March 2023
Kelly Nguyen OUT OF THE BUBBLE
Belinda Bradley
A VIEW FROM THE STREET
Suthisak Sucharittanonta IN THE REAL WORLD
Karan Shetty
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Since the inception of shots, more than three decades ago, we have been exposed to work that has been at the forefront of creativity. Work that has excited, entertained, made us think, or laugh, or occasionally cry, and much of that work has originated in the Asia Pacific region.
Back then, tapes would arrive to the shots o ce in London and, whether they were VHS, Umatic or Beta, they would be filled with advertising gems that – preinternet – were the only route into a world that was both the same but also di erent to the one we were used to looking at.
When shots first attended AdFest, back in 2000, the result was that our understanding of - and access tothat world expanded, and has continued to expand. In the intervening years we have been fortunate enough to be able to share and celebrate the great creative work we have been sent, as well as the people and companies behind it, on the pages of shots
With the launch of the shots Awards Asia Pacific three years ago that celebration grew and, over that time, work from Japan, Thailand, China, Australia, India, New Zealand and a host of other countries has been lauded by judges from across the Asia Pacific region and has ended up as the recipient of a coveted shots Awards trophy.
In 2023, ahead of the launch of the fourth annual shots Awards Asia Pacific, we asked our Contributing Editor, Tim Cumming, to dig a little deeper into some of last year’s judges’ thoughts and opinions about the industry they work in, to find out about the advertising campaigns they most admire, the challenges their territories face, and the creative output their countries produce. And, of course, we have a full list of last year’s winners starting on page 11, so you can remind yourself of the standard of award-winning work that this year’s entrants must try to match.
Danny Edwards & Jamie Madge Co-Editors
Withmore than two decades of creativity under his belt, Suthisak Sucharittanonta has become one of the pillars of 21st century Thai advertising.
Starting out as a freelance photographer, his first work was for Dentsu, where he had unsuccessfully applied to be a sta photographer and was, instead, assigned to creating story boards. It wouldn’t be long before he began to rise rapidly through the ranks as an art director, copywriter, then creative director at agencies including Dentsu, Lintas and Oglivy Thailand.
A trailblazer in terms of taking Thailand’s advertising creativity onto the global stage, in 2003 he won the country’s first-ever Cannes Gold Lion for BBDO Bangkok, where he had been appointed Chief Creative O cer in 1998. This deadpan spot for anti-aging cream Gi arine EQ10, Belly Button Face, has more than a little of the surreal about it, and brought Thai creativity –and Sucharittanonta’s talents – to the global stage.
The following year, under his leadership, BBDO Bangkok found itself ranked eighth in The Gunn Report’s World’s Most Awarded Agency rankings, and Sucharittanonta was named Southeast Asia Creative of the Year in 2016 by Campaign Asia, and became
one of only 10 global talents on Adweek’s 2017 Creative 100 the following year.
He was awarded the Lotus Legend Award at AdFest 2017 and has since stepped into the world of innovative, socially conscious product development. In 2019, Sucharittanonta returned to his first love, photography, for the Fighters Project, which celebrates Thai people living with disabilities.
After 22 years, bowing out with a second Thai Health Promotion Foundation spot highlighting the dangers of Covid, he retired from BBDO Bangkok in 2020, and has since made the television series Cheu eur Chef through The Film Factory and Triton Film Thailand.
One of the judges for shots’ Asia Pacific Awards in 2022, here he talks about his most recent work, the creative climate in Thailand, and some of his favourite campaigns of the last year.
“The advertising industry is more competitive when boutique, small and local ad agencies can beat big network agencies in big pitches.”Former BBDO Bangkok CCO-turned director, Suthisak Sucharittanonta
How would describe the current creative climate in Thailand?
The advertising industry resumed quickly during the post-pandemic period. We see more digital ad spending on online platforms, particularly the social media giants like Facebook, YouTube, Instagram and TikTok, so millions of eyes are now staring at tiny screens rather than big screens. There are more content creators and social influencers but, sadly, there are fewer big budget TV or online films these days. The advertising industry is more competitive when boutique, small and local ad agencies can beat big network agencies in big pitches, and also in some awards shows.
How do you think the industry might evolve in Thailand and across the region through 2023?
I think everything is returning to normal, hopefully with optimism and confidence for a bright future. Advertisers have resumed spending budgets on advertising. People in South East Asia are spending more time online. As a result, digital ad spending is growing because they see it generates returns. We now see the in-person awards judging and, of course, we will see more creativity.
What do you think will be the challenges and the opportunities?
During the pandemic consumers spent more time on their mobile devices, where they also spent more on buying food and other goods, and they will continue buying online in the future. So, the post-Covid digital transformation has made advertisers increase spending on e-commerce, mobile, live streaming and social media. It’s a good opportunity to learn and experiment, and to adapt new approaches and strategies.
What are the pieces of work that have stood out for you?
Vice World News’ The Unfiltered History Tour, from Dentsu Webchutney in India. The campaign is clever and it’s a brilliant way of teaching historical reality to new generations. Most importantly, it had overwhelming response. Then there is TAC’s Only Protected for a Moment PSA spot, from Clemenger BBDO Australia. Not only brilliantly executed, but it really makes us see and think that it’s crucial that we must wear protective clothing to help keep us safe.
Netflix’s The Eyeballs Heist, from Wunderman Thompson Thailand, was an out of home campaign that really heisted online attention – it’s simple but very impactful. Voiz Wa e Choco’s Innocent Eyes TV spots, from Ogilvy Bangkok, have been unique and popular for decades, and this one was nicely executed and crafted in a stylish way. Finally, the Boonthavorn Umm... TV ad, from VMLY&R Thailand, is an insightful and
nicely executed spot which aims to connect the home improvements retailer with new generations.
Do you feel Thailand’s creative output has improved, and are there areas where it needs to improve?
I think Thailand’s creative has always been improving. We see more great online campaigns, not only traditional media campaigns like in the old days. We see advertising agencies partnered with tech giants like Facebook and Google, and talented new start-ups utilising AI and new technology to integrate into their creative work, but I personally think that there are many things that we need to improve, such as ideas, technology and innovation.
Does the creative work it is producing compete successfully on the regional and international advertising stage?
Yes. Thailand’s creative work is still shining in the world arena. If the local Thai advertising agencies have awards budgets, I’m sure we will see more award-winning work from Thailand.
How future-focused is the industry in Thailand and in what ways is the approach to creating work changing?
Everybody is asking that! From government to ad festivals, the pandemic has changed the way we live, in the digital world and the real world. Some thought leaders and advertisers emphasise technological innovation, an innovation-driven growth strategy and promoting sustainability for future generations. But there are still many brands that need to recover from the big wounds caused by the massive losses incurred during the pandemic.
How was your experience of looking at the work for the shots Awards Asia Pacific 2022?
There was some fantastic work that was very inspiring and very well crafted. There were many outstanding pieces of work, especially from Australia and New Zealand. TC
KellyNguyen grew up in Toronto, where she studied fashion communications and fashion marketing before entering the advertising industry there. As art director and leader of the social media team (creatively and strategically) at Tokyo agency UltraSuperNew, her client work ranges from fashion, sport, food and beverage to automotive and fast-moving consumer goods.
Brands she’s worked for include Porsche, Lululemon, adidas, Instagram and Uber Eats. She is a member of feminist platform and creative agency Bae Tokyo, which was set up in 2015 to support female creatives and overcome differences in culture, race and gender identity, and for whom Nguyen has organised talks around feminism, race and body positivity, as well as working as a lead designer. She is passionate about bringing authenticity and growth to the brands she works with, and here talks about her work and the creative scene in Japan.
Tell us about your background and the creative work you’re doing?
I worked in advertising in Toronto before I moved to Japan in 2017, where I had to start from the beginning. I didn’t have a Japanese base when I started at UltraSuperNew as an intern. I worked my way up, and was hired to be part of the social media team. Then I became art director as well as social media team leader.
On the social side, when I’m out and about in the streets of Tokyo, it’s lively; everyone’s becoming a DJ and becoming really involved in music, culture and fashion. It’s interesting to see how Japanese audiences and Gen Z/younger
Millennials are creating this subculture among themselves. There are unique campaigns here; you can always tell they’re Japanese – they don’t try to change the formula that much, but I think it’s going to change now there’s been a shift towards digital and a different demographic.
How do you think the industry might evolve through 2023?
The challenges usually come from consumers themselves. Many brands are shifting who they want to target, and that’s Gen Z and Millennials. The biggest challenge is getting the mindset of the Japanese to change. Brands are used to a traditional way of marketing, so they have to learn how to shift to an online presence. Most of the ad spend is going online now.
Japan needs to get out of its bubble. When I say there’s a bubble I don’t mean that’s a bad thing, but when you move here you realise Japan almost closes itself off. Japan likes what it likes and does the things that it wants to do. I feel that it’s a little formulaic. It says the same things over and over again.
For example, we’re always going to see anime and mangatype ads, and they will always work. The industry doesn’t try to be diverse, but the younger generation is more vocal about what it believes in, and its values. That’s where Japan is slowly going to shift, as brands realise that Gen Z and Millennials actually care about certain things. It will make them go outside of their bubble.
How has the industry tackled the challenges of the past year or two – or been changed by them?
At the start of Covid my social media team was six people. By the end there were 40 or 50, so there’s been a massive
shift to online usage. Producing for social media is so much cheaper, and Japanese brands are realising there is so much leverage you can do online. They’re learning how to use influencers and key opinion leaders for their brand. It seems obvious, but in Japan it’s only just beginning to trickle out.
Do you feel Japan’s creative output has improved, and what pieces of work have stood out for you?
Sustainable development goals [SDGs] are really big here now. You’ll have SDG ambassadors and influencers, and brands like KitKat Japan are really focusing on that. One of my favourite ads, Nike Juku, had a bunch of different influencers and new talents come and create this fun high school dance. It’s about how students are unable to focus, and how to help them with mindfulness and exercise. Things are getting more value-driven. The Gen Z/Millennial demographic has certain social topics that they care about, so a lot of brands are starting to add a sustainable element to them.
One of the works I really liked was for water brand Suntory Tennensui. The art direction shows landscapes and water, and feels very different from what I usually see here. You see this girl holding the water bottle but it doesn’t focus on the girl or the bottle, it focuses on the environment. I also liked the Spotify ad, Sound Tour, by Geometry Ogilvy Japan. In Japan the doors only just opened last October, so Spotify collaborated with local artists, mixing traditional sounds with modern music, so that different cities had their own soundtrack, which was cool, because it targeted a new demographic as well as paying tribute to an older one.
Does Japan’s creative output compete successfully on the global advertising stage?
While I think the work could stand on an international advertising stage, I’m not sure if it really wants to. They’re usually quite happy with the way they are here. There’s still a majority of consumers who don’t have an international way of thinking. There’s still a lack of diversity and inclusion
even though there are a lot of minority groups here. There’s also a lack of queer representation. Because of that, it won’t be able to successfully reach the international level yet, but it’s getting there.
How is Japan’s creative industry approaching AI and other tech innovations?
There’s an illusion that Japan is very high-tech but, for the most part, in everyday life it’s not that way. Japan can be a bit behind in terms of change. But AI is taking over everywhere now and we’ve had so many talks about it at UltraSuperNew. We’ve played around with Midjourney for some clients. Using it as a tool is going to be very important. I don’t know if there will be any final productions using it, but Midjourney’s great for helping you ideate, or convey how you want a certain photo to look. ChatGTP is great for coming up with little ideas or bits of copy. Again, I don’t know if there’d be any final output, but it will be used to help with ideation.
How have remote working practices impacted the industry in Japan since the pandemic? Is hybrid working here to stay?
Hybrid working is super-new, but I usually go in every day. We have a minimum of two or three days in the office, because we feel that to be creative it’s best to be around the people you want to brainstorm with. As much as I like remote working, I do agree with that. Sometimes when I’m by myself it’s harder for me to ideate.
How was your experience of looking at the work for the shots Awards Asia Pacific 2022?
It’s always great to see what other agencies are doing, and it’s also great to see what other countries are doing too.
“At the start of Covid my social media team was six people. By the end there were 40 or 50, so there’s been a massive shift to online usage”
With the launch of shots Awards Asia Pacific 2023 in April, we take a look at the creative work which took bronze, silver and gold last year's awards and with full credits powered by Source.
AD OF THE YEAR: ANIMATION (2D)
Ginga Kogen Beer
Production Company: Taiyo Kikaku Tokyo
Director: Atsushi Makino
Animation: Taiyo Kikaku Tokyo
DP: Fumio Hatano
Animation Director: Takeshi Yashiro
Producer: Masami Ouchi
Production Manager: Mayumi Kawase
Production Manager: Miria Noda
Art Department: Takeshi Yashiro
Art Department: Yoshihiro Nose
Art Department: Izumi Nakane
Editor: Hidehisa Watanabe
Editor: Tomoya Itabashi
Editor: Atsushi Makino
Audio Mixer: Nanami Kubo
Music/Sound Design: Chikara Uemizutaru
Music: Cusique
Sound Designer: Masumi Takino
AD OF THE YEAR: ANIMATION (3D)
Iron Sail
Iron Sail
Agency: Client Direct
Production Company: Revenant Glasgow
Director: Kevin Mccrae
Creative/Editor: Alex Rych
VFX Director: Olaf Blomerus
Senior Designer: Dan Harper
Artist: Craig Simmers
Creative: Luke Angus
Editing/Post Production/Animation:
Revenant Glasgow
Music/Sound Design:
Simone (Aeph) Vallecorsa
AD OF THE YEAR: CASTING
Thrive by Five
The Minderoo Foundation
Agency: M&C Saatchi Sydney
Production Company: FINCH Sydney
Director: Michael Gracey
Editor: James Ashbolt
CCO: Cam Blackley
ECD: Avish Gordhan
ECD: Mandie Van Der Merwe
Editing: ARC EDIT Sydney
Post Production: FINCH Sydney
Casting: Mackintosh Casting Melbourne
Ginga Kogen Beer
Tourism New Zealand
AD OF THE YEAR: CHARITY
Unseen Emergencies
NZ Blood Service
Agency: Youngshand Auckland
Production Company: Film Construction
Auckland
Director: Perry Bradley
Music: Artlist
EP/Co-Owner: Belinda Bradley
Producer: Leah Oram
Editor: Alex O’Shaughnessy
Colorist: Pete Ritchie
Sound Design: David Liversidge
Art Director: Jack Wadham
Copywriter: Karla Tarr
Creative Director: Scott Maddox
Designer: Elliot Oxborough
Director Of Production: Nigel Sutton
ECD: Anne Boothroyd
EP: Kat Cox
Producer: Benjamin Marriott
Senior Designer: Ryan Overeem
AD OF THE YEAR: CINEMATOGRAPHY
Only Protected for a Moment
Transport and Accident Commission
Agency: Clemenger BBDO Melbourne
Production Company: Revolver Sydney
Director: Justin Kurzel
Editor: Jack Hutchings
Post Company: Blockhead VFX
ECD: Richard Williams Auckland
EP: Sonia Von Bibra
Sound Design:
Squeak E Clean Studios Australia
Senior Creative: Carlo Mazzarella
Editing: The Editors
CCO: Julian Schreiber
Agency: TBWA Singapore
AD OF THE YEAR: CONCEPT
UP TO AND INCLUDING TWO MINUTES
Durex
Production Company: Electriclime Singapore
Director: Andre Rodrigues
Producer: Annabel Jewers
Editor: Andre Rodrigues
Creative Director: Matt Johnson
Project Manager: Belle Ann Sparavec
Copywriter: Grant McGrath
Production Assistant: Grace Rached
Production Assistant: Chloe Brasier
DP: Lucca Barone Peters
Talent: Caspar Hardaker
Talent: Rachel Joseph
Editing: Electriclime Singapore
AD OF THE YEAR: CONCEPT
ABOVE TWO MINUTES
Samsung
Agency: CHEP Network Sydney
Production Company: Revolver Sydney
Director: The Glue Society
Music Supervision: Big Sync Music Sydney
Editing/Post Production: The Glue Society
Editor: Luke Crethar
Music: Song Zu Sydney
Music: Resonance Sydney
CCO: Gavin McLeod
ECD: Justin Ruben
Head Of Art: Tim McPherson
Senior Art Director: Daniel K Smith
Senior Copywriter: Ernie Ciaschetti
AD OF THE YEAR: COPYWRITING
Tourism New Zealand
Agency: Special Group Sydney
Production Company: FINCH Sydney
Director: The Bobbsey Twins From Homicide
EP: Loren Bradley
Editor Online: Richard Betts
DP: Ginny Loane
EP/MD: Corey Esse
Producer: Sarah Cook
Editor: Jack Hutchings
Editing: ARC EDIT Sydney
Senior Producer: Adriana Arriaga
Colorist: Dave Gibson
Partner/VFX Supervisor: Stefan Coory
Music/Sound: Rumble Studios Sydney
CCO: Tom Martin
CCO: Tony Bradbourne
Creative: Wayne Ching
Creative: Alexandra Antoniou
Creative: Tom Johnson
EP: Paul Johnston
EP: Bill Doig
Integrated Producer: Sally Lankshear
AD OF THE YEAR: DIRECTION
UP TO AND INCLUDING 60 SECONDS
Optus
Agency: Special Group Auckland
Production Company: FINCH Sydney
Director:
The Bobbsey Twins From Homicide
Editor: Simon Price
Editing: Atticus Sydney
Animation: Flux Auckland
Sound: Franklin Rd Auckland
Music: Level Two Music Melbourne
AD OF THE YEAR: DIRECTION
61 SECONDS AND ABOVE
Tourism New Zealand
For the credits see Copywriting
AD OF THE YEAR: EDITING
Toyota
Agency: Saatchi & Saatchi Sydney
Production Company: Good Oil Sydney
Director: Adam Gunser
CCO: Mike Spirkovski
ECD: Simon Bagnasco
Creative Director: Lee Sunter
Senior Designer: Matt Alpass
EP: Lucy Trengove
EP: Juliet Bishop
EP: Simon Thomas
Producer: Simon Thomas
Post Produciton: Blockhead VFX Auckland
Sound: Bang Bang Studios Melbourne
Talent: Ryley Batt
Editor: Mark Burnett
Editing: The Editors Sydney
AD OF THE YEAR:
PRODUCTION AND STYLING
Standard Chartered
Production Company: Psyop New York
Director: Eben Mears
Production Designer: Francois Starr
Editing/Post Production: Psyop New York
Editor: Evan Schoonmaker
Music: Wake The Town London
Sound Design: Song Zu Singapore
Creative: Asheen Naidu
Creative: Julian Gutierrez
Creative: Dan Chia
Creative: Roxane Wee
ECD: Andy Grant
AD OF THE YEAR: SOUND DESIGN
Tomorrow Wants It’s Car Back
Hyundai
Agency: Innocean Worldwide Sydney
Production Company: Scoundrel Sydney
Director: Michael Spiccia
Production Company: MJZ London
EP: Adrian Shapiro
EP: Kate Gooden
DP: Ross Giardina
Post Production: Fin Design + Effects Sydney
VFX Supervisor: Justin Bromley
Head Of VFX/EP: Alastair Stephen
VFX Producer: Isabelle Howarth
Editing: The Editors Sydney
Editor: Jack Hutchings
Colorist: Ben Eagleton
Sound: Siren London
Sound Design:
Squeak E Clean Studios Australia
Creative Director/Sound Designer: Simon Lister
Head Of Production: Emma Hodge
Music: Turning Studios
Composer: Elliott Wheeler
Account Services: Vincent Pled
Creative: Mitchell Sutton
Creative Director: Dan O’Connell
Designer: Juliana Bacmaga
Director Of Integrated Production: Craig Sloane
ECD: Wesley Hawes
Head Of Strategy: Karl Bates
Senior Copywriter: Joshua Campbell
Senior Integrated Producer: Warrick Nicholson
AD OF THE YEAR: USE OF MUSIC
Samsung
For the credits see Concept Above Two Minutes
AD OF THE YEAR: VFX
Tomorrow Wants It’s Car Back
Hyundai
For the credits see Sound Design
Samsung
Tomorrow Wants It’s Car Back Hyundai
Isn’t it a Pity
MUSIC VIDEO OF THE YEAR
Isn’t it a Pity
George Harrison
Production Company: Assembly Auckland
Director: Jonny Kofoed
Director: Alan Bibby
Senior Producer: Clare Bone
EP: David Zonshine
EP: Dhani Harrison
Post Production: Assembly Auckland
Creative Director: Kelly Mahan
Creative Director: Jonny Kofoed
Creative Director: Alan Bibby
Editor: Cushla Dillon
Music Label: Universal Music Group
NEW DIRECTOR OF THE YEAR
Sanjay De Silva, DIVISION Sydney
AGENCY OF THE YEAR
Innocean Australia
AUDIO COMPANY OF THE YEAR
Rumble Studios Sydney
DIRECTOR OF THE YEAR
The Bobbsey Twins from Homicide, FINCH Sydney
EDITING HOUSE OF THE YEAR
The Editors Sydney
EDITOR OF THE YEAR
Jack Hutchings. The Editors Sydney
PRODUCTION COMPANY OF THE YEAR
FINCH Sydney
VFX COMPANY OF THE YEAR
Fin Design + E ects Sydney
Cupcakes Be The Change
Belinda Bradley has worked as Executive Producer for Auckland-based production company Film Construction since 2018, alongside her husband, film director Perry Bradley.
As well as working as a visual merchandiser and designer, and as a wardrobe stylist in the film industry, Bradley has also worked as a producer and copywriter at McCann Erickson Wellington, and has been a professional photographer since 2004.
In June 2022, she partnered with food and still life photographer Victoria Baldwin to set up a new photography division within Film Construction. Already on its roster are acclaimed photographer and documentary maker Michelle Aboud and Kiwi-Japanese photographer Sophie MiyaSmith.
Here she talks about her work and the creative scene in New Zealand.
Could you say a little about yourself, your background and the creative work you’re doing?
I have the immense privilege of governing a team of wonderful production humans. Film Construction has 25 years of history and has always been a trusted guide for directors, helping to shape their careers and bring their vision to life, but now we’ve added a new chapter to our story, representing photographers. And it’s more than just ‘repping’, we bring a wealth of experience as a major production company to the table. We see all aspects of the process as creative, and this is what we wrap around our artists.
How would you describe the current creative climate in New Zealand?
How do you think the New Zealand industry might evolve through 2023, and what do you think will be the challenges and the opportunities this year?
The so-called industry experts can give you their helicopter views and predictions, what I can give you is the view from the street. We get our hands dirty and navigate the wild production world every day. It’s constantly changing and always exciting. And let me tell you, the marketing game has levelled up. Agencies are still home to amazing creativity, but clients and their marketing departments are getting smarter and hiring some great people. It keeps us sharp and at our best. We must always bring our A-game, and offering both directors and photographers gives us more breadth.
How has the industry tackled the challenges of the past year – and the stringent lockdowns of the pandemic – or been changed by them as a result?
There is a traditional Māori proverb, “It is not for the kumara to boast of its own sweetness”. We are ever grateful for our work, our wonderful clients, and our relationships within our company. This is a year of expansion for us. We have a new building,
Creatively it is as exciting as ever, with a lot of youth, energy and inventiveness. Much of it spawned from new media popping up all around us. There’s incredible potential to fill all these spaces with great work. »
Film Construction’s NZ Blood Service spot Unseen Emergenciesexpanding rosters of directors and photographers and a fantastic team of producers. We are very optimistic about where the photographic division is heading and love the interaction between directors and photographers, and between agencies and direct clients. It’s what we live for.
Where do you feel New Zealand’s creative output has improved, and are there areas where it needs to improve?
We’re telling stories in a much more real and honest way. We’re back to true storytelling that connects, be that animation, drama, comedy or visual scripts. Does it compete successfully on the international advertising stage? For a small country, our level of award-winning output is breathtaking. I’m super-proud to be a Kiwi production company and partner with some incredible creative minds here in Aotearoa.
Machine learning and AI are incoming; how is New Zealand’s creative industry approaching those and other tech innovations?
As filmmakers, we are always about embracing new tech. And I’m all about making things easier, and technology is no exception. Technology can be a lifesaver, but it will never replace a creative vision. It can help us overcome the dread of a blank page or speed up research but it can’t replace our voice.
The goal is not to become robots, or to all become the same, but to use technology to take care of mundane tasks so we can focus on what matters: our creativity. Let’s embrace AI but keep sight of what makes us truly unique. And, by the way, did I get ChatGPT to help with this paragraph? You’ll never know.
How have remote working practices impacted the industry in New Zealand since the pandemic? Is hybrid working here to stay?
Let’s not forget that the film industry was ahead of the game before it was even a game. The film industry has always been a pioneer in remote work, by necessity. We used conference calls, Skype and remote meetings well before Zoom or Teams were invented. Flexible time has always been a feature. But an active production office is a wonderful, exciting and dynamic place. As filmmakers, we need to come together. Sometimes it’s bustling and busy, and sometimes quiet because we’re out on location doing what we love. And, if you ask me, long may it continue.
How was your experience of looking at the work for the shots Awards Asia Pacific 2022?
I loved looking at the accomplishments of all the filmmakers who had submitted work. And those accomplishments take so many different forms. Every one of the things I was asked to judge had achievements to appreciate. It reminds me of what I love about my job and our company; working to solve problems and bring stories, messages and emotion to the screen. That’s what we live for. I encourage all jurors to put aside their personal likes and focus on what has been accomplished. TC
“The goal is not to become robots, or to all become the same, but to use technology to take care of mundane tasks so we can focus on what matters: our creativity. Let’s embrace AI but keep sight of what makes us truly unique”Bradley’s photography for Michele Aboud’s The Lovers
entry limited to 20 creative companies, each makes a short film on one roll of super 8 editing only in-camera.
the first time anyone sees their work is in competition at our cannes advertising festival screening - however it came out!!
enter at straight8.net/shootout premiere june 23 2023
Each month, Source and shots spotlight some of the incredible work being made by directors from around the globe. These monthly showcases highlight not only great talent and work, but the importance of diversity in the industry.
To nominate a director for inclusion in the next Showcase scan the QR code
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Working out of Mumbai, Karan Shetty’s creative life began in theatre, in Bangalore. To continue writing and directing for plays, Shetty had to find a stable job; a job that would help him carry on with his creative pursuits.
This search led him to copywriting. It was not, perhaps, a predictable career route since Shetty had been trained as a mechanical engineer but subsequently changing gears and executing a few expert handbrake turns, he was soon immersing himself in and honing a new set of talents in advertising, shooting his way into the industry to become a filmmaker, his true calling.
Shetty has been working as a director on various campaigns with many brands and agencies and his short film, Cuddly, was nominated for a Filmfare award.
Could you say a little about yourself, your background and the creative work you’re doing?
I’ve have been working in advertising for over 13 years now. A mechanical engineer by qualification, my tryst with creativity began with writing and directing plays for the theatre. A chance encounter brought me to copywriting and then to ad-filmmaking – and I took to advertising like a moth to a flame.
As a director I’ve worked on different campaigns with brands like Disney Hotstar, Suzuki, Benetton, Lenovo, Vivo, Cadbury, Hindware, ITC, StarSports, Dulux and MPL, to name a few, and I have written and directed a couple of short films. My creative journey has been a fun-filled, rollercoaster ride and I look forward to more exciting turns ahead. »
How would you describe the current creative climate in India?
The creative climate in India has always been conducive for work that inspires, whilst having a distinct voice. In recent times the start-up ecosystem has become a huge driving force for the incredible work being churned out. Also, mobile internet accessibility across the country and social media and digital awareness among the general public have been game-changers for marketers. Overall, this helps everyone to try out braver and newer content – be it in advertising or other creative fields such as feature film or the music industry. We’re on the cusp of something unique that is brewing; only time will tell what shape it will take.
How do you think the Indian industry might evolve through 2023 and what do you think will be the challenges and the opportunities this year?
The world is shrinking on our palms – our fingertips to be precise, thanks to mobile phones - but this easy accessibility to everything sometimes brings challenges, such as content seeming to be a little less personal and more generic since the target audience is scattered across a diverse pool.
Going forward, regional perspectives in ads (since our country has a lot of cultural variety across the different states) or an understanding of the age and language demographic of the target audience will become driving factors. This may seem like an obvious answer, but knowing the finer details - for instance, the difference between the musical tastes of Gen Z and those of Millennials - guides the creative
process better. While data is important, being able to read that data with context will be imperative.
How has the industry tackled the challenges of the past year, or been changed by them?
Coming out of the pandemic, the creative industry has tried to find a balance between hybrid working models and the old normal. While I think advertising has bounced back well, an interesting occurrence happened in my home town of Mangalore and the neighbouring towns, Udupi and Manipal. These small towns saw an increase in local, home-grown businesses and IT companies. This is because many people who went back to their home towns during lockdown decided to create opportunities there. I hope to see a lot more advertising agencies opening creative shops in smaller towns, working with local clients while pitching to national and global clients as well.
What have been the top three pieces of work that have stood out for you?
J&B Whiskey’s She by Gabe Ibáñez; Tom Kuntz’s Pringles’ Best of Us; and Walt and Jesse Breaking Good for PopCorners’ Super Bowl spot by Breaking Bad’s creator Vince Gilligan and in-house agency D3.
Do you feel India’s creative output has improved; and are there areas where it needs to improve?
India’s creative work has been evolving into something new, something that is keeping up with the times and even setting trends. A global reach has definitely helped us and there is always scope to improve, like in
any other field.
Does India compete successfully on the global advertising stage?
Indian advertising has definitely carved its own niche with advertising that is uniquely ours. That makes us stand apart with a distinct voice while making an impact globally.
Machine learning and AI are incoming; how is India’s creative industry approaching those and other tech innovations?
It is too early to know of any organisation’s exact strategy, or the way forward when it comes to approaching this kind of technology. We need to realise that we are in the people business – whether it is the insights, the employees or the target audience, it is all about people.
While AI, machine learning and deep fakes seem like they are straight out of a science fiction novel, I think the approach would be for any technology to help rather than create any barriers. Stephen Fry once famously said “Books are no more threatened by Kindle than stairs by elevators”.
How have remote working practices impacted the industry in India since the pandemic?
Remote working has definitely made e-meetings the newnormal, but time management
is essential to help with worklife balance in such set-ups. Most organisations and people initially preferred remote working but a certain amount of fatigue eventually set in. Even though we may all prefer meetings in-person to avoid confusion and endless followups on WhatsApp groups, the reality is that it all boils down to budgets, logistics and convenience.
How future-focused is the industry in India?
Indian advertising has always taken bold steps in terms of creativity, especially when integrating technology into the narrative of a campaign, at times even leading the ideas with technology at its core. Indian advertising is future-focused, and has always been.
How was your experience of looking at the work for the shots Awards Asia Pacific 2022?
It was humbling to see all the great work out there. There was plenty to watch and learn from and judging some of the categories was tough given the superior quality of the content. It was a mixed bag of di erent genres, gripping narratives and creative work executed brilliantly. I am glad to have been a part of the judging process.
Check out karanshetty.in to know more about his work.
“While AI, machine learning and deep fakes seem like they are straight out of a science fiction novel, I think the approach would be for any technology to help rather than create any barriers.
Stephen Fry once famously said “Books are no more threatened by Kindle than stairs by elevators”.
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