Ask any agency creative team member if that file they’re saving is the final version and they’ll go blank as the amount of ‘client-feedback_final_final-2_please-god-let-this-be-the-final.tiff’ file iterations they’ve fired off flash before their eyes in black and white.
But continuous updates to creative files isn’t always triggering. In some instances, like with this announcement, it’s cause for celebration.
We’re happy to announce two big changes to employee files, namely our ‘Lauren-Simpson_contract-producer_we-need-to-lock-her-down’ and ‘Blair-Kimber_creative-director_how-did-we-ever-function-without-him’ folders, which are now nice and neat:
Lauren is a film gun we’ve been courting for a while. She studied film at California State University Long Beach and film and television at Swinburne University before clocking an MBA at the Australian Institute of Business. She’s since worked with international content companies the world over, racked up awards (check her website), and is currently the President of Women in Film & Television Victoria.
Now we’ve locked her down as our permanent producer she’s going to be front-and-centre behind the scenes, nailing the logistical gymnastics of creative coordination and taking productions from budget through to blockbusters.
Blair Kimber is a creative and art director with nearly as many Cannes, D&AD, and Webby’s Et Al awards as Drake has Hot 100 entries (190 to Drake’s 208, it’s close). He began as a product designer before scooting into graphic design and branding, and then settling into being the creative brains behind the operation. We shouted it from the rooftops when he came on board, but, as he’s been ranked as one of the top 50 art directors in the world, he’s also the type of creative whose moves are covered by thepress.
Blair’s new position as Executive Creative Director not only sounds way cooler, it will see him delve deeper into the inner creative workings and opportunities at Keep Left, herding creative cats and wrangling pesky ideas into well behaved campaigns and content.
We’re amped to roll into 2021 with robust changes to Keep Left’s right-brained thinking and some new positions filed away. Still, we advise you watch this space — as is always the case with creative files, you can never count out one more ‘final’ edit.
Melbourne, Australia, October 7, 2020: Openpay (ASX:OPY), the ‘Buy Now Pay Later’ provider with longer and more flexible payment terms, has appointed Keep Left as its PR agency of record and creative partner in Australia, following an extensive pitch process.
Keep Left will work hand in glove with Openpay’s in-house team to build brand awareness among consumers and merchants, educate consumers on how Openpay provides a smarter alternative to traditional forms of credit, and, importantly, differentiate Openpay in the BNPL space.
Openpay is unique in that it operates as a smart budgeting tool to help consumers manage their cashflow and finance their needs and their wants. The service offers consumers access to merchants not only in retail but also dental, veterinary, automotive, home & garden, sport memberships, and education as well as consumer fashion and lifestyle — with over 2000 merchant partnerships in place and growing.
Openpay CMO, Georgina Whalley, said, “We were looking for an agency partner with a difference. One that not only had specialised knowledge and networks in the areas we operate but was able to cover a broad range of requirements, to act as an extension of our marketing team.
“Keep Left delivered on all fronts. While the brief started with PR, Keep Left’s creative was so strong and on-brand for Openpay that the remit quickly evolved, and we couldn’t be happier.”
The always-on PR program includes the full gamut of press office services including proactive news announcements, thought-leadership, profiling and reactive issues hijacking.
Keep Left have also hit the ground running with the development of a brand campaign being led by the agency’s creative director, Blair Kimber. The brand campaign will be delivered across earned, owned and paid channels by Keep Left in conjunction with Openpay’s digital agency, Atomic 212.
Commenting on the appointment, Keep Left CEO, Caroline Catterall, said, “The team really connected with Openpay’s confident and witty brand personality and their mission to change the way people pay, for the better.
“Openpay brings to the table a number of key points of difference in the BNPL space, namely their longer and more flexible payment terms that give people a smarter way to manage their cashflow. It’s a business we’re very excited about, and know we’re going to have a lot of fun with.”
Openpay recently reported record results for FY20 with plans to continue to its rapid growth and scale in Australia, the UK and new markets this financial year.
The appointment adds to Keep Left’s growing portfolio of financial services and fintech clients including ME Bank, Experian, Saxo Markets and CUA.
Sure, we’ve been missing our office coffees with a splash of Riverina Fresh milk this year. But we’re also excited to have launched a digital and retail-focused brand campaign with the Aussie dairy company, which you may have seen in your local Woollies store this week.
Riverina Fresh has been supplying fresh milk to Australians for almost a century from their Wagga Wagga pastures. They’re the leading choice of milk for local baristas and have spent the ongoing lockdowns helping their cafe partners pivot to grocery stores by stocking their great-tasting milk. You may even recall our Barista Zoom Callswith the country’s top coffee talent during the early lockdown.
But their agility in a tough year is not the only thing worth celebrating. They’re also 100% Australian owned — a key differentiator in a milk industry that traditionally only focuses on Australian made.
During COVID-19, the brand noticed that while support for local provenance was growing, consumers were not as aware of the importance of buying from an Australian owned company. Keep Left was engaged to create a digital and retail campaign based on the insight that shoppers needed to be educated on the difference – in the few seconds it takes to make a decision at the supermarket fridge.
That’s where the idea of ‘Double Good’ came to life. We wanted to get customers to choose Riverina Fresh milk in the dairy aisle – not just for its great taste or local provenance, but also because the company is dedicated to keeping profits in Australia, at a time where supporting local matters most. While all milk is Australian made, only a few brands are Australian owned. And that’s what makes Riverina Fresh double good.
Riverina Fresh CEO, Rob Collier, explained: “We’ve done a lot of adapting this year to keep great-tasting local milk on your shelves, so it’s incredibly exciting to be able to recognise and celebrate not just our homegrown produce, but our Australian ownership too. Because supporting local isn’t just about choosing milk that comes from our local pastures. It’s also about keeping profits in Australia, and ensuring that we keep the dairy aisle proudly local for years to come — pandemic or no pandemic.”
The Double Good campaign takes the form of a digital and social campaign, and in-store retail assets that you’ll spot in supermarkets and online for 4 weeks from September 16.
Keep Left CEO, Caroline Catterall, said: “It’s been a year of constant adaptation, and it’s been particularly inspiring to work alongside Riverina Fresh as they prove themselves in Australian ingenuity. From pivoting their events to live Zoom panels, to leading the ‘support local’ movement, it’s been an honour to help our favourite barista-quality milk stay on the shelves and inspire others to follow suit.”
Next time you’re buying milk, look out for the 100% Aussie Owned and Made sign on the supermarket shelves.
When we hear the job title ‘producer’ a lot of different industries and functions can come to mind. For some it might be agricultural, for others it is mixing tracks for musicians, and for millions of Law & Order fans it brings to mind a black screen and the leader of the procedural crime genre, Dick Wolf. But at Keep Left, we think of the engine that keeps our Creative Department running, our very own Producer Tash.
What Is a Producer?
For creative agencies, a producer needs to have a lot of skills. They must be organised, efficient and a great communicator. They also need to possess an eye for detail, the ability to problem solve on the run, advanced time management skills and the lingo to translate between creatives and the rest of the world.
On our creative projects, the producer plays a role from start to finish – from brief to delivery. They’re responsible for reviewing briefs, developing timelines, submitting permits, planning the day, communicating with talent and external support, and reviewing the outputs before they make their way over to our clients. And that’s just some of the tasks they’re likely to complete.
What Does a Day in the Life of a Producer Look Like?
If we don’t have a film or photography shoot on the cards for the day, that doesn’t mean Tash gets to take a rest. There are plenty of proposals and budgets to develop, briefs to write, timelines to manage, shot lists and run-sheets to create, and general planning to take place to keep her busy and to keep our projects on track.
If you can believe it, shoot days are even longer. Tash will often be the first one on site with her clipboards in tow, making sure we’re all set up to shoot. On the day she plays many jobs, from transporting equipment and getting all of our talent release forms signed, to running off site to pick up emergency supplies or adding just a hint of makeup to our on-screen talent.
What’s in Tash’s Producer Bag of Tricks (AKA Her Car)?
On any given day Tash could be transporting filming equipment, fresh flowers or tools. She’ll come to shoots armed with healthy snacks, water bottles, first aid kits and an array of makeup. Sometimes you’ll find hard hats and high vis or stacks of filming notification letters on the back seat. If we’re in the office, then she might also grace us with a visit from Gigi, her precocious puppy.
What Kind of Know-how Does a Producer Need?
Tash is the source of information to help us avoid any major hurdles for our shoots. From voiceover rights to filming permits, she’s filled out all the forms and can make it happen without any hiccups. We’re lucky to have her keen visual eye, which ensures a consistent style across our photography shoots and design outputs.
A producer is the glue that holds our creative projects together, whether they require video, animation, photography or design. They round out our creative services with a healthy dose of time management.
Let’s face it, super bowl commercials can be more entertaining than the game itself.
For us, super bowl isn’t just about athleticism, it’s about creativity. It’s wild, whacky ideas that are shared by advertising giants across the globe. Millions of dollars are injected into these ads, that are bolstered by creative insights and set advertising trends for the year ahead.
There is a whole lot more to these commercials than their 30 seconds of airtime, so we’ve jumped in and analysed what makes these videos so memorable.
Here are our top four…
We’ve all been there. Someone needs you to do something, but your fingers are covered in bright orange Cheetos dust. This universally shared experience is what makes this commercial so easy to connect with. We love the reversal of roles, where the hero uses this perceived inconvenience to his advantage. However, we did question the inclusion of MC Hammer. Cheetos nailed it, without the need for a cameo.
Hyundai Smaht Pahk
2019 was the year of ‘not behd, good syze’. Hyundai has capitalised on butchering the English language with a new catchphrase ‘smaht pahk’, coined by Rachel Dracht. By the end of this 30-second spot, you will be enthusiastically repeating the trademarked Hyundai phrase to your family and friends. When a commercial can influence your behaviour like this, you know it’s powerful advertising.
There’s nothing like the fiery death of a corporate mascot to imbue feelings of warmth for a brand during peak messaging season. It says the brand doesn’t take themselves too seriously, which is a smart move for fast-moving consumer goods, like peanuts. Mr Peanut may be dead, but the brand will live on in the minds of consumers across the globe.
When you pitch a comedy to a movie studio they say “great, this will be cheap – you just need a few people on a road trip.” When you pitch a funny commercial to a producer, the first thing they ask is “how many dragons do you need?” This ad is a classic example of exuberant amounts of money being spent on CGI, celebrity cameos and costumes. But we love it, nonetheless. Where would we be without Amazon Alexa?
Do you have a favourite commercial that didn’t make it to the list? Let us know in the comments below.
Leading child rights organisation Save the Children has launched an integrated marketing campaign called ‘Living in Fear’ to fundraise $100,000 in seven days, to help tackle the scourge of child abuse in Australia.
Every day, 88 children suffer abuse in Australia. That’s one child every 16 minutes.
The campaign designed by marketing communications agency Keep Left will be rolled out across Save the Children’s owned media channels, as well as paid and earned media.
Keep Left based the creative on the insight that child abuse, whether emotional or physical, may have a lasting impact on the social and intellectual development of children. Without appropriate care from their families or support services, this may carry into adulthood.
As a result, many victims live in fear, which can make the most innocent things terrifying. This insight has been conceptualised in the campaign creative through the playing of the popular Australian children’s game ‘Duck, Duck, Goose.’
Save the Children Head of Marketing, Caroline Reid explained: “Childhood is supposed to be carefree, but in Australia, a child is abused every 16 minutes. This isn’t some foreign statistic; it’s occurring right around the country. The creative illustrates the shocking effects of abuse on children, and it’s a problem Australia needs to address.”
Keep Left CEO, Caroline Catterall said: “This was a difficult, but extremely important topic to tackle creatively. No child should live in fear and it’s our hope the funds raised through this campaign will help make large strides towards this being a reality.”
CEO of Save the Children Australia, Paul Ronalds said: “Save the Children is known for its work overseas, but child abuse in Australia is no less significant, yet much less understood. We have been developing Australian programs to help children suffering from abuse for over 100 years, but we need the nation to recognise the issues occurring in their own backyard and know how they can help save a child’s life.”
Consumer research linked to the campaign shows 35% of people don’t believe abuse is an issue affecting children in Australia, despite over a third saying they have been abused or know someone who has been.
“Intervening now could make a difference to thousands of lives. Child abuse, whether emotional or physical, is proven to have a lasting impact on the social and intellectual development of children that they may carry into adulthood,” concluded Mr Ronalds.
Marketing communications agency Keep Left has bolstered its creative arm with the appointment of Helen Neville as Senior Art Director.
Formerly Art Director with Clemenger BBDO, Neville brings eight years’ experience as both a conceptual and visual Art Director to Keep Left, having worked across a diverse portfolio of consumer-facing brands, namely in retail and automotive.
In her role with Keep Left, Neville will provide creative leadership across Melbourne and Sydney client portfolios, working closely with the existing team of strategists and creatives to develop brand-led, audience-centric campaigns that are channel agnostic.
Caroline Catterall, CEO of Keep Left said Neville’s appointment would move Keep Left from a content and storytelling agency to a more holistic creative agency, with an advertising lens.
“We’ve operated as a content agency for the past three years, and have increasingly seen our content used in advertising, particularly in digital placements, so it’s been a gradual but natural evolution that we’re ready to embrace.
“Helen brings the ideas, creative thinking and processes to help us navigate that bridge from content to creative,” Catterall added. “Her advertising-led, proposition-based approach will be a great complement to the data-driven storytelling approach Keep Left is known for.
“Our clients are looking for assistance from insights, audience, and strategy through to creative and execution, so it’s great to be able to work with them every step of the way.”
Commenting on her decision to join Keep Left, Neville said, “The opportunity to join the team at this pivotal time was too good to refuse. I can bring all the inspiration of ad-land to the table, and I’m excited to see where we can take it combining the different skills in the agency”.
Neville’s appointment coincides with Keep Left recently completing an org redesign that has seen the establishing of four distinct departments including:
Insights + Strategy, led by Managing Director Gillian Gosling and Strategy Director Susan Horn.
Creative, led by Senior Art Director Helen Neville and Lead Creative (Video), Ant Dinham.
Digital + Experience, led by Johanna Murray as Head of Digital + Experience.
Public Relations, led by Tim Lele as Head of Public Relations.
Other recent new appointments to the agency include Sylvie Ellis who joined Keep Left as Content Strategist from Columbus, where she’d spent three years as Content and Social Specialist.
Keep Left’s client portfolio across its multi-disciplinary business includes Kathmandu, ME Bank, University of Melbourne, FIJI Water, NEFF, Charter Hall, Experian, Moula, and Guide Dogs.