-
Opinion | Features
Disclosure in Social Media: How transparent should bloggers be?
In this guest post, blogger and digital creative Laura McWhinnie argues for more disclosure in the bloggersphere.
The bloggersphere has always been a bit like the Wild West. Bloggers could post about products to their heart’s content without having to disclose their relationship with the brand. This meant that consumers had no idea who was behind the marketing messages influencing their purchasing decisions. But in 2009 that all changed
Liars, cheats and thieves
Is our industry full of cheats and liars or do people of honour who stand by their word still exist in business? In an article that first appeared in Encore, Cameron Boon investigates. The recent court case involving Paul Fishlock suing his former employer The Campaign Palace brought into focus more than just the struggle of one man. It highlighted that there are some in adland whose word cannot always be relied upon.
Q&A with Adshel's Rob Atkinson
Online trading is the next big thing says Rob Atkinson in a piece that first appeared in Encore. Who is the most powerful person in Australian media and why?
Harold Mitchell because of his influence and the footprint he has left. He’s built a huge brand in Mitchells, offloaded it into Aegis, Aegis has obviously done extremely well to be then sold on to Dentsu. So if you think about it, he is very much a father figure of the industry.
Making it overseas
Is the best way of being successful in Australia not be here at all? In a feature that first appeared in Encore, Lee Zachariah speaks to Aussies making it big abroad.I always wanted to work in New York,” says Julian Cole. “I thought it was the number one place to work in advertising; a lot of the best campaigns were coming out of there. So I moved over and was lucky enough to have a couple of interviews in the first couple of weeks.”
Cole’s story is indicative of the somewhat contentious idea that the best way to be successful in Australia is to not be in Australia any more.
Got a book in you?
From journos to ad execs and PRs, these days everyone seems to have a book in them. But what does it take to get published and will you actually make any money? In a feature that first appeared in Encore, Brooke Hemphill finds out.Attention wannabe authors. Forget big fat advance cheques and living off royalties. The reality of having a book published today is another story altogether. There are only two reasons you should even consider sitting down at your computer to bash out a manuscript – passion or profile.
Savage counsel
In an article that first appeared in Encore, Chris Savage tackles your career and agency dilemmas in his weekly advice column.Hi Chris,
My clients seem to be demanding more and more from us. At the same time, it seems many of the younger people in our industry simply don’t have the client servicing skills my generation grew up with. How do we instill in our executives some of the good old-fashioned behaviours that would keep a client happy and loyal?
Fake it til' you make it... as an ad agency receptionist
From dressing the part to playing the gatekeeper, Leo Burnett Sydney’s Susie Henry tells us how to make it as the face of adland in a piece that first appeared in Encore.What does a receptionist in an ad agency actually do?
Well, there’s the frantic every-day, all-day stuff of deliveries, courier bookings, doing expenses for directors – always challenging – plus arranging all the travel. But one of my main jobs is counselling the account service people. I also keep up with all sports information to discuss with our sports-loving clients – because who wants to be bored while they’re waiting? And I know how they like their coffee. You need to know everyone – from accounting to HR. I’m also the go-to for all catering and sending flowers.
Whose views skew the news? Media chiefs ready to vote out Labor, while reporters lean left
Most journalists lean left-of-centre, says Folker Hanusch of the University of the Sunshine Coast, in a post first published on The Conversation.Most Australian journalists describe themselves as left-wing, yet amongst those who wield the real power in the country’s newsrooms, the Coalition holds a winning lead.
But while the media’s political leanings will no doubt be debated in the lead-up to September’s federal election, our study has also found other largely unscrutinised biases remain – particularly whose views disproportionately shape the news.
It's time for a new New Wave in the film world
Government funding bodies are lazy and decadent, says industry veteran Michael Thornhill but in a piece that first appeared in Encore, Ed Gibbs begs to differ.I vividly remember the time I first saw Animal Kingdom, David Michod’s breathtaking labour-of-love feature debut. The press screening was half empty, despite the film winning the Grand Jury Prize at Sundance just months earlier, in 2010. Yet its superb performances, stylistic flourishes and overall polish left me speechless. Could this really be a feature debut, an Australian one at that, I wondered, almost out loud? It seemed too good to be true.
Going cold turkey on an agency addiction
Life is sweet for freelance writer Max Kitchen, but in a feature that first appeared in Encore, he admits his struggle against returning to the agency fold.I’ve never taken heroin. But I suspect if I had, the temptation to try it again would not be too dissimilar to the lure of returning to agency life.
Can sport save Ten?
First there was the Grand Prix. Next came the reported $500m bid for cricket rights, then Ten secured the 2014 winter Olympics. So, can sport save the ailing network? In a feature that first appeared in Encore, Nic Christensen investigates.The television sports rights bidding process is a bit like a game of poker.
Check, fold or bet. Those were the options for the Ten Network last week when it had to finalise its bid for the cricket rights.
Andy Lark: good for the marketing of marketing
I can still remember the first story I wrote about Andy Lark, when it emerged that he was to be the new chief marketing officer of CommBank.
It was immediately clear that Australia was about to meet an interesting marketer, one who blogged and tweeted and thanks to his time at Dell in the US was digitally savvy. Even two years ago, that was a big deal. The fact that he also had a stint in public relations gave him an absolutely intriguing background before he even arrived.
Storming the media barricades - advice for young journalists
This week Mumbrella’s Nic Christensen, who began his career four years ago, gave the keynote address to would-be journalists at the Media, Entertainment & Arts Alliance’s Student Day. This is an edited version of his speech.Good afternoon, I can remember distinctly the last time I was in this room.
It was 2009 and I was sitting where you are. I’d come to this event, a friend and myself — from memory we sat up the back — and I can remember at the time wondering if I’d ever get a job as a journalist.
It was only four years ago and then as now getting a job was ultra competitive but I’m not sure there was quite as much media ‘doom and gloom’ as there is now…
Paywalls will help fund campaigning journalism
In this guest post, News Limited’s group editorial director Campbell Reid responds to the views of ninemsn’s Hal Crawford that the company’s push into metered paywalls is about data rather than dollars.Hal Crawford is both right and wrong in his article which argued that our digital subscription plans are all about the data.
Fake it 'til you make it... as a features editor
Cosmo’s Kate Leaver tells us how to bluff it in her job in a feature that first appeared in Encore.What do you do, as a features editor?
Really, play with words and ideas all day. At any one time, we’re working across three issues of the mag – getting one on its way to the printers, pooling all the words together for another, and planning the issue after that. It’s busy but it’s a pretty magnificent process.
Fuel VFX goes into administration
One of Australia’s most respected independent visual effects houses has gone into administration.
Staff of Fuel VFX – which employs around 100 people – were given the news yesterday.
The Sydney-based Fuel VFX was set up 12 years ago by VFX supervisors Paul Butterworth, Andrew Hellen, Simon Maddison, Dave Morley and executive producer Jason Bath who had a shared background in film and TV projects. Fuel VFX specialises in computer generated animation, motion design and post production.
The production house has worked on a wide range of projects across film, TV and and commercials. Administrators Jirsch Sutherland are fighting to keep the company as a going concern and work is continuing on existing projects.
Recent film work has included Prometheus, Mission Impossible Ghost Protocol and The Avengers. TV work has included Nine Network’s Tricky Business. Its recent TV commercials have included work on brands including Optus, Wrigley’s, Leggo’s pasta, GE and McDonald’s.
The administrators issued a statement saying: “The company’s directors have advised Jirsch Sutherland that, being independent, the company has struggled to navigate the downturn in work that is affecting many visual effects companies worldwide at the moment. The voluntary administration process has been called on by the directors as a way of preserving and financially restructuring the business.
“In addition to the directors’ financial restructuring attempts, the administrators are seeking expressions of interest in the business and assets of the company as a going concern.”
-
-
Email Newsletter
Latest Jobs- Account Manager – Top Media Agency – To $80 package
- Client Service Manager – Fantastic Media Agency – To $80 package
- Business Development/Marketing Manager – Consumer Tech Experience – $100-150k
- Top Jnr to Midweight Creative Team
- Digital Copywriter with big thinking
- Super Art Director/Copywriter Team with 360˚ thinking
- Junior Community Manager | Sensis | 6 months contract
- Mid Level PHP Developer- Creative- Up to $67K + Super Ref 6488
- Account Executive
- Communications Manager
-
RSS
Comments
28 Aug 12
12:25 pm
Sad to hear.
28 Aug 12
12:43 pm
Very sad to hear for a bunch of incredibly talented people. This is something close to many hearts at present and I’m thinking of you all. Let’s hope something good comes of the re-adjustment for all.
28 Aug 12
12:47 pm
Ridley Scott boasted on video about how low they kept the costs on Prometheus.. VFX companies are squeezed. This is the result.
Impressive company – bad news for Australia and the vfx world
28 Aug 12
12:53 pm
This is terrible news – especially given the terrific work they’ve done over the years. If they can’t stay afloat with such strong credentials, what chance does the rest of the industry stand?
28 Aug 12
1:48 pm
its a tough market out there for film and vfx thats for sure
28 Aug 12
1:59 pm
Wow, what a tough call for them to make – best wishes to the Directors and the Administrators for the process that lies ahead. Lets hope that as a team they can draw a good result from the experience and that EOIs to keep this team of highly skilled creative talent working for our industry are abundant and genuine.
28 Aug 12
2:03 pm
Very sad. FIngers crossed for salvation.
To Bob’s point, I understand it’s the film part that has struggled rather than the ad part.
[Shakes fist at Ridley]
28 Aug 12
2:10 pm
It’s a very sad day for Australian VFX
28 Aug 12
2:59 pm
It’s a real shame.
28 Aug 12
3:26 pm
Sad indeed. Fuel’s work was world class and from all reports they were great to work for.
28 Aug 12
3:41 pm
There is no future for an independent VFX houses in Australia. Despite a 30% PDV incentive rebate the strength of the AUD vs USD and high cost of labor equal <5% net margins. No margin for error in a creative, capital intensive business. Say bye, bye to others in the coming months. You need to be global with multiple locations to survive.
28 Aug 12
3:47 pm
Understanding this is a very competitive market, this should have never happen. It is the best interest of the Australian film industry, that Fuel remained competitive. God I wished I had the funds! Fuel has an awesome team, talented and passionate and I seriously dismayed that this has occurred. I do hope there is something good coming out of this.
28 Aug 12
4:44 pm
I agree with #3 – Bob. Very sad indeed.
28 Aug 12
4:53 pm
Woah, this is huge news. Good things can come out of tough situations though, so hopefully all will work out in the end.
28 Aug 12
6:10 pm
Jeez that is really awful. Hope the talented employees find alternative work somewhere . . and’or the company survives.
28 Aug 12
6:13 pm
this is very sad for those who find themselves out of work
hopefully it’ll serve as a warning to other houses to deliver value for money
as an advertiser, i’ve never dealt with Fuel VFX , but i have been struck by ambit the invoices have been from other suppliers in this industry, charging ridiculous sums of money for basic administrative and IT tasks and double-dipping in areas like broadband usage
28 Aug 12
6:32 pm
It is incredibly sad to see a company like this fall over, but at the same time it is also a stark reflection on our industry as a whole.
I really think it is time for all the ‘post’ houses in town to work together, rather than trying to undercut each other out of a dollar… otherwise it’s simply a race to the bottom.
We are the only industry that has absolutely no guidelines in place or guild to support/ protect us.
It’s time for CHANGE.
28 Aug 12
7:03 pm
This is so sad.
These guys are awesome and the work they’ve done is fantastic.
I just loved the alien spaceship navigation controls they did in PROMETHEUS and all their other work.
Whilst some media and commentators keep raving about the so called ‘success’ of the odd Australian movie every year or so, meanwhile our world class industry keeps struggling just to keep the lights on.
We need to do more to create a sustainable and vibrant film industry and it’s certainly not doing more of the same.
28 Aug 12
10:11 pm
talent is talent … they will all live on, I can guarantee that, maybe not as fuelfx, but they are strong survivors. They got a good run out of a tough industry … I don’t mean to sound harsh, in fact my heart goes out to them all.
Times are going, if not already gone, for high capital investment in the sort of infrastructure that gets these places going… time to hit the cloud, if you don’t know what I mean, you have some studying to do.
See you out there guys, times they are a changin’
29 Aug 12
1:15 am
Fuel was one of the few companies I held close to my heart. I am so very sad.
Everyone will attest that the involvement of VFX in movie storytelling has been on the rise for at least the last 10 years. Yes?!?
Yet the margins for VFX are argued over time and time again…companies are undercutting companies that have already been undercut.
I know everyone yabs on about how they got it “in camera”…..BRAVO!
Now take off your hat to the 50 artists who worked day and night to fix the mistakes in the 20 other shots that you’ll never speak of.
Sadly, it’s the end.
29 Aug 12
7:11 am
#13 hit the nail on the head.
It deeply saddens me to see our local post production industry getting slowly flushed down the toilet. It’s time for reform.
29 Aug 12
10:13 am
I’d like to add to the many positive comments already made about the team at Fuel. In all my dealings with Jason and Andrew they’ve been fantastic and, of course, Fuel’s work speaks for itself. Good luck guys…I really hope it all sorts out.
29 Aug 12
11:48 am
Ditto #13 and #15. The industry has been pressing all us Post & VFX Houses down on budget for a good while now. There needs to be a time when this stops. Banding together however is a lot harder when all the Post and VFX houses are being swallowed by Deluxe!
I believe a proliferation in the DIY post and VFX, stemming from accessible cameras, editing and compositing programs is one major cause. Clients see that ‘anyone’ can own the kit. The problem is, not just anyone can create great work.
Great work comes from great artists and well managed strong teams and these things cost money. I don’t believe high budget necessarily equals good work (sometimes far from it!), but low budget makes it much much harder.
29 Aug 12
1:37 pm
Worst news… Fuel is such an awesome company and I honestly have had the best times working with them in the past. This is really a massive blow to the Australian VFX and Animation industry. #13 is definitely right, it really is time for a change in this ever increasing trend… so sad!
29 Aug 12
1:55 pm
Could anyone help with this question, is this financial difficulties Fuel VFX have is something to do with the market or because the high running cost in Australia?
29 Aug 12
2:44 pm
I hope no one answers that question, @anonymous. It is no one’s business other than the Fuel owners and staff. It is so inappropriate to ask in a public setting like this anyway – I guess that’s why you remained anonymous. It can be a result of many causes, some through no fault of theirs even. It is sad for the industry regardless the reason.
29 Aug 12
2:53 pm
Both probably, the post budgets have been shrinking, and the cost of labour has been going up as global demand for talented staff increases.
29 Aug 12
3:48 pm
Rather than everyone just sitting around casually saying how “sad” it is, while they reach for a box of Kleenex tissues.
LETS ALL DO SOMETHING TO STOP IT FROM HAPPENING AGAIN.
Otherwise there will be a sudden influx of taxi drivers around town.
29 Aug 12
3:53 pm
I think your numbering system has gone out of sync??
Everyone who refers to #13 above is referring to:
It is incredibly sad to see a company like this fall over, but at the same time it is also a stark reflection on our industry as a whole.
I really think it is time for all the ‘post’ houses in town to work together, rather than trying to undercut each other out of a dollar… otherwise it’s simply a race to the bottom.
We are the only industry that has absolutely no guidelines in place or guild to support/ protect us.
It’s time for CHANGE.
30 Aug 12
4:19 am
I whole heartily agree with the poster that says that we should do something. I think this is a tragedy but I feel that since they have been previously successful with many of there films. It may be possible they could be bought over. But I don’t imagine there quality of work and the projects being the same as what they have produced now. I just hope this won’t close down the company as it would be a shame to see such a big post house in australia collapse.
30 Aug 12
11:23 am
We (the post industry) are our own worst enemy. The constant undercutting has got to stop immediately if we are to salvage a sustainable industry for the future.
Someone mentions above that agencies are getting post houses to undercut a post house that has already undercut their initial quote…
The next time you hear “our client wants a ‘Gollum’ for 5 bucks”, simply stick to your guns and knock the work back.
While you may miss out on some immediate work, I promise you this, it will pay off in the long run once clients start to realise that high-end work does cost money. Yeah sure, there will always be someone that would be willing to work out of their bedroom for 5 bucks, but the level of quality would be reflected in their final output.
Because of the constant undercutting we have all got ourselves into a situation where we desperately need to win the next pitch/ project. We need to reverse the mess we’re all in so we get back to some level of normality.
It is embarrassing to hear some of the rumours floating around town that a couple of post houses (you know who you are and so do we) are calling agencies to say “we will do the job for whatever budget you can flick us” for Christ sake what sort of a business model is that!!
It is about time we all stood up and started to act like a bunch of professionals. I do not know of any other industry that is constantly screwed over like we are. Enough is enough.
This week is a moment in history for the Australian post production industry, lets make sure history doesn’t repeat itself.
31 Aug 12
5:43 am
As someone who once at GMD, employed many of the super talented folk at Fuel VFX and had been lucky enough to had been the first chairman of its Board of Management I’m extremely disappointed to hear this news. I really hope a way out and to greater success can be found. I’ve been reading everyone’s messages and observations from afar (in Holland at te moment) with great interest. The challenges as others have well said, are that in an open market the client will always select the company who can do the best job and be the one they can most effectively communicate with, but price will always also be a key factor. And if others can match you on the first two, you have little choice but to squeeze your margin that little bit further. A further slip in the value of the A$ and you can end up subsiding Hollywood without the opportunity to be rewarded if the project is a success. Now my brother is a farmer and for 20 or more years, competition, lack of demand and dreadful seasons – drought, have made his business a heartbreaking one of losses year after year. Farmers have long said they deserve the nation’s support, but no one listens. Why should we subsidise people producing something for which there is no viable market, no matter how hard they work, And my brother and his son work 12 or more hours a day, seven days a week all year round. The parallels for the post-production industry to me are these. Eventually the seasons do turn, from bad to good. Tough markets sort out the stronger players and with a lack of competition and stronger demand, prices the market is forced to pay do increase. What’s happened to the price of roat lamb is a great example of this. And finally adding value to a raw product can make the success or failure difference. In agriculture it might be turning milk into a wonderful cheese, grapes into a premium wine or wool into a lovely fabric. Companies who use their skills in digital design and animation into content; TV, film or games might succeed where others in fee for service struggle. But to do this, they need to be just as good at storytelling, marketing and deal brokering as they are at everything else. Otherwise just like in farming, if you are in the wrong market at the wrong time its going to be very, very hard, no matter how hard you work or how good your product; animation, or agricultural product alike.
3 Sep 12
9:16 am
Wow. What a week.
I just wanted to write a quick note of thanks for the overwhelming support we have received from our clients, colleagues, team, family and friends from near and far. I can assure you that everyone at Fuel appreciates the kind messages, phone calls and chocolates!
A press release alone can’t convey the full picture, and as I’ve said to many of you, I encourage people to call me for a more detailed update on where things are at. We do expect a positive outcome to this situation and hope to share some good news very soon.
In the meantime, thanks once again. Over the last 12 years, many people have been involved in helping to build this company from a team of 5 to one of the great VFX and post houses, and we believe we still have a lot to give.
Cheers,
Dave
3 Sep 12
8:40 pm
Nice words Dave and good luck to all involved. Its a rough ride ahead but if anyone can get through it… you guys can (get creative!)
17 Sep 12
8:43 pm
Good luck to all the guys involved at Fuel. I know some of you from old GMD days, so keeping my fingers crossed that there’s a solution coming.
26 Sep 12
1:02 pm
Really sad news for such a great studio full of talent. One of my old 3D teachers worked at Fuel for many years so this news really hit home.
I hope they can stay afloat and continue doing the awesome work they’re renowned for.
Mike