Is the Year of the Rooster an opportunity to address a few major issues for advertisers?

The Chinese Year of the Fire Rooster starts tomorrow on January 28, 2017 and lasts until 15th February 2018. Astrologically we are coming out of a pretty confusing period of time and entering a rational and constructive period. The Rooster gives the year that just begins some of the characteristics of the bird it has as a symbol: ambition, pride, the desire to be admired, punctuality and courage. Most importantly the relationships between people will be under the sign of great honesty. Continue reading

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Corrupt and illegal advertising production practices in advertising agencies?

It was with great interest that I read an article in The Wall Street Journal (Dec 6 2016) detailing how the US Department of Justice is investigating advertising agencies in the US for manipulating the tender process especially for the production of TV commercials. The concept of the agency acting as the production company is not a new one and has been an effective way to produce television commercials in the past. What is of concern is the way the agency and their holding companies manipulate the bidding process to circumvent the competitive process and maximise the profits from their clients. Continue reading

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Marketing management predictions for 2017 by the TrinityP3 consultants

Each year the TrinityP3 consultants work with marketers, advertisers and procurement professionals to improve the marketing outcomes for those organisations. We do this across a wide range of categories and marketing channels and disciplines. Each TrinityP3 consultant is an industry subject matter expert and their exposure to the range of issues and challenges facing these marketers provides incredible insight into the emerging trends facing the industry. Continue reading

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How to attend the shoot or edit without leaving the office

When you hear about technology and innovation in television production it is usually focused on what new whizz-bang visual effect can be achieved with the latest piece of expensive computer effects equipment. And every director will want to find that next television commercial production to try it out on. But there are also many technology innovations that actually reduce the costs associated with television production. While these will not necessarily make the headlines of the media or even the production trade media, they are creating a quiet revolution in the 21st century approach to production. Continue reading

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How using a facilitation company for that overseas TVC production is costing you money

A few years ago I wrote a post on the issues associated with shooting overseas. At the time the strong Australian dollar meant that shooting offshore was an attractive opportunity for advertisers and their agencies. My how much has changed in a couple of years and with the vagaries of the foreign exchange rate.Today the Australian dollar makes shooting domestically more attractive, yet there are still many overseas markets that represent great value for advertisers, especially in a global production market hit by the low growth economic conditions. Continue reading

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Managing marketing: the death of advertising and the power of creativity

Sean Cummins, Global CEO of Cummins and Partners talks with Darren on the difference between the Australian advertising industry and that in the USA, the fact that advertising is not dead and the need for advertisers to have more fun with their advertising to deliver greater effectiveness and make a difference to the marketplace. Continue reading

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How consumer goods brands can turn the talent casting process on its head and save.

While the headline particularly points out consumer goods brands this approach is applicable to all brands with well-developed strategies and disciplined implementation.This could apply to all types of categories, but is probably not as applicable to services industries. The reason being it requires taking advantage of longer term planning as a way of optimising the cost and contracting of talent be it actors or voice over actors for the production of broadcast video and content. What is required is to effectively turn the current process on its head and use longer term processes to negotiate the right talent at the best possible but reasonable cost across a multitude of channels and markets. Continue reading

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There are great production deals, but here’s why you the advertiser are not seeing them

If you believe some of the headlines there is no one advertising on television and yet the 13 and a half minutes of advertising every hour on commercial television appears to be full of commercials. The trade media are busy showcasing the latest campaigns from the major brands with the latest 60 second of 90 second director’s cut of television commercial on YouTube as the headline visual for the story. So clearly television commercial production is still happening, but perhaps not at the volume seen in the golden years of advertising and not with as many multi-million dollar budgets. Continue reading

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Where do those props you paid for end up after the television shoot?

There is a couple I have known for many years that work in the production industry. She is a stylist and he is an art director. They have a lovely house in the country and they often brag it is totally furnished and decorated from the props and wardrobe from commercial production shoots. This is not unusual actually, as the practice is quite common and most people in the industry know about it. However, in this case they took it to a whole new level. Basically, various advertisers have funded their whole holiday home furnishing and decorating. How does this happen? Continue reading

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How do you get the right production value for your advertising?

Now the following is true and I was a party to the events as they unfolded. The moving media (television or video production) involved an actor talking direct to camera. The agency art director thought that the actor needed to wear a suit to give him an air of authority and conservative values. The agency art director also wanted the actor to wear an Armani suit as the cut and drape of the garment would also give the actor a presence of sartorial elegance and personal wealth (both good traits that would wash-off onto the product). Now the suit was black so it was very difficult to see the cut and drape at all. But this was only discovered after the set and actor were lit at the studio on the shoot day. So there is some argument that the production value of a designer suit was misguided. Continue reading

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