AdMedia July 2010 by mediaweb

Exbenzive! Page 11

WALK THE TALK 8

9 421902 251009

>> >>

HIGH SOCIETY INK, SWEAT &

>> PHOTO SHOWCASE 14 >> PIE MAN 44 6 >> TV TOP TEN 47 >> TEST DRIVE 42 TEARS 33 >> BLOODY TEACHERS 38

Nigel Douglas

Managing Director MediaCom

Why fight fire with fire 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.

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NETWORK

contents

CONTENTS Editorial

Letters

Magazine Awards

DIY billboard

Experiential

Whatâ&#x20AC;&#x2122;s New

Photographers Showcase

44 46 28

Stock Libraries

33 38 42 43

Pride In Print

Relationship management

Technology to Connect

TV Top 10

AUT mid-term report

InterActive AUT Adschool Bytes Report

The Front Page

Ad Media July 2010

editorial

VOLUME 25 NUMBER 6

is a registered magazine published by Mediaweb Limited PO Box 5544, Wellesley Street, Auckland 1141 Phone 64-9-845 5114, Fax: 64-9-845 5116 Website: www.mediaweb.co.nz

Editor

David Gapes – david@admedia.co.nz 64-9-575 9088, 021 596 686

Advertising

Kelly Lucas admanager@admedia.co.nz 64-9-366 0443, 021 996 529

Designer

Chris Grimstone chrisg@mediaweb.co.nz

Production Manager Fran Marshall franm@mediaweb.co.nz

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Publisher Mediaweb Limited Printing 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)

W eapons of

mass employment

ust 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 expansion, 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.

David Gapes (david@admedia.co.nz)

www.admedia.co.nz

letters

LETTERS 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 VINCENT GALLO.

danny@metroexp.co.nz

Narrow-minded

House call

Dear Ed:

I’d like to reply to Shirley’s letter, ‘Farcical & Cynical’ [about the

Alice at Cannes emailed late last week to let me know that Special

Steinlager Pure campaign] in AdMedia May.

is ranked No 8 Independent Agency in the World – in with the likes

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

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 ...

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

Tony Bradbourne, CD, Special Group, Kingsland

we have many foreigners, who mostly work on Kiwi brands. Should they all be fired? Should we not allow international agencies 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 isitbru@gmail.com

Ad Media July 2010

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adnaus

fistful of gongs

Rising above

the Chorus

C Raybon Kan struggled to be heard over the hoots and whistles of a crowd that got rowdier as the night wore on at last month’s magazine awards-fest, the annual MPA Magazine Awards. It might have been the location 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 drowning 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 collection. 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 Supreme 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-growing magazine out of the 10 top-selling titles (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

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! TERRIFIC

: HEALTH

WINNER: BEAUTY NZ.

Y FOOD G

UIDE.

For advertising, contact Carlee Atkin carlee.atkin@hlmedia.co.nz 09 304 1491

Ad Media July 2010

adnaus

skin deep

High Society

utdoor specialist APNO has installed the interactive skin hand-painted by the media agency music lovers who attended 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 REVEAL: APNO’S KENT HARRISON REMOVES THE LAST PIECES OF VINYL TO UNCOVER THE LOGO.

THE APNO TEAM.

www.admedia.co.nz

Weâ&#x20AC;&#x2122;re building the Paper Revolution piece by piece â&#x20AC;&#x201C; 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

experiential advertising

Walking the talk S ublimeNZ 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 AdMedias (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 ...

MURRAY REID (FEDERATION).

PAUL MANNING (OGILVY).

BRUCE EVERETT (OKTOBOR).

JAMES MOK (DRAFTFCB).

JOSE ALOMAJAN (DROGA5).

PAUL MCNAMARA (REPUBLIK).

www.admedia.co.nz

WILSON (.99). SUBLIMENZ’S ROBERT BRUCE, ANNA

adshel advertorial

Outdoor connects 1. NZ ECONOMIC DEVELOPMENT, 2. & 3. NIELSEN PANORAMA

ou 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, looking for something to do until your bus pulls up... If only that outdoor poster had incorporated 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 mobile 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 representative for more information.

Ad Media July 2010

what’s new

Ad of the Month 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.

WHAT’S NEW: KELLY@ADMEDIA.CO.NZ

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 Television Brand/product: SKY Client contact: Mike Watson Media: 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

www.admedia.co.nz

what’s new

“Love of invention will never die.” Karl Benz. For nearly 125 years Mercedes-Benz has set the benchmark 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 Scissors Client company: Mercedes-Benz New Zealand Brand/product: Mercedes-Benz Client contacts: Coby Duggan, Kelly Harvey Media: TV, Magazine, Newspaper, Outdoor Creative team: Drew Ayers, Mike Davison, Adrian Richards, Mario McMillan Planner: Friday O’Flaherty Account service team: Birgit C Hoeglinger, Afshin Saffari Media strategist: Stacey McEntee

Ad Media July 2010

whatâ&#x20AC;&#x2122;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: Gladeye Client company: House of Travel Brand/product: mixandmatch.co.nz Client contacts: Tim Paulsen, Alice Lyon Media: Web (Facebook) Creative director: Tarver Graham Art director: Guy Trowbridge Technical lead: Ken Vu Producer: Conrad Blight Account manager: Soong Phoon Sound design: Barnaby Marshall

No matter what the occasion, Liquorland is always there for you. Agency: Hotfoot Client company: Liquorland Client contacts: Angela Butler, Sarah McClennan Media: TV Creative director: Kim Ellison Account team: Juanita Neville-Te Rito, Michael Wood, Casey McPike Media strategist: Peter Myles Creative team: Kim Ellison, Paul Taylor, Martin Brown Agency producer: Nick Barnes Production/film co: Film Construction Producer: Jozsef Fityus Director: Perry Bradley Post production online: Toybox Soundtrack: Liquid Studios

www.admedia.co.nz

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&GO Client contacts: Kit Rahman, Hayley Findlay Media: TV Creative team: Damon O’Leary, Basil Christensen, Nikki McKelvie, Posey Wall Media strategist: Spark Writers: Damon O‘Leary, Basil Christensen Art directors: Basil Christensen, Nic Hall Agency producer: Jane Mill Production/film co: Ogilvy Film 360 Producer: Angela Hovey Director: Barry Fawcett Post production: Redworks Editor: Sam Brunette Soundtrack: Nich Cunningham Footage/ Production: Film 360 Degree

There was no winner in the NAB June Newspaper Ad of the Month.

Ad Media July 2010

photography

Photographers Showcase

2010

www.admedia.co.nz

photography

The

new

wave Index IDC........................................................................................................................................... 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

Ad Media July 2010

photography

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.

he 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 photographers 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 commercial 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 Fullframe 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

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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 Photographers Association (AIPA) Image Nation 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 photographers 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, Droga5 Creative Partner Mike O’Sullivan suggested 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

LEON ROSE.

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 beautiful 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 increased demand for images and it’s predicted that in a few short years online content 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 technology allows anyone to become a photographer, anyone can become a videographer.

photography

Ad Media July 2010

photography

top model in focus

CHRIS PARKER.

CRAIG ROBERTSON.

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 producers. “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.

www.admedia.co.nz

MICHELE RICHARDS.

Talent, resources and business sense will be needed to excel in a market that will soon be as fiercely competitive as photography. Video capture is changing the state of photography immensely, says Robert Trathen. “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.

photography

Ad Media July 2010

photography

getting an edge

ROB TRATHEN.

MELANIE JENKINS.

MIKE O’SULLIVAN.

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 pushing 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.”

www.admedia.co.nz

photography

Lightworkx Photography

Servicing New Zealand and Australiaâ&#x20AC;&#x2122;s leading advertising agencies, design studios, and electronic specialists for over 15 years.

New Zealand Diederik van Heyningen +64 29 377 50 80

We are award winning commercial advertising photographers and retoucher team, with full in house production, studio rental and gear hire facilities.

www.lightworkx.co.nz

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.

Represented in Australia by Rachel Shea, Blueprint Production & Management www.bprint.com.au +61 2 9518 4211

www.dvh.co.nz

Ad Media July 2010

Phone +64 9 377-7733 路 PO Box 90605, Auckland Mail Centre 8-14 Madden Street, Western Viaduct, Auckland, New Zealand

photography

MINNIE STREET STUDIO TOP PHOTOGRAPHIC HIRE FAC ILIT Y, C ENTRAL AUC KLAND FIND US ON FACEBOOK C A L L : 0 9 3 0 2 3 0 4 3 , 0 21 9 5 6 2 31 T O V I E W studio@minniestreet.co.nz www.minnie street.c o.nz

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photography

CHRIS MCLENNAN.

It’s important to keep abreast with everything 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 speciality area.” By doing this you may even be able to charge more for a very specialised service, he says.

Ad Media July 2010

photography

CARLA ROTONDO.

tough but good

Experienced professionals see the greatest need for upskilling in the area of business practice. Craig Robertson: “Incomes are low because photographers will generally put their art before their business. That means there are many less experienced 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 product 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 accountant 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 reliance on retouching. “Rather than paying a

Shooting stars NZ photographers regularly produce world-class images. Chris Sisarich’s exhibition 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 Photographer 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.

www.admedia.co.nz

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 exploring the concept of hiring them.” As photographers are forced to work with smaller budgets, there are a number of advantages, she says.“People require different 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 better and more cost-effective option.” As well as studio and equipment hire, Carlin, an experienced professional photographer, 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 understand 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.”

photography

www.leonrose.co.nz 0064-21-502-021

Ad Media July 2010

stock libraries

Growing pains

www.admedia.co.nz

stock libraries

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).

“

he market is evolving and expanding to include more image users every day,” says Arran Birchenough at Getty Images. The challenge for stock libraries is developing 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 properly, the possibilities are endless.” It would seem the financial meltdown of the past 18 months has seen demand increase.“Stock imagery is being used everywhere 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

JO SOWRY (PHOTOLIBRARY).

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 conference 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 similar 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 illustrations in weekly, monthly and yearly subscriptions from providers Getty Images, iStockphoto and Jupiterimages. “The collection provides all file sizes regardless 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 content. “Our images have always had a very authentic and unique look so we have been concentrating on building content that reflects 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 commerce, and produce unique images within the standard saleable subjects, she sees creative decisions being driven by previous sales results. “This has resulted in a Ad Media July 2010

stock libraries

DEXTER FRY (CORBIS).

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 royalty 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 viewpoint 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 competing with each other. “There are photographers and other agents and other methods of picture delivery all competing. If you want to stay in the business you’ve got to think about extracting the maximum value from the material that faces the stiffest competition.” Moorhead’s doing this by introducing more royalty free content to the Focus

COLIN MONTEATH (HEDGEHOG HOUSE).

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 facility. 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

EMMA WILLIAMS (CANVASS).

BRIAN MOORHEAD (FOCUS NZ).

think they understand they can buy a single use for a campaign, just for print for example, 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.” Ad Media July 2010

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 Birchenough. “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 happening 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.”

www.canvass.co.nz emma@canvass.co.nz 09 300 7520 021 222 7991 skype: canvassme

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THINKSTOCK.COM

plainpicture

pride in print 2010

INK, SWEAT & TEARS

SUPREME AWARD: BABYFOOD CAN (FONTERRA CANPAC).

inning the top NZ print industry award should be the catalyst 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 restore morale.“The fire closed down our production and was a very hard blow to take,” he said. He paid tribute to competitor 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 packaging to succeed in the global arena, it had to be outstanding.

“There is a huge emotional attachment between mother and baby, and that is reflected in the relationship between the product and the packaging,” Porter said. “This is a super-tough market for a packaging printer to make an impression. “This can represents wonderful colours and density. Technically, they had to print three whites to achieve that density. These guys are a credit to the industry.”

pride in print 2010

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.”

FLEXIBLE: LITTLENECK CLAMS PACKAGING (SEALED AIR NZ HAMILTON). THE JUDGES SAID: “GOOD INK DENSITIES, GOOD REGISTER, AND GREAT RESULTS.”

ENVIRONMENT: PAN PAC PULP PALLET LABELS (GEON NAPIER). THE JUDGES SAID: “IT’S LITTLE THINGS LIKE THIS THAT MAKE A DIFFERENCE IN OUR INDUSTRY.”

INNOVATION AWARD: TAMPER-PROOF SEALING TAPE (GEON CHRISTCHURCH). THE JUDGES SAID: “CLEVER, COST-EFFICIENT INNOVATION.”

BUSINESS PRINT & SCREEN: BUSINESS CARD (PERMARK INDUSTRIES AUCKLAND). THE JUDGES SAID: “VERY FINE DETAILS, WELL EXECUTED. PERFECT.”

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DISPLAY PRINT & DIGITAL: COLORSTEEL PANELS SWATCH: DIGITAL RIVER AUCKLAND. THE JUDGES SAID: “OUTSTANDING FINISH.”

2010 Gold Award Winner

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.

pride in print 2010

PUBLICATIONS & WEB: MINDFOOD (APN PRINT MANUKAU). THE JUDGES SAID: “EXTREMELY DIFFICULT – GREAT JOB.”

SPECIALTY PRODUCTS: KICKING IMPRINT T-SHIRT (SCREEN PRINTING SOLUTIONS HAMILTON). THE JUDGES SAID: “GREAT USE OF DIFFICULT SPECIAL INKS. SUPERB.”

PROMOTIONAL PRINT: MOMENTO PHOTOBOOKS’ NETHERLANDS-PARIS-NETHERLANDS (KENETIC 121). THE JUDGES SAID: “VIBRANT IMAGES, BALANCED COMPOSITION, CRISP PAGE DESIGN.” 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.”

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SHEETFED: ULTIMATE GUIDE BOOK (GEON HIGHBROOK). THE JUDGES SAID: “BRIGHT, GLOSSY, CLEAN, EXCELLENT FINISH.”

aut ad creativity mid-term report

BLOODY

s r e h c a te By Jane Berney, Dave Brown, Paul White

Results The 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 Marketer 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 campaign by AUT students, July 2010.

Guest appearances Andy 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 Radford (Saatchi & Saatchi, now 180 Amsterdam), Robert Munro (NAB), Bridget Carnachan (TVNZ), Gina Dellabarca

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(Stardome), Gary Alway (hampsta), Marc Spring (Trinity Media Group). Massive thanks to them all.

Tutor comments 2009 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 campaign. 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 campaign 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 challenge 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 Stardome Observatory is currently reviewing the work, but you can have a sneak part-preview of some of the submissions. So here we are halfway through and despite 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.

aut ad creativity mid-term report

STARDOME: FRANCES COOKE & CHRISTABEL SPONG.

STARDOME AMBIENT: YEAN ONG & LAURA CLARKE.

HOLES 1,2,3 (NAB): KEVIN BACHTIAR & SASHA ARANDELOVIC. Ad Media July 2010

aut ad creativity mid-term report

GLADE 1, 2, 3 (NAB): TIFFANY COCHRAN & ERIN GULYAS.

STARDOME: WICKY TAFAU & PATRICK AHOI.

ROOTS (NAB): BRONWYN RETIEF & ELLIOT RAWSON.

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aut ad creativity mid-term report

TOPICAL (NAB) AD: XANTHE WILLIAMS.

RADIO SCRIPT DON’T TXT & DRIVE: WICKY TAFAU.

BRIGHTEST TORCH BILLBOARD: WICKY TAFAU.

NZ1 GREEN WORLD (NAB): WICKY TAFAU & VICKI LENIHAN.

STATE (NAB): SAMANTHA TAYLOR & LEWIS CLARKE.

Ad Media July 2010

interactive bytes

T est drive By Alastair Thompson

hen 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 experience to call on for guidance. Mini – owned by BMW with German leadership – 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.

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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 campaign 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.

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 par ticularly 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 leading indigenous online news agency attracting a readership of 400,000 unique visitors a month. Send feedback to co-editor Alastair Thompson.

Ad Media July 2010

relationship management

Maximum lift

IT’S ABOUT MONEY: ST JOHN CRANER.

nce 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 client and their many specialist agencies (creative, media, digital, PR, search, experiential). Add larger marketing organisations and their three or four business 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 “expertise” beyond their primary discipline). Instead of focusing on right things (the

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execution of and return on strategic marketing investment) clients are being distracted spending increasing time on the wrong things (managing the relationships 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 requirement 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 communication, trust, all of the usual platitudes 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 thinking 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 agencies 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

By St John Craner

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 measur ing collaboration means managing and maximising relationship performance and the benefits of collaboration are numerous: • It measures and benchmarks relationship performance. • It identifies areas for development and improvement. • It creates shared values and sets expectations. • It encourages the right rewarding behaviours. • It creates value-share for all parties. • It develops more sustainable relationships 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 difference by working collaboratively together with their peers to create bigger, more valuable pies? So which players will exhibit the necessary maturity to break the current behavioural mode? I’m not sure, but whoever does will secure leadership of their category 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.

feature

Semi-Permanent New Zealand

20 - 21 August 2010 Aotea Centre, THE EDGE Auckland. semipermanent.co.nz

Get into.

semi-opinionated.co.nz Twitter. @semipnz Facebook. Semi-Permanent

Ad Media month 2010

technology to connect

101 1-2-1 part 3

By Chris Graham

n 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 requirements for 1-2-1 marketing. If not here they are – i) some variable print software 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 AND CUSTOMER INTELLIGENCE – THE FOUNDATIONS FOR THE FUTURE OF MARKETING. 1-2-1 job the first question we ask, when So the next item you need to resolve is to find a print partwe are briefed, is what software we should choose to do it with. Simply put, different variable data software is good at differ- ner with a digital press who understands what the hell it is ent things. Some are good at transactional data and the display you are doing, and who can take your base document and of financial information, others are good at variable data but your data, and merge it together seamlessly, assuming that can’t manage personalised images, some require large pockets you have not done it already. Now just to reiterate an important fact from a few months and many have simple desktop versions and very expensive ago, if you are producing a 1-2-1 job then you will need to server-based solutions to integrate with your website. Others struggle with drop shadows on text and so on and so understand the input required by the digital printer, so you on. Trust me, there is no perfect solution or utopia for variable can drive the digital press as quickly as possible. Most of these languages revolve around something know as data, so much of it will involve compromise and work-arounds. Typically we will often use more than one variable data prod- PPML – a type of computer code that allows the repeatable bits to be stored on the print for easy and instant use, but at uct to meet a customer’s expectations. However, don’t let this aspect put you off – all the main the same time recognises the variable part and just changes software options are robust and of good quality. You just need that particular item each time on each copy. If you don’t do this, the job will become unmanageable 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 because every page is individual and needs processing. Condoubt that sod’s law will present you with one as soon as the sequently if pages take seven seconds to process and there are 10,000 pages ... well, you do the maths! job becomes urgent or stressful. I think I have covered many of the problems related to data Chris Graham (chris@purls.me) is ceo of PURL Technologies, in part 2 so I will leave that area alone and hope you keep which specialises in artwork automation and 1-2-1. the back issues of AdMedia neatly filed.

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viewer poll

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

2 3

TV TOP 10

Instant Kiwi Walking on Air, DDB, Good Oil (Hamish Rothwell).

Tower Insurance Nasty Surprises, Aim Proximity, Thick As Thieves (Alex Sutherland).

loveable latest, Nike’s World Cup spot,

Colenso BBDO, The Sweet

Our poll of 1000 Kiwis was conducted by TNS via the SmileCity database. Respondents were asked to name “the

Shop (Steve Ayson).

Mitre 10 Sandpit, DraftFCB,

best ad on TV in June”.

7 8 9 10

Fresh Up Thirst is Creepy,

and Colenso’s memorable Creepy.

Exposure (Kevin Denholm).

Cadbury Freida, DDB NZ, Psyop Animation US.

4 5 6

Libra Invisible Pads WonderGuy Man, Clemenger Melbourne, Prodigy (Tim Bullock). Telecom XT Stern Stuff, agency/film co Chameleon TV (Simon Shattky).

Nike Write the Future, Weiden & Kennedy London.

Hyundai i30 In Like Flynn, Assignment, Auckland Film Co (Tony Williams).

ASB Goldstein, TBWA\Whybin, Plaza (Paul Middleditch). To view past Top 10s, contact Philip.Corr@tns-global.com

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HIGH SOCIETY 6

PHOTO SHOWCASE 14

TV TOP TEN 47

INK, SWEAT & TEARS 33

PIE MAN 44

TEST DRIVE 42

BLOODY TEACHERS 38

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Ad Media July 2010

the front page

THE WORLD OF Toby Young and newspapers

ou’ll find Toby Young everywhere – Twitter, Facebook, LinkedIn, Wikipedia 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 ‘Following’ him. Recently he was at an awards ceremony in LA and sent over 40 ‘twits’ in 60 minutes. As the volume grew the ULTIMATE TWITTER JUNKIE. 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 metaphor 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

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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 magazines, 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 (robert@nabs.co.nz) is the general manager of the Newspaper Advertising Bureau. www.nabs.co.nz

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