Feature

Global Power List 2010: Our Partners

All our advertisers are great, but some of them are extra special because they helped make this book happen. Step up Bloomberg Businessweek and Salt Film - and here's their point of view on the business in 2010.

JONATHAN FOSTER KENNY

Jonathan Foster Kenny on how the fusion of two of the most famous brands in business journalism has created a news source whose unparalleled insight has its global audience rapt.

The business world moves fast. In the blink of an eye, priorities and needs can change. Smart marketers know it is essential to adapt to the ever-evolving demands of their customers to stay relevant. That's why the leading weekly business magazine has reinvented itself to stay on top of the game for its business-minded readers. While others walk away from the printed word, Bloomberg Businessweek is investing in it.

The new Bloomberg Businessweek fuses the innovation and scale of Bloomberg with the insight and depth of Businessweek, empowering readers to make and profit from smarter, faster, and moreinformed decisions. Our global coverage gives business leaders a deeper understanding of trends that drive growth, how technology creates opportunities, and what best practices keep them ahead of the competition.

Bringing Bloomberg and Businessweek together gives us unprecedented breadth and depth, allowing readers to prepare for the business week ahead as never before. With 1,700 journalists in 146 bureaus in 72 countries, Bloomberg Businessweek is able to cover the topics that matter most to our readers and engage a broad market of opinion leaders. By covering a range of business, lifestyle, political, and technology-related topics, we are becoming a one-stop source of information for our readers.

As we looked to reinvent the business magazine, we found that it's more than just changing the navigation or design. We had to substantially improve the value proposition to the consumer. Bloomberg Businessweek is becoming one of the few places business decision-makers can go to understand industries, companies, what the movers and trends are, and how to apply that information to their own professions. Global professionals have always relied on Businessweek to maximise opportunity and turn insight into action. Bloomberg Businessweek expands on that foundation that by providing the information business decision makers need to understand how today's business developments can affect tomorrow's results.

To make our magazine more useful, we have made it easier to navigate, with colour-coded cues for each section and bold, clean headlines. With twice the number of stories, 20 per cent more editorial pages, and an increased publishing frequency, we're able to better serve our global audience. Our new design not only makes the magazine more readable, it also makes better business sense. Increased content means increased reader engagement, which results in more value to our readers - and advertisers.

"What's not changing is our commitment to cover the entire world of business," Josh Tyrangiel, the editor of the magazine, says. "Week in, week out, we're covering technology, small business, finance, politics, policy, and the way it impacts our readers' business. And we're covering it in depth, with a point of view that allows our readers to leave the magazine knowing more, with actionable advice and thought leadership that really takes you to a new place. What has changed is the way that we organise the information and the way we present it - with the reader in mind."

The fast-paced lives of business professionals mandate that current and accurate information is available at their fingertips. With print, online and mobile versions of Bloomberg Businessweek, we provide our readers with access to our content - whenever, wherever.

After all, time is money, and business leaders need to be able to make the most of their resources.

Every week, our comprehensive content is read by a powerful demographic of more than 4.7 million professionals with purchasing power. Our ultimate goal is to provide an unparalleled degree of relevance and connection to today's business executives, and to give advertisers meaningful new opportunities to engage this critical audience in ways that will inspire them to listen and respond.

We would like to invite you to see first-hand the value that we're providing to opinion-leaders all over the world. You can preview the latest issue of our new Bloomberg Businessweek at: www.new.businessweek.com.

Jonathan Foster Kenny is the VP, Europe & Middle East Sales of Bloomberg Businessweek.

TOM PETCH

Location ad shoots are notoriously prohibitive and expensive for ad teams to organise, but the advent of small high-definition digital cameras is offering the opportunity to cut back on production costs and boost creative horizons.

The rise of digital-format film-making is changing the way filmed ads are made forever. Nowhere is this more true than in the savings that can be made around location filming. Technological innovations such as the Canon 7D digital camera are drastically reducing the production costs necessary for any such venture. The result is that ad creatives can do a whole lot more on location for a whole lot less.

Discarding expensive film stock for cheap digital files can make savings. Small digital high-definition cameras can also massively cut back the time that needs to be spent on location and the number of staff that need to be there. Post-production work on digital film is also significantly cheaper compared with traditional film stock.

Filming on location with traditional 35mm film requires huge logistical complexity. The average location film unit could occupy the size of a city block. Combine a crew and cast you would probably need the local multi-storey car park as well.

Large HD cameras have so far not significantly been able to cut back on any of this. One advantage of large HD cameras, though, is that they don't need the big lighting equipment the more old-fashioned film formats require. This means we can often dispense with using on-location generators and simply use local power.

That said, the whole operation still operates on much the same scale as it would with traditional film. In fact, the size of the operation can become even bigger if the set needs to accommodate digital editors. These professionals are able to take advantage of the ability to download straight from the camera to hard drive by editing on the set.

They can be accommodated with the rest of the crew by using a local power source, although this brings with it the risk that if the local power source cuts out and their computer drives go down without having any back-up files, that's the film rushes gone.

Small HD camera systems, such as the Canon 7D and 5D, are changing all this. They make substantial production-cost savings possible and open up all sorts of creative avenues that ad teams' budgets might formerly not have stretched to. Put bluntly, small HD cameras and their accompanying systems are very cheap.

The benefits for location work are obvious. The enormous logistics suddenly shrink. The crane used for these camers looks as if it could fit in a suitcase and the dolly (a trolley on which the camera is pulled along the ground) looks as if it could fit on a skateboard. Creative teams can think about locations and shooting schedules that would have previously been beyond their reach.

Of course, this requires everyone to embrace the fluidity of the new format. If the ad agency still wants to sit in a director's chair next to a monitor and the ad agency's client wants a three-course breakfast before you shoot, it will hamstring any quick mobility.

Moreover, it won't work for all scripts. I think 35mm will always remain the gold standard, because you simply can't match the great look it gives.

Some criticise the compression of the image that comes with the digital formats. I have seen 35mm transfers from these formats projected in a cinema and - while they suffer from some compression - they are probably going to be a significant part of the future for television commercials given that such ads are predominantly designed broadcast, not theatrical, use.

For many ad scripting teams it will become hard to resist the value for money small HD camera systems can offer. Look at what adland can get for its location ideas: more locations, bigger set ups, and a shorter shooting time.

The rise of the small HD camera system is likely to have a huge effect on adland's creatives. It already is on film folk. I know a couple of directors of photography who have bought them. There are directors who are doing the shooting themselves - so if you see a guy in the street who looks like he's casually taking a picture, you may not even know he's actually shooting a commercial as you walk past.

- Tom Petch is a screenwriter, producer and director of the location management film production company Salt Film.

Topics