<?xml version="1.0" encoding="iso-8859-1"?><deepend><client id="26" name="Apparel Group"><cs id="147" /></client><client id="70" name="Australian Institute of Music"><cs id="251" /></client><client id="64" name="Barry Salzman Photography"><cs id="236" /></client><client id="5" name="BigPond"><cs id="57" /><cs id="225" /><cs id="58" /><cs id="198" /><cs id="51" /><cs id="234" /></client><client id="53" name="Chris Moon"><cs id="191" /></client><client id="51" name="Connecting Beats (Nokia)"><cs id="175" /><cs id="205" /><cs id="206" /><cs id="207" /><cs id="155" /></client><client id="9" name="Conservation Volunteers Australia"><cs id="64" /></client><client id="11" name="Deepend"><cs id="138" /></client><client id="74" name="Fairfax"><cs id="258" /><cs id="257" /><cs id="261" /></client><client id="80" name="FOX8"><cs id="270" /><cs id="272" /><cs id="271" /><news><id>270</id><title><![CDATA[About FOX8]]></title><copy><![CDATA[User can easily watch, queue, comment on, and explore video content online through FOX8.]]></copy><about_top><![CDATA[FOX8 is the preeminent STV channel, and home of The Simpsons in Australia. Sitting directly between Channel 7 and Channel 9, two major FTA channels, FOX8 goes head to head with the big guys on a regular basis.]]></about_top><about_bottom><![CDATA[FOX8 not only Houses some of the biggest name international productions such as Gossip Girl, American Idol, and The Simpsons, it delivers big name local productions such as Australia’s Next Top Model, and Football Superstar, and Dating in the Dark.]]></about_bottom><quote quoter="Matthew Dean; Online Production Manager"><![CDATA[“Deepend consistently deliver high quality results on difficult briefs. The team is up to the challenge, extremely passionate about innovating, and always a pleasure to work with.”]]></quote><type>jpg</type></news></client><client id="16" name="GML"><cs id="209" /></client><client id="28" name="IamEmo"><cs id="173" /><cs id="60" /></client><client id="19" name="Lion Nathan"><cs id="121" /></client><client id="24" name="Merivale"><cs id="187" /><cs id="146" /><cs id="123" /><news><id>187</id><title><![CDATA[Let your hair down...]]></title><copy><![CDATA[What’s your pleasure? Take a tour of Merivale’s gorgeous venues around Sydney.]]></copy><about_top><![CDATA[The Merivale group have an extensive array of hospitality venues across Sydney. The list of venues consists of hotels, restaurants, bars and clubs. The venues are renowned for both their lush interior styling and the amazing customer service.]]></about_top><about_bottom><![CDATA[Deepend has worked with Merivale across a range of projects and media, from website design, content management system creation, mobile website development and video production for many of their venue, restaurant and nightclub brands.]]></about_bottom><quote quoter="Marketing Manager, Merivale Group"><![CDATA["Deepend is a great partner for Merivale, and they bring not only a wealth of creativity and technological expertise to the table, but also a deep understanding of the make up of Merivale brands ."]]></quote><type>jpg</type></news></client><client id="52" name="Multiple Client"><cs id="212" /><cs id="183" /><cs id="180" /><cs id="66" /></client><client id="76" name="Naked Communications"><cs id="260" /></client><client id="73" name="News Magazines"><cs id="256" /></client><client id="29" name="Nickelodeon"><cs id="241" /><cs id="239" /><cs id="242" /><cs id="215" /><cs id="192" /><cs id="195" /><cs id="235" /><cs id="244" /><news><id>241</id><title><![CDATA[ClickHeadSpace - powered by you]]></title><copy><![CDATA[Create your own ClickHeadSpace and design your own page, add friends, play games and watch Turbonick on demand.]]></copy><about_top><![CDATA[Nickelodeon is a TV channel synonymous with kids lifestyle and entertainment. Nickelodeon.com.au is one of the leading kids websites in Australia, which is an excellent achievement in a highly competitive marketplace.]]></about_top><about_bottom><![CDATA[Working closely with Nickelodeon on an ongoing day-to-day basis, Deepend help conceptualize and produce online competitions, games and 'stunts' that continue to keep its audience engaged and captivated.]]></about_bottom><quote quoter="Hugh Baldwin, Digital Media Director, Nickelodeon Australia"><![CDATA["Deepend is a great match for Nickelodeon. We get kids and Deepend gets us. Deepend has a way of finding a neat balance between the technical and the creative."]]></quote><type>jpg</type></news></client><client id="30" name="Nokia"><cs id="203" /><cs id="224" /><cs id="226" /><cs id="227" /><cs id="157" /><cs id="213" /><cs id="153" /><news><id>203</id><title><![CDATA[L'Amour Collection Launch Newsreel]]></title><copy><![CDATA[The L'Amour Collection is exquisite and sensuous, with each phone carrying touches of cloth, leather, metal, and ceramic finishing.

Hausmann commissioned a newsreel to capture the glitter of the opening night.]]></copy><about_top><![CDATA[Nokia is the world's most successful marketer of mobile phones and MP3 enabled devices. In a very saturated market, they continually search for new and innovative ways to leverage the brand to its diverse target audiences.]]></about_top><about_bottom><![CDATA[Deepend's relationship with Nokia spans over seven years, delivering across many and varied communications projects including brand development and graphic design, website design and application development, and video newsreels and documentary production. 
]]></about_bottom><quote quoter="Antony Wilson, Head of Marketing, Nokia Australia"><![CDATA["Deepend are one of the best creative agencies we have experienced. They have consistently produced first class results for us."]]></quote><type>jpg</type></news></client><client id="14" name="Pure Tasmania"><cs id="142" /><cs id="169" /><cs id="186" /><cs id="189" /><news><id>142</id><title><![CDATA[Pure Tasmania Website]]></title><copy><![CDATA[AIMIA nominated finalist in the 'best      e-commerce' category. Check out the Pure Tasmania website.]]></copy><about_top><![CDATA[Federal Hotels and Resorts, Australia's oldest hotel company, created the Pure Tasmania brand to represent the highest quality accommodation and touring available in Tasmania.]]></about_top><about_bottom><![CDATA[Drawing on a wealth of experience in the Travel and Tourism sectors, Deepend have been partnering with Federal to realise the potential of the Pure Tasmania brand both online and through a range of video-based media. Generating in excess of $250,000 in its first 4 months, this work continues to be a resounding success.

Visit the site at http://www.puretasmania.com.au]]></about_bottom><quote quoter="David Inches, Strategic Marketing Manager, Federal Hotels and Resorts"><![CDATA["Deepend really took time to understand our brand. They showed absolute dedication to the task, and on top of that were great fun to work with."]]></quote><type>jpg</type></news></client><client id="33" name="Seafolly"><cs id="214" /><cs id="217" /><news><id>214</id><title><![CDATA[Seafolly Website]]></title><copy><![CDATA[Maintaining the boutique feel of the 2006 campaign, Seafolly.com relaunches their online environment.]]></copy><about_top><![CDATA[Seafolly, Australia's leading lifestyle and swimwear brand, is renowned for its fashion driven, well-fitting swimwear range. Seafolly is the epitome of beach lifestyle and has consistently produced innovative, high quality, "fashion-forward" swimwear, clothing and accessories since its inception over thirty years ago.]]></about_top><about_bottom><![CDATA[Seafolly have partnered with Deepend to realise the potential of the online medium as a channel to lead generation and sales production in the fashion industry.]]></about_bottom><quote quoter="Drew Frame, Marketing Manager, Seafolly Australia"><![CDATA["The dedication and creativity of the Deepend team has resulted in work that effectively communicates the Seafolly brand. This provided us with the perfect platform in which to interact with our market online."]]></quote><type>jpg</type></news></client><client id="43" name="Siemens"><cs id="39" /></client><client id="75" name="Sony BMG"><cs id="259" /></client><client id="34" name="Sydney Festival"><cs id="266" /><cs id="210" /><cs id="117" /><cs id="221" /><cs id="253" /><cs id="163" /><news><id>266</id><title><![CDATA[Sydney Festival TVC 2009]]></title><copy><![CDATA["This is our city in the summer" 2009. Check out the 2009 TVC featuring Reggie Watts here.]]></copy><about_top><![CDATA[Sydney Festival is the premier event of the Sydney Arts and Cultural calendar. With the most diverse and respected collection of artistic and theatrical work in Australia, the Sydney Festival brand is completely overhauled on a yearly basis.]]></about_top><about_bottom><![CDATA[Deepend and the Festival have been collaborating for 5 years, breathing life and movement into the brand across a range of media. From TVC’s to launch presentations, Deepend continues to convey the depth and diversity of the Festival.]]></about_bottom><quote quoter="Jill Colvin, Marketing Manager, Sydney Festival"><![CDATA["The Deepend team's creativity and energy have resulted in some memorable work, which has greatly strengthened the Festival brand."]]></quote><type>jpg</type></news></client><client id="35" name="Sydney Theatre Company"><cs id="263" /></client><client id="62" name="Taronga Zoo"><cs id="216" /><cs id="238" /><news><id>216</id><title><![CDATA[WALK ON THE WILD SIDE]]></title><copy><![CDATA[Explore the zoo and learn more about fascinating wildlife from around the globe.]]></copy><about_top><![CDATA[Taronga Zoo is one of Australia’s cultural icons, located on the shores of Sydney Harbour, and encompassing the Western Plains Zoo in Dubbo. Taronga is also committed to research, education and conservation projects around the globe.]]></about_top><about_bottom><![CDATA[Deepend partnered with Taronga Zoo to redesign their website, allowing for greater educational and ecommerce capabilities, as well as creating an interactive iPhone application to enhance the zoo experience and provide additional education.]]></about_bottom><quote quoter="Paul Davies, General Manager for Marketing, Taronga Zoo"><![CDATA["We work with Deepend because they share our belief that digital communication is essential for engaging young people, creating a connection with our amazing wildlife, and helping us secure the future for threatened species."]]></quote><type>jpg</type></news></client><client id="72" name="The Pollination Project"><cs id="255" /></client><client id="46" name="TV1"><cs id="126" /></client><client id="1" name="Unilever"><cs id="188" /><cs id="190" /><cs id="31" /><news><id>188</id><title><![CDATA[Cup-a-Soup Free Cup Campaign]]></title><copy><![CDATA[Meet the Cup-a-Soup Ginger Ninja and score yourself a free mug!]]></copy><about_top><![CDATA[Unilever is an internationally trusted company, producing trusted brands that millions of consumers rely upon every day. They are also well-known innovators in marketing, creating trend-setting campaigns in various markets.]]></about_top><about_bottom><![CDATA[We have worked with numerous Unilever brands including Streets Paddle Pop, Lifebuoy, OMO, Continental, Surf, Bertolli, Impulse, Persil and Cup-a-Soup, developing a rich and rewarding creative partnership.]]></about_bottom><quote quoter="Unilever"><![CDATA["The team at Deepend have become more like an arm of our team than a company we work with."]]></quote><type>jpg</type></news></client><client id="48" name="Universal"><cs id="125" /></client><client id="57" name="Urban Restoration Group"><cs id="211" /></client><superclient id="1" /><superclient id="14" /><superclient id="24" /><superclient id="29" /><superclient id="30" /><superclient id="33" /><superclient id="34" /><superclient id="80" /><superclient id="62" /><service_group id="1" name="Internet"><p1><![CDATA[Unlike traditional media, the Internet gives your brand a sustained presence, which enables continuous dialogue between you and your customers.  A long-term approach is required to make the most of the opportunities this offers to your business.

That's why it makes sense to partner with an online industry veteran.  Fifteen years experience gives us the maturity to scope and describe your online requirements with great accuracy. That's the first step in our Internet development process and one of the things we do best.

Then when it comes to the build, our people are experts. Whether you need a basic microsite, a sophisticated e-commerce tool or a bespoke application to streamline your business processes, we can do it.

The final step in any online strategy is to draw customers to your site. Search engine optimisation, email and viral marketing are all important ways to ensure you get the most from your online investment.

Explore these three areas to find out more.
]]></p1><cs id="271" /><cs id="216" /></service_group><service_group id="5" name="Film &amp; TV"><p1><![CDATA[Television and film remain the unrivaled choice for conveying a memorable, emotive, high-impact message to audiences. 

Our broadcast teams are experienced in producing television commercials, newsreels, documentaries, music videos and corporate videos. We work closely with you to shape the content and are committed to high production values at every step. The result is a professional finish that will captivate your audience.

During the shoot we use accomplished producers, directors and cinematographers. Our flexible shooting packages suit any budget from single to multi-camera location shooting on Digital betacam, HD and mini DV formats.

When it comes to post-production, our editors are equipped with high definition editing systems and the latest software packages including Final Cut Pro HD, Shake, After Effects, Illustrator and Photoshop. Our systems boast more than a terabyte of uncompressed storage so you can view the footage in real time.

Finally, we can output your finished piece to a broad range of platforms, from the Internet to any broadcast medium. Sit back and enjoy these case studies to see for yourself.
]]></p1></service_group><service_group id="9" name="Interactive Media"><p1><![CDATA[In the past 10 years a seismic shift has occurred in consumer expectations of how to access information. Today's consumers expect to filter and target that which interests them, with lightning speed and accuracy. This expectation applies to information about products, services and brands - otherwise known as advertising.

Interactive media such as broadband games and immersive DVDs and CD-ROMs allow brand content to be delivered in a user-centred package. Such mediums share a flexible approach to information design, to allow users to choose their own pathway and pace. Because they respond to user actions, they encourage a depth of involvement unheard of in traditional media.
Think about it this way; when was the last time a consumer replayed a TV commercial for 10 minutes at a time, 7 days in a row? Probably never. Yet such figures are easy to obtain with a branded game.

One-to-one sales tools, interactive product demonstrations and trade presentations are further examples of how we've made interactive media work for our clients.

View our case studies to find out more.
]]></p1><cs id="225" /><cs id="195" /><cs id="58" /><cs id="207" /></service_group><service_group id="10" name="Digital Strategy"><p1><![CDATA[We believe our approach to problem solving is unique. At its centre is the recognition that the best ideas come from a synthesis of mindsets.

Many types of intelligence are required to create high-impact communication solutions: visual, technical, emotional and linguistic to name a few. It's not enough to have talented people; the trick lies in knowing who to involve in any project and, crucially, when.

Our methodology for strategy and online branding pointedly draws on all stages of the product development process. Our teams are always structured to include people from design and branding, new technologies, useability and production. It helps us to remain mindful that whatever we propose will have to be built, because practitioners, not theorists, are involved from the start.

Because of its unapologetic pursuit of ideas that can be made, we call our approach 'design strategy'. It helps us engineer new technologies, communicate vision, streamline processes and inspire customers.

View our case studies to find out more.
]]></p1><cs id="217" /><cs id="155" /><cs id="169" /><cs id="57" /></service_group><service id="2" name="Website Design" service_group="1"><p1><![CDATA[Your website can say more about your business than any other piece of marketing. Think about it. Visitors spend longer browsing a site than they do watching a TV commercial, reading a press ad or glancing at your logo. More importantly, their presence at your site is voluntary and goal-driven; of their own volition, they arrive to find out more.

This is why we insist on user-centred design.  Both the interface and the technologies behind it are chosen to suit your users. Bandwidth, environment, motivation and online literacy are all taken into account. Naturally, your brand's personality will shine through the screen, but never at the expense of user agency. The result is an online solution that makes sense to your customers, business partners and team.

That being said, the proof of the pudding is in the eating. We've designed websites for all industry sectors including travel and tourism, entertainment, consumer IT, fast-moving consumer goods, personal finance, fashion and healthcare. View our case studies for a taste of the results.
]]></p1><cs id="270" /><cs id="188" /><cs id="31" /><cs id="123" /><cs id="190" /><cs id="146" /><cs id="263" /><cs id="254" /><cs id="242" /><cs id="241" /><cs id="214" /><cs id="215" /><cs id="234" /><cs id="142" /></service><service id="3" name="Application Development" service_group="1"><p1><![CDATA[As the internet evolves, application development is becoming a core part of any online presence. In the past few years we've seen all industry sectors recognise the competitive advantage that it brings. Examples include online ticketing, e-commerce, the use of web-based workflow processes and the integration of online applications with existing business systems. The commercial benefits are obvious: improved efficiency, clarity, consistency and speed.

Smooth application development is based on robust processes. We conduct a formal analysis of your requirements and dependencies, enabling us to write functional, interface and test specifications. We produce reviewable presentations such as wireframes, use-case scenarios and prototypes for focus-group testing, so that your picture of the end product is the same as ours. We put a small dedicated team on the job until deployment. The end result is an application which exactly matches the specification.

Our services in application development include consultancy, all aspects of development, operational support and maintenance. 

View these case studies to find out more.
]]></p1><cs id="272" /><cs id="187" /><cs id="239" /><cs id="180" /><cs id="183" /><cs id="186" /><cs id="66" /><cs id="212" /></service><service id="4" name="Online Marketing" service_group="1"><p1><![CDATA[The Internet is a vast expanding space which contains literally millions of websites. And it ceaselessly changes. In fact, no-one even knows how many websites exist.

Which begs the question - can your customers find you?

Online marketing helps you get the most from your primary Internet spend. It's not just about banner ads. The services we offer your business include Search Engine Optimisation, Search Engine Marketing, viral advertising and the development of Customer Resource Management databases.

We are strong advocates of the efficacy of these tools. But the beauty of online marketing is this: you don’t need to take our word for it; the results can be measured to the very last click.]]></p1><cs id="227" /><cs id="163" /><cs id="189" /><cs id="153" /><cs id="198" /><cs id="60" /></service><service id="6" name="Television Commercials / Viral" service_group="5"><p1><![CDATA[With our finger on the pulse of new developments in web based marketing, including branded content and viral marketing, Deepend recognises that television is still considered to be the strongest and most effective advertising medium. From full creative concepting including copy writing, storyboarding and pre-visualisation to live action production and post production including animation, editing and compositing, Deepend has the ability to jump on board at any given stage of the television commercial production process making Deepend a one stop shop for TVCs.]]></p1><cs id="266" /><cs id="255" /><cs id="253" /><cs id="221" /><cs id="226" /><cs id="157" /></service><service id="7" name="Corporate Videos" service_group="5"><p1><![CDATA[Deepend aims to bring a new creative twist to each corporate film, ensuring a fresh, visually compelling, informative and entertaining video piece that gets results.]]></p1><cs id="261" /><cs id="256" /><cs id="260" /><cs id="257" /><cs id="258" /><cs id="251" /></service><service id="11" name="Documentaries / Event Coverage" service_group="5"><p1><![CDATA[Our talented and experienced Moving Image team of directors, producers, designers and editors is skilled to deal with the demands of longer form moving image work including documentaries, event coverage, and news reels, from initial concepting to on set production and intensive periods of post production.]]></p1><cs id="224" /><cs id="191" /><cs id="203" /><cs id="206" /><cs id="209" /></service><service id="12" name="Online Games" service_group="1"><p1><![CDATA[Over the years online games have evolved from simple website gimmicks that attract users to a website, to large quantifiable marketing tools.

Recently online games and competitions have been created with clear marketing and user subscription goals defined at the concept level. Marketeers are starting to understand that a competition based game can reach exceedingly large amounts of entries for a comparable minimal investment. 

Viral marketing is more easily achieved in this online competition / gaming environment, with the most successful examples requiring only minor advertising to start the 'snowball' effect.

Deepend's recent developments in this field represent the re-invention of multimedia. It is becoming common for games to involve video elements as well as online - offline qualities such as SMS alerts and printed material.

Modern online games can be more involved than simple games of skill. Multiple levels of difficulty can be in-built with many different gaming levels. All of which contribute to the length of engagement and viral nature of the marketing exercise. 

Online games create a better level of branding awareness and product knowledge with the user. Online games tend to have a much longer 'shelf life' than other forms of viral marketing. Many of the games developed in recent times that were only supposed to be online for a short duration, have remained online gathering subscriptions long after the original marketing 'push' has concluded.
]]></p1><cs id="235" /><cs id="126" /><cs id="192" /><cs id="121" /><cs id="213" /></service><service id="14" name="Microsites" service_group="1"><p1><![CDATA[Deepend regularly produce websites that enable us to showcase our design skills and marketing knowledge in smaller unique markets for clients which don't have the ability or are not ready to develop a large scale site. 

Often these sites allow us to take the design initiative and produce websites without the 'corporate' constraints that may apply to a public company or well established brand. Smaller sites are willing to take more risks and try new ideas largely without hesitation.

Smaller sites often focus their marketing message on showcasing a product or service in a creative way in order to 'stand out' as they may not want to compete directly with the larger marketing budgets of their potential competitors.

Our smaller sites range from specialist photographers and fashion labels to mobile phones and kids' toys.
]]></p1><cs id="236" /><cs id="147" /><cs id="175" /><cs id="173" /><cs id="39" /></service><service id="15" name="Showreels" service_group="5"><p1><![CDATA[A showcase of some of Deepend's most outstanding moving image work, including TVC and music video work by director Nick Pollack - our most recent addition to the Deepend Moving Image team.]]></p1><cs id="138" /></service><service id="16" name="Music Videos" service_group="5"><p1><![CDATA[With the recent addition of Director Nick Pollack to the Deepend Moving Image team, Deepend’s music video experience has expanded to incorporate big name labels including Sony BMG, Universal Music, Inertia and Brighton Blvd.]]></p1><cs id="259" /><cs id="125" /></service><service id="18" name="iPhone Application" service_group="17"><p1><![CDATA[Creating an iPhone application can be an incredibly effective way to engage consumers with your brand by delivering relevant, branded content, providing entertainment and showcasing or enhancing your product or service. Deepend can provide the mobile strategy, research and focus group learnings, creative direction and technical know-how to launch your brand into the App Store, and thus into the pockets, and headspace, of your target audience. And our understanding of Apple internal process can give your app the best chance of maximising its potential post-launch.]]></p1><cs id="238" /></service><service id="19" name="SMS Campaign" service_group="17"><p1><![CDATA[]]></p1></service><service id="20" name="Mobile Site" service_group="17"><p1><![CDATA[]]></p1></service><service id="21" name="Web-to-Mobile Tool" service_group="17"><p1><![CDATA[]]></p1></service><service id="22" name="Mobile &amp; Web Retail Campaign" service_group="17"><p1><![CDATA[]]></p1></service><casestudy project="FOX8 Website Rebrand" service_list="FOX8 Website Rebrand" client_list="FOX8 Website Rebrand" id="270" client="80" service_group="1" service="2" noservice="no"><p1><![CDATA[Deepend were approached by FOX8 to reskin their existing site in line with a rebrand of the channel. This presented an opportunity to place the site at the heart of FOX8’s media offering. Deepend were tasked with delivering a site that outstripped new competitors in the market, Channel 11.

Not only did it have to be done quickly, cheaply, and with the highest quality results in mind, the team had to start developing before the brand was complete if we were going to meet timelines.

Response:

Deepend drew on past experience to create a vision for the best TV site offering on the market. A robust solution, solid content delivery, and clean and clear design were at the core.

Employing the Deepend Agile methodology, Deepend were able to commence delivering on day 1. An evolutionary design and development process allowed new ideas to come to the fore, emerging requirements to be dealt with, and a creative approach was taken to problems without affecting budget.]]></p1><p2><![CDATA[Deepend drew on past experience to create a vision for the best TV site offering on the market. A robust solution, solid content delivery, and clean and clear design were at the core.

Employing the Deepend Agile methodology, Deepend were able to commence delivering on day 1. An evolutionary design and development process allowed new ideas to come to the fore, emerging requirements to be dealt with, and a creative approach was taken to problems without affecting budget.]]></p2><p3><![CDATA[The resulting site was more than three times faster to load, giving a snappy, robust user experience. It delivered richer video exploration, stickier image galleries, and an incredibly adaptable competition engine with the same system flexibility of which Deepened is renown. The Flash-free solution delivered an almost seamless iPad and iPhone experience, with no additional time required for optimisation.

A perfect launch-pad for future activations, and continuous improvements ongoing.]]></p3><link href="www.fox8.tv" /><media id="654" title="Homepage" type="jpg" position="1" /><media id="655" title="Gallery" type="jpg" position="2" /><media id="656" title="Video" type="jpg" position="3" /></casestudy><casestudy project="FOX8 Video content delivery" service_list="FOX8 Video content delivery" client_list="FOX8 Video content delivery" id="271" client="80" service_group="1" service="0" noservice="no"><p1><![CDATA[FOX8’s primary expertise in delivering engaging video content. Extending that experience online was their number one objective for their new site.

Ensuring a user can easily watch, queue, comment on, and explore video content online was essential to playing to FOX8’s strengths.

Video pre-rolls form a significant proportion of FOX8’s income, and were essential in any solution.]]></p1><p2><![CDATA[The solution called for a seamless AJAX navigation solution that allowed a full exploration of the content, while leaving a viewers video uninterrupted.

The vision for the offering was device agnostic, but limitations in HTML5 pre-roll technology meant an HTML5 player was not possible across the board.

Building the player on the Akamai content delivery network, with the JW player means the video player is HTML 5 ready, as soon as pre-roll capabilities are available.

Using social graph commenting meant it is super easy for a user to comment on the content without registering, or logging in (if, say, they were a facebook junkie, and are already logged in to Facebook).]]></p2><p3><![CDATA[FOX8 saw a jump in video views directly following the launch of the site. A fully scalable navigation structure will grow with their video needs, as more local productions take their content online.

With exploration and extensibility at its heart, the robust FOX8 video content delivery solution is on the money!]]></p3><link href="www.fox8.com.au" /><media id="667" title="Video 1" type="gif" position="1" /><media id="668" title="Video 2" type="gif" position="2" /></casestudy><casestudy project="FOX8 Competition Engine" service_list="FOX8 Competition Engine" client_list="FOX8 Competition Engine" id="272" client="80" service_group="1" service="3" noservice="no"><p1><![CDATA[FOX8 regularly run brand sponsored competitions for their audience. As a key revenue stream for the website, the competitions they run need to be engaging. They range from uploads, to games of skill, and games of chance.

Aside from sponsored competitions, FOX8 needed a way to collect User Generated content such as cast-calls, and content uploads for use on air.

Deepend needed to create an engine that allowed them to deploy competitions of this nature at the drop of a hat, all by an administrator.]]></p1><p2><![CDATA[Deepend delivered a robust CMS managed competition engine that allows FOX8 to create and manage competitions on their site. As well as this, the competition forms are user focused, delivering clear user feedback on errors of entry.

The engine allows for customisation of field titles, content uploads, legals, and of course the skin of the comp.

Multiple competitions are possible, all with varying requirements. A full suite of admin tools allows FOX8 to monitor entries, and access User Generated Content uploads directly.]]></p2><p3><![CDATA[FOX8 now has a hyper-flexible competition engine appropriate for sponsored competitions, UGC promotions, and more. A truly integrated on-air experience requires fast deployment, flexible setup, and great usability.

FOX8 now have all three at their fingertips.]]></p3><link href="www.fox8.com.au" /><media id="669" title="CompEngine1" type="gif" position="1" /><media id="670" title="CompEngine2" type="gif" position="2" /></casestudy><casestudy project="Monkey Mayhem" service_list="Monkey Mayhem" client_list="Taronga Zoo iPhone App" id="238" client="62" service_group="17" service="18" noservice="no"><p1><![CDATA[Taronga Zoo was already at the forefront of harnessing technology to enrich the zoo experience for visitors, and to extend their conservation message to those outside the zoo, providing an interactive experience from any location. With the increasing use of smartphones, Taronga recognised the opportunity to create a new communication channel with their audience.

Working with Taronga, Deepend identified families as the prominent audience and the largest opportunity. Deepend hosted focus groups with parents and children and found that parents are happy for kids to use their smartphones, which often act as a micro babysitting tool. Interactive and entertaining education is well received by children and parents, and children respond well when asked for user-generated content such as photos.]]></p1><p2><![CDATA[Deepend realised that providing a tool for this audience to become part of the Taronga message would drive interactions and loyalty. The result of creative collaborations with Taronga and focus groups resulted in the Taronga Zoo – Monkey Mayhem application – an interactive educational game that enriches families’ Taronga Zoo experience. Users are asked to help Marley the zookeeper’s son put back together the Zoo Manual that escaped monkeys have pulled to shreds. They must find animals at the zoo using the map tool, and unlock keepers notes, audio and video information about the animals with the insertion of the user’s own photos and secret codes found on the website.]]></p2><p3><![CDATA[Taronga Zoo – Monkey Mayhem has been a great success, with over 50,000 downloads in first month. The app reached number 1 Educational Game in the App Store, number 3 in Family Games, number 11 in games overall and number 16 in all apps. It was also selected to be a featured game in the iTunes App Store and garnered 5,500 opt-ins for Taronga’s email database.]]></p3><link href="www.awardentryonline.com/Taronga/index.html" /><media id="631" title="TarongaVid" type="flv" position="1" /><media id="626" title="Taronga001" type="jpg" position="2" /><media id="627" title="Taronga002" type="jpg" position="3" /><media id="628" title="Taronga003" type="jpg" position="4" /><media id="629" title="Taronga004" type="jpg" position="5" /></casestudy><casestudy project="Paddle Pop Lick-A-Prize" service_list="Paddle Pop Lick-A-Prize" client_list="Paddle Pop Lick-A-Prize" id="31" client="1" service_group="1" service="2" noservice="no"><p1><![CDATA[Paddlepop Lick-A-Prize had become a logistics nightmare. With over 25,000 prizes, the sheer number of sticks being posted had become an annual hazard for Australia Post, regularly breaking their sorting machines. Manual verification of winning sticks had become also become too time-consuming and costly. After 25 years, the iconic Australian Lick-A-Prize was to end.]]></p1><p2><![CDATA[Deepend created a business case to radically change the fulfilment process, making online the hub of the campaign. The platform was also decked out with a whole suite of features to engage kids throughout the 6-month campaign: A drag and drop engine allows kids to easily personalise their prize with custom designs. A ‘Wall of Fame’ showcases kids’ designs, allowing the Paddle Pop community to vote for their favourites and increase their prominence on the wall. The ‘Stick Manager’ handles winning stick fulfilment, notifying kids instantly when they win. Kids can also unlock special downloads throughout the site outlining what sticks are rare and to be coveted.]]></p2><p3><![CDATA[The Lick-A-Prize platform has been an enormous success, with kids engaging with the brand more than ever before. The 2009/10 Lick-Prize site boasted an 8.54-minute average time on site, and1.2 million stick codes have been entered. 

Almost 112,000 prize designs have been submitted to the Wall of Fame, which has recorded 2.8 million views and votes. The 2010/11 Lick-a-Prize site launched in August and is expected to surpass these figures.]]></p3><link href="http://www.paddlepop.com.au/" /><media id="636" title="PP 001" type="jpg" position="1" /><media id="637" title="PP 002" type="jpg" position="2" /><media id="638" title="PP 003" type="jpg" position="3" /><media id="639" title="PP 004" type="jpg" position="4" /><media id="640" title="PP 005" type="jpg" position="5" /><media id="641" title="PP 006" type="jpg" position="6" /><media id="642" title="PP 007" type="jpg" position="7" /></casestudy><casestudy project="Continental Cup-a-Soup Free Cup Campaign" service_list="Cup-a-Soup Free Cup Campaign" client_list="Cup-a-Soup Free Cup Campaign" id="188" client="1" service_group="1" service="2" noservice="no"><p1><![CDATA[With soup season approaching & a very successful campaign in 2009, Continental sought to revive the free cup campaign for 2010 using the combination of online & social media as a driver to push cup redemptions and Cup-a-Soup’s online presence. 

With the objective of growing awareness, Facebook appeared as the perfect platform to do this with 1.6million users within the target 40-64 audience age group.]]></p1><p2><![CDATA[A flash microsite was built to house the TVC at www.freecup.com.au & www.freecup.co.nz and the cup redemption microsite. 

Facebook was utilised as an opportunity to raise talk-ability & spread brand awareness across the target demographic. To leverage off the viral nature of Facebook, an application was developed whereby users could upload a photo of themselves & place it within a Cup-a-Soup Mug shot environment. In saving this “Mug shot” users published their creation to their profile & newsfeed generating awareness across their group of friends. 

The “Mug Shot” application created a permanent album in the user’s photo gallery with a CTA to drive users to the Cup-a-Soup microsite www.freecup.com.au, and received over 1000 installs.]]></p2><p3><![CDATA[Positive responses received from users which were posted on the Facebook wall for all other fans to reference were overwhelming. Not only this, but fuelled with this knowledge and goodwill, fans became brand advocates and often felt empowered to respond to other fans questions on Continental’s behalf.

The Continental Facebook page gained 14,293 fans over the 7 week promotional period with 82,460 cups redeemed.]]></p3><link href="http://www.freecup.com.au/" /></casestudy><casestudy project="Taronga Zoo Website" service_list="Taronga Zoo" client_list="Taronga Zoo Website" id="216" client="62" service_group="1" service="0" noservice="no"><p1><![CDATA[Taronga Zoo001 is an Australian icon and seeks to build on that legacy to maintain a world-leading conservation status by pursuing the vision:

“To inspire Australian and our visitors to explore, discover, delight in and protect our natural world.”

Taronga realises that to achieve its vision it needs to capitalise on the capabilities of digital to engage people in education and to motivate them to become conservation advocates. Interaction and user involvement as well as rich media content plays a major role in the online presentation of Taronga Zoo. The content for the new website is linked to, and shareable on, various social media platforms and will be used to increase site-based ecommerce activities such as online ticketing, donations and shopping.]]></p1><p2><![CDATA[The site design creates a rich user experience of the Taronga Zoo website as well as taking into consideration search engine-optimisation, to ensure high rankings for relevant searches on sites like Google, and content management system implementation to enable Taringa to update content as required. 

The main aim of the site design was to build a dialogue between Taronga Zoo and site visitors, a wide and varied group which includes national and international tourists, local zoo visitors, schools, students, animal welfare and wildlife conservation organisations, animal lovers, the Australian government, zoo sponsors, zoo supporters, zoo members (Zoo friends), event participants and volunteers.]]></p2><p3><![CDATA[The Taronga Zoo site has a lightweight design approach, incorporating bold elements such as animal images and stories, and Taronga Zoo’s brand colours and fonts.  The colour scheme of the website uses the Taronga brand palette in a measured way, alongside a neutral base of colours, which were chosen for their eco-friendly, conservation connotations.

A green-based Taronga Conservation Society Australia / Taronga Zoo palette was used and, to visually distinguish Taronga Western Plains Zoo, an orange-skewed palette was also devised.  The main Taronga Dark Green has been used for the global navigation, and the Taronga Light Green and Western Plains Orange have been used for each zoo respectively, alongside the supporting colour palette for a more web-friendly and toned-down effect.

Deepend wanted to achieve a handcrafted and layered feel, which was both immersive and engaging, but also provided genuinely engaging educational content.]]></p3><link href="www.taronga.org.au/" /><media id="635" title="Taronga001" type="jpg" position="1" /><media id="634" title="Taronga002" type="jpg" position="2" /><media id="632" title="screengrab2" type="jpg" position="3" /></casestudy><casestudy project="Impulse Romantic Spark Digital Campaign" service_list="Romantic Spark Digital Campaign" client_list="Romantic Spark Digital Campaign" id="190" client="1" service_group="1" service="2" noservice="no"><p1><![CDATA[In a bold move, Deepend decided to dispense with the Impulse brand site and embark on a Facebook-based strategy.
Using the Impulse Facebook Page, Deepend developed a voice for Impulse, expressing the brand personality and managing the fast-growing community of women. A Facebook gift was used to help encourage fan base growth at launch and it was sent by users 10,160 times in 24 hours.]]></p1><p2><![CDATA[The nine month content plan involved the following; Sponsorship of Australia’s Next Top Model (ANTM), Partnership with celebrity ANTM blogger, Jo Bloggs, competitions and free giveaways, romantic quizzes and polls and integration with NW, Grazia and Cosmo magazines (submit your weekly romantic stories). Deepend ensured that the Impulse Page was the premier destination for online ANTM chat, and seamlessly integrated the two brands, assigning each model on the show a frangrance personbality based on an Impulse product.]]></p2><p3><![CDATA[The Facebook fan page has over 23,000 fans with 92% from the female target audience.

We were not expecting women of all ages to be commenting about how much they loved the product.;
"HAVE BEEN USING IMPULSE FOR THIRTY YEARS ABSOLUTELY LOVE IT"
"Smells soooooooooooo good"
"I love your new romantic spark impulse"
"I have always loved Illusions, my fav!! Hadn't had it for awhile, will have to try one of the new scents next :)"

By the end of the campaign Impulse held a 83.8% share of female body spray sales – up from 64% at the outset, well above the target of 70% and the highest share in the brand’s history!]]></p3><link href="http://myimpulse.com.au/" /><media id="644" title="Impulse 001" type="jpg" position="1" /></casestudy><casestudy project="Ivy TV" service_list="Ivy TV" client_list="Ivy TV" id="123" client="24" service_group="1" service="2" noservice="no"><p1><![CDATA[Deepend was asked to create entertaining, engaging and informative content for the Merivale online broadcast channel Ivy TV. The Ivy TV channel contains coverage of the Merivale venues and past events and is used as a social tool, to not only wrap up current events but to create further hype for their other affiliated parties, fashion shows and social events.]]></p1><p2><![CDATA[Ivy TV caters towards visitors to the Merivale Venues which is inclusive of people aged 18 years and over. 

Deepend deploys a camera crew to film coverage of the event, which entails gathering feedback from the public, the event organisers, people within the specific show and other involved parties. 

Once this footage is collected, the Deepend film crew come back to our in-house studio to edit footage, add music and record voice-overs. Once the final product is approved, we also upload the file to Ivy TV where it is viewed by the public.]]></p2><p3><![CDATA[Deepend turns around a finished product between deadlines of 24 hours to 1 week - enabling the content to be viewed whilst it is still current. 

Deepend has forged an integral relationship with the Merivale Group and their establishments and has received extremely positive feedback about their Ivy TV productions. The relationship is now ongoing, and Deepend looks forward to covering many more future events for the Ivy TV channel.]]></p3><media id="658" title="ITV" type="jpg" position="1" /><media id="657" title="iTV" type="flv" position="2" /></casestudy><casestudy project="Good Vibrations Website" service_list="Good Vibrations Website" client_list="Good Vibrations Website" id="146" client="24" service_group="1" service="2" noservice="no"><p1><![CDATA[Jam Music required a visually engaging festival site that built interest and excitement for the 2009 Good Vibrations Festival, in the lead up to ticket sales and beyond.]]></p1><p2><![CDATA[The site had to sell the experience of a fulfilling day out, showcasing line-up and selling a positive festival experience, as well as being a simple and easy gateway to ticket purchasing. The site also had to maintain interest and hype over a 4 month period leading up to the Festival.

The site was designed to include a full flash intro animation, which showcased the line-up as an entry tunnel into the city destination sites.

A widget was developed allowing users to embed dynamic news updates into various social media platforms, such as Facebook and MySpace, providing Good Vibrations with a means to easily distribute press outside of the framework of the website. 

The 'Buy Tickets' button appears on every page of the site and within the widget, meaning ticket purchases are only ever one click away. The site also included a custom mp3 player; this too was driven via the CMS.]]></p2><p3><![CDATA[The site is visually entertaining, breathing excitement into the existing Festival branding, highlighting key features and acts.

The site received over 36 000 visits on the first weekend of launch, and VIP tickets to the Sydney show sold out in a single day.]]></p3><media id="666" title="Landing" type="jpg" position="1" /><media id="663" title="Set list" type="jpg" position="2" /><media id="664" title="Lineup" type="jpg" position="3" /><media id="665" title="Home page" type="jpg" position="4" /></casestudy><casestudy project="Content Management System" service_list="Content Management System (Merivale)" client_list="Content Management System" id="187" client="24" service_group="1" service="3" noservice="no"><p1><![CDATA[The Merivale Group controls over 40 venues including retail, bar, restaurant and hotel locations. Each separate venue within the Merivale portfolio has very specific capabilities and Deepend needed to design an easy to use administration system, which maintained the new site's many components, optimised their search-ability and allowed for easy search engine indexing. The administration system also had to maintain the main Flash site and the HTML mirror site all in one.]]></p1><p2><![CDATA[The administration home page was designed with two columns representing 'place' and 'pleasure'. Each column has expandable list menus, mimicking the Merivale website content menus. The system allows dynamic assigning to the column categories, allowing the user simple drag and drop motions within and between columns to change certain venues from their current assigning. 

The administration system collates all relevant information on a single admin page per venue, allowing all content to be efficiently entered into the one area, including web text, venue imagery, galleries, downloads plus function space information. From these singular venue administration pages, information populates both the flash and HTML sites to the relevant online pages. 
The administration system allows copy to be automatically published to both the Flash and HTML sites, delivering all the searchable perks of traditional HTML sites to the rich, Flash Merivale site, but without the user ever seeing the HTML site. This ensures all up to date information remains searchable, allowing the Merivale Group to manage their own search engine ranking.]]></p2><p3><![CDATA[Deepend has successfully created a user friendly administration system, which remains expandable so the Merivale Group's new site can grow as they acquire new properties.]]></p3><media id="653" title="Venues" type="jpg" position="1" /><media id="649" title="Angel bar" type="jpg" position="2" /><media id="650" title="Establishment" type="jpg" position="3" /><media id="651" title="Ivy Bar" type="jpg" position="4" /><media id="652" title="SlipInn" type="jpg" position="5" /></casestudy><casestudy project="Our City In Summer 2009 TVC" service_list="Our City In Summer 2009 TVC" client_list="Our City In Summer 2009 TVC" id="266" client="34" service_group="5" service="6" noservice="no"><p1><![CDATA[Deepend’s relationship with the Sydney Festival has now continued into its 5th year, taking a fresh new approach to the 2009 TVC and the 'This is Our City in Summer' core branding.  

Coinciding with Fergus Linehan's last year as Festival director, Deepend were given the challenge of breathing new life into the well established Sydney Festival branding and prior TVCs, building the Festival reputation as an inaugural part of the City of Sydney's diverse cultural calendar, and enabling Fergus' final year to go off with a bang!]]></p1><p2><![CDATA[The 2009 TVC wanted to take the festival back to the streets, giving the people of Sydney a feeling of greater involvement.

International beat boxing sensation Reggie Watts, who was to appear in the 2009 Festival Season, was flown out by the Sydney Festival to be the face of the TVC. 

Reggie, followed closely by the Deepend camera crew, beat boxed on the streets of Sydney in 6 different locations with his trusty looping pedals, inviting passers-by, young and old, to participate.]]></p2><p3><![CDATA[The TVC aired on Channel 9 Sydney and Melbourne as well as inbound National and International Qantas flights to the east coast

All the various faces of Sydney, from buskers to tourists, party goers to parents, all people young and old appear in the festival advertisements, creating a TVC which represents Sydney and the Festival as it is intended - for the people.]]></p3><link href="http://www.sydneyfestival.org.au/" /><media id="622" title="TVC60" type="flv" position="1" /><media id="618" title="SF1" type="jpg" position="2" /><media id="619" title="SF2" type="jpg" position="3" /><media id="620" title="SF3" type="jpg" position="4" /></casestudy><casestudy project="Sydney Theatre Company Website 2008" service_list="Sydney Theatre Company Website" client_list="Sydney Theatre Company Website" id="263" client="35" service_group="1" service="2" noservice="no"><p1><![CDATA[The beginning of 2008 saw the Sydney Theatre Company coming under the control of the new artistic directors Cate Blanchett and Andrew Upton. They wanted to alter the image of the theatre company, feeling its new appeal had to be inclusive of a younger audience who were looking for more of a well rounded package. 

To be successful, the new STC site design would have to adequately showcase the theatre as a whole, including not only the performance spaces, but the restaurants, bars and free spaces, whilst still maintaining usability for company’s established patrons and loyal subscribers.]]></p1><p2><![CDATA[An abstract spotlight logo was developed as part of the new brand with the website providing the ability to bring the logo to life with animation, and deliver an unmistakable brand metaphor. The STC advertise each performance in print material with a direct link to its performance page within the site and this meant each page was designed to appear as a homepage in itself, complete with all appropriate information and booking links. The website now has its own performance management built in giving the web producers full control and flexibility to publish performance dates and details independent of the main STC ticketing system.]]></p2><p3><![CDATA[The site is visually engaging and produces at-a-glance information about upcoming performances, affiliated spaces, and all the tools to plan a night out. The new site provides more rich content than ever before, catering to the younger demographic. 

One month since launch, the new STC site has experienced 53% return visits and an impressive number of new visitors to the site. The site launch day alone saw triple the average number of daily site visits and at this point in time there have been over 28 000 unique visitors to the new site. Since then, the old peaks are the new troughs.]]></p3><link href="www.sydneytheatre.com.au" /><media id="617" title="STC FLV" type="flv" position="1" /><media id="615" title="STC2" type="jpg" position="2" /><media id="616" title="STC3" type="jpg" position="3" /><media id="614" title="STC1" type="jpg" position="4" /></casestudy><casestudy project="SMH DVD" service_list="SMH DVD (Fairfax)" client_list="SMH DVD" id="261" client="74" service_group="5" service="7" noservice="no"><p1><![CDATA[Fairfax sought to bolster the profile of the Sydney Morning Herald amongst Melbourne-based media agencies, clients, and direct advertisers.

Deepend Sydney was commissioned to produce a 15 minute corporate video to provide a dynamic overview of the paper, providing a showcase of its readership and to ultimately bolster the profile of the paper to Melbourne based audiences illustrating to them the unique kinship Sydney readers have with the paper.]]></p1><p2><![CDATA[Deepend worked closely with Fairfax to gather many different elements that would form the content for this AV. Interviews with key staff members of the Sydney Morning Herald along with interviews with their clients gave insights into the running and working relationship with the paper. Further to this, vox pops around Sydney were conducted to gather an honest opinion of its readership and this was complemented by animated graphs illustrating research data compiled by Roy Morgan.]]></p2><p3><![CDATA[This project is currently in post production.]]></p3><media id="568" title="SMHFLV" type="flv" position="1" /></casestudy><casestudy project="Moving Image Reel" service_list="Moving Image Reel (Deepend)" client_list="Moving Image Reel" id="138" client="11" service_group="5" service="15" noservice="no"><p1><![CDATA[Showcasing Deepend's most outstanding moving image work.]]></p1><p2><![CDATA[A montage of work by Deepend and Director Nick Pollack.]]></p2><p3><![CDATA[Featuring TVC, music video, viral, corporate video, event coverage and documentary work.]]></p3><media id="621" title="MI Reel 2008 12" type="flv" position="1" /></casestudy><casestudy project="Colour Day Tours - Trial Kennedy" service_list="Colour Day Tours - Trial Kennedy" client_list="Colour Day Tours - Trial Kennedy" id="259" client="75" service_group="5" service="16" noservice="no"><p1><![CDATA[Deepend were thrilled to work on their very first music video with Sony BMG and their recently signed band, Trial Kennedy.  Sony BMG wanted a visually striking debut music video that tied into the artwork of the album to create brand recognition and to announce the arrival of a major new talent.]]></p1><p2><![CDATA[With the Trial Kennedy album release looming, Deepend mobilized quickly to come up with a concept that would incorporate both the band and the album artwork. The vivid artwork created by Eye Candy Design allowed for a number of scenarios for the band members to journey through. Thus it was decided live action footage of the band members would be shot and then composited together with animated characters and scenarios from the artwork.]]></p2><p3><![CDATA[The music video was added as bonus content on a special edition of the album and the music video went into rotation on Channel V, Rage and MTV.]]></p3><media id="556" title="CDTflv" type="flv" position="1" /><media id="557" title="CDTGrab01" type="jpg" position="2" /><media id="558" title="CDTGrab02" type="jpg" position="3" /><media id="559" title="CDTGrab03" type="jpg" position="4" /><media id="560" title="CDTGrab04" type="jpg" position="5" /></casestudy><casestudy project="Inside Out" service_list="Inside Out (News Magazines)" client_list="Inside Out" id="256" client="73" service_group="5" service="7" noservice="no"><p1><![CDATA[Deepend was commissioned to create a PowerPoint presentation and accompanying moving image sequence to promote News Magazine's premier home title, 'Inside Out Magazine'. The moving image sequence would be designed to function as a stand alone piece to be screened at events and would act as an introduction to a PowerPoint presentation template also designed by Deepend using still images borrowed from the moving image sequence.]]></p1><p2><![CDATA[The introduction moving image sequence was based on a concept that centred on the idea of the magazine itself turning 'Inside Out'. Images taken from various Inside Out editorials will reveal themselves using a sort of panelling effect. The panels themselves then revolve, giving the viewer the illusion of the images turning inside out - exteriors fold in on themselves to become interiors, interiors fold in on themselves to become furniture pieces.]]></p2><p3><![CDATA[Using recent PowerPoint advances to incorporate the use of a moving image sequence as an introduction piece to the presentation, Deepend designed a series of slides which would suit the various lifestyle sections of the magazine and which would allow the user to edit the various text fields within the presentation and add/remove slides as and when necessary. 

The dynamic moving image sequence premiered at Inside Out Magazine's 8th birthday celebration. Following the birthday celebration, the PowerPoint presentation now serves as a slick and successful advertising sales tool.]]></p3><media id="569" title="InsideOutFLV" type="flv" position="1" /></casestudy><casestudy project="Media Smart DVD" service_list="Media Smart DVD (Naked)" client_list="Media Smart DVD" id="260" client="76" service_group="5" service="7" noservice="no"><p1><![CDATA[Naked Communications came to Deepend with a unique challenge. To produce a 10 minute corporate video for their client, Media Smart, to be presented to Telstra within a week. The video had to not only communicate all the key messages and services of Media Smart, but also present them in an engaging manner that would stand out from the pack and make Telstra stand up and take notice. Easy enough then.]]></p1><p2><![CDATA[With such a tight turn around for this project Deepend quickly went to work carefully planning the entire production process, mapping out daily milestones to ensure the project would meet its deadline. Talent was a carefully considered factor to ensure personality was injected into the piece that time or budget could not otherwise provide. A green screen shoot took place a few days after the brief was taken and the motion graphics team quickly set about compositing the shots and building graphics to visually communicate the many key messages the client wished to convey.]]></p2><p3><![CDATA[The final piece was slickly produced video which communicated many key messages in a playfully mischievous tone that broke away from the otherwise stoic norm of the corporate video. Added to this, streamlined motion graphics allowed for complex messages to be delivered clearly and efficiently and both Naked and Media Smart were extremely happy with the result.]]></p3><media id="562" title="MediaSmartflv" type="flv" position="1" /></casestudy><casestudy project="Impulse Romance Academy" service_list="Impulse Romance Academy" client_list="Impulse Romance Academy" id="254" client="71" service_group="1" service="2" noservice="no"><p1><![CDATA[Reinvigorating the Impulse brand amongst 18-25 year old women whilst introducing new fragrance 'True Love' was a challenge that required an unexpected and highly creative idea – and some good old-fashioned romance.]]></p1><p2><![CDATA[The 'Romance Academy' - an institution dedicated to the preservation of romance - was built to spread the word that True Love really exists. The campaign employed viral video, social networking channels, an expert lover named Professor Maxwell Lovejoy and an expert in love, celebrity cyber writer Ms Samantha Brett.

The Professor launched his crusade to save romance using a teaser video supported by HTML emails, web banners and viral launches on YouTube, MySpace and Facebook. This was followed by the launch of a 6 week campaign, with the Academy making its unbranded Internet debut on 14th February 2008 - Valentine's Day.]]></p2><p3><![CDATA[Over 15,000 unique visitors accessed the site on its launch day - the most successful first day of any Australian Impulse campaign.

The campaign has broken new ground for female-focused digital with the kind of innovative, tongue-in-cheek strategy usually reserved for men. Using viral video and social networking channels, the Romance Academy spread the word that True Love really exists - and helped thousands of students achieve the Academy's highest honour - Master of Romance.]]></p3><link href="www.saveromance.com.au" /><media id="535" title="ImpulseGrab01" type="jpg" position="1" /><media id="536" title="ImpulseGrab02" type="jpg" position="2" /><media id="537" title="ImpulseGrab03" type="jpg" position="3" /><media id="538" title="ImpulseGrab04" type="jpg" position="4" /><media id="539" title="ImpulseGrab05" type="jpg" position="5" /><media id="540" title="AcademyFLV" type="flv" position="6" /></casestudy><casestudy project="Lowan Muesli" service_list="Lowan Muesli" client_list="Lowan Muesli" id="255" client="72" service_group="5" service="6" noservice="no"><p1><![CDATA[The challenge was to create a low budget TVC representing Lowan Muesli as a homegrown and healthy breakfast cereal targeting a new female demographic 30-44 years with kids 3-8, whilst taking care not to alienate the existing 65+ demographic.]]></p1><p2><![CDATA[In collaboration with Sydney agency The Pollination Project, Deepend scripted a 30 second TVC set in the fictional ‘Lowan Valley’. Executed using a series of still images sourced using a combination of stock footage and still shots, the shots were deep-etched in order to create a strong depth of field and in turn, a sense of movement through the valley.

The shots were then animated involving approximately two weeks of design, storyboarding and pre-visualization in the form of an animatic.  The post production process included further 2D animation, key framing and grading, as well as sound design.]]></p2><p3><![CDATA[The Lowan TVC continues to broadcast nationally on Foxtel.]]></p3><media id="541" title="Lowan FLV" type="flv" position="1" /><media id="542" title="LowGrab01" type="jpg" position="2" /><media id="543" title="LowGrab02" type="jpg" position="3" /><media id="544" title="LowGrab03" type="jpg" position="4" /></casestudy><casestudy project="Our City In Summer 2008 TVC" service_list="Our City In Summer 2008 (Syd. Fest.)" client_list="Our City In Summer 2008 TVC" id="253" client="34" service_group="5" service="6" noservice="no"><p1><![CDATA[Continuing their 4-year strong relationship with the Sydney Festival, Deepend were commissioned to produce a suite of moving image and presentation pieces for the 2008 Festival.  Working with their core brand 'Our City in the Summer', Deepend were challenged to build on their past 3 years of work and further extend their brand to befit the 2008 Festival.]]></p1><p2><![CDATA[The 2008 TVC has evolved from previous years inline with the development of the brand. The tens of thousands of dots used in 2007 have now become hundreds of thousands of dots which twist, swarm and explode in and out of Festival imagery, guiding the viewer through the Festival's main acts.]]></p2><p3><![CDATA[Played out to the famous track Chicago by Festival star Sufjan Stevens, the TVC creates an air of anticipation and excitement, giving its audience just a taste of what's to come in the 2008 Festival.]]></p3><media id="534" title="SydFest08FLV" type="flv" position="1" /></casestudy><casestudy project="Life &amp;amp; Leisure" service_list="Life &amp; Leisure (Fairfax)" client_list="Life &amp; Leisure" id="257" client="74" service_group="5" service="7" noservice="no"><p1><![CDATA[The Australian Financial Review, Australia's premier business newspaper, commissioned Deepend to produce a showreel promoting its weekly Life & Leisure lift-out, with the intention of giving the AFR sales team an effective and high impact sales tool.

The piece was aimed at companies and businesses that service the wants and needs of the 'white collar' worker with an above average disposable income. 

The final result was to also have a certain amount of versatility, whether using the piece during presentations or as a leave behind.]]></p1><p2><![CDATA[Deepend proposed a PC compatible tool made up of video and PowerPoint elements. The compilation would include written information, images and footage of all the sections of the magazine.

Images on screen include animated text and a variety of stills depicting high-end retail products such as technology, the arts, motoring, fashion, as well as travel, art and photography.

The piece would also contain various testimonials all edited together in a dynamic montage, before continuing the presentation with an adaptable and synchronised PowerPoint presentation.]]></p2><p3><![CDATA[The AFR sales team were thrilled with the outcome as it provided a complete sales package. 

This included a high impact and dynamic introduction that captured the audience's attention, followed by several PowerPoint pages designed to assist the sales team during pitches.]]></p3><media id="546" title="L&amp;Lflv" type="flv" position="1" /><media id="547" title="L&amp;LGrab01" type="jpg" position="2" /><media id="548" title="L&amp;LGrab02" type="jpg" position="3" /><media id="549" title="L&amp;LGrab03" type="jpg" position="4" /><media id="550" title="L&amp;LGrab04" type="jpg" position="5" /></casestudy><casestudy project="Australian Financial Review Mag." service_list="Australian Financial Review Mag." client_list="Australian Financial Review MAg." id="258" client="74" service_group="5" service="7" noservice="no"><p1><![CDATA[Deepend was commissioned to create a dynamic one minute graphics sequence providing an emotive overview of the Australian Financial Review magazine. Certain keywords were to be used which epitomised the brand traits of the AFR magazine and the overall piece had to inspire and reinvigorate the brand with a contemporary edge.]]></p1><p2><![CDATA[Once a graphical treatment was decided upon, Deepend took a range of stills from the AFR image library and began constructing a sequence that encapsulated the brand.  Careful consideration was also given to the music selection, which was to provide a sense of both prestige and a contemporary edge.]]></p2><p3><![CDATA[The result is a dynamic and engaging presentation piece that inspires confidence in the AFR brand.  

The client was extremely pleased with the piece and still continues to use it to open formal presentations and as a sales tool.]]></p3><media id="570" title="AFRMagFLV" type="flv" position="1" /><media id="552" title="AFRMagGrab01" type="jpg" position="2" /><media id="553" title="AFRMagGrab02" type="jpg" position="3" /><media id="554" title="AFRMagGrab03" type="jpg" position="4" /></casestudy><casestudy project="Promotional DVD" service_list="Australian Institute of Music" client_list="Promotional DVD" id="251" client="70" service_group="5" service="7" noservice="no"><p1><![CDATA[The Australian Institute of Music commissioned Deepend to produce a video to help educate and inspire potential new students, career advisors, music department teachers and parents on the wealth of courses the school offers.  The video had to showcase the key departments students would encounter during their education but also position AIM as a credible means of acquiring a music education whilst outlining the formal accreditations that the school has.]]></p1><p2><![CDATA[Deepend employed Triple J's Robbie Buck as a presenter for the piece, to give the video an easily recognizable personality that young students would identify with. Interviews with all staff members and students were conducted over a 3-day shoot to gather an honest overview of the school outlining the range of courses the school offers to aspiring musicians.]]></p2><p3><![CDATA[The DVD was well received and continues to be sent to potential new students, music teachers and career advisers around Australia.]]></p3><media id="561" title="MidContempFlv" type="flv" position="1" /><media id="563" title="AIMGrab01" type="jpg" position="2" /><media id="564" title="AIMGrab02" type="jpg" position="3" /><media id="565" title="AIMGrab03" type="jpg" position="4" /><media id="566" title="AIMGrab04" type="jpg" position="5" /><media id="567" title="AIMGrab05" type="jpg" position="6" /></casestudy><casestudy project="Kids' Choice Awards 2007" service_list="Kids' Choice Awards (Nickelodeon)" client_list="Kids' Choice Awards" id="242" client="29" service_group="1" service="2" noservice="no"><p1><![CDATA[For Nickelodeon's Kids Choice Awards, Deepend was approached to create a site which not only built momentum for the four stages of the awards process, but also encouraged as much interaction from voting participants as possible. The site also had to continually provide stimulating ways for the kids to experience a positive branding experience from the awards four main sponsors; McDonalds, Weetbix, Dreamworld and Hasbro Toothtunes.]]></p1><p2><![CDATA[At each stage of the 4 stages of the KCA the interface was kept simple with striking visual characteristics for the ease and interest of the participant. Creative highlights were the moving robotic arms used for navigation, the satirical Google maps style and the reflection of the glitz and glamour of the physical awards set design in the site design for the showtime phase.

At each stage the micro sites for the four main sponsors remained at the same position along the bottom of the page, and allowed kids to partake in positive branding (inclusive of fun interactive on line games and competitions) via these sites.]]></p2><p3><![CDATA[The Kids’ Choice Awards Supersite provided the avenue for which Aussie kids could influence the 2007 Kid’s Choice Awards. The Supersite enabled kids to nominate their favourite stars, vote for who they wanted to win each award, and keep up to date with the KCA travelling roadshow through pictures and videos. 

Through the KCA Supersite kids took direct control over the Event. Over 120,075 nominations, and over 600,000 votes were registered during the 4 week voting period for each award.]]></p3><media id="575" title="KCA001" type="jpg" position="1" /><media id="576" title="KCA002" type="jpg" position="2" /><media id="577" title="KCA003" type="jpg" position="3" /><media id="578" title="KCA004" type="jpg" position="4" /></casestudy><casestudy project="Photography Portfolio" service_list="Photography Portfolio (Barry Salzman)" client_list="Photography Portfolio" id="236" client="64" service_group="1" service="14" noservice="no"><p1><![CDATA[Barry Salzman contacted Deepend to develop a portfolio website that showcases his photography and business / marketing skills in his highly competitive industry.

Relatively new to the photographic industry, Barry Salzman's unique approach to photography lies in his previous experience as managing director of Double Click. Because of this, Barry identified his target audience as both the art directors of large and well known organisations such as Vanity Fair and the marketing executives in the corporate arena such as Landor and Profusion Group.]]></p1><p2><![CDATA[Deepend worked closely with Barry to identify and communicate in the most effective way with his chosen target market. To achieve this goal a business statement was created - 'a managed business viewpoint, making photography work'.  This statement was used to help carry a single message throughout all online developments and designs.

The site is built using a series of techniques that maximise the exposure of the photographic images while minimising any 'cluttering' effects that may be caused by website menus and navigation options.]]></p2><p3><![CDATA[The site developed is 'full screen' on all browsers, and has some unique 'elastic' properties to its user menus and on-screen placement. 

The site has been well received, ranks well in search engines and has a unique online presence within the very creative and competitive online photographic environment.]]></p3><link href="www.barrysalzman.net" /><media id="404" title="Barry02" type="jpg" position="1" /><media id="405" title="Barry03" type="jpg" position="2" /><media id="403" title="Barry01" type="jpg" position="3" /><media id="406" title="Barry04" type="jpg" position="4" /><media id="407" title="Barry05" type="jpg" position="5" /></casestudy><casestudy project="ClickHeadSpace" service_list="ClickHeadSpace" client_list="ClickHeadSpace" id="241" client="29" service_group="1" service="2" noservice="no"><p1><![CDATA[Nickelodeon ClickHeadSpace aimed to reinforce the 'Kid Powered' philosophy of Nickelodeon. Following the success of the 'Clickheads' program, Deepend was asked to create a variation on a social networking user interface that would be used and powered by kids. CHS allows kids to show and share what they like about Nickelodeon. It is a new avenue through which to explore the Nickelodeon world and an opportunity to embrace the cool things about digital media.]]></p1><p2><![CDATA[Kids were allowed to customise their own interfaces in various ways; from creating avatars to changing colour schemes, layouts and add-ons; allowing almost compete creative freedom.
 
Everything on the Nick Shack (including video content) is represented by a 'Mod', a module, that can be added to your ClickHeadSpace page. A module can be moved around anywhere on the page by dragging and dropping it - taking CHS beyond the functional and into fun.]]></p2><p3><![CDATA[ClickHeadSpace combines many things in one: a filter, a recommendation engine, a social network, a content feed, a promotional mechanism and a personalised webspace. The site is completely geared to be kid friendly with simple navigation and add-ons features. 

In the first 6 months there were over 110, 500 ClickHeadSpace's created, over 500,000 Clickhead Avatars created, 2 million page views and 2.8 million messages sent.]]></p3><link href="www.nickelodeon.com.au/clickheadspace" /><media id="583" title="CHSGrab1" type="jpg" position="1" /><media id="584" title="CHSGrab2" type="jpg" position="2" /><media id="585" title="CHSGrab3" type="jpg" position="3" /><media id="586" title="CHSGrab4" type="jpg" position="4" /><media id="587" title="CHSGrab5" type="jpg" position="5" /><media id="588" title="CHSGrab6" type="jpg" position="6" /><media id="589" title="CHSGrab7" type="jpg" position="7" /><media id="590" title="CHSGrab8" type="jpg" position="8" /></casestudy><casestudy project="Global Product Rollout" service_list="Global Product Rollout (Nickelodeon)" client_list="Global Product Rollout" id="239" client="29" service_group="1" service="3" noservice="no"><p1><![CDATA[Following the great award winning success of the Nickelodeon ClickHeads promotion we were approached by Nick to develop the concept further and evolve the ClickHeads application into an internationally distributable online application.

The international edition of ClickHeads was to be made available in 5 different languages to all the Nickelodeon franchises around the world.

The international edition of ClickHeads needed complete brand guidelines to be developed and some design alterations / modifications before the system was ready for international release.]]></p1><p2><![CDATA[The visual difference between several European languages meant that the user interface needed to go through many re-iterations, not to mention the complete re-coding of the 'speech bubble' tool, so that it could handle a wide variety of character widths and sentence lengths.   

The international rollout of ClickHeads involved in some cases the entire administration area and front end user interface to be re-coded in a different programming language. Obviously this was a considerable task and many technical difficulties were overcome to comply with the varying hosting platforms used internationally.]]></p2><p3><![CDATA[We also designed, sourced and created packaging for the software to be distributed internationally, taking our inspiration from the many software boxes we had accumulated within the office and combining this with typical Nickelodeon attitude. 

The packaging was designed to be the living embodiment of the ClickHeads concept.  The final product included the installation disks in a boxed DVD case, as well as the ClickHeads styleguide in the form of a double sided poster. A Nickelodeon cap, and an introductory letter from Nick Australia were also placed within the box to complete the international distribution.]]></p3><media id="452" title="GPRGrab03" type="jpg" position="1" /><media id="450" title="GPRGrab01" type="jpg" position="2" /><media id="451" title="GPRGrab02" type="jpg" position="3" /></casestudy><casestudy project="Mobile Simulator" service_list="Mobile Simulator (BigPond)" client_list="Mobile Simulator" id="225" client="5" service_group="9" service="0" noservice="no"><p1><![CDATA[BigPond needed a way to showcase and demonstrate the massive depth and breadth of the content available through the BigPond 'On Mobile' service. Previous attempts to describe the service had left consumers confused and lacking enthusiasm.]]></p1><p2><![CDATA[Deepend created a completely realistic 'virtual mobile phone simulator' that emulated a mobile phone with full online capabilities and services enabled. The 'mobile simulator' was built as a Flash application that also included xml driven assets to allow the client to keep the content as fresh as the actual content sent to live mobiles.]]></p2><p3><![CDATA[The 'mobile simulator' provided BigPond with an easily updatable Flash application, and user surveys showed huge improvements in the understanding of the overall BigPond 'On Mobile' service offering.]]></p3><media id="464" title="MobSimPic01" type="jpg" position="1" /><media id="465" title="MobSimPic02" type="jpg" position="2" /><media id="466" title="MobSimPic03" type="jpg" position="3" /><media id="467" title="MobSimPic04" type="jpg" position="4" /><media id="468" title="MobSimPic05" type="jpg" position="5" /><media id="469" title="MobSimPic06" type="jpg" position="6" /></casestudy><casestudy project="Our City In Summer 2007 TVC" service_list="Our City In Summer 2007 (Syd. Fest.)" client_list="Our City In Summer 2007 TVC" id="221" client="34" service_group="5" service="6" noservice="no"><p1><![CDATA[Riding on two successful campaigns working for the Sydney Festival, Deepend were once again chosen to produce the 2007 Television Commercial.

Using their brand to entice people to enjoy their 'Summer in the City', the TVC aimed to get Sydney excited about the 2007 Festival.]]></p1><p2><![CDATA[With only still images of the Festival's acts on hand, Deepend used the 2007 branding of magenta and black halftone dots to transcend the user into a 3D space, immersing them in the idyllic scenes of the Festival. 

Played out to a track by Festival star Kaki King, the TVC aims to captivate the viewers and carry them into a world of quirky celebration which is the Sydney Festival.]]></p2><p3><![CDATA[With the success of this commercial, which aired on Channel 9 and in movie cinemas around Sydney, the Festival have since asked Deepend to produce a 2nd TVC for this years' festival, promoting their Domain Series of events.]]></p3><media id="354" title="SydFest TVC 2006.flv" type="flv" position="1" /></casestudy><casestudy project="Be Heard Music Video" service_list="Be Heard (Nokia)" client_list="Be Heard Music Video" id="226" client="30" service_group="5" service="6" noservice="no"><p1><![CDATA[Continuing its commitment to local music talent, Nokia Australia launched Nokia Be Heard – an innovative music competition for unsigned artists, bands, singers or producers looking for the chance to have their sounds discovered and their music careers jumpstarted!

Deepend Sydney was commissioned to produce vodcasts of the twelve finalists that made it through the industry panel of judges and public voting.  The next challenge was to produce a music video clip in the second round, for one of the four finalists left in the competition. This music video was to be broadcast on MTV.]]></p1><p2><![CDATA[Bukkcity (real name Andre Knight) was born in Canberra, Australia in 1980 to an African American father and South African mother.  Before entering into the 2006 Nokia Be Heard competition, he featured on mix-tapes and albums in Sweden, Germany, Atlanta, and New York as well as being one of the most downloaded hip hop artists on myspace Australia.

His song entry 'Days Have Gone' is a very emotional account of his childhood memories regarding the loss of his father.  Deepend set out to honour this outpour of emotion.]]></p2><p3><![CDATA[Bukkcity's 'Days Have Gone' entry came second in the competition, allowing Andre to give a great account of himself and at the same time increase his exposure.

His video clip featured on MTV and on the Be Heard website, receiving thousands of viewings and downloads. 

Nokia was thrilled with the high level of production achieved on the Bukkcity video clip and positive feedback all-round was received. 

Deepend was a major contributor to the overall success of the 2006 Nokia Be Heard competition.]]></p3><media id="397" title="BukkcityMusicVideo" type="flv" position="1" /><media id="419" title="BukkGrab01" type="jpg" position="2" /><media id="420" title="BukkGrab02" type="jpg" position="3" /><media id="421" title="BukkGrab03" type="jpg" position="4" /><media id="422" title="BukkGrab04" type="jpg" position="5" /><media id="423" title="BukkGrab05" type="jpg" position="6" /></casestudy><casestudy project="Be Heard Vodcasts" service_list="Be Heard Vodcasts (Nokia)" client_list="Be Heard Vodcasts" id="227" client="30" service_group="1" service="4" noservice="no"><p1><![CDATA[Continuing its commitment to local music talent, Nokia Australia launched Nokia Be Heard – an innovative music competition for unsigned artists, bands, singers or producers looking for the chance to jumpstart their music career.

Deepend Sydney was commissioned to produce vodcasts of the twelve finalists who made it through the industry panel of judges and public voting.

The production turnaround was extremely tight, demanding that 2 x 3 minute vodcasts were edited, mastered and formatted daily.]]></p1><p2><![CDATA[The contestants' task was to film an account of themselves each week for a period of two weeks. Deepend put together a document containing tips on how to shoot a video that told a story and gave a positive account of oneself on the new Nokia N93 video/phone device.

Deepend sought to give each band in the competition an equal chance when presenting themselves to the public for voting.

We received content in the form of rushes from two bands each day and proceeded to cut an impartial account of each contestant's experience.]]></p2><p3><![CDATA[A total of twelve vodcasts were completed within six days and Nokia was thrilled with the high level of production achieved on each vodcast, considering the extremely tight deadlines attached to the job.

Nokia was delighted to announce 'The View' as winners of the 2006 Nokia Be Heard competition.  Nokia provided the opportunity of a lifetime as The View went on to perform live at an exclusive industry showcase, attended by some of the music industry's most notable and respected personalities.  The View also received radio play and had the opportunity to create and air a music video on MTV.]]></p3><media id="402" title="Be Heard Vodcasts" type="flv" position="1" /><media id="445" title="VodGrab01" type="jpg" position="2" /><media id="446" title="VodGrab02" type="jpg" position="3" /><media id="447" title="VodGrab03" type="jpg" position="4" /><media id="448" title="VodGrab04" type="jpg" position="5" /><media id="449" title="VodGrab05" type="jpg" position="6" /></casestudy><casestudy project="Paddle Pop Sports Challenge" service_list="Paddle Pop Challenge (Nick)" client_list="Paddle Pop Sports Challenge" id="235" client="29" service_group="1" service="12" noservice="no"><p1><![CDATA[Paddle Pop and Nickelodeon joined forces to create the online component of the Summer Sports Challenge, with the aim of encouraging kids to play sport over the summer holidays.
 
An engaging game was required to encourage kids to get out and about, as well as to create a friendly challenge between friends.]]></p1><p2><![CDATA[The ball games created - The Paddle Pop Cyclone Shoot-out, and the Paddle Pop Triple Choc Crunch Dunks - were designed using a sophisticated physics engine in flash, which provided engaging gameplay. 
 
Mini-leagues were used to further develop playability and revisitation. This allowed kids to join into their own mini-league with their friends to compete with each other on an ongoing basis.]]></p2><p3><![CDATA[Nickelodeon had a great response from kids, with more than 65,000 games played, and more than 4,000 mini-leagues created.]]></p3><media id="454" title="PPGrab01" type="jpg" position="1" /><media id="455" title="PPGrab02" type="jpg" position="2" /><media id="456" title="PPGrab03" type="jpg" position="3" /><media id="457" title="PPGrab04" type="jpg" position="4" /><media id="458" title="PPGrab05" type="jpg" position="5" /><media id="459" title="PPGrab06" type="jpg" position="6" /></casestudy><casestudy project="TurboNick" service_list="TurboNick (Nickelodeon)" client_list="TurboNick" id="244" client="29" service_group="1" service="2" noservice="yes"><p1><![CDATA[With the accessibility of online video becoming widespread, Nickelodeon aimed to capitalise on its online audience by increasing their awareness of its on-air offering online. Through an online video serving section in the NickShack, the area to be developed would house an updatable video library of exclusive Nickelodeon clips for kids to watch, as well as foster a community of budding film makers through a YouTube-like kids' video submission mechanic.]]></p1><p2><![CDATA[As the most widely acceptable video format online, Flash video serving formed the basis of TurboNick, Nickelodeon's broadband TV site. Split into 6 categories, the site is fully updateable using the Nickelodeon CMS and allows kids to watch up to 200 clips of Nickelodeon content. A variable category was also built in to allow Nickelodeon the flexibility to categorise and reskin a section of TurboNick based on an offline stunt. Running off a dedicated server for maximum performance, the videos are progressively downloaded allowing lengthy clips to be served without hampering user experience.]]></p2><p3><![CDATA[Serving as a direct link between on-air promotions and the Nickelodeon online audience, TurboNick also allows its audience to create and upload their own animations and videos to share with their friends in the TurboNick 'U-Nick' section.

TurboNick enables kids without cable TV the chance to get a taste of the Nickelodeon on-air offering. The site serves up to 200,000 videos a month and its clips have had over 2 million plays in the last 12 months. With such high volume, TurboNick has now opened up as a successful arena for Nickelodeon's advertising revenue.]]></p3><link href="http://www.nickelodeon.com.au/turbonick/" /><media id="516" title="TurboGrab01" type="jpg" position="1" /><media id="517" title="TurboGrab02" type="jpg" position="2" /><media id="518" title="TurboGrab03" type="jpg" position="3" /></casestudy><casestudy project="Brand Strategy" service_list="Brand Strategy (Seafolly Website)" client_list="Brand Strategy" id="217" client="33" service_group="10" service="0" noservice="no"><p1><![CDATA[Creating a site for Australia's leading lifestyle swimwear brand is no easy task. With over 1,200 individual pieces of swimwear to choose from, the challenge was to create a premium brand experience, whilst still allowing the user access to each swimsuit. 

The aim was to provide the user with a boutique experience befitting of the brand, as opposed to a large repository or catalogue of swimsuits. Further to this, the site needed to educate the user of the growing breadth of Seafolly's offer, cementing them as a true lifestyle brand, offering a wide range of accessories and apparel.]]></p1><p2><![CDATA[The site is essentially split into two levels. An initial Macromedia Flash-based brand animation provides the user with an emotive introduction to the site, as they are led through a series of animated images depicting the latest brand campaign. Secondary to this is an informative layer that allows the user to browse the extensive range story by story. This ensures that the user is never exposed to an overwhelming range of items, and the site retains a boutique feel. 

The user is also able to attribute personal details to their selections and in the process build up a range of email-able / printable sales materials.]]></p2><p3><![CDATA[The site provides access to over 1,500 pieces of swimwear, without ever seeming overwhelming or confusing to the user. The user is simply led down an intuitive path to their preferred pieces in the collection. The ability to compile a shortlist in the My Collection tool progresses users one step closer to a purchase decision than ever before.]]></p3><media id="316" title="homepage2.jpg" type="jpg" position="1" /><media id="317" title="women.jpg" type="jpg" position="2" /><media id="318" title="women2.jpg" type="jpg" position="3" /></casestudy><casestudy project="Retail Website" service_list="Retail Website (Seafolly)" client_list="Retail Website" id="214" client="33" service_group="1" service="2" noservice="no"><p1><![CDATA[As Australia's leading lifestyle swimwear brand, Seafolly has a seasonal range of over 1,000 pieces including bikinis, one-piece bathing suits, separates, towels, matching hats, bags, thongs and sunglasses. Deepend's challenge was to present the entire range online, yet still create a stylish boutique experience, befitting of the brand.

Deepend carried out a thorough round of investigation and research, interviewing stakeholders in the swimwear market and gauging from them the influences on beachwear, their shopping habits and what they would expect from Seafolly online.]]></p1><p2><![CDATA[The entire user experience on the Seafolly site is geared at taking the user as far down the purchase path as possible. Users are able to browse the extensive range by 'story' group, ensuring they are never exposed to an overwhelming range of items. The 'My Collection' tool allows users to collate their favourite pieces of swimwear, then email or print these selections including the details of their nearest store.

Providing a physical means of generating a shopping list bridges the gap between website and physical store, helping to convert sales when the ability to sell online is not available.]]></p2><p3><![CDATA[The 1,000 piece range is presented in an easy to use, intuitive format, resulting in a site that caters to all spectrums of the lifestyle swimwear market. It is inviting for those wanting to have a light browse, whilst informative for those wanting full details of the entire Seafolly range.]]></p3><media id="481" title="Grab01" type="jpg" position="1" /><media id="482" title="Grab02" type="jpg" position="2" /><media id="483" title="Grab03" type="jpg" position="3" /><media id="484" title="Grab04" type="jpg" position="4" /><media id="485" title="Grab05" type="jpg" position="5" /><media id="486" title="Grab06" type="jpg" position="6" /><media id="487" title="Grab07" type="jpg" position="7" /></casestudy><casestudy project="Nick Shack Redesign" service_list="Nick Shack (Nickelodeon)" client_list="Nick Shack Redesign" id="215" client="29" service_group="1" service="2" noservice="no"><p1><![CDATA[The Nick Shack serves as the gateway to the world of Nickelodeon online. With the release of new brand guidelines, Deepend were given the task of translating the new brand into the online environment, whilst enhancing the user experience of the homepage. Packed full of content, the existing homepage felt overrun by links, making it hard for its young audience to navigate. It was beginning to lose the impact of the great 3D Nick Shack that lay beneath it.]]></p1><p2><![CDATA[In line with the new brand, Deepend set about creating a new homepage that was primarily orange, white and black. Simple vector imagery was used, including some Nickelodeon-friendly lemmings, to guide users around the site and alert them to the different areas they can explore.

Working on the premise of 'little people with little hands' we looked at using large intuitive forms of navigation to help kids easily find their way around the 3000 page site. Integrating the navigation into the Shack itself worked to reduce the clutter of links and allow kids to interact with the 3D shack.]]></p2><p3><![CDATA[The result is a vibrant new homepage that provides an entertaining experience, fully immersing its young audience in the Nickelodeon brand. 

The reaction from Nickelodeon is best described by a comment from Katie Cordes, Digital Media Director, Nickelodeon Australia "I completely love it - I went home to my family and said I hadn't been so excited about Nick for a long time after I saw what you had come up with"

And asking kids what they thought of the new look: "IT LOOKS SO COOL!!! I LUV THE NEW DESIGN, IT'S AWESOME!!!!!!!!!!!!!!!!!!!!!!!!!"]]></p3><link href="www.nickelodeon.com.au" /><media id="304" title="nickShak2.flv" type="flv" position="1" /><media id="295" title="homepage1.jpg" type="jpg" position="2" /><media id="296" title="homepage2.jpg" type="jpg" position="3" /><media id="297" title="homepage3.jpg" type="jpg" position="4" /></casestudy><casestudy project="Phase 2 Blogs" service_list="Phase 2 Blogs (BigPond)" client_list="Phase 2 Blogs" id="234" client="5" service_group="1" service="2" noservice="no"><p1><![CDATA[In 2005 BigPond developed a blogging tool for the BigPond community. By 2006, BigPond had built up a large enough user base to warrant the creation of a community tool to connect their bloggers. 
 
The blog tool itself needed a facelift to compete with other blogging environments. A new video component and a number of new skins needed to be designed to cater to the expanding user base.]]></p1><p2><![CDATA[The focal point of the community, the homepage, was designed with a visual hierarchy of content, with an emphasis on the emerging technology and services that BigPond offers. 
 
Branded, sponsored communities were designed specifically for many BigPond related online and offline services, and the blog themes were bolstered with an additional 20 creative themes.]]></p2><p3><![CDATA[Community pages provided just what BigPond needed to push the BigBlogs service to the next level. The new areas provided the missing link between individual blog users in the greater BigBlogs community.]]></p3><link href="www.bigblog.com.au" /><media id="411" title="Blog01" type="jpg" position="1" /><media id="412" title="Blog02" type="jpg" position="2" /><media id="413" title="Blog03" type="jpg" position="3" /></casestudy><casestudy project="Be Heard Documentary" service_list="Be Heard (Nokia)" client_list="Be Heard Documentary" id="224" client="30" service_group="5" service="11" noservice="no"><p1><![CDATA[With Nokia continuing its alignment with music, Deepend was commissioned to provide a film production team for all 2005 Terminal 9 venues and a number of supporting events in both Australia and the UK.

The core driver of this content gathering was to allow enough footage to be collected to produce various video-based marketing executions, including the 2006 Be Heard documentary, so as to help support the marketing team's efforts for all music-based campaigns over the course of the year.]]></p1><p2><![CDATA[Deepend dispatched a professional crew to content gather and capture all the necessary footage for the project in the highest possible quality. The crew included a producer, director, cameraman/DOP, sound recordist, grip and lighting director.

Whilst filming the Terminal 9 events for the documentary, Deepend also spent time gathering artist's/ticket holder's opinions of Nokia and mobile technology, as well as their opinions of Nokia's increasing involvement with music. This material would shed light on the success of various campaigns to heighten people's awareness of the connection.]]></p2><p3><![CDATA[The 2006 Be Heard documentary was cut with the pace of a video clip. Unique graphics based on the web, TVC and print campaigns reinforced the brand whilst making for an entertaining and exciting documentary.

The piece gave a tremendous insight and a behind-the-scenes look into what it takes to perform for a live audience and crack the elusive 'holy grail' (a record deal) in the music industry.
 
The 26 min documentary was screened multiple times on MTV in October 2006 and Nokia received a very positive response from the public.]]></p3><media id="399" title="Be Heard Trailer" type="flv" position="1" /><media id="428" title="BHGrab01" type="jpg" position="2" /><media id="429" title="BHGrab02" type="jpg" position="3" /><media id="430" title="BHGrab03" type="jpg" position="4" /><media id="431" title="BHGrab04" type="jpg" position="5" /><media id="432" title="BHGrab05" type="jpg" position="6" /><media id="433" title="BHGrab06" type="jpg" position="7" /></casestudy><casestudy project="Moon Walk" service_list="Moon Walk (Chris Moon)" client_list="Moon Walk Documentary" id="191" client="53" service_group="5" service="11" noservice="no"><p1><![CDATA[Motivation is a UK based charity which works to improve the quality of life of people with mobility disabilities. Motivation's founder David Constantine agreed to assemble a team to tackle Mount Kilimanjaro as a fundraising event for the charity.  The team would be led by Chris Moon, an ex UK Army officer and landmine clearer and author of the book 'One Step Beyond'.

Media coverage was required to support the eight-day climbing expedition and its associated fundraising campaign.]]></p1><p2><![CDATA[A website was designed and built to attract and inform supporters.

A web broadcast was held to capture the daily excitement of the trek. This required a camera crew and presenter to shoot the trek and send video footage via satellite to the production studio, from where it was edited and broadcast.

Moon Walk, a video documentary, was later created from this footage, interwoven with interviews with Chris Moon and the team. Given the altitude above 5000m, the final assault on the summit was captured on DV-Cam format due to its portability.]]></p2><p3><![CDATA[The web broadcast enabled an international audience of supporters to watch in awe as the expedition unfolded. Chris Moon, himself a recovered victim of a landmine injury, is a hugely motivating force in the video and an inspiration to viewers.]]></p3><media id="148" title="moon walk doco" type="flv" position="1" /></casestudy><casestudy project="Search Engine Optimisation" service_list="Search Engine Optimisation (Pure Tas)" client_list="Search Engine Optimisation" id="189" client="14" service_group="1" service="4" noservice="no"><p1><![CDATA[Pure Tasmania is the umbrella brand for a suite of tourism properties and tours owned by Federal Hotels and Resorts.  The Pure Tasmania website generates huge revenue for the hotel group, so it was essential that the site be optimised to rank immediately and clearly across all major search engines.

Because several different entities were collected under the Pure Tasmania brand, each of their previous websites were closed. This meant that the task - to ensure that all related searches would lead to the one site - had to be tackled from scratch. No mean feat in today's competitive market for search engine ranking.]]></p1><p2><![CDATA[A comprehensive audit of the Pure Tasmania website's optimisation for the important search engines was carried out.  As a result, a series of search-friendly static HTML sites were built for some of the brand's better known products, such as famous hotels and popular tours. These micro-sites are laden with content that suits search engine spidering, to act as a doorway to Pure Tasmania.

In addition, ongoing weekly analysis is conducted to ensure that copy is regularly checked for keyword density. All site content is continually optimised for the most popular searches.]]></p2><p3><![CDATA[Federal Hotels and Resort's commitment to ongoing search engine optimisation has paid off. 

Since the project was completed, Pure Tasmania and its associated micro-sites have experienced a significant increase in all of the main search engine rankings and referred traffic. All major search strings for all of the key properties rank in the top 10 across all main search engines while most rank no.1.]]></p3><media id="142" title="pure tas SEO 1" type="gif" position="1" /><media id="143" title="pure tas SEO 2" type="jpg" position="2" /><media id="144" title="pure tas SEO 3" type="gif" position="3" /></casestudy><casestudy project="Entertainment Management Systems" service_list="Entertainment Management Systems" client_list="Entertainment Management Systems" id="180" client="52" service_group="1" service="3" noservice="no"><p1><![CDATA[The Sydney Theatre Company (STC) required a scheduling tool to manage the display of performance details on their website.  Performances are staged at a number of different venues, and tickets are sold under different pricing categories.

By contrast MCA Tix required a performance scheduling system that allowed them to integrate performance content with an existing ticketing inventory management tool. As MCA Tix sell tickets for a number of theatres, the tool had to allow for various idiosyncratic features such as group booking discounts or last minute deals.]]></p1><p2><![CDATA[A custom built performance scheduling system was the solution for each of these theatres. Each system allows the operator to integrate ticket price and availability with colourful content about a show.  Dynamic booking information blends with performance details, so the user moves smoothly from browsing to buying.

The MCA Tix site allows disparate performances to be categorised under Films, Theatre or Plays.  It also allows theatre staff to bundle tickets into 'festival passes', to encourage multiple ticket purchases.]]></p2><p3><![CDATA[The results are indisputable. All these theatres now sell tickets to their online visitors without forcing them to leave the theatre website environment.

Site operators are now able to keep their content bang up to date with accurate ticket availability and performance details. 

The flexibility of the MCA Tix site allows them to offer third party ticketing sales for any number of organisations. They are now looking to offer branded online ticketing services to their smaller partners.]]></p3><media id="92" title="Entertainment Management 1" type="jpg" position="1" /><media id="93" title="Entertainment Management 2" type="jpg" position="2" /><media id="94" title="Entertainment Management 3" type="jpg" position="3" /><media id="263" title="entainment management 4" type="jpg" position="4" /></casestudy><casestudy project="DeepCMS Integration" service_list="DeepCMS Integration" client_list="DeepCMS Integration" id="183" client="52" service_group="1" service="3" noservice="no"><p1><![CDATA[How can we manage 10 websites with almost 3,000 pages for a TV channel which changes every day? Is it possible to import legacy content data and export and publish to web, mobile and print for use on-air? Can we build a CMS on top of an existing database of content without going back to the drawing board? How can we publish the same content to web, mobile, RSS and podcast?

These were a few of the many questions raised by companies such as Nickelodeon, Paramount Pictures, Executive Audio and Komedia, on the hunt for the right Content Management System (CMS).]]></p1><p2><![CDATA[The DeepCMS solves real-life content management issues with a rich set of features and a dynamic, object-oriented approach to representing relational information.

Multiple websites and their key content groupings are automatically arranged hierarchically with dynamically generated navigation and filtering.  

The CMS can pull in the structure of an existing database, prompting the developer for meta-data to describe the content to the operators. This enables publishing, synchronisation and the automatic generation of content templates.]]></p2><p3><![CDATA[The DeepCMS takes an axe to development timelines yet delivers an endless array of robust, customised website features.

Nickelodeon use the DeepCMS to manage 10 individual websites from one consistent CMS entry login. It handles an enormous amount of content on a daily basis with a minimum of fuss.]]></p3><media id="108" title="DeepCMS 1" type="gif" position="1" /><media id="109" title="DeepCMS 2" type="gif" position="2" /><media id="110" title="DeepCMS 3" type="gif" position="3" /></casestudy><casestudy project="Viral Video Campaign (Beck's Bar)" service_list="Viral Video Campaign (Beck's Bar)" client_list="Viral Video Campaign (Beck's Bar)" id="163" client="34" service_group="1" service="4" noservice="no"><p1><![CDATA[The Beck's Bar is an annual event held at the historic Hyde Park Barracks. Thousands of 20 - 40 year olds flock to the Bar over 13 nights, to hear live performances by national and international music artists and enjoy the quintessential Sydney summer atmosphere.

Sydney Festival & Lion Nathan required an entertaining viral advertisement to circulate on the Internet, to raise the profile of the Beck's Bar and boost ticket sales.]]></p1><p2><![CDATA[An ironic video was created in the style of a segment from a garish European cable TV show, Wunderbars. Wolfgang Farkenrichter, the host of the show, is a camp self-professed 'party guru' from Germany, who travels the globe in search of cool bars. His sycophantic manner is similar to that of the character of Bruno in Da Ali G Show.

The piece was cast to ensure that the party crowd shown within the segment was the exact opposite of the fashionable but laid back crowd found at the Beck's Bar. High production values expertly replicate the trashy tone of b-grade cable content.]]></p2><p3><![CDATA[The piece was viewed over 5,000 times in the short time it was made available. Tracking proved the popularity of the piece as multiple visits were made by the majority of viewers.

Beck's Bar had record attendance and ticket sales for 2006.]]></p3><link href="dev0.deepend.com.au/sydneyfestival/2006/becksbar/viral/" /><media id="257" title="beck viral video capture" type="flv" position="1" /><media id="66" title="becks viral video" type="flv" position="2" /></casestudy><casestudy project="Online TV Ident Creator" service_list="TV Ident Creator (Nickelodeon)" client_list="TV Ident Creator" id="195" client="29" service_group="9" service="0" noservice="no"><p1><![CDATA[To reinforce their 'Kid Powered' philosophy Nickelodeon, in conjunction with Inkproject, developed a new promotional concept called Clickheads. Kids would visit a website to design a personal broadcast identity called a 'Clickhead'. Deepend were to build the competition in which the winning entries would be broadcast on-air.

A powerful moderation system was also needed, which could display a hundred Clickheads at once and then integrate with the Foxtel production studio to allow the chosen animations to be rendered for widescreen and standard TV.]]></p1><p2><![CDATA[A Flash application was built to allow kids to drag'n'drop, deform, colour, and re-layer vector shapes to create their Clickhead. Music and speech bubbles can be added before the final artwork is submitted to the gallery. 

The resulting generic system has been named The Vectomator and has since been reused. The Vectomator is designed to manage millions of shapes and tens of thousands of entries. It can even render the result to a scaled bitmap for display on mobile phones or as an avatar.]]></p2><p3><![CDATA[Kids create over 1,000 Clickheads per day. One glimpse at the administration gallery is enough to appreciate the wonderful creativity and detail which the kids put into their creations. Many of the speech bubbles simply say "I love Nick".

Nickelodeon won an international MTV creativity award for the project.

The company has since decided to redistribute the entire stunt as a product to all Nickelodeon franchises world-wide. Deepend has been awarded the product development, localisation and support contract to make this exciting development a global reality.]]></p3><link href="www.nickelodeon.com.au/clickheads/" /><media id="225" title="online TV ident capture" type="flv" position="1" /><media id="161" title="online TV ident 1" type="jpg" position="2" /><media id="162" title="online TV ident 2" type="jpg" position="3" /><media id="163" title="online TV ident 3" type="jpg" position="4" /><media id="281" title="online TV ident 4" type="jpg" position="5" /></casestudy><casestudy project="Consumer Website" service_list="Consumer Website (Pure Tasmania)" client_list="Consumer Website" id="142" client="14" service_group="1" service="2" noservice="no"><p1><![CDATA[Pure Tasmania is the brand behind a suite of luxury hotels and resorts scattered throughout the Apple Isle. 

The properties are owned by Federal Hotels and Resorts, Australia's oldest hotel consortium and the largest tourism operator in Tasmania. Federal needed a website to showcase the brand and entice the high end of the tourism market.]]></p1><p2><![CDATA[The brand is all about luxury tourism, so the site had to be elegant, inviting and make life easy for the well-heeled holiday planner. Users are led through the site in a manner which reflects their natural planning process. First they browse destinations, then tours and attractions, and finally the range of accommodation options that are Pure Tasmania.

A key innovation of the site is the Holiday Planner. It allows users to store the details of their preferred tours and accommodation options in one location. From here they can check real-time rates and availability and make bookings across their entire itinerary.]]></p2><p3><![CDATA[Pure Tasmania instantly became the definitive guide to touring the premium destinations of the state. The real-time, multi-tour holiday planner is something of a holy grail in the online travel industry and at launch this tool was the first of its kind.

Online bookings currently exceed $250,000 a quarter. This result surpassed all forecasts.

The site was a finalist in the 2006 AIMIA Awards, in the Business / E-commerce Category.]]></p3><link href="www.puretasmania.com.au" /><media id="71" title="pure tas 1" type="jpg" position="1" /><media id="72" title="pure tas 2" type="jpg" position="2" /><media id="73" title="pure tas 3" type="jpg" position="3" /><media id="74" title="pure tas 4" type="jpg" position="4" /><media id="75" title="pure tas 5" type="jpg" position="5" /><media id="76" title="pure tas 6" type="jpg" position="6" /><media id="77" title="pure tas 7" type="jpg" position="7" /><media id="78" title="pure tas 8" type="jpg" position="8" /></casestudy><casestudy project="Online Viral Advertising" service_list="Online Viral Advertising (Nokia)" client_list="Online Viral Advertising" id="153" client="30" service_group="1" service="4" noservice="no"><p1><![CDATA[2005 saw music as the underlying thread used by Nokia to attract its youth audience. 

Already working with Deepend to create and market the 'Connecting Beats' and 'Terminal 9' brands, Nokia decided on a further campaign focused to a more mainstream audience.

Deepend was tasked with creating and marketing the new brand, Music Goes Mobile. The campaign would highlight upcoming and existing mainstream bands on tour, with unique content of their experiences such as video tour blogs and photos taken with their Nokia phones.]]></p1><p2><![CDATA[The bands included in the campaign were Evermore, Thirsty Merc, My Ninja Lover and The Hampdens.

The branding for the website had to give a 'rock' feel that was consistent with the types of bands that the campaign encompassed. The logo takes cues from existing strong imagery from this music genre.

In addition to the logo, an animated Music Goes Mobile Mascot, the 'speaker bird', was created. It was a core focus in all marketing materials inc. print campaigns, a smart car advertising campaign and a TV commercial.]]></p2><p3><![CDATA[The website contained a mixture of unique band content for downloading (including mobile device content) and competitions with amazing prizes allowing users to join the various bands on tour and create 'rockumentaries' of their experience using Nokia mobile phones. 

The campaign was a huge success. Aligning themselves with mainstream bands enabled Nokia to tap into their existing band fan base. The Music Goes Mobile website quickly became a hot topic on music forums driving fans to the website with over 200 visitors every day for the campaign period.]]></p3><media id="256" title="nokia ecard capture" type="flv" position="1" /><media id="111" title="Nokia e-card 1" type="gif" position="2" /><media id="112" title="Nokia e-card 2" type="gif" position="3" /><media id="113" title="Nokia e-card 3" type="gif" position="4" /><media id="200" title="Nokia e-card 4" type="gif" position="5" /><media id="201" title="Nokia e-card 5" type="gif" position="6" /></casestudy><casestudy project="Youth Music Brand Creation" service_list="Youth Music Brand Creation (Nokia)" client_list="Youth Music Brand Creation" id="155" client="51" service_group="10" service="0" noservice="no"><p1><![CDATA[As part of a nation-wide strategy to attract youth through music, Nokia set up two initiatives: Connecting Beats and Terminal 9. 

Connecting Beats is a nationwide competition which encourages unsigned electronic music artists to submit track recordings online. Terminal 9 is a massive series of breaks, drum n bass and hip hop concerts.

Nokia needed distinct brand identities for each initiative including online environments for both brands as well as flyers, posters, event signage, CD artwork and T-shirt designs. For Terminal 9 a television commercial was also required.]]></p1><p2><![CDATA[Both new brands had to appeal to the varying breaks, drum n bass and hip hop. To address this, characters were created to personify each initiative. 

For Terminal 9, the on-stage robot visually references each genre, from the boombox of early 80's rap to the decks that give drum n bass djs their sampling and effects techniques.

For Connecting Beats, a grungier street feel was created for the brand. To give the competition an accessible face for amateur artists, a many-armed life form mixes tracks on multiple decks in a bedroom setting.]]></p2><p3><![CDATA[Both campaigns are now in their second year of success. Attendance at this year's Terminal 9 dance parties has far surpassed that of last year, proving the brand has a growing body of followers. 

Similarly, this year's Connecting Beats competition drew 300% more entries than the previous year.

The success of these campaigns was such that Deepend were invited to extend their partnership with Nokia, to produce a documentary on Australian dance culture and to create a third, more mainstream music brand - Music Goes Mobile.]]></p3><media id="275" title="connecting beats 1" type="jpg" position="1" /><media id="276" title="terminal 9" type="jpg" position="2" /><media id="277" title="mgm logo" type="jpg" position="3" /><media id="278" title="cb in use" type="jpg" position="4" /><media id="279" title="t9 in use" type="jpg" position="5" /><media id="280" title="mgm in use" type="jpg" position="6" /></casestudy><casestudy project="Corporate Microsite" service_list="Corporate Microsite (Apparel Group)" client_list="Corporate Microsite" id="147" client="26" service_group="1" service="14" noservice="no"><p1><![CDATA[The Apparel Group is one of the most respected players in the Australian fashion and apparel market. Home to such iconic brands as Saba and Sportscraft, they also manage the manufacturing processes for a number of established Australian clothing labels.

Apparel Group needed a small brochure site, to promote the parent brand behind their iconic brands and serve to clearly outline their unique position as an 'agency' for the manufacture of fashion products for established brands.]]></p1><p2><![CDATA[Built in Flash, the site uses a swing tag motif to unveil its various sections. Subtle transitions suggest a camera flash as luminous fashion shots fade up from white to full colour. Other images show close-ups of bolts of fabric and reels of cotton, which reinforces the position of the company as an historic name in the Australian rag trade.

The content is concise and neat, but gives visitors enough information to be certain of the Apparel Group's distinguished position in the marketplace. It also entices visitors to flow through to the Sportscraft and Saba websites.]]></p2><p3><![CDATA[Feedback confirms that the stylish design of the website reflects the quality and craftsmanship of the Apparel Group merchandise.

The Apparel Group have commented how the site has successfully appealed to both customers and industry alike as the number of general inquiries and professional CVs submitted via the site have both significantly increased since launch.]]></p3><link href="http://www.apparelgroup.com.au" /><media id="35" title="apparel group screen capture" type="flv" position="1" /><media id="117" title="apparel group website 1" type="jpg" position="2" /><media id="118" title="apparel group website 2" type="jpg" position="3" /><media id="119" title="apparel group website 3" type="jpg" position="4" /><media id="120" title="apparel group website 4" type="jpg" position="5" /></casestudy><casestudy project="E-Commerce Strategy" service_list="E-Commerce Strategy (Pure Tas)" client_list="E-Commerce Strategy" id="169" client="14" service_group="10" service="0" noservice="no"><p1><![CDATA[Federal Hotels and Resorts intended to add an on-line booking system to its Pure Tasmania website. The site promotes a range of holiday tours and luxury accommodation options owned by the Federal group.

Federal's initial intention was simply to give site visitors a way to book accommodation online. On closer inspection it became evident that the booking service should broaden in scope.

To ensure that the right booking system was chosen, Federal commissioned an online e-commerce strategy.]]></p1><p2><![CDATA[Research indicates that the people who use websites to plan holidays often make their accommodation choice last, with 'where to go', 'what to do', and 'how to get there' being the initial considerations.

Therefore the booking engine should enable users to investigate, plan and book both experiences and accommodation.

A broad e-commerce strategy was proposed, centred on the idea of a Holiday Planner. This tool would allow users to browse the site and add multiple property and tour bookings, thus creating an entire travel itinerary.]]></p2><p3><![CDATA[The strategy was accepted and implemented with great success.

The Holiday Planner, a first in the travel industry, has achieved outstanding results. It generated over $250,000 of bookings in its first quarter with bookings continuing to rise in number every month.

Booking trends suggest the tool has encouraged a greater spend per holiday and an increase in multi-property bookings. The Holiday Planner made www.puretasmania.com.au a finalist in the Business / E-commerce Category of the AIMIA awards 2006.]]></p3><link href="puretasmania.com.au/default.asp?pID=31" /><media id="37" title="pure tas 1" type="jpg" position="1" /><media id="38" title="pure tas 2" type="jpg" position="2" /><media id="39" title="pure tas 3" type="jpg" position="3" /><media id="40" title="pure tas 4" type="jpg" position="4" /><media id="41" title="pure tas 5" type="jpg" position="5" /><media id="42" title="pure tas 6" type="jpg" position="6" /><media id="43" title="pure tas 7" type="jpg" position="7" /><media id="44" title="pure tas 8" type="jpg" position="8" /></casestudy><casestudy project="Live Inventory Integration" service_list="Live Inventory Integration (Pure Tas)" client_list="Live Inventory Integration" id="186" client="14" service_group="1" service="3" noservice="no"><p1><![CDATA[Federal Hotels and Resorts wanted to integrate live inventory with their Pure Tasmania website. The site was to offer users a Holiday Planner tool, with which they could browse and book multiple accommodation options and tours, both Federal and third party owned.

Federal Hotels run an inventory system called Opera.  Live integration with Opera was too expensive, so an alternate solution was required.]]></p1><p2><![CDATA[This task was a challenge as the Holiday Planner's basis on 'multiple properties, multiple tours' was unique to the travel industry and not catered to by any existing system.

Eventually the 'Roomrez' product was chosen. To preserve the unity and elegance of the Pure Tasmania website design, the Roomrez templates were abandoned in favour of tailor-made query and booking screens.

The solution is a flexible booking engine that allows users to combine multiple properties and tours into one simple itinerary and, amazingly, one customer transaction.]]></p2><p3><![CDATA[The strategy was accepted and implemented with great success.

The Holiday Planner, a first in the travel industry, has achieved outstanding results. It generated over $250,000 of bookings in its first quarter with bookings continuing to rise in number every month.

Booking trends suggest the tool has encouraged a greater spend per holiday and an increase in multi-property bookings. The Holiday Planner made www.puretasmania.com.au a finalist in the Business / E-commerce Category of the AIMIA awards 2006.]]></p3><link href="www.puretasmania.com.au" /><media id="129" title="pure tas live integration 1" type="jpg" position="1" /><media id="130" title="pure tas live integration 2" type="jpg" position="2" /><media id="131" title="pure tas live integration 3" type="jpg" position="3" /></casestudy><casestudy project="Music Goes Mobile TVC" service_list="Music Goes Mobile (Nokia)" client_list="Music Goes Mobile TVC" id="157" client="30" service_group="5" service="6" noservice="no"><p1><![CDATA[Nokia embarked upon a new communications strategy which made music the conduit of their dialogue with the youth market. The foundation of this strategy was the launch of Music Goes Mobile.

To further strengthen their association with the Australian music industry, Nokia acquired sponsorship of the 2005 Australian Recording Industry Association Awards (the ARIAs). 

A television commercial (TVC) was required to air six times during the ARIA broadcast. Its goal was to promote Music Goes Mobile and direct young viewers to visit the website.]]></p1><p2><![CDATA[The TVC makes visual reference to each of Nokia's music initiatives and personifies the concept of music being mobile in the character of a winged speaker. The piece synchronised superb 3D animation with the scorching riffs of "It's called rockin' it" by Incommunicado. It was produced, cast, filmed, and post-produced in-house.

The story begins with the birth of the 'Speaker Bird', the Music Goes Mobile mascot. It follows her flight as she bursts from an egg and is swept into a world of recording studios, outdoor festivals, thumping car stereos and heaving clubs.]]></p2><p3><![CDATA[On the Music Goes Mobile website a splash page then offered viewers the option to view the TVC again, this time accompanied by an explanation of the various initiatives it depicts. The page also asked viewers to state whether they had come to the site as a result of seeing the TVC during the ARIAs.

The survey calculated 1500 viewers had visited the site as a result of seeing the TVC.

Another 500 visitors missed the TVC screening, but opted to view it on the website.]]></p3><media id="61" title="aria tvc" type="flv" position="1" /></casestudy><casestudy project="Page Template Redesign" service_list="Page Template Redesign (BigPond)" client_list="Page Template Redesign" id="51" client="5" service_group="1" service="2" noservice="yes"><p1><![CDATA[BigPond.com had grown organically, as large corporation websites tend to do. It had become cluttered and unwieldy.

BigPond opted for a phased approach to the redevelopment of BigPond.com. The critical first phase required the redesign of the homepage, promotions pages and top level category homepages.]]></p1><p2><![CDATA[BigPond is well known for its urbane TV, radio and print advertising. So it made sense to use the signature imagery from these ads to recreate the BigPond brand personality online.

Following a 'less is more' philosophy, the new homepage design used fewer images than its predecessor, but to greater effect. A large hero image gave a focal point to the page and clarity to its message.

The same principles were then applied across lower level and promotional pages, where a sparse selection of images now sits elegantly alongside the distinctive BigPond typography.]]></p2><p3><![CDATA[The fresh design is clean, powerful and in tune with the BigPond brand. It was unveiled at a company-wide meeting where it was very well received.

BigPond website sponsor Tara Simmonds commented that the design fulfils the needs of the many disparate groups within BigPond and beautifully reflects the parent brand.]]></p3><media id="272" title="bp level 3" type="jpg" position="1" /><media id="14" title="bp homepage 2" type="jpg" position="2" /><media id="270" title="bp level 1" type="jpg" position="3" /><media id="271" title="bp level 2" type="jpg" position="4" /><media id="15" title="bp promo page 1" type="jpg" position="5" /><media id="13" title="bp homepage 1" type="jpg" position="6" /></casestudy><casestudy project="Brand Development" service_list="Brand Development (BigPond)" client_list="Online Brand Development" id="57" client="5" service_group="10" service="0" noservice="no"><p1><![CDATA[BigPond is Australia's largest Internet Service Provider.  Throughout its advertising in traditional media, the BigPond brand has always been characterised by friendly simplicity. The message has been clear: BigPond takes the mystery out of Broadband Internet access.

Ironically, in the online space, the brand often failed to communicate with comparable clarity and punch. BigPond needed an online brand overhaul.]]></p1><p2><![CDATA[A unilateral approach was taken to address the many facets of the online brand in one fell swoop. This project was called Bullseye.

The first task within Bullseye was to redesign the BigPond website home page. The site was given fresh iconography, fresh page titling methods and most importantly, a fresh secondary yellow colour to replace the outdated orange. 

The same design principles were then applied to lower level pages. Further changes included revision of navigation systems and promotional modules, the development of new table and diagram styles and creation of link languages.]]></p2><p3><![CDATA[Bullseye is the conclusive style-guide to BigPond's presence on the Internet. As a result of its implementation, BigPond.com now speaks with the same distinct voice as the rest of the brand.]]></p3><link href="www.bigpond.com" /><media id="8" title="bp online brand development 1" type="gif" position="1" /><media id="9" title="bp online brand development 2" type="gif" position="2" /><media id="10" title="bp online brand development 3" type="jpg" position="3" /><media id="11" title="bp online brand development 4" type="jpg" position="4" /></casestudy><casestudy project="Connecting Beats" service_list="Connecting Beats (Nokia)" client_list="Connecting Beats Website" id="175" client="51" service_group="1" service="14" noservice="no"><p1><![CDATA[Nokia intended to cement its position as one of the world's largest producers of MP3 and music enabled devices, and to improve its visibility within the youth market.

A concept was needed which would legitimise the company as a credible, respected patron of Australian music talent. The youth market is remarkably quick to detect insincerity, so the concept had to be as genuine as it was spectacular, and the brand as knowing as it was cool. Connecting Beats was born.]]></p1><p2><![CDATA[Connecting Beats is a nationwide competition which offers unsigned electronic music artists the chance to launch their professional careers. 

Entrants submit recordings via the website. These are shortlisted by a panel of judges and the public vote for the winner. The grand prize includes a place on tour with Terminal 9 artists and a studio mastered EP.

The website design draws heavily from the artwork of urban street culture; the design is a pastiche of posterised photographic images, hi-tech fonts, scratchy black and whites and flaring colour.]]></p2><p3><![CDATA[Connecting Beats was a massive success with youth and industry alike, with entries up 400% compared with 2004. 

Furthermore, the calibre of the judging panel, which included established producers, signed artists and record label representatives, testifies to the integrity of the venture within the industry. 

Connecting Beats firmly positions Nokia as a serious sponsor of Australian musical talent. It has also provided the perfect platform on which to promote Nokia's other music initiatives, such as Terminal 9 and Music Goes Mobile.]]></p3><link href="dev0.deepend.com.au/nokia/connectingbeats/2005/site/v1" /><media id="121" title="Connecting Beats 1" type="gif" position="1" /><media id="122" title="Connecting Beats 2" type="gif" position="2" /><media id="123" title="Connecting Beats 3" type="jpg" position="3" /><media id="124" title="Connecting Beats 4" type="gif" position="4" /></casestudy><casestudy project="Blazin' 4" service_list="Blazin' 4 (Universal Music)" client_list="Blazin' 4 TVC (Universal Music)" id="125" client="48" service_group="5" service="16" noservice="no"><p1><![CDATA[Blazin' 4 is an audio CD compilation of various R'n'B and Hip Hop artists. Universal Music required a TV commercial, in 15 and 30 second formats, to accompany the release of the CD. Using supplied footage, the commercial should show the featured artists, appeal to the target audience and create an atmosphere to match the genre.]]></p1><p2><![CDATA[An alleyway was chosen as the setting for the commercial, in order to cement the album within the urban street context of hip hop and R'n'B culture. Clips of the Blazin' 4 artists play from a mini TV, which is bolted to the alleyway wall and flanked by DJs Nino Brown and Samrai.

The imagery is enhanced with 'screaming' text, which rolls across the bottom of the screen and flashes across the footage to list the artists.]]></p2><p3><![CDATA[The TVC aired on national television during music programs. It gave the audience a taste of the tracks on Blazin' 4 and created a sense of eagerness and anticipation for the album's release.]]></p3><media id="70" title="blazin 4 video" type="flv" position="1" /></casestudy><casestudy project="Pass the Parcel Viral Game" service_list="Pass the Parcel Viral Game (TV1)" client_list="Pass the Parcel Viral Game" id="126" client="46" service_group="1" service="12" noservice="no"><p1><![CDATA[Maverick, an Australian Marketing and Communications company, managed the production of a travelling roadshow to celebrate their client TV1's 10 year anniversary.

Maverick required an online promotion to enhance the travelling roadshow and involve the audience beyond the roadshow destinations. The promotion should engage the online audience for the roadshow's 10-day duration.

Significant prizes were attached to the promotion including ipods, TV1 packs, MP3 players, Seinfeld DVD box sets, poker cards, and HMV vouchers.]]></p1><p2><![CDATA[Each day a user was allocated a number of 'passes' of the parcel. Once these ran out the user was locked out until the next day when their passes replenished. In this way, participants were encouraged to make repeat visits to the TV1 website, over the 10 days of the promotion, in order to increase their chances of winning a prize.

The game employed a viral mechanic to widen the audience exponentially as each day of the promotion passed. Each user's chance of winning increased every time they referred a new friend to the site.]]></p2><p3><![CDATA[Pass the Parcel was a resounding success. Over 12,000 users played the game over the 10 day period.

The number of users grew by more than 750 per day with over 60% of users returning to play the game on multiple days.]]></p3><link href="http://portfolio.deepend.com.au/tv1/" /><media id="68" title="tv1 screen capture" type="flv" position="1" /><media id="192" title="tv1 1" type="jpg" position="2" /><media id="193" title="tv1 2" type="jpg" position="3" /><media id="194" title="tv1 3" type="jpg" position="4" /><media id="195" title="tv1 4" type="jpg" position="5" /><media id="196" title="tv1 5" type="jpg" position="6" /><media id="197" title="tv1 6" type="jpg" position="7" /></casestudy><casestudy project="Online Bowling Game" service_list="AMF Bowling (Nickelodeon)" client_list="Online Bowling Game" id="192" client="29" service_group="1" service="12" noservice="no"><p1><![CDATA[Australian bowling chain AMF Bowling and kid's entertainment giant Nickelodeon joined forces to commission a multiplayer bowling game for the Nickelodeon website. 

The purpose of the game was to add value to the Nick Shack, extend the AMF brand and strengthen the association between birthdays and bowling.

The target audience included boys and girls of many ages and skill-levels, whose gaming behaviour ranged from quick sessions to long-term league and reward-collection challenges.]]></p1><p2><![CDATA[The game design invites players to enter a spectacular 3D bowling alley, complete with crazy club carpets and retro lighting. After log-in, kids even find their name embroidered on a bowling shirt in their own locker.

A Flash physics engine was custom built to animate the pins and provide collision detection and true perspective mathematics. When a new player arrives, the engine re-uses recent single player and email games to create the impression of a real-time multiplayer experience. Because the entire game history is downloaded in advance, real-time gaming technologies are not required.]]></p2><p3><![CDATA[Up to 1,000 games are played every day and it has remained one of the most popular areas of the Nickelodeon website 7 months after launch. To date over 140,000 games have been played which continues to grow every day.

"Our decision to affiliate with leading brands such as Big Brother, Nickelodeon and, more recently, the Wiggles has driven attendance growth across all target groups," said Macquarie Leisure Trust (AMF owners) chief executive Greg Shaw.]]></p3><link href="www.nickelodeon.com.au/games/bowling/" /><media id="222" title="online bowling capture" type="flv" position="1" /><media id="149" title="online bowling 1" type="jpg" position="2" /><media id="150" title="online bowling 2" type="jpg" position="3" /><media id="151" title="online bowling 3" type="jpg" position="4" /></casestudy><casestudy project="Our City In Summer 2006 TVC" service_list="Our City In Summer 2006 (Syd. Fest.)" client_list="Our City In Summer 2006 TVC" id="117" client="34" service_group="5" service="6" noservice="yes"><p1><![CDATA[With 2006 seeing the appointment of a new Festival Director and the introduction of an audacious new colour palette, Sydney Festival undertook its boldest re-branding in years. 

In order to complement this, the Festival required an equally impressive TVC treatment, introducing the Festival to a new audience and reassuring loyal patrons that the Festival was bigger and brighter than ever.]]></p1><p2><![CDATA[Armed with the contrasting colours of yellow and black, and a series of well-grained, incredibly striking images from the various performances contained in the Festival, Deepend looked to create a building sense of intrigue and excitement throughout the commercial. 

Set to an interpretation of a Radiohead song by renowned classical pianist, Christopher O'Riley, the piece leads the user through a three dimensional space, animating between images, whilst revealing inspirational quotes from reviews of the various performances.]]></p2><p3><![CDATA[The commercial struck a resounding chord with its audience with many people commenting that it perfectly captured the mystery and magic of that year's Festival and sat perfectly with that year's Festival moniker "This is our city in Summer". 

The Transit authority were equally impressed and requested a version be run on Transit TV, and broadcast on train station platforms across Sydney.]]></p3><media id="67" title="sydney festival TvC" type="flv" position="1" /></casestudy><casestudy project="Online Ticketing System" service_list="Online Ticketing System" client_list="Online Ticketing System" id="66" client="52" service_group="1" service="3" noservice="no"><p1><![CDATA[Over the past five years, a number of leading organisations have commissioned online ticketing applications. Three of these are the Sydney Theatre Company, Federal Hotels and Resorts and MCA Tix.

All online ticketing applications must adhere to certain basic principles in terms of their design and function. They must streamline the booking process, be easy to use and cost-effective to build.

The challenge in each project is to identify the client's unique functionality and cater to this during production.]]></p1><p2><![CDATA[Any online ticketing application demands thorough scoping and specification.

The ticketing system built for the Pure Tasmania website (Federal Hotels and Resorts) functions as a holiday planner. It integrates with real time rates and availabilities, to allow patrons to book tickets for tours and accommodation. 

By contrast, the application commissioned by the Sydney Theatre Company is based on ENTA, a third party ticketing inventory system, which is well suited to the requirements of the theatre industry.]]></p2><p3><![CDATA[All of these ticketing applications are a great success.

The Pure Tasmania booking system generated over $250,000 in bookings in its first 3 months and new tour operators are keen to associate with the brand.

The Sydney Theatre Company is so satisfied with its online ticketing system that it has since commissioned an additional application for a venue under its management, the Sydney Theatre.]]></p3><link href="www.sydneytheatre.com.au" /><media id="132" title="online ticketing 1" type="gif" position="1" /><media id="133" title="online ticketing 2" type="gif" position="2" /><media id="134" title="online ticketing 3" type="jpg" position="3" /><media id="135" title="online ticketing 4" type="gif" position="4" /></casestudy><casestudy project="Online Product Demonstrations" service_list="Online Product Demos (BigPond)" client_list="Online Product Demonstrations" id="198" client="5" service_group="1" service="4" noservice="no"><p1><![CDATA[BigPond sells a variety of online technical products, which are designed to manage, protect and enhance the buyer's Internet experience. These range from mainstream items such as personal firewalls to complex applications.

BigPond needed a series of online demonstrations to demystify the technologies behind their products and make them accessible to the general public. The goal of the project was to boost sales.]]></p1><p2><![CDATA[A consistent structure was followed to help users become comfortable with the format. Each demonstration begins with a problem, details a solution and shows the results. An opportunity to buy the product is presented at the end.

Voiceover was scripted to lead the user through the content. Voice adds warmth and holds attention. Voice puts the user at ease.

Familiar domestic metaphors were employed to highlight the human benefits of each product. Users see a front door shut to signify security products. A letterbox conveys the concept of spam filters and virus checkers.]]></p2><p3><![CDATA[The intelligent use of structure, voice and metaphor worked brilliantly.

The online product demonstrations were so successful that BigPond decided to apply the same approach to more of their products and services.

Similar tutorials have since been commissioned to welcome new BigPond members; to communicate changes to BigPond.com and to guide users through the set-up of modems, filters and cable splitters.]]></p3><link href="dev0.deepend.com.au/bigpond/bigdemos/build/" /><media id="273" title="bigpond demos capture" type="flv" position="1" /><media id="264" title="bigpond demos 1" type="jpg" position="2" /><media id="265" title="bigpond demos 2" type="jpg" position="3" /><media id="266" title="bigpond demos 3" type="jpg" position="4" /><media id="267" title="bigpond demos 4" type="jpg" position="5" /><media id="268" title="bigpond demos 5" type="jpg" position="6" /><media id="269" title="bigpond demos 6" type="jpg" position="7" /></casestudy><casestudy project="New Members Tutorial" service_list="New Members Tutorial (BigPond)" client_list="New Members Tutorial" id="58" client="5" service_group="9" service="0" noservice="no"><p1><![CDATA[BigPond membership carries a range of benefits. A full text description of these had existed on the website for some time but research showed that most new customers ignored this. Consequently, the majority of members had a limited knowledge of BigPond's portfolio of products and services.

An interesting tutorial mechanism for delivering this information was required. The tutorial should be illustration-based, although no BigPond illustration style existed.]]></p1><p2><![CDATA[The tutorial is set in a family house with spectacular ocean views.

Inside the house, the tutorial takes a metaphorical approach by showing different family members in simple situations. In one, a father lends a hand to depict 'online help'. In another, a child tries in vain to unlock a cupboard, to highlight the idea of 'content filtering'.

The tutorial leads into a rich showcase of the quality of content that BigPond members can enjoy. This includes a short video sequence of BigPond's V8 Supercar and AFL footage.]]></p2><p3><![CDATA[The result is a memorable, attention-grabbing remake of its text-based predecessor. As testament to this, Michael Docherty of the BigPond brand team commented that the new online tutorials "look exactly like the BigPond brochures would look if they moved".]]></p3><link href="dev0.deepend.com.au/bigpond/jump_off/build/v3/adsl/broadband_jumpoff.html" /><media id="36" title="jumpoff screen capture" type="flv" position="1" /></casestudy><casestudy project="Rich Media Online Advertising" service_list="Rich Media Advertising (IamEmo)" client_list="Rich Media Online Advertising" id="60" client="28" service_group="1" service="4" noservice="no"><p1><![CDATA[IamEmos are animated multi-media messages based on a character called Emo. Emo changes colour depending on his emotional state. IamEmos are used by mobile phone owners as an alternative or companion to text messaging.

Nokia wanted to boost sales of IamEmos on the Nokia Tones, Graphics and Games website.  A rich media advertising campaign was needed to operate within the site and direct users to purchase.]]></p1><p2><![CDATA[The creative focused on the idea of emotion, to demonstrate the varying emotional states of Emo. An i-blaster overlay format was then chosen, to maximise Emo’s chances of competing for audience attention. An overlay is a transparent layer which sits above an existing web page.

In one overlay, a furious Emo bursts from the top of the screen and crushes the screensavers shown on the host page. In others he is depicted as anxious, cheeky and amorous.]]></p2><p3><![CDATA[The key to creating a successful overlay is to recognise the fact that the viewer is exploring the host page content, so anything which intrudes upon their actions must do so in a credible and engaging way. 

The beauty of the IamEmo campaign lay in the dramatic interactions that occurred between Emo and the host content, to draw attention to his core attribute: emotional dexterity.

The results were excellent. For the duration of the advertising campaign, traffic to the IamEmo site grew by 50%.]]></p3><link href="portfolio.deepend.com.au/iamemo/iblasters/v1/" /><media id="338" title="eyeblaster.flv" type="flv" position="1" /><media id="54" title="iamemo iblaster 1" type="gif" position="2" /><media id="55" title="iamemo iblaster 2" type="gif" position="3" /><media id="56" title="iamemo iblaster 3" type="gif" position="4" /><media id="57" title="iamemo iblaster 4" type="gif" position="5" /><media id="58" title="iamemo iblaster 5" type="gif" position="6" /></casestudy><casestudy project="Create a Better Earth TVC" service_list="Create a Better Earth (CVA)" client_list="Create a Better Earth TVC" id="64" client="9" service_group="5" service="6" noservice="yes"><p1><![CDATA[Conservation Volunteers Australia (CVA) manages teams of volunteers on conservation projects across Australia. CVA required a television commercial to inspire young people to join a team. 

As a non-profit organisation, the budget was small. In addition, the broadcast times would be 'free spots', occurring at any time of the day, so the commercial must have broad appeal.]]></p1><p2><![CDATA[Volunteers are motivated by a sense that their contribution can make a difference. 

In recognition of this, the commercial uses photographs of real CVA recruits at work as the basis for a set of 'problem and solution' statements. Each statement explains how volunteering on a specific CVA project will fix a problem. The background image begins blurred, but gradually clears as the solution is revealed.

Music composed by CVA staff was used to great effect, imbuing the commercial with a profound feeling of calm achievement.]]></p2><p3><![CDATA[Paradoxically, the Zen-like quality of the soundtrack made the piece stand out amongst the piercing tone of typical TV commercials. 

It aired during the rugby league grand final with one keen recruit calling CVA during the match.

The commercial has been such a success that CVA continues to broadcast it nationally almost 2 years after its release.]]></p3><media id="19" title="ConservationVolunteers.flv" type="flv" position="1" /></casestudy><casestudy project="Flash Microsite" service_list="Flash Microsite (IamEmo)" client_list="Flash Microsite" id="173" client="28" service_group="1" service="14" noservice="no"><p1><![CDATA[IamEmos are animated multi-media messages, used by mobile phone owners as an alternative or companion to text messaging. They revolve around a central character called 'Emo' the chameleon, whose colour changes to match his mood.

A playful microsite was needed to promote IamEmos and drive sales. Key objectives were to educate a fickle, tech-savvy young crowd about this emerging technology and to debut its tricky new hero Emo.]]></p1><p2><![CDATA[The site uses the familiar visual metaphor of a vending machine, which immediately tells visitors that IamEmos are commodities, which can be purchased at the touch of a button.

Traditional interface layouts were abandoned in order to position IamEmos as a fresh, new product. The site was built entirely in Flash to create an environment that is bouncy and expressive; an apt home for its ever-changing protagonist.]]></p2><p3><![CDATA[Sales of IamEmos are increasing steadily. As proof of this, Nokia have recently committed to the production of an IamEmo branded phone, which includes a default set of IamEmos.

The IamEmo website has been nominated as a finalist in each of Australia’s two most prestigious industry awards: the 'Awwwards' and the 'AIMIA' awards. The nominations sit within the 'Best Online Creative' and 'Best Interactive Advertising' categories respectively.]]></p3><link href="www.iamemo.com" /><media id="337" title="IamEmo.flv" type="flv" position="1" /><media id="168" title="iamemo 1" type="gif" position="2" /><media id="170" title="iamemo 3" type="gif" position="3" /><media id="169" title="iamemo 2" type="gif" position="4" /><media id="171" title="iamemo 4" type="gif" position="5" /></casestudy><casestudy project="Horseplay Game" service_list="Horseplay (Tooheys New)" client_list="Horseplay Game" id="121" client="19" service_group="1" service="12" noservice="no"><p1><![CDATA[Lion Nathan wanted to raise awareness of the Tooheys New sponsorship of the Melbourne Cup, as part of a drive to push sales of the brand inside the tight Victorian beer market.

A game was required, to add value and sponsorship content to the Tooheys New website. The game must create a punters environment to connect the brand with horse racing.]]></p1><p2><![CDATA[The game was called Horseplay. To achieve its objectives, it was absolutely critical that Horseplay be credible and exciting for hard-core racetrack punters.

A remarkably realistic game interface was designed to do just that. Within it, users could assess the field for a particular race and choose their horses based on attributes, past form and track condition. Bets were placed and the race began. The system used intelligent parsing of XML into Flash, to keep gamers guessing the outcome until the winning horse crossed the finish line.]]></p2><p3><![CDATA[The figures testify to the massive success of the game with over 4 million game plays completed in the 12 weeks of the campaign. In addition 60% of all competition entries for the main prize draw were made online.

Horseplay delivered a level of immersion and exposure to the Tooheys New brand, which is unheard of in traditional advertising.

Horseplay won "most strategic integration of online creative with an offline campaign" in the Internet Awwwards 2003.]]></p3><media id="274" title="horseplay capture" type="flv" position="1" /></casestudy><casestudy project="Siemens SL45" service_list="Siemens SL45" client_list="Siemens SL45" id="39" client="43" service_group="1" service="14" noservice="no"><p1><![CDATA[At release, the Siemens SL45 mobile phone was a revolution in mobile phone technology, with an inbuilt MP3 Player, a multimedia memory card, WAP capabilities and a Digital Voice Recorder.

To launch the product, an equally funky and innovative microsite was required. The site should allow intelligent, technologically advanced users to familiarise themselves with the advanced features of the phone.

The project was a collaboration with the advertising agency J. Walter Thompson.]]></p1><p2><![CDATA[The site uses lifestyle scenarios to appeal to the fashion conscious target audience and highlight the product's many features. The scenarios are masterfully brought to life online through sophisticated illustration.

Audio is used to highlight a key selling point of the phone - the MP3 player - as a selection of smooth electronic beats play throughout the site experience.

The unique navigation system maintains sound usability but still appeals to the confident web user's desire to explore and interact.]]></p2><p3><![CDATA[The site won Australia's first interactive Gold Clio award for Brand Building.

The illustrative style of the creative on the site was so successful that a decision was made to broaden its use. In conjunction with J. Walter Thompson, the creative was adapted to rich-media email applications and poster and print advertisements. The result was a truly integrated campaign.]]></p3><media id="229" title="siemens capture" type="flv" position="1" /><media id="187" title="siemens 1" type="gif" position="2" /><media id="188" title="siemens 2" type="gif" position="3" /><media id="189" title="siemens 3" type="gif" position="4" /><media id="190" title="siemens 4" type="gif" position="5" /><media id="191" title="siemens 5" type="gif" position="6" /></casestudy><casestudy project="L'Amour Collection Launch Newsreel" service_list="L'Amour Newsreel (Nokia)" client_list="L'Amour Collection Launch Newsreel" id="203" client="30" service_group="5" service="11" noservice="no"><p1><![CDATA[The L'Amour Collection is exquisite and sensuous, with each phone carrying touches of cloth, leather, metal, and ceramic finishing.

Hausmann Communications, Nokia's marketing and event company, were planning a launch for the collection, to be held at the luxurious Sydney Hilton over two days. 

Hausmann commissioned a newsreel to capture the glitter of the opening night and the substance of the following day's workshops to be screened for internal communication purposes to Nokia executives world-wide.]]></p1><p2><![CDATA[A camera crew, producer and director covered the entire event. Sparkling footage was shot of guests arriving. The focus was on the glitz and glamour of Sydney celebrities gliding up the red carpet, to a soundtrack of clicks from the paparazzi.

Further shots included sneak peaks behind the scenes; models handling handsets, snippets of keynote speeches and vox-pops with guests and artists. 

Interviews were conducted with presenters and fashion designers who played a role during the day.]]></p2><p3><![CDATA[The finished piece balances the golden glow of opening night with the brass tacks value of the workshops. Through this it shows how the event reflected the L'Amour Collection, which itself blends beauty with function.

In particular, the party segment gives Nokia executives a tantalising view of Sydney's A-list celebrities, providing not only entertainment but also insight into the high end of the market in Australia.

Both Hausmann and Nokia were thrilled with the result and the piece was seen throughout Nokia's European and Asian head offices.]]></p3><media id="242" title="nokia lamour video" type="flv" position="1" /></casestudy><casestudy project="Creating Breaks, Connecting Beats Documentary" service_list="Creating Breaks... (Nokia)" client_list="Creating Breaks... Documentary" id="205" client="51" service_group="5" service="11" noservice="yes"><p1><![CDATA[Terminal 9 is the brand name for an annual series of dance parties, staged around Australia, sponsored by Nokia. The Terminal 9 events draw huge crowds of young people and give home grown music artists the chance to perform alongside signed international acts.

Nokia needed a film crew on location at all Terminal 9 events and at an associated venue in the UK. The footage would be used to create a number of marketing videos, in particular a documentary about Nokia's Connecting Beats competition, through which unsigned electronic artists compete for a place on stage in the Terminal 9 tour.]]></p1><p2><![CDATA[A dedicated team from Deepend's moving image department was assigned to the task. 

The team followed the dream journey of Blueprint, the Melbourne artist who won the Connecting Beats competition. His journey included a place on the Terminal 9 tour; a trip to London to meet Finger Lickin' record label representatives; a studio session and finally, his own set at a London breaks night.

In post-production the documentary was cut with the pace of a video clip and peppered with graphics adapted from the Terminal 9 web, print and television campaigns.]]></p2><p3><![CDATA[The half-hour documentary was screened on MTV. The story is genuinely inspiring. 

It gives young viewers a backstage perspective on the life of an electronic artist – from recording to live performance to the nuts and bolts of negotiation with record producers. On a broader note, it shows that it's possible to turn a passionate dream into a lifelong profession.

From the piece, four promotional videos were cut for the web, to encourage other young artists to enter the competition in 2006. Footage was also used to create internal communications DVDs.]]></p3><media id="221" title="Creating Breaks Doco" type="flv" position="1" /></casestudy><casestudy project="Little Bedrooms, Big Beats Documentary" service_list="Little Bedrooms, Big Beats (Nokia)" client_list="Little Bedrooms, Big... Documentary" id="206" client="51" service_group="5" service="11" noservice="no"><p1><![CDATA[Nokia's Connecting Beats competition and Terminal 9 tours are linked as Connecting Beats competition finalists win a place in the Terminal 9 line-up.

Nokia commissioned a half-hour documentary to capture the excitement of the 2004 Connecting Beats competition. 

The documentary was to map the experiences of the nine competition finalists. The initial setting in make-shift bedroom recording studios swiftly transforming as the wheels of the competition begin to turn.]]></p1><p2><![CDATA[This transition in context from bedroom to stage mirrors the finalists' personal evolution from unknown musical aspirant to live performer. The beauty of Terminal 9 is that it places unsigned artists in front of an audience, alongside some of Australia's finest hip hop, breaks and drum and bass artists.

The documentary focus then narrows to follow the winner, whose prize package included studio mastering of a 4-track EP and a trip to London to meet four of the UK’s leading independent record labels. The viewer is left on tenterhooks: will the winner secure the Holy Grail - a record contract?]]></p2><p3><![CDATA[Nokia was delighted with the documentary with Little Bedrooms, Big Beats being screened multiple times on MTV around the world.

The short-form trailers were also a great success. They captured the excitement and energy of the 6,000 clubbers and 70 live performances that constituted the Terminal 9 tour, and served to encourage more entries in the 2005 Connecting Beats competition.]]></p3><media id="230" title="Little Bedrooms, Big Beats" type="flv" position="1" /></casestudy><casestudy project="Terminal 9 Internal Communications DVD" service_list="Terminal 9 DVD (Nokia)" client_list="Terminal 9 Internal Comms DVD" id="207" client="51" service_group="9" service="0" noservice="no"><p1><![CDATA[Terminal 9 is a series of live concerts which give young unsigned music artists in Australia the chance to perform alongside established local and international acts. The artists are chosen via an associated competition called Connecting Beats.

To support and promote this massive marketing initiative, Nokia commissioned a film production crew to cover all 2005 Terminal 9 venues and supporting locations in Australia and the UK.]]></p1><p2><![CDATA[A director / writer and producer set to work to prepare for the enormity of the shoot. Their storyboard carefully interwove backstage, performance and crowd shots with vox-pops and product shots. The vox-pops would pepper the festival footage with unscripted commentary from artists, organisers and audience members. The questions would aim to get young people to share their opinions on Nokia's brand, mobile technology and Nokia's involvement with music.

The crew included a producer, director, cameraman, sound recordist, grip and lighting director. Shooting on Digital Betacam, the team travelled the east coast of Australia.]]></p2><p3><![CDATA[The footage captured the electric atmosphere of the Terminal 9 events and showcased the calibre and diversity of participating artists.

An interview with Blueprint, the Connecting Beats winner, demonstrated the huge value of the Nokia event for young musical aspirants. 

From the footage a number of videos were created, including a documentary about Connecting Beats, segments for the Terminal 9, Connecting Beats and Music Goes Mobile websites and a dynamic internal DVD, which was viewed all over the world to demonstrate the impact of a truly great marketing idea.]]></p3><media id="253" title="t9 dvd video" type="flv" position="1" /></casestudy><casestudy project="Qantas House, No.1 Chifley Sq" service_list="Qantas House, No.1 Chifley Sq (GML)" client_list="Qantas House, No.1 Chifley Sq" id="209" client="16" service_group="5" service="11" noservice="no"><p1><![CDATA[No.1 Chifley Square is a splendid example of modernist architecture, listed on the NSW State Heritage Register. It was built during the 1950s - a time of great optimism in Australia - and completed in 1957. The building was originally know as Qantas House and was owned by the airline until 1982.

Heritage consultants Godden Mackay Logan commissioned a moving image piece on behalf of Qantas, to enable the public to learn about the building's design, history and relationship to the built environment. The piece would be installed on a large plasma screen, situated in the foyer of the building.]]></p1><p2><![CDATA[An eight minute DVD was skilfully structured to suit the installation environment. Because the audience ebbs and flows between the entrance and the lifts, the content is compartmentalised to allow viewers to absorb succinct messages as they pass.

The content is divided into four, two-minute chapters, which are programmed to play in a random order. Each chapter is separated by a small animation and title sequence and covers one clear aspect of the cultural significance of the tower. Themes include the historical background, the design of Qantas House, the building use and conservation.]]></p2><p3><![CDATA[Thousands of Sydney locals and visitors viewed the video every day. 

The intelligent structure of the piece meant that those who passed once took away a self-contained impression of an historical fact or design feature; while frequent visitors were able to develop a rich understanding of the importance and beauty of the modernist icon in which they stood.]]></p3><media id="239" title="GML_QantasHouse.flv" type="flv" position="1" /></casestudy><casestudy project="Launch Night Presentation" service_list="Launch Night (Sydney Festival)" client_list="Launch Night Presentation" id="210" client="34" service_group="5" service="7" noservice="yes"><p1><![CDATA[Following the success of the previous year's Sydney Festival launch, festival organisers returned to Deepend to commission a fresh moving image presentation, to be screened at the opening of the next Sydney Festival.

The piece was intended to provide visual support to the Festival's Artistic Director, Fergus Linehan, when he delivered the keynote speech at the State Theatre on the night of the launch.

The task would require the team to collate existing moving images, select still images, animate the Sydney Festival identity and synchronise the edited vision to music.]]></p1><p2><![CDATA[The first step was to conduct a number of tests at the State Theatre in order to ensure that the presentation would suit the technology and ambience of its intended environment. 

A manual click through was settled upon, as the simplest way to allow organisers to control the presentation in line with Fergus Linehan's speech.

Next, storyboards were illustrated to demonstrate how the various visual assets could best combine. Image selection centred on the idea that the finished piece should portray the diversity and calibre of the new performers, without giving too much away.]]></p2><p3><![CDATA[The piece was played at the State Theatre, packed to capacity with local and international luminaries from the arts, media and politics. 

It enlivened the Artistic Director's speech to create a sense of anticipation about the upcoming Festival. So taken with the presentation, several major sponsors of the Festival requested DVDs be made up so they could run them on loop in their foyers during the Festival.]]></p3><media id="249" title="syd fest launch night pres video" type="flv" position="1" /></casestudy><casestudy project="Instructional Video" service_list="Instructional Video (URG)" client_list="Instructional Video" id="211" client="57" service_group="5" service="7" noservice="yes"><p1><![CDATA[The World's Best Graffiti Removal System is exactly that; the quickest, safest and most environmentally friendly graffiti removal system available.

Urban Restoration Group, which owns the product, intended to expand the business into the USA and Asia. The company commissioned an educational DVD, to demonstrate the superiority of the system. The DVD would be used to educate and excite potential buyers in the overseas market, in particular large-scale end users such as municipalities and graffiti removal contractors.]]></p1><p2><![CDATA[Graffiti is a continual headache for councils and private business in all urban areas.  The DVD deliberately begins by presenting graffiti as a form of destructive vandalism, to raise an emotional response in the viewer.

Visual demonstrations of the speed and efficacy of the products are hosted by John Rose, the system's developer. 

This atmosphere is reinforced by a solid three-part structure to the presentation, a clean interface design and by the use of memorable imagery and graphics which echo the product packaging, website and brochure.]]></p2><p3><![CDATA[Two videos were produced on DVD, one of seven minutes duration and a short two-minute version for promotions.

The main piece had an enormous impact on the target audience, to the delight of the Urban Restoration Group sales team. When the company expanded into the US market, presenters found that the DVD 'broke the ice' and increased sales with several municipalities and contractors.

Clients have also been extremely enthusiastic as the DVD spares them the usual tedious task of flipping through instruction manuals.]]></p3><media id="245" title="wbgr video" type="flv" position="1" /></casestudy><casestudy project="Custom Built Content Management" service_list="Custom Built Content Management" client_list="Custom Built Content Management" id="212" client="52" service_group="1" service="3" noservice="no"><p1><![CDATA[Out-of-the-box content management systems do not always match an organisation's requirements. 

The Museum of Contemporary Art, for example, has a continually changing roster of exhibitions and events, so it needed a large scale content tool, which both caters to and draws links between dozens of content modules. 

Aviva, a world leader in financial services, needed a prototype of a new customer portal for demonstration purposes. The prototype would be displayed on a laptop and supported by a CMS.]]></p1><p2><![CDATA[Such content management systems have to be purpose built. But efficiency can be maintained by drawing from our existing code libraries.

The key to the MCA's CMS was to make it mirror the layout of the website. Administrators simply follow the same path they would on the actual site, to locate and amend any content in the CMS.

For Aviva an intuitive ASP/Access application allows staff to edit tagged paragraph content and modify Finite State Machine settings, which control the structure of the presentation. This makes the demonstration foolproof.]]></p2><p3><![CDATA[The MCA CMS facilitates the comprehensive management of over 500 pages yet it can be mastered in less than 30 minutes. Its scheduling system enables staff to manage content months in advance.

For Aviva the capacity to modify their portal presentation enabled the team to visualise and refine their early thinking of how the real thing should work. They are able to experiment with the many ways in which the user could navigate through a complex, information-rich site.]]></p3><media id="235" title="Custom Built 1" type="jpg" position="1" /><media id="236" title="custom built 2" type="jpg" position="2" /><media id="237" title="custom built 3" type="jpg" position="3" /><media id="238" title="custom built 4" type="jpg" position="4" /></casestudy><casestudy project="Online Video Game (Defend Your Turf)" service_list="Defend Your Turf (Nokia)" client_list="Online Video Game" id="213" client="30" service_group="1" service="12" noservice="no"><p1><![CDATA[In Nokia's worldwide 'Defend Your Turf' competition, local soccer teams can compete against the 'Boys From Brazil', up and coming players from the streets of Rio De Janeiro, winning cash, prizes and glory. In Australia, thirty-two teams were to be selected to battle it out for their chance to 'defend their turf'.

To connect with the online audience, Deepend and Nokia worked together to conceptualize and launch a virtual soccer game in conjunction with this high profile campaign. This online presence would continue the user's engagement with the Defend Your Turf brand up to and during the 2006 FIFA World Cup.]]></p1><p2><![CDATA[The game involves three levels where you have to 'foot juggle' various household objects, such as an alarm clock or an egg, taken from the worldwide Defend Your Turf TV campaign. 

The game is a fusion of 'real life' action and flash design. Deepend filmed an actor performing a wide range of pre-set 'foot juggling' moves in a full studio set up with a green-screen background. 

The game allows users to control the virtual video character and challenge other players to win prizes. The more friends users refer and register the more bonus points are accrued.]]></p2><p3><![CDATA[The game was a resounding success with over 20,000 games played over a 3 week period. 

Naomi Janes, Web Manager, Nokia Australia commented that "The online video game developed by Deepend and Nokia was an important component of Nokia's overall youth marketing strategy for our Defend Your Turf promotion. It gave everyone the ability to get involved by engaging them in the excitement and fun of soccer, and the chance to win some great prizes."]]></p3><link href="portfolio.deepend.com.au/nokia/defendyourturfthegame/" /><media id="288" title="dyt 1" type="jpg" position="1" /><media id="289" title="dyt 2" type="jpg" position="2" /><media id="290" title="dyt 3" type="jpg" position="3" /><media id="291" title="dyt 4" type="jpg" position="4" /><media id="292" title="dyt 5" type="jpg" position="5" /><media id="293" title="dyt 6" type="jpg" position="6" /></casestudy></deepend>
