The Reel Factory: ‘Kiwis Tend to Roll Up Their Sleeves Collectively to Accomplish the Task in the Best Possible Manner’
The New Zealand industry has been absolutely killing the game as of recently.
Within their own local market, the ideas that are being produced by independent and network agencies have been punchy, emotional, and extremely witty.
On the global stage, New Zealand has proven that although they are small in size, they are mighty in creativity.
World class ideas need a world class production team behind them. The Reel Factory, a production company based in New Zealand has worked on countless productions for the advertising industry.
With a catalogue of outstanding equipment that would make a camera nerd drool, first-class directors and a work ethic that believes in unparalleled technical and creative freedom. The Reel Factory continues to produce work that is loved by thousands.
Each director on their books brings something new to the table every time a spot is presented to them. With their directors’ succinct styles and method coupled with The Reel Factory’s love for creative freedom, it is no wonder that the country's industry is booming.
Dan Watkins, Reel Factory’s company director, gave LBB’s Casey Martin a behind the scenes look into the New Zealand industry, what it has to offer, the challenges it faces, and the future it will see.
LBB> What unique point of view do you believe the New Zealand industry has? And what can the rest of the world learn from it?
Dan> Candidly, the New Zealand industry’s unique perspective doesn’t shine with blinding clarity.
Yet, our serendipitous location amidst one of the world’s most enchanting landscapes grants us unparalleled access to a smorgasbord of diverse locations within arms reach. Our formidable crews, having marked their presence on the global stage through films, TV shows, and commercials, punch above their weight despite the modest dimensions of our nation and its populace.
One thing that sets New Zealand apart from many is the ethos of a level playing field. Kiwis tend to roll up their sleeves collectively to accomplish the task in the best possible manner.
It’s far from unusual to witness a producer lending a hand to the lighting team in dismantling equipment, or a safety officer chipping in with the art department, be it in constructing or deconstructing sets.
One commendable facet in New Zealand is the absence of rigid unions, enabling us to dive in and aid various departments with the utmost efficiency. In comparison to numerous nations, our industry in New Zealand stands as a tight-knit, spirited family on set. Having experienced situations where attempts to assist the lighting crew in the US on a shoot were met with prompt instructions to remain within our domains, I can affirm that the atmosphere here is markedly different. The openness to collaborate and extend support is a valuable lesson that resonates globally. Our congenial and all-embracing crew culture facilitates not only seamless shoot days but also nurtures the growth of aspiring talents that are eager to grow within the industry.
LBB> What do you love about the industry and what challenges you?
Dan> I have been lucky enough to have been immersed in the media industry long before I took my initial steps. My aunt’s tenure as the chief makeup artist at TVNZ – our nation’s premier local broadcasting company – cast me into a vibrant milieu, nurturing an affinity for film and photography at a really young age. Departing school at the earliest opportunity to plunge into the realm of film and television, I have witnessed the enormous transformation of our industry through the development of technology. Here, the spotlight falls on the seismic impact of social media and the global connectivity it facilitates.
Social media, with its power to foster almost instantaneous global connections, has played a huge part in these transformative times. Gone are the days when our commercial creations were tailored solely for TV broadcasts or the silver screen.
What I cherish most about our industry is its evolution over the past two decades. The capacity to capture breathtaking imagery has grown ever more streamlined, while global viewership is now within instant reach through a myriad of platforms.
We’ve been fortunate to mature alongside this transformative journey, leveraging its progress to our advantage. In the relentless pace of the commercial sector, staying attuned to the demand for content while upholding production values and meeting brand expectations is an ongoing challenge.
Our current hurdle is to remain at the forefront of the development of specialised cinema equipment. As budgets tighten, creative ambitions expand, and content creation hits all-time high, balancing creative aspirations with financial realities becomes a substantial test. When you have the best film technology and the crew to run it all at your fingertips it becomes much easier to adopt a leaner approach to high-end content and commercial creation. Our industry now stands in the midst of an exhilarating whirlwind, driven by boundary- pushing creatives, an acceleration of original content. As a company, we have a very distinct production ethos, which makes it very easy for us to adapt to the changes in our marketplace and help push the boundaries of what can be done creatively.
LBB> How have you seen the industry grow and where do you believe the industry will be in the future?
Dan> We have been fortunate to witness the ascent of the internet, television’s evolution into streaming domains, and the seismic sway of social media across the globe.
Content consumption’s transformation over the last 15 years paints a landscape dramatically different from its predecessor. While the legacy of prime-time television ad slots persists, its dominion is unmistakably diminishing.
When content for social media first became a thing, the creative was always an afterthought off the back of a brand spot for TV. Today, projects are often primed for social media, with their refined creative and production values making them suitable for television broadcasts as well. The consequence of subpar execution on social media can lead to swift disengagement, as audiences scroll past uninspiring content.
When we were first producing content for online use the pieces of work would sit between one to three minutes with a strong narrative. That has changed dramatically where a lot of content is produced for six - 15 second hero pieces and the longer form of 30 seconds for pre-roll and TV as runner-up. It’s hard to say where things will go in the commercial space as you can’t get too much shorter than a six-second brand spot.
Don’t get me wrong I still love a piece of work that hooks your attention for a whole six seconds and spits you out the other side, but the film-maker in me prefers it when we have time to tell a story in a beautiful, cinematic way. I do think we will see more of a balance between the short snackable pieces of content and longer form commercial pieces that all allow for immersive and impactful experiences. Our landscape in the advertising industry is constantly evolving, right now is a really exciting time and we love being a part of the growth and change in the marketplace.
