The nomination is the company’s third in as many years for the category. Last year it was beaten by Jamie’s Food Revolution and before that Intervention, a show about interventions.
In this year’s Encore Power 50 list VFX company Rising Sun Pictures’ CEO Michael Taylor placed 38 courtesy of Hollywood blockbusting clients. Taylor tells Colin Delaney how thinking smaller will see him and RSP climb the extra 37 rungs.
I’m currently sitting in the south of France – glass of champagne in hand – while my GoPro hangs over the edge of my villa balcony capturing still images of the Cannes street below.
In this guest post, Mediacom’s Nic Hodges observes the Twitter blowtorch turned onto brands advertising with the News of the World
What a day to be in London. James Murdoch’s announcement that after 168 years, this Sunday’s News of the World will be the last ever has ricocheted around the internet faster than a fake celebrity death. And if you’re an advertiser in any category in any country, there is a lesson to be learned from today. Read more »
So here’s a thought, Fairfax.
You know how you promised to stop autoplaying video?
And you know how media is suffering something of an image crisis at the moment?
How about you don’t autoplay video of a man falling to his death?
Perhaps I’m not a typical reader, but I didn’t really want to see that. Read more »
Despite what may be an impression to the contrary, I’ve been literally dragged through a hedge backwards just the once.
It happened about 16 years ago when as a younger and braver reporter than I am now, I decided that the ideal vantage point to take photographs of riot police and anti live animal export protesters was between the two converging groups.
So I have physically experienced the powerful emotional impact that live animal exports can have on the public. Read more »
As humans, we have a natural fascination with danger. Since Buster Keaton emerged unscathed from a house collapsing around him (Steamboat Bill Jr) we have been unable to tear ourselves from a thrilling action sequence, or a daring gunfight.
“The money’s still in TV” says Kai Hsing from the internet entertainment brand College Humor. Hungry Beast’s Dan Ilic embedded himself with three American online entertainment companies to discover the digital realm sure are giving old media a run for its depleted money.
TNS has released a list of Australia’s top 100 brands. The results are based on interviews with consumers aged 15 to 64, who were asked to list their favourite brands between February and April this year. Sony is top. Bing is the biggest climber. Uncle Toby is the furthest faller.
The other night I found myself re-watching an episode of Mad Men. It’s easy to get sucked into their fictional stereotype of the ad world. Well dressed, slick haired and quick witted, Don Draper is all old-school allure as he lays the Carousel spiel on Kodak. “It takes us around and around, and back home. To a place where we know we are loved,” Draper delivered.
Writer/director Kate Dennis and DOP John Brawley shot six shorts with six available light locations on six different cameras. Ross Mitchell, post-production manager at Deluxe helped them in this adventure. This is their story.
It really feels like it is a great time to be over in NYC. Last month the city released the RoadMap for NYC to become the world’s number one digital city. Advertising here is bouncing back after the GFC. There are jobs everywhere.
“Wilfred was rejected by every television network twice,” Tony Rogers, director of the Renegade Film’s sitcom tells Encore. “I don’t know how many DVDs with dog collars we sent out, minimum of a hundred.”
Tonight the American version of the show, starring Jason Gann back in the dog suit (Aussie accent intact) and The Lord of the Ring’s Elijah Wood as his neighbour Ryan, airs on Eleven.
Following in line with features, Paris Je T’Aime and New York, I Love You, John Polson has announced he, with Gary Hamilton (Arclight Films), will produce Sydney, I Love You – a collection of short films by some of Australia’s finest established and up and coming feature directors.
Speaking to Encore from New York, Polson said “the feature will involve 12 films, each eight to ten minutes long put together as one feature project.”
There are many bad TV ads out there. But the worst of all has to be the RACV member benefits ad. What makes this ad so bad? It fails on nearly every level. But most importantly, it unknowingly mocks the very people it is trying to attract.
Imagine this: you are working as a film bureaucrat for a state or federal film funding body. You have been in the industry for long enough to be a friend or acquaintance of many of the filmmakers whose applications you must assess. Some you have worked with, some you have developed projects with, some you bump into at parties and other social functions. Some are close friends. They are a part of your social network.
One applicant you know well is in deep financial trouble, on the verge of bankruptcy. As you know, s/he has been working for years with zero income on the project whose fate now rests, in part, in your hands. It is your job to assess it impartially. In all honesty you don’t think that your friend/acquaintance’s project has potential to either put bums on seats or to make a significant contribution to Australia’s film culture. What do you do?
This weekend, the Cannes Film Lions jury revealed its choice for the best TV ads of the last 12 months. There was one grand prix and 14 golds.
Here they all are: Read more »
Every year dozens of new film festivals pop up around the world, and Australia is no exception. Miguel Gonzalez asked Australia’s festival directors what the proliferation of these events mean to screen culture and the local film industry.
As the screen industry migrates to the digital world, there’s one experience that cannot yet be replicated online: the excitement of a film festival.