When Britex approached us with their vision for a new product that would bridge the gap between their professional-grade 3in1 Hire Machine and accessible Everyday Range of cleaning products, we knew we had something special on our hands. The Spot Buddy represented more than just another product launch; it was the perfect middle ground that customers had been asking for.

Building the Foundation

The Faith Agency took ownership of the entire launch ecosystem. We didn’t just create ads and call it a day – we built the complete digital foundation from the ground up. This included developing creative concepts that would resonate across social media and paid advertising channels, while simultaneously crafting the digital home for the product through dedicated landing pages and product pages on the Britex website.

Our approach was holistic. Every touchpoint needed to tell the same story and guide customers seamlessly from awareness to purchase.

The Strategic Launch

We structured the initial media plan to leverage Britex’s existing advertising budget, deploying campaigns across Google Shopping, Display, and Meta platforms. This wasn’t about reinventing the wheel – it was about smartly integrating the new product into proven channels that were already delivering results.

The numbers spoke for themselves. Within the first fortnight, we generated more than a dozen sales – impressive for any new product launch, but particularly satisfying given the competitive cleaning products market.

Adapting for Sustained Success

Here’s where things got interesting. After that initial surge of excitement and sales, we hit a familiar challenge – maintaining momentum. Rather than panic or throw more budget at the same creative, we took a strategic pause and analysed what was working and what wasn’t.

The solution was creative diversification. We developed two distinct creative approaches: problem-solution messaging that highlighted pain points and positioned the Spot Buddy as the answer, and specific use-case scenarios that helped customers visualise exactly how and where they’d use the product.

This strategic pivot worked. Sales figures consolidated into a consistent, predictable stream – exactly what you want for long-term product success.

The Numbers That Matter

Our first month performance metrics tell a compelling story:

• CPM: $0.12 (exceptionally low cost to reach target audiences)
• CPC: $2.20 (strong engagement at reasonable cost)
• CTR: 5.43% (well above industry benchmarks)
• ROAS: 2.58 (solid foundation with room for optimisation)

While that initial ROAS of 2.58 might seem modest, we’re confident it will improve as Google’s machine learning algorithms continue to understand user behaviour patterns and optimise delivery.

What Made This Work

The Britex Spot Buddy launch succeeded because we treated it as more than just a product launch. We built a complete ecosystem that supported the customer journey from first impression to final purchase.

Key factors in our success included:

• Strategic positioning that clearly defined the product’s place in the market
• Integrated approach across all digital touchpoints
• Data-driven optimisation that responded to real performance metrics
• Creative agility that adapted messaging based on market response

The Britex Spot Buddy launch demonstrates that successful product introductions require more than great products – they need strategic thinking, creative execution, and the flexibility to adapt when the market responds.

Ready to launch your next product with the same strategic approach? Get in touch with The Faith Agency to discuss how we can build your complete launch ecosystem.

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This week’s bombshell from the United States—slapping a 100% tariff on foreign-made films—isn’t just trade policy. It’s a creative industry wake-up call that should have every Australian marketer, agency, and content creator paying attention.

Why? Because while the US is aggressively protecting its creative economy, Australia is still waiting for the most basic ask: that global streaming platforms invest meaningfully in the market they’re mining for profits.

And the numbers? They’re staggering.

The Revenue Reality Check Every Creative Should See

Let’s talk about Netflix’s Australian performance in 2024. The streaming giant generated $1.3 billion in local revenue—impressive growth despite cost-of-living pressures squeezing household budgets across the country.

But here’s where it gets interesting from a business perspective: 93% of that revenue—around $1.2 billion—was immediately transferred offshore as “distribution fees” to Netflix entities abroad. The company declared just $23.3 million in Australian profit and paid a modest $10.1 million in tax.

For creative agencies and production companies, this should be alarming. We’re watching a masterclass in global profit optimization while local creative talent and infrastructure are treated as cost centers, not strategic assets.

Local Content Quotas: The Campaign That Never Launched

In 2023, the federal government promised to introduce local content quotas for streaming platforms—the same requirements that have sustained commercial television for decades. The creative brief was clear: if Australians are watching, Australians should be creating.

But this campaign has stalled indefinitely.

Concerns about impacting a potential US free trade agreement have reportedly pushed the legislation off the priority list. Despite strong consultation feedback and creative sector support, implementation seems to have no timeline.

Two quota models were workshopped: subscriber-based and revenue-percentage targets. Both faced pushback from streaming services and commercial TV networks worried about higher production costs—a classic case of short-term thinking undermining long-term industry health.

The Billion-Dollar Question: Investment or Strategic Misdirection?

Netflix points to $1 billion invested in Australian content between 2019-2023. Shows like Territory and Apple Cider Vinegar have found global audiences, which sounds like a success story.

But let’s examine this through a marketing lens. When Australian locations, crews, and talent are used to build content owned and controlled offshore, what’s the actual brand value retained locally? Are we building sustainable creative IP, or just providing cost-effective production services?

Without stronger frameworks, Australia risks becoming a content supplier rather than a creative powerhouse—beautiful backdrops and skilled labor for stories owned elsewhere.

What This Means for Australia’s Creative Economy

The US tariff announcement highlights something every agency understands: cultural influence and economic power are inseparable.

If Australia wants a resilient, competitive creative sector that can compete on the global stage, we need policies with the same clarity and urgency we bring to client campaigns:

Clear Strategic Objectives

• Enforce local content quotas with realistic but firm deadlines
• Review tax structures to ensure fair local contribution from global platforms
• Protect IP ownership so creative value developed here benefits local creators and the broader economy

Measurable Outcomes

• Track not just investment dollars, but where creative control and long-term IP ownership sit
• Monitor the pipeline of local creative talent and infrastructure development
• Assess the multiplier effects of streaming investment on broader creative industries

The Creative Brief Australia Needs to Write

The alternative to action? A future where Australian stories reach global audiences—but are conceived elsewhere, controlled elsewhere, and ultimately profitable elsewhere.

For a creative industry that’s spent 25 years building expertise across retail, automotive, FMCG, and entertainment, this isn’t just policy—it’s about protecting the ecosystem that makes great creative work possible.

The US just showed us what decisive creative economy protection looks like. Australia’s response will determine whether our next generation of creators are writing the brief, or just executing someone else’s vision.

What’s your take on streaming platform accountability? How do you see this impacting Australian creative agencies and production companies? Share your thoughts.

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Independent retailers including Mitre 10, Home and Thrifty-Link Hardware have benefitted from a range of creative and strategic advertising solutions provided by Faith. This has included catalogues, television, digital, loyalty club programs and local area marketing.

Faith worked on the Fiskars brand, one of the oldest companies in the world for ten years. Their Finnish range of garden tool and yard care products, including cutting tools that embrace pruners and loppers, axes and block splitters as well as digging tools. In addition to this segment of gardening we produced a range of materials for UK gardening brand, Hozelock.

For three years we worked with Carter Holt Harvey, one of Australia’s most important producers of wood based products including particleboard brands, Structaflor, Laserframe  R–flor and a termite resistant flooring product Terminator.

The Faith design team also oversaw the consolidation of 25 state brands and 65 products brands to form Australias largest cement and dry mix company- Cement Australia.

Laserlite, was the only brand of polycarbonate roofing specifically designed made and tested for Australia’s unique conditions.  Residential as well as commercial markets constitute a major focus for the brand.  Faith produced creative and digital solutions for them including a new website platform that optimised search, product application and selection. SEM, SEO and online display advertising were all geared to maximise paid and earned effectiveness.

Smorgon Steel was also an important client. Prior to being acquired and merged with Bluescope, Smorgon Steel was involved in supplying steel reinforcing products to the construction and building sectors. A new market positioning was developed as well as a new website and a range of collateral material, new trade and consumer advertising.  

The steel industry is characterised by capital intensity, slim profit margins and highly aggressive competition. Against this backdrop, and over several years Faith was able to provide Smorgon/Bluescope with a responsive, creatively driven communications strategy that clearly understood the technical demands of varying target audiences.

Today, we continue to keep abreast of the needs of this market through clients such as Britex Cleaning products who we have handled for three years and whose products are distributed through Bunnings outlets nationally. Using an array of digital advertising, and social media we have continued to grow the business in a challenging market.

In this market segment at both a B2B and B2C level Faith has demonstrated a keen insight into the needs of the both the supplier and independent retailer market for building material products. We understand the ‘pathway to purchase’ of both trade and retail customers and their unique needs for relevant information. Our experience, insights and skills make us ideally suited to work this growing and changing market.

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With a focus on innovation, CAT had invested heavily in new trucking models, enhanced aerodynamics, new fuel-efficient technologies, environmental management, driver comfort and ergonomics. These model and product initiatives needed to be communicated to a wide and varied audience, from government officials though to transport industry executives, truck drivers and owner operators.

Digital display advertising, engaging video content, eDM’s and social media across Facebook, Instagram, LinkedIn and YouTube, were key platforms to target these audiences.

The launch campaign involved an extensive three day shoot that Faith planned, directed and managed. The primary objective of the shoot was to demonstrate the versatility, durability and comfort of the new model, which saw the new truck filmed across a variety of undulating landscapes from Adelaide to Central Australia. The Faith team utilised a range of action orientated camera techniques and equipment to ensure production values were delivered on screen.

Once footage was captured, all post production including the musical score development was done in-house at Faith to create a truly impressive launch video.

To support the launch, key vehicle benefits and developments were presented via “walk through” videos using a qualified presenter who took the viewer on a focused and informative tour of the new model. The Faith team once again, planned, directed and managed through to final edited outcomes.

Once the videos had been completed and disseminated through digital and social media platforms, the engagement metrics were outstanding with industry benchmarks consistently beaten.

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Having secured great talent in the form of motor racing identity Steve Richards, content was filmed across locations in Melbourne and Queensland. The video provided a great opportunity to showcase our skills as we scripted, directed, edited and produced a compelling central story line with a respected brand ambassador.  Sophisticated 3D animation that focussed on the injection process, was presented across all creative elements and provided a simple, visual reinforcement of the superior fuel benefits.

Under a tight schedule and cost structure The Faith Agency delivered a B2B campaign that targeted transport industry executives, truck drivers and owner operators. The BP sales team was also armed with extensive collateral support that was geared to educate and persuasively bring new customers and outlets on board.

Widespread, rapid product adoption was the clear and successful outcome.

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The Faith Agency was appointed to the Guardian business at a time when Chemist Warehouse was aggressively rolling out stores, cutting prices and taking market share from the ‘traditional’ pharmacy. With over 150 pharmacies within the group, Faith was tasked with the challenge of developing and then amplifying Guardian’s point of difference across its advertising and marketing program.

With the benefit of insightful research and Guardian’s history of caring for Australians for over 30 years, The Faith Agency established a new brand positioning based on what Guardian was being recognised for on a daily basis, across the network.

The brand promise of “Advice. Trust. Care.” was based on a truth. Something the Guardian team delivered to each customer, and something each customer valued Guardian for.

Dr Cindy Pan was a well-known advocate of Guardian. And as a well respected medical practitioner, media commentator and mother, Dr Cindy Pan became a Guardian brand ambassador who embodied a very clear connection to the values that Guardian and Australians felt important when it came to their health and wellbeing.

The advertising and communications program was comprehensive and continuous. Various channels, including television, catalogues, radio, promotions, digital platforms, in-store marketing, loyalty initiatives, and local area marketing, all played a crucial role in creating a focused and results-driven strategy. This approach helped Guardian Pharmacies to secure and maintain significant market share in a highly competitive retail environment.

To further reinforce and provide customers with a distinguishable brand promise, Guardian received awards from Roy Morgan and Canstar Blue for the highest levels of customer satisfaction amongst pharmacies.

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Thrifty-Link Hardware, now part of Metcash and the Mitre 10 group, is an independent national retail group focussed on convenience hardware. With more than 300 members across all Australian states and territories, the marketing program was developed centrally and supported by national and state-based retailer councils. Similar to franchised retail groups, members contributed to the marketing fees and in conjunction with the marketing team, The Faith Agency was responsible for the development of a fully integrated ongoing program.

From market research and a clear understanding of buyer behaviour within the hardware segment, we recognised that having a relatively small, highly accessible store footprint was important to those people looking to conveniently make a timely purchase with the minimum of fuss. Easily finding the right product, with insightful service, was also deemed to be an important reason why a customer might choose to shop at Thrifty-Link as opposed to a larger retail option.

To competitively position Thrifty-Link Hardware, the brand proposition of “Nothings too hard” was launched. It was based on an important insight and ‘truth’ that Thrifty-Link was ideally based to deliver.

By having the right product (rather that every product option), by having expert advice immediately available (and not having to go looking for that advice) and having a store format at convenient locations that promoted quick and easy access, found strong community support. The fact that the person who owned the store could be typically found on the shop floor, and was part of the local community, helped amplify the brand culture of “Nothings too hard”.

The advertising and communications program was ongoing and extensive. Catalogues, television, radio, press, promotions, digital, in-store, loyalty and local area marketing all contributed to a focussed and results orientated strategy that helped Thrifty-Link secure and hold valuable market share within an aggressive retail market.

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Choices Flooring is owned by Newfurn Limited and are a member driven co-operative who have survived and adapted in a market where many co-ops have disappeared.  They run a co-ordinated national marketing and merchandise program for 130 members around the country.  Members are broken up          by geographic segments which allow for joint marketing and promotional activity.  Co-operative advertising dollars and member marketing fees were allocated to each segment for promotion and marketing according to the cost of media and the sales dollars they generated.  This model is felt to be the most equitable for all the members with additional money being made in some segments to achieve strategic objectives.

Faith working with the internal marketing team used customer and insights research from Melbourne based research agency Truth Serum, to develop an integrated communications program which included all the major touch points that its prime target audience related to.  Importantly we looked at the emotional and rational clues which were so important to generate a flooring purchase which on average is made every seven years.  There are other cues such as moving home or extensions that prompted purchase, but essentially the key market was new homes and replacement.

The communications program was very comprehensive and included retail catalogues, magazines, television radio, press, direct mailers, online and digital.  We developed a new website for the group as Carpet Choice as well as a further site when it migrated to Choices.

We also worked hard on an interior design project entitled ‘Destination Choice’ whose aim to was to engage with customers instore and assist them navigate the myriads of flooring options available to them.  A lot of work went into developing a standard quoting system which attempted to lift the success rate in quoting from its average of 50% to 60%.  A post-purchase service model was also introduced to achieve the highest level of service satisfaction.  The better operators embraced this with vacuuming after installation and some little memorable touchpoints that saw the customers become advocates of Choices Flooring.

In the five years we handled the business the group held its market share against aggressive competition from Harvey Norman and Bunnings.  Margins increased and advertising expenditure as a percentage of sales declined slightly.  Our media team managed the $4 million spend across the country, planning and buying activity in every regional market in the country.  We also worked with the internal finance team to deliver a reporting system that complemented the allocation of co-op dollars by geographic segment.

In every way possible Faith was a friend to Choices Flooring offering Branding, Design and Art Direction, Creative Direction, Digital, Media Strategy, Planning and Buying.

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Since 2005, Homesafe Wealth Release has helped older Australians access the equity in their homes through a unique debt free solution that has proven to be a popular alternative to a reverse mortgage. With thousands of satisfied customers being able to enjoy their retirement and do everything they want to do without fear of financial hardship, it’s no wonder Homesafe were able to source four willing customers to appear in their latest TV commercial. Shot in and around each of the customers’ homes, each of them shares the positive outcomes of having chosen Homesafe, resulting in an ad that is a strong call-to-action for Australians in similar positions.

Ben Crocker, Account Director and Partner at The Faith Agency, commented on the commercial: “With a product like Homesafe Wealth Release that offers such a positive outcome for customers, it was obvious we needed to highlight their stories. But where previous advertising for the business had focused on one customer’s story at a time without a strong emphasis on those positive outcomes, we knew what we needed to do to tell a really convincing story.”

Tim Anderson, Head of Production and Partner at Burninghouse, says, “The coordination involved in a shoot such as this, travelling from Bundoora in Melbourne’s north down to Rosebud on the Mornington Peninsula, coordinating a dozen crew and, of course, each customer, is never easy. But the outcome speaks for itself, with an ad that will really draw eyeballs and drive engagement.”

Says Dianne Shepherd, “Given this is the first new ad we’ve produced since before COVID, there was a lot riding on the outcome. However, I’m pleased to say the ad turned out better than we could have hoped for, and I’m so thankful for the work that Burninghouse and The Faith Agency have put in to pull it off.”

The new ad will form the backbone of a renewed media push booked through Nunn Media, with broadcast TV, radio and socials commencing this week. Burninghouse will also be producing a series of 15-sec and long-form videos to tell each customer’s story online across different platforms.

All of this comes on the back of Homesafe’s recent rebrand, also produced by The Faith Agency. Working to modernise the brand’s presentation, streamlining the use of fonts, colours and shapes, The Faith Agency developed the new logo now rolled out across the brand’s stationary, signage and their latest TVC.

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For Britex Carpet Care, we organise one major photoshoot each year. In 2022, we launched their “Job Done Right. Job Done Britex” campaign highlighting their 3in1 Deep Cleaning Machine offer with a comprehensive shoot across three groups of actors all engaging with the machine. In 2023, we worked with Chantel Mila (@mama_mila_au) to champion their Everyday Range of cleaning products. For 2024 though, we needed to go back to the 3in1 Deep Cleaning Machine.

We set out to reproduce similar set-ups from 2022’s shoot, only with slight twist. The family would remain the same, but our roommates would be two women and our solo renter male. Otherwise, the problem-solution outputs would be exactly the same: identifying the problem, providing a solution and marvelling at the successful outcome. Critically, the key difference between the two shoots would be that everything would be shot on video, with stills pulled directly from the footage (whereas the previous shoot included only one scenario on video, and separate photography).

Given the planning that took place, we were confident that the approach would deliver a critical amount of good content for us to use on social media, cutting together different reels and image carousels to fill out the next 12 months of content. However, as we commenced with the pre-production of the video shoot, we identified the importance of shooting a set script across each of our three scenarios. While the initial idea wasn’t to produce a 30-sec advertisement, ultimately it became obvious that we could accomplish this feat.

We worked closely with key production partner Burninghouse to identify the correct location (in this instance, a large family home in Narre Warren North), and spent a full day filming 6 actors and 2 dogs. The outputs were extraordinary, and the client couldn’t have been happier.

After all assets had been delivered, The Faith Agency commenced work on pulling together the 30-sec TVCs. The three finished outputs tell a mostly visual story with humorous sound effects and a jaunty score underlining the simplicity with which customers can use the 3in1 Deep Cleaning Machine. These videos are running across digital platforms right now, with great response already.

Explore The Faith Agency’s video production capabilities today or get in touch with us to learn more about how we can help your never-ending quest for content.

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