Our second Small Heroes event, this time a breakfast panel in Sydney, is called “Are we missing the target?” The discussion will explore the rapidly changing face of small business in Australia, and how well (or not) government and corporates are responding in providing products and services relevant to this ever evolving audience.
There was a stack of robots at SXSW this year. Over just four days, I managed to watch robots play drums, print names on table tennis balls (Royals logo looked great btw), hear a debate between two robots on the virtues of Lady Gaga vs. Taylor Swift and even go to an ‘artificial (comedy) improv’ session featuring a cast of robots dressed up in drag! All these androids ‘taking over the world’ are bound to make some agency folk more than a little paranoid about the future of work. But others are embracing the fear and running headlong into a cybernetic future where computers understand more of our intuitive human knowledge and – if we’re interested enough – may actually help improve one of the key things that makes us human in the first place: that is, our ability to emotionally connect with others.
The importance of diversity in the communications industry has been a much talked about topic for the past several years. It’s something that The Royals talk a lot about also as part of our mission to be the ‘most interested agency in the world’. You may have already read the press on diversity being one of the key themes at this year’s SXSW.
This morning we kicked off our Small Heroes initiative at Work Club Melbourne with a high spirited breakfast panel discussing the changing face of Australian small business.
Small Heroes is a new Royals program we’ve developed to get under the hood of Australian small business, to better understand their challenges, motivations and incredible diversity. This ongoing project will include one on one interviews, broader qualitative research, trends analysis and a national breakfast panel series.
Recently Pause Festival rocked Melbourne’s Fed Square and surrounds for the seventh year. Amongst the range of creative, technology and business events on the schedule, here are some of the panels, talks and workshops that really stood out for us..
Pause Festival 2017 gave me a chance to see the Character Supervisor responsible for my favourite childhood Pixar film, Monsters Inc. But while I’d gone in hoping to find a winning a formula for character backstory development, I instead was treated to a half-hour lecture on tentacles and big blue fur.
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!