I am a creative communications consultant I am an administrator, manager, award winning creative director. The secret of my success (you may be surprised to know) |
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My expertise in communications, branding and storytelling |
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creative director, showtime australia 2007-2012What was supposed to be a six month contract ended up going on for five and half years on a project-by-project basis. I was responsible for a team of 12 people and created and/or executive produced five separate entertainment programmes. I helped launch the premium drama series channel Showcase, providing image spots, positioning, branding and design work. I then worked to conceive, develop, pitch, present and finally launch the Showtime genre movie channels packages. I was instrumental in conception and implementation of an entirely new, world-first promotions format known as the infomo. I worked on the presentation, pitch and sale of Showtime to Foxtel; developing the initial concepts for their 2013 movie channel packages. |
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creative director, foxtel Area 51 2005-2007My creative agency had pitched work to Foxtel which was used to launch their PVR product, the Foxtel iQ. I also delivered work to Young & Rubicam on the Foxtel account, so I had developed a strong relationship with them. I was given the opportunity to manage their in-house creative agency Area 51. It was an offer just too good to refuse. Through a turbulent and challenging period in the company's history I was able to implement the rapid-fire conception of dozens and dozens of high calibre communications to both viewers and corporate stakeholders. |
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director, charley holland agency 2004-presentAfter saving the bacon of ad agency after ad agency, I realised I was on the wrong side of the client/creative equation. Ad agencies may be able to sell a product using the medium of television; but when the product was the medium, the wheels always seemed to fall off the ad agency cart. My goal then, was to provide a service to the entertainment industry that delivered the results the industry always wanted out of their ad agency accounts, but were never able to actually get. I worked for several corporate clients delivering copywriting, concepts and web content. I provided creative work for Foxtel, TV-1, the Nine Network, Young & Rubicam, Firecracker. However... it was my training seminars that really took off. I provided seminars to ABC, Nickelodeon, the Seven Network; and was invited to speak at Promax conferences globally. This quickly segued into requests to provide paid sessions to companies around the world. You can see a more detailed listing of that experience here. |
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creative director, showtime australia 1997-2004I managed a team of eight promo producers; and trained a dozen or so producers as they made their way through the ranks. I was creator and copywriter of many Promax gold award-winning spots; at the same time developing the talents of the team and the brand attributes of the channel. It was during this seven year stint that I honed and refined my TV training course and saw it grow into a spiral-bound book. During this time I helped bring the Promax conference to Australia; appearing annually in it; and refining my skills as a public speaker. |
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head of promos, TV1 1995-1997I managed a team of four promo producers; and was instrumental in developing the "television's greatest hits" positioning which was in place right through to 2012. As a newly minted manager I realised I had to start helping people improve in their job. I also caught the business book bug; a mad passion which shows no sign of easing. My TV training course was born here. |
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senior producer, xyz 1995It was a year of total, all-hands-on-deck madness; creating, naming, packaging, branding, launching the xyz channels on subscription TV. I was employee #6 at the satellite license side of the new pay TV ventures with spacey names like Optus Vision, Galaxy and Austar. (Foxtel was then still only a twinkle in Rupert Murdoch's eyes.) You would be buying office furniture one minute, then up a ladder replacing light bulbs the next. Later you'd be naming a channel; and designing a logo. After midnight you'd be trying to make sense of this new editing device called an Avid; before crashing on your own lounge that you brought into the office, just so you would have somewhere half comfortable to sleep. It was a truly Dickensian best-of-times/worst-of-times experience that came bundled with low pay, no respect; and a massive burn-out factor. |
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producer, seven network 1994Freelanced launching the Andrew Denton show. |
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producer, inside surfing magazine 1994A requisite failed business venture. I know what it's like to lose a lot of money following somebody else's dreams. And it hurts. |
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producer, nine network 1991-1993Paying my dues making promos for Kerry Packer. |
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trainee producer, seven network 1989-1991I was rescued from retail with the opportunity to take up a traineeship in promo making. From my previous time at Channel Seven, I knew it was a great opportunity. |
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musician, the road 1988It was a dream. It had to be obeyed. |
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film and videotapes, seven network 1984-1987An apprenticeship in all things televisual, especially editing. |
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audio engineer, freelance 1984I mixed in studio and front of house for a whole bunch of bands. |
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diploma audio engineering, sae 1983A semi bogus education in all things audio. |
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high school certificate, 1982A state supplied, average education in all things educationy. |
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key softwarefinal cut pro (editing) keynote (presentation software) freeway pro (websites... you're soaking in it) |
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