Go interactive. I’ve made it my mantra these days, and it should be yours, too. I really took notice several years ago when full-motion video infiltrated rich media banners. It was pretty amazing — ad units were expanding like mini TVs with endless possibilities of games, functionality and multi-use display areas. Then it hit me, like a pop-up window in the face: Everything we do as a traditional post company can be applied to interactive as well!
I learned from agency creatives that the companies doing a lot of this work were being challenged by requests for more sophisticated techniques to enrich the media. Often it wasn’t these companies’ forte to do editing, visual effects and graphic design. They had capable programmers but not the creative muscle. A gap existed, and it marked a perfect opportunity for a company like ours, a traditional editorial and post-production company, to take on interactive work and merge traditional content creation methods with the new media outlets.
I’m sure you’ve noticed, too, that advertising campaigns are integrating more interactive components than ever before. Here’s a fun forecasting tidbit for you: According to estimates by eMarketer, U.S. online advertising spending will reach $25.1 billion in 2010, representing 10.8% growth over last year. Furthermore, eMarketer predicts worldwide online advertising growth will be double digit each year through 2014! As this trend continues, I think we will see a role reversal, with the leading elements of a campaign residing online and television and radio playing a supporting role. This is just the nature of advertising — adapt to the newly available marketing opportunities or risk your message fading into the background. The same holds true for post-production companies drinking from the agency’s well — adapt to the needs of the integrated marketplace or fade away.
While it’s clear that whatever goes online is no longer an afterthought, agencies are not yet spending millions of dollars to shoot and do visual effects for banner ads or other online media. Nevertheless, clients want quality entertaining content and are willing to spend more money for these online marketing efforts. By aligning traditional broadcast techniques with interactive development, we can utilize the talents of our editors and designers for a price that fits within the agency’s interactive budget. Agencies can expect the same slick, high-level result that they would for a broadcast commercial. For example, a handful of funny videos we recently created for a Carl’s Jr. iPhone app required us to bring humor and retro design to the table while understanding the requirements of the format.
As agencies look for vendors to provide interactive services, we’ve positioned ourselves to be on their list of companies that have a strong understanding of the technical components while excelling at the creative editorial, design and VFX work, too. We also want to serve as a source of reliable information for integrated production. Recently, we hosted an Interactive Digital Roundtable to educate agency- and production-company producers on current interactive, mobile and digital production processes. (Download our interactive and digital production glossary from our Facebook page here.)
The future is clear. Whether we view content on our TV screen, computer monitor or phone, one day soon it all will come through an Internet-connected, computer-like device. We’ll constantly be taking advantage of interactive capabilities and creating unparalleled multi-dimensional experiences for consumers. And, as virtual reality continues to evolve, we may eventually be living the majority of our lives online — I can only imagine what advertising will look like then! Go interactive, my friends, and I’ll see you there.
Joe DiSanto is cofounder and executive producer of creative post house Therapy in West Los Angeles.
Netflix Series “The Leopard” Spots Classic Italian Novel, Remakes It As A Sumptuous Period Drama
"The Leopard," a new Netflix series, takes the classic Italian novel by Giuseppe Tomasi di Lampedusa and transforms it into a sumptuous period piece showing the struggles of the aristocracy in 19th-century Sicily, during tumultuous social upheavals as their way of life is crumbling around them.
Tom Shankland, who directs four of the eight episodes, had the courage to attempt his own version of what is one of the most popular films in Italian history. The 1963 movie "The Leopard," directed by Luchino Visconti, starring Burt Lancaster, Alain Delon and Claudia Cardinale, won the Palme d'Or in Cannes.
One Italian critic said that it would be the equivalent of a director in the United States taking "Gone with the Wind" and turning it into a series, but Shankland wasn't the least bit intimidated.
He said that he didn't think of anything other than his own passion for the project, which grew out of his love of the book. His father was a university professor of Italian literature in England, and as a child, he loved the book and traveling to Sicily with his family.
The book tells the story of Don Fabrizio Corbera, the Prince of Salina, a tall, handsome, wealthy aristocrat who owns palaces and land across Sicily.
His comfortable world is shaken with the invasion of Sicily in 1860 by Giuseppe Garibaldi, who was to overthrow the Bourbon king in Naples and bring about the Unification of Italy.
The prince's family leads an opulent life in their magnificent palaces with servants and peasants kowtowing to their every need. They spend their time at opulent banquets and lavish balls with their fellow aristocrats.
Shankland has made the series into a visual feast with tables heaped with food, elaborate gardens and sensuous costumes.... Read More