Hoopla Doopla is a pre-school TV show created and produced by Melinda Wearne of The Content Agency. The 52 x 12 min series has been produced in conjunction with Beyond for the ABC and CCTV, the Chinese national broadcaster. The series was shot in CCTVs studios outside Beijing over a 6-month period from February 2013, with 3 Australian and 3 Chinese cast members, a Chinese crew and key creatives from Australia.
The stories revolve around the town of Hoopla, where the six extraordinary inhabitants, Mimi, Ziggy, Jango, Bop, Squiggie and Zap all live. The friends are played by circus-trained actors who somersault, unicycle, juggle, tumble and hoola-hoop in and out of trouble.
The series is groundbreaking not only because of its pushing physical comedy in new directions for kids tv but also because of the scale of the co-production between the ABC and CCTV. Hoopla Doopla is the biggest co-production undertaken between the two broadcasters to date. It was also a pretty extraordinary year for the Content Agency and we are looking forward to watching the series on ABC4Kids in 2014. The series will screen on ABC4Kids at 10:10am on Feb 10, 2014, and will also screen in China on CCTVs kids channels.
The Content Agency has been producing producing trailers, sales trailers, TV commercials, showreels and content for Australian feature films for 10 years. We have had Baz Luhrman in our edit suites giving feedback at 11 o’clock at night, we worked with Bruce Beresford and Jane Scott on Mao’s Last Dancer. We’ve also worked with the rising stars of Australian cinema, producing trailers for The Waiting City, Satellite Boy and recently The Backyard Ashes. Producing the TV campaign for The Sapphires was a highlight amongst many other TV campaigns.
Our philosophy with film marketing is to be true to the film whilst engaging and resonating with the audience. We make trailers and commercials that make audiences want to see movies.
Online video as a tool for business is coming of age, whether in marketing, or internally for training and communications, and there are a whole heap of statistics around to support this. Some of the most interesting have been collected together in the “10 Reasons” video. It makes a compelling argument for why video to be so effective.
Some of the most interesting statistics are about the appetite for video. Youtube is still the second most popular search engine after Google, and 28% of Google searches are for Youtube. So there is a huge audience not only looking for video content, but searching only for video. On top of that Forbes found that 75% of executives surveyed said they watch work-related videos on business-related websites at least weekly with 52% watching the videos on Youtube. So whether its for business or consumer, the audience is hungry for video content.
The way people behave when interacting with video is also very interesting. People will watch the video on a page before reading the text, and will stay on the page far longer with video than they will with text. On top of that, people recall video content significantly better than they do text. And because Google likes video content, a page with video is likely to rank significantly higher than the same page without video.
Of course the content is more important than the medium and engaging, audience-focused content whatever the medium is of great value, but presented as video its easier for the audience to find, more likely to be consumed and will be remembered far longer. As a test, why not watch the video, and see which you remember better at the end of the day, the video or this blog.
APN Outdoor wanted to bring to life the impact that advertisers can have on rail travelers in Sydney. To do this we told the story of a passengers journey to work, and the interactions they have on the way. The video uses bold design overlaying video footage, to highlight the interactions between passengers and advertising.
The Backyard Ashes is an Australian comedy feature about the clash of two great cricketing nations, in a backyard in Wagga Wagga. When English twit Edward Lords, takes over as boss of the factory that backyard-cricket loving Dougie and his mates work at, it sets in motion a train of events that culminate in a England vs Australia grudge match.
The feature is set in, and made with the support of NSW town Wagga Wagga by first time director Mark Grentell and producer Anne Robinson, and stars Australian icon John Wood.
33 Postcards is a feature film directed by Pauline Chen, and starring Guy Pearce and is a Chinese/Australian co-production. The story follows Mei Mei, a Chinese girl growing up in an orphanage, who’s father-figure pen friend in Australia, played by Guy Pearce, is not what he at first seems. Over the course of her life he has been telling her through a series of postcards about his idyllic life and family in Australia, but she discovers that in reality, he has just been released from prison.
The trailer makes great use of sound-track music, to build the pace, while drawing together the story and characters to make the film appeal to the target audience.
We recently did a music video for 2012′s The Voice finalist Rachael Leahcar for her brand new single ‘Heart’s a Mess’. A beautiful rendition of Gotye’s famous track.
We recently had the pleasure of shooting a television commercial for 2012 The Voice finalist Rachael Leahcar’s upcoming debut album ‘Romantique’. A collection of new and old classics featuring covers such as ‘Wonderful World’, ‘Heart’s a Mess’, ‘Use Somebody’ and ‘Angel’.
Video directed, produced and edited by The Content Agency.
Client - Universal Music and Rachael Leahcar
The Content Agency was recently asked to create an Album Promo for The Voice Australia’s charming finalist Rachael Leahcar, for her upcoming debut album ‘Romantique’.
Featuring covers of ‘Heart’s a Mess’, ‘Use Somebody’, ‘Angel’ and ‘Wonderful World’.
Video directed, produced and edited by The Content Agency.
Client – Universal Music and Rachael Leahcar
Icon Films released Get the Gringo in 2102, and we produced a series of TV commercials for the release.
All the spots were adapted from US and UK TV spots, but we had to remake all the graphics as well as doing all the usual re-purposing.