The enduring power of the big ad has captured the CMO’s imagination once again, this time with Kia behind the wheel. 

Last week, the car manufacturer announced its entry into the fiercely competitive Australian ute market with a blockbuster campaign, which has since “taken on a life of its own,” Kia’s general manager of marketing, Dean Norbiato, tells Mediaweek.

Norbiato reports the campaign has generated over 1.3 million organic views and 82 million media impressions in just four days.

Yet Wez Hawes, executive creative director of Innocean Australia, the creative agency behind the campaign, says the team never set out to create such a grand affair.

See also: Kia enlists Australian sports icons to name its upcoming ute in latest TVC

“We never really thought we were making a big ad. We just thought we were making something really cool,” says Hawes.

It was only when A Current Affair stationed its team to capture the makings of “the most iconic ad ever in Australia,” (as they told Hawes) that Hawes realised the potential of their production.

Shot on location at the Nelson Hotel, an art deco pub in Sydney’s Bondi Junction, the tongue-in-cheek, Australian-ised spaghetti Western directed by Ariel Martin brings together a cast of 20 Australian sporting icons to debate the name of the new Kia ute through a series of elbow-nudging one-upmanships, foreshadowing the launch of what Norbiato describes as “the most Australian Kia ever.”

With a combined tally of 29 Premierships, four Paralympic gold medals, and 26 Grand Slams, the cast features such titans as Ash Barty, Dylan Alcott, Alexander Volkanovski, Steve Waugh, Darren Lockyer, Buddy Franklin, and John Aloisi.

Not once is a car shown, nor is the final name revealed.

“I’m literally getting physical letters sent by people who were taking their time to say, ‘I think it should be called the Kia Digger,’” says Norbiato, insisting that there was “no intention of the campaign” to evoke such a strong public response; its resonance in the cultural zeitgeist was well beyond the imaginings of his team.

John Aloisi on set

“Creative directors, a creative team, even the suits were getting involved”

With its debut slated for the NRL Rugby League broadcast from Las Vegas, the genesis of the campaign was originally a realisation of Kia’s partnership with the Brisbane Broncos football club.

“Then we felt like, ‘I think this idea could be bigger,’” says Norbiato.

The final work harkens back to a mid-90s and 2000s “go big or go home” mentality, he continues, recalling a time when “big” campaigns dominated, and received a lot of cut-through as a result. 

“Whereas at the moment,” he says, “there’s so much noise and diversification of media channels and options. You’re trying to be best practice in every channel, that sometimes we can get bogged down without thinking of the big picture.”

The connection between the new Kia ute and sporting codes works for Norbiato, not just from a demographic-targeting standpoint, but also as a reflection of the brand’s identity and values. “Sports is part of our brand’s DNA,” he says.

As the campaign expanded, it leveraged Kia’s prominent portfolio of sports sponsorships, including its 22-year long partnership with the Australian Open tennis Grand Slam, which was extended in a deal worth $107 million, inked earlier this year.

In terms of the total media and production spend that went into the Getting a Ute campaign, Norbiato claims “it was worth it.” 

Still, both Norbiato and Hawes attribute the final scope of the campaign to the serendipitous expansion of the talent pool.

“There was a domino effect of people wanting to get involved,” says Norbiato.

“The more the stars realised they were going to be part of something, the more they wanted to do it,” Hawes adds. 

“Even though it was a logistical nightmare, the vibes on set were really good. You’d walk out, and there’d be Scotty Sattler chatting to David Boon chatting to Jessica Watson.”

Jessica Watson

But despite the star factor, Norbiato wanted to create a campaign that felt “genuine and authentic.”

“What’s more Australian than a good old fashioned Aussie pub, some banter around nicknames and sporting stars that we love? So we brought that trilogy together.”

Hawes remembers the “best gag wins” modus operandi of the Innocean writers’ room that produced the banter-filled script.

“I had creative directors, a creative team, even the suits were getting involved,” says Hawes, attesting that the charm of the final product was also owed to a number of fortuitous “happy accidents,” from casting to quips, many of which were improvised on set by Martin.

“For example, for that John Aloisi gag, we knew we needed a Matilda. We always had the fork gag in our ad, and it made sense for goalkeeper Mackenzie [Arnold] to be the one who saves the penalty kick.” 

See also: The halo effect? How broadcasters are elevating women’s sports in the wake of the Matildas

“I think it’s the environment we created where we could adapt and write at speed, and we had the client on board.”

The campaign has been tailored for an omnichannel presence, with around 91 different edits being shot, including separate 30 seconds ads, and a specific Broncos edit.

Kia’s ambition: “Australia is going to be one of the biggest markets”

Kia’s drastic 2021 logo redesign aimed to shatter old perceptions of Kia as a naff, family vehicle brand, and to forcibly reboot the opinions of the general public.

Similarly, the ute campaign aims for broad reach and mass appeal, extending beyond its dominant buying demographic of male tradies in regional and metropolitan areas, to influence the 18-month buying cycle of the broader market it captures.

“The Australian market is a ute market,” says Norbiato. “Top three selling vehicles last year – all utes.”

The go-ahead for the vehicle’s development was granted after years of working with the global team. “And we’re proud to say that Australia is going to be one of the biggest markets for it,” he says.

However, taking on formidable, well-established players in the space like the Toyota HiLux and Ford Ranger, Norbiato says Kia’s challenge was to announce its presence in the market “in a very Australian way”.

“It is the most Australian Kia we’ve ever developed in terms of the ride and handling, the tuning, the performance, the accessories – all have the Australian fingerprints over them.”

In terms of reception, aside from the aforementioned hard metrics, Norbiato points to other early success indicators: receiving emails with opinions on what to name the ute, as well as the sheer amount of “AM radio” discussion it has generated.

“Yes, it’s about the ute, but it’s also showcasing and bringing to life the Kia tone of voice and personality.”

The government choosing to designate Meta under the News Media Bargaining Code would be “devastating” for smaller and independent publishers, and prevent future publishers from launching at all, according to Tim Duggan, chair of the Digital Publishers Alliance and co-founder of Junkee Media.

“Why would any young person out there ever want to start a media business if they knew that at any stage, their audience could be just taken away from them with the flick of a switch?” Duggan told Mediaweek. 

Duggan comments followed the Digital Publishers Alliance taking out full page ads in yesterday’s newspapers, including The Australian, AFR, Sydney Morning Herald, and The Age; “We didn’t tell anyone else that this was happening until it dropped.”

The goal was to “get attention in any way for the independent publishing industry”. Duggan said it worked.

“If my phone and email inbox are any indication of the impact that full-page ads and op-eds can still have, today, we have spoken to all levels of government, the media, and lots of new publisher members wanting to join us.”

When asked if there is something to be said for the fact that the campaign has been published in print, in papers owned by the very media companies urging the government to designate Meta, Duggan said the team is “a happy part of the whole ecosystem, of which print and legacy media are a huge and important part.”

Using full-page ads in major media publications to spread the message of smaller, independent titles proves that publications “have more in common than we do against each other,” according to Duggan.

“There’s a solidarity – certainly not across the board, but there is a solidarity – in media of fighting this fight together. There’s an interest in having a really strong media ecosystem, and that includes large publishers and smaller, independent publishers. If any of that was under threat, I think the whole industry would be worse for it. 

“If anything, this has shown the power of cross-media, and the power of big and small publishers all coming together to say, something is going on here that is not right, and we need to fix it.”

If the government designates Meta – forcing it into arbitration with publishers over the cost of news, after it confirmed it would not renew any of its deals under the News Media Bargaining Code when they expire this year – Meta could decide to pull news from its platforms altogether, like it did in Canada.

This disproportionately affects “the little guys,” Duggan said.

“Independent publishers were forgotten a lot in the early conversations around the news media code, and therefore most independent publishers missed out on any funding, despite years and years of trying.

“What we are trying to do now is ensure that independent publishers have a voice at the table when big decisions are being made.

“The impact of audiences not being able to read news would be terrible for our functioning democracy, and for publishers who rely on Facebook and Instagram to drive traffic audience and revenue. It would be a huge blow that a lot of small publishers might not be able to recover from.”

Duggan also said he has “a real concern” for the future of digital publishing, and how Meta’s decision would impact current publishers as well as the news ecosystem in Australia over the next 10 years. In an op ed for The Australian yesterday, Duggan recounted a story from 2018; he was in the room with Campbell Brown, Facebook’s global head of news partnerships, as she gave publishers an ultimatum.

“She explained that if we didn’t co-operate with the largest social media company in the world, our businesses would likely soon be dead.

“‘We will help you revitalise journalism,’ she initially offered. But it was quickly followed by a thinly veiled threat. ‘In a few years the reverse looks like I’ll be holding your hands with your dying business, like in a hospice.’

“I can still remember the air leaving the room the instant Campbell uttered those words. She tried to take them back, but it was too late. The mental image she described couldn’t be erased, and the message was super clear: play ball with Facebook or else.”

That ‘or else’ is now being tested. The Daily Aus is one small publication fearing what Meta’s designation could mean for its future. Co-founder Zara Seidler told Mediaweek last week that it is urging its half a million Instagram followers to subscribe to its newsletter and strengthen their direct relationship with the media company.

If Meta removes news from its platforms, “All we’ll see is moving from trust in brands, to young people looking at influencers or creators to give them news and commentary. That is going to be void of any fact-checking or any kind of evidence-based claims, and I think that it’s a huge issue that needs to be taken seriously.”

–

Top Image: Tim Duggan

By Rob Farmer, director of The Inside Out

“Ads are a tax on the poor,” according to New York University Marketing Professor Scott Galloway. “You know your life hasn’t worked out if you’re watching a lot of ads.”

I take on board a lot of what The Prof G says – he drops business insight like a Netflix special. But this smacks of cabana chat between middle-aged men in the Hamptons.

Even if it’s just speaking-gig bait, it’s evidently wrong about where audiences are at, and it distracts from the real dangers for marketers trying to reach and convert them.

Some recent numbers about audiences and ads:

• Of YouTube’s 5bn global users, only about 4% pay for the premium ad-free service, 96% are ok with ads. Global YouTube ad revenues in 2023 were up 8% year-on-year to US$31.5bn.
• Video ads on TikTok interrupt like the best of them. Sources estimate TikTok’s global ad revenue climbed to over US$13bn in 2023. And that’s not counting influencers’ ‘organic branded content’ on the platform, posh words for another kind of ad.
• Netflix’s new ad tier has grown to over 23 million monthly users, reportedly leading the business to phase out its lowest ad-free tier. Others, like Prime Video, have followed suit by simply adding ads.
• Podcasting’s ascent to the mainstream has been fuelled by ad-funded free access, via Spotify, Apple and YouTube. Luminary launched in 2019 to much fanfare offering a paid ad-free alternative, and today it limps along with podcasters leaving to find a bigger audience.
• Here in Australia, the very latest development in streaming aggregation is going to market with a major ad campaign featuring Hamish Blake dressed as a green puck.

So, it’s fair to say that the value exchange with advertising remains a feature of the new attention economy. For all kinds of audiences. Galloway’s not a man of the people here.

But this is the growing danger: with so many different formats, contexts, audience communities and metrics, online and off, it’s never been easier to be busy creating ‘cultural landfill.’ That phrase coined by adam&eve founder David Golding.

It’s never been easier to pump out unrelated communications and little that lasts.

The creative has never been more dependent on the media strategist, the connections thinker, whatever you want to call them, to map the WHERE and HOW for the audience. Because maxing unduplicated reach, getting in front of all the non-customers you need to be in front of, not just customers, and adapting to all the different contexts, has never been more complex.

Extra discipline is needed, in the face of this, to make coherent assets and experiences that build lasting recognition and demand-driving associations in the minds of many, and that neatly connect with purchase journeys and customer experiences.

I realise that talking about bringing the media WHERE/HOW (including social) and creative WHAT closer together end-to-end, starting from the brief, is very far from original.

Full-service indies like Thinkerbell and Howatson&Co have media and creative baked in. Some holding group agencies are full-service. Some indies and not-indies are in a strong collaboration, appreciating their mutual dependency, like +61. You can get there via people from different companies collaborating as one, or via being one company.

But my exposure to thousands of media briefs and the experience of others I talk to show that, more often than not, media and creativity are not in lock-step, particularly across online platforms.

For example:

The social influencer-branded content doesn’t have any message integration with the video ads across BVOD and linear TV.

The digital media sponsorships aren’t using any long-standing distinctive brand assets, like audio logo or creative line.

The social video boosted for reach hasn’t been created with the typical (brutal) watch-through rates on the platform in mind.

The TikTok video is the same as the Instagram video.

All risk being cultural landfill, whether from low relevance to the audience context, or from low contribution to lasting brand assets and associations in people’s minds.

In performance marketing, the short-cycle intensity of AB testing tends to force media and creative to get tight; in longer-term demand creation across platforms, it’s easier for different efforts to get loose.

Clearly, clients have a role to play to help the team operate as one. But this deep into the digital era, well post-Sorrell, one of the champions of their original separation, it strikes me as service industry self-sabotage for strong media+creative relationships still not to be The Norm. The revolutionary new tech coming up fast will likely make it easier and faster to better connect these dots, but the humans driving the machines can join up better, too.

It’s looking like there will at least be more time freed up for this timeless task.

—

With all eyes on Melbourne, the biggest question in Australian radio has been answered: Kyle & Jackie O will be making their debut in the southern city on April 29.

Byron Cooke has been holding down the breakfast slot since Jase & Lauren were dumped from their KIIS 101.1 breakfast slot in order to make room for the Sydney radio juggernauts. 

See Also: Jase and Lauren Day 1 at Nova: First review – Lots of chat about KIIS sacking

On Monday, a ribbon-cutting ceremony officiated by NSW Premier Chris Minns marked the opening of the brand new ARN studios, with Henderson saying: “It’s like NASA out there.”

Sandilands previously spoke about how the Melbourne launch would happen after the duo made the move from their North Ryde studios into new facilities in North Sydney. 

“I told the management of the network, when you move us into the new studios,” he said, going on to describe the North Sydney building as “the greatest radio studio ever built.”

This was the show’s first week in the new studios, having signed off from their previous North Ryde home last week. In the coming weeks, WSFM’s breakfast hosts Jonesy & Amanda will move across to North Sydney, with the entire Sydney team expected to operate from the North Sydney premises by the end of April.

“Circling the wagons”

Ahead of the Kyle and Jackie O show’s launch, Sandilands dropped his harsh summary of the radio market in that city ahead of his arrival. Fiona Byrne detailed what unfolded on air last week.

“Melbourne, I can’t wait to go there. I can’t wait for the whole show to go completely national live,” Sandilands said.

“All the Melbourne stations, they are all circling the wagons.

“They keep telling everyone in the press, ‘Aw yeah, we are not worried.’ They are sh***ing themselves and I don’t blame them. I am not here to come second,” Sandilands told listeners. 

• Dune: Part Two impresses with $6,107,557 in it’s second week, averaging $9,116 over 670 screens.
• This weekend, the Australian box office made $9,878,742, down -16% from last week’s $11,778,626.

TOP 5

1. Dune: Part Two – $6,107,557 (1)

Warner Bros. Dune: Part Two has stayed at number one for a second week, and it’s well in front. All eyes will now be on WB to see if the company greenlights an adaption of the second Dune novel, Dune: Messiah (Dune: Part Two chronicles the second part of Frank Herbert’s first Dune novel). Originally scheduled for release at the end of 2023 but delayed due to the SAG-AFTRA strike, the film opened exclusively in theatres, compared to the first film, which opened day and date in theatres and on HBO Max in 2021. The film took $6,107,557 in its second week, averaging $9,116 over 670 screens.

Synopsis: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the universe, he must prevent a terrible future only he can foresee.

2. Yolo – $485,708 (debut)

Sony’s Mandarin film Yolo is a comedic adaption of the 2014 Japanese film 100 Yen Love and is loosely based on the director’s own personal experiences. The film took $485,708, averaging $12,143 over 40 screens.

Synopsis: After an argument with her younger sister, Le Ying moves out on her own. She meets a boxing trainer and starts boxing. 

3. Imaginary – $477,335 (debut)

Studiocanal and Blumhouse’s Imaginary debuted at third this week. While the film couldn’t replicate the success of Blumhouse’s Five Nights at Freddy’s, Imaginary has to date nearly made its budget back from its US domestic gross alone. The film made $477,335 and averaged $1,940 for over 246 screens.

Synopsis: A woman returns to her childhood home to discover that the imaginary friend she left behind is very real and unhappy that she abandoned him.

4. The Great Escaper – $473,896 (debut)

Transmission’s The Great Escaper is based on the true story of Bernard Jordan and currently holds a favourable 84% on Rotten Tomatoes. Starring Michael Caine and Glenda Jackson, the movie brought in $473,896 for its first week in cinemas, averaging $1,983 over 239 screens.

Synopsis: Bernard Jordan escapes from his care home to attend the 70th Anniversary of the D-Day Landings in France.

5. Bob Marley: One Love – $344,208 (2)

For its fourth week in cinemas, Paramount’s Bob Marley: One Love biopic came in fifth. The film took $344,208, averaging $1,212 over 284 screens, down 42% from last week. This brings its total cume to $6,216,916.

Synopsis: Jamaican singer-songwriter Bob Marley (Kingsley Ben-Adir) overcomes adversity to become the most famous reggae musician in the world.

Top 6 – 10

6. Shaitaan
7. Force of Nature: The Dry 2
8. Madame Web
9. Manjummel Boys
10. The Zone of Interest

New technologies will always cause anxiety, but big name marketers from Delta, eos, and Pfizer aren’t scared of AI. In fact, they’re embracing it “aggressively”.

“I don’t think that anyone’s concerned. They are just not sure how to engage and how to play and when it’s okay and when it’s not okay,” Alicia Tillman, Delta Airlines’ CMO said on stage at SXSW Austin, at a panel on rebranding the role of the CMO.

“There’s a lot of unknown in how to engage with AI. As leaders, it’s really our job to create that safe space. Encouraging change on encouraging increasing that is important.”

CMO at eos, Soyoung Kang, agreed that, “This level of disruption will always create a certain level of anxiety. We control the vision within in our teams in order to move people towards this place. Particularly when you talk about its role.”

The panel’s final member, Pfizer global CMO Drew Panayiotou, added that he is a strong advocate for AI. He sees it as a pathway to liberate the company’s marketing campaigns.

“You need to help the marketing team to not get paralysed by having so much data in our campaigns. We will run campaigns and have many versions of that campaign out there, it’s great that we can do personalisation, and fire up the timeline by using AI.

“’I’m pushing AI aggressively inside of the walls of Pfizer.”

Tillman’s marketing team at Delta is also using AI: “We’ve been using it a lot to do rapid iteration on product design which has been hugely helpful for our design team to free up their time to do more higher order thinking, more conceptual things. They don’t have to be placed in the guts of just doing colour palette of iteration and things like that. AI is just the next industrial revolution, it’s not going to obsolete us unless we let it.”

See also:

SXSW Austin 2024: Creators lack professionalism, ‘don’t even understand what they are really selling’

SXSW Austin 2024: Paramount CTO on winning gen AI arms race

SXSW Austin 2024: Meghan Markle and Katie Couric on using your voice and sexism in TV

Atomic 212° has won the media planning and buying account for the Northern Territory Major Events Company (NTMEC).

The win reunites the independent media agency and NTMEC after working on several projects from 2016 to 2019.

NTMEC was established in 1999 as the peak body for events in the Territory. It delivers and supports a portfolio of diverse events from the Top End right down to the Red Centre, including BASSINTHEGRASS, Million Dollar Fish, Parrtjima, Supercars, Territory Day, Red CentreNATS and Alice Springs Masters Games.

Damien O’Brien, general manager of Atomic 212° in Brisbane and Darwin, was happy to reunite with NTMEC and looking forward to working with the events company’s creative agency, KWP.

“It’s an honour to work across events that mean a great deal to the Territory, both economically and spiritually.”

Suzana Bishop, NTMEC chief executive officer, said that because the company delivers funds and attracts most of the Northern Territory’s biggest events, it required a “broad and varied strategic approach to marketing, media and promotion.”

“By partnering with Atomic 212°, we’re able to build on the extensive knowledge of our team to produce even better results, and we’re a big fan of Atomic 212°’s focus on using data to achieve the best-in-class outcomes,” she added.
 
The NTMEC appointment follows a string of client wins and retentions for Atomic 212° over the past 18 months including BMW Australia and New Zealand, Bupa, Craveable Brands, the Northern Territory Government, Tourism Northern Territory, Entain (Ladbrokes and Neds), Victoria University, My Muscle Chef, Lendlease, Ponant, Growth Faculty, Sydney Water, and Maclean Financial.
 
Last month, Atomic 212° added three new clients to its portfolio: Australasian veterinary practice management company VetPartners, global financial technology platform Adyen, and UKG, a HR, payroll, and workforce management solutions
 
See also: Independent agency Atomic 212° adds three new clients to its roster
 
–
 
Top image: Damien O’Brien

Independent public relations agency Special PR has been chosen as the partner for PepsiCo brands, including Pepsi, Red Rock Deli, and Smith’s, expanding Special Group Australia’s role with the global food giant.

This partnership extension follows a competitive tender process in 2022, during which Special Group secured PepsiCo’s creative and advertising accounts for the mentioned brands.

Former Havas managing partner, Alex Bryant, launched Special PR in July of last year.

Under the appointment, Special PR will handle the development of creative earned campaigns, PR strategy and activation, content development, media relations, publicity, and influencer relationships across Australia, with a focus on Gen Z and culture.

This announcement follows Special’s recent collaboration with Red Rock Deli and music group Pnau, where they created a unique musical piece using sounds inspired by the snack brand’s flavours, extending its ‘Awaken Your Senses’ brand platform.

The new single, All Your Energy, was made solely using remixed samples of their snack ingredients, like a chilli “clap”, lime “synth”, sour cream “tambourine” and chip crunch “hi-hats.”

See also: Red Rock Deli teams up with Pnau for new single via Special

Commenting on PepsiCo’s alignment with the agency’s vision for Special PR’s clientele and projects, Bryant said: “The ambition, bravery, and incredible partnership ethos built between PepsiCo and Special so far has already allowed us to unlock such exciting work, which we can’t wait to unveil.”

Vandita Pandey, PepsiCo’s chief marketing officer (snacks and beverages) for Australia and New Zealand, noted Special PR’s dedication to “culture, creativity, and ideas” as compelling factors in their selection.

“The team’s ambitious spirit and individual track records across the consumer and lifestyle space proved Special PR to be the perfect partner,” said Pandey.

Lindsey Evans, partner and CEO at Special Australia, said she looks forward to bringing together the teams from both Special Group and Special PR with PepsiCo.

“With the clever and creative minds working on these brands we look forward to continuing to create standout work that challenges conventions,” said Evans.

–

Top Image: Alex Bryant

The Princess of Wales has allegedly taken responsibility for the photo at the centre of a global publicity storm after Associated Press pulled the image from distribution, claiming it had been “manipulated by the source”.

Almost 24 hours after the image was published on the Prince and Princess of Wales’ official Instagram account, a statement was posted to the same account’s Stories from “C”: “Like many amateur photographers, I do occasionally experiment with editing. I wanted to express my apologies for any confusion the family photograph we shared yesterday caused.”

The statement came after a global furore erupted over the image, the first official image since the Princess of Wales was reported to be going to the hospital for abdominal surgery. 

The Associated Press, AFP, Getty Images and Reuters all pulled the image from their systems on Monday, after an AP spokesperson said, “at closer inspection it appears that the source has manipulated the image”.

PR and communications specialist and president of ANZ and reputation counsel at Sefiani Communications, Robyn Sefiani, said: “If indeed the photo has been manipulated to present a picture of health when the reality may not be entirely true, the public’s trust in future Royal communiques will have been significantly eroded.”

Upon the clarifying statement taking being released, Sefiani added: “As the English bard Shakespeare would have said: Much Ado About Nothing.

“But was it an overreaction by global photo agencies or are some institutions (The Royals) held to higher account?”

Despite the explanation of her recovering from surgery, the internet did as the internet tends to do and came up with a series of increasingly more off-the-walls conspiracies to explain her absence. Her break from public life has been explained away by everything from divorcing Prince William to growing out a bad haircut – or being lost in the Glasgow Willy Wonka experience.

 

 

 

 

 

 

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A post shared by The Prince and Princess of Wales (@princeandprincessofwales)

Released for Mother’s Day in the UK, the official image of Kate and her three children, George, Charlotte, and Louis, was captioned thanking supporters for their “kind wishes and continued support over the last two months,” however it was not the caption that caught people’s attention.

Allegations of doctoring were first made by Associated Press, which put out a Kill Notice for the image, with a spokesperson telling the Telegraph, “At closer inspection, it appears that the source has manipulated the image.”

Amongst other issues in the image, the agency called out “an inconsistency in the alignment of Princess Charlotte’s left hand.”

The alleged evidence of image manipulation

Other photo agencies including Agence France-Presse, Reuters, and Getty Images followed suit in putting out Kill Notices to stop the further distribution of the image – however, at the time of writing, it still remains up on the family’s Instagram account.

With questions about Kate Middleton’s whereabouts intensifying with every passing day, it’s a rare PR misstep for the Royal Family.

Digging past the headlines, founder of PR and communications agency, Keep Left, Caroline Catterall, wrote that it would be “fascinating to see this unfold.” 

“Given the rumours around Kate, this terrible image and the media issuing a ‘Kill Notice’ (awful wording) is going to give the tabloids exactly what they want. Drama.”

Radio surveys conducted for Commercial Radio & Audio (CRA) by Xtra Insights will be expanded year on year and include more regional markets in 2024.

Ford Ennals, CRA chief executive officer said the Regional Radio Audience Measurement Survey schedule will increase to 22 markets this year, up from 20 in 2023, and will provide listening and listener insights on 64 commercial regional radio stations and over 26 ABC stations.

“We know commercial radio stations are vital to regional and remote communities and we want to get a deeper understanding of regional listeners and their listening habits,” he said. 

“We have been conducting regional radio surveys for a decade now, and we are always keen to keep expanding our research and improve the research methodology.”

The 2024 survey schedule includes NSW (Port Macquarie, Dubbo, Central Coast, Wollongong), Queensland (Roma, Ipswich, Mackay, Sunshine Coast, Townsville, Toowoomba and Cairns) Western Australia (Geraldton, Albany, Wheatbelt, Esperance, Kalgoorlie, Bunbury) Victoria (Ballarat), South Australia (Mt Gambier), Northern Territory (Darwin), and Tasmania (Hobart, Launceston).

Paul Amos, Xtra Insights managing director said new survey methods will be introduced in 2024, to work in tandem with the existing methodology.

“Xtra Insights uses Computer Assisted Telephone Interviewing to conduct surveys. This year, we will launch online survey sampling in eight markets,” he said.

“In 2023, 20 surveys were completed in regional Australia, representing 52 commercial stations. With 16,800 successful interviews the listening habits of 2.9 million Australians aged 10 and over were revealed.”

The expansion of regional radio surveys comes as the MEAA and CRA have both made submissions to the Senate inquiry into the Private Member’s Bill Fair Pay for Radio Play ahead of public hearings this month. 

If the Bill passes, it would result in the removal of the cap on fees radio stations pay to the Phonographic Performance Company of Australia (PPCA) to play music. 

See also: MEAA and CRA: Proposed Bill would “harm” radio in regional and remote communities

TV Report March 11, 2024:

Nine TV Report

Married at First Sight

Nine’s evening began with the shockwaves from the Commitment Ceremony on Married at First Sight. 

Cassandra and Tristan both woke up more confused than ever after Cassandra wrote leave and Tristan chose to stay. They are unsure where to go from here.

After Jack’s bad behaviours were reeled off by the Experts, Tori is also waking up unsure if she can continue to stand by Jack and has lost confidence in the relationship.

Meanwhile, Sara and Tim are still in a state of disrepair. Sara left Tim alone in the apartment for the morning, and he’s taken the opportunity to write down his thoughts to share. When Sara arrives, Tim delivers a raw and heartfelt explanation of his feelings, which very much lands with Sara.

The next phase of the experiment is Feedback Week as across several days, the couples will participate in a series of tasks designed to help them identify issues in their relationships that can be corrected before the experiment comes to an end.

The first Feedback Week task is the hard-hitting questions task. 

Lauren and Jono hit Tori and Jack with tough questions as Jack is unflappable, and despite Lauren’s best efforts to unsettle him, he doesn’t come unstuck. 

To her frustration, he answers her questions without flinching, and when questioned about having kids with Tori, he responds stating he’d like to have kids within two years. Lauren doesn’t believe his answer and hopes Tori isn’t buying it. But Tori – while initially taken aback – turns out to be delighted; he’s said the right thing, and after the drama of the weekend it’s exactly what she wanted to hear.

Jayden and Eden asked the hard-hitting questions to Sara and Tim, with the encounter being tense. While Sara does her best to answer Jayden’s questions, things intensify when Sara admits to deleting text messages she exchanged with her ex. Sara says she deleted the messages because she didn’t want to hurt Tim, but Tim is plunged back into doubt just as the pair were getting back on their feet.

Jayden continues to push Sara and Sara is left feeling attacked and alone. She storms out down the hall as the episode ends. 

A Current Affair

Over on A Current Affair, a rat-infested home sparked one of A Current Affair’s longest confrontations and a MND advocate is making the pilgrimage to Parliament on a 20-year-old lawn mower.

Seven TV Report

Australian Idol

Over on Seven, Australian Idol saw Drea Onamade and Kiani Smith say goodbye, as the Top 6 secured their place live.

Cross Australia, 3.3 million votes were placed, putting Dylan, Denvah, Drea and Kiani in the bottom four. 

The Australian Idol Top 6:

• Amy Reeves, 24, Broome, WA
• Denvah Baker-Moller, 23, Rockhampton, QLD
• Dylan Wright, 30, Bangalow, NSW
• Isaac Mccallum, 23, Ulladulla, NSW
• Ivana Ilic, 20, Mill Park, VIC
• Trent Richardson, 22, Emu Park, QLD

Home & Away

Before Australian Idol was Home & Away as Stevie found herself with a target on her head, Theo was forced to lie and Valerie refused to help herself.

10 TV Report

The Project

The Project on 10 looked into confusion over the Royal photo editing, talked about the Oscars winners and losers and welcomed Rhys Nicholson to the show.

Australian Survivor

On 10’s Australian Survivor, everyone is thinking about making big moves to boost their resume. As the tribe sharpen their knives, everyone sets their sights on the biggest player in the game.

At a Tribal Council full of talk about challenge beasts and players who are slipping through unnoticed, the tribe goes to vote and Rianna is sent home. A rattled Kirby is left without allies, knowing that all her alliances have crumbled. 

ABC

7:30

On 7:30, the program investigated the town where people and their pets won’t drink the tap water and highlighted calls for new laws to improve the lives of pigs at piggeries. 

SBS

Finding Your Roots

Henry Louis Gates maps the family trees of pop star Cyndi Lauper and actors Jamie Chung and Danny Trejo, exploring records in Italy, Korea, and Mexico to uncover ancestors whose stories were lost when their families immigrated to America. 

Meta is set to be at the centre of “important discussions” between federal communications minister Michelle Rowland and the minister for Canadian heritage, Pascale St-Onge.

The tech giant confirmed earlier this month that it would not renew its $70 million worth of deals to pay Australian publishers for news content when the existing News Media Bargaining Code deals expire this year.  

Last year, Canada introduced the Online News Act, which required social media companies to compensate media for content. Meta responded by pulling news from its platforms, Facebook and Instagram, in Canada.

The Australian government now faces the decision of whether to ‘designate’ Meta, which would force it into arbitration. While big players including Seven West Media are pushing for designation, small outlets like The Daily Aus worry that Meta will respond by removing access to news on its platforms in Australia, just as it has done in Canada.

“Australian and Canadian public service representatives have met on a number of occasions to discuss respective regulatory frameworks, approaches and emerging issues,” a spokesperson for Rowland told Capital Brief.

“The Minister for Communications, the Hon Michelle Rowland MP, is scheduled to meet the Minister for Canadian Heritage, the Hon Pascale St-Onge, later this month to continue these important discussions.”

After Meta announced its decision to exit the deals, communications minister Rowland said Australian journalists and news media publishers “provide one of the most important public goods in our democracy” and “deserve to be fairly compensated for the investments that they make in that.”

“The government is very disappointed at this outcome. The decision undermines the viability of a healthy, democratic, open media. It removes a significant source of revenue to Australian news media publishers.

“The government is committed to the news media bargaining code, and we’ve made it clear that we have always expected Meta to negotiate in good faith under that code. The government has sought advice from both Treasury and the ACCC, and we’re working through the processes under the news media bargaining code.”

Leaders from Australia’s news media publishers have also expressed their disappointment at the tech giant’s decision.

Writing for Mediaweek, James Warburton, managing director and CEO of Seven West Media, said: “What’s the best way to deal with bullies? Stand up to them. Don’t flinch. Don’t blink. Stare them down.

“The Albanese Government needs to stand up to Meta, designate it and not waiver. Meta will fight back, hard. It will get very messy. But we are a sovereign nation that should not – and will not – be bullied by multinational tech behemoths.:

News Corp Australia executive chairman, Michael Miller, said the move shows “the company’s brazen indifference to regulations and the content creators that feed their platform.”

In an opinion piece published in the Australian Financial Review, he added that the way the government responds will be “a vital moment in the global battle to force this trillion-dollar company to play by the same rules of commerce and fair trading that other businesses live by.”

See also: Memo to Meta: No one likes bullies (and they don’t win)
See also: Michael Miller: Government’s response to Meta will be “watched closely on the international stage”

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Top image: Michelle Rowland

After attracting 500+ applications from 30+ territories, Australian Amber Kane has been named joint winner of the Banijay Launch program.

She shared first place with Emily Wilson from the UK.

Kane’s winning program concept was a high-octane variety talent concept, Double Act. Wilson’s was an original psychological dating format, Can’t Buy My Love.

The Banijay judges commended both entries as “fantastic ideas with significant international appeal.”

Designed to exclusively support women creators with promising unscripted formats, Banijay Launch was unveiled at MIPCOM 2023.

The four Banijay Launch finalists in London last week

Four finalists pitch projects in London

The four finalists were from Australia (Amber Kane), UK (Emily Wilson), France (Yasmina Salmandjee), and Denmark (Lisbet Winther).

All four were taken to London last week for the grand finale, where they pitched their ideas to a jury comprising Endemol Shine North America CEO, Sharon Levy; Banijay chief content officer, development, James Townley; Banijay chief business officer, Fred Balmary; Banijay Iberia CEO, Pilar Blasco; and founder and CEO of Everywoman Studios, Abby Greensfelder.

Kane’s idea was credited by the judges for its brilliant reality elements, highly-clipable offering, and the way in which it taps into the zeitgeist of the “mash-up” in a spectacular way to create a new competition show.

Wilson’s concept was selected by judges for its twists and turns, strong format pillars, brandable moments, and original “gifting” concept everyone can identify with.

Sharon Levy, CEO, Endemol Shine North America said: “Banijay Launch was envisioned as a bridge for women to gain access to our industry, and based on the sheer volume and quality of pitches we received, its time was long overdue. Mirroring the global reach of Banijay, we heard from applicants far and wide, and I hope the result illustrates just how strong the four finalists were. The two fantastic women who share the ‘winner’ title had unbelievably competitive ideas that were well- pitched, original, and highly sellable. The ambassadors and Banijay at-large feel fortunate to continue collaborating with them to bring their amazing concepts to life. We are all so proud to have played a role in opening the door to the next generation of talent, and with the study results from the Geena Davis Institute on Gender in Media imminent, we hope to keep doing more to foster a wider community of women in non-scripted.”

Amber Kane (left) and Emily Wilson

Banijay’s Amelia Fisk mentored Aussie entry

Amber Kane said: “I still can’t quite believe it. I had been working on Double Act for six years and it always felt taking it to screen may be impossible given the continued challenges for women in the content industry.

“Banijay Launch truly opened the door for me. Working with the talented Amelia Fisk, I have not only strengthened my idea but also my confidence in pitching, and I look forward to continuing to partner with her, and Banijay’s Creative Networks, in hopefully landing my idea on-screen. I am hugely thankful for the opportunity and feel inspired to keep going with creating great formats for the world to enjoy.”

Fisk is an Endemol Shine Australia director of content.

Emily Wilson said: “As a huge reality TV fan, it was always my dream to create my very own unscripted format that could transcend audiences across the globe. In Can’t Buy My Love I feel I have crafted an original show that I truly believe has all the elements for success, and with the help of Banijay, and my brilliant mentor Claire O’Donohoe, could tap into the buyer demand for social experiments everywhere. I’m hugely grateful for this life-changing experience and look forward to seeing where this opportunity can take me in a career capacity.”

Both Kane and Wilson will now work with their ambassadors and Banijay’s Creative Networks to develop their ideas further, and the group hopes to unveil both ideas fully at launch.

Top image: Sharon Levy, CEO, Endemol Shine North America  with Emily Wilson and Anber Kane

See also: NSW Government supports Endemol Shine Australia’s training program expansion

By Lucinda O’Brien, senior creative strategist, Amplify

Over the last few years, we’ve seen a rise in campaigns breaking formats and bending reality all in the name of fun. Whether it’s a fake celebrity ambassador, mixed reality stunt, anamorphic billboards, or all the other ways we can break formats – these campaigns gain traction by challenging the status quo to create something unexpected in our everyday lives.

Fake celebrity ambassador

Last month’s Michael Cerave Super Bowl campaign invited speculation from the very beginning. From manufactured paparazzi shoots, influencers pretending to be confused and a fake DTC website that touted Cera as the visionary with vision–it all played with the tropes of an industry crowded by celebrity. In turn, the campaign reinvigorated a core brand truth: CeraVe is developed with dermatologists.

Those in the comments sections across campaign channels suspected a game was afoot and Cera was in on the joke. All was revealed in an interview with Fallon, where Cera revealed how surprised he was that he secured the brand deal because of his name, despite not having any social media presence or even owning a smartphone. More broadly, the campaign shows that we’ve entered a new level of heightened self-awareness and illustrates what fun can be had in playing with what’s real.

Gen Z knows the game

Focusing on Gen Z for a moment: We know that they are incredibly influential and aware when it comes to marketing. So much so that they see through classic advertising mechanics and analyse the inner workings of campaigns on TikTok. Gen Z knows the rules of the game and they know the fun of breaking them.

Keeping this in mind, we can also consider the way that Gen Z has grown up alongside emerging technologies like AR and immersed in digital worlds. There is a sense of play and discovery in figuring out whether something is digital or physical–exploring the very nature of what it means for something to be real.

Faux OOH

Case in point: the rise of faux out of home (FOOH) content and CGI stunts that have appeared on Gen Z’s feeds over the last year. Coined by Ian Padgham, a Californian digital artist, this new visual medium brings a concept that could exist to life through CGI.

Think the Maybelline Train with lashes, Jacquemus’ bag on wheels, or Big Ben adorned in North Face. I’ve also seen FOOH locally with a Giant Red Frog floating above Bondi Beach from Allen’s and, more recently, a serum from The Ordinary sailing down Sydney Harbour. The Ordinary stunt was part of a larger global campaign that paired CGI across key markets with a physical oversized serum bottle in London to challenge comprehension and question what’s real.

We also took this approach at Amplify when partnering with Netflix on the release of original film, Leave the World Behind. The social-first campaign disrupted Australians’ feed through CGI stunts designed to fuel curiosity and second-guess whether an ominous herd of deer really were appearing throughout Sydney. The CGI stunts culminated with two creators capturing the same fictional moment from different angles, evolving the format and making people question their reality.

As a format, FOOH provides an opportunity to defy the laws of physics, leverage CGI to make budgets go further and build relevance against iconic cultural backgrounds to slow the scroll and engage a younger audience. This isn’t about breaking consumer trust but rather about blurring the lines of reality in the name of entertainment and bringing your audience along for the journey.

Anamorphic billboards

Beyond FOOH, we have also seen the way that anamorphic billboards use buildings as the perfect backdrop to blur the lines of reality–bringing something new to a space that has blended into the everyday. Afterpay activated its partnership with David Jones through Amplify with the “In Bloom” campaign, which included CGI content on the exterior and interior of David Jones stores as well as a FOOH takeover of the David Jones flagship in Sydney. 

Lucinda O’Brien

What’s next?

Looking ahead, we can consider what participation and co-creation could look like in these campaigns as the approach continues to evolve. Right now, key talent is being featured to create and share the content. However, the audience’s role could continue to go beyond speculation and basic engagement and begin to offer opportunities for co-creation that could lead to a more in-depth level of participation.

Hello Social has welcomed a slew of new hires to the independent agency.

The new additions will fit into newly formed business units: Hello Social, Hello Talent, Hello Media, Hello PR and Hello Create, an expanded creative, studio and production division.

The agency, founded in 2011 by Max Doyle, already has clients across its various disciplines, including Uber, Kmart, Afterpay, BMW, Budget Direct, Anko, Kimberly-Clark, Mini, Paramount+, Paramount Pictures, Amazon Alexa, Audible, LDV, Peloton, and Rebel Sport.   

Joining the team is Maya Weidner as integrated client lead from Saatchi & Saatchi, Charlotte Shackley joins as senior account manager from CHEP Network, and Tristan Byrnes as account director from JOY.

Also joining Hello Social is Nathan Bramley from We Are Social, who steps into the role of account director, Seamus McShane as head of design from Rebel Sport, and Cody Waters joins as senior designer from We Are Social.

Joining the agency from LADbible Australia is Francisco Torres as account director, Kevin Barker joins as lead designer from We Are Social, and Caitlyn Gregson joins as campaign director from PlaygroundXYZ.  

Viral TikTok’er Madeleine Spencer (@mad.day) who boasts with over one million followers, joins the business to head up an industry leading internal creator division. The internal studio has been producing creator-developed editorial and performance focused content for over 12 months.

Hello Social is also expected to announce a new executive creative director from The Monkeys in the coming weeks.

Sam Kelly, managing partner of Hello Social, said the agency has achieved rapid growth of the last few years as a result of a great product market fit in a “hot sector”.

“However, it would be naive of us to assume social will forever be our trojan horse,” he said.

“While the relationship usually starts with some form of social, we’ve thrown skydivers out of aeroplanes for KFC and FIFA, produced OOH for Uber and designed retail shopper assets for BMW and Kleenex. We’ve never really just been a social agency.”

Kelly said the agency’s heightened ambition will rest on its “belief that strategy, creative, media and measurement under a unified solution is the best way forward for brands, albeit in an expanded playground.”

“We’ve delivered great results with our integrated through the line approach. There’s such a big appetite for connected activity without top-tier creative agency production overheads and the messiness of having to activate a full village for every campaign. I guess we’ll probably have to change our name,” he added.

The new additions and offering expansion comes after Hello Social recently won six awards at the 2023 AiMCO Awards.

See also: MacFarlane Brothers and L’Oreal win big at 2023 AiMCO Awards

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Top image: Hello Social team

Screen Producers Australia (SPA) has revealed Every Cloud Productions’ Deborah (Deb) Cox and Fiona Eagger will receive the Lifetime Achievement Award at the 22nd Annual SPA Awards.

The Awards will be held at The Star Gold Coast on Thursday, 21 March 2024 as part of Screen Forever 38.

The two producers launched their business Every Cloud Productions in 2009. They developed programming for ABC, SBS, Seven Network, Nine Network, Stan, and Acorn TV.

The duo co-created and produced three seasons of the international award-winning Miss Fisher’s Murder Mysteries, which has sold to more than 170 territories around the world.

Every Cloud Productions has been one of Australia’s foremost female-led production companies. Previous SPA Awards include Screen Business Export Award in 2017 and the Telemovie or Mini-Series Production of the Year in 2022.

Past productions include the AACTA Award-winning Deadlock (not to be confused with Deadloch), Indigenous drama series The Gods of Wheat Street, comedy Christmas Ransom, legal drama Newton’s Law, and the Stan Original A Sunburnt Christmas. Also the reboot of SeaChange (with ITV), and the drama Eden, both filmed in the Northern Rivers.

Deb Cox and Fiona Eagger

Every Cloud Productions: Deb Cox

As a creator, producer, and writer, Cox began her career at Crawford Productions in Melbourne. She later became head of drama for Artist Services and co-founder of CoxKnight Productions. That business created the feature film, Dead Letter Office, three seasons of ABC series, SeaChange, Ten Network drama series CrashBurn, and children’s series Worst Best Friends.

Every Cloud Productions: Fiona Eagger

Over three decades, Eagger’s co-creations include two seasons of the spin-off series Ms Fisher’s Modern Murder Mysteries as well as the theatrical feature Miss Fisher & the Crypt of Tears. Her early career included working with feature director Paul Cox and Crawford Productions before producing her first series for SBS television, Ark of Gondwana, and later the 13-part ABCTV series Mercury. Her collaboration with Cox began when she produced the TV series CrashBurn and later was the executive producer and producer of two seasons of East of Everything. Other credits include telemovies The Society Murders, The Informant, and Small Treasures. Also feature films Only the Brave and the Cannes Directors’ Fortnight selection Mallboy.

Entry to the Awards ceremony and Gala Party is included in a Screen Forever 38 Gold Coast Pass.

SPA has released a limited number of tickets to the ceremony for SPA members and non-members, not registered as Gold Coast pass holders to Screen Forever 38.

The SPA Awards tickets will also include entry into the Screen Forever Gala Party to be held immediately following the Awards Ceremony.

See also: Miss Fisher & SeaChange co-creators Deb Cox and Fiona Eagger restructure Every Cloud

APAC marketers see AI as more important to social media than their counterparts around the world, according to Meltwater’s State of Social Media 2024 report, comprising of over 2,000 global marketing and communications professionals’ responses.

55% of APAC marketers said AI is somewhat important compared, to 44% globally, and nearly two-thirds (64%) are using AI to help create social media copy. 

The report also found that while nearly half of APAC teams (47%) expect social media to play a more significant role in 2024, they’re more likely to dedicate the same budget rather than increase it. A majority of respondents (45%) plan to invest less time on X (formerly Twitter), and more time on Instagram and LinkedIn. 

Ross Candido, VP ANZ and SEA at Meltwater said effective social media marketing requires resources and commitment.

“Social media is a very important medium for APAC marketers but employee bandwidth to execute seems to be a big challenge,” he said.

“Leveraging technology solutions to help boost efficiency can help address this challenge. AI-integrated software can not only boost the efficiency of a team by creating high-quality content, it brings the full value of media intelligence to marketers by transforming real-time data into relevant insights to measure the impact of social.”

Compared to other regions, teams in APAC find that not having a defined social media strategy is a bigger challenge, despite 34% of respondents having a dedicated social media team. 25% of respondents have a strategy but lack the resources to execute on it, with 51% concerned about employee bandwidth.

Fewer APAC respondents are taking advantage of software to help with scheduling, with 47% saying they currently use software, compared to 61% globally. 

38% of decision-makers plan to increase their spend on social media in 2024, with only 6% saying they see social media playing a less important role going forward. B2C companies show the highest interest in increasing their budget.

The full report can be found here.

Prosper (Project Australia), an organisation dedicated to supporting disadvantaged children and families, has launched the Strong, Safe, Fabulous campaign via Bastion Agency, aimed at preventing domestic and family violence within the LGBTQIA+ community.

Produced in collaboration with Rainbow Families, a charity geared at supporting, empowering and advocating for LGBTQIA+ parents and their children, the campaign seeks to challenge negative stereotypes and foster long-term behavioural change through the sharing of authentic stories from LGBTQIA+ families.

The campaign features a series of videos showcasing LGBTQIA+ members overcoming personal struggles with the support of family and friends.

Sixteen-year-old Arley Pearce shared their experience: “When I was in a bad place, I thought I was all alone until I really accepted that my family cared, and with their support, I was able to push through,” said Pearce.

Karen Craigie OAM, executive director of Prosper, commented on the urgency of addressing domestic and family violence within the LGBTQIA+ community.

“There is a high level of domestic and family violence within all communities,” Craigie said, “but the rate amongst the LGBTQIA+ community is even more alarming, with more than 40 per cent of people reporting abuse in an intimate partner relationship.”

Craigie emphasised the need for change, highlighting the importance of education.

“To help reduce these staggering figures, we need more education around the impacts of violence and abuse while showcasing the life-changing benefits of offering support,” she said.

Niki Bentley, senior broadcast producer at Bastion, an integrated communications and creative agency, said the campaign aims to spark conversations within the community.

“The cast were so generous, donating their time and sharing their stories, allowing us an insight into their lives and family,” said Bentley.

“The messaging will make a difference in the community, changing opinions for the better. It’s wonderful to be able to release these examples of healthy, strong relationships and show how truly  amazing the LGBTQIA+ community is.”  

See also: Nathan Saville joins Bastion as general manager of research and data division

Credits: 
Client: Prosper (Project Australia), Karen Craigie OAM  
Client: Rainbow Families @rainbowfamiliesnsw, Ashley Scott  
Agency: Bastion Agency  
Managing director: Jacqueline Archer  
Senior agency producer: Niki Bentley  
Production company: DIVISION  
Director: Lula Cucchiara  
Managing director / executive producer: Genevieve Triquet  
Producer: Sarah Nichols  
Director of photography: Kate Cornish  
Casting: Lucky Break Creative  
Editor (long-form): Grace O’Connell (The Editors)  
Editor (short-form): Dave Wade (Bastion Agency)  
Colourist: Fergus Rotherham  
Sound House: Rumble Studios  
Music Composer: Rino Darusman

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Top Image: Arley Pearce