In 2013, Netflix scored 14 Emmy nominations, a tally that rose to 31 in 2014 and 34 this year for such shows as House of Cards, Orange is the New Black, Unbreakable Kimmy Schmidt, Bloodline, and Grace and Frankie. Joining Netflix in the nominees circle from the streaming content arena is Amazon Prime which in this, it’s first year of competition, picked up a dozen nominations, mostly for Transparent.
“People say we are in the Golden Age of Television, but we’re really in the Golden Age of Streaming Content,” observed Leslie Sims, chief creative officer, Y&R New York, in one of her responses to SHOOT’s Mid-year Survey.
This evolving TV landscape has sparked new working relationships and business partnerships. Hulu, for example, recently made its first deal to showcase a premium cable channel, offering paying subscribers Showtime programs, including Masters of Sex and Ray Donovan, for an extra $8.99 a month. Conversely Showtime extends its reach while getting its own stand-alone streaming service up and running.
The Hulu-Showtime deal underscores the competition to gain audience, particularly coveted young consumers who are prevalent among those living in the more than 10 million households that pay only for broadband Internet access with no cable package. Hulu is looking to challenge industry leader Netflix.
Similarly Showtime is looking to make its online mark as one of its prime competitors, HBO, this spring launched HBO Now for an additional $14.95 per month on Apple products as well as on Dish Network’s Sling TV service. Verizon too has started its own programming options.
Mobile platforms particularly resonate with the young demographic. Following its recent $48.5 billion purchase of satellite TV company DirecTV, AT&T is reportedly planning several products and new ways to integrate mobile phone and TV services.
Whether it be the AT&T/DirecTV mega deal or the newly struck relationship between Hulu and Showtime, partnerships of all stripes are forming throughout the industry—in entertainment and advertising as the lines between those two worlds blur even further.
“The biggest trend affecting 72andSunny is partnership-driven productions,” shared that agency’s chief production officer Tom Dunlap in SHOOT’s Mid-year Survey. “From collaborating with Vice for Call of Duty to working with one of the more established MCNs (Multi-channel networks) like Maker Studios for YouTube influencer-driven productions, we are building relationships and systems that allow us to create a meaningful and creative partnership versus just financial transactions. We’re coming to those kinds of relationships with talent, too, as we did with Truth’s social influencer-led ‘Left Swipe Dat.’ We all have skin in the game.”
In one of his Mid-year Survey responses, Ben Davies, head of broadcast production, Droga5, shared, “‘Influencers’ with MCNs are not new trends, but are becoming more prevalent. Agencies are still in their infancy as to how they work with these partners and it will continue to evolve. This trend will definitely develop throughout 2015 and will lead to more exciting partnerships in content creation. More than ever, we are seeing that content is produced to meet the evolution of technology. The creative idea must always take the lead over technology, but I look forward to seeing more content that is interactive in its nature.”
Virtual Reality, evolving relationships
Such interactivity can manifest itself in many ways, one means generating particular buzz being virtual reality (VR). In his survey feedback, Michael Di Girolamo, partner/executive producer, Station Film, noted, “With Hollywood making a big leap into VR, advertising is lockstep with this evolving technology. A recent LA Times article forecast consumer spending at $5 billion-10 billion on VR by 2018, an astounding number. A good example of this is Google Help, a fully immersive live-action VR film from Fast and Furious 6 director Justin Lin in collaboration with The Mill. There is no mistaking that entertainment and advertising will come together quickly as VR evolves and the gear becomes more readily available to consumers.”
Relationships are indeed changing among agencies, clients and production companies. Patty Brebner, director of integrated production, Wieden+Kennedy, Portland, Ore., related in one of her survey responses, “It’s not a new thing by any stretch, but for advertisers and agencies, the continued evolution of the Agency of Record model carries significant implications for the future of our business. Production suppliers and entertainment companies are now working directly with clients, and project based agency relationships are becoming more and more the norm. Dynamic engagement with the consumer requires frequently changing expertise outside the agency model of yesterday, and advertisers need more for less and need it quickly. Which requires a less precious, flexible and even more creative approach to production. Agencies, advertisers, entertainment and publishing companies all recognize the need for strategic and tactical partnerships outside of traditional brand advertising, which has brought exciting change to our model of working. Of equal significance is the trend to bring services in house, again to meet demands for faster, cheaper and more. It’s an exciting time, but also full of its challenges for more traditional agency models to keep up.”
The in-house agency dynamic, though, has its detractors. Director Jordan Brady of Superlounge shared in his Mid-year Survey feedback, “I’ve noticed a few ad agencies trying to produce in-house and I think that sucks. Sucks for the client, the creatives and obviously production companies. The conflict of interest and lack of specialization will mean less than award-winning spots. I’m sure it’s great for little demos but quality-wise its lowering the bar.”
Survey
For our Mid-year Report Card, SHOOT surveyed varied creative, production and post artisans and execs to gain their observations and assessments of 2015 thus far. Many also shared their views on what may be in store the rest of this year and beyond. SHOOT posed the following questions:
1) What trends, developments or issues would you point to so far in 2015 as being most significant, perhaps carrying implications for the rest of the year and beyond?
2) What work (advertising or entertainment) —your own or others’—has struck a responsive chord with you this year and why?
3) What work (advertising or entertainment) —your own or others’—has struck you as being the most effective strategically and/or creatively in terms of meshing advertising and entertainment?
4) Though gazing into the crystal ball is a tricky proposition, we nonetheless ask you for any forecast you have relative to the creative and/or business climate for the second half of 2015 and beyond.
5) What do recent honors on the awards show circuit (Cannes Lions winners, AICP Show/AICP Next Award honorees, AICE winners or Emmy nominations spanning comedy, drama, documentary, etc.) tell us in terms of creative and/or strategic themes and trends in the industry at large?
6) What new technology, equipment or software will you be investing in later this year or next year for your company or for yourself personally, and why? Or, tell us about what new technology investment you’ve made this year and why it was a good decision – or not?
A range of respondents answered several or all of the above questions.
David Angelo, founder and chairman, David&Goliath
1) We live in a world where the next big thing is more important than being timeless. And technology has allowed us to turn marketing into a series of “one-offs” that get more hits than build brands. Is it any wonder that clients are questioning the relevance of an AOR model? I believe that the biggest trend is (and if it isn’t, it should be) authenticity. The agencies that inspire their clients to go back to their truths and use them to build more lasting relationships with people will prove the relevance of AORs.
2) For starters, I’m a father of two young girls, and the idea of “Like a Girl” should only be a compliment, not an insult. And it made total sense for Always to start that conversation. It demonstrated what it means to live a brand: It brings forth a can-do attitude to a brand that might otherwise exemplify a deterrent. That’s their brand truth, and they delivered it in the most authentic way possible. I wish I had done that.
5) If anything, the award shows have demonstrated that the most powerful technology-driven executions are also the ones that are human. They come from a human truth and serve a human purpose. Whether it’s using social media to promote awareness of ALS with the Ice Bucket Challenge or using a Samsung smartphone to help autistic kids make eye contact.
Eric Berkowitz, founder and president, Humble
1) These days marketing is less about a presenting a message and more about starting a conversation. I think this year we’ve seen agencies, directors, and brands start to really figure out how to make those conversations meaningful. A brand has to be unafraid to be the most interesting person at the table. That means cutting the bullshit and being engaged in social, political, and personal issues – less about inspiring people’s purchases and more about inspiring people, period. It’s the difference between a water cooler chat (“Did you see that spot?”) and being able to convince people to share the water with everyone they know.
2) We teamed up with Daniel Goleman (author of ‘Emotional Intelligence’) and Melcher Media to do a promotional film for a book and social movement called “A Force for Good.” It’s about inspiring people to make small, but meaningful acts of kindness, selflessness, and compassion in their daily lives. The message really inspired everyone involved in the project, from EPs down to PAs and vendors. In the end we had six directors collaborating, writing, shooting, and editing together to create a multi-chapter anthem film. It reminded us how fulfilling that work is. We want to support our directors giving back—so “Doing Good” is now a regular short film initiative for Humble.
3) The work that started conversations: the ALS Ice Bucket Challenge, Always #LikeAGirl, the Save the Children Syria video. I also have a big soft spot for the Geico pre-roll campaign – it taught the world that pre-roll ads can be great and engaging instead of an annoyance. Strong work like that teaches us all a lot about our assumptions and what’s possible.
4) Continued blurring of lines between client, agency, and production company on content initiatives. Agencies and clients are now production companies. Production companies are now hiring brand strategists. There will continue to be experimentation with non-traditional mediums and delivery systems, and a Balkanization of content formats. I think there’s a lot of growth in micro running times (Vines, etc.) and on the flip side with longer, serialized content. Both of which are really exciting to me.
6) Like most in the industry, we are cautiously excited about VR storytelling. We love our dev-kit Oculus and our director David Rosenbaum has been designing his own camera rigs for shooting high quality 360-degree video. Right now it seems like it’s a rush to a fill a market that doesn’t exist – our industry gets a head start to determine this whole new set of rules for storytelling, production, and delivery which is very exciting. VR is obviously a great platform for gaming; whether or not it can become a widely-adopted storytelling medium is the billion dollar question.
Jackie Kelman Bisbee, executive producer & co-founder, Park Pictures
2) In A.G. Rojas’ music video for Run The Jewels, I was struck by his perspective and courage to make a short film that used the “Close Your Eyes” track to point the lens on the problems we’re having with law enforcement and race relations. He took what is quite a violent and aggressive scene and transformed it by choreographing the fight into a kind of poetic dance between the two actors, which I thought was a brilliant directorial choice.
Vincent Haycock’s U2 video, “Song for Someone” struck a huge chord with me as well. Mass incarceration is a huge problem in this country and I think Vince beautifully captured the feeling of fear and isolation an inmate feels when released into the world.
3) I think that AT&T’s short film “From One Second to the Next,” directed by Werner Herzog is a perfect example of effective blending of advertising and entertainment. Bringing on one of the most respected documentary filmmakers of our time not only benefits the brand, but it also provides a high entertainment value that is needed now to reach viewers about important causes. People are more savvy now than ever about being marketed to, so bringing in such top level storytelling really goes a long way.
5) It seems like there is more of a desire for a fresh approach to comedy, one that is not so broad, but clever. Terri Timely’s Geico “Unskippable” campaign has resonated so well because it gives people a laugh that is less expected. I also think that the growing popularity of quality long form work and branded content is really starting to be recognized in the industry. A growing trend is the :30 or :60 sec spots going on air and the longer versions living online where we can get deeper into story and characters. (Honda, Daniel Wolf) I think this is something we are only going to see more of in the coming year(s).
Jordan Brady, partner-filmmaker, Superlounge
1) I’ve noticed a few ad agencies trying to produce in-house and I think that sucks. Sucks for the client, the creatives and obviously production companies. The conflict of interest and lack of specialization will mean less than award-winning spots. I’m sure it’s great for little demos but quality-wise its lowering the bar.
2) Modesty aside, my United Way work with Kegan Michael Key was a bold move by Leo Burnett Detroit, as well as the client. Proves age-old theory that funny concepts in the hands of professionals will always deliver.
3) SharkFest for Nat Geo Wild we did direct with the channel. The comedy was on the page, and we cast one of the hottest comics, Rory Scovel. Strategically the campaign took on the bigger rival SharkWeek by admitting to copying their programming. The concept was genius and garnered much press.
4) More celebrities will be tapped as “brand ambassadors” or whatever name to grab attention. Soon clients will awaken to the fact that unintentional “viral” hits can’t be mimicked w a brand shoved in. Customers sniff that crap out before it’s even downloaded. The model of original content by agencies working w filmmakers shall prevail. Fingers crossed.
5) I think the creation of an all-comedy award such as the new, coveted Dannes Gold Lion proves that funny is still money.
6) None. We will rent the latest gear and hire the best professional men and women that know that gear inside and out. We’ll focus on the story, not the tools.
Patty Brebner, director of integrated production, Wieden+Kennedy Portland
1) It’s not a new thing by any stretch, but for advertisers and agencies, the continued evolution of the Agency of Record model carries significant implications for the future of our business. Production suppliers and entertainment companies are now working directly with clients, and project based agency relationships are becoming more and more the norm. Dynamic engagement with the consumer requires frequently changing expertise outside the agency model of yesterday, and advertisers need more for less and need it quickly. Which requires a less precious, flexible and even more creative approach to production. Agencies, advertisers, entertainment and publishing companies all recognize the need for strategic and tactical partnerships outside of traditional brand advertising, which has brought exciting change to our model of working. Of equal significance is the trend to bring services in house, again to meet demands for faster, cheaper and more. It’s an exciting time, but also full of its challenges for more traditional agency models to keep up.
2) “Serial.” I am totally smitten by that podcast. It’s the craft of storytelling at it’s absolute best. It utilized the medium brilliantly; and demonstrated the age old truism that good entertainment and storytelling don’t always need to deploy the latest technologies across the board to be authentic, real and resonate. It was a compelling idea that smart and passionate people were given the space to create & express. They created an excellent story, utilizing the strengths of their format and medium, even down to how they advertised their sponsor—MailChimp. The MailChimp story alone is an award-worthy example of brand advertising. I’m also developing an addiction to a new game I was recently introduced to called Lifeline. It’s a shrewd application of technology and interactive storytelling, particularly geared to play well on the iWatch. There are lots of opportunities for advertisers to build stories around brands and products using a similar story approach.
3) I loved our (W+K) London office’s work for Honda – “The Other Side” interactive experience . A beautiful, short, highly entertaining film that used clever deployment of medium-appropriate technology. As I mentioned previously, because I listened to and loved Serial I was impressed with the simple MailChimp advertising. It took a relatively unknown brand and turned it into a household name (at least for those households listening to Serial and reading about it); launched memes, etc.
4) A colleague recently said that the industry landscape is becoming increasingly hostile to advertising, and will only become more so. The challenges we face to keep a captive audience—to be culturally relevant—force compelling stories that cut through the clutter. Whether that is creating something consumers crave, seek out, comment on, share, re-purpose, riff on, knock off, mashup, etc. or serving a higher purpose that is relevant and useful, we have endless connection and touch-point opportunities.
This can be: product as entertainment, news or useful information (news being a subset of entertainment); Product as innovations, utilizing technology, partnerships and platforms to provide a new service or utility, or revive their relevance to consumers in a slightly different way.
Diversification is the game. Clients need to diversify their partnerships, and agencies need to diversify their offerings.
5) Some of the most inspired and sincere work at Cannes came out of the pro bono categories. This is telling of the power that comes from committed creators who have belief and passion for something. And more often than not, cause related projects encourage risk taking and provocativeness. We’re also seeing really compelling story narrative play out across mediums other than television and film — social, podcasts, gaming, etc.
6) For our in-house studios, we haven’t made any game changing or new investments—the significance is in size and scope. More industry standard software, cameras, bandwidth enabling network wide video/large file collaboration. I feel the greatest investment needs to be in the people using the technology – creative thinkers, makers and problem solvers.
Rodrigo Butori, group creative director, the community
1) There’s a big shift in place. Marketers are finally realizing that it is no longer about what they want to say, but about what people want to hear. You see it in a more realistic and inclusive approach to advertising—take P&G’s beautiful #LikeAGirl as an example—and in brands jumping on board with the federal gay marriage rights decision.
2) I’m not a fan of pre-load ads. Can’t wait for that skip button to show up. That’s why I’m a big fan of Geico’s Unskippable ads. They managed to turn an industry lemon into a lemonade, and prove folks like me wrong. I’d let a Saint Bernard eat my lunch and lick my face for 30 seconds to have that stuff on my reel. Pure genius.
4) With the need for more one-to-one advertising and hyper-segmentation, understanding the nuances of culture and social backgrounds will be key for brands to say the right thing, the right way, and at the right time. Combine that with the rise of the messaging apps as the new social media, and we’re in for something interesting. And oh, pretty sure Donald Trump will say one or two more stupid things before the primaries.
5) Two things: 1) Awards shows are still the best, most successful idea in the advertising industry. Ever. 2) There’s no better way to tell a story—from a TV spot to a cyber case study—than in a nice piece of video. It makes or breaks a great idea. Innovation may be praised, but when it comes to communication, film is still the king.
6) I’m currently obsessed with the potential of the virtual reality headsets and its immersive experience, so the Oculus Rift is on my wish list for next holiday season. That’s definitely where advertising will see itself next, and I want to be there when that happens.
Bob Cagliero, executive producer, sales & business development, BODEGA Studios
1) Modifying the scope of business development and expanding client base – be it direct to brand and networks, or alongside traditional agency work. Seems like a healthy mix of all is what many pro cos are striving for—fortunately, we’ve been in these additional markets for some time. The largest “issue” is continued downward pressure on pricing. Production of non-traditional or non-broadcast content has greatly compromised overall pricing in the industry. Having an established all-in model like BODEGA Studios has allowed us to present tremendous value in certain scenarios when we encounter challenged budgets accompanied with great creative opportunities.
2) We are particularly proud of a new campaign we produced for Grey, NY and their client Lean Cuisine. It was breakthrough for the brand, honest and thorough—presenting both broadcast and long-form content. Additionally, I really liked the Always, #LikeAGirl work—brilliant, wonderfully directed and impactful. Our continued work in the sports category seems particularly timely. We’ve produced digital and broadcast content featuring many sports stars —work like this year’s Super Bowl XLIX Opening for NBC Sports, Gronk and Big Papi for Dunkin’ Donuts via Sapient Nitro and the promo and open for Showtime & HBO’s Mayweather/Pacquiao “Fight of the Century” featuring a star-studded cast. Much noticed work—lot’s of fun to produce.
3) Always’ #LikeAGirl (again) and Jordan Brand’s Re2pect purely because of the core, bullet-proof concepts they presented and how the messages went pandemically viral. Amazing.
4) The opportunities to produce great work will continue to grow with evolving client/vendor relationships and a continued growing need for content. The business climate will become most challenging with those who don’t adapt, aren’t nimble or don’t present outstanding, value-added resources. Business relationships between agency, production company and client will continue to evolve and be challenged…
5) The need for content will continue to grow and push advertisers to separate themselves by creating work that is multi-tiered and smart. Seemingly, the success of much of the winning work was not built on epic production, but on well thought out creative that reaches the masses effectively and takes on a life of it’s own. Long form content has brought storytelling front and center and brands want stories to connect with their targets. We’ve seen many projects in this area and love telling brand stories…
6) Having integrated companies in BODEGA, Northern Lights, Mr. Wonderful and SuperExploder keeps us on the forefront of technology. We just upgraded our Lustre color correct suite and renovated one of our sound studios. Our clients truly appreciate the top-tier post support they receive when they work with us as a collective.
Sean Cummins, founder/global CEO, cummins & partners
1) My biggest fear is content without content. Beautiful pieces of film du jour that is all feathers and no meat. A TV producer friend of mine just scored a gig in-house at a client company to produce content for the brand. Now don’t get me wrong, she is a great production person, but she is no brand strategist or advertising person. Just because you can make a piano doesn’t mean you can play it.
Robert McKee in one of his rants said that writers are the original artists. And thereafter directors, producers, actors, stylists and photographers are all interpretive artists. The big danger is we will have lots of content with no substance, selling message or purpose. No original thinking…just vapid artistry.
2) I am going to say it: Donald Trump. He should be studied, listened to, analyzed, taken apart and reassembled. He is annihilating every candidate, every issue, every media channel. He know what his surname means: he is Trumping the polished politico speak with his unscripted verbal volleys. He is Trumping watercooler topics with his unvarnished utterings. Trump and his Trumpiness is the most exciting visible and arresting brand on the planet. He knows how to break through the clutter. Whether you agree with what he is saying or not he is truer to his brand than anything I have witnessed this year.
3) Did I mention Donald Trump? Talk about effective. You can not get away from the guy.
5) The most disappointing aspect of the recent advertising award shows is the lack of selling. Selling products, promoting brands, moving inventory. Instead there is a plethora of ”issues” sponsored by brands. No one can deny the deep emotional impact of making young girls feel empowered, or gun control, or marriage equality. But to be fair…these issues have inbuilt gravitas, they are worthy and they are emotive. And they only require telling. Not selling. To me it seems the industry is gravitating towards the easier high ground stuff, not bringing their genius and real creativity to making simple products differentiate from each other and truly give one a competitive edge over the other. Even if it is just a perceptual one. And that to me is very telling.
Ben Davies, head of broadcast production, Droga5
1) “Influencers” with MCNs are not new trends, but are becoming more prevalent. Agencies are still in their infancy as to how they work with these partners and it will continue to evolve. This trend will definitely develop throughout 2015 and will lead to more exciting partnerships in content creation.
More than ever, we are seeing that content is produced to meet the evolution of technology. The creative idea must always take the lead over technology, but I look forward to seeing more content that is interactive in its nature.
Media channels and platforms continue to grow. At the same time, budgets and schedules are under more pressure than ever.
This is our challenge—to write creative with proper comms planning backed with production expertise. Agencies must take this on and create work for an ecosystem that works not just ticks boxes.
2) As a producer, I will always appreciate the craft of a true filmmaker and an agency that values that partnership.
Completing 2014 with, in my mind, the best music video of the year “Iron Sky”—Daniel Wolfe has created two of my stand-out pieces of the year to date.
It’s always fascinating to see the way artful film production can work alongside new tech to elevate the way an audience interacts with and experiences an idea. Honda’s “The Other side” did exactly this—simple technology with two beautifully executed stories.
Secondly was the purple muppet for Three “Make it right.” A traditional film, crafted to perfection, and the only film this year my nephew wished I’d made.
NB, the latest Star Wars trailer gave me chills…cannot wait to be a child again.
5) Because awards are so difficult to disseminate these days, it’s hard to make a call on what will be recognized with the huge number of growing categories across the festivals.
For me, the simplicity of the idea and beautiful craft seem to be the main drivers. Across the mediums, we see the examples that rise to the top will adopt these characteristics.
This may be driven by the nature of a global juror panel, but in these times of a barrage of content, simplicity and craft will always resonate.
The challenge of pulling this work off remains as difficult as ever—it requires unique and innovative, creative thinking; trusting relationships (across production partners, agency and clients); and the time to allow the creative production process to breathe and evolve.
6) Droga5 has developed a lab dedicated to new technologies in physical computing, spatial design projects and experiential design research and development.
It is predicated on the notion that people should have the facilities to make their ideas come to life.
It’s a physical space with a broad range of tools for anyone in the agency to learn, build, hack and create. It’s a space and environment for experimentation, play and cross media innovation. In short It’s a place where people actually make things.
It includes the latest in microprocessors (raspberry pi, arduino, etc.), as well as 3D scanning and printing, soldering, kinect and video tracking, immersive video (such as Oculus) and sensor systems.
In addition, we have creative technologists dedicated to using these, but all at Droga are welcome to use and play with these tools to build and develop their ideas.
Classes are offered as well for all levels. Through processing, open frameworks and other platforms for software and hardware integration.
Michael Di Girolamo, partner/executive producer, Station Film
1) This is an exciting and simultaneously challenging time for everyone in our business, but change brings opportunity. By embracing technology and a leaner way of working, brands often seek one source for creative, production and marketing. We’re living in a global digital market where content reaches millions of people worldwide each day through channels like YouTube, and social media distribution; that’s a game changer for everyone.
A lot of emphasis is placed on this “need to feel” Millennial generation. A lot of time and value drive creating meaningful and emotional content, in the hope of triggering a positive response to be shared or liked. Let’s hope this trend continues because I’m happy to say Station produced a lot of “sadvertising” and “stuntvertising” this year.
2) Emotional and engaging work such as Station directing team Peking’s ongoing short films for Skype, including this year’s AICP/NEXT Product Integration winner “Pet Detective,” and Sam Cadman’s mesmerizing Cancer Research UK “The Lump” PSA observing real people on a London street ignoring a lump on the sidewalk until it grows to humongous proportions—both hit an emotional chord for many. Also noteworthy is the EMMY-nominated Always #LikeAGirl. What all three projects have in common is a human-centric and inspirational narrative that is hard to ignore.
3) With Hollywood making a big leap into VR, advertising is lockstep with this evolving technology. A recent LA Times article forecast consumer spending at $5 billion-10 billion on VR by 2018, an astounding number. A good example of this is Google Help, a fully immersive live-action VR film from by Fast and Furious 6 director Justin Lin in collaboration with The Mill. There is no mistaking that entertainment and advertising will come together quickly as VR evolves and the gear becomes more readily available to consumers.
4) I don’t like predicting. I’d rather affect.
5) Storytelling is king. An award-winning idea must strike an emotional chord, whether it makes you laugh or cry. Advertising today should evoke truth. Viewers have seen it all and in order to keep them engaged advertisers must ensure they feel a connection to what they’re seeing or run the risk of them tuning out. At its best, advertising reflects the emotional heart of our country now, which today reflects change, inspiration and hope—and I love that.
6) Station director/DPs Jonathan Hyde and Andrew Wonder continue to embrace technology by customizing their lighting equipment, building drones and investing in multi camera rigs to shoot 360-degree video for VR in a cost effective way. Andrew recently used his new 7-camera rig on an AT&T project via BBDO NY and they were thrilled with the result which was an added VR bonus to everyone.
Tom Dunlap, chief production officer, 72andSunny
1) The biggest trend affecting 72andSunny is partnership-driven productions. From collaborating with Vice for Call of Duty to working with one of the more established MCNs like Maker Studios for YouTube influencer-driven productions, we are building relationships and systems that allow us to create a meaningful and creative partnership versus just financial transactions. We’re coming to those kinds of relationships with talent, too, as we did with Truth’s social influencer-led “Left Swipe Dat.” We all have skin in the game.
2) The one that sticks with me is the gun store that Grey New York and the States United to Prevent Gun Violence built in the middle of Manhattan. People interested in guns were given the history of the weapons—the mass murders, the domestic disputes and the unintended shootings—so that most “customers” no longer wanted to buy them. There were hard-hitting messages there. But by bringing them to life with real people’s reactions to them made it that much more powerful.
3) For the release of Samsung’s GS6, 72andSunny forged a partnership between Samsung and Marvel around the launch of Avengers 2. This was less about product placement and more about using the release of Marvel’s Avengers 2 as the perfect cultural moment to show off Samsung as a leader in technology-driven storytelling. This opportunity allowed 72andSunny unprecedented access to Marvel’s creative as they were developing and producing the film.
Together, we brought the partnership to life through traditional media with online films and commercials as well as 72andSunny’s first experience with VR production. The result was a VR experience that actually extended the life of the movie for Avengers fans.
4) As an industry, we will continue to be challenged by new platforms, distribution outlets, new technologies and new ways of producing. Our challenge will be to produce at speed, at scale and with the craft that both our brands and our company values dictate. In many cases, there won’t be a production partner available who can move as fast as we need them. So 72andSunny is focused on building bespoke production solutions to fit the needs of brands. That means bolstering our in-house production offering with the best talent, systems and technology available.
5) I recently attended the Ex Marketing awards, which solidified the increasing value of experiential marketing as a truly effective form of brand storytelling. This type of marketing has always felt challenging from an ROI perspective, at least for the types of briefs we are used to seeing. What I saw this year were big experiential activations, like Bud Light’s “Whatever USA,” being the center of a massive content and marketing system that was completely scalable.
6) This year, we will be opening our newly expanded in-house production facility, which includes a sophisticated recording and mix studio and expanded services offering around shoot production, interactive development and production as well as print and editorial. We plan to build out our production talent in order to continue prototyping at all levels. We’re willing to go DIY, too—earlier this year, we started looking at ways to produce VR at scale by 3D-printing Go-Pro rigs that let us shoot virtual reality and 360-degree video at more efficient budget levels. We just want to keep making the things that help us make things.
