Telstra Spread The Good Stuff

Telstra is promoting its 3G service for pay mobile phones in an integrated campaign, ‘Spread the Good Stuff’. The four TV ads each end with a small Telstra box popping open to reveal a plethora of colours. The ads, Comedy, Music, Party and Catch are available online at

Woman opens Telstra Good Stuff box

Catch – Pass the Magic

Customers open and share boxes of many colours and sizes. A box is passed from person to person, revealing a new package each time it is opened, a reference to the party game ‘Pass The Parcel”.

Click on the image below to play the video.


The ‘Spread The Good Stuff’ campaign was developed at George Patterson Y&R, Melbourne, by creative director Michael Stanford, copywriters Bart Pawlak and Maryanne Plummer, art directors Paolo Meucci and Robbie Kantor, head of TV Brendan Johnson and agency producer Marcus Eley.

The creative team at George Patts Y&R hit upon the idea of a magic box as a symbol that can take on many meanings, encompass different ideas and contain any number of items: think Pandora’s Box, a jack-in-the-box, a box of tricks. A box is a very convenient metaphor for a company like Telstra that offers such a diverse range of products and services.

Filming was directed by Josh Baker via Sydney Film Company with producer Nicole Crozier.

Editor was Drew Thompson at Guillotine, Sydney.

Original music “Sunkissed”, was composed by Oli Chang, arranged and recorded at Nylon Studios. Lyrics include, “You got a nice sort of name like a, o holiday, and if he shows me the old times, I’m sure that we can lie awake a while”. Watch out for the release of the song at the Nylon Studios MySpace site.

Woman opens Telstra Good Stuff box

Post production was done at Fuel, Sydney, by VFX supervisor Simon Maddison, VFX producer Dave Kelly, designers Ben Kovar, Marianne Khoo, Luke Bubb, 3D Lead Chris French, 3D Team Sebastian Fletcher, Roy Malhi, James McCallum, Anders Thonell, Flame artists Karen Fabling, Edwin So, Chris Scott.

Fuel designer Ben Kovar worked closely with both the agency and director on developing the end logo and its reveal – a carnival of colour and exuberant imagery. Ben drew on many eclectic influences in the design phase – Tibetan sand paintings, South American art, even Japanese flower arrangement. He explains, “I was definitely attracted to a bold colour palette, especially considering some of the brands and services the design had to represent like MTV, Comedy Channel, ‘dating’, ‘SMS’ and ‘search’. It took a lot of ‘to-ing and fro-ing’ to get it right – to make a whole lot of stuff work as a whole”.

Fuel’s VFX supervisor on the campaign, Simon Maddison, remembers that the director didn’t want the design to look superimposed on the commercial, “Josh was very clear that he wanted the animated logo to look as if it belonged in the shot. To this end, Fuel gave the design a slightly weathered texture like that of creased or torn paper to compliment the ‘pass the parcel’ motif, matching the lighting to the location and grading the logo in Flame so it would sit seamlessly in with the live action”.