Snap, the tech company behind Snapchat, released a limited number of Snap Specs late last year and we managed to get our hands on a pair of the not-so-unisex coral-coloured 10 second video capturing sunglasses.
It’s been a busy few months at The Royals with new clients, new projects and new Royals joining our ranks. Among all the hard work, we’re pleased to report we’ve made the B&T Independent Agency of the Year shortlist against established players such as The Monkeys, The Works, The Hallway, Cummins & Partners and Affinity. Some of these guys have been around much longer than us so we’re pleased to be included in such esteemed company.
The B&T Awards winners will be announced on 18 November and we’re looking forward to a great night out, whether we get up on stage or not.
The B&T shortlisting follows our win of Silver and Bronze at Spikes Asia for our “Stress Break” campaign for Deakin University, which helped year 12 students beat exam stress by ordering four quirky characters to smash various objects in a real-time online stream.
And we were also a finalist at the Effies and the upcoming ADMA AC&E Awards and BE Fest Awards.
Awards are an important measure of success in our industry, and an effective means of raising the bar and inspiring us all to continue to create cutting edge work that delivers results for our clients. So, well done Royals team for creating work that makes a difference and gets noticed. This is a total agency achievement, and something we are all proud of.
By Nick Cummins, Creative Partner, The Royals Sydney and Melbourne
This post originally appeared on industry website Campaign Brief.
Going into the judging at Spikes Asia this year, I was concerned that national styles would play a big part in the judges’ decisions. I was lucky enough to be on Kentaro Kimora’s Digital and mobile panel along with judges from China, Singapore, Indonesia, South Korea and the Philippines. So we all had the potential to be drawn to very different styles of humour, insights and solutions. But that wasn’t the case.
Although the work we judged – which started as a list of over 500 entries – was very diverse in tonality and levels of craft, the judges were very consistent in their views. Another thing that was very consistent over the four days of judging apart from the humidity, was how everyone entering these kinds of festivals ends up building the same style of case study.
There is a formula for a reason, I hear you cry. And yes, there are probably a few things that are important to keep doing but the problem is everything ends up looking like this – https://www.youtube.com/watch?v=dRDhx8Lo37E
The great thing about judging awards like this is you get to hang out with incredible people from our industry, from all different parts of the region and the world. We really are an amazingly smart, insightful, creative and funny bunch of individuals.
So why when it comes to representing our work do we lose our gift of great storytelling and end up producing cookie-cutter over-hyped communications? I don’t think a case study should necessarily outshine the entered piece, but surely there are other ways to represent our work. I asked my fellow esteemed judges what they felt about this and here are a few thoughts.
Get to the point. Every judge I met was really bright even after several Tiger beers the night before. You don’t have to tell them lots of people are using their phones these days or that people are distracted by lots of messages every day. Get straight to the point – what did you do and how did you do it? Personally I don’t think you even need to over-explain the brief or problem you are trying to solve. It will be obvious what your brief was if your solution is award worthy.
Don’t exaggerate. Dipping in to a big tub of hyperbole to get your entry to be taken seriously doesn’t work. We forget that a solution doesn’t have to have changed the world to win an award.
Keep it real. We watched a lot of videos of stunts, experiments, pop-ups, and activations. It was nice to see so many friends from agencies in the background looking intrigued and elated. The problem with this is not just their mediocre acting skills – it also makes great ideas feel like scams. People don’t have to point or clap or cry to prove an idea worked well or is great. So if you are going to record reactions, use the real audience reacting in real ways. And avoid creating a perfectly photoshopped example of your execution. Judges love picking that stuff to pieces and again, it makes the work feel dodgy.
Don’t over-animate. The amount of spinning, crashing, zooming stats, Tweets and quotes was incredibly distracting. And finally music is obviously important. Most case studies did this well. Finding the right track and voice to deliver the appropriate emotion can make a huge difference.
This year, teams entering the Spikes innovation category got to present their work to the judging panel. This I think is a great way to judge work. If you are ever lucky enough to make that shortlist, get ready to be grilled.
If you work at The Royals you would now know, by my incessant bragging, that I’ve just come back from attending the world’s biggest pop-culture convention in San Diego, Comic-Con. But I’m discovering that not many people really know exactly just what Comic-Con is. So here’s my experience and run-down of, what is quite possibly, the most nerdy thing ever.
San Diego Comic-Con (commonly referred to as SDCC) is basically a big shopping spree for those of us who are pop-culture inclined. It’s where you can buy all your favourite merch, and get a chance to check out all the new gear before it’s out. There are celebrity appearances, artists and heaps of other cool people there you can see. It covers everything from film, TV series, video games, anime, manga, technology, and even comic books (although that section grows smaller every year due to waning interest!).
I’d cut the whole thing into 2 parts; the market hall, and the panels. The market hall is, I want to say thousands, of little booths that are hawking their merch. It’s massive. Almost the entire convention centre is the market hall. I predominantly gawked at toys (“Dad, they’re called ‘figurines’ and they’re art!”).
Mingled in with all the stores, are activations and showcases from companies. I played a Playstation VR demo for Resident Evil 7 inside a big cardboard house, and played the upcoming Dead Rising 4 (and badgered a developer for information which he was not forthcoming with).
There are also mini appearances, where people of note do signings (or y’know, just kind of appear). This is where I saw Adam Wingard, director of You’re Next and The Guest, as well as the upcoming Blaire Witch sequel that was announced there. Being up close with one of my favourite directors was incredible, and the kind of thing most people can only get at a convention.
And then you have the panels. The things were all the stars of your favourite show sit at a desk and talk at you and a big audience about past and upcoming stuff. Then sometimes you can try to ask them questions through your flop sweat and stammering when that practised sentence comes out backwards and that guy you love so much on TV just looks at you weird. Exhilarating.
Most of these are impossible to get into. You’d have to get there hours before the event opens and then sit in line for hours more to get a chance of getting into something like a Game of Thrones panel. It’s not gonna happen for you. But I did just kind of walk into the Capcom panel where they announced a few video game tidbits, nothing of real interest (HOW DO I BEAT THE RE7 DEMO WHY WON’T YOU TELL ME YOU FRAUDS).
There’s also a lot of big activations around the exhibition centre. My favourites were South Park, which had photo-op props of notable scenes from the show, and Ash vs Evil Dead, which build an entire replica of the Evil Dead cabin which you could walk through (to get free shit).
And then there are costumes. Boy, are there costumes.
Or as we call them in the biz, cosplays. Not everyone dresses up, but a lot of people do. Saturday seems to be the peak day for getting costumed and sweaty. And in the San Diego heat, you’re going to get sweaty. It’s not a particularly pleasant experience. Which is why I didn’t do it. But it doesn’t stop most people.
(My friends dressed up as Howl and Sophie from the Ghibli film Howl’s Moving Castle)
The convention itself holds a competition for the best cosplay and gives out prizes. I’ve never attended this event, but I’m sure it’s great. And yes. There are “Furries”. Although recently they’ve been usurped by the new gross fandom I saw a lot of this year, Five Night’s At Freddy’s. A horror game where animatronic pizza parlour robots attack you while you cover the night security shift. But I guess people want to have sex with the cartoon robot animals. Don’t google this.
To give you a good idea of this phenomenon, Adam Savage of Mythbuster fame has videos where he dresses up as his favourite thing of the year and roams the market hall incognito. It gives you a sense of scope of the place and just how much effort some people put into their costumes. He’s so renowned for this, attendees will just come up to the best costume they’ve seen and just ask ‘Adam?’. And most of the time they’re right.
Last year he totally jacked my Dredd costume, but we worked it out and we’re still cool. Brian Cranston once did this, wearing a big latex mask of his own face from Breaking Bad. Truly horrifying.
And then we have the mostly ignored and unfortunately neglected part of the market hall – artists and (very) minor celebrities. Last year, the original Hulk, Lou Ferrigno, attended and had a stall where people could just come up to say hi and get things signed. But every time I walked past, he was just sitting by himself. Everyone too focused on the big pull of the Star Wars or whatever. The same goes with the comic book artists, it’s a few aisles that have significantly less foot-traffic than the rest of the convention. Considering it’s the longest running tradition and namesake of the convention, it’s sad to see. But every year I visit one of my favourite artists Jason Edmiston, of Mondo popularity. He signs my toys and I buy a poster, it’s a great relationship we have.
I bought so many things and got so much free loot that I had to buy another carry-on to take it home and now I’m poor again. But I went, I conquered and I patted the furries. Until next year!
UPDATE: This position has been filled. Thanks so much for all the entertaining applications!
I love Pokemon Go but I have a really busy job at The Royals. I’m so busy. We do a lot of strategy and innovation here. Some days I hardly have time to play table tennis or darts at work. So I’m looking for an intern to take out my second phone each day and find me some Pokemon. I don’t want to get left behind. And I really want an Oddish. You’ll get an incredible amount of exercise (cheaper than a gym membership!), see the sights (it’s like a free city tour) and we can talk about Pokemon before and after each of your hunts. That’s probably the bit I’m looking forward to the most. Apply here.
Or, go for one of these other awesome jobs at The Royals: http://theroyals.com.au/jobs
Here are some of the super applications coming in vying to be my Pokemon Go Hunter:
Even if there’s nothing here right now that floats your boat, why don’t you shoot through a note if you think you’d make a good Royal. Things change fast.
For every Lennon and McCartney there are a hundred more tales of bands that don’t go the distance. And then there’s Tim Rogers, musician and songwriter, who’s been fronting You Am I for 25 years and still going strong.
Turns out there are a handful of things you should know if you’re in the business of forming enduring creative partnerships, like we are here at The Royals.
#1 TRUST OVER TENSION
Tim Rogers: “I don’t believe you need creative tension to make great work. The only time our creativity suffered was when I was picked out as the ‘main guy’. Having an ego as I do I thought, ‘Yes I’m the main guy, I’m the main songwriter, the main singer, the biggest drinker.’ But the music we came out with at that time was really dull. If you try and provoke tension for the sake of creativity, people tend to clam up.”
#2 PICK THE RIGHT BAND MEMBERS
Jen Cloher: “You’re in the wrong band if you have to have a discussion around what you’re creating. You’re in the right band if there is clarity of vision, which attracts like-minded people. It’s also important to know when to move on from a creative partnership.”
#3 TREAT EVERYONE LIKE THEY’RE MEMBERS OF ONE BAND
#4 DON’T BE AN ASSHOLE
Tim Rogers: “Not being an asshole is a good way to start. Of the group of people we’ve had working with our band for a decade or more, we have always tried to be really inclusive. We don’t hold ‘meetings’; we invite everyone down to the pub. If we did hold meetings, nothing would get done.”
#5 BIGGER ISN’T BETTER
Jen Cloher: “We live in a world that’s so obsessed with getting bigger and making more money at the expense of this tiny planet hurtling through space … how ’bout some businesses that just stay small and efficient and sustainable? When you’re driven by money and fear, you’re going to come up with really boring ideas. When you’re driven by doing something different and inspiring, that’s when you blaze a trail.”
#6 “FEEDBACK IS A GIFT: I HATE YOUR IDEA”
Sophie Hirst: “At Google, if you want to tell someone you don’t like their idea you begin with the phrase, ‘Feedback is a gift’. It’s in our culture. Another thing we do really well at Google is fail. At our weekly WIPs, everyone can say one great thing they did, as well as something that didn’t go so well. It creates an environment where people aren’t scared to share their ideas.”
#7 TAKE MONEY OUT OF THE EQUATION
Tim Rogers: “Money is something we never talk about as a band. In the early days of You Am I, when I was paid $20 more per day on a tour of the US, even that caused a problem. So we take money out of the equation, and that’s helped us stay together.”
#8 WORK HARD, BUT NOT TOO HARD
Tim Rogers: “We rehearse about 5% of the time we’re supposed to. The other 95% is social, which may look like we have bad habits or we’re not working hard enough, but so much of what goes into our music is social. I’ve been around people who think they must work 100% of the time and I’m pretty sure they’re only being productive 5% of the time anyway. It’s amazing what revelations can come through listening and fraternising.”
Thanks to Tim, Jen and Sophie for making this such a cracking discussion .
We’re pleased to announce the launch of the new innovation initiative, Code for Victoria by the wonderful people at Code for Australia. The Royals are helping bring this to life, help find some incredible fellows and help government capitalise on the opportunities that digital transformation presents. Code for Australia and the Victorian Government’s Public Sector Innovation Fund are working together with the public to find new solutions to old problems.
In case you don’t know much about Code for Australia, jump over and have a look through. Alvaro and the guys there have created an organisation that’s making real headway into addressing public disengagement and distrust in government services. They have created a series of programs that use transformative, civic technology to a make a real difference to the way government operates.
The Royals are also involved in the academy which looks to cultivate bold ideas and connect with leaders in the public and private sector. It’s great to see innovation programs that aren’t necessarily focussed on startup incubation and raising VC. The Code for Australia guys have found a completely different route to making a difference for society as a whole.
A bunch of us hit up Austin in March this year for SXSW. Here’s a hits ‘n memories video compilation I threw together. Enjoy!
When a huge room at a busy conference is packed full way before the session starts, the subject matter, or at least the title of the panel, is obviously resonating with a bunch of people. This was the case with ‘Get the Message! The Rise of Conversational UI’. Designers, developers, strategists and entrepreneurs piled in to hear about the next wave of interface that’s redefining the relationships they have with their customers.
This discussion of ‘Conversational UI’ featured some of the rockstars of this emerging field. Jeff Xiong (former CTO of Tencent, the makers of WhatsApp), Julia Hu (CEO of Lark, you should try it) and Chris Messina: a former Googler who recently became Design Experience Lead at Uber. And who invented the hashtag.
Conversational UI comes in many different forms but in general, it stems from developments in artificial intelligence, chat environments, chat bots (like those often integrated into Slack) and voice (where increasingly computers talk to you and vice versa).
These experiences typically offer a convenient, consistent and familiar way to interact with brands and services. They’re easy to share and install, because generally there’s no additional app. Often you just add a contact in your text or messenger app. And there’s no new interface to learn – you simply interact with a business, brand or organisation as you would a friend.
Lark is an interesting (and very well funded) startup in this space. It aims to clone the methods of the top doctors and behavioural scientists. The platform creates moments of conversation in healthcare that recognise what you’re going through and recognise your efforts, in this instance, in eating better and losing weight.
Jeff Xiong recounted the astonishing success of WeChat in China and, potentially, impending charge at Western markets. If you’ve never used or read about WeChat, it’s worth looking it up. More than an app, it’s more like a chat based operating system. You can transfer money, buy products and services, make bookings and heaps and heaps more. Xiong said that in China, if you didn’t have WeChat , you’re probably not Chinese. In China there are more than 10 million businesses on WeChat. Broadcast news and people interact with the business. People love talking to their banks, utility providers, schools… the kinds of companies that you have some form of relationship anyway. And for many the quality of these interaction are vastly better.
And now these services are emerging everywhere. From Uber ordering being deftly integrated into Facebook Messenger to the New York Times bot developed for Slack, or the bot made for students applying to Stanford (many people are more comfortable dealing with a bot than a human). You can have the kind of two-way relationship with an entity that suits you.
The final point made by the panel was that the kinds of people who are developing these experiences are not necessarily interface or app designers. More often than not they’re experience strategists and service designers – and occasionally, an improv comedian to help with creating natural, heartfelt responses.
So next time you wonder in a research or strategy session, “If this brand was a person, who would it be?”. The answer could well be “itself”.