THE FOOTBALL CHAMPION Adam Goodes documentary, The Australian Dream, and Australia’s official submission for the Academy Awards, Buoyancy, have been nominated for the 13th Asia Pacific Screen Awards (APSA).

There are among the 37 films from 22 countries and areas of the Asia Pacific that have achieved nominations, drawn from the 289 films in the APSA competition.

Films from India, People’s Republic of China, Republic of Korea and Russian Federation will vie for the coveted Best Feature Film prize. 

The awards will be staged alongside the Asia Pacific Screen Forum in Brisbane from November 18 in an exciting program of public and industry events.

Brisbane’s big week of Asia Pacific screen events will culminate in a glittering awards ceremony on November 21 at the Brisbane Convention and Exhibition Centre.

Competing for Best Feature Film are So Long, My Son, which grapples with China’s controversial one-child policy; Balloon, a poetic rumination of life on the Tibetan grasslands;

Russia’s official Academy Awards submission and post-World War II Leningrad tale, Beanpole; The Gold-Laden Sheep and The Sacred Mountain, which follows two shepherds searching for a downed aircraft in the remote Himalayas; and Korea’s critical and box office smash hit Parasite, which won the top prize at the Cannes Film Festival this year.

REPUTATIONAL EVENT

Brisbane Lord Mayor, Adrian Schrinner said the Asia Pacific Screen Awards continues to grow in reputation as an event that brings together the many cultures and voices of the region.

“For the local and global screen industry, Brisbane is becoming a hub for screen business each November,” Cr Schrinner said.

“The Asia Pacific Screen Awards is an important week in Brisbane’s cultural calendar, and this year we are thrilled to present free events to the public.”

The program includes free screenings of the APSA-nominated animation films at the Gallery of Modern Art (GOMA), and a special National Film and Sound Archive screening of the iconic Sunday Too Far Away, followed by a rare panel discussion between screen legend Jack Thompson and iconic Australian actor David Wenham.

For industry, the Asia Pacific Screen Forum will present a program of events and opportunities to cement ties between the filmmakers and screen industries of the region, unlocking opportunities for the local industry to connect and collaborate.  

SCREENING THE FUTURE

APSA also continues to be a drawcard for screen-based conferences and events, with this year, the region’s leading computer animation festival SIGGRAPH Asia confirmed for Brisbane, presenting yet more opportunities for industry.

Chair of the Asia Pacific Screen Awards and its Academy, Michael Hawkins congratulated the nominees.

“APSA ignites and honours cinematic excellence, across the vast region of Asia Pacific,” Mr Hawkins said.

“The spread of nominees encompasses some of the region’s most acclaimed auteurs and outstanding emerging voices and APSA is proud to foster their development and opportunities through the Asia Pacific Screen Forum and their induction to the Asia Pacific Screen Academy.”

APSA represents the 70 countries and areas of Asia Pacific, covering one third of the earth, and encompassing 4.5 billion people and half the world’s film production.

APSA is an international cultural program supported by Brisbane City Council and driven by Brisbane Marketing. APSA is endorsed by foundation partners UNESCO and FIAPF-International Federation of Film Producers Associations. The awards ceremony is an exclusive presentation unique to Brisbane.

www.brisbanemarketing.com.au 

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By Leon Gettler >>

COPYTRACK, one of the world’s leading image rights enforcement services, is a service that makes sure photographers get paid for their pictures.

This is a lot more critical now as photos are easier to steal, through the internet. With digital images, the moment they are published, they immediately go world-wide. It’s a completely different proposition to the time when photographers still kept the originals.

Copytrack is a platform for photographers, image agencies, e-commerce companies and publishers. They upload the images and Copytrack will find all the ‘hits’ on them worldwide.

Copyright owners can then look at the ‘hits’ and decide whether it’s legal, or otherwise, and if necessary, take action. The aim is to ensure photographers control their rights and users are not stealing images. 

Speaking from Berlin, Marcus Schmitt, the CEO and founder of Copytrack, said the firm manages this complex challenge through its technology.

“Eighty percent of these hits are (often proved) illegal, so they can click on it and submit a claim to us,” Mr Schmitt told Talking Business.

HI-TECH TRACKING

Copytrack has developed a ‘crawler’ bot that wanders over millions of websites.

“We have a certain technology that allows us to do it very quickly so we don’t have to move big data,” Mr Schmitt said. “We extract certain criteria of an image and compare those. It’s quite smart and a very powerful engine.”

Some of the crawlers look at websites all over the world and other crawlers are directed to certain servers.

“For example, if we have a client who wants to check whether his clients licensed all the images used, then we can point it to certain servers,” he said.

The infringing party is then asked to pay a “very reasonable fee” through a post-licensing process.

FAIR PAY

The photographer gets 70 percent of the fee, and Copytrack clips the ticket and gets the balance. The post-licensing system works in every country around the world.

“If we have to go further and take some legal steps, then currently they get 50 percent of the revenue,” Mr Schmitt said.

He said Copytrack was constantly taking infringers to court.

“We maintain a network of lawyers worldwide,” Mr Scmitt said. “Depending on the countries, sometimes we are very successful with a pre-court settlement.”

The top countries for copyright infringement are the United States, China and Germany.

Prime examples of copyright theft include Rab Lewin, a photographer who captured iconic images of Kurt Cobain and Nirvana and then found they had been stolen; and the case of a hotel chain which took an image and distributed it to all travel agencies to use on their websites.

www.copytrack.com

www.leongettler.com

Hear the complete interview and catch up with other topical business news on Leon Gettler’s Talking Business podcast, released every Friday at www.acast.com/talkingbusiness.  

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FROM ORIGINAL works of art through to textiles and fashion accessories, Tarn Mclean’s works are a study in natural beauty, the fluidity of art and a demonstration of her phenomenal talent.

A doctor of philosophy, majoring in painting, Dr McLean’s new collection under her lifestyle brand Ocre – which officially launched in May in Sydney – features 12 stunning original works of art, a derivative collection of fabric and wallpaper designs and a curated collection of handbags with luxurious finishes in 22 carat gold, opal stone and pearl. 

While each of the components work independently, they all derive inspiration from the one source – the floral zodiac – with the 12 evocative works of art each representing a floral emblem of the 12 star signs that form the basis of the collection.

“Inspiration came to me two years ago on my birthday,” Dr McLean said. “I’m a Capricorn and as my birthday is in January I was planning my creative year ahead and wondered what my zodiac flower was. If I had one then everyone had one. The rest, as they say, is history.

“We all know our birth month gem stone but what about our flowers? I thought if I could paint them then I could gift everyone who has ever wondered what their flowers are, in the most beautiful way I could,” she said.

The wallpapers and fabrics, meanwhile, “are a representation of the paintings, but in a more democratic way,” Dr McLean said.

“Not everyone can afford to purchase the original oil paintings, so I use them as a point of departure for making beautiful homewares and accessories. A truthful testament to our dedication of turning art into beautiful designs to wear and live with.”

Currently manufactured in Australia and the UK, Ocre’s fabrics and wallpaper collections are printed to order on the finest Belgian linen and Australian cotton. 

The collection is available, at this stage through Sydney based boutique agency Inge Holst, with expansion plans set to move into global markets including both the UK and the US.

Dr McLean’s passion is for what is known as ‘non-objective painting’ – which is derived from the early 20th Century movement, Russian Constructivism.

“Russian Constructivism has a focus on human behaviour where our understanding and knowledge of the world around us is transferred into experiencing the world,” Dr McLean said. “This is why, in the commercial arena, I have an interest in providing art as turned into beautiful designs for my gorgeous clients to use, wear and live with.

“It is important that both my interests hold a story and if I design a textile or handbag they have heritage and history. The heritage is held in my ancestral line being my great, great grandfather Adam Forster, who was a botanical artist in the early 20th Century and whose works are now held in the Australian National Library, Canberra.”

Dr McLean’s handbags add a fashionable touch to the collection. The embodiment of Ocre’s ‘laid-back Australian luxury’ aesthetic, the bags are all made of the finest materials and are hand-constructed in Australia.

While each design features luxury natural embellishments such as pearl shell, opal boulder rock and 22 carat fittings, they are also all lined with the zodiac fabrics – creating a neat tie-in with the new collection. 

“Luxury handbags have long been an obsession of mine and after studying fine art I realised I wanted to share my knowledge and skills with my friends, but in such a way that they could wear and use my art,” Dr McLean said. “Handbags were the most obvious choice.

“Finding the finest craftsmen on shore here in Australia has been a challenge, but I believed from the beginning, if Italy can have Louis Vuitton and Ferragamo, then Australia can have its own: Ocre.

“And while we’re at it, magnify our beautiful resources – and a culture of laid back luxury.”

www.ocredesigns.com

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By Leon Gettler >>

IT IS hard to believe but Booktopia, now the biggest selling book outlet in Australia, started 15 years ago with a $10-a-day budget.

Co-founder Tony Nash said that was on the instructions of his brother, Simon.

“He’s very generous, my brother,” Tony Nash told Talking Business.

He said he and his team started the venture when they saw a gap in the market after working for Angus & Robertson and saw the retailer wasn’t interested in building an online business.

“With a very small budget, it just kept getting bigger and bigger,” Mr Nash said.

He said Booktopia today remains very focused on customer engagement.

“We asked ourselves the same question and have done so for the past 15 years and that is, what do our customers want, and by asking ourselves that question and answering that question, you’re on a voyage of discovery,” Mr Nash said. 

He said they found customers wanted stock, they wanted the website to be a certain way, they wanted a bookseller that was Australian and supported Australian literacy programs, sponsoring writers’ festivals and readers’ conferences.

AMAZONIAN STRENGTH

Booktopia also found customers wanted faster delivery and wanted books delivered via the Australia Post network.

As a result, the business shifted next to the Australia Post hub in Sydney.

He said Amazon has not made that big an impact on the business.

“We’ve gone from $80 million to $130 million since they announced their arrival,” Mr Nash said.

He does not regard Amazon as a threat because it is everything to everyone, whereas Booktopia is in the business of books.

“It you’re everything to everyone, you can’t be one thing to a vertical market,” Mr Nash said.

STAYING FOCUSED

He said his research found that companies that did well in an Amazon mature market were those that focused on doing one thing really well.

“That way people know who you are and they keep coming to you,” Mr Nash said.

He said this was particularly important when the shop front is a website.

He said when the business was established, people said bookshops were dying, it was the end of the physical book and that Amazon would annihilate the business.

None of that was true, he said, but the key to success was connecting with the customer. 

“It’s not just about having books on your shelf and having people come in, it’s really connecting with the customer in your store,” he said.

Mr Nash said Booktopia tries to do that online with book experts, and interviewing authors and creating unique content.

www.booktopia.com.au

www.leongettler.com

Hear the complete interview and catch up with other topical business news on Leon Gettler’s Talking Business podcast, released every Friday at www.acast.com/talkingbusiness

QUEENSLAND-BASED startup ANTI took home the title of Australia’s Emerging Creative Startup for 2018 at the recent Creative3 event hosted by QUT Creative Enterprise Australia (CEA) in Brisbane.

Creative3 is an annual competition CEA runs to recognise Australia’s most creative startups. 

ANTI is developing a beanie style helmet designed not only for protection but to be both fashionable and comfortable. 

ANTI co-founder Robert Johnson said the ANTI team did not think it was right that in 2018 helmets still do not fit many people correctly – “and many find them so uncomfortable and cumbersome that they choose to not wear one”

“Helmets are life saving devices,” Mr Johnson said. “Nobody drives without seat belts, so why do people shred without helmets? ANTI believes that the answer to this lies in comfort, ease of use and fit.”

As the Creative3 2018 winner, ANTI will participate in the exclusive Virgin StartUp (VSU) mini accelerator, StepUp, in London. 

Following their week-long intensive, the startup team members will travel to Copenhagen to represent Australia as part of the global initiative for creative entrepreneurship and innovation at the Global Creative Business Cup finals (CBC).

“Being Australia’s Emerging Creative Startup for 2018 is an incredible recognition,” Mr Johnson said. “It gives us credibility in the market. A lot of people don’t believe we make soft helmets as safe as anything else. It shows that we can actually do it and be a real company.

“It’s a fantastic recognition for all the work we’ve put in and we’re really proud to have gone against the other teams and to have gone really well in front of all these people.” 

Creative Enterprise Australia CEO Mark Gustowski, said ANTI took home the award because they came up with an elegant solution that solves problems for a lot of people. 

“They have developed a beanie style helmet that is a protective, fashionable and wearable clothing,” Mr Gustowski said.

“Initially marketed to skiers and snowboarders, it actually has applications for bikers, kids and the disabled, and it touches so many people. They won the crowd because of the impact they can have globally.” 

www.creative3.com.au

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THE Australian Small Business and Family Enterprise Ombudsman, Kate Carnell has called for more transparency in the collection and distribution of royalties to musicians through the Australasian Performing Right Association (APRA) before it is re-issued its five-year licence to operate.

“We have asked the Australian Competition and Consumer Commission (ACCC) to take into account a number of conditions that would give Australian small business artists their fair due and make APRA’s reporting obligations more transparent,” Ms Carnell said.

“APRA has a near monopoly on the collection of fees from businesses that play music and the royalties are distributed to artists based upon what is played on commercial radio. 

“This means emerging Australian artists whose airplay is mostly through community radio, background music, internet radio and other broadcasters do not get paid the royalties they otherwise should," she said.

“This approach makes it difficult for home-grown emerging artists to get their fair share of royalties.

“A number of Australian small businesses and industry associations have also raised concerns about how APRA determines its fees for small businesses based on maximum capacity instead of opening times and the actual capacity during those times.

“For example, venues are charged based upon their total capacity rather than the area of the venue that is being used at any point," Ms Carnell said.

“These, and a number of other issues in our submission to the ACCC are critical to the future of Australian small businesses and must be addressed before the APRA licence is re-issued."

www.asbfeo.gov.au

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CREATIVE Industries contributed $111.7 billion to Australia’s economy in 2016-17, according to new analysis by the Bureau of Communications and Arts Research (BCAR).

Known by the BCAR as ‘cultural and creative activity’, the sector relates to the arts, media, heritage, design, fashion and information technology.

The BCAR’s new working paper, Cultural and creative activity in Australia 2008-09 to 2016-17, shows a 30 percent increase in the value of such activity, from $86 billion in 2008-09 to $111.7 billion in 2016-17. 

This equates to 6.4 percent of Australia’s Gross Domestic Product (GDP) in 2016-17.

The working paper tracks annual growth in cultural and creative activity, based on data from the Australian Bureau of Statistics.

A BCAR spokesperson said the analysis measures the economic activity driven by cultural and creative industries as well as the wages received from cultural and creative occupations. It identifies how this activity has evolved over time, the drivers of change and how it contributes to Australia’s overall economy.

Activities contributing the most to the economy were design ($42.8 billion), fashion ($14.2 billion), and broadcasting, electronic or digital media and film ($9.7 billion) in 2016-17.

Design has experienced significant growth over the past decade, driven mainly by computer system design and related services.

www.communications.gov.au/bcar

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