The Role

As the young Director/ Creative you are responsible for the creative of a wide variety of broadcast, digital, events.

You will work with the creative and strategy team in developing creative content ideas for clients then lead these ideas through production and delivery.

It is also the Director/Creative’s artistic vision that will guide the work of the team as they search for suitable locations, hire the cast, design the sets and lighting, and finally edit and dub the finished product.

You will work closely with our creative services, editors, animators, producers and clients.

Core responsibilities & essential duties:

Direction / Creation

·HDV director, shooting, lighting and sound

·Assisting producers and crew on shoots prepare and pack down equipment

·Trouble shoot problems with equipment and/or technical problems on set

·Receiving a brief, developing creative responses and creating pitch documents

·Developing and Writing Directors treatments

·Pitching treatments to clients

·Script writing

·Storyboard creation and creative visualisation

·Attending locations scouts

·Directing casting sessions

·Directing cast and crew on set

·Providing clear and concise creative direction to post-production regarding edits and amends.

·Selecting the most effective shot of a scene in terms of drama, story relevance or continuity

·Producing and perfecting the final product by directing special effects software and grading / coloring the finished film or program

·Assist with overseeing the quality ad progress of audio and vision engineering and editing

·You have an understanding of the technical requirements for online & broadcast delivery

·Learning and experimenting with styles and techniques

Execution

·Consultation with the Producer and or client throughout the post-production process

·Update project stakeholders in relation to deadlines and budgets as necessary

·Proactively communicate issues and resolutions with creative and pron team

·Contribute to the growth of the company and implementation of process by applying knowledge from previous project’s successes and shortcomings

·Accurately manage and record your time and expenses

·Familiarise oneself with the style specific to TCO Directors

Skills / Experience:

Tertiary qualifications are preferred in any of the following areas: directing, editing, production and advertising and related Work Experience of at least 5 years required.

Your attributes

Bright, happy and sharp

Ability to work closely with a variety of personalities.

A great ability to mediate situations.

Ability work to deadlines and within budget parameters

You are precise and accurate with an eye for detail

You can juggle various tasks across many projects and you are a clear communicator

You must happy to work during business hours with some evening and weekend work

Package

• Up to $70k pkg (negotiable)

Interested? Email your CV to HR@theconscience.orgShort listed candidates considered for this role will be contacted. NO AGENTS OR RECRUITERS NEED RESPOND, THANK YOU.

Rob, Sammie and Aaron work in TCO’s Post Production department….which generally means, they work hard and make our work look great.

After a few weeks of late nights and weekends, it was widely acknowledge that these boys deserved something special….

“Dude. Wow. Dude. Did it, freaked out a little, but rocked it! Thanks mate. Once in a lifetime…”

TCO’s Staff incentive scheme goes way beyond Shadow Equity, Bonuses….it’s about good times and bad times. Ha! But, we love you boys!

PUBLISHED in The Australian newspaper, July 06, 2009

CONTENT production company The Conscience Organisation is working with three media agencies as a de facto creative arm, delivering projects for advertisers that combine digital and video elements with events and sponsorships.

The appointments take media agencies a step further into new territory in the content space that creative and digital agencies and even media companies are also trying to occupy.

The arrangement is also helping advertisers reduce costs on marketing budgets that may have been cut back over the past year.

High-profile advertisers Procter & Gamble and Foster’s Australia are among the clients that have already commissioned branded-content-style projects from TCO in partnership with media agency MediaCom.

MediaCom has done an exclusive deal to have two TCO staff permanently housed within MediaCom’s Sydney offices dedicated to developing branded content projects.

The Procter & Gamble arrangement relates to the launch of a new fragrance.

Meanwhile, Foster’s is understood to be working with TCO on several projects, the first of which is an online content strategy to promote Rosemount’s sponsorship of pay-TV channel Arena’s next series of fashion reality show Project Runway.

TCO is also working on similar projects with MindShare, which is a sister agency to MediaCom under WPP’s GroupM media division, and Ikon Communications (which is owned by listed company STW, the parent company of TCO).

TCO founder Clive Burcham denied the agency was cutting traditional creative agencies out of the loop.

“This doesn’t cut the lunch of creative agencies because we’re not making ads,” he said.

But he said it enabled the client to have fewer agency partners.

“When you sponsor something, you usually have five or six different agencies — it could be an activations (or promotions) agency, a digital agency, a creative agency and a media agency,” he said.

“We’ve taken over activations, digital content and events and because it’s all coming from one (party) they get an integrated approach.

“The savings from dealing with us is just one part of it,” Mr Burcham said.

“We’re finding that when we create content, we’re creating stickyness. People are spending more time on (advertisers’) websites.”

MediaCom Sydney chief Toby Jenner said it was much easier to develop branded-content projects in-house than working with a separate agency.

TCO staff Sam Smith and Tom Phillips are based in MediaCom’s premises.

“It’s a whole heap easier to do this sort of work with two guys in the office alongside you,” Mr Jenner said.

“This is about growing our revenues in innovative new areas through the partnership.”

MindShare Sydney managing director Tracey Michael said she contracted TCO to do content development, including filming online video.

“It is that kind of (creative) territory,” Ms Michael said. “It’s been filming and video that we can use online, but not website creation.”

Projects developed with Ikon include a branded-online-content series created with the Australian Rugby Union and Fairfax around the next generation of Wallabies.

Mr Burcham said the content partnerships gave control back to the advertiser, which owned the content, rather than having to “rent” it by buying advertising space in mainstream media.

For Rosemount, TCO and MediaCom will work across the Project Runway sponsorship and the brand’s other fashion connections, including Rosemount Australian Fashion Week and the Rosemount Sydney Fashion Festival.

I just love this “Did you know?” video from Economist http://bit.ly/1yedES ………worth a 4th or 5th look

Published in Adnews August 14^th, 2009

Advertisers arestarting to recognizethe balance of interruption versusengagement.

Arguably, true engagement can only be achieved with something that adds value to a consumer through an information or entertainment exchange. A 30-second spot goes part way to doing

this and delivers news about a product. However, it’s short-lived,

only lasting as long as there is budget to support it.

Content challenges this status quo. It builds brands. It doesn’t just

exist in a single channel. It can be agnostic in its application and selfperpetuating in its growth. If we boil it down further, a channel is a route or avenue to an audience.

Those channels have grown exponentially with the advent of web 2.0 and innovative ways of reaching consumers are coming

out every week. By taking control of the source of the content that feeds the channels, you create your own Trojan horse, surreptitiously seducing a consumer with your brand’s message wrapped up in something which they are passionate

about.

It’s a wonder why not more marketers are doing it. Be inclusive, not exclusive Did your eyes make a deal with Seven or PBL for the next six to 12 months or a specific piece of

entertainment?

Of course not. Trinity P3 managing director Darren Woolley says: “In a digital world there is no reason the person

paying for the production – the client – should not only own the

outcome, but all of the elements to use as they see fit. This includes all rushes, masters, animation elements and the rest.

Holding on to the control of these elements to ensure future work is tantamount to holding the client to ransom.”

In old school terms, this includes all the masters and rushes from the bombastic TVC production. Creating up and finding out

Does your passion for bike riding make you search out Tour De

France content on SBS, Twitter follows, Facebook streams and Le

Tour’s official site? Same deal for MasterChef or Coldplay. All these pieces of IP stand for something that connects with the audience and brand passion and I don’t give a f@#k where I get it from.

Content forces us to think differently about our approach to

communication planning. The content idea should be connected

to the insight, but not necessarily to the advertising idea. Content forces us to think about truly engaging ideas, ones that could exist with or without brand involvement, ones that consumers actively seek out, talk about, play with, share and

contribute to.

Of course, the smarter ideas are those where the brand

is integral to the idea without brandishing logos every second or

overt product placement.

Why content?

Consider a client is creating and owning IP, in this case, engaging

content… Content can give a client or brand a distinctive point of view in a cluttered advertising market. It gives them a point of difference as well. It lets them have an opinion, discuss scenarios, argue in disagreement, even push for change.

How could this possibly be achieved with “push advertising”?

It couldn’t. But what’s even more exciting is the ownership a brand

can have over its content. Unique, engaging ideas are coming out of the woodwork as apposed to someone asking for as much creativity in a 30-second format that is 40 or 50

years old.

Video can be malleable as dynamicbanners or even a blog, only

more engaging. Video can tell a story, sell a product or challenge a competitor quicker and cheaper that ever before. For the cost of a low-budget 30-second TVC, we can create branded digital content that increases user time on publisher websites by 200% to 400%. Who should be paying who?

But how can clients capitalize on this if they or their providers

cannot deliver quick, cost-effective creative? How can this happen

when bloated fees are charged for producing little screen time?

Content planning

The media plan has shifted: nolonger is it about interruption andinventory. Engagement requiresyou to compel the audience to lovethe content they are viewing – videogoes a long way in doing this. Coproducingwith publishers andeditorial teams brings a whole newlevel of stickiness and support thatmoney can’t buy – and publisherslove it.

If you partner with the“right” content producer, thecontent quality is of a high outputstandard. Digitally, this positions the content not as “ad funded” butrather editorially supported.

Content in banners can increase click-through by about

200%, because the banners are not looking anything like advertising.Rather, they look like an entertainmentoffering. The more engaging the digital content, theless advertising is required.

Use content to market content. Are you creating content and then

using ads to lead consumers, only to find it doesn’t work? Clients and media agencies can learn something from the way the networks have been promoting content for decades. When AdNews publishes, its editor talks about the content in the magazine. He doesn’t go off and blow cash on an ad to promote his content.

Kapish?

Clive Burcham is founding director

at TCO, The Conscience Organisation.

Published in AdNews 9 October 2009 opinion

The advertising industry has grown up with a simple equation:

production + media = brand equity, which ultimately leads to sales.

The balance of this simple equation, depending on which circle you speak to, predominantly favours the media side of things. A general rule of thumb is a 20% production, 80% media split. Make it and then push it out there. If we started this game all over again now, perhaps this equation might look a little different:

Productive = Currency.

What if we could start from the beginning, knowing what we now know about consumer engagement, the power of the web, of experience, of sharing, of involvement and of community. Would things be different.

Probably. Someone who recognises this is a smart Australian currently working in the UK as marketing director at Nike, Simon Pestridge. He quotes “80% production, 20% media”. His mantra was born out of the fact Nike has distilled the wants, needs and level of engagement from its core consumers to help grow incredible success for the brand.

Producing TVCs is only a part of his production budget. Events, interactive digital platforms and buckets and buckets of content from virals and wedisodes to TV programs have driven deeper connections with Nike’s youth target. No longer do they have titles like brand comms manager. At Nike, it’s about brand connections and titles and its marketing culture reflects this.

Productivity can take many different forms but can be broadly categorised into: creative, content, events and digital platforms. Creative alone can only yield currency for a brand at a one dimensional level – brand equity. Consider the breadth of currency created when using content. Brand equity, IP, consumer endorsement and advocacy, word of mouth, value exchange with media publishers…

The point is it opens up a whole different level of conversation with a whole number of stakeholders which can deliver exponentially above more traditional means of getting a message to a consumer. Consider for a moment how the IP model is changing. The laws for intellectual property are not keeping pace with the change driven by technology – especially online. The internet has democratised information and content, with more people than ever before being creators and publishers of information and content.

The main issue for IP law appears to be when this content is commercialised, generates revenue and how the revenue is shared? But then driving a million visitors to view a YouTube video where Google ads are displayed – is that simply content or is it commercialised? No wonder legislators are having problems with copyright law.

The speed of consumption is changing. Upload a video today on YouTube and tomorrow you could have a worldwide hit on your hands,  especially if it is picked up by the mainstream media. The volume ofcontent and the easy accessibility means ideas, content and communication is moving at “click speed”.

Today’s internet hit is tomorrow’s water cooler discussion. Then the day after everyone is talking about the next hot item. Long, drawn-out processes are a thing of the past. But God, we all love ’em, huh?

Idea, shoot, edit, approve, distribute. Then do the same thing every single day or week after that and hey presto: Production = Currency. Let’s say you received between $200,000 and $400,000 to shoot a TVC. Let’s divide that by $10,000 per week. On those figures, that’s five or 10 months of fresh, relevant, contextual content. That’s a lot of currency and relevance that you can have with a consumer. By the way, you can turn a couple of the films into TVCs to boot.

The production model costs are changing. Technology has made  content creation accessible to everyone with a computer and an internet connection. It has also changed the expectation people have of production quality. There will always be a place for high quality content production, but it is no longer mandatory. Yet it is interesting the number of production people that still want to charge a fortune to make it look low quality/amateur. Remember, a lot of advertising is disposable, so why put so much money into the dumpster?

Technology effects on production costs. At the leading edge of  innovation the costs are high, while trailing behind it makes the production much more affordable and so much faster. The fact is, the tools need to be matched to the idea and the quality of the output is invariably not the technology but the quality of the people using it.

Technology is changing all of the above. This is the most important point. Technology is driving change faster than at any time in human history. But government legislation, the law and commerce are running along trying to keep pace with these changes.

the ease with which content can be created and distributed has changed the balance between production and media budgets forever.

by Darren Woolly Trinity P3, Tom Phillips Content Strategist, Clive Burcham Founder of TCO.

What more can we say:

Clive and Moxy head off to a Coke meeting on a bright red scooter. Clive is wearing someone’s powder blue wedding suit from the 70’s. Ooh look! Gloves. Moxy is wearing Speed Racers girlfriends helmet. Great.

A big congratulations to the TCO Production team who worked around the clock at this years Rosemount Australian Fashion Week! TCO developed a unique production plan that enabled Diet Coke to have content captured, edited and uploaded into Yahoo!7, Grazia, Vogue, In Style and YouTube within a 24 hr period.

Most importantly the production plan enabled Diet Coke to amplify their investment in fashion far beyond the runway and was able to deliver multiple channels in a cost effective manner.

Click here to see more.

More good news shortly.

TCO has recently landed  Australian Liquor Marketers marquee independent retail liquor brand, Cellarbrations as a key content and comms account for 2009! Good for us! And them! Good for everyone!  With over 500 outlets nationally, Cellarbrations has grown over the last 5 years to become one of the biggest independent retail liquor brands in the country. That’s a lot of rum. But we’re not sailors, we’re creative content types, so they will be paying us with sweet mulla… not booze… a shame really.

Keep your eyes peeled for the new work, due to hit all of your screens in the up coming months!

Oh god, we just got this new widget that manages all our sites. they are currently being redesigned which means we’ll be adding new content daily form later this week:

blogs,

video,

work,

random thoughts,

inspiration.

it’s a long time coming….but finally, we’ll be 2009!

It started in Rose Bay at a little kiosk… the waiter delivered an iphone with a video on it.

And the result?

FFA Fansformation

Fansformation Series Two - Now Casting!!

Are YOU the ultimate Melbourne Victory fan?

Last year 3 Sydney FC fans were given the challenge - 6 weeks to convert a non-fan. Here’s the promo from Series One

This year it’s Melbourne’s turn!

We are looking for guys or girls who live and breath football, who are willing to share their passion with the world. Two true lovers of the game (fanatics!) will be filmed over a 6-week period during this season’s Hyundai A-League.

Are you obsessive, expressive with a good sense of humour? Would your mates describe you as a football freak?

If you think you have what it takes, pitch yourself by creating and uploading a video at www.melbournevictory.com.au/fansformation

Series One was big, with the guys meeting Beckham and being the half-time entertainment at the Galaxy Game.

Series Two will be even bigger….

Fansformation - Powered by Hyundai

Game on!

The Global Poverty Project
Three months after its inception here in Australia, the Global Poverty Project was launched alongside the UN’s High Level Event on the Millennium Development Goals in New York on September 25 2008.

Speakers at the launch where Australian Foreign Minster, Stephen Smith; Director of the UN Millennium Campaign, Salil Shetty; CEO of World Vision Australia, Tim Costello; and Director of the Global Poverty Project, Hugh Evans.

The project already has backing from the Australian Government, the United Nations Millennium Campaign and the Mandela Foundation.

We are currently exploring opportunities for collaboration with many others including the Gates Foundation, the UK Government’s development agency DfID, U2 frontman and poverty campaigner Bono.

Research for the presentation and the film has commenced.

22.09.2008

Ooh. Look at us! We’ve gone all Change Agent-ish! TCO has embarked on a year-long research journey with the Global Poverty Project - headed up by long time TCO love Hugh Evans. GPP gets officially launched at UN HQ in New York later today and has already gained world wide recognition (see below). In addition to bags of research we are also going to be making an awesome presentation and feature length film out of the whole business! Think - An Inconvenient Truth with Paul Hogan’s accent… but better.
The thing that makes us so freaken warm inside is the speed in which this is happening! Over achievers like Hugh and Simon Moss make all of us feel uber lazer.
Keep your eyes peeled for the trailer which we will put up in the next few days - You can learn all about this amazing initiative that we are so damned proud to be a part of!!!!

28.08.2008

Our new address is:

61-63 Great Buckingham Street
Redfern NSW 2016

Ph: + 61 2 9690 5100

Fx: + 61 2 9690 5111

For gods sake! Some body give him a kebab!

31.07.08
Check out the directors cut of the Sydney Film Festival trailer for 2008. Damo (who directed) said quote: “Don’t mention my name man… don’t do it man…!” We promptly responded by assuring Damo that his name; Damo, would not be used on the website. Damo. Damo. Damo. Well done mate, we are all very proud of you. Damo.

29.07.2007
Doogs Westwood aka Doog-Diddy-West-Whizzy has had a hard week. That’s to be expected when a three month date with The Body comes to an abrupt halt. “I always new this day would come…” says Westwood “I just didn’t know it would come so soon and be so painful”.
For the past three and a half months Doogs has been responsible for the weighty task of digitising box loads of Elle McPherson content. The task sparked controversy in and around the office as one could only assume that the Big Kahuna was indeed playing favourites. When asked to reflect on his emotions after losing the subject of his three month love affair Doogs simply replies “I feel empty Dave… I feel empty”.

BELOW: Senior editor Vaughan Smith consoles Westwood after his loss.

Okay. So this one is a little weird but it’s great none the less… one of those little gems you find when searching key words such as “smash” “fluorescent” and “milk”.

23.08.2008

Our very own Big Kahuna, the father of the TCOISM and the common mans idiom, official Blackberry spokesman and the voice of radio love - Clive Burcham is tackling The Tour… at his own pace. Join the TCO tipping competition today. Leaders jersey? King of the mountain?

Check out is happy snaps. They’re nice.

20 odds sessions in and themes are clear, if not a tad obvious…

1. Put consumers at the centre of your thinking, treat them like you would anyone sitting at the table [duh!], speak to them earlier in the planning process, if not, make them the planning process.
1a. Consumers, also known as people
2. Future success is not about campaigns; it is in commitments by brands and companies. ie: life is a marathon, not a race.
3. Green is the new black. However, never ever say “green”.
4. Digital is the new mainstream and the mainstream is, as is true in broadcast, not aimed at youth. Most of the digital generation is older people looking for value, an easy way to do something. i.e.: book travel.
5. Multilayered business models have a place, but integrated campaigns from smaller agencies are the GO!
6. A brand’s role continues to evolve. BUT, if you want to have an impact, be an impact. i.e.: actions, speak louder than words. Which segues into…
7. Companies who are trying to do the right thing and are good at heart…are usually, 60% more successful.
8. TV still forms the greatest way to have a brand recall and impact on a consumer.
9. We are in a constant state of Beta Testing - so don’t wait, waste time “getting it right” - get “it” out there and get on with the next thing!!
10. It’s not about formats or channels; it’s about great content.
11. Risk has a place in our lives and leads us to the juicy places [with consumers]. Do something bold and they will talk about it!

This is gold!

16.06.2008

TCO’s Big Kahuna; Clive Burcham and Rob Stanton Cook are rubbing shoulders with the elite of the media and advertising industry in Cannes this week, for the 55th annual International Advertising Festival. TCO have partnered with News Limited to cover the prestigious week long event. In particular, Lara Sinclair’s insights for The Australian and the Young Lion’s. The aim of this program is to identify the upcoming young talent from Australia, who may be the Cannes Lions winners of the future.

Stay tuned for some great stories through out the week.

“Nothing in the world can take the place of persistence. Talent will not; nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education will not; the world is full of educated derelicts. Persistence and determination are omnipotent. The slogan press on has solved and always will solve the problems of the human race. No person was ever honored for what he received. Honor has been the reward for what he gave.”

—  (John) Calvin Coolidge

04.06.08

Ah wobbles… aka Jowling. We gave it a crack and this is where we got. It is arguable that perhaps this is more fun than most things we have tried before. Dave Ohana actually couldn’t move his head afterwards and Krystal is having the demons exorcised later today.

26.05.2008

19.05.2008

It has happened. TCO has been about to explode for months. We have even been compared to a chocolate coated orgasm fermenting in bourbon… So what were we supposed to do?

Easy, we launch another company to handle all the stuff that we are too damn busy to do ourselves! So ladies and gentlemen, we present to you, the latest offering in high quality, quick turn around production… The Happy Farm!

Check out this video below to learn a little bit more about the happy little farm animals who are The Happy Farm.

Best gig ever?

Would have been awesome to have seen this in the flesh. If a brand actually went to this kind of effort to talk to it’s audience… then the world would be a slightly better place.

This is a new spot by Guy Ritchie for Nike - very nice.

Bruce.

Our beloved production manager says the world would be a bettr place if we all had guitars and could “come and share the moment…”