINNER (SPICERS PAPER). THE JUDGES SAID: “RARELY DOES A PROMOTIONAL CAMPAIGN COME ALONG THAT IS JUST TOO MUCH FUN TO IGNORE. THE PIMP MY PAPER CONCEPT WAS SIMPLE, AND THE CREATIVE JUICES IT GOT WORKING WITHIN THE INDUSTRY WERE REFRESHING TO SEE. IT INVOLVED PEOPLE AT ALL LEVELS, WHO WERE EDUCATED ABOUT THE PRINT OPPORTUNITIES OR JUST HAD A CHUCKLE. THIS JOB REALLY DEMONSTRATED THE INVOLVEMENT AND DIFFERENCE PRINT CAN MAKE.”
pride in print 2010
ENVIRONMENT: PAN PAC PULP PALLET LABELS (GEON NAPIER). THE JUDGES SAID: “IT’S LITTLE THINGS LIKE THIS THAT MAKE A DIFFERENCE IN OUR INDUSTRY.”
DISPLAY PRINT & DIGITAL: COLORSTEEL PANELS SWATCH: DIGITAL RIVER AUCKLAND. THE JUDGES SAID: “OUTSTANDING FINISH.”
FLEXIBLE: LITTLENECK CLAMS PACKAGING (SEALED AIR NZ HAMILTON). THE JUDGES SAID: “GOOD INK DENSITIES, GOOD REGISTER, AND GREAT RESULTS.”
BUSINESS PRINT & SCREEN: BUSINESS CARD (PERMARK INDUSTRIES AUCKLAND). THE JUDGES SAID: “VERY FINE DETAILS, WELL EXECUTED. PERFECT.”
INNOVATION AWARD: TAMPER-PROOF SEALING TAPE (GEON CHRISTCHURCH). THE JUDGES SAID: “CLEVER, COST-EFFICIENT INNOVATION.”
WE RALLIED THE MASSES AND CONQUERED THE BATTLE – INK-ON-PAPER STILL REIGNS SUPREME. OLD-SCHOOL CRAFTSMANSHIP LIVES ON IN OUR RECENT VICTORY AT THE PRIDE IN PRINT AWARDS, COLLECTING GOLD FOR THE PIMP MY PAPER CAMPAIGN AND A SPECIAL COMMENDATION AWARD FOR PROMOTING THE PRINT INDUSTRY.
THANKS TO OUR TROOPS WHO STOOD UP TO THE CHALLENGE. TO CELEBRATE WE HAVE A LIMITED EDITION GOLD BOT READY FOR THE TAKING, SHOWING OFF THE SWEET EFFECT AND STYLE OF INK ON PAPER.
GET IN QUICK BEFORE THEY’RE GONE. CALL 0800 SPICERS.
2010GoldAwardWinner
36 www.admedia.co.nz
PUBLICATIONS & WEB: MINDFOOD (APN PRINT MANUKAU). THE JUDGES SAID: “EXTREMELY DIFFICULT – GREAT JOB.”
PROMOTIONAL PRINT: MOMENTO PHOTOBOOKS’ NETHERLANDS-PARIS-NETHERLANDS (KENETIC 121). THE JUDGES SAID: “VIBRANT IMAGES, BALANCED COMPOSITION, CRISP PAGE DESIGN.”
SPECIALTY PRODUCTS: KICKING IMPRINT T-SHIRT (SCREEN PRINTING SOLUTIONS HAMILTON). THE JUDGES SAID: “GREAT USE OF DIFFICULT SPECIAL INKS. SUPERB.”
pride in print 2010
LABELS: TIKI WINE LABEL (PANPRINT AUCKLAND). THE JUDGES SAID: “GREAT JOB. WELL DONE.”
FINISHING: OUR LITTLE SECRET BOOKLET (OCTANE DIGITAL AUCKLAND). THE JUDGES SAID: “AWESOME DESIGN, GREAT PAPER ENGINEERING.” SHEETFED: ULTIMATE GUIDE BOOK (GEON
HIGHBROOK). THE JUDGES SAID: “BRIGHT, GLOSSY, CLEAN, EXCELLENT FINISH.”
38 www.admedia.co.nz
aut ad creativity mid-term report
ResultsThe AXIS/TVNZ Gold Student Creative
of the Year award: Martin Sutcliffe (now
copywriter at Aim Proximity) & Deborah
Bull (still part-time student at AUT Ad
Creativity). AUT had three of the four
finalists.
NZ Post/RSVP Awards – Student Mar-
keter of the Year: Adam Barnes & James
O’Sullivan (now a team at Ogilvy). AUT
students dominated finalist list.
NAB Student Creative Advertising
Award: AUT has eight finalists (from a
total of 14). Winner will be announced
at the NAB Newspaper Ad of the Year
Awards, July 15 at Hopetoun Alpha.
MediaWorks to air six Don’t Text &
Drive radio commercials written by AUT
ad students (mid 2010, date tbc).
hampsta.co.nz is running viral cam-
paign by AUT students, July 2010.
Guest appearancesAndy Blood (TBWA\Whybin), Tara
McKenty & Iain Nealie (Plankton/TBWA),
Jane Jamieson (DraftFCB), Mike Davison
(DDB, now freelance), Chris Monaghan
(Ambient Advertising), Mark Pickering
(Ambient X), Tim Howman & Bex Rad-
ford (Saatchi & Saatchi, now 180 Am-
sterdam), Robert Munro (NAB), Bridget
Carnachan (TVNZ), Gina Dellabarca
(Stardome), Gary Alway (hampsta), Marc
Spring (Trinity Media Group). Massive
thanks to them all.
Tutor comments2009 was a big year for AUT Adschool
and, to our absolute delight, most of last
year’s grads are now employed: at DDB,
TBWA\Whybin, Ogilvy, DraftFCB, Aim
Proximity, M&C Saatchi and Origami.
This year’s bunch has big boots to fill
but they’re up for it. Six of them are off
to Affinity Id to work on a project this
month and there have been some real
highlights already this year.
In March, just three weeks into the
course, we were contacted by hampsta
(the Christmas saving scheme that works
through a card you can use at over 450
stores nationwide) to create a viral cam-
paign. So having started off working in
a classic medium and doing a billboard
for the brightest torch in the world, the
students leapt online and did really well.
A very impressed MD of hampsta, Gary
Alway, tells me they’re running with some
of our work any day now.
Just after Easter came the radio brief and,
as ever, we pitched the resulting scripts
for Don’t Text & Drive to James Dashfield,
creative director at MediaWorks, and he’s
keen to run six of them. You can taste a
flavour of the crop from the one featured
below and written by Wicky Tafau.
Next came the NAB Student Creative
Newspaper Advertising Competition
brief and this year students were asked
to create a distinctive and effective cam-
paign for a product or service that is not
typically advertised in newspapers.
We have eight finalists from a total of
16; fingers crossed for July 15 when one
student team wins $500, courtesy of the
Herald and NAB. As you can see on these
pages, solutions spanned everything
from consecutive right hand pages to
the very innovative use of gripper marks
on the bottom of every newspaper page.
Plus there’s the John West tuna ad, our
favourite submission for the topical chal-
lenge to link a brand with big news.
Meanwhile, in the last few weeks we’ve
been reaching for the stars, literally,
creating an integrated direct campaign
to launch the soon-to-be refurbished
Stardome. Gina Dellabarca, the newly
appointed marketing manager at the Star-
dome Observatory is currently review-
ing the work, but you can have a sneak
part-preview of some of the submissions.
So here we are halfway through and de-
spite some really good work, there’s only
ever one thing we say to the students
at this time of year: “Must try harder.”
Bloody teachers, eh.
By Jane Berney, Dave Brown, Paul White
Limp plagiarism
BLOODYteachers
AdMedia July 2010 39
aut ad creativity mid-term report
HOLES 1,2,3 (NAB): KEVIN BACHTIAR & SASHA ARANDELOVIC.
STARDOME: FRANCES COOKE & CHRISTABEL SPONG.
STARDOME AMBIENT: YEAN ONG & LAURA CLARKE.
40 www.admedia.co.nz
aut ad creativity mid-term report
GLADE 1, 2, 3 (NAB): TIFFANY COCHRAN & ERIN GULYAS.
ROOTS (NAB): BRONWYN RETIEF & ELLIOT RAWSON.
STARDOME: WICKY TAFAU & PATRICK AHOI.
AdMedia July 2010 41
aut ad creativity mid-term report
NZ1 GREEN WORLD (NAB): WICKY TAFAU & VICKI LENIHAN.
RADIO SCRIPT DON’T TXT & DRIVE: WICKY TAFAU.
BRIGHTEST TORCH BILLBOARD: WICKY TAFAU.
STATE (NAB): SAMANTHA TAYLOR & LEWIS CLARKE.
TOPICAL (NAB) AD: XANTHE WILLIAMS.
42 www.admedia.co.nz
interactive bytes
When DraftFCB was
briefed for the latest
Mini campaign, the
objective was simple
– prove that cars can be sold online,
without test drives and without the
purchaser actually seeing and sitting in
the car they are buying.
And the client didn’t want to use the
traditional approach to moving a sales
channel online – ie, deep discounting.
Also, there was no international ex-
perience to call on for guidance. Mini
– owned by BMW with German leader-
ship – wanted to use NZ as a test bed
for its new strategy to launch a sales
channel for the 21st century.
To create an alternative incentive for
online purchase, Mini came up with the
idea of exclusivity via a limited-edition
Mini badge, the Mini Soho, with only 15
available in the world.
Mini set up an online shop – very
nicely designed – and then needed a
marketing campaign to bring in the
buyers.
A suggested (traditional) campaign
plan was part of the initial brief, but
both DraftFCB and Mini NZ felt it
wouldn’t work here and proposed an
innovative alternative.
The result was an individual campaign
for each car based around the idea
What’s your number? The dominant
media buy was online, but the cam-
paign had an intriguingly complex and
clever offline execution as well.
A narrative was created around each
of the 15 cars. 1 is ego, 2 is naughty
(the second child), 3 is for threesomes,
5 is fashion (Chanel No 5), 6 is seen and
noted (page 6), 9 is daring (nine lives),
10 is a perfect 10 and 13 is unlucky
for some.
Each car’s campaign then told this
story. 1 received a giant billboard, 2
used electrostatic stickers in public
places, 7 (everybody’s lucky number)
sponsored horse races and 6 was a
polystyrene number which hung out
with celebrities and got itself into the
social pages.
DraftFCB’s Fleur Head said that in
putting the campaign together they
tried to do as many media firsts as they
could – and they did a lot.
The chosen primary medium is online
which took 50% of the media budget.
And the online execution is extremely
engaging.
Each car has its own landing page and
its own creative execution. For number
4 – the intelligent car – the landing
page asks people to enter their IQ. If it
is too low, the prospect is told the car
is not for them.
T est driveBy Alastair Thompson
AdMedia July 2010 43
interactive bytes
Number 9’s landing page is a light
switch which you need to turn on to
see the content.
Where traditional media is used it
has been used in an innovative way. 14
(on the Edge) used an ad on the spine
of ProDesign magazine. 1 had a giant
billboard made out of sequins.
Unusually for an online campaign
(and particularly pleasing to this
writer) more than 20 websites (many
niche and many small) were included
in the schedule.
The proof of this recipe has been in
the eating. The first KPI was traffic to
the Mini.co.nz website which jumped
from 3000 to 30,000 visitors in the
first month of the campaign.
And then there are actual car sales.
According to Fleur Head and Mini’s
Dave Hewitt the campaign would have
been a success if they had sold just
one of the 15 limited edition Minis
on offer. In fact at the time of writing
– just eight weeks into the campaign
– they had already sold eight.
That’s a $50k purchase decision and
that is pretty amazing in anyone’s
book.
Hewitt puts down some of this sales
success to New Zealanders not being
unused to purchasing cars online,
thanks to TradeMe motors. Plus the
cut-through achieved by the novelty
of the campaign.
But there were also some other
nice tricks in the execution. The sales
system allowed people to pay a $500
reservation fee online. While the shop
also allowed for online payment of
the $49,995 sales price for each car,
the team did not really expect this to
actually happen.
While the fee was fully refundable, all
of those who reserved their cars online
ultimately went on to purchase a car.
Head says the assumption had been
that the purchasers were likely to be
existing Mini users – but that, too, did
not prove true. Several of the virtual
car purchasers had never sat in front
of the wheel of a Mini and none of
them of a Mini Soho.
The Mini Soho campaign has been
closely watched from overseas and
similar campaigns are now likely to
be run in at least two other markets,
so far. Congratulations DraftFCB and
Mini!
InterActive Bytes is compiled for
AdMedia by Scoop.co.nz, NZ’s lead-
ing indigenous online news agency
attracting a readership of 400,000
unique visitors a month. Send feed-
back to co-editor Alastair Thompson.
Once upon a time our world
was easy. It was simple
with one client and their
one integrated agency. But
how times have changed with one cli-
ent and their many specialist agencies
(creative, media, digital, PR, search,
experiential). Add larger marketing or-
ganisations and their three or four busi-
ness units and things start to get really
complicated.
This new “model of many” should call
for collaboration but instead of fostering
collaboration for the greater good and
ultimate value of the paying client, it
has resulted in agencies competing for
a bigger slice of a shrinking pie (even if
it means expanding their area of “exper-
tise” beyond their primary discipline).
Instead of focusing on right things (the
execution of and return on strategic
marketing investment) clients are being
distracted spending increasing time on
the wrong things (managing the relation-
ships and territories of their agencies).
Sometimes it must feel like trying to
manage children at daycentre: “Here’s
our brand boys and girls. Play nicely.”
This ongoing agency management re-
quirement then becomes a very tedious
exercise for your client and is a sure-fire
way to annoy the crap out of them.
So why can’t agencies just get along
and collaborate? Everyone talks about
collaboration – open and honest com-
munication, trust, all of the usual plati-
tudes but the answer is simple. It’s about
money. Today’s “model of many” means
that while the budget pie has remained
the same, the size of the slice for each
agency is effectively shrinking so the
current model, until we see changes,
will always be competitive rather than
collaborative.
Some agencies might argue they do this
out of economic necessity but wouldn’t
it be refreshing if agencies stopped think-
ing of themselves and thought about how
they could secure a larger slice in a more
sustainable, value-driving way? Instead
of continuing to compete, what if agen-
cies could collaborate to create a bigger
pie? A bigger pie they could all share in
the success of by working together to
achieve the client’s goals. Then everyone
wins right?
Well, unfortunately it is not that simple.
Because no-one is willing enough to put
their self-interests aside in the short term,
break from the pack and lead the way for
long term sustainability and growth.
Collaboration is important in today’s
complicated, fragmented marketing world
because what you can’t measure you can’t
manage (here’s a tip: CEOs and CFOs only
like things they can measure because it
helps them when they have to front up
to shareholders and prove value or defend
spend).
Regularly measuring collaboration
means managing and maximising rela-
tionship performance and the benefits
of collaboration are numerous:
• It measures and benchmarks relation-
ship performance.
• It identifies areas for development and
improvement.
• It creates shared values and sets ex-
pectations.
• It encourages the right rewarding
behaviours.
• It creates value-share for all parties.
• It develops more sustainable relation-
ships based on common goals.
Wouldn’t it be great if agencies could
grow up and stop squabbling over their
slice of pie? Couldn’t some agencies be
better and offer a genuine point of differ-
ence by working collaboratively together
with their peers to create bigger, more
valuable pies?
So which players will exhibit the neces-
sary maturity to break the current behav-
ioural mode? I’m not sure, but whoever
does will secure leadership of their cat-
egory and more than a few more clients
along the way.
St John Craner is NZ business director
for marketing management consultants
TrinityP3 (www.trinityp3.com) which
helps clients maximise value with their
agency partners through efficient and
effective practices and process.
relationship management
Maximum lift
IT’S ABOUT MONEY: ST JOHN CRANER.
44 www.admedia.co.nz
By St John Craner
AdMedia month 2010 45
feature
Semi-PermanentNew Zealand
20 - 21 August 2010Aotea Centre, THE EDGEAuckland.
semipermanent.co.nz
Get into.semi-opinionated.co.nz
Twitter. @semipnzFacebook. Semi-Permanent NZ
46 www.admedia.co.nz
technology to connect
101 1-2-1 part 3 By Chris Graham
1-2-1 AND CUSTOMER INTELLIGENCE – THE FOUNDATIONS FOR THE FUTURE OF MARKETING.
In the final part of this trilogy,
which I am in little doubt will
never be made into a PowerPoint
presentation let alone a movie, I
would like to talk about some of the
gotchas which can turn a pleasant and
delightful 1-2-1 marketing job into a
nightmare which you can’t seem to
wake up from.
Firstly I will assume that you are
aware of the three primary require-
ments for 1-2-1 marketing. If not here
they are – i) some variable print soft-
ware ii) some data on your customers
for filling in the blanks and iii) some
understanding of prepress, digital print
and finishing.
From experience, don’t expect one
piece of variable data software to solve
all your problems. Now you might think
that I have a vested interest in making
such a statement ... well, perhaps I do,
but to be honest when we first see a
1-2-1 job the first question we ask, when
we are briefed, is what software we should choose to do it with.
Simply put, different variable data software is good at differ-
ent things. Some are good at transactional data and the display
of financial information, others are good at variable data but
can’t manage personalised images, some require large pockets
and many have simple desktop versions and very expensive
server-based solutions to integrate with your website.
Others struggle with drop shadows on text and so on and so
on. Trust me, there is no perfect solution or utopia for variable
data, so much of it will involve compromise and work-arounds.
Typically we will often use more than one variable data prod-
uct to meet a customer’s expectations.
However, don’t let this aspect put you off – all the main
software options are robust and of good quality. You just need
to catch up with the gotchas as soon as you can and find the
suitable work around as quickly as you can, as there is little
doubt that sod’s law will present you with one as soon as the
job becomes urgent or stressful.
I think I have covered many of the problems related to data
in part 2 so I will leave that area alone and hope you keep
the back issues of AdMedia neatly filed.
So the next item you need to resolve is to find a print part-
ner with a digital press who understands what the hell it is
you are doing, and who can take your base document and
your data, and merge it together seamlessly, assuming that
you have not done it already.
Now just to reiterate an important fact from a few months
ago, if you are producing a 1-2-1 job then you will need to
understand the input required by the digital printer, so you
can drive the digital press as quickly as possible.
Most of these languages revolve around something know as
PPML – a type of computer code that allows the repeatable
bits to be stored on the print for easy and instant use, but at
the same time recognises the variable part and just changes
that particular item each time on each copy.
If you don’t do this, the job will become unmanageable
because every page is individual and needs processing. Con-
sequently if pages take seven seconds to process and there
are 10,000 pages ... well, you do the maths!
Chris Graham ([email protected]) is ceo of PURL Technologies,
which specialises in artwork automation and 1-2-1.
AdMedia July 2010 47
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To view past Top 10s, contact [email protected]
1 Cadbury Freida, DDB NZ,
Psyop Animation US.
Tower Insurance Nasty Surprises,
Aim Proximity, Thick As Thieves
(Alex Sutherland).
4 Libra Invisible Pads WonderGuy
Man, Clemenger Melbourne,
Prodigy (Tim Bullock).
TV TOP 10
3
10 Hyundai i30 In Like Flynn,
Assignment, Auckland
Film Co (Tony Williams).
8 Mitre 10 Sandpit, DraftFCB,
Exposure (Kevin Denholm).
Instant Kiwi Walking on Air, DDB,
Good Oil (Hamish Rothwell).2
5 Telecom XT Stern Stuff,
agency/film co Chameleon
TV (Simon Shattky).
6 ASB Goldstein, TBWA\Whybin,
Plaza (Paul Middleditch).
7 Fresh Up Thirst is Creepy,
Colenso BBDO, The Sweet
Shop (Steve Ayson).
Nike Write the Future,
Weiden & Kennedy London.9
Against the odds
Telecom XT’s Paul Reynolds ad – a
project produced separately from
Saatchi – has copped it from Telecom
knockers, but the viewers love it, voting
it straight in at No 5 on debut.
Other debutants this month are Tower’s
loveable latest, Nike’s World Cup spot,
and Colenso’s memorable Creepy.
Our poll of 1000 Kiwis was conducted
by TNS via the SmileCity database.
Respondents were asked to name “the
best ad on TV in June”.
Exbenzive!Page 11
WALK THE TALK 8 >> PHOTO SHOWCASE 14 >> PIE MAN 44>> HIGH SOCIETY 6 >> TV TOP TEN 47 >> TEST DRIVE 42>> INK, SWEAT & TEARS 33 >> BLOODY TEACHERS 389 421902 251009
48 www.admedia.co.nz
the front page
You’ll find Toby Young
everywhere – Twitter, Fa-
cebook, LinkedIn, Wiki-
pedia and on his website
www.nosacredcows.co.uk where he
blogs nonstop. In fact he’s exhausting.
I know this because he’s a Twitter
junkie. I made the mistake of ‘Follow-
ing’ him. Recently he was at an awards
ceremony in LA and sent over 40 ‘twits’
in 60 minutes. As the volume grew the
content became more and more inane
(possibly proportional to the alcohol
consumption).
I completely understand why Vanity Fair editor Graydon Carter
‘let him go’ back in 1998. He was driving him insane. I too ‘let go’
Toby and unfollowed him on Twitter – it took some effort because
Twitter kept ignoring my setting change. Anyway, peace and quiet
returned but I found I missed his little posts.
Actually, what’s most interesting about Toby Young is the fact he’s
so prolific. His journalism is incessant, varied and addictive. You
never quite know what he’s going to conjure up next. He’s blended,
integrated, immersed and channelled himself across the spectrum
of media communication and in the process almost become a meta-
phor for the new age of communication: A constant chatterbox of
irrepressible content across print, web, audio, video and TV.
Interestingly, the constant irrepressible chatterbox analogy sits well
with newspapers too. They’re certainly irrepressible, according to
a recent article by The Economist published in the New Zealand
Herald last month.
In Germany the owner of Bild and Die Welt recorded their most
profitable quarter in history with a 27% profit margin despite the
ravages of the GFC (I really don’t care for that descriptor) and now
the German publisher is expanding into Poland (avoid a winter
expedition I say).
And at the other end of the globe in Brazil, newspaper circulation
expanded by one million in the past 10 years. In 2003, three of the
country’s top 10 newspapers were tabloid. Today five of them are.
They’ve prospered by giving readers what they want to read (heavy
on murders and bikinis). It’s no longer about bringing the world
to as many readers as possible; instead
newspapers are carving out niches and
playing to their strengths in the process.
The momentum won’t slow any time
soon. What was the age of niche media –
zoned newspapers, cable TV, niche maga-
zines, niche radio and outdoor is now
the age of micro media – blogs, social
networks, SMS, magazines on demand,
podcasts and email. For newspapers
the key, as The Economist noted, is to
maximise the revenue stream potential.
Cue in Toby Young doing the same thing.
Whether the platform is a smartphone, a tablet computer like the
iPad or internet there’s money to be made from advertising and
subscriptions. People will go looking for content and they can be
persuaded to pay for it, too, as evidenced by the Financial Times’ and
Wall Street Journal’s successful paywalls. In effect newspapers are
covering the options; mass media and niche media where people will
pay to access content – choose how you want it and enjoy the ride.
Lastly some more interesting statistics from the International
Newsmedia Marketing Association. In 1975 American consumers
averaged $40 a month ($161 inflation-adjusted) on four magazine
subs $10, one newspaper sub $5, one cinema ticket $3 and one
music album $5 – $23 in total – and the remaining $17 on cable TV
$7 and and telephone landline $10.
Today that figure is $396 a month. Four magazine single copies
$20, one newspaper sub $15, one cinema ticket $10, 30 iTunes songs
$30, one video-on-demand $5, four iTunes movies $40, 1 Blu-Ray
DVD movie $20 – totalling $140 and the remaining $256 made up
of cable TV $69, landline $45, XM radio $15, broadband access $25,
mobile phone access $40, mobile data plan $30, Netfix sub $15,
one online newspaper sub $8, Xbox Live gold membership $7 and
one iPhone app $2.
Chances are you’ll find Toby Young well represented across that entire
media spectrum. But I still like his newspaper articles best of all.
Robert Munro ([email protected]) is the general manager of
the Newspaper Advertising Bureau.
www.nabs.co.nz
THE WORLD OFToby Young and
newspapers
ULTIMATE TWITTER JUNKIE.
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* Nielsen Media Research confirmed this in the National Readership Survey to March 2010.
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