Sam Stuchbury, creative director and founder at Motion Sickness and co-founder of The Social Club, has this week been named in Forbes’ 30 under 30 Asia in the ‘Media, marketing and adverting’ category. We ask him about his journey from a cold Dunedin student flat, what he thinks about the industry and influencers, and what lies next in his path.
Ever wondered what you can do with your creative writing degree? Wonder no more.
NZME’s Group Creative team has a new leader with Jono Coles joining as executive creative director.
At a time when words like ‘feminazi’, ‘man hater’ and ‘snowflake’ are thrown around quite freely, Bridget Taylor thinks the gender debate is still worth having.
Getty Images has launched a short film competition called ‘Let’s Make Something’, and it wants Kiwis creatives to get involved. Find out how.
Microsoft NZ is giving Kiwis the chance to bring their dreams to the surface in a new competition campaign, with the help of Y&R, in which one winner will receive a year’s salary to unleash their creativity.
In a business categorised by change, creative agency Goodfolk maintains focus by having a good sense of self.
This year, 25 April marks the centennial anniversary of the Anzac landings at Gallipoli, a poignant moment that to this day serves a reminder of the solidarity that holds the Antipodes together. Given the national interest driven by the event, TVNZ has planned a range of programming dedicated to the infamous moment in history. And in an effort to spread early awareness, the broadcaster has launched a campaign called ‘Letters from our past … delivered to our future’ tells the stories of soldiers who fought in the battle.
Digital is no longer the siloed side project that’s only tapped into if there’s enough budget left over. It’s now an integral part of the comms strategy of most major brands, and its prominence is only becoming stronger as the online audience grows. To investigate the changing face of digital, StopPress has launched ‘Rise of the machines’, a new series in which we chat to few brains in the industry about how the channel is evolving. First up is DDB’s digital creative director Haydn Kerr.
379 entries across 75 categories have made it through to the finals of the Axis Awards, with FCB leading the way on 54, followed by Colenso BBDO with 49 and DDB with 47. Special Group has 31 finalists and Saatchi & Saatchi rounded out the top five with 26 finalists.
Where do creative types find their inspiration? New research by Adobe shows it’s increasingly in the online realm. PLUS: the creative skills deemed to be most in-demand in 2015.
A girl with telekinetic powers didn’t end very well in Stephen King’s novel Carrie, but DDB and the Sweet Shop has given this literary reference a more positive spin in a new spot for Sky, which depicts the young protagonist seemingly controlling the movement of a murmuration of starlings.
This morning NZTA released its latest ad ‘Local Legends’, this time aimed at curbing drink driving among younger men. We spoke with Clemenger BBDO creatives Mark Dalton and Mike Gwyther, who also co-wrote NZTA’s ad ‘Blazed’, about what it took to write ‘Local Legends’, what makes it work, and how to cut through the noise so you’re not forgotten.
Live TV is challenging enough when filmed in a fully equipped studio. And as the Fair Go team illustrated last night, it’s even more difficult when produced in the Spark Atrium with a live audience in attendance. Here’s a rundown of how the event went.
Paul Catmur, the creative managing partner of Barnes, Catmur & Friends, shares his views on life, advertising and other annoyances, such as the unbundling of media.
Swedish car manufacturer Volvo has appointed Republik to its media and creative account, and this move will see the agency part ways with Peugeot after 10 years.
Earlier this week, the 2014 Global Effie Effectiveness Index results were released and, for the third time in a row, Colenso BBDO has been listed as one of the top 10 most effective agencies in the world. The results also came with good news for Barnes, Catmur and Friends, which finished fourth in the world among independent agencies and first in the Asia Pacific region.
With the emergence of channels such as Facebook, Twitter, Instagram and Snapchat, the role of the traditional media agency is being challenged, changing and by some predicted to crumble completely. ZenithOptimedia’s business director Alex Lawson questions whether we still need a media agencies when everything can go out digitally and for free.
Creative types are restless and often entrepreneurial souls so, once they’ve finished harnessing their powers to sell more baked beans, they often head home to focus on their own projects. Here are three we’ve noticed recently from Cleve Cameron, Chris Williams and Jacqui Lockington.
After a fairly controversial 2012, CAANZ and a bunch of senior ad folk engineered a few big changes to this year’s Axis proceedings to make the awards, as Colenso BBDO’s Nick Garrett said, a more collegial, more credible and more celebratory event that aimed to show the business community how influential creativity could be. And now CAANZ has announced some more changes to the programme for 2014.
A group of independent creatives have been invited to join The Selective, a newly launched service launched offering creative and marketing support to managers and agencies.
Looking for that special something for the ad man/woman that has everything? Then you can’t go past Creative Miscellaneous Materials, a website that offers a vast array of remarkable products to help those working in the persuasive arts.
Wellington, which fancies itself our arts and cultural capital, will no longer have to miss out on the creative love-fest that is Semi-Permanent.
Having recently departed his executive creative director role at JWT Sydney to return to New Zealand, Angus Hennah has joined a different member of the WPP family and taken the role of executive creative director at Ogilvy.
It really is quite amazing how much technology is being packed into our pockets at the moment. And Massey University and Assignment Group’s Wellington office have shown just how far things have come—and how ‘the engine of the new New Zealand’ is changing the lives of people here and around the world—by getting the University’s vice-chancellor Steve Maharey to film its new 30-second commercial on an iPhone, something the Commercial Approvals Bureau has confirmed is a New Zealand first.
As Marshall McLuhan famously said, the medium is the message, “creating a symbiotic relationship by which the medium influences how the message is perceived”. Very rarely does the medium get the message across and also have the ability to soak up grease, but OMD’s novel campaign for Fly Buys Visa that will see deep fried goods up and down New Zealand being wrapped in branded paper has managed to do exactly that.
Many of the world’s award shows require client approval, the dates campaigns ran and minimum media spend to ensure scam ads aren’t honoured. But The Chip Shop Awards are “about fostering and recognising creativity with no boundaries and no rules”. The work does not need to have been broadcast, printed or mailed, the clients don’t have to be yours, and you can even make up your own categories. So, since its launch in 2002, the website claims the awards “have produced some of the cleverest, funniest, worst taste advertising and design ever seen”. Some, like M&C Saatchi’s Dave King think they’re grubby and worthless; a blight on the industry. Others like Leo Burnett’s John Jessup embrace the unrestrained creativity on display. Here’s a collection of this year’s finalists (including .99’s Safe Distance), so you can make up your own mind.
When it comes to challenger brands in the financial space, the ‘watch out for those big greedy, sneaky banks’ theme is a fairly common one. Kiwibank has been on that buzz since ages ago, NZCU launched its get your bank off your back campaign last year and now RaboDirect and Shine have taken a similar approach with the ‘Greedy Banks’ campaign.
In an effort to reward the ads that worked hardest—and the agencies responsible for them—we kicked off the Ad Impact Awards with Colmar Brunton early last year. Between February 2011 and February 2012, approximately 4000 Kiwi consumers were asked four key questions via an online panel about the new TV campaigns that had aired that month: did you notice it? Did you know who it was for? Did it engage you, stand out and arouse your interest? And how did you feel or act after seeing it? We focused on brand building ads, rather than those communicating special offers, and the results were then compared to Colmar Brunton’s vast normative database, which is based on the more than 72,000 ads that have been tested around the world over the past 30 years. The six ads below were at the top of the pile, and we will announce the overall winner next week. But we thought we’d try a bit of an experiment first to see if the opinions of the industry folk matched the opinions of the consumers. So help us out and pick the ad you think got the most bang for the advertiser’s buck.
As a way to showcase the mass of multi-media content Getty Images now has on offer, it runs an annual—and global—competition called Mishmash that challenges creatives, filmmakers, mini-documakers and anyone with a vision or idea to create short stories, video art or music videos using a mix of high res video, stills and music from the Getty library. And Kiwi entrants Marcia Hawira and Shay Morris took first prize in the Asia Pacific section for their video Natalia.