Podcasts about tvcs

Welcome back to the TVCS podcast! Episode #61 is all about AI and women at work. In this episode, I chat about the impact of AI on women's careers and how women can leverage artificial intelligence to counteract its threat and improve their careers. Listen in! Welcome back to the TVCS podcast! Episode #61 is all […]

The marketing funnel doesn’t exist, suggests RAA CMO, Michael Healy. He thinks “too many marketers get too ideological about how you have to do brand and then awareness and then conversion”. He has an interesting anecdote about a $329 knife, his wife, and Meta, to support the theory. Healy says “the vast majority of marketers that I talk to – from startup to enterprise – don't actually have a marketing strategy.” They just have “a plan and a budget”. He recommends reading Richard Rumelt’s Good Strategy, Bad Strategy – and stop treating brand and performance separately. “It's all performance and it's all brand,” per Healy. “Everything is double duty.” Equally, he urges marketers to focus on the metrics that matter: “What is driving business performance?” Tammy Barton, CEO and founder of MyBudget is the brand, literally. Along with its customers, Barton features in its ads. The one time she changed tack, at the suggestion of “one of Australia’s largest agencies”, it backfired. Results tanked and she had to pull the expensive series of TVCs. She put the old ads back on TV “and leads immediately that week went up 15 per cent”. She shot low cost new versions – still using real customers – “and leads went up another 40 per cent”, says Barton. “So you just do whatever works.” MyBudget’s marketing team looks at “hundreds of metrics”, she says. “But the ones that are really important to us are, what is it costing us per lead? What is it costing us per contract? What is it costing us per acquisition, including our sales expense? And we have to look at our lifetime value … versus what are we investing for that cost of acquisition, and what is that ratio? We track that every month.” Atomic 212° co-founder and Chief Digital Officer, James Dixon, thinks media agencies “have been guilty of metric vomit over the years”, spewing data and numbers at clients. Dixon suggests only one “mother metric” is required: MROI – which can stand for marketing return on investment, or, in the media agency context, media return on investment. To underline how media is delivering returns, Atomic 212° has been “doubling down on MMM” with clients, but focusing on media, rather than broader variables within market mix models. RAA’s Healy thinks Dixon “is onto something”, though, “I just don't think it's applicable in all circumstances”. Either way, he backs MyBudget’s Barton: “Just test everything. Whatever works, do that. And if it doesn’t work, get out of it, fast.”See omnystudio.com/listener for privacy information.

Ever wondered what it takes to lead a cutting-edge post-production studio?On episode 43 of the B-Side, and the first for 2024, I speak to Will Alexander, the Co-Founder and Executive Producer of Heckler, one of APAC's leading design, VFX, and post-production houses.Heckler was founded in 2010, with studios in the iconic Paramount Building in Surry Hills, Sydney, and the vibrant TALOK AYER STREET in Singapore. Recognised at all of the world's top awards shows, like D&AD, Cannes Lions, and Spikes Asia, Heckler's Sydney and Singapore studios house top-notch post-production suites and a team, including some of the best in the business.Will has almost two decades of experience; he has produced thousands of TVCs, music videos, art installations, live events, activations, and experiential performance pieces. Notably, he was the Executive Producer of the AACTA Award-Winning Animated Film 'A Cautionary Tail,' starring Cate Blanchett.We discuss his creative philosophy and approach to work, emphasising the importance of "owning the morning." His discipline, resilience, and commitment to empowering his team define not only his personal journey but also the ethos of Heckler.We chat about all things Heckler and what it takes to lead such a successful production company. We delve into all things visual effects and post-production. And chat about the enduring power of storytelling, adapting to tech shifts, and maintaining a client-centric approach. There's a healthy dose of hip-hop references, carwash ventures, and some real talk on men's health, battling depression, and going sober.Will's journey is a powerful testament to resilience and creativity. He's not just a visionary executive producer and founder; he's deeply passionate about his team and giving back to the community.This was a cracking episode to kick off the year with; I hope you enjoy it as much as I did. Cheers Hosted on Acast. See acast.com/privacy for more information.

Welcome to an audio-led edition of Unmade.Today's edition of The Unmakers features Abe Udy, the founder and owner of one of Australia's longest established audio production houses Abe's Audio, which celebrates its 25th anniversary this weekend.‘I don't think you can beat real humanness': audio guru Abe Udy on harnessing AIAbe Udy will already be a familiar voice to listeners of the Unmade podcast - he's been editing our Monday Start the Week podcast since its inception and has been hosting it for more than a year.Using early MP3 technology and dial-up internet, Udy started Abe's Audio at the age of 18 from his bedroom. Abe's Audio has since grown to over 20 staff and produces audio content for hundreds of creative agencies, media companies, eLearning providers, video producers, animators and podcasters.Tomorrow Abe's Audio celebrates its silver anniversary.One familiar Abe's Audio creation is the ‘koala masala' jingle for The Pitch on ABC's Gruen.By the end of last year, Abe's Audio had produced over 500,000 jobs (and 1.2 million scripts). In conversation with Unmade's Tim Burrowes, Udy discusses how he cut his teeth in audio, his beginnings in radio, building and scaling the business, disruption in the audio space, and Dashi, the AI platform he co-founded earlier this year, which functions as a project management platform that enables media companies to produce commercial audio content efficiently at scale.“Twenty five years ago, the world looked very different in terms of audio,” Udy explains. “To make the commercials, you would use only local announcers, so three or four voices, and that was it. So all the ads sounded essentially sounded very similar, sounded the same, and stations really didn't have an option to be able to get other voiceover talent.”“The space that I found myself in 25 years ago, I thought, hang on, wouldn't it be great if we could use voiceover talent from one radio station, for example, and make it available to another station.”While creative agencies still comprise a large chunk of Udy's client base, he's seen a rise in requests for internal and external digital content for businesses.“Our main clients are really advertising and creative agencies that need audio for radio commercials, TVCs, but then increasingly over the last few years, digital content's really grown. So explainer videos, audio for digital content, whether it be internal training or comms or external.”Udy demonstrated AI-powered Dashi at Unmade's HumAIn conference in July - which, “within nine minutes, had a script created, sent to head office in Launceston, back to a real human voice in Redfern in Sydney in a studio, recorded it, was back in Launceston, and produced by a person”.He argues that the human touch in audio still has a significant purpose even as AI sweeps in.“I don't think you can beat real humanness. For me, I've landed when tech and humans kind of work together, combined, that's when we get magic. So I'm not shying away from using AI tools and different technologies. But I think there's something really important about people.”During the conversation, he also offers his thoughts on what people aspiring to be voiceover artists should focus on.“ Often I'll say to up and coming voices, it's that last 5% that's the hardest to get right and separates the good voices from the great voices. It's thinking about the brief and how a script, a voiceover can bring that script to life based on the deadline of the job and other kind of creative requirements in the brief.”Time to leave you to your Thursday. We'll be back with an end of week update tomorrow, focusing on tonight's Foxtel Upfronts.Audio production was courtesy of Abe's Audio, the people to talk to about voiceovers, sound design and podcast production.Message us: letters@unmade.mediaHave a great day.Toodlepip…Tim BurrowesPublisher - Unmadetim@unmade.media This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.unmade.media/subscribe

Creative Spirit with Film Director, Musician, Commercial Advertising Director - Adrian Van de VeldeBorn with prodigious music and technical talents, Adrian started writing music and pulling apart household appliances at the age of five. A theme which has since underscored his approach to almost everything he turns his attention to. After graduating from the prestigious Australian Film, Television and Radio School Adrian was immediately snapped up by Commercial Music Powerhouse Song Zu Sydney as a composer of TVCs, TV and Film, while moonlighting for Fox Studios Australia, screenwriting an original SciFi TV Series. He has won the coveted Australia Guild of Screen Composers award twice, and has been nominated for a Motion Picture Association of America 'Technical Oscar' for his short film Rock et Man. Adrian's love of the moving image soon took hold and in 2000 he started his Commercial Directing career. Adrian has been directing TV Commercials ever since, and has been a regular with some of the biggest brands in South East Asia for over 10 years. In 2004 and 2007 he founded two of the most successful Production Companies in the Asian TVC Market - Great Guns Bangkok and Bullet Production. After divesting his shareholding in both companies he founded Indigo Asia Production. Indigo is the envy of the industry. A busy hothouse of creativity with TVC Production, Indigo also has Feature Film and Digital Media projects in development.Join us as we explore Adrian's creative journey, the artist's need to create balance, the non-linear nature of time, the difference between commercial and personal creative projects and the innate human dynamics of both creativity and spirituality, the role of mystery in the human experience and how the subconscious mind connects us with oneness consciousness.You can find out more about Adrian here:https://vimeo.com/adrianvandevelde/https://indigoproduction.comhttps://www.instagram.com/adrian_vandevelde/https://vimeo.com/339041543

Sohinee Day Pal talks to Vikas SainiVikas Saini, an Actor and writer and currently writing a web series show in Hindi. After spending 3 years in the industry, he has done 5 + TVCs adverts. Played 5-6 Characters in Serials and web series, Mirzapur- 2

WMOV Sports interview with Teays Valley Christian Head Boys Basketball Coach James Christian : Coach joins us to discuss TVCS's season to this point, as the lions sit at 10-6 midway through one of the toughest private school schedules in the nation.

Rachael Carpani is an Australian Actress who has a wealth of experience both in Australia and the US. Rachael first started on 'McLeod's Daughters' in 2001, a show she worked on for 179 episodes. Other Australian credits include 'Scorched', '800 Words', 'All Saints' and 'Home & Away'. In the US, Rachael has worked on such projects as 'Seeds of Yesterday' alongside Heather Graham, 'If There Be Thorns', 'N.C.I.S.: Los Angeles', 'Cane', 'The Very Excellent Mr Dundee' and 'Finding The Way Back' with Ben Affleck. She was also the Australian Ambassador for Telstra and filmed multiple TVCs alongside Dustin Hoffman. Rachael's newest independent film 'Beat' will be released in 2022.  Instagram: www.instagram.com/rachcarpani/ Director of Beat: www.instagram.com/jyecurrie/ Contact: info@asmanagement.com.au rachellaurenbaker@outlook.com www.dontbesodramaticpodcast.com/ See omnystudio.com/listener for privacy information.

Mehreen Malik talks to Urvashi PardeshiHas been a part of the show Tara from Satara airing on Sony tv. Besides that she's been acting in plenty of music videos, Tvcs, Prints, digitals etc. She's venturing out and experimenting new things like she's working in South Films as a Heroine, she's been modelling for plenty of brands, she's also an influencer on the social media platform, and she has her YouTube channel wherein she puts up dancing video which has more than 10 million views. She believes in living her life to the fullest and follows where her heart takes her. Acting and dancing both has been a major part of her life but apart from that she is a spiritual person who has been living a different lifestyle.

Allan McKay is an award winning visual effects supervisor and technical director, mentor, podcaster, and speaker. He started using Deluxe Paint Animation and Animator Pro, populating entire games with his own characters. At 17, he started teaching advanced courses on game development and 3D animation at QANTM College, and at 18, he moved to Sydney to work for Ambience Entertainment. In 2005, he launched his own studio, Catastrophic FX and worked on dozens of game cinematics, TVCs, and films. He worked on the film Priest, in 2011, and Michael Bay's Transformers: Dark Side of the Moon. And from there he worked on several films like Flight, Metallica: Through the Never, Star Trek Into Darkness, and The Equalizer Allan also runs many courses, as well as a mentorship with over 1,000 members. Throughout the past two decades, he has appeared as a speaker at events in over 15 different cities… Allan also creates video tutorials on Pluralsight, YouTube, Vimeo, and through his personal website. Allan hosts a podcast where he features interviews with artists and directors in the creative industry, discussing everything from career strategies, case studies on film, new technologies, workflow, and core strategies to build a successful career and lifestyle. In this episode you will learn: How to turn your “if only dream” into reality The importance of identifying rational fears to manage risk How to find time to focus on your dream (no matter how much time you don't think you have) How unlock your creativity and turn it into a business that you love To Connect With Allan: Follow Allan on Instagram right here: https://www.instagram.com/allanmckayofficial/ Click here to discover how Mark and his team can take over your lead generation for you, with a 100% ROI guarantee: www.markbowness.org/authority See omnystudio.com/listener for privacy information.

Katie Hill, professionally known as Herizon is an Australian dancer, DJ, actress and entrepreneur. Currently based in Hong Kong, Katie's passion for the arts translates through her emotional performances, boundless drive and professional work ethic.  She has captivated audiences around the world with her fierce energy and heart-filled joy. Working as an international dancer, instructor, and actress, Katie has been featured in concerts, TVCs, TV series, fashion, sports, and corporate events, for some of the world's most recognisable brands such as Sony, Disney, BMW, Mercedes Benz and Adidas to name a few. Katie has danced in productions featuring artists such as Kylie Minogue, will.i.am, Flo-Rida, Christina Aguilera, Kevin Spacey, Rita Ora, Jessie J and Joey Yung.With a lifetime passion for music and a constant longing to share her vivacious energy with the world, Herizon has the ability to seamlessly mix energetic DJ sets, creating soulful, feel-good vibes that breathe happiness into a crowd. Spinning an eclectic range of musical genres, from deep house, nu-disco and funk grooves to tech house, organic house, RnB and Hip Hop, Herizon has performed across Asia and internationally at top bars, clubs, and events for clients such as Audemars Piguet, Tommy Hilfiger, Hennessy, CLINIQUE, and H&M. Katie has had multiple DJ sets at the Cathay Pacific Hong Kong Rugby Sevens and Wonderfruit, Thailand - Asia's largest music festival.  Katie currently plays for Black Sheep Restaurant Group and The Lawn Club in Hong Kong. Always looking to elevate her creativity and growth as an artist, Katie aspires to develop her skills in music production and create original tracks.Adding to her extensive experience in arts and entertainment Katie is currently Operations Manager of CPG Concepts, a world class international entertainment company, founded by Lisa Keegan and Emma Seward. Together as a dynamic team, CPG create and produce breathtaking shows featuring creative themes and concepts, innovative stage and lighting design, visually stimulating costumes and entertainingly unique talent.Website: https://www.herizon.co/IG: https://instagram.com/herizonofficial...Facebook: https://www.facebook.com/misskatieabr...Host Warren Adams - Warren Telling TalesWebsite https://www.engagetheatre.com/​​​​Warren AdamsSupport the show (https://www.paypal.com/donate?hosted_button_id=UF2KW28X2SVPY)

On this episode, Sid explores some deep reasons on why advertising is being unravelled because of habitual "skipping". He also tells us how people pay more attention to YouTube ads than TV ads.Tune into the episode to know whether to skip ads or not?You can follow Siddharth Deshmukh on LinkedIn: https://www.linkedin.com/in/sideshmukhFollow Siddharth Deshmukh on Instagram:https://instagram.com/thetravellingprofessor?utm_medium=copy_linkFollow Siddharth Deshmukh on Twitter:https://twitter.com/edgysid?s=09You can reach out to us on social media. We're @ivmpodcasts on Twitter, Instagram, and Facebook.You can listen to this show and other awesome shows on the IVM Podcasts app on Android: https://ivm.today/android or iOS: https://ivm.today/ios, or any other podcast app.You can check out our website at http://www.ivmpodcasts.com/

Growing up in Mudgee in rural NSW, a young Cadance learns a brutal lesson while out driving with her father.Cadance Bell is an emerging writer, producer and director. She is the CEO and co-founder of production company Wayflair Studios, where she unmakes prejudice through entertainment. Cady was the writer/director of The Rainbow Passage – commissioned by Screen Australia and Network Ten and the award winning comedy horror short Mirror Spider. Selected into Cohort One for the Poplabs Social Impact incubator for next generation startups, Cady has produced & directed dozens of short films, music videos & TVCs. She is a freelance writer, contributing articles for newspapers like The Guardian and is currently in discussions for publication of her dark comedy memoir. Cady very much likes burritos and short walks to the fridge. She is openly transgender and documents her shenanigans on her popular LGTBQIA+ blog at www.iMissPockets.comQueerstories an award-winning LGBTQI+ storytelling project directed by Maeve Marsden, with regular events around Australia. For more information, visit www.queerstories.com.au and follow Queerstories on Facebook.The Queerstories book is published by Hachette Australia, and can be purchased from your favourite independent bookseller or on Booktopia.To support Queerstories, become a patron at www.patreon.com/ladysingsitbetterAnd for gay stuff and insomnia rants follow Maeve Marsden on Twitter and Instagram. See acast.com/privacy for privacy and opt-out information.

Founded in 2015, Chicken and Chips Casting is a full service casting company for Film, Television, TVCs & New Media with offices in Sydney, Brisbane & Melbourne led by Principal Casting Directors Alison Fowler & Stephanie Pringle. Recent credits include Australian pioneer film 'The Flood' directed by Victoria Wharfe McIntyre, 'Ellie & Abbie' (and Ellie's Dead Aunt) directed by Monica Zanetti (the first Aussie film to open the Sydney Mardi Gras Film Festival in it's 27 year history), 'Deadhouse Dark Anthology' created by Enzo Tedeschi, 'Blood Sisters' directed by Madeleine Dyer, factual program 'Stargazing' produced by the BBC, and Short Documentary 'Bright Lights' directed by Charby Ibrahim. Website: www.chickenandchips.com.au/ Instagram: www.instagram.com/chickenandchips_/ Facebook: www.facebook.com/chickenandchipscasting See omnystudio.com/listener for privacy information.

Founded in 2015, Chicken and Chips Casting is a full service casting company for Film, Television, TVCs & New Media with offices in Sydney, Brisbane & Melbourne led by Principal Casting Directors Alison Fowler & Stephanie Pringle. Recent credits include Australian pioneer film 'The Flood' directed by Victoria Wharfe McIntyre, 'Ellie & Abbie' (and Ellie’s Dead Aunt) directed by Monica Zanetti (the first Aussie film to open the Sydney Mardi Gras Film Festival in it's 27 year history), 'Deadhouse Dark Anthology' created by Enzo Tedeschi, 'Blood Sisters' directed by Madeleine Dyer, factual program 'Stargazing' produced by the BBC, and Short Documentary 'Bright Lights' directed by Charby Ibrahim. Website: www.chickenandchips.com.au/ Instagram: www.instagram.com/chickenandchips_/ Facebook: www.facebook.com/chickenandchipscasting

The Fat Bidin Film Club (Ep 230) - 2021 Hari Raya TVCs As it is every year, we review the top Hari Raya TVCs. Usually they suck! But this year... The Fat Bidin Film Club is also on YouTube: https://youtu.be/s14XkUc-0ew Copyright (C) 2021 Fat Bidin Media For more, visit http://fatbidin.com Interested in making your own films? Then why not get Zan Azlee's book 'Guide to indie filmmaking' today: https://fatbidin.com/guide-to-independent-filmmaking/ Buy Fat Bidin books, films and merchandise at http://fatbidin.com/store/

Sanket Mhatre is a Voice Over Artiste who's been in the Voicing industry for 14 years. He has dubbed for more than 150+ South Indian Movies and is popularly known as the voice for Allu Arjun, Mahesh Babu, Surya, Jr. NTR & many A-listed South Indian Actors. He gained fame for his voice for Ryan Reynolds in Deadpool & has voiced for several other Hollywood Movies in Hindi - Avengers Endgame, The Martian, Shazam, Detective Pikachu to name a few. Ben Tennyson, a famous cartoon character from Ben 10 has also been voiced by Sanket Mhatre. The voice behind Bear Grylls from Man Vs Wild and Jamie Oliver is also given by him. Besides this, he has also voiced for several  audiobooks, TVCs, Radio shows and Netflix series like Narcos as well. On this episode of Jamsters Podcast, Sanket shares with Hardik Vaidya about the craft of voice overs & dubbing, how to dub for actors and animation films, exercises for everybody to make your voice sound better, his rituals to ensure consistent quality of voice inside the studio, challenges that all artists must be aware of, why passion is important to pursue a career in performing arts, how his break-out opportunities happened and lots more. Subscribe to Jamsters Podcast with Hardik Vaidya now on www.eplog.media/jamsterspodcast or your preferred podcast streaming apps to receive updates about the latest episode. You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For advertising/partnerships send you can send us an email at bonjour@eplog.media. If you like this show, please subscribe and leave us a review wherever you get your podcasts, so other people can find us. You can also find us on https://www.eplog.media DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization. The said content is not obscene or blasphemous or defamatory of any event and/or person deceased or alive or in contempt of court or breach of contract or breach of privilege, or in violation of any provisions of the statute, nor hurt the sentiments of any religious groups/ person/government/non-government authorities and/or breach or be against any declared public policy of any nation or state. See omnystudio.com/listener for privacy information.

Pip Edwards is a professional actor, filmmaker, acting/career coach, and entrepreneur. As an actor, Pip's television credits include Home & Away, Les Norton, Miss Fisher's Murder Mysteries, ANZAC Girls, Wonderland and Forever Young. Her film credits include A Few Less Men, Little Black Dress, Who's That Boy, upcoming feature films June Again, Carmen, and Death Doula, as well as numerous short films and TVCs. Theatre credits include Beverly in Abigail's Party, and Regina in Ghosts (both with The Melbourne Theatre Company), as well as various productions with directors including Kip Williams, Imara Savage, Stephen Nicolazzo, Gale Edwards and Declan Greene. Pip runs a private coaching studio Pip Edwards Creative, where she coaches and mentors actors for auditions, screen-tests, and business/career/mindset coaching. Pip has taught extensively throughout Australia, at schools such as NIDA, Actors Centre, SAS, Sydney Film School, HUB Studio, Stagemilk, and for MEAA to name a few.   Pip has a Bachelor of Dramatic Arts from NIDA and Bachelor of Creative Arts (Filmmaking/Arts Management/Law) from Melbourne University. She has completed further extensive training in both Australia and the US, including with coaches such as Ivana Chubbuck, Larry Moss, Margie Haber, Leslie Kahn and at Upright Citizens Brigade in Los Angeles. www.pipedwardscreative.com/   See omnystudio.com/listener for privacy information.

Born and raised in Melbourne, Pip moved to Sydney to study Acting at NIDA. She regularly works in TV, film, theatre and TVCs. She recently played Beverly in Abigial's Party for Melbourne Theatre Company. Other notable credits include feature film A Lew Less Men, television shows Les Norton, Home & Away, Miss Fisher’s Murder Mysteries, ANZAC Girls, Wonderland, and Ghosts (MTC). Pip is also a renowned acting coach and aims to guide actors in every step of their career with the tools that she is constantly acquiring from her own experience and study. www.pipedwardscreative.com/

Originating from a very successful career as an advertising photographer, Mark Toia was coerced into directing TVCs by his clients. Being pursued by advertising agencies and production companies globally, he has a lengthy list of repeat business 8th the world's largest companies that most could only dream of. Mark's prowess and success is due to his ability to reinvent himself over and over again. He's always looking for new inspiration, constantly finding new technologies to aid his work and learning new crafts to help create images that have compelling screen presence, not to mention more on-screen value. After a decade of experience as a director of auto commercials, Mark has brought his expertise to feature films. His first feature Monsters of Man will premiere December 8th, 2020. In this Podcast, Allan McKay interviews Mark Toia, the Director of Monsters of Man, about his insight and expertise directing, financing and distributing his first feature film, the future of virtual production and the myth of “a starving artist”. For more show notes, visit www.allanmckay.com/276/.

This weeks guest is Melbourne based Cinematographer & Photographer, Felicia Smith! After completing her studies at Swinburne, Felicia became a camera assistant and very quickly gained experience on TV drama, features and TVCs. Lately Felicia has been working hard on her fast growing YouTube channel were she posts weekly videos with tips and gear reviews from the perspective of someone working in the film industry. Felicia and I dive into her journey into the film industry, her YouTube channel, how to pin point difficult projects before they even start so you can avoid them or be prepared for them, and so much more. You'll find some value in this episode for sure, enjoy! Support the Podcast on Buy Me A Coffee: https://www.buymeacoffee.com/thehivepodcast Click Here For The Best Music For Videos & Podcasts, It's What I Use For All The Episodes (get 2 extra months on your subscription) Check Out Felicia's YouTube Channel Instagram: @feliciacine Subscribe and follow The Hive Podcast on Instagram @thehive_podcast or visit our website https://www.hivepodcast.org Check out what we use to record the podcast HERE

Highway Casting's Annabel Clayton casts many of the major Melbourne TVCs for the biggest brands. Annabel also heads her own Web Series casting division within Highway. In this episode, Annabel shares everything you need to know about TVC and Web Series auditions, common self taping mistakes, what will help you get back in the room and what definitely won't!

Episode 19 with Sabrina Duante

Kem White is a Production Designer for big budget, high-end TV Commercials. Kem is based in London, but has worked across the world designing global campaigns. Her list of clients include Nike, Ikea, Louis Vuitton, Sky, Dulux, Twitter, Samsung, Paypal, Asus, British Airways as well as ALDI’s big Christmas TVCs for the past couple years that have involved designing and working with miniature models, building different scaled sets, VFX, SFX and an army of talented set-builders and scenic artists.Kem and Production Design Digest host, Kelly Sinclair Smith, discuss her career journey, her time spent as a model maker, why she transitioned from working in Film and Television to designing TVCs, her design process, what it’s like to work on global campaigns as well as designing sets using different scales.In this episode with Kem White we cover:How Kem first started out in the industryHer first ever job as a Production DesignerHow that job opened up more doors to opportunitiesHow her background in narrative-based filmmaking prepared her for her career as a Production Designer in TVCsWhat skills she thinks are necessary to be a good Production DesignerHer approach to designing the series of ALDI Christmas commercials that involved building a train carriage, an interior circus tent scene, a huge castle interior, a snowy mountain scene, as well as multiple miniature models and setsHer experience designing the ‘Dulux Walls’ global campaign, and her research into colour trendsHer production design “pet peeves”Her favourite part about being a Production DesignerAnd much more!Subscribe + Follow Production Design Digest Instagram | BlogShow Links:Romeo + Juliet IMDB | Production Design by Catherine MartinCatherine Martin’s IMDBFollow Our Guest:Kem’s WebsiteKem White’s IMDBKem White’s InstagramKem White is represented by Independent TalentFollow Kelly Sinclair Smith:kellysinclairsmith.comIMDBInstagramKelly Sinclair Smith is represented by Vision ArtistsOriginal Score by Joe Davies

A FDW CCB Spinoff. Here we talk to the other filmmaking departments. We did an 'Actors Talk Back' with Kheng Hua and now its 'DPs Talk back' with Amandi Wong. Amandi was the first DP i worked with nearly 15 years ago. First DP in relations to Narrative work. I already had a good decade working with other DPs on TVCs and such but narrative work, Amandi was my virgin first. We didn't get to work together much these few years and that's because he became so sought after and every time I call him for a job, he always says "NA" and then he realised he forgot to ask... pauses... THEN he ask "When ha?". But the heart is already broken :) A most interesting sess.

The visual medium has always been at the forefront of advertising, and with restrictions on gatherings causing a rapid shift toward broadcast media, salespeople are looking to the past to unlock the power of video advertising for future clients. On this episode of Killer Media Sales, hosts Alex Whitlock and Russell Stephenson ponder a new realm of opportunity, unravelling the effectiveness of TVCs and the new world of virtual events. They also discuss the new audiences that have been unlocked by these decentralised broadcasts, the compelling nature of this new medium, and the opportunities now available to potential advertisers.

Junbin Chen is one of the top colorists based in Singapore. This is our pre COVID-19 chat that took place at a post house called Iceberg. JB has coloured over 25 features, 20 TV series and 100s of TVCs.

One of the festive TVCs that stole our hearts this Chinese New Year was that of Ah Girl’s quest to be seated at ‘The Grown Ups Table’. We speak to Hong Leong Bank’s Chief Marketing & Communications Officer Zalman Zainal about what went into conceptualising and executing the video, its immediate impact and how it resonates with the bank as a brand.

One of the festive TVCs that stole our hearts this Chinese New Year was that of Ah Girl’s quest to be seated at ‘The Grown Ups Table’. We speak to Hong Leong Bank’s Chief Marketing & Communications Officer Zalman Zainal about what went into conceptualising and executing the video, its immediate impact and how it resonates with the bank as a brand.

Join us for a conversation with Owen Trevor, director of the family feature film GO!, which will be released by Roadshow in early 2020. In today’s episode Trevor talks about his career pathway from working on short films, directing four seasons of one of the world's most successful television programs, TOP GEAR, which had a weekly viewership of over 350 million people, to making high profile television commercials and making his first feature film. This episode is hosted by Screenwest Development and Production Executive Franziska Wagenfeld. This is the third in our series of Cinefest Sessions recorded at Busselton’s City Council Chambers during CinefestOZ Film Festival 2019.   In Conversation is a Screenwest production. Screenwest is a non-profit organisation dedicated to providing strategic leadership and assistance to the film and television industry in Western Australia. Find out more at www.screenwest.com.au and www.filminwesternaustralia.com.au. Follow us on Facebook, Twitter, Instagram, LinkedIn and subscribe to our newsletter to stay up to date with Screenwest.

Daisy Hicks is an Australian Casting Director at i4 Casting in Sydney. Daisy is one of the youngest members of the Casting Guild of Australia and is a CGA nominee for best casting in a short film and best casting in a TVC. Since joining casting, she has worked on many notable theatre and musical shows, films and TVCs. www.thehubstudio.com.au See omnystudio.com/listener for privacy information.

Daisy Hicks is an Australian Casting Director at i4 Casting in Sydney. Daisy is one of the youngest members of the Casting Guild of Australia and is a CGA nominee for best casting in a short film and best casting in a TVC. Since joining casting, she has worked on many notable theatre and musical shows, films and TVCs.

Alter Ego is one of the premier post facilities in the world. Based in Toronto, Alter Ego was founded 10 years ago by Australian Colorists Eric Whipp and Wade Odlum. They specialise in colouring on Baselight but the facility has grown to add VFX and production to it's roster. The guys balance colouring TVCs, managing over 50 staff, and still manage to grade blockbuster feature films…..how do they do it?

The Fat Bidin Film Club Ep 164 - 5 Sekawan 5 Sekawan is a series of festival TVCs by Celcom which we think is the best so far! The Fat Bidin Film Club is also on YouTube: https://youtu.be/VxRSlZ9XfaE Watch the 5 Sekawan playlist here: https://www.youtube.com/watch?v=5Ja1epVgHU4&list=PL1wALPhPMuyse3pXFpAgp4A91rqAfff7B Copyright (C) 2019 Fat Bidin Media For more, visit http://fatbidin.com Interested in making your own films? Then why not get Zan Azlee's book 'Guide to indie filmmaking' today: https://fatbidin.com/guide-to-independent-filmmaking/ Buy Fat Bidin books, films and merchandise at http://fatbidin.com/store/

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The Fat Bidin Film Club Ep 162 - Chinese New Year 2019 TVCs Every Chinese New Year, we review the most talked about TVCs. Petronas CNY 2019: https://youtu.be/DdK4Mzn_4gM Digi CNY 2019: https://youtu.be/wtIiyHdrsKQ Malaysia Airlines CNY 2019: https://youtu.be/VSpKoMgvE04 Samsung CNY 2019: https://youtu.be/Uy-4odRJw8w Prasarana CNY 2019: https://www.facebook.com/myrapid/videos/239839733613396/UzpfSTY3MjIwMjkxMzoxMDE1NjIxMjUwNDI4NzkxNA/ The Fat Bidin Film Club is also on YouTube: https://youtu.be/N0-m6LuRI5k Copyright (C) 2019 Fat Bidin Media For more, visit http://fatbidin.com Interested in making your own films? Then why not get Zan Azlee's book 'Guide to indie filmmaking' today: https://fatbidin.com/guide-to-independent-filmmaking/ Buy Fat Bidin books, films and merchandise at http://fatbidin.com/store/

How does a small, 25 person SaaS company regularly attract 700+ registrants to its webinars?   This week onThe Inbound Success Podcast my guest is Andre van den Assum, the Marketing and Partnerships Manager for Wipster, a cloud-based a video workflow collaboration review platform. I had heard from a colleague that Wipster was absolutely killing it with its webinars and was excited to talk with Andre about how he consistently generates such large numbers of attendees. Our conversation gets super detailed, with specifics on how much Wipster spends on paid media (TL;DR - not much), what the click-through rate is on their email newsletter, how long their promotional timeline is for each webinar, and the percent of leads they get from each marketing channel.   This week's episode of The Inbound Success Podcast is brought to you by our sponsor, IMPACT Live,  the most immersive and high energy learning experience for marketers and business leaders. IMPACT Live takes place August 6-7, 2019 in Hartford Connecticut and is headlined by Marcus Sheridan along with keynote speakers including world-renowned Facebook marketing expert Mari Smith and Drift CEO and Co-Founder David Cancel. Inbound Success Podcast listeners can save 10% off the price of tickets with the code "SUCCESS".  Click here to learn more or purchase tickets for IMPACT Live Some highlights from my conversation with Andre include: Wipster is a video workflow collaboration review platform. The company currently has 25 employees with offices in New Zealand and Portland, Oregon. They have thousands of customers around the world, including big brands like Disney, Red Bull, Shopify and Delta Airlines, and many smaller brands as well.  Wipster regularly gets hundreds of registrants for its webinars, which it typically produces with partners. They get many of their webinar leads from email marketing, and typically include a promotional video about the webinar in their emails. One channel they use for email promotion is their newsletter, which goes out to 40,000 people that has a 25% open rate. Their webinar marketing campaigns typically last two weeks. For a recent webinar on which Wipster partnered with Brightcove Deloitte, 50% of the registrations came from email marketing (12% were from promotions in Wipster's email newsletter), and out of 1100 total webinar registrations, Wipster drove 700 of those (with the remaining 400 from Brightcove). 10% of their webinar leads come from social media. For one webinar, Wipster advertised in Marketing Profs' email newsletter. The cost for that campaign was $3,000 and the newsletter went to a list of 13,000. That yielded 120 leads at $24 a lead.   Wipster posts all of its webinars to its YouTube channel, where they typically attract 600+ views each. Resources from this episode: Save 10% off the price of tickets to IMPACT Live with promo code "SUCCESS" Register for IMPACT's upcoming webinar with Wipster on Make Better Videos In-House: How to Create Consistent Video Production Visit Wipster's website Subscribe to the Wipster Weekly newsletter Wipster's YouTube channel Wipster Stars Facebook Group Connect with Andre van den Assum on LinkedIn Listen to the podcast to learn all about the marketing campaigns and tactics that regularly attract 700+ attendees to Wipster's webinars. Transcript Kathleen Booth (Host):Welcome back to the Inbound Success Podcast. I'm your host, Kathleen Booth, and today my guest is Andre van den Assum, who is the marketing and partnerships manager at Wipster. Welcome, Andre. Andre van den Assum (Guest): Welcome. Yes. Hello. How's it going? Kathleen: Good. I feel like it's hello from tomorrow because you are across the other side of the world, and it is the next day and sunny and beautiful where you are, and it is yesterday and freezing cold where I am. Andre: You got it. We're a little bit in the future here in New Zealand and it is the middle of summer for us so we're kind of on the back of a nice middle of summer Christmas holiday break and just cracking 2019, so yeah, nice to be on your show. We've got some fun things coming up with IMPACT actually so this is nice to compliment that as well. Kathleen: Yeah, it's great and I'm excited to have you here and for anybody who's listening, you can't see, I'm looking at Andre through the video and he's sitting outside and the trees are blowing in the warm New Zealand breeze and there's like, water in the background, it's really stunning. And I'm sitting in the 20 degree weather in the Mid Atlantic region of the United States thinking, "What am I doing here?" So if you're listening you can always go to the show notes and I have a picture in there of the two of us recording so you can see- Andre: If it makes you feel better the roles reverse in June, July and we have a team in Portland and the same thing happens, you know? Kathleen: We all have our turn. Andre: They're all off to festivals and beaches and we're freezing down in New Zealand at the bottom of the South Pacific so don't worry. Kathleen: Well it still sounds like a great place to be. About Wipster Kathleen: So for anyone who's not familiar with Wipster who doesn't know who you are could you tell my listeners a little bit more about yourself and about the company? Andre: Absolutely! So I've been with Wipster for almost five years now, I was employee number five and we've got about 25 of us now. We're a video workflow collaboration review platform. Born from the idea of a video producer/director who was kinda sick of chasing feedback with his clients and wondered why people can't just comment directly on top of the video, so click on top of the frame, make your comment, kinda Google Docs for video, and so he went looking for that solution and it didn't exist. So we were the first people to kind of create a product where you could literally click on top of the frame. There's a couple of others that do it now but we're first to market about five years ago and it's been an interesting journey over that time you know, going from kind of an idea, a spec, into a kind of fully fledged company. I guess we're still a start-up with 25 or so employees but we've got thousands of active users, thousands of customers. Some of the biggest brands around, you know, the Disneys of the world and the Red Bulls and Shopify and Delta Airlines and yeah, we've got a ton of big users but we've also got a bunch of small users, a bunch of agencies that use it for review and approval. Something we're seeing a lot of is some of that capability moving in-house so you know, we're talking to more and more brands who are wanting to kind of scale their video and we can help them do that, you know, by speeding up their workflow, making it easier to pump out the video 'cause we're not talking about kind of one video a month, we're talking about you know, three or four or five videos a week ideally, and some of them even more than that. So yeah, it's been a fun journey and been kind of ... Selling software as a service means you can do it from New Zealand at the bottom of the world but obviously we needed some people on the ground in the US so our founder moved over there and has built a team over there as well so yeah, it's been quite a fun few years, you know, a bit of a rollercoaster but yeah, definitely very rewarding in trying a bunch of different digital marketing tactics along the way to kinda get our name out, you know, being from the bottom of the world to kind of getting that presence, you know, we're in 150 countries or something like that as well, so it's a pretty interesting time to be doing marketing and kinda trying to do this kind of thing I think. Kathleen: Yeah, and as far as the product is concerned ... So we use it, full disclosure for everybody listening, we're a Wipster customer, and we have a video team at IMPACT, it's a couple of people, and we do a ton of video. In fact, I was just up in our office last week and we must've shot, I mean, it's close to a hundred videos in one week because we had a lot of people in from out of town so we wanted to maximize the time. I first was exposed to Wipster really as somebody who provides feedback so our video team was like, "We have to use this platform," and whenever we do a video they send it over to me and I get the link, I go into Wipster, and I'm able to just like, as you said, it is very much like Google Docs for video. I can just pop my comments in there and I'm not a technical person so it's really nice because it makes it very, very easy for me to provide my input. Andre: Yeah. Well, that's how we got traction from the get-go was kind of making a tool that was just very easy to use. The editors are kinda used to these big, complicated editing suites, Premiere Pro and stuff like that with a lot of buttons, but you know, when they're sending it to their clients or their team members or the legal team or the exec team to get approval or feedback, they just wanna be able to click a link, watch the video in a very kind of simple, enjoyable kind of experience, just click on top, make videos. And there's quite a few things going on behind the scenes, you know, like we've got integrations with Adobe, with Slack, with all the publishing platforms, so we can kind of help the more technical people as well but in terms of the end user we try and make it as simple as possible and I think that's what made us so successful so early on was just, it kind of just worked, you know? Kathleen: Yeah. The simpler the better. Andre: Yeah, that's what software's gotta be like these days, you know? I think there editing some big shifts and you know, you used to have to get a software team into the company carrying massive servers on their backs and all this hardware and the IT guys have gotta do all this year-long onboarding and all that kinda stuff. But that's changed, the price point has changed, the experience has changed. So yeah, so it's nice to be part of that movement. Wipster + Webinars Kathleen: Now, one of the reasons I was looking forward to talking with you for this podcast is that you were chatting with a colleague of mine about us doing a webinar together, which we are going to do, so stay tuned if you're listening, and I remember it was my colleague Vin and he said, "You know, you should talk to these guys at Wipster because they get a ton of people coming to their webinars." Webinars are so interesting to me, I'll have to preface our conversation with this. In some respects they're a dying marketing form because so many companies do them and I think people have become so used to webinars and so used to webinars especially that are recorded and they send you the recording afterwards and so people might sign up for them but then they never watch them 'cause they're like, "Eh, it'll come to my email inbox and I'll watch it someday." You know? And so there's this element of folks being jaded by webinars and you know, having said that I think there are some people doing them really well. You're not a huge company as you mentioned. You're 25 people, but you're getting large numbers of people to your webinars. So I wanna dive in and learn more about what you're doing and what's the secret sauce behind these great results you're getting. Andre: It's interesting because you've got all these different things that you can be doing as a digital marketer and you know, for us, you know, we've been doing webinars for a few years now and you know, it's among other things managing all the social channels, doing all these big kind of product campaigns, doing events, doing more tactical campaigns, you know, ad words, all the rest of it, so you know, where do webinars fit in? I think there was a point where we were kind of, you know, we wanted to kind of partner with more people in our ecosystem, other brands, other product services, and so when we called up these people we kinda went to the table with a bunch of ideas and were open to doing whatever with them. You know, might be events, might be, you know, we could do some blogging, you know, guest blogging on each other sites, you know, good for back links, good for awareness, maybe getting them to share some stuff in their newsletter. So you know, we tried to think about all these things that we could do, even create some content for YouTube and stuff like that or you know, data content. So there's actually quite a few things you can do with someone but it was funny because it almost always would just keep coming back to webinars, that was the thing that kind of ticked all the boxes for both sides. A webinar is something that when you approach someone, they already have their audience, they're very protective of the community of the audience, they're not gonna just be kind of sending anything you send them on to their audience, they're the gatekeepers and when it comes to webinars, you know, the key is coming up with a really good topic, a topic that kind of speaks to both the audiences. So I think the first thing we do is kind of figure out what the overlap is for both of us. You know, what are we both standing for and in the case of doing something with IMPACT, you guys are doing some amazing kind of consultancy work around helping brands scale their video. You know, we happen to make a tool that helps them do that so let's kind of talk about that. It should never be salesy, so you know, I think part of the secret sauce is just coming up with something that people wanna click on that's really, truly valuable when they click on it and learn something. So that actually can take a little bit of back and fro. I've even had to kind of can a webinar late in the planning phase because we just couldn't quite come up with that ... And that was a tough decision for me to say, "Look, you know, we're just not quite aligned. You wanna talk more about this but that's not really interesting to our audience. We wanna talk more about this but you don't have enough leadership in that." So kind of to answer your question, the reason why we do things in the first place is because they're really easy to share to both your communities, they both provide a lot of value to both those audiences, and they provide leads and bound leads, you know? A lot of these other pieces of content doesn't have a gate and a form like webinars do and it's just natural to enter your email and sign up for these things. So therefore when you're looking at kind of what the outcome is for both these companies, you know, you both get a nice list of leads and you both provide a lot of value to your audience and it's very easy to share. And then so once you've got a really good topic and once it kind of ... You know, that's gonna help massively and then there's a few other things you can do to help drive them and one of ours is to have quite an active community, to have quite a big email database, you know, a good open rate, so that's kind of some of the work we've done over the years to build that up that we can now go to with good content. It's quite traditional marketing really. We still get a big chunk of our leads through email. Another one, which is kind of obvious for us, but make a video to promote that webinar.  When you look at the click through rates on the emails or even with our partners, we really tend to always overshoot their goals on what they kind of expect. And even when we have at times kind of brought less, you know, having not done a partnership and having to drive all the traffic ourselves, you know, gone through things like MarketingProfs and kind of sending out email blasts to 15,000 users, for them, you know, they come back, it has a thumbnail, so we create a GIF thumbnail with a play button on top and they're like, "Oh, this is some of the best results we've had!" And that's good topic, good copyrighting, and a video thumbnail to help drive it. But yeah, we use our social channels. We have audiences across different social channels.  We have an in-app kind of pop-up that lets people know. We have a newsletter that goes out to 40,000 people that has like a 25% open rate. So it's a combination of all these things, you know? Probably there's no secret sauce on it - it's a combination of value and you know, and finding something that kind of works for both you and some potential partners. Kathleen: So taking a step back, you mentioned you start with really trying to figure out topics that will resonate with your audience. Tell me a little bit more about who your audience is. Andre: Yeah, yeah, for sure. So we stand for video, you know? We're born out of video, out of making the video workflow easier, about helping people speed up their video workflow. So that's the kind of things that we like to talk about. The topics that come under that are kind of, you know, video marketing, or video ideas, creative ideas, you know, making videos for your clients, things like that. Our audience is a few different types but our main audience is the video creative themselves, so the video editor, video producer, video director. They can be a freelancer, they can be working for a small production company or an agency, they can be in a brand, you know, be an in-house team for a brand, you know, so that's pretty much the mix. They can also work for big media companies as well. And so they're all slightly different, you know? We have actually done quite a bit of content targeted as well, at kind of marketers, marketing managers, marketing execs, to help them scale their video strategy and the reasons why they need to do that. So that's kind of our audience, but I think that the large chunk of that is video creatives. Kathleen: And assuming you're able to really nail down a topic that's gonna be relevant and useful to that audience, you then talked about working with your partner that you're doing the webinar with to really refine the topics, make sure the presentation is not gonna be too salesy, and that sort of thing. How long does that process generally take for you guys? Andre: I mean, sometimes you just come up with that topic and it's just real obvious and you kind of nail it. It's one of those ... Kind of that creative writing part of it is hard to ... You always think, "Oh, I've got a couple of hours, I'm just gonna smash this out." Sometimes it works, sometimes it doesn't, you know? It's a bit of wordsmithing. I think one of the key steps to this - and this wasn't, you know, we didn't have this from day one– was having that kind of, that one page, well, not one page, just that one document, that collaborative document that starts with a time and a place and a kind of general theme. You kind of flesh that out, you come up with an abstract ... a title, abstract and a few bullet points. It's actually not a ton of words but you kinda wanna kinda get it quite synced and really kind of interesting. I think part of that process as you're doing this, you know, you actually list all the kind of requirements for your partner and it kind of helps to show what you're gonna commit to. Especially around promotion, you know?  We've kind of been burnt in the past by kind of our partner not living up to what we'd expect for them because I've got other things going on. That's fine, but you know, when you've got in writing that's saying, you know, "We're gonna send it out to our email list of this size twice," you know, "and on these dates. We're putting it out to our social channels. WE're gonna throw 500 bucks behind it to boost it." Once you're kind of quite transparent about what your expectations are and then relaying how many registrations have come in as it happens, put the heat on a bit more, but it gets fun, you know, you share in that success. So I think, you know, it does take time and I know some companies do a webinar a week or something like that. You know, I do too many other things to be trying to take on that. Even a webinar a month is pretty ... I've done that for a few months in a row, you know, four or five months in a row and that's like, you do at least two months promotion time for each of them. Especially if they're using customers, customers are really good if you have a shared customer with your partner. That's ideal, but you're also adding another person who's busy into the mix and so, yeah, be a little bit realistic about the times and it does take a bit of time, you know, and I wish it took less time. There are actually other models or other styles that can take less time. You know, AMAs on Twitter or you know, we're thinking about starting kind of a live video kind of creative chat, monthly chat. That actually requires less of our customers and more people that we want to highlight and less of us in terms of kind of planning the content and stuff, but when it comes to webinars it does take us a little bit of time to get all that stuff together. A few moving parts. Kathleen: Yeah. I love that idea that you mentioned about having that collaborative document. I almost think of it as like a creative brief for the webinar and getting both parties in it and aligning around it because I do think that it's easy to say, "Hey! We're gonna do a webinar on X," and the two parties have very different visions of what X means and should represent and you certainly don't wanna be surprised the day of with slides that are not, you know, that are not along the lines of what you were hoping to see. Time-wise- Andre: Yeah, you do wanna control, not control some of that but yeah, you wanna avoid surprises, have those timelines, have the dry run. You know, do all that stuff, have all those steps in place, and once you've kind of got a document that kind of outlines that stuff you can copy the document, pull out some stuff depending on what the next one is, and at least it kind of puts that up front very early on in that kind of conversation. Kathleen: You were talking about timelines earlier and it sounds like, if I understood correctly, you leave yourself about two months to promote a webinar. Is that accurate? Andre: No, two weeks. Kathleen: Two weeks, oh, I thought you said two months. I was gonna say, "Man, you're really good about planning ahead!" Andre: Well actually we're gonna be doing one with IMPACT in just over three weeks, and they do three weeks promotion so I was quite impressed with that. As long as we've got a solid two weeks of promotion time we find that's plenty to kind of include it in some of these letters that we send out, you know, pop-up in-app, put it across the social. So yeah, as long as we've got two weeks we're pretty good at pulling a bunch of registrations for sure. Wipster's Webinar Promotion Campaigns Kathleen: So let's break down your promotion process. You've got these two weeks, you just mentioned a few things you do, let's start with email. Am I correct that you have a weekly email newsletter? Andre: Yep, every Thursday, US time, we send out a Wipster Weekly and this has been something that's been really successful for us. We've had it around for ages, and we curate a bunch of content, you know. We kind of scour the interwebs and find all the best kind of video production, video marketing tips and tricks and you know, educational stuff, so we pool all that together. There's like five articles and then inspirational video of the week. One of those blogs is our blog. We put out a new blog every week, and so that's kind of pretty value-driven and people love it. We get a lot of responses from it saying how much they look forward to watching the weekly and the different articles and pieces in it and it also provides us a pretty good regular promotional tool. We've got a little banner at the bottom that we can use and also the intro to the newsletter is personalized so we can kind of let everyone know that there's a webinar. Kathleen: And that's going out weekly. Do you do then on top of that separate like, email blasts if you will, to your list? Andre: Yeah, definitely. Yeah, and we don't send a ton of emails to our users, you know? So I know even for us we're quite sensitive about kind of sending too many emails but actually we don't send that many. For a webinar we typically send either two or three. You know, one kind of a week or week and a half out or two weeks out from the webinar. I think, you know, because people get that Wipster Weekly every Thursday they also might not have time that day and kind of know what's in it but when you send a dedicated email and the subject line is all about that webinar, it's a bit more focused so it's gonna get some different types of people clicking on it. And so that's an important tool, you know. I was just looking at some numbers earlier ... Let me just have a quick look here. But to give you an idea- Kathleen: As you're looking at those numbers I'm curious, and I don't know if you can get this specific, but you've got a two week time period. Is it one email newsletter mention and then one email blast or ... What does that cadence look like? Andre: Yeah, it depends on what day it falls on but usually it would be like one email kind of a couple of weeks out, a week and a half out, and then a kind of reminder one day away email. We might sometimes send two emails with different subject lines and different content with that big thumbnail as well, ideally a thumbnail. Then send that kind of one day away, just last chance to catch it, and if we get clever on it, if we've got other promotional stuff going on and we don't ... 'Cause it kind of depends if we've got other things going on whether we send two or three emails and sometimes, you know, if people have clicked on the email but haven't registered then we might only just send those guys the one day reminder. So we play around with it a little bit but they'll always get at least two dedicated emails you know, about the webinar and then also one to two mentions in the newsletter because it can just be as short as a little intro in the newsletter just reminding them. So it's just, you know, you're actually letting people know something that they like to be kept informed with, you know. Especially if it's good content highlighting some amazing customers at Deloitte, a video team of three making video for a company of 280,000, you know, learned how that's successful with internal video, et cetera. So that's stuff that you're proud to share and I think that's a real key part of it. And just to kind of talk about you know, where some of our leads come from. We did one with ... We did a webinar with Brightcove and Deloitte, as our customer, someone I just mentioned, and 50% of our registrations came from our email. You know, that was dedicated email, from the newsletter, that was like 12%. So out of 1100 registrations we drove 700 of those ourselves and yeah, so 50% came from emails. So email is really powerful and then ... Yeah. Kathleen: So then I have a really specific question and you may or may not have an answer for this. With email I know my team spends a lot of time, because we're all total marketing geeks, talking about subject lines. And you're obviously getting great results from your email blasts and we've debated back and forth, especially for webinars. Does it make sense to have the word "webinar" in the subject line or like ... Have you found any lessons learned from how you craft your email subject lines for your webinars that seem to work well for you? Andre: We do typically use the word webinar, but in saying that, we sometimes don't and you know, it kind of depends because we're only doing these every couple of months. You know, we have those conversations at the time, "What are some good subject lines?" We're also sending probably two emails plus a reminder so "webinar" is gonna be in there somewhere. But nothing really stands out for us in terms of you know, in terms of what works more than others. It doesn't vary hugely, you know, as long as it's a good topic, you know? I don't think things like that make a massive difference for us. Definitely not something we've noted, but we're all so busy that it's kind of hard to get too down in the details. But you know, I think it's good to let people know that it's a webinar. I think people still enjoy webinars and you're saying that they are kind of old-fashioned and we've had those same conversations. We go to the table with these partners with you know, "Let's do a video series on ... We can create a landing page, do an educational series about how our brands are turning into media companies," you know, "Put a topic outline," and then it's kind of like, "Well what's the goal here? Are we looking for leads? 'Cause where do they enter their details? This is quite a lot of work to do, you know, where is it gonna live?" And it just starts getting quite complicated so you know, it just keeps coming back to webinars being really successful for us. Kathleen: Yeah. And in the emails themselves, are you putting ... You mentioned that you make like, a promo video for your webinar. Are you putting that video with your animated GIF into the email? Andre: Yeah. So yeah, like, if you can't do a GIF - they're pretty easy to make as much tools - you can just do like a screenshot of your video, so a thumbnail with a big play button. The play button is one of the most recognizable, recognized logos there is. You know, everyone knows what that means and people just wanna watch that video so that's something that really increases your engagement or the click through rate of that email. So yeah, definitely recommend doing that. What we've been doing recently is kind of taking a few frames and making a little GIF with a play button over top 'cause GIFs play inside the email. Thumbnails don't. Videos don't.  And then everything drives to a landing page which is optimized and that's something we've kind of ... There's a few steps we've taken over the years and we've actually been using a site called Instapage, you know, where it kind of takes away your navigation at the top and really kind of makes it clear what the offer is on that page. It's got a form above the fold. It's got the video kind of above the fold. It's got the description so kind of, you know, making that as nice and as optimized as possible, not a ton of ticks, you know, really clear what they need to do to sign up. So that's something that has helped our conversion rate on that end.   Kathleen: So you talked about how you use Instapage and your emails and things. You also discussed that when you're doing these promotional workflows for the webinars you have a couple of other channels you use and one of them was social. Can you walk me through what you do on social to promote your webinars? Andre: Yeah, for sure. Social, you know, surprisingly social will only get us about 10% of our sign ups but you know, it's all about ... For me, I think social channels are really good for brand awareness, showing that you're active, that you're in the conversation, that you have an opinion, that you're coming up with thought leadership. So we kind of throw around $500, if we're doing something with a partner we might throw $500 or so dollars just to kinda get that topic and webinar in front of a bunch of different people and you know, our target audience, showing that we're just leading thought leadership, we're talking about the things they care about. It often doesn't result in a ton of registrations, as I said maybe 10%. We have used, on Facebook, we have used the forms before so people can ... So the form is actually embedded in Facebook, it auto-populates some of the details on there because Facebook has already got that information. And so that has worked out for us, you know. They're like $10 a lead or $10 a registration, which is actually lower than almost anything else we put money towards. To give you an idea, you know we, for that MarketingProfs, email blast, that cost us $3,000 and that's a list of 13,000 and I think that got us like ... What was it? That got us ... Let me see, that got us like 120 leads, so that was $24 a lead. So $10 with $24 ... Yeah, so social typically doesn't work out to be an amazing return on getting leads. Plus you know, with something like Facebook, for $10 for using that form, we have to integrate that form with our content management system that integrates with our webinar thing so it takes a little bit of back and forth work. We've tried it, it's a pretty good cost per lead, but we don't think the quality there is really very high. So yeah, I mean, the videos are great because honestly I think the video is the key on a lot of this stuff because video looks great on all these social channels. It shows what you're doing. It does drive registrations, but about 10%. I think it's a collective, kind of, you're using all these channels and if you're building them all up I think it all really helps. You know, 10% is nothing to kind of scoff at, that's really important, plus it's quite low cost. But yeah, it's not super efficient in terms of driving leads and it just provides us really good content to share and shows that we're kind of active and talking about the topics our customers care about. Kathleen: That's interesting to hear how ... Some of the different paid media channels that you've used. Have you done any other promoted newsletter placements like you did with MarketingProfs or was that the only one? Andre: That's the only email blast that we've done and the reason we had to pay for that one, because we ended up throwing like five grand at that webinar, we got like 550 registrations. It was really good content but it was a little bit more targeted towards marketing strategy and marketing teams so it's not gonna be quite as attractive to all our freelancers and production companies- Kathleen: Got it. Andre: So I think that's why we didn't get quite as many. But however, you know, we also ... It was something that we ran completely ourselves and we didn't have a partner to leverage their audience so then without putting a bit of money ... I mean, at the end of the day we all want new leads or new eyeballs on our product or service, on our thought leadership, we wanna attract people that are outside of what we already have, which is pretty much our primary KPI. There's still a lot of benefits to be had about engaging people in your database, you know? People that aren't quite customers yet or even customers. To reengage them with how other companies have been successful and et cetera, et cetera. But you know, when we're working with a partner we really wanna kind of get in front of a new audience and so when we've done webinars that highlight our customers, and we haven't done this with a partner, then we've gotta look at new ways to kind of top that up. Andre: I mean, so we got 130-odd registrations, you know, through that channel with $25 each so you know, that was quite interesting. But then if we look at a webinar we did with Lemonlight we got like 1200 registrations. The topic was kind of, 24 inspirational video ideas or something like that, so a little bit more generic, a little bit more kind of collective for quite a wider audience. And we spent $500 on that, you know, so 10% of what we spent and we got a bunch more leads. But you know, you've gotta consider what you're looking for, what the cost of your product is, how much you're willing to spend to get someone into your, kind of into your world and educate them about what you're offering. We're a business-to-business product, we have kind of a varied list of what we charge our clients so it depends. When we did the webinar with Brightcove and we highlighted Deloitte that was a bit more of an enterprise play and Deloitte, I mean Brightcove, you know, by and large their customers are bigger companies, bigger media companies, bigger brands. So they're a real enterprise solution. So even though we attracted 700 versus their 400, you know, we got some really top quality brands that came along to that. You know, like an amazing list of brands that tuned in for that one. So it also isn't always about quantity, you know, there's also a quality argument to that as well. Kathleen: Absolutely. It sounds like especially if it's maybe an audience that isn't in your core of the video editor, the producer, et cetera - like when you did the MarketingProfs thing - it sounded to me like you're looking to maybe expand into and get more leads in a segment where you didn't traditionally have a ton, so that makes sense. Andre: No, absolutely. When we started this business all those years ago, you know, our bread-and-butter customer was video producers and agencies and freelancers dealing with that client feedback process. And so we saw a big opportunity in these brands because things were starting to move a little bit more in-house. So we really wanted to get in front of brands as well and help them along that journey. So then you start to do some kind of more tactical plays in terms of getting in front of those decision makers, their brands, the marketers, and whatnot. So that influenced our content strategy last year when we really made some kind of conscious plays targeting marketers, video marketers, marketers in general, making sure they're aware of tools like ours to help them scale their video. And then, so part of that is creating the topic and the ideas that are really valuable to them. That was highlighting Xero's journey, you know. They have an amazing in-house video production team. They use video across their kind of content strategy so it's not all actually just marketing, it's about all the education and kind of onboarding and all that kind of stuff as well. They are a global company with an awesome in-house team and the guy that runs their team kinda walked us through how they went from you know, 10 videos a year to 1,000. So that was really targeted at these brands who have started their video journey but wanna kinda scale it up. So it wasn't really targeted at those freelancers necessarily. And then that was just part of our overall kind of marketing strategy in terms of building awareness in that segment and kind of trying to drive some business in that area. So yeah, I think getting new eyeballs and getting new leads, you know, based off what your kind of strategic objectives are as a company, but getting some new leads I think is one of the big outcomes of webinars, especially when you're doing it with partners 'cause there's already ... Kathleen: Definitely. Yeah, definitely. Now, going back to your data on where your webinar leads are coming from. We talked through email which is 50%, talked through social which is 10%. What were some of the other significant sources for you? Andre: Well actually ... I was actually looking at the Xero webinar numbers so I've kind of got that a little bit wrong. The numbers are still correct but this was for the Xero, not the Deloitte one. So this was the time where we had to drive all the registrations ourselves. So 50% email, 22% came from that email blast that we paid three grand for, 12% was the newsletter, and then like eight or nine percent was across our social channels. We also have a pop-up in the app and that kind of drove a couple of percent and also our website as well. So on our homepage we have a little banner at the top of our homepage and that drove another two and a half percent. So that's our 100% there. You know, if you look at when we do something with Brightcove, you know, we pull 700 and they pull 400 so they're bringing in ... I don't know what that is, 30-odd percent themselves. Kathleen: I love that you're pulling in more leads than Brightcove. Andre: Well you know, that was- Kathleen: I mean, they're a decent sized company, you know? Andre: That was fun because they said to us, you know, they were like ... I was like, "Okay, what's our goals?" 'Cause I already had this kind of, you know as I said, the documentation to help drive the process, and usually I always put a goal here and I kind of put, "What is our goal and what is our stretch goal?" And so they were driving this one a little bit and they said, "Well, our goal was 300 registrations," and I was like, "is that each?" And they're like, "Oh no, total." I was like, "We'll get that ourselves, no problem. I think we should aim higher." And when we launched our campaign we launched it a few days before them and we kind of got 300 out of the gate and so then that kind of lit a fire on them as well to really kind of drive registration. So you know, if you think about it, they were aiming for 300 all up and they ended up driving 400 themselves. So that actually made them push harder. We got 700 of those and then we just kind of ... I had a chat with the team on slack but the kind of brands that we attracted was Bank of America, Oracle, Cisco, Goodyear, McCafee, Oxford, Milwaukee Tools, Hallmark, you know, Sears, Walmart, SAP, Apple, Pixar, Canadian Tire, Baby Center, Airbnb, Visa, UNICEF, LinkedIn, Salesforce, Air New Zealand, LA Times, Whataburger. So you know, when it came to big brands, and a lot of those we actually drive ourselves, but they pulled some big brands in there as well. It was a roaring success and you know, the guy that spoke for us was a great presenter as well so it was really a valuable webinar that everyone got a lot out of. And then actually ... You know, you talked about, what is it, about 15 or 20% of people turn up on the day, I think that's roughly the number, maybe 25, 30% turn up to these webinars on the day. But then of course we do share them and we even put them on YouTube and like, that webinar has got 600 or so views on YouTube, you know, for long form content of an hour long webinar, you know, you are getting people engaging with it, even if they don't turn up on the day. Kathleen: Yeah. Now, I'm super curious, you do an event with a company like Brightcove and you pull in 700 registrants, they pull in 400. I mean, both numbers are great, but to what do you attribute your ability to pull in such large numbers? I mean, you're not a much larger company, I don't know if you have a larger database than they do. Is there something that you're doing differently that's getting you those results or is it something about your relationship with your audience? Andre: Yeah, I'm not sure because I guess we're both using the same video and we're both using the same kind of a topic so you know, so that stuff, you know, we take pride in getting that stuff up to standard. Yeah, I think we do have an engaged audience, I think we do understand our audience. Yeah, I'm not sure what drives that kind of engagement. I think from the get-go when this company started we were very kind of interactive with our audience, we did a lot of AMAs on Twitter, our social channels were quite active, we had a Facebook group. You know, we've always been about thought leadership and sharing knowledge and trying to drive it through value-first based content, so maybe it has to do with our relationship with our audience. Our database is about 40,000 strong, which is pretty decent. Yeah, I'm not sure. You know, I know like for those guys ... Maybe it's also because we're quite agile and we can use all these different channels, you know. Like I'll put up the banner on our homepage myself, I'll set up the pop-up in that myself, I'll create the landing page myself, I'll schedule some ads myself. So maybe that also means that we can kind of be more active on these different channels and leverage these different channels. If they were to do a pop-up on their landing page, or not a pop-up, just a little banner at the top, they might have a few more hoops to go through in a bigger company with other things going on so maybe that works top our advantage as well in terms of getting the message out. Kathleen: That's a good point. There are definitely some advantages to being small and agile. So interesting, you know, and I appreciate you sharing so many details about this because it is ... The devil is in the details with these things, so, fascinating to me. Kathleen's Two Questions Kathleen: I wanna change gears for a second. I have two questions that I always ask everybody who comes on the podcast. You're somebody who's doing a good job with his inbound marketing, doing a great job really, with the results you're getting. When you look out in the world is there another company or an individual that you think is doing inbound marketing really well right now that you would hold up as an example? Andre: Yeah, in the video space I always love what Wistia does. You know, in terms of like, you just go to their website and how they've separated their content and each product and the education center. It's all really nice and all really value-driven and the content in the videos they create and the kind of brand personality that they've created is really good. And you know, if you wanna look at an engaged audience, they have one. Massively. You know, people are part of the Wistia tribe, you know. They've got a Slack group that creates content on it's own. They're all sharing tips, discussing, critiquing, you know, providing value for each other. So they're really good. In fact actually, I've been on IMPACT's list for years so it's quite cool to be doing something with you guys 'cause you do some amazing content that's definitely gone in front of me time and time again over the years so that would be a couple. I really like what Wistia are doing for content-wise. Kathleen: Yeah. They do have a great brand personality and I've actually spent dome time in their offices and got to be filmed for a little video they were making about their partner agencies and it's just a fun group of people to work with and they know what they're doing for sure. Andre: Their office is in Boston, yeah? Kathleen: Yeah. Andre: Pretty cool office and they've got this like stadium set up. You probably saw all that. It's like, "Stay Weird" on the walls and you know, kind of embracing that kind of diversity and just ... I don't know, there's definitely something they're doing right and being good at video, you know, using video because video says so much more than a lot of other mediums so you know, they've been at ... If I just say one thing on a video you actually get a lot more because you might see where I am, what I'm doing, so they've really used that to their advantage and done a really good job, which they should be because they're advocating for video. Kathleen: Right. Agreed, agreed. And what about how you keep up to date? Digital marketing is changing really quickly, there's always something new happening or you know, Facebook changes it's rules, whatever. How do you stay up-to-date and current with everything going on in the world of digital marketing? Andre: It's hard because, you know, I often don't have time to click on even the most interesting subject lines but I do follow a couple of good newsletters that I get in my inbox and I click on those. One of the things that I think keeps me quite up-to-date and inspired about marketing and particularly videos is just talking to some of our customers. You know, I've had some really good, in depth chats over the years with some really interesting people who are kind of ... You know, I talked about Xero, this guy, Pat MacFie, he's just like ... I get off the phone and every time I get off the phone with him I'm just pumped, you know? Sephora, you know how they've kind of grown, they were making 24 videos a year and now they make over 1000 and they're talking about ... And that just started with one. They brought in one video producer in-house, they were kind of renting a studio in San Fran once a month and just shooting a bunch of content once a month and now they've got their own studio in LA and all the brands come to them wanting to borrow their studio and they've got all these ... So just watching that, and that's over a couple of years. You know, you talk to these guys about how they've kind of actually built that and the process, the steps that they've gone through and in two years to be so different and why they're making educational content and how-tos on YouTube, you know, what is that trying to achieve, and the greater trends around kind of how brands now own ... You know, you don't have the gate keeper of the big TV stations anymore. You've got all these different channels. You've got millions of people on YouTube and Facebook and Instagram and Twitter and there's no gatekeeper. You can kind of ... So it's all about audience building and engagement. So talking to the people that are doing it for some of these big companies. Shopify, the guys there make wildly high production video content that they're trying to shop out to people like Netflix, you know, so they're taking a different approach where they're going super cinematic. You know, if you talk about branded content, that makes them like, cringe, you know, it's just like, disgusting, you know? We're all about making the audience feel different, you know? Kathleen: I'll have to check those out, I wasn't aware that Shopify was going in that direction. Andre: They also do a ton of video for more technical purposes. You know, helping people use the platform, TVCs, little technical campaigns on Facebook promotions, so they still do that kind of video but they've actually got a department fully focused on you know, entertaining their audience. So actually that's probably where I get most of my inspiration - off talking to customers, specifically around video. But I think it just depends on what I'm trying to focus on, you know? I talk to some peers around Wellington, kind of around what they're doing on LinkedIn, what they're doing with their blog around driving inbound traffic. So I think, yeah, talking to people has been quite useful to me. How to Reach Andre Kathleen: Great. Well, if somebody is interested in learning more about Wipster or wants to get in touch with you and ask a question, what's the best way fro them to connect with you online? Andre: Twitter might be an easy way to find me, you know, @Andre_VDA, but LinkedIn ... I'm probably more active on LinkedIn. It's got my full name in the description or something like that, just search me on LinkedIn and yeah, we can connect and chat marketing. I am quite passionate about where it is and all the tools we all have to kind of use and kind of to tell our message, tell our stories and help each other out. So yeah, I'm open to any connections for sure. Kathleen: And Wipster's URL is? Andre: Wipster.com. W-I-P-S-T-E-R.com.   Kathleen: Yeah, I'll put links to all those things in the show notes so if you're wanting to find that information just head to the IMPACT website and you'll find it on there. Thank you Andre, it's been- Andre: We'll be doing that webinar in a few weeks as well so make sure to look out for that and we're talking with Zach, so he's a video consultant for IMPACT and he goes to a bunch of different brands and actually helps teach them to make a video because he's a firm believer that the only way you can actually make multiple videos a week that's kind of affordable, scalable and kind of really effective and authentic, the only way you can actually do that is to start making it yourself because the agency model doesn't quite work when it comes to making a handful of videos a week for these kind of different purposes. You know, because you can't really pay an agency a lot of money to do that and get the ROI so that's gonna be all about kind of helping you guys make more video in-house so check that out. It'll be in a few weeks time, I'm sure you'll find out about it through the various channels we have. Kathleen: Well, and I'll put the link for that in the show notes as well, so. Click here to register for the webinar with Andre and Zach Andre: Perfect. Kathleen: So you can click that and register. If you're listening and you found this to be helpful I would love it if you would give the podcast a review on Apple podcast or the platform of your choice and if you know someone else who's doing kickass inbound marketing work, Tweet me @workmommywork because I would love to interview them. That's it for this week, thank you so much Andre! Andre: Thanks for having me. It's been fun.  

Ying Yuen started acting at 19 in Singapore performing in Mandarin and English. She did many projects in TVCs, and with the TV Drama Department of Television of Singapore. She moved to Los Angeles in 2001, got herself an agent and an acting coach, started doing mostly Industrials in the beginning. . Over the years, she acted in many film thesis for Masters graduates of Chapman U and USC. Ying Yuen has also done many notable National T.V Commercials. The journey has been a very blissful one for Ying Yuen, and she never looked back. Ying Yuen studied with Director Howard Deutch in The Master Class at Beverly Hills Playhouse for about 3 years. She speaks Mandarin, Cantonese and English. As a hobby, Ying Yuen dances Modern and Chinese folk dance, and is flexible with many yoga movements. --- Support this podcast: https://anchor.fm/theactorslounge/support

Warren chats to Jet in Soho, London about her extensive work history. The move from TVCs to drama, women in color, and what she thinks of Kevin Shaw. Being headhunted — and on the other hand getting fired in Leicester SQ after a movie screening. How do you get five days to grade a one shot Madonna TVC? Jet has colored numerous television commercials and has recently finished the TV series Trust by Danny Boyle. Other notable credits include The Night Manager and Luther.

  Alexandra Channer: Automation, Displacement and Slavery in Southeast Asia (Ep. 166) Alexandra Channer joined Joe Miller to discuss how automation is leading to labor abuses and slavery in Southeast Asia. Bio Dr. Alexandra Channer (@channer_alex) is a human rights advisor for business, helping to identify and mitigate impacts resulting from their commercial activities and relationships. She has a technical background in risk analysis and due diligence for labour standards, civil and political rights and community impacts. In her previous role, Alex was principal analyst and head of human rights strategy at Verisk Maplecroft. In this role, Alex supported multinationals with global supply chains in the technology, extractives, food and beverage, and apparel sectors. Areas of focus included modern slavery, human rights defenders and automation. Alex’s approach is enriched by her doctorate in politics - involving eight years of fieldwork on grievance-based mobilisation in Kosovo - as well as experience working in political communications. Alex learnt Albanian in Kosovo and translates plays and books in her spare time. Key services: Modern slavery training workshops and e-learning programmes Gap assessments of human rights management systems Stakeholder consultation    Disclosure statement support Risk and impact assessments Issue briefing, horizon scanning Resources Slavery and labour abuses in SE Asia supply chains set to spiral over the next two decades as automation consumes job market by Alexandra Channer (Verisk Maplecroft, 2018) Confidential documents obtained by UK’s Parliament suggest Facebook sold data Two-hundred fifty pages of confidential documents obtained by a UK Parliamentary committee from a company embroiled in litigation with Facebook in the U.S. seem to reveal that Facebook sold data to certain buyers as it sought to grow. Zuckerberg denies that allegations. But the trove of emails between Facebook and a company called Six4Three contain several communications with Facebook CEO Mark Zuckerberg that seem to discredit his assertion that Facebook never sold users’ data. In other Facebook news, The Wall Street Journal reports that Facebook’s board of directors backs Chief Operating Officer Sheryl Sandberg’s handling of the anti-Semitic campaign against George Soros. And Facebook plans to a buyback of $9 billion more of its shares to boost investor confidence after a stock slump of more than 40% since July. Verizon’s Oath to pay a $5 million settlement in child data protection lawsuit Verizon’s Oath has agreed to pay $5 million to the New York State attorney general to settle charges that its AOL unit violated the Children’s Online Privacy Protection Act of 1998, also known as COPPA. It’s the largest settlement paid by a company in COPPA history. New York’s Attorney General had accused AOL of displaying ads on children’s sites even though AOL’s policies prohibited it.  Sapna Maheshwari has more in The New York Times. FCC watchdog clears Pai of collusion with the White House The FCC’s own, internal Inspector General has completed an investigation of FCC Chairman Ajit Pai. It found that Pai didn’t violate ethics rules when he failed to disclose conversations he’d had with former White House counsel Don McGahn regarding the Sinclair merger because the FCC’s rules didn’t prohibit the conversation even though the FCC is not a cabinet-level agency and is supposed to be independent of the White House. Margaret Harding McGill has the story in Politico. Google contract employees push for better working conditions Google’s contract employees are pushing for better working conditions. In a letter to Google CEO Sundar Pichai, Googler’s are calling for inclusion in corporate-wide communications as well as equal pay and better treatment. The contract workers, known internally as TVCs, are also referred to as Google’s “shadow workforce”. And they were excluded from Google’s new policies regarding sexual harassment which the company began implementing following the walkout of thousands of employees world-wide protesting the company’s handling of Andy Rubin’s departure, after he’d been accused of sexual misconduct—an accusation Mr. Rubin has denied. The contract employees say that Google’s $30 billion in profit this year alone is more than enough for the company to compensate them fairly. Google accelerates closure of Google+ Google has found a new bug exposing user data to some 52 million users. The company had already planned to shut down Google+ by the end of next year, but it has accelerated the closure to August. Google CEO Sundar Pichai is set to testify before the House Judiciary Committee on today, Tuesday, December 11th and the new data breach is sure to be an issue.  

Phil Lambert was born in Christchurch, New Zealand. After completing his Music Degree, Phil relocated to Melbourne, Australia where he continued his musical career as a composer, teacher and performer and established his own company Cloudbreak Music®. Phil has now composed for Feature Films, Film Trailers, Short Films, Media Projects and TVCs, performed live at various venues, radio stations and an appearance on T.V as well as receiving radio play for his compositions along with interviews throughout Australia and New Zealand. He has also built a successful private woodwind teaching business and created the internationally recognised product Classical Fingers®. As a music educator, Phil has been teaching Clarinet, Saxophone and Flute for 18 years and now teaches privately from his studio in Kensington, Melbourne. Phil believes that private tuition is important as it not only establishes a bond between teacher and student, but it allows him to personally focus solely on each student's needs at the particular level they are at; “Every student is different so every lesson needs to be tailored to suit their ability and potential.” During Phil's years of teaching woodwind he encountered numerous players, both beginners and advanced, that naturally played the clarinet by lifting their fingers too high so he started experimenting with the idea of using a device to help reduce this movement. In 2011 Phil started developing a prototype that his students could use on a more regular basis away from the lesson and in 2014 the evolution of Classical Finegrs was finally realised. Since its release, Classical Fingers has now been sold to 28 countries including to: Teachers, Students, Stores, Universities, High Schools and Distributors. It has also won various Design Awards and has been exhibited in Australia, Korea, Frankfurt and USA. Phil is currently devloping Classical Fingers for the Flute. Links Classical Fingers Cloudbreak Music Discussion Topics The excitement of composing The musician and composer as small business owner Phil's company "Cloudbreak Music" Moving to Australia from New Zealand Why Classical Fingers was invented The development and design of Classical Fingers Teaching and learning with Classical Fingers Who is this product for? How can teachers use classical fingers? How can students use classical fingers? Where is classical fingers available for purchase?

Director Scott Hicks about his latest documentary Highly Strung. We also talk about his career as he continually bounces between features, TVCs and documentaries and how that drives his process.

According to the Brand Newsroom team, 30 second television commercials are like being whacked between the eyes by a four by two, and this approach is losing effectiveness. What are the alternatives available to brands? Should brands sponsor entire programs, adopt product placement, or adapt to 15 second slots? Or should brands move to platforms like YouTube instead?

Recorded at the 2013 ADG Conference, this session explores the art and craft of the TVC director. It examines how they define themselves in the current age, the role they play in the strategic delivery of transmedia campaigns and how this relates to storytelling. What can other directing disciplines learn from the directors who specialise in this field? Moderator: Tony Davison Panel: Paul Middleditch, Glendyn Ivin and Dan Reisinger