Paper Moose is pushing the boundaries. The Sydney-based creative agency churns out incredible videos, soundtracks, installations and experiences like they’re going out of fashion.
They’ve been entrusted to capture the magic of our City of Sydney’s New Year’s Eve, Peats Ridge festival and world-beating Aussie musical acts such as Vera Blue and Chet Faker.
In one of the fastest moving industries in the world today, we were lucky enough to chat with Nick Hunter, creative director at Paper Moose, to pick his brain about how his company manage to stay ahead of the pack.
Give us the elevator pitch about Paper Moose and what makes you unique!
Paper Moose is a creative agency spanning film, design and experiential. We are storytellers first and foremost, believing that great communication inspires action no matter the medium. We love projects that challenge our boundaries and relish the opportunity to innovate.
We are storytellers first and foremost
What makes us most unique, I think, is our voice. We’re made up of a fantastic group of people who have awesome ideas and are encouraged to bring themselves to everything they do. This means that all of our work has a really unique feel because we’re not trying to make something in a certain way, we’re making something and we’re doing it our way.
How important is the practice of innovative thinking to what you guys do?
Innovative thinking is very important to our business as we are quite often approaching projects that have never been attempted before. We like to stand on the precipice and do our best to pioneer a way forward.
When you’re approaching a project for which no precedent has been set, if you’re not able to think creatively and write the rule book yourself, then you won’t get the job done.
Due to the nature of the way branded content and commercials are moving, in terms of budgets, we have to be quite innovative in how we execute content in order to keep our operation agile and allow us to continue doing the things we love doing, the way we love doing them.
What trends are you seeing in your creative field and how are you staying ahead of them?
In the last few years the demand for content has skyrocketed. Businesses are starting to better understand the need for good quality content as more and more content is created, and there is a much larger range of platforms out there for that content to be consumed on.
We are seeing less large budget TVCs come through the door, but more long-form branded content series aimed at an online audience who might be open to being openly sold something.
They’re too wise for the hard sell. They need good content that they’ll enjoy that’s also integrating a sale. The content is a vehicle for smuggling through what the brand wants to say: it’s a Trojan Horse that’s full of … salespeople, I guess. Trojan Salespeople!
To stay ahead of this curve, we always make sure to maintain our point of difference and our voice.
Tell us about a recent project you completed that particularly excited you.
Towards the end of last year, we received some funding to create a virtual reality proof of concept for the ABC. It is a comedy narrative series that really pushes what can be done in the VR space.
There aren’t a lot of comedies in that space out there, so to be working in that field where very little experimentation has so far been conducted is super exhilarating. We’re all really proud of the piece of work we created and so far have received very positive responses to it. Watch this space.
You work across so many different mediums. Tell us how your collective works effectively together using Adobe Creative Cloud for teams.
Over the last nine years we have continually revised our workflows and systems, trying many different programs in that time, but I believe we are now all on the Creative Cloud and find it a great tool to increase our efficiencies. Adobe has so many different products that, like us, span across so many different mediums, so there is pretty much an Adobe product for every aspect of our business.