Exit Films TVC director Glendyn Ivin's first feature Last Ride was released this week and is in cinemas around the country now.Says Ivin: "I took time off from commercials for a year and half to work on it full time (even though I have been working on it for the last 5 years). It's been one of the most incredible experiences to say the least. A lot of the regular creatives I work with know about it but it would be great to get it out a little further afield to see what a commercials director can can do outside of the 30-60 time frame.
"The film stars Hugo Weaving and was shot by Greig Fraser (who has shot every award winning spot in Oz over the last few years) and was edited by Jack Hutchings who cuts most of my commercials at The Butchery. There is plenty of info on the site LastRideMovie.com and I have kept a blog right through production at www.glendynivin.com which is pretty warts and all."
Top
South African production company Velocity Films and Campaign Brief Asia
combined on Friday evening to throw a very cool party on the beach in
Cannes. Around 200 guests from Asia, South Africa, Australia and around the world
enjoyed food, drinks and the sounds of DJ "Les Champs on the Docks" in
the perfect location of the Cannes Beach Restaurant. Campaign Brief
Asia wants to thank Barry Munchick and everyone from Velocity
for their support and a special thanks to the great organisational
skills of Velocity's Ange Ramsey. Following are all the photos from the
CB Asia camera....
TUESDAY JULY 7 @ 7PM THE LOCAL TAPHOUSE
184 CARLISLE STREET, EAST ST KILDA
"We want the finest wines available to mankind, we want them, and we want them now." Withnail (Withnail and I)
With GETTY IMAGES' kind sponsorship and kind BAR TAB we can assist in this quest! Not ONLY are they showing RAD films, AND giving us MORE free booze on TOP of our regular FREE ALE, we also have great give away prizes of beautiful photography, books and prints kindly supplied by GETTY IMAGES. Tangerine is supported by Campaign Brief.
Come and Share the last Tangerine hosted by Colette Crespin in Melbourne for a while as she's off the USA to discover more director talent and share films around the globe. Tangerine is going on Tour!
The Big Won, in association with the UK's leading recruitment agency for creative talent The Garden Partnership, has analysed the entire Cannes 2009 Advertising Festival shortlists and winners lists to produce rankings of top people as well as top campaigns, top agencies, top networks and top countries.In the tally of Top Countries, Australia ranks an impressive #6 (614 points) in the world, after the USA (1546 points), UK (1064), Germany (1030), Brazil (698) and France (680). South Africa is in 7th spot with 476 points, followed by India (468), Belgium (390) and Japan (386).
Tourism Queensland's 'Best Job in the World' is ranked the #2 campaign in the world at Cannes, with BMF Sydney's TED 696 Project at #6 and Leo Burnett Sydney's Earth Hour 'Vote' at #8..
View the rankings PDF:
thebigwonpressrelease010709.pdf
The New York Festivals International Advertising Awards, now in its 52nd year, has announced its 2009 United Nations Department of Public Information Winners. Lowe, Sydney was honored with the Gold UNDPI Award for the Mixed Media
campaign website "Tree People" for client Genesis Energy. The website,
designed to bring attention to climate change in New Zealand features a
virtual forest community with individually sponsored trees. The
sponsored trees grow as results of New Zealanders making pledges
promising to make small changes in their lifestyle, changes designed to
help the environment. 
Yanni Pounartzis, who was CD of Brave, Sydney for 15 months, has been another casualty of reduced budgets. He joined Brave in March 08 as deputy creative director and within 3 months was appointed creative director.Under his leadership, Brave won pitches for The Daily Telegraph, NSW Cricket, Drambuie and more recently, an undisclosed international airline account. Yanni also made a significant contribution to the creative product with unconventional work such as the world's first 'Hippy Cement Truck' for Boral and Josh Pyke's new film clip 'The Summer'.
The Lab Sydney recently completed its work on series two of Underbelly - A Tale of Two Cities. According to producer Prue Fletcher the second series, although working with stricter timeframes, was more seamless than the first.Fletcher said, "We moved straight from working on Baz Luhrmann's Australia to Underbelly - A Tale of Two Cities, so we were all prepared for the volume of work to be done in a short amount of time. We have a long-term successful working relationship with Screentime having also just finished The Informant and False Witness for them so everybody knew what was expected in terms of quality and service. To stay ahead of the game, for Underbelly - A Tale of Two Cities we also did a lot of pre-testing grades so Screentime and the Nine Network could approve the look ahead of schedule."
Commercial and documentary filmmaker Justin McMillan has joined Film Construction, bringing with him close to a decade of cinematic experience.Along with his background as a successful documentary filmmaker, Justin continues to build an impressive body of commercial work, including spots for clients such as Hubba Bubba, Glad, Jeep and WA Road safety. Driven by a passion for all facets of film production, Justin explains that it is "the planning and logistics part of production" that inspires him most. "Dissecting and storyboarding an ad for the first time is a lot of fun as that's when you get the vision and can really see how it's all going to come together. Then making that vision come alive on screen is the ultimate payoff"
John Hartigan (left), chairman and chief
executive of News Limited, gave this speech on the future of journalism
at the National Press Club today. Australian media and marketing online site Mumbrella is not favorably mentioned and as a result hit back with this response. 
Check out the new animated spot for Sakata, via agency 303 Group and Yukfoo Animation Studios.Agency: 303 Group
Creative Director: Julian Watt
Copywriter: Nick Levey
Art Director: Derrick Kim
Agency Producer: Lucy Trengrove
Animation Director: Alan Dickson
Production Company: Yukfoo Animation Studios
The GFC continues to take its toll on Australia's once prosperous TVC production industry with Sydney-based Cream (formerly Republic Films) and Ozpan Productions the latest casualties. Emails to Cream's principal producer Adam Wells state: Thank you for your email. I will not be in the office this week. If the matter is urgent please contact Ian Bennett in the office. Calls to the company go to a recording with the message: Thanks for calling the offices of Ozpan and Cream. If you're calling in regards to any outstanding invoices please contact Pitcher Partners in Sydney on (02) 9221 2099 who are acting as the liquidators of Ozpan Productions and Cream.
A teaser spot created by US, Sydney for Mad Men, currently showing on SBS, has won the overall award and single category in the latest round of the Siren Awards.Judge and previous round winner, Steve Dodds from Whybin\TBWA in Sydney said about the winning ad: "The Madison Cookware stuff stood out because it is part of a strong campaign idea. It is an unusual idea that works well in radio."
Agency: US Sydney
Writers: Nigel Clark & Adrian Ely (pictured)
Directors: Tone Ashton, Nylon
Client: SBS
Title: Madison Avenue Cookware
The AWARD Call for Entries has been extendd to Wednesday July 8.View the web film created by DDB Sydney and Fin Design.
Please note that late fees automatically apply to all entries submitted online after midnight Tuesday, 30th June 2009 (+15%). All entry payments must be made before the 8th July in order for your entries to be accepted.
Late fee charges will not apply if your entries have been submitted online and paid for by the 30th June 2009.
All hard copy entries and artwork must be received by AWARD before the 10th July 2009. For all queries contact Alette at AWARD on +61 2 9699 2999 or email callforentry@awardonline.com
View the AWARD CFE booklet
AWARD_CFE_booklet.pdf
View the AWARD CFE poster
AWARD_CFE_poster.pdf
In the wake of recent company closures in the post production industry The Lab Sydney today gave details of its strongest commitment yet to colour grading in Australia.The Lab's General Manager Lewis Pullen (pictured) said, "We are continuing to do what we've always done and commit to the Australian colour grading industry for the long term. Where other companies are cutting back or closing we are actually investing. We have been in the business for many years and are not going anywhere. We have just completed a full upgrade of our two Baselight systems to version 4.1 which now gives these excellent grading desks even more power and functionality. We are also investing in the next generation of colour grading systems and will be making a big announcement on that soon. The initial testing is like nothing people have seen before - it's mind blowing."
Nando's pulls off saucy stunt at Bruno premiere.The Sphere Agency has pulled off another stunt for Nando's at the glitzy red carpet premiere of Sacha Baron Cohen's latest movie Bruno, where he himself was Brunoed. A Bruno double and his 'entourage' rolled up in a hot pink Hummer limo and made it onto the red carpet, fooling security, awaiting fans and the media. View the stunt
The Clemenger Group, including Campaign Brief's current Australian + NZ Agencies of the Year Clemenger BBDO Melbourne and Colenso BBDO Auckland, has topped the list of awards in Cannes, with an all time record of 16 Lions. This makes the Group the Number 1 agency network in Australia and New Zealand. And, for the third time in a row, BBDO was named the international Network of the Year, taking home 52 Lions. 
So
the Palais has been swept up, the (Lynchy named) Gutter Bar has returned to 72
Croisette, and the battle-weary delegates have begun wheeling their
bags into the glaring Sunday sun. So long Cannes, I knew ye well. So
what have we learnt? Here's some rambling thoughts on what went down
this week:Michael Spirkovski, Paul Bennett (CEO of Euro RSCG), Jason Ross, John Lam, Matt Smith and Russell Smyth.
Designed to recognise and promote exceptional new commercial directors in the Asia Pacific Region, the KODAK AWARD New Director Of The Year honors outstanding commercial directors whose fresh thinking and creativity sets them apart from the rest.Entries for the KODAK AWARD New Director of The Year is now open and closes on Friday, 31st July 2009.
A distinguished line up of international judges has been selected;
Simon Langley, Creative Director, BMF Sydney (pictured top right)
Ravi Deshpande, Chief Creative Officer, Contract Advertising, India
Toby Talbot, Executive Creative Director, DDB New Zealand
Mark Molloy, Director, Exit Films Melbourne
Romanca Jasinski, Head of TV, George Patterson Y&R Melbourne (pictured)
Hamish Rothwell, Director, Goodoil Films Sydney
Sheung Yan Lo, Executive Creative Director, JWT Shanghai
Ted Lim, Executive Creative Director, Naga DDB Malaysia
Gavin Simpson, Executive Creative Director, Ogilvy & Mather Hong Kong
Richard Copping, Executive Creative Director, Saatchi & Saatchi Singapore (pictured top left)
Scott Nowell, Executive Creative Director, Three Drunk Monkeys Sydney
View the Call for Entry web film
CB catches up with Tom Eslinger, LA based worldwide interactive creative director of Saatchi & Saatchi.
HIGHLIGHT
OF CANNES 2009?
The New Directors' Showcase. Not just because we did it but also because it was great to see so many people get so excited about the work. Most of the works that we show here has a certain amount of criticism with it, or bitchiness about it, but this was overwhelmingly positive as people were walking out afterwards. Everybody saw something they liked, or thought was really kind of cool. The Contagious panel was good, 42 Entertainment was awesome.
LOWLIGHT?
Still being
out at 4.30 this morning. The longer I stayed out the lower it got.
CB catches
up with Richard Myers, Saatchi &
Saatchi's creative director of global culture, who has taken over Bob
Isherwood's role presenting Saatchi & Saatchi New Directors' Showcase.
HIGHLIGHT
OF CANNES 2009?
I've been
pretty obsessed and focused on the New Directors' Showcase so I haven't seen an
awful lot. It has been a real highlight because there is an expectation of it
at Cannes and I'm fully aware of the expectation of it and the need for it to
be very special still. Reaching 20 years next year is a significant milestone.
It's great to get the reactions we get and the expectation has been brilliant.
LOWLIGHT?
Cannes is a
seaside place so when it rains - like any seaside resort - you think I could
have stayed at home. I'm a Brit so I do talk about the weather a lot.
CB catches up with New Zealand Radio Juror James Mok, executive creative director, DraftFCB New Zealand
HIGHLIGHT OF JUDGING CANNES 2009?
The jury. What an outstanding group of people. Judging awards can be fraught with challenges because you've got really smart people, and opinionated people, coming together and you've got different cultures together and you could have a real clash of ego going on there but this jury was an absolute pleasure to deal with. Everyone was generous, warm, friendly, communicative and involved. Matthew Bull, chief creative officer, Lowe Worldwide, South Africa, was a fantastic jury president. He was a brilliant leader because he asked us to think of ourselves as a single group, not as 16 individuals. He asked us to constantly talk about the work and share our thoughts either as a wider group or one on one and that was liberating because he set an agenda that was an open and generous agenda.
CB interviews New Zealand's Titanium and Integrated Lions juror: Andy Blood, group ECD, TBWA\Whybin\Tequila, Auckland.
HIGHLIGHT
OF JUDGING CANNES 2009?
The quality
of the people in the room - you always enjoy something more when the caliber of
conversation around you is so high, that's kind of irreplaceable. I have been
on juries before where I've gone, 'why is so and so here, should I really care
about what they think?' That was in evidence in the room; we were in at all. It
was an incredibly high level of thinking and conversation.
CB catches up with New Zealand's Direct Juror Wayne Pick, executive creative director,
RAPP New Zealand
HIGHLIGHT OF JUDGING?
I'm travelling with my wife and daughter but my partners during the judging week were the other jury members. It's been long hours but I've loved
it.
LOWLIGHT?
In this year of economic strife, it just made me really pissed off and angry that people spent money entering work that had absolutely no results in a category where results are so vital. Time and time again we saw people taking complete punts on pieces of work thinking they would get through without the slightest hint of results. The word that came up again and again was 'countless'. If you couldn't count them why did you bother mentioning them?
CB interviews Mark Ashley-Wilson, head of interactive, Three Drunk Monkeys
HIGHLIGHT OF CANNES 2009?
Handing out the three Grand Prix. We'd been pulling 14-hour days for six days and to whittle that massive list down to those three and then to see the three side-by- side was phenomenal. The first two, Fiat's 'Eco Drive' and 'Best Job', were fantastic because not only were they great in themselves as mediums but they involved people in the real world. They created emotions.
LOWLIGHT?
The 14-hour days. The first couple of days we had to get through 300 sites per day.
CB interviews Glen Condie, experiental marketer and regular Cannes delegate.
HIGHLIGHT OF CANNES 2009?
That's tough because there has been many. Chatting with Spike Lee, Geldof's speech, Roger Daltrey's acoustic versions of 'Who Are You?' and 'Ring of Fire', Australia doing so well, drinking Rose in white pants.... But, if I absolutely have to choose one its got to be the girls on Rue d'Antibes. My God.LOWLIGHT?
Leaving my passport in Zurich was a contender and I was a little disappointed with the Print and Outdoor this year but the biggest lowlight had to be the Naked seminar. Just awful.
CB interviews Australia's Film Lions juror: Steve Back, ECD, Saatchi & Saatchi, Sydney.
HIGHLIGHT
OF JUDGING CANNES 2009?
Finishing.
By the end of each day your brain is mush, but seeing some amazing work has
been really good. The first four days you are seeing everything and I was blown
away by how much crap people were still entering. I was stunned. We did long
days to get through categories and some of it was just shit. I was really
depressed by the Wednesday and then we started to see the winners emerge and it
was like, 'now you're starting to talk'.
The Grand Prix just rose to the top, which was just awesome. It wasn't
an easy job, but they picked themselves as Gold. Meeting the other
jurors - there was no politics, no block voting, just lots of conversation.
Everyone had their say, it wasn't heated, there was heaps of discussion, not
heaps of aggression. Everyone said you have to be in the room for seven days,
and I had been warned that it would be a
horrible experience. But all in all, it's been
fun.
By Ted Royer, executive creative director, Droga5, New YorkForgive me, I have been slacking. No, I wasn't drunk the whole time, but I have been judging some long days, gotten the flu and have a very weird bump rapidly growing on my neck. Things are not looking good for me. But the work is great, and seeing how this is my last entry, I'll jump straight to the big winners, some of my favorites and comment on other stuff.
All week long we were worried there might not even be a Grand Prix, and seeing how the last time that happened the jury was almost run out of town, it was a huge relief when several things clearly rose to the top.
Okay,
so a few wheels are beginning to fall off the Cannes gravy train as we
head into the final stretch - I'm hearing a LOT of wheezing coughs
around town. Lots of reports
of dropped cameras, broken phones, lost phones, all the usual nonsense.
Thankfully, some of us are still maintaining a professional attitude,
and I've held onto my camera long enough to keep filling cyberspace
with more Cannes-related shenanigans.Pictured left - This mighty vessel is, as far as I can tell, a bit of a Cannes secret, only recently uncovered by some cunning Australian delegates. It's called a Girafe, which is probably because it stands 100 feet tall. You can buy it filled with Stella Artois for 32 Euro, or Leffe for 34 Euro. A bloody bargain, but susceptible to some pretty shonky pouring action.
One of the most popular seminars of the week is 'Wildfire', presented each year by Leo Burnett and Contagious magazine. View the presentation.
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