Category Archives: Industry News

Macleay College launches Digital Media degree

Building on its reputation of offering Australia’s most progressive multi-media journalism course; it’s focus on entrepreneurship in Marketing & Business; and featuring a dedicated degree in Advertising & Media, Macleay College is extending its selection of courses to Diploma and Bachelor qualifications in Digital Media.

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Industry advisory panel members (L to R) Ross Raeburn (UM), Felicity Coonan (Animal Logic), Ian Thomson (Macleay College), Chantal Abouchar (The Studio), Andrew Barnum (Peopleness) and Kim Chatterjee (UX Consultant) were some of the leading consultants involved in developing Macleay College's new courses in Digital Media.

It’s become a well-worn catch-cry that “the future is digital”, but reality is that we’re already immersed in a world where information, communications and data are propelled through the Internet as binary code. As geeky as this might sound, the wonderful reality of digital media is that this information is instantaneously re-translated for us at our point of retrieval (on our smart TVs, laptops, tablets and phones) as articles, stories, photos, films, music and games to inform, engage and entertain us.

Digital Media has become the currency of communication for generation NOW. And because it allows resources to be copied, transmitted and shared without loss of quality, its expansion into all areas of our personal, professional and creative lives is pre-destined.

In the future, every business will need to have a person who can create digital content claims Chantal Abouchar, Founder and CEO of Australia’s first Media Accelerator THE STUDIO as she took part in Macleay College’s series of high-ranking industry advisory panel consultancies in order to develop the new Diploma and Bachelor of Digital Media courses.

The future of media changing is so quickly. If you think about Occulus-Riff and the Drone technologies that are coming out, we need people who understand the potential of these emerging technologies and can coordinate creative and business opportunities around them” adds panel consultant, Fullbright Scholar and Master in Communications Science and International Affairs from Columbia University, Andrew Robinson.

The 2-year degree course in Digital Media features Macleay College’s commitment to industry focused education in innovation, enterprise and communications. The 3 trimester system allows the same volume of learning from a 3-year university degree to be delivered in two thirds of the time, keeping well in-trend with the career focus of the college and the fast moving nature of the digital media technologies. “Graduates will be well equipped to be adaptable and manage the fast change expected within the digital media industries” said consultant and panel member Dr Graham Salter.

An alternate entry pathway to the degree is a 1-year Diploma of Digital Media, which allows students without the ATAR qualification to articulate into the degree if they achieve a Credit average or higher. This accommodates students who are well suited to Digital Media, but don’t come from a more formal academic background.

Students identify one area of specialisation, such as DIGITAL PHOTO & VIDEO CREATION, WRITING FOR DIGITAL COMMUNICATIONS or DIGITAL MARKETING or BUSINESS, but complement this with elective units to broaden their skill sets. Career paths are no longer linear, we need to be developing creative thinkers, strategists, problem solvers who can apply a concept to any form of media and are not limited by the media they have training in” added course designer and Macleay College Head of Faculty, Ian Thomson.

The course offers core units in CREATIVE THINKING, DIGITAL DESIGN, BEHAVIOURAL PSYCHOLOGY, CONTENT STRATEGY, STORY & NARRATIVE and RELEVANT DISRUPTION & GLOBAL ENGAGEMENT – just to name a few.

“When we employ graduates at Animal Logic, the people who have longevity and will be valuable are those who are curious, have a hunger for knowledge, an aptitude for design thinking, and who think ‘bigger’ about the world” mentioned Animal Logic Art Director Felicity Coonan at the course development panel. Hence the ‘big picture’ approach to the core units of study in the course, with enough specialisation and elective options to develop multiple skills sets, such as combining studies in VIDEO PRODUCTION with electives in DIGITAL MARKETING. “You as a student must be able to tell your story, in whatever medium, as a response to the brief – no matter whether this is gaming, writing, video” adds Design Education specialist Andrew Barnum.

Macleay College has a long history of working very closely with industry, and compulsory internships are an integral part of all courses. This ensures that graduates are industry-ready and useful in the workplace from day 1. Panel consultant and UX specialist Kim Chatterjee mentioned that “In the future we will need graduates who can solve problems no matter what their nature. Then as they gain more industry experience they can move into strategy roles. It was important that learning experiences pit students against professionals and companies.” “If graduates can enter the workplace with the knowledge of how to create relevant content, and also how to develop and work with tools that will make money and save the world, I would hire them” added Ross Raeburn, panel member and CEO at UM Australia.

Macleay College’s new Bachelor and Diploma courses in Digital Media combine conceptual development skills, strategic thinking, an understanding of relevant disruption, leadership and change management with digital production skills in DIGITAL PHOTOGRAPHY, VIDEO PRODUCTION, WRITING FOR DIGITAL COMMUNICATIONS, DIGITAL MARKETING & DIGITAL BUSINESS. These skills provide a great foundation for their careers – and combine real world skills that are relevant now, with an ability to self-learn and adapt to changes in industry and technologies that are bound to come.

Ian Thomson is Head of the Advertising & Digital Media Faculty for Macleay College’s campuses in Sydney and Melbourne.

About Macleay College:

Macleay College offers highly regarded, industry focused education in Business, Journalism, Advertising and now Digital Media. These tertiary courses have an emphasis on multi-media qualifications and offer students a hands-on approach to fast-track their career. The Bachelor of Digital Media features specialisations in DIGITAL VIDEO, WRITING FOR DIGITAL COMMUNICATIONS and DIGITAL MARKETING. Macleay College has campuses in Sydney and Melbourne.

For more information, contact Macleay College on 1300 939 888.

Media Contact: Laura Parker | Marketing Coordinator | lparker@macleay.edu.au | 02 8373 5135

Macleay Lecturer and Graduate Shine Bright at ACRA Awards #MadeatMacleay

The Australian Commercial Radio Awards (ACRA) are Aussie radio’s night of nights and the 2016 awards proved that Macleay’s lecturers and graduates can deliver.

Copy writing and Radio Lecturer Cameron Horn was most surprised to win his 5th ACRA in 5 years, when his campaign for Spot Go Cleaning Products picked up Regional Campaign of the Year.

“I really didn’t expect this,” says Cameron. “I just kept eating as they were announcing it. I actually dropped my cutlery when they announced it. I couldn’t believe it.”

Cameron says, the real surprise was in that about 8 clients had rejected the idea behind the Campaign. “Persistence really does pay off. I’ve had this idea in my mind since about 2010!”

The night wasn’t finished for Cameron though, as later, his campaign that he collaborated with Macleay graduate Katrina Fowler for client Carl’s Junior, won Best Regional Sales Promotion.

“I wrote these, Katrina and I voiced them, then our promotions team worked on them at Southern Cross Austereo. The results were astronomical for the client. They were running 700% above their projected targets after the promotion.”

Katrina was also a finalist in the Best Newcomer to Radio category. “Hey, I was just stoked to be a finalist – that’s top 5 in Australia! Awesome!” Katrina said after the event. This follows up Katrina’s nomination as a finalist last year in the Commercial writing category.

Listen to the Spot Go Campaign:

YOUR AUDIENCE CONTROLS SOCIAL MEDIA NOT YOU

Macleay College’s Melbourne advertising students visited the ADMA DATA DAY to pick up some insider tips on the perils of social media marketing and why you should never ignore sleeping casino visitors. Advertising student Gianni Piccolo reports.

There’s a bearded man wearing a suit and round glasses, sleeping in a chair with hundreds of people scuttling past him on their way to gather lunch from the buffet at Melbourne’s Crown Casino. I’m getting worried as I see him lying there, wondering of I’m going to regret the decision to go to an event I didn’t know much about on the first day of holidays?

Our lecturer from Macleay College got us tickets to the ADMA DATA DAY at the Crown Palladium. The day was jam-packed full of talks on data strategy, content, technology, analytics and data activation. We went specifically to see Tim Hill, a Digital Strategist who co-founded socialstatus.io – a company that offers a service a bit like Google Analytics for social media.

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Tim Hill discussed how the possibilities for brands to communicate and connect with consumers are becoming endless with the abundance of social media in our society. After presenting three social media case studies, the main point Tim was making was that you are never really in complete control with social media. Even if you think you are, you’re not. There are too many variables in the world that affect the result of even the best social media communication strategies.

The three case studies were 02, BART and Walmart. 02 is a telecommunication company, the BART is San Francisco’s train system and Walmart, we all know is the supermarket giant from America. Each company has a different voice they use on social media and Tim explained that it’s crucial to have a consistent voice with your social media campaigns, the same as you would with any advertising strategy. You can look up the case studies, but I will spoil the Walmart one for you. It highlighted ‘the troll’ element in social media and on the Internet in general.

Walmart recently ran a campaign to increase their social media following, specifically on Facebook. The campaign saw each Walmart store set up a fan page. The page with the most likes would win a visit from Pitbull. A satirical columnist heard about the competition and jokingly said that everyone should click like on the Facebook page for Kodiak, Alaska. I lost it, couldn’t control my laughter and neither could everyone else in the room. We all realised quickly where this was going. Kodiak ended up with a massive 70,000 likes at the end of the completion. There are only 6,423 people in Kodiak according to Google (2013).

Did Walmart have any better options here? They did, they could pull the plug on the competition, but they were smart. They realised the exposure they already received through the campaign and Pitbull was great getting a lot of Likes, so they also asked the ‘troll’ who started it all, to come with Pitbull to Kodiak as well. The point here being, that you can come up with strategies and attempt to control and steer an organic campaign, however you are never in complete control of social media.

It was a great experience, we learned so much about how social strategies are formed and managed. As we leave, I grab a glass of water and standing next to me is the (now awake) sleeping man. I asked him how his nap was. He replied “after a long flight I needed it, are you staying for my talk?” Turns out he was one of the main speakers and wasn’t just a punter from the Casino who got lost on his way to his room.

By Advertising Student, Gianni Piccolo

THE FUTURE OF STORYTELLING REMIXED

As the media and entertainment sectors become increasing disrupted by developments in technology, one of the big topics at this year’s REMIX conference in Sydney is how do we tell stories on multiple platforms, using new technologies to an increasingly fragmented audience?

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“There are so many stories out there, but how do we tell them?” was the question posed to the panel of film, media and advertising professionals by Nicola Harvey, Managing Editor at Buzzfeed.

Neil Peplow, CEO at AFTRS reinforced that even though visual filmic stories are now being consumed more on mobile devices than in the cinema and on TV, the first rule of storytelling still applies, “that stories help us understand the world around us”, and visual story producers need to be very aware of why they are telling the story, what is it about and how is an audience going to engage with it.

Katie Rigg-Smith, Managing Director of the advertising media agency Mindshare, made the point that we live in an attention deficit economy and the pressing question that all communicators in this context face is “how do we get our audience’s attention?” Interestingly the multi-platform environment allows for different potential entry points to a story and for narratives to be non-linear, allowing for very distinct individual consumer journeys.

Rigg-Smith emphasises that it’s important for authors to know “what the role of each channel in progressing the story and making it relevant to each individual audience is”. She adds that launching a story on a social media platform also brings the benefit to the creators of receiving direct audience feedback though comments, giving the makers the opportunity to revise or modify the content and/or sequel materials accordingly.

“So will Facebook eventually own Storytelling?” asks Harvey. If we’re talking about content that connects, we’ve seen the unexpected power of user-generated stories on platforms like Facebook, “but Facebook can never control that” responded Peplow, and asks how ethical is the live-streaming of a suicide simply because it has the power to surprise, shock and engage us?

“Our job is to make people care” added Jay Morgan, Executive Creative Director at JWT. “In creating compelling content, you have to become the enemy of indifference”. The challenge for visual storytellers still remains how do you engage emotionally with your audience and continue to surprise them. In the campaign driven realm of advertising, the balance of power is shifting from brands to content creators – where the creators are the ones with the established audience, who are now dictating to the brands how they will tell their stories and integrate the brand messaging, and not the other way around.

“Don’t adulterate the form. Find the core insight of your story, then find the best way to tell that story to an indifferent consumer” explains Morgan. “Create messages with integrity. Don’t pretend to be what you’re not” advised Rigg-Smith. Firstly, consider the audience and the platform before the content. And use data to liberate creativity, as the old world view that these areas were mutually exclusive has been superseeded.

As our attention spans shorten, we have to become quicker at telling stories. Not only shorter, but faster in producing them and getting them out there to a content hungry audience. How we are sharing stories is also changing due to developments in technology – from Flickr to Facebook to Instagram to Snapchat.

What particularly interested me is the movement into story landscapes, rather than the linear narrative. We now have the platforms not only to create multiple access, but also multiple view-point narratives. Yes, we can learn a lot about this area from the gaming sector, but beyond that, the rapid developments in Virtual Reality and making it possible for the user not only to interact – but actually decide on how they want the story to develop.

An interesting suggestion at another session at the conference from Roger Lawrence, Chief Technologist for Innovation at Hewlett Packard, was rather than the director directing the viewer, with VR the viewer can choose what they want to see – so at any one point in a story the user could turn and follow the story path to become a romantic comedy, whereas a different decision or physical movement could have created a journey into a psycho-thriller. This opens the potential for us to create multi-genre experiences.

On a closing note, when asked if his film students still want to make feature films, Peplow responded: “Students come in wanting to be Tarantino. But leave knowing that (YouTube film-maker) Freddy Wong has a better business model”.

Ian W Thomson is the program leader of the Advertising & Media faculty at Macleay College, a writer and filmmaker.

BECOMING PERMANENT AT SEMI-PERMANENT

There is something very invigorating about being surrounded by hundreds of creative people talking about what they love.

This year’s Semi-Permanent conference in Sydney had some tough competition, with the city in lock-down with winter cultural festivals. But faced with engaging options at the Biennale, Sydney Writers’ Festival, Sydney Film Festival, Vivid Festival of Ideas, the REMIX conference or MUMBRELLA 360 – it was still a good choice to go to listen to some choice speakers at Semi-Permanent at Eveleigh’s rusty, rustic and renovated Carriageworks.

Semi-Permanent is a great chance to see what some of the most talented and innovative creative professionals are producing both here and abroad. But far from being an introverted look by the design world at it’s golden spiralling navel, it’s a chance to hear from some big thinkers about technology, globalisation, sustainability and the future of creativity.

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I must admit, I didn’t manage to get to all of the sessions, but one highlight for me was the FUTURE STATE panel with Dantley Davis, director of design at Netflix, Jon Lax, director of Product Design at Facebook, Jon Wiley, director of Immersive Design at Google and Dav Rauch, futurist at IDEO.

From announcing strong new developments in technology such as Google’s Tilt Brush that lets you paint in 3D – in the virtual reality space, and tiny portable supercomputers that plug into whatever interface you have access to (phones, tablets, laptops), to the challenge of using data to create personal and personalised product experiences at scale, the three speakers built a strong argument for need for empathy.

In a world where designers sit and work in cities like San Francisco, London and Sydney –isolated bubbles a long way geographically, economically and societally from the global audience who are now consuming these products, Dantley pitched that the way forward to create successful and sustainable products and businesses is to develop a deep understanding of the people we are creating these for – whether they be on the streets of Lahore or the avenues of New York.

A second highlight was hearing from a couple of blokes, designers and businessmen who have been around the traps long enough to be able to share some words of wisdom from their professional success and failings. Vince Frost, founder and executive creative director of Frost Collective and Andy Bateman, founder & CEO at Everyone. The lads offered some great advice to creative businesses in their session on ‘Break it to make it’.

Based on their shared years of experience in top level creative businesses, Frost and Bateman presented a compelling thesis on the importance of constantly challenging your own business model in order to create sustainability and growth.

Their premise is not to sit on your laurels based on past success, but rather to challenge everything you are doing and how you are doing it at the pinnacle of each of your successes. They argued that to stay on the leading edge of business and technology, you must not simply develop your product further, but destroy it and rebuild it on a regular basis, to ensure that you really are responding to the latest consumer needs and developments in technology. Only by doing this can you ensure you will not end up being superseded by technology like NOKIA, KODAK and the like.

Their 3 maxims: 1) Know where you are in the growth phase of your business or product, 2) Challenge yourself creatively all the time, and 3) Sitting still will kill your business. With good advice for achieving sustainability and permanence in business like that, Semi-Permanent may need to consider a name change.

‘Can’t wait for SP 2017.

Ian Thomson is the program leader of the Advertising & Media faculty at Macleay College

EXPERIENCE DESIGN WITH SAM COURT

Personally, it’s been a big 12 months. In addition to the joys of existence, since this time last year I bought a house, produced a spawn, and started teaching Experience Design at Macleay College. And thus far, I haven’t defaulted on the mortgage, paid for a psychologist for my daughter, nor had a formal complaint lodged against me in class. Not bad, all things considered.   

By Sam Court, Lecturer and Head of Experience Design at The White Agency

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Being around enthusiastic people is always humbling, especially when that energy is focused on exploring new concepts that attempt to make the world a little bit better. And the guys from Macleay aren’t bad either … But in all seriousness, over the last 2 months, the class has already achieved so much:

  • Converted an interest into a design challenge.
  • Empathised with potential audiences by researching them in their worlds.
  • Explored concepts that could help these people make their lives better.
  • Outlined a scope and a conceptual structure for how they might experience the new service.
  • Begun sketching a skeleton for how this service might work and turned that into a prototype, ready to test with real people.

It’s been my privilege to support these guys as they learn about designing experiences, through the lens of their passions. From better wardrobe management, to tracking and rewarding safer driving, and even to deeper engagement in the policies that hold society together. It’s fair to say that the class tries to embrace both the breadth and depth of the human condition.

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Whilst there are many new concepts for the class, I’m a new teacher, and this is a new course. Ian Thomson, Program Leader for the Advertising & Media Faculty at Macleay, has given me such an amazing opportunity to simultaneously teach and learn. And as this first trimester builds to a crescendo, it’s brilliant to see the guys’ UX training wheels drop off, just as I’m also taking off my floaties. This class has patiently taught me so much about communication and collaboration, and as the famous design philosopher Karen Carpenter once said: “We’ve only just begun”.

The students’ final presentations will be held at The White Agency on April 26 in front of an industry panel. Get in touch if you’d like to attend – I’m sure the guys would love the most robust feedback possible.

Sam Court teaches User Experience as part of the Bachelor of Advertising and Media. 

How to get a job in an advertising media agency

The genesis for this post comes from a comment by David Haddad, Managing Director at UM, made recently at the Media Federation Australia (MFA) ‘Lecture the Lecturers’ forum. When asked what advertising media agencies seek in the skill set of entry level graduates he said: “at UM, we look for candidates with the potential to become business analysts”. Sounds reasonable, but what exactly is that? Moreover, which skills are required to be a business analyst?

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Macleay College advertising graduates Amanda Florence (Starcom Mediavest Group) and Carlos Alcantara (Magna Global) have both successfully launched their careers in the media sector of the advertising industry.

The Federal Government, in the form of Minister for employment, Michaelia Cash, recently released a CSIRO report last entitled “Tomorrow’s Digitally Enabled Workforce”, you can read it here. The report is timely, as it outlines the megatrends for jobs over the next twenty years and the skills required by employers.

So, if you’d like a job in an advertising media agency, the first thing to do is read the report, soak in the implications for you, undertake a SWOT analysis of your position and develop a strategic plan. Having done that, you will get a job in an advertising media agency. That said, let’s take a look at two of the reports megatrends, specific to advertising media agencies and the skills you can acquire now to ensure you are a quality candidate.

Megatrend 1

Big data and technologies ability to crunch the numbers mean that artificial intelligence (AI) will more efficiently perform tasks than humans more and more. In Media, this is called Programmatic. This means that the only jobs available in the near future will be ones where AI cannot replace humans. In advertising media, that means having the analytic skills to go into a business, identify problems and provide insightful solutions. That is what David Haddad describes as the business analyst.

Megatrend 2

The increasing use of automated systems together with low skilled positions being offshored means that positions available in Australia are complex and highly skilled. Entry level graduates require a higher skill level and a wider repertoire of skills than ever before.

The CSIRO report identifies ten new skills and mindsets needed for graduates navigating the future workforce. There are three, which are of particular importance to anyone aspiring to a career in advertising media

Skill One

New capabilities are needed for new jobs of the future. Sara Varnell a digital strategist at SMV, remarked at the MFA forum “we are so often looking for candidates with skills which have only been required by the market in a very short space of time. There aren’t many people with the skill sets we need when we need them”. For the sake of brevity, those skill sets will not be outlined in this post. However, if you want a job in an advertising media agency, call the following people, ask them what skills they are looking for and add them to your personal strategic plan.

Elissa Good-Omozusi – UM

Martin Cowie – OMD

Pauly Grant – Zenith Optimedia

Skill Two

Digital literacy is needed alongside numeracy and literacy. Put simply, being on Instagram is not enough. You have to know the back end of a plethora of platforms in the digital space. My advice, learn to code.

Hate maths? No good at it? You need to move on and live in the now. There is a massive shift in the importance of STEM (Science, Technology, Engineering, Math). This is where employment growth is occurring and there is great demand for agency for candidates with skill sets in these areas. Go to a night class, buy the book and work your way through it, at the very least wrap your head around excel, it’s fundamental.

I know, you know how to write. No, you don’t. Well, if you came first in the year in HSC English Extension Two, then yes you can write. Otherwise, not. Writing in the agency is a highly developed and sophisticated skill. Those possessing the talent have usually been mentored and groomed. Therefore, go to the Garrett, fire up that laptop and begin. Being a good writer is one of the skills that agency business directors constantly lament the dearth of talent into me.

Final Thoughts

So, there it is. The skinny on how to get a job in a media agency. Now you have a sophisticated piece of research available to you which can lead you along the right career path instead of down a blind alley. You have a couple of megatrends that you can surf and take advantage of ahead of the game and lastly, you know which skills are hot in media right now. May the road rise up to meet you.

Advertising Lecturer, Lianne Lewis

Regardless of disruption, media agency success still relies on the quality of team talent

Advertising lecturer Julieann Brooker visited the annual Media Federation professional lectures to talk about filling the talent gap in the Media sector. Here is what she uncovered:

The Media industry in Australia is small but dynamic. Driven by some highly experienced players, they recognise the value of recruiting local graduate talent, then training and retaining them. When you hear from the best that the industry is “crying out for great diverse talent”, it’s definitely a segment of industry for consideration by our Macleay Advertising graduates.

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Greg Graham, Business Development & Marketing Officer of Group M boasts 40+ years in advertising, having worked for several high profile creative agencies including DDB, Burnett’s and JWT. Affectionately nicknamed ‘Sparrow’, Greg’s first job was in the mailroom, which enabled him to meet and quiz everyone he encountered. He notes his willingness to help, his initiative and at times annoying curiosity all played a role in working his way up the agency ladder.

Greg lists six talent attributes that make the perfect media agency recruit. He/she will be:

1) Smart and curious

2) Tech savvy, with a start up attitude

3) Eager to collaborate

4) Passionate and able to embrace innovation

5) Adaptable and resilient, welcoming change

6) A good listener who values feedback.

“Greg’s 6” are ideal attributes for all candidates in business, not only highly sought after in the Media industry. With the growth in automation, we heard that every job would require creative application to solve problems. The implication for media roles? No one will have the luxury of being left or right brain. Grads will be expected to solve problems creatively. Pauly Grant of ZenithOptimedia agrees it is a changed environment requiring “agile T-Bar talent”.

As all high paced solution driven businesses, the greatest disruption in media and talent selection has been technology. Kate O’Ryan-Roeder: “Moving into automation allows us to ride innovation. We need innovators and inventors working in a technological space… [Media agencies] will have to move from a fixed to more fluid organisational structure… The modern agency is demanding a lot of specialists.” Kate says Mindshare lists 12 skill sets for ‘social’ alone. She adds, “having said that, there’s still a role for generalists… a grad who lands in a media agency needs basic all round skills.”

David Haddad emphasized UM agency select candidates with “the right cultural fit.” With the rise of automation, graduates need to be equipped with Emotional Intelligence (EI) skills that won’t be replaced by technology. “We hire for EI and teach the [media] skills on the job.”

With a total population of only 3,232, the Australian media industry is passionate and dedicated in nurturing the best talent and making it a great place to work. Greg believes training and development are paramount, and reminds us that regardless of disruption, agency success still relies on the quality of the team talent.

Julieann Brooker, Axis Design Works / Advertising Lecturer

Macleay Launches Advertising Courses In Melbourne

Macleay College has a long tradition of offering highly regarded, industry focused education in Business, Journalism and Advertising from it’s Sydney campus. Following the successful launch of it’s much talked about multi-media journalism courses from the new campus on Swanston Street, the college is proud to announce the launch of the Bachelor of Advertising & Media and Diploma of Advertising courses in Melbourne from February 2016.

The advertising and media industries are calling out for educators to fill the talent gap in the rapidly emerging digital and media spaces. Macleay College is positioning itself on the forefront of the ever-increasing collaborative space between creative, management and media.

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The newly accredited Bachelor of Advertising & Media is Australia’s only dedicated advertising degree (not simply a major as part of a marketing or communications qualification), and combines units of study in marketing & media, creative and digital, with management & production. So students have the opportunity to learn industry-based skills in a truly integrated and collaborative environment – and that, due to the 3-trimester system, in 2 rather than 3 years of full-time of study. It is also interesting to note that when planning an international career, a bachelor qualification is mandatory for a US working visa.

In addition, the college is also offering it’s well established Diploma of Advertising, a one year intensive course that gives career starters a great overview of all areas of the advertising industry, and career and/or study changers a fast-track into a career in Adland. Graduates include Robert Concepcion, art director at Anomaly in New York, Will Edwards, associate creative director in JWT Sydney, Daniel Cutrone, investment director at Initiative Media, Jo Butler, founder & managing director at Platinum Media & Communications and Alex Roberts, Director at Finch Film Production, just to name a few.

Study-changers who have found great success and immediate jobs on completion of the one-year diploma have come from such diverse areas of study as: psychology to become brand strategists, graphic design to become art directors, journalists to become copywriters, and marketers to become social media specialists.

“The advertising industry is going through a dynamic and exciting period of change, where there are fantastic opportunities for young people (digital natives) with an innovative approach to solving problems coupled with digital production skills” says the program leader Ian Thomson. He adds “Macleay’s unique focus on industry based learning; featuring lectures who are working in the industry; student’s working on live agency briefs; and the compulsory internship program, aim to prime the next generation of advertising and media professionals to be strategic thinkers with a multi-disciplinary skill-set.”

The Bachelor of Advertising and Media was developed in consultation with key industry leaders to ensure that graduates will be highly relevant and useful from day one in emerging job roles. The advisory panelists include:

  • Linda Anderson, Professional Development Manager, The Communications Council
  • Andrew Barnum, Creative Principal at Barnum Group
  • Tim Brierley, Managing Partner at Grey Healthcare Advertising
  • Matthew Deprado, Creative Director
  • Sophie Madden, Chief Executive Officer, Media Federation Australia
  • Aaron Michie, Chief Innovation Officer, ZenithOptimedia
  • Ross Raeburn, CEO UM Australia
  • Alex Ritchie, Creative Director at e2 Creative Group
  • Gaye Steel, Marketing Consultant
  • Ian Thomson, Head of Advertising, Macleay College
  • Andy Wright, recent Managing Director at R/GA

The course will appeal to enterprising individuals who are interested in combining their know-how as strategic thinkers, innovative organisers, creative spirits or numbers people – and who are interested in the emerging career opportunities in the increasingly diverse industries of advertising and media.

Day and evening classes start at the new Melbourne campus at 55 Swanston Street on February 8.

For more information contact Ellen Rafferty on 0477 733 522.

The best ads of 2015 – the professionals pick their favourites

From the heartwarming to the note worthy,  from The Guardian Australia, compiles the ads their contributors liked the most this year…

John Lewis’s Tiny Dancer advert was executed with elegance and warmth. Photograph: Adam&Eve.

Tiny Dancer, John Lewis Home Insurance
Picked by: Jim Carroll, former UK chair, BBH

Advertising home insurance isn’t easy. It belongs in the “boring-but-important” category of expenditure. John Lewis focuses on the human value, not the material cost: you’re insuring your home, not your house. And it dramatises the ubiquitous risk of disaster, not its rare occurrence; thereby reinforcing the product’s importance and at the same time keeping us on tenterhooks. It’s all executed with such elegance and warmth: the expressive choreography, the pigtails and glasses, the brother’s look, the teetering vase, one of Elton John’s most moving songs; and the charming Tiny Dancer herself. Perfect.

Superhero: I Want to Be, Thai Life Insurance
Picked by: Geoffrey Colon, group product marketing manager, emerging media, Microsoft

In 2014, Thai Life Insurance ushered in storytelling that really pulled at the heartstrings with their ad Unsung Hero . It’s an effective mechanism in a world of noise. In 2015 they followed up with another story, this time pulling at our heartstrings with the theme that our parents are our superheroes. When you’re watching these ads for the first time, you have no idea what the product is but you get sucked in and by the end, you realise a company’s cultural message can be strong even with products as bland and boring as insurance. If they can do this, why can’t technology companies or non-profits that have powerful missions? This is the best ad of the year because hopefully it will influence other industries to take note and use stories that help entice social sharing because of the underlying message.

Beyond Utility, Lexus
Picked by: Jerry Daykin, global digital partner, Dentsu Aegis Network

My favourite ad of 2015 isn’t exactly one advert but 1,000. It doesn’t tell an emotive story, feature fancy production or special effects and you’ve probably never seen it. In fact, I can almost guarantee you didn’t see 999 of the executions. Lexus’s Beyond Utility ad campaign gives us a glimpse of the future of personalised advertising, with a thousand subtly different short animations created and served to millions of consumers based on their individual passion points and interests. Sure the storytelling could be better but as a first step into this new world it’s an eye-opening start.

Choose Beautiful, Dove
Picked by: Mark Evans, marketing director, Direct Line

Dove smashed it this year with its Choose Beautiful campaign. Challenging women from around the world to walk between two doorways marked “beautiful” and “average” it received a polarised response. But I loved it for the fact that it was so true to the incredibly simple but powerful insight that many women do not see themselves as beautiful, but did it in a completely different way to previous Dove campaigns such as Real Curves and Real Beauty sketches. If I take my teenage daughter’s strength of response as a barometer then Dove definitely hit the mark.

The Flag of Flags, Norwegian Airlines
Picked by: Tom Goodwin, senior vice president of strategy and innovation, Havas Media US

Photograph: M&C Saatchi Stockholm

There is a T-Shirt I love. It states: modern art = I could do that + yeah but you didn’t. The very, very best advertising doesn’t have the “I could do that” part.

For me, this print ad for Norwegian Airlines is an example of that. The best advertising is a concept so incredible, so rich, so smart, so deep. It’s still on brand, it’s not smart for the sake of it, it’s not ads for ad people, it’s hard working, it gets a pricing message across in a smart way, while building the brand.

Friends Furever, Android
Picked by: Tracey Follows, founder and futurist, anydaynow

My favourite ad of the year is also the most viral ad of the year; in fact, the most shared ad of all time. What I like about it is that it is a classic piece of brand advertising created by an ad tech brand. In all of this talk about ad tech interruption and ad blockers and how science is driving out art from advertising, it takes one of the proponents of algorithmic advertising to execute what is a brilliantly crafted, single-minded, adorable film that builds affinity with the brand it promotes. Ad tech plus ad agency working in harmony, “together, but not the same”.

You Can’t Get Any More Ribenary, Ribena
Picked by: Amy Kean, regional director, strategy, Mindshare Asia Pacific

It’s rare to find an advert that is part favourite, part arch nemesis, because you cannot get it out of your head. Seriously, I haven’t slept for four months because of this ad.

Ribena nailed it for me this year with their new millennial positioning and an integrated creative that was clearly designed with the textbook E4 viewer front of mind. It’s weird (rabbits with sunglasses), it’s compelling (ridiculously addictive soundtrack from Tiger Monkey), and it’s voiced by the guy that played Holly in Red Dwarf. Every inch of this ad is cool – if your idea of cool is hedgehogs with top hats and mine is. Forgetting brand metrics and big data for a moment, if your ad can make people think and talk, you’re doing something right. The surreal is underrated in advertising, but it definitely gets people’s attention and I can’t wait for the sequel.

High School Girl?, Shiseido
Picked by: Tham Khai Meng, worldwide chief creative officer, Ogilvy & Mather

Gender fluidity is not widely seen on TV, so it was refreshing to see the Shiseido High School Girl? commercial showing the issue in loving close-up. The transformation is all done with Shiseido cosmetics, which are used to turn a classroom of schoolboys into schoolgirls. Directed by Sho Yanagisawa, it’s a dream to watch – an audacious concept matched with brilliant camera work, direction, sound design and editing. It’s one of those spots that are so good you seek it out to watch again.

Celebrate the Breaks, KitKat
Picked by: Deirdre McGlashan, global chief digital officer, MediaCom Worldwide

My favourite ad of 2015 was the Celebrate the Breaks campaign from KitKat. I love this campaign because it brings together the right moment (break time), a clever play on the word break and a very specific product feature the brand is well known for. Then it incorporates the product itself with the 72 types of breaks featured on the packaging as well as the hashtag #mybreak moulded into the actual chocolate bars. It’s a great example of a total brand experience, bringing together the marketing experience with the product experience, because that’s how we, as regular people, encounter brands.

Unstoppable, P&G
Picked by: Lindsay Pattison, global CEO, Maxus

Advertising today has to achieve the right balance of consistency versus speed, being both relevant and cleverly placed. But when a campaign nails this while also inverting damaging historic stereotypes, it becomes a truly worthy endeavour.

For me – and countless others – Always Unstoppable smashed it for 2015, with its clear demonstration of how society limits girls. The ad, directed by Lauren Greenfield shows girls breaking up cliché written boxes to underline the frustration these young women feel at being pigeon holed. It’s a powerful call to action with its deservedly angry girls. Not only is Unstoppable a great piece of work in its own right but it manages to build on the previous Always campaign Like A Girl which was widely and justly rewarded.

White Squad, MTV
Picked by: Sanam Petri, creative director, Wieden+Kennedy

There were lots of great ads in 2015, but for me the most interesting campaign was one done for MTV called White Squad. It was created as a way to advertise a documentary on racial injustice in America and while many found it controversial, I thought it was one of the best social-issue campaigns in recent memory. It’s not often you see a satirical ad about social injustice – especially with so much turmoil in the culture to underscore it. Sure, it may have raised a few hackles when it was released. But after all, isn’t that sort of the point?

Keep Britain Tidy
Picked by: Richard Shotton, head of insight, ZenithOptimedia

Watching you ad

Keep Britain Tidy’s anti-dog fouling ad is a brilliant example of the application of psychological insights to advertising. The copy is based on experiments by Newcastle University which prove that displaying images of eyes, by making us feel watched, reduces anti-social behaviour. In a clever twist the ad uses eyes that glow in the dark, the very time most dog fouling occurs.

Will this ad win any awards? No. Will it change behaviour? Yes. That’s enough to make it my ad of the year.

Man on the Moon, John Lewis
Picked by: Susan Smith Ellis, chief marketing officer, Getty Images

For me the best ads are the ones that engage the viewer by telling a story. The best demonstrate what we call “the end, end-benefit” – the end-benefit being the impact of any one advert on how that brand makes you feel. The Apple ad Music Every Day (2013) is a spot on example of this concept.

This year’s John Lewis Christmas advert, Man on the Moon, is one of 2015’s finest. It is visually beautiful, wonderfully cast, and uses storytelling to show us the often lonely existence of the elderly, and the power of connecting. Never heavy handed, it draws the viewer into the film. Imagery powerfully utilised.

Look at Me, Women’s Aid
Picked by: Sarah Speake, chief marketing officer, Clear Channel

Look At Me

This year, it’s been exciting to see so many great examples of out of home media using technology and creativity together to create beautiful, emotionally impactful advertising experiences for consumers.

A personal favourite was Women’s Aid’s interactive Look at Me campaign. The ad, which showed an image of a bruised woman, used facial tracking software to recognise when passers-by were looking at the screen and would then trigger a live copy change. When people payed attention to the ad, the on-screen bruises would visibly heal, showing how we can all make tangible changes in the fight against domestic violence.

Compiled by  for The Guardian Australia.