• A brand advocacy based on agility

    What lessons can be distilled from 25 years of delivering visual assets and digital solutions?

    • The only constant is change
    • Agility drives innovation
    • Innovation delivers growth

    Founded by visionaries after a dinner table conversation at the advent of the World Wide Web, a privately owned digital agency grew to deliver solutions to globally recognised brands.

    Requiring a brand name to dramatically reflect the anticipated global technological and communications revolution, the founders invented “Digital Tsunami”.

    The tidal wave of change since late last century has transformed every aspect of our business, social and personal lives. In the developed world, everything we do and everything we touch is digitally connected. 

    The last two years have accentuated this, from WTF! to WFH.

    Businesses have faced the option of closing their doors or opening their minds.

    • Nothing is constant
    • Everything changes
    • We must adapt
    Source: Content Marketing Institute

    Digital Tsunami has recognised that many companies do not have in-house marketing teams, and do not engage external agencies. Their need for effective marketing strategy and visual assets remains unfulfilled, and consequently, so do many opportunities for growth.

    Our solution to this clear need, is an ‘in-house Creative Counsel’, with the advantages of an internal resource, but without the overhead of a traditional agency.

    We call this new model: ‘Brand Advocate’.

    Brand Advocate offers you a dedicated team-member; embedded in your organisation; with a proven track record, decades of expertise, and extraordinary agility and creativity, the flexibility to accommodate scalable business demands, and a pro-active approach to stimulate opportunities.

    Every day is a new day.

    Expand your tomorrow with Brand Advocate today!

    Digital Tsunami has delivered effective solutions to globally recognised clients across six continents, numerous languages and an extensive range of sectors

  • latest tech waterjet cutter

    Q4: hyperlapse and the long tail

    A dramatic hyperlapse video and a website for a China access control manufacturer were among the projects which Digital Tsunami completed in the fourth quarter of calendar year 2019. The company continued to deliver effective digital communications to a diversity of business sectors across the globe. After over twenty years of providing technologically advanced solutions, it is unsurprising that many of our projects are the result of referrals and returning clients. Some clients are so delighted with our work that they become 'serial clients', returning to us again and again, as they establish or work for different brands. It is even more gratifying when a client returns after many years since a previous collaboration. An Austrian company for whom we shot photography in Guilin, China in 2005, recently asked us to quote another photographic shoot in China. For other project we are preparing to shoot in Australia's remote Northern Territory and at a manufacturing plant in rural Thailand In 2011, we produced branding and photography for an American-owned manufacturing plant in China. In April, we developed a website and will shoot photography for the same factory in July. Now part of a Swiss owned, global security group with origins in 1862, we are liaising with the APAC head office in Australia. Many of our referrals reflect this multi-national context. A contact from Hong Kong referred us to an Israeli firm, wanting to shoot video of their product at an Irish pub in Melbourne, on St Patrick's Day! We are grateful to another client who referred us to multiple prospects this quarter. In pro bono support of Melbourne artist Rone, we enabled a hyperlapse shoot of Rone's EMPIRE installation in the streamline-moderne mansion, Burnham Beeches, Melbourne, Australia. For the brands which we support in the engineering and manufacturing sector, we keep our technological understanding current by attending events such as the AusTech manufacturing and machine tool exhibition and the Industrial Evolution show, both held during National Manufacturing Week. Latest technologies are in use by some of our clients; like the intensely high-pressure waterjet cutter (which cuts steel) and the non-invasive robotic x-ray equipment, recently purchased by Craig International Ballistics (a defence contractor to which we have delivered aerials, identity, photography, print, video and web solutions. Throughout the quarter, we researched and prepared videos for: the Thai factory; Fiji underwater diving; Melbourne aerials; Adelaide 3D manufacturing; and continued consultations with a sustainable nutrition brand and a geo-surveying practice. Digital Tsunami constantly strives to deliver 'Communications Evolution' to our clients. Our values of sustainability, diversity and efficiency are driving forces behind our objective of ensuring our clients achieve their aims, by communicating effectively with all their stakeholders, across all touch-points. If your brand could benefit from more effective visual assets, contact Digital Tsunami today!
  • hyperlapse video

    Capturing time

    Aesthetically, a highlight of recent projects was our pro bono support of a Melbourne artist rapidly gaining international recognition. Starting as a talented street artist, Rone recently spent a year designing an ephemeral immersive installation in a 1930s streamline-moderne mansion in Melbourne's outskirts. Entitled 'Empire', the interior of the derelict Burnham Beeches, was filled with furniture, light fittings, table settings and framed artworks, juxtaposed with the decay of peeling wallpaper, decomposing paint, penetrating trees and pervasive leaf litter. On the walls of thirteen rooms, Rone painted oversize portraits of a young woman's face. With subdued lighting and evocative music (composed for the installation), and a virtual reality tour (on head-mounted-displays), the effect on visitors ranged from an aesthetic appreciation to a visceral emotion. As an admirer of Rone's artwork, Andrew W Morse was delighted to meet the artist during a visit to the exhibition, and offered to contribute to his future projects. That opportunity arose just days later, when Rone called to ask us to arrange a hyperlapse shoot to document the installation as it was disassembled. All artists are aware of their own mortality and the impermanence of their works. Time, materials, sunlight, nature and human action can all contribute to damage and the eventual destruction of many artworks. Some 'street' artists actively embrace the temporary nature of their work; whether Banksy intentionally starting to shred a framed work immediately after being sold at auction or Rone painting his work on a condemned building. Hyperlapse is the term given to a time-lapse in which the camera is moving. Digital Tsunami coordinated delivery of dolly track and stabilising weights and an advanced motion-control camera system by which the hyperlapse could be captured. On the shoot day, a specific path was devised to match a sixty second piece of custom composed music. The camera position (track, pan, tilt, and focus) was replicated precisely in scores of takes to the exact duration of the music. On each 'pass', elements within the foreground and background were progressively removed until all remaining was a white painted bare shell. During the edit, the many takes were frame aligned and then a succession of dissolves created the impression of solid objects transitioning through an ethereal presence to a mere hint of memory. The films produced by Rone of the Empire project all celebrated its intrinsic impermanence, none more so than the hyperlapse sequence of a 30 metre dining room as it transformed from a fully furnished to an empty room. Film is an emotive medium. The hyperlapse sequence of Rone's Empire achieved extraordinary impact by visually capturing the very essence of the temporary. Speaking of Empire, Rone said "long after the paintings are gone, this photographic memoir and accompanying soundtrack will present an opportunity to .. be transported to this special space that we reclaimed, albeit fleetingly". Watch the hyperlapse. conceptualiser: Rone production: Rone and Andrew W Morse venue: Shannon Bennett, Adam Garrisson interior stylist: Carly Spooner organic sculptures: Wona Bae, Charlie Lawler composer: Nick Batterham muse: Lily Sullivan lighting cameraman: Chris Matthews motion control rig operator: Gerald Thompson
  • visual asset production

    2018 – innovation and agility

    After developing a government-level sales presentation for a manufacturing client last year, we were recently asked to format a bid document for the same company. Neither of these tasks is a core competency, but the close relationship between Digital Tsunami team-members and our clients is based on supporting their brands across all customer and prospect touchpoints.

                                  "Determine what your customers need, and work backwards"                               Jeff Bezos, Amazon

    Consultants and agencies who attain the trust and respect of clients, are often given the opportunity to expand their horizons. If your brand philosophy is open to accepting challenges, this can result in a broadening of skills and even the development of entirely new revenue streams. In the past, Digital Tsunami has been tasked with delivering an extensive range of content: aerials, branding and identity, online, photography, press, print, timelapse and video. For one exclusive property development, we recently produced a cohesive campaign of bilingual property name and identity, branding strategy, aerial video, computer animation, diecut invitation card, high-end premiums, lightboxes, photography, double-page press ad, shopping bag, storefront decoration, responsive website, video book, virtual reality, data sheets, booklets and a 248 page hardbound book. One or two of these components were new to us, but we willingly accepted the challenge to produce high quality collaterals, consistent with our wholistic vision and the specific brand style we had conceived. The option could have been to say "We have never done that before" or even "It's never been done before", but that would have prevented us from learning, exploring the best materials and suppliers, and gaining expertise.

                                  "The biggest risk is not taking any risk"                               Mark Zuckerberg, Facebook

    For creative agencies, challenge and innovation are as necessary as breathing. There is a great deal of excitement in facing new challenges, exploring new technological applications and savouring successes. Whether this is AR, MR or VR (augmented, mixed and virtual reality), or new presentation formats (video books, VR glasses or handheld AR), the advocacy, relevant application and success for a client is the objective. In 2017, the range of our work was extensive. Digital Tsunami shot video in Australia, China and the USA; delivered sales presentations to African governments for a Hong Kong manufacturer; created identity, business cards, brochures, photography and a web presence for a Sydney startup; designed print, shot aerials, photography and video for a China energy corporation; produced a data sheet for an Australian defence contractor and shot aerial photography for a Sydney real estate project. The year was one of celebration not just for these interesting and challenging projects, but as it also marked 21 years since the inception of Digital Tsunami in Hong Kong in 1996. Founded on the concept of "Communications Evolution", the brand name was devised as a metaphor for the dramatic transformation of business communications and society which has since occurred. An agile philosophy and a dedication to our clients has allowed Digital Tsunami to flourish and expand its capabilities, staying vital amidst constantly evolving technological developments and business demands. We welcome the inspiration of creative and technical challenges in the year ahead.
  • web design

    Online innovation in 2016

    In 2016, Andrew W Morse was again invited by WMA founder Bill Rice, to join a select group on the international judging panel of the WebAwards. With a long history of visual communications and digital media, the founder of Digital Tsunami has considerable expertise to analyse and comment on submitted sites.

    Judging criteria

    Created in 1996 (the same year in which Digital Tsunami was founded), the WebAwards is dedicated to setting a standard of excellence for web development. The judging panel assesses the components of:
    • Aptitude
    • Copywriting
    • Design
    • Ease of use
    • Innovation
    • Interactivity
    • Technology
    For the judges, it is instructive to view a number of sites which excel in interactivity and innovation. These exceptional sites are viewed in context of the mainstream. The vast majority of submitted sites; while they may be well constructed, well organised, well written and visually attractive; do not deliver impact or engagement.

    Innovation and interaction

    There is a big emphasis on usability and innovation. Yet these are not new concepts. Last century, websites and software was referred to as being 'user-friendly'. Now, brands can spend tens or hundreds of thousands of dollars, on information architecture; requirements specification, technical specification and functional specification documentation; usability analysis with eye-tracking and focus groups; and User Experience (UX) analysts; to ensure that functionality is as simple and intuitive as possible, to minimise abandonment rates and ensure happy customers. In a world of immediacy, rapid change and global exposure, true innovation is evident, but hard to distinguish amongst the plethora of media we see every day. Digital Tsunami has been fortunate to work with clients who appreciate the value of proven innovation when appropriate to the target market.

    Three examples

    Amongst Digital Tsunami clients, three prime examples of current innovation and interactivity stand out. For a national educational organisation, Polymer 1.o was utilised to provide a simple, impactful and effective interface for teaching school kids to ride bikes safely. The Let's Ride site was built with the developers beta pack and released on the same day that Polymer 1.o was launched. It can't get much more innovative than that! For a Chinese property developer, of paramount importance, was a responsive site which integrated both vertical and horizontal scrolling and video on all devices. Digital Tsunami delivered a bilingual (simplified Chinese character and English language) site which fulfilled this imperative, and used photography and succinct text to promote one of the most luxurious and well-engineered residential complexes in China: Master Residences. For a government water management authority, simple, clear and editable interactive maps were a focal point. The site features interactive Google maps overlaid with location markers for: catchment areas, rivers and creeks, weirs and dams, fishways; nationally and regionally significant wetlands; as well as past and current watering events. These maps enable the plotting of water courses and the setting of irregular catchment areas, to dynamically demonstrate the impact of the water releases upon both farming land and the environment. As a judge for the WebAwards, Andrew W Morse applies an awareness of current technologies, accessibility and efficient functionality, to consider all websites. Digital Tsunami can do the same in your sector, and ensure that your brand communicates effectively with your clients and customers.      
  • communications solutions

    Twenty turbulent years: MCMXCVI AD > 2016

    "The world has changed" An accurate statement at any point in human history. However, in the last 20 years, the world has changed more rapidly and more dramatically, than at any other time in human history. American Futurist Ray Kurzweil speaks of an exponentially increasing rate of change. The impact of this change has been seismic. Of critical importance are the human and corporate behavioural changes which have resulted from this turbulent technological transformation. They range from professional (online collaboration) and personal (ratio of text to face-to-face verbal communication), to physiological: the thumb is the new ‘index finger’. In 1996, law firm decision-makers were perplexed at how to view their own prospective websites, as they had typing pools but did not possess computers! Two decades later, law firms and courtrooms are filled with laptops. In 1996, salespeople out in the field had to use a telephone to call the office or printed forms to place orders. In 2016, customers directly place their own orders and pay online. As hardware increases in speed and capacity, software increases in complexity, and stored data increases geometrically. Petabytes (1015) of data are created every day, with the extraordinary CAGR of 42%. A recent Cisco report indicates that in 2016, global IP traffic will reach 1.1 zettabytes (1021), that’s equivalent to one exabyte (1018) or one billion gigabytes a month, and within three years, that will double! There is an expected global storage capacity challenge. Unless denser commercial data storage technologies emerge within several years, the world’s ability to generate zettabytes of data will exceed its ability to manufacture sufficient data storage capacity. The world could be drowning in data, with nowhere to hold it! Below are some 1996 technologies and comparisons with the situation in 2016. Computing performance is measured in FLoating-point Operations Per Second (FLOPS). A GigaFLOP is ten to the power of 9, (109) or 1,000,000,000 = one billion calculations. A TeraFLOP is 1012 or 1,000,000,000,000 = one trillion calculations. A PetaFLOP is 1015 or 1,000,000,000,000,000 = one quadrillion calculations. In late 1996, Intel's ASCI Red supercomputer was the world's first computer to achieve one TeraFLOP. The amortised investment per GigaFLOP was US $30,000. As of June 10, 2013, China's Tianhe-2 ("Milky Way 2") was ranked the world's fastest supercomputer, with a record of 33.86 PetaFLOPs, at a cost of just 22c per GigaFLOP. The Motorola StarTAC clamshell feature phone was released in 1996. At the time, Personal Digital Organisers (PDAs) had many of the features of later handheld devices. In 2016, many people over the age of 15 (in the developing world) carry a handheld computer (smartphone) in their bag or pocket. In 1996, the world wide web had just been enabled (with the advent of the Mosaic web browser), email was a novelty (and not yet a necessity or a burden), and some of the world’s largest corporations and most recognised brands today were in their infancy or did not even exist! In 1996, the following brands did not exist: Baidu, Wikipedia, LinkedIn, Wordpress, Facebook, YouTube, Twitter, WhatsApp. All have enjoyed prodigious success since their subsequent launches: Baidu (2000) 643 million (mn) active users per month (pm); Wikipedia (2001) 18 billion (bn) page views pm, 500 mn unique visitors pm; LinkedIn (2003) 400+ mn professional profiles; Wordpress (2003) 74.6 mn sites; Facebook (2004) 1.1 bn users; YouTube (2005) 4 bn videos viewed per day (pd), 300 hours of content uploaded per minute; Twitter (2006) 300+ bn tweets sent; WhatsApp (2009) 1 bn users, 30 bn messages sent pd, (acquired by Facebook in 2014 for US$19 bn). The world’s human population was 5.8bn. In 2016, it is 7.4bn. In 1996, there were 250,000 websites and 77 million Internet users (1.3% of the total population). In 2014, there were a billion websites and almost 3 billion Internet users (40%). In 1996, DSVD (Digital Simultaneous Voice and Data) modems were ratified as V.70 by the ICU in 1996 and the fastest modems offered a maximum upload speed of 33.6 kbit/s (1000 bits per second). In 2016, a DisplayPort 1.3 (4-lane High Bit Rate 3) has a capacity of 32.4 Gbit/s (32 billion bits per second). In 1996, The first version of the Java programming language was released. In 1996, the Macintosh was the all-in-one desktop computer offered by Apple. The MS-DOS-based, Windows 95 operating system was installed on all Microsoft computers. In 1996, desktop monitor resolution was commonly 640 x 480 pixels. In 2016, the resolution of the current iMac desktop monitor is 5120 2880 px. Web developers wanting consistency between O/S and monitors used 216 ‘web safe’ colours. In 2016, computer monitors can display 16,777,216 colors. In 1996, Netscape was the most popular web browser. Internet Explorer rapidly gained users as it was bundled with Windows in PCs. In 1996, the commonly used search engines included WebCrawler, Lycos, AltaVista, Excite and Dogpile. The Google web search engine had just been initiated as a Stanford research project. In 1996, the first HDTV-compatible front projection television was introduced in the USA. Broadcasters, TV & PC manufacturers set industry standards for digital HDTV. Now, the film production and television monitor standard is 4K. In 1996, Macromedia Flash (animation software) was still at version 1.0. Twenty years on, it is no longer supported, and has been superseded by HTML 5 markup language and now Google Polymer software library (used to define and style Web Components). In 1996, Dolly the sheep, was the first mammal to be successfully cloned from an adult cell. In 2003, the Human Genome Project completed sequencing 99% of the euchromatic human genome with more than 99.99% accuracy. In 1996, IBM computer Deep Blue defeated grand-master Garry Kasparov at chess. In 1996, Pokémon Red and Green was released in Japan. Pokémon now has hundreds of millions of adherents, worldwide and has generated US$37.76 billion in revenue. In 1996, David Bowie's song "Telling Lies" became the first single offered as a digital track by a major record label. In 2015, upon the launch of the iPhone 6, rock band U2 controversially distributed their album "Songs of Innocence" for free, to every iTunes account. In 1996, Hong Kong was still a colony of Britain, but within a year would revert to Chinese sovereignty. The 13 storey height limit and flashing neon sign prohibitions imposed on Tsim Sha Tsui buildings (due to the central Victoria Harbour location of Kai Tak International Airport) were lifted in 1997 (when the new Chek Lap Kok International Airport opened), enabling 100 storey buildings to be constructed and the city to be illuminated in a "Symphony of Light". The global technological, corporate and behavioural landscape has changed even more than the dramatically vertical cityscape of Hong Kong. While the changes of the twentieth century (in transportation, communications and a resulting globalisation) were revolutionary, the changes wrought in the Digital Age of the last two decades, have been unprecedented. Despite the overuse of the word 'future-proof', what happens in the next 20 years is hard to foretell.   Digital Tsunami was founded in Hong Kong in 1996. The company name and brandline 'Communications Evolution' were selected to convey (for some, quite confrontingly) the immense and comprehensive impact which digital technology was expected to deliver. For twenty years, Digital Tsunami has consulted to global brands, MNCs and SMEs on digital strategy and content solutions which benefit these brands.   Image credit: Frances Gunn Sources:
  • multilingual web design

    Gong Xi Fa Cai : Happy New Year

    恭禧發財. Gong Xi Fa Cai. Kung Hei Fat Choi. Chúc Mừng Năm Mới. Whatever your language, Happy New Year. The lunar new year starts at the second new moon after the (northern hemisphere) Winter Solstice. Celebrated by people of Chinese origin the world over, each lunar year is attributed to a sign of the zodiac. In the 12 year cycle of the Chinese astrological calendar, 2016 is a Year of the Monkey. The Wu Xing (Five Elements) sign of the Monkey is Jin (metal), which indicates brilliance and perseverance. Chinese zodiac analysts say that people born in a year of the Monkey have business traits of intelligence, eloquence, adaptability, flexibility. Their personal traits are: brilliance, independence, honesty, cordiality and positivity. Monkeys are reputedly problem-solvers, strong leaders and highly sociable. Throughout China and in Chinese communities around the globe, celebrations with dragons, sea-lions, lanterns and firecrackers will celebrate the new year. Many businesses close for extended periods, and many employees in the Greater China region take annual leave and visit families at ancestral homes. In the Chinatowns of major cities across the world, there will be activities in which the whole family can watch or participate. For details of activities in Hong Kong or Sydney, visit: or Digital Tsunami was founded in Hong Kong in 1996. Creative Director, Andrew W Morse, has an understanding of the Greater China market and Chinese business philosophy and practice. He first visited the mainland in 1986, and built up 关系 (guanxi) as lived, worked, travelled and filmed for clients across China. Morse has worked in cities from Yinchuan and Xi'an in the central north to Tianjin in the north east, Taipei and Shanghai in the south east to Zhuhai and Macau in the south. Last year, he was in a north western province of Ningxia (near Inner Mongolia), producing online, print and video solutions for manufacturing, power production and real estate companies. The company has also worked for and with people of Chinese heritage in Australia, Canada, Fiji, Hong Kong, Indonesia, Macau, Malaysia, New Zealand, The Philippines, Singapore, the USA and VietNam. Digital Tsunami delivers branding, eStrategy, interactive, photography, print, video and web solutions to Chinese clients and businesses in China or promoting their products and solutions to the immense China market. To promote your brand in this challenging new year of the Monkey, contact Digital Tsunami today (or as soon as you return from festivities)!
  • photography

    Innovative mega-media spectacular for Swan Hill

    Swan Hill joins Hong Kong, Singapore and Macau as a host city to a light and sound spectacular. Celebrating its 50th year of operation, the riverside Pioneer Settlement has invested over $3.8 million in the state-of-the-art multimedia laser light show, an augmented reality experience, and freshly renovated venues. Located on the Victorian side of the Murray River border with New South Wales, this redevelopment is expected to increase tourism and provide economic benefits for the Murray River region. Today, Laservision’s ‘Heartbeat of the Murray’ mega media show entertained state and federal government representatives, dignitaries, staff and contractors, when Pioneer Settlement officially opened the permanent tourist attraction. As night fell, local indigenous didgeridoo player Nick Hayne, added to the ambience of the Little Murray River, as crowds gathered in an amphitheatre to view the inaugural event. In one of Laservision’s newest and most technologically advanced creations, the 24-minute ‘Heartbeat of the Murray’ dreamtime sequence showcases both the talent of the creative team and the natural landscape of the Murray River. The spectacular creates a unique sensory experience by a seamless combination of: a large array of LED, motorised and high-intensity lighting; high-definition video projection; a musical soundtrack; over 20 high-powered water fountains; multiple water screens; intense fire effects; snow, fog and bubble effects; as well as Laservision’s signature, state-of-the-art laser technology and proprietary fibre-fed media servers; to create a stunning 360-degree immersive experience. “Nowhere else in Australia are people able to experience anything like this.” stated Director of Mega Medium Attraction Development, John Kehoe. “Our creative and technical teams have been able to leverage the river’s natural landscape into the show, providing an outcome that is not only visually stunning but environmentally friendly.” It uses water from the Murray to power it’s high-powered fountains and water screens, complemented by energy efficient LED lights. The show takes the audience on a journey through time, from the Southern Ocean, millions of years ago, to the present day. On ‘Heartbeat of the Murray’, Laservision General Manager, Shannon Brooks, said, “Laservision is very honoured and proud to have created a truly unique mega media attraction for the Swan Hill Pioneer Settlement. Along with Marina Bay Sand’s laser light show in Singapore, and our Guinness World Record ‘Symphony of Lights’ in Hong Kong, this show adds to our stellar reputation for providing incredible world-class attractions. This time in our own backyard. We couldn’t be prouder.” The ‘Heartbeat of the Murray’ laser light spectacular has public showings every night at Swan Hill Pioneer Settlement. About Laservision Laservision is a world leader in Mega Media Attractions, Special Events and Architectural Lighting. With 30 years of active industry experience and as an approved Government Research & Development facility, Laservision is constantly devising new and innovative ways to materialise the creative, which has resulted in international recognition and awards. Laservision’s original creations are enjoyed every night, by tens of thousands of people around the globe. About Digital Tsunami Founded in Hong Kong in 1996, Digital Tsunami is a digital agency delivering innovative, impactful and efficient solutions to corporations worldwide. Now in its 20th year, Digital Tsunami conceives, produces and hosts multilingual strategic solutions in identity, online, photography, print and video for clients from global brands, listed corporations, MNCs, national brands and SMEs. The relationship between Digital Tsunami and Laservision has spanned almost ten years, and has included developing and hosting innovative websites since 2006.
  • aerial video

    Foodbank NSW opens new $14.8m distribution centre

    The NSW Governor has officially opened a new 6,500 m2 distribution centre (DC) for Foodbank NSW & ACT in Sydney. Superseding a smaller Wetherill Park warehouse, the new DC in Glendinning will enable a significant increase in storage of food and grocery items and throughput capacity to over 550 charitable organisations, which deliver these products to Australian families in need. An investment of 14.8m in capital from state and territory government departments and in capital and 'kind' from corporations, was the result of years of dedicated effort by Foodbank NSW & ACT CEO, Gerry Andersen and the board. A plaque commemorating the official opening was unveiled by His Excellency General The Honourable David Hurley AC DSC (Ret'd), the Governor of New South Wales. During his career in the regular army (culminating in the role of Chief of the Defence Force), the Governor had gained considerable insight into logistics. During his opening remarks, he commented on the efficiency of the planning, layout and operation of the Foodbank distribution centre. Amongst other features, the DC is increasing sustainability with LED lighting and 250KW solar installation, the largest of any similar building in NSW. In FY 2014-15, Foodbank NSW & ACT distributed the equivalent of 7.5 million meals to Australians in need, helping 114,000 families and singles every week. The capacity of the new DC will enable Foodbank NSW & ACT to progressively double and then triple current output to 60,000 meals per day. The delivery range extends from Sydney, north to Tweed Heads, south to Cooma and west to Wilcannia. Fresh food & groceries distributed by Foodbank NSW & ACT in the FY14/15 period, represented a saving of $39.2 million (retail value) to charities, community groups and government agencies. This substantial contribution enabled these groups to invest more on counselling and other support services to address the base cause of food insecurity in the community. For more statistics on the scope and achievements, read the Foodbank NSW & ACT Annual Review 2015 Foodbank is the largest hunger relief organisation in Australia, with distribution centres in all state capitals and a number of regional centres, which has delivered the equivalent of 200 million meals since 1992. This national network of non-denominational, non-profit, state and territory logistics suppliers, provides a warehousing and distribution conduit between food producers, manufacturers and retailers with surplus food and grocery items and the thousands of charities and community groups which feed hungry families and individuals across the country. Digital Tsunami has a long relationship with Foodbank in Australia. Commencing with pro bono support of Foodbank NSW in 2000, Digital Tsunami has since developed and hosted the multiple federal and regional websites and produced multiple videos. Apart from the current responsive site, the most dramatic visual change which has occurred has been in identity. From the rudimentary appearance and multifarious branding of the late 20th century, the Foodbank web presence has refined and gained coherence and consistency. The latest evolution of the brand, launched in October 2014, has a simplicity and impact which befits an important, contemporary, nationwide organisation. As befits a national brand, this identity is applied to all state and territory Foodbank distribution centres, vehicles, apparel and marketing collaterals. The responsive, fifth iteration of the Foodbank web presence, features a welcome page image grid that adjusts content and positioning to the device on which it is viewed. The semi-autonomous state and territory Foodbanks have the flexibility to adjust their site's key messages and calls to action, specific to four different browser widths. Contact Digital Tsunami today to discuss the 'Communications Evolution' of your brand.
  • AIT graduation address

    It was a great honour to address the graduating class of the Academy of Information Technology ( on Friday night. This cohort of graduates included recipients of: Bachelor of Information Technology (mobile app development), Bachelor of Interactive Media, Degree of Digital Media Technologies and Diploma of Software Development. This diversity of disciplines covers the extensive range of projects which I have been fortunate to be involved over my career(s). As I noted, current graduate can fully expect to have three careers over their working life, and of those roles, some may not yet even exist! After 36 years in film, television and digital media, the attributes I emphasised were professionalism, passion and persistence. Serendipitously, the AIT Sydney campus in Ultimo is located in the same building at which I worked as Production Manager for television studio and corporate video company Broadcom, in 1986. This connection allowed me to speak of the consistently exponential rate of change over the last three decades, and even earlier, when I was programming a mainframe computer with punch-cards! I spoke of the joy of life-long learning, the magnifying effect of creative collaboration and the luck which seems to endow people who work hard. With practical suggestions, personal anecdotes, and memorable quotations, my intention was to inspire and encourage graduates to approach their chosen disciplines with rationalism and rigour. During the post-graduation celebrations, it was a pleasure to meet so many of academics and students, and take a tour of what was once my office!