2018 was a massive year for us. Starting the year by cruising the Indian Ocean with Crystal Cruises and ending it at a farm in Tasmania, it’s been a seriously creative whirlwind. So, as the end of the year inches closer we decided to look back at some of our favourite jobs. These six in particular were all incredibly challenging for a myriad of reasons, but the rewards reaped from the results certainly outweigh the blood, sweat and tears tenfold.
In no particular order…
Working with one of our favourite agencies, MercerBell, the team ploughed through a huge list of deliverables with less than 10 days pre-production. Shot over 7 days in 8 different locations across Sydney, Director/Photographer Stuart Miller, behind the lens, and Stylist Emma Elizabeth, behind the wardrobe rack, worked quickly and efficiently to over deliver, as always, an epic image, motion and cinemagraph library. This is one of our faves because not only did we get to work with an incredible team but we were given the opportunity to craft a beautiful bespoke aesthetic to rebrand AMEX in the Australian market.
Director/Photographer Quentin Bacon and FLIPP went aboard the Crystal Cruises 5* Luxury Cruise Ship for ten whole breathtakingly beautiful sea-filled days; we didn’t see land from Port Louis, Mauritius, until we docked in Broome, WA. The boat and all the amenities, service and staff were next level OTT fabulous and we caught it all, delivering a vast image and motion library. Starting the day with sunrise shots and working through to sunset, we worked our butts off to capture all that this fantastic vessel had to offer. This job was a wonderful one for us to work with a new client and stretch our expertise along with our sea-legs.
This was one of the most challenging productions we have had to date both in terms of logistics, casting, location scouting in pre-production and also in intensity on the day. Director/Photographer Stuart Miller along with Clinton Bell, our EP, lived and breathed Hard Yakka for just shy of six weeks to ensure that every single detail was nailed down and authentic to a hammer. The results speak for themselves. We absolutely love this creative.
This shoot was one of the most epic we’ve done to date, both in terms of scenery and pre-production logistics. There were a lot of changes which we rolled with in the very tight pre-production timeframe. Luckily we had an awesome team with us in Director/Photographer/Specialist Drone Operator Jem Cresswell, MercerBell, AMEX and on the ground in New Zealand Helicam Films. We love this job for the incredible places we ventured to, the people we worked with and the creative collateral we produced. We can’t wait to show you the rest of this campaign as it is rolled out in 2019.
It’s been such a kick seeing our amazing Photographer Murray Fredericks share the spotlight and align with such an iconic Australian brand! In collaboration with Director Brendan Fletcher, Worldwidemind, the team at Richards Rose and Colorbond, Murray was sent on the perfect mission – to find landscapes that reflect Colorbond’s latest range of steel products. This project was unusual in that it was equal parts art commission and brand endorsement. It was an amazing experience for all as they set off, intrepid explorers, into the great unknown in search of spectacular scenery. The adventure was documented in both motion and stills and launched as an integrated campaign. Seriously a once in a lifetime brief, but here’s hoping they make it twice!
The SWEAT team keep us busy! Throughout the year we have shot eight different campaigns for their various collateral, including motion. Director/Photographer Stuart Miller and the SWEAT crew are by now all old friends. We love working on SWEAT jobs as we have a great working relationship with the team, they trust us with their brand. We are fortunate enough to have developed a real creative partnership.
Cheers to another year of boundary pushing, challenging and exciting briefs. We can’t wait to work with you in 2019 and see what’s next!