]]>Our advertising climate is changing fast. For those helping advertisers utilise new ways of reaching consumers this is both an exciting opportunity and new source of anxiety.
How do you make sure you are up to speed without drowning in information?
And how do you, at the same time, meet the demands of your business from day to day?
The IPA and APA have teamed up and invited top speakers, people at the forefront of the digital revolution, to answer these questions.
The Future of Advertising… In One Afternoon provides an opportunity, in one stimulating afternoon, to fast forward your understanding of digital media.
It offers you time to plug world- leading digital thinking into your planning for your business: whether you are in production, an agency, or an advertiser.
This year we have guest speakers from BSkyB, Youtube and Display, Google, Vice Magazine and a few more surprises.
All this at great value –particularly so if you are entitled to the special rate for APA and IPA members. Price per delegate £325 plus VAT and for APA & IPA members £95 plus VAT.
To book your place
Please email arlinda@a-p-a.net
Join us!
]]>We bring you the best new thinking in engaging consumers in 2012 and the opportunities they provide for our members.
You can see who is talking and what they are focusing on in the speaker biographies and photos attached.
Part 2 to follow.
All this at great value –particularly so if you are entitled to the special rate for APA and IPA members. Price per delegate £325 plus VAT and for APA & IPA members £95 plus VAT.
To book your place
Please email arlinda@a-p-a.net
To view the biographies please go to the Pdf below:
]]>Our advertising climate is changing fast. For those helping advertisers utilise new ways of reaching consumers this is both an exciting opportunity and new source of anxiety.
How do you make sure you are up to speed without drowning in information?
And how do you, at the same time, meet the demands of your business from day to day?
The IPA and APA have teamed up and invited top speakers, people at the forefront of the digital revolution, to answer these questions.
The Future of Advertising… In One Afternoon provides an opportunity, in one stimulating afternoon, to fast forward your understanding of digital media.
It offers you time to plug world- leading digital thinking into your planning for your business: whether you are in production, an agency, or an advertiser.
This year we have guest speakers from BSkyB, Youtube and Display, Google, Vice Magazine and a few more surprises.
All this at great value –particularly so if you are entitled to the special rate for APA and IPA members. Price per delegate £325 plus VAT and for APA & IPA members £95 plus VAT.
To book your place
Please email arlinda@a-p-a.net
Join us!
]]>Please click here to view.
]]>You can access the updated versions, together with a guidance note here
We have made the changes to reflect the experiences of APA and IPA members working with the contract and PIBS.
They bring greater clarity to two areas of the contract, the division of risk/liabilities for the effects of weather on pre shoot days and time critical information. Anti-bribery provisions are also included to meet the requirements of the Bribery Act 2011.
Equally important in practice is that the contract and PIBS are now identified, in the top right hand corner of each document, as “Approved by the APA/IPA/ISBA January 2012”. We have added that because there have been instances where an older version of a contract has been used/difficulties in identifying whether a contract template is the the latest version when there are older versions on a company’s server. So you can check whether a template you access or contract and PIBS you receive are the latest version by checking that they have the date “January 2012” in the top right hand corner and that will remain the date until such time as we notify you of a further update.
]]>The First lecture took place last night at the MPC Cinema. We kicked off the course by focusing on the conception of commercials, starting with the creatives and the agency.
We invited the creative team from Dare – Danny Hunt and Gavin Torrence, and the head of TV at Dare, Lorraine Geoghegan, and also, Blink executive producer James Bland speaking on film. They presented and discussed the recent Hovis ‘Farmers Race’ spot they created.
Below is a link of the film created for this lecture:
http://vimeo.com/34603000
They described how they conceptualize the idea for the script and the process for producing such a successful commercial. The lecture showed a film and then all the students had an opportunity to ask the agency creatives and producer questions.
Next week, the director of the Hovis commercial, Dougal Wilson, will present to the students on how he devised his treatment and how he realised that treatment in the commercial.
You can access the updated versions, together with a guidance note here
We have made the changes to reflect the experiences of APA and IPA members working with the contract and PIBS.
They bring greater clarity to two areas of the contract, the division of risk/liabilities for the effects of weather on pre shoot days and time critical information. Anti-bribery provisions are also included to meet the requirements of the Bribery Act 2011.
Equally important in practice is that the contract and PIBS are now identified, in the top right hand corner of each document, as “Approved by the APA/IPA/ISBA January 2012”. We have added that because there have been instances where an older version of a contract has been used/difficulties in identifying whether a contract template is the the latest version when there are older versions on a company’s server. So you can check whether a template you access or contract and PIBS you receive are the latest version by checking that they have the date “January 2012” in the top right hand corner and that will remain the date until such time as we notify you of a further update.
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]]>Click here to read the article and survey.
]]>To view the report please go to:
http://www.youtube.com/watch?v=Th2ZQbNU_PQ&feature=youtube_gdata_player
]]>“The vast contrasts across language, wealth, locations, food and culture are overwhelming even for us so you can imagine the complexities of working in communication here,” said Subhash Kamath, of BBH India. “I could live here for 100 years and still not fully understand this place.”
There’s been a huge shift in the social paradigm, according to Kamath, with 50 percent of the population below the age of 25 and 65 percent below 35. “They are impatient, spontaneous and are beginning to believe they can take charge of their own destinies.”
Getting the balance right between “how modern should advertising become and how traditional should it remain” is an issue facing all creatives and directors, according to Karan Singh, HTV, JWT Delhi.
“Pops”, the national creative director of Leo Burnett, also talked of the complexities of the Indian society which is reflected in the country’s advertising. “Twenty years ago there was only a national channel with an occasional BBC 15 minute bulletin, and now there are 140 regional news channels.
“India is a mystery to all of us. And if we can’t understand how the hell can people coming from overseas understand Indian people and their behaviour,” he said also pointing out that the multi national companies are run by Indians with few, if any, ex-pat creative directors.
“India is so diverse that McDonald’s had to change its menu in different regions to suit the local palettes.”
However, the solution to how to communicate to the relevant but different sectors of society seems to be easy: Bollywood or cricket.
Bollywood celebrity endorsement is huge particularly in the beauty sector which is the biggest advertising sector and is likely to have bigger budgets than the average spend of about £100k and apparently is more likely to be the area where an overseas director would be considered.
As one Indian speaker said, “We consume ideas differently and are are still caught up in cliches, 90 percent of our beauty commercials look the same. This is where we need the ingenuity of UK directors to make things look different with their execution and post-production.”
However several speakers commented that those directors who had invested time and effort in getting under the skin of India, “those who had found the soul of the country”, added a huge amount of value.
The disparity of timelines between the two countries became very apparent throughout the two- day forum with several Indian creative directors asking the UK delegation “Can you make commercials faster, cheaper?” In India the average time for an overseas commercial was 25 days compared to London’s three to four months.
As Bang Bang’s Roopak Saluja pointed out that in India it was quite common for the story to be still evolving on the shoot. “Can you treat and budget by tomorrow without a script?” was not such an unusual demand said Saluja.
A point that was further picked up by Agnello Dias, chairman and co-founder of Tap-root India who said: “The writing of the script never stops on a shoot, it stops only when post-production is completed.”
He had the audience smiling with his comments that “In the UK as a race of worriers there is not much lee-way for production going wrong because everything is planned. In India nothing will go right. We rely on karma, whereas western thinking is ‘if I plan, I can go there’.
Directors have the power in India over the look and feel of the commercial, and Dias pointed out that foreign directors tend to bring in their own aesthetic influences to style sets, something that Indians don’t always identify with.
Meawhile, Mark Benson, global MD of Moving Picture Company, Joce Capper, MD of Rushes, and Anthony McCaffery, head of production at Rushes, gave a joint presentation of the brilliant post production and special effects out of London - highlighting the competitive but collaborative nature of their work. “Each house has individual specialisms and we often share different parts of a job,” said Capper. “The more we work together the more we can meet price and time pressures and it betters creative executions.”
“As a price driven market we have the same pressures in the UK as India but we can meet these issues,” said Benson, whose company MPC has long experience in India since setting up in Bangalore.
Josh King senior producer of MPC showed the company’s stunning 4D outdoor projections - we all loved the Ralph Lauren installation of live and holographic models for the Shanghai store - and Stephen Gosling exec producer at Framestore talked us through the impressive work flow from concept, pre-vis through to final comp on some brilliant ads.
And talking of brilliant ads, Penny Verbe screened the amazing array of animation styles from Passion including Andrew Ruhemann’s oscar-winning The Lost Thing.
“Our production sometimes can be eye-watering expensive and we don’t get all the Indian nuances,” said Tim Katz, MD of Knucklehead, but as he pointed out these issues are not insurmountable.
“We’re used to getting on a plane and working with many other cultures,” Katz said, also highlighting that London’s position as a top centre of production excellence was due to drawing the best talent in directing, editing, post, vfx and sound from all over the world.
“We want to find ways for the Indian market to access that too,” Katz said,
“We have our ways of working but we are willing to be flexible and adapt how we work.
“We are not a barter society but we are competitive. We can either come to you or find the most cost-effective place to shoot.”
For all the differences between London and Mumbai’s ways of working, there appeared to be a huge appetite on both sides to combine London’s natural instinct for process and talent for execution with India’s prolific output of over 3,000 commercials per year.
“After all,” as Luke Beauchamp, MD of Compedium pointed out, “Chicken Tikka Masala is the UK’s favourite dish.”
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