Latest news with #RossSymons
News.com.au
2 days ago
- Entertainment
- News.com.au
‘Hall of asterisks': Melbourne Storm's act with ‘cheated trophies' angers NRL fans
The Melbourne Storm continue to publicly display the two premiership trophies that were stripped due to salary cap breaches, raising eyebrows in rugby league circles. A photo emerged over the weekend of the Storm's 2007 and 2009 premiership trophies on show inside AAMI Park for Thursday night's clash against the Brisbane Broncos. FOX LEAGUE, available on Kayo Sports, is the only place to watch every game of every round in the 2025 NRL Telstra Premiership, LIVE with no ad-breaks during play. New to Kayo? Join now and get your first month for just $1. The image was shared on social media by Ross Symons, CEO of Big Ant Studios, the company that produced the new Rugby League 26 video game. Symonds innocently shared some photos from inside the Storm's home ground ahead of the game, but the 2007 and 2009 trophies immediately caught the eye of his followers. 'Someone sent me a photo from AAMI Park the other night,' veteran rugby league reporter Phil Rothfield told Triple M's Sunday Sin Bin. 'They have all these premiership winning trophies near where the players come onto the field — 99, 2007, 2009, 2012, 2017 and 2020. 'Six grand final wins but only four premierships. 2007 and 2009 were taken off them. 'I don't think those two trophies they were stripped of for salary cap cheating should be displayed.' Co-host Ben Dobbin said: 'They're a reminder of what those previous players have done.' Former Bulldogs hardman James Graham said the constraints of the salary cap are an important part of the competition. 'If they were able to, Penrith could have kept (Jarome) Luai, (Stephen) Crichton, (Viliame) Kikau, (Matt) Burton — they could have sailed on for the next decade and it wouldn't have been close.' It's safe to say the Storm displaying the 2007 and 2009 premiership trophies didn't go down too well with some footy fans. One person commented: 'Love how they display their hall of asterisks like that, what a club - do they have the two sets of books framed too? A second said: 'Why are two cheated trophies there?' 'Nothing pisses me off more than Melbourne's 07/09 stance,' a third said. A fourth said: 'No way there still counting 07 and 09, cheats.' Another said: 'There appears to be two fictional trophies in that image.' It's not the first time Melbourne have come under fire for having their 'salary cap tainted' trophies on display. In 2023, the Storm paraded the 2007 and 2009 trophies along with the four other premiership triumphs as part of the club's 25-year anniversary celebrations. Greg Inglis and Dallas Johnson brought the 2009 trophy out onto AAMI Park as part of a club presentation. Inglis left the Storm for the Rabbitohs as the most high profile player to depart the club in the wake of the salary cap scandal, which saw Melbourne stripped of all premiership points in 2010. Storm legend Cameron Smith said the celebration of the 2007 and 2009 seasons was simply to acknowledge former players who were apart of the team during those seasons. 'I think it was purely an in-house thing that they were doing for the fans and the players and particularly the old boys down there,' Smith said on SEN. 'I don't ask them to understand the way we feel about it either. I completely understand people would say 'That's wrong, they shouldn't do that' and that's fine but at the same time, many people wouldn't understand the way we feel about it either. 'There were guys there that played in those grand finals and then were forced to leave the club in 2010. After that, they never had an opportunity to play in another grand final or an opportunity to win one. 'There was punishment handed down at the time and the club and the players and all the administration and fans had to live through that. At no stage was it an opportunistic time to show it off or parade it around,' Smith continued. 'The thing I want to get across is, I can understand why it's annoyed a lot of people and that's fine – as long as those people can acknowledge too that I don't think those people understand the way that the Storm people in that period feel about it at all.' Melbourne defeated Brisbane 22-2 on Thursday to cement their spot in the top four as hamstring injuries to playmakers Ezra Mam and Adam Reynolds left the Broncos reeling in the run to finals.
The Guardian
3 days ago
- Business
- The Guardian
Tax relief and Carmen Sandiego: Australia's once-dismissed video game industry is finally getting a leg-up
The idea that video games are not 'serious things', says Ross Symons, overlooks the benefits they offer to gamers feeling isolated. 'One thing that struck me during Covid is that games were the way that people connected and stayed together.' The chief executive of Big Ant Studios, a Melbourne-based game developer, recalls when in 2010 the then opposition leader Tony Abbott dismissed the national broadband network as being for 'internet-based television, video entertainment and gaming'. Symons says that dismissiveness of the video game industry has not stood the test of time. Last year alone, Australians spent $3.8bn on video games, according to the Interactive Games and Entertainment Association (IGEA). The sector is small compared to large game development nations such as Canada – but that is slowly changing. In 2023, the federal government brought in the digital games tax offset (DGTO), which allows developers who make or port (develop games for systems that aren't the ones they were originally on) games in Australia to claim a 30% refundable income tax offset. It applies to companies which incur at least $500,000 in qualifying Australian development expenditure and is capped at $20m per company. Ron Curry, the chief executive of the IGEA, says in 2020-21 there were about 1,300 employees in the gaming industry in Australia – a figure which has now almost doubled. The Australian game development sector now accounts for 2,465 full-time workers and earned $339.1m in revenue in the financial year of 2023-24. 'That shows an almost 100% increase in employment and revenue has grown about 85%,' he says. 'The DGTO pulled a number of levers. Australia was a very expensive place to make games – we were the only developed country without any sort of rebate or offset. So it fixed that, so it brought us back in line with other developed countries.' Sign up: AU Breaking News email Curry says it signalled to the rest of the world there was confidence in the industry from government, and – in conjunction with state and territory grants to the sector – it made Australia a 'healthy environment to operate in' and generated confidence from investors, game publishers and prospective employees. Serge Zebian, partner at Playwright Consulting, a firm that advises gaming companies on accounting matters, says the offset has made an 'enormous difference' for companies hiring people in Australia and that momentum is starting to flow. 'We're making all the international studios aware of it, and some already are just from existing relationships with Australian vendors. But … now a lot of international studios are looking [toward] Australia. My clients' proposals are progressing really fast up the queue.' Zebian says NSW used to be the home for film while Victoria had the reputation as a games development hub, but competition is increasing. Queensland has added a 15% rebate on top of the federal government's 30% with a threshold of $250,000. In Victoria, the rebate is 10% or 15%, depending on shareholding, with a threshold of $500,000. 'What we're finding is a lot of indies [independent game studios] are … moving up to Queensland,' Zebian says. French developer Gameloft opened its Brisbane studio in 2014. The studio was behind the resurrection of iconic gaming character Carmen Sandiego this year on mobile, Netflix, Xbox, PlayStation, PC, and Nintendo Switch. Manea Castet, the studio head in Brisbane, says he grew up playing the Carmen Sandiego games with his father. He found the character scary: Sandiego is a thief, after all, who you have to chase all over the world. For Castet, to come back and be able to make the new game and have players instead assume the role of Sandiego was a 'fun twist'. Castet says Gameloft's Brisbane studio is the only one within the company experiencing large growth, expanding from 55 employees two years ago to 217 today. Castet says it allows the studio to work on two games at once and have more complete development of the game from design, tech, audio, quality assurance and marketing. Sign up to Breaking News Australia Get the most important news as it breaks after newsletter promotion 'Everywhere in the world, it's shifting … there is still a lot of money to be [made in] the video game industry, so having Australia pushing for that now, I think it's super smart.' Big Ant Studios found itself at the centre of controversy with the release of their Rugby League 26 game in July. Users complained about bugs in the game at launch, including jerseys with the wrong numbers on them and server errors making it difficult to play the game. Symons says it was a 'very good day' when numerous patches were rolled out to improve the game. He blamed tight deadlines for the release of the game to coincide with the NRL season and last-minute changes to the game. 'We were forced to make a hell of a lot of change in the game, 1,200 changes in the week before we release[d], and these changes were to do with betting sponsors, alcohol sponsors and all sorts,' he says. 'So we sat there stripping the hell out of the game, still having to meet our day. So that was tough.' Gambling and alcohol company logos that are featured on player jerseys in real life were removed from the game prior to release amid growing concern about marketing of those products to under-18s. Symons also says the company underestimated demand on the day the game went on sale; it sold six times more than their expectations, leading to server issues which he says have since been resolved. Big Ant had around 50 employees until the tax offset came in, which allowed the company to expand to 147 employees, Symons says. 'It allows us to be competitive with every other place on the planet.' The studios say a tight jobs market, where games development skills are often sought out by other industries including artificial intelligence, makes it more difficult to grow. Curry says the industry is proud participants have transferrable skills, but it makes it competitive for talent. Secure jobs, commensurate salaries and an immigration system that attracts senior talent would help recruiting, he adds. 'We know when you bring senior talent into a country, they act as an accelerator for those people that they're training,' he says. 'If you want to get a developer into Canada, you can do it in as little as two weeks through their system. We know people have taken up two years and beyond to get into Australia.' 'That just doesn't work when you're in a field that's quickly moving.'
ABC News
01-08-2025
- Entertainment
- ABC News
Rugby League 26 video game developer hits back at criticism from players who 'should know better'
The boss of video game developer Big Ant Studios has hit back at criticism of the newly launched Rugby League 26 game, following high-profile players slamming the release. Some players, including Sydney Roosters prop Millie Elliott and State of Origin star Kennedy Cherrington, have criticised their likeness in the game, while issues with the gameplay and the inability to use players in their real-world positions have also caused backlash. Issues ranged from retired players being highly rated, to stadiums being in the wrong cities, while gameplay was also highlighted on social media. Ross Symons, chief executive of Big Ant Studios, hit back at the criticism of likenesses in Rugby League 26. "The ones that are talking should know better because, frankly, they've made statements that really are reasonably outrageous, because we have gone around the world, even to the north of England, just to scan women in game," he told the ABC. "Eighty per cent of our sponsorship money goes to women's sport. We take it extraordinarily seriously. "We actually travelled to capture NRLW players specifically in captures up to Townsville and everywhere. "They were told, 'Please, please be at the shoot because if you're not at the shoot, you won't look like you'. We were very clear. Symons said Big Ant Studios would be attending the NRLW Magic Round to conduct more facial scans to add to the game. "We have offered to capture as many players who would like to sit in the chair. And sitting in the chair takes 45 seconds," he said. Rugby League 26 was highly anticipated, as it came eight years after the last iteration, Rugby League Live 4. Cherrington described the game as "half-finished", while social media was flooded with gamers reporting glitches and errors. Symons said some of the issues stemmed from a compressed rollout timeline, which required the developers to submit the game for disc printing two months before the launch date. He also said that despite calls from the public, delaying was "not an option we were given" and that online multiplayer feature issues were temporary. "Then the product we want people to have is ready with a day one patch, because things change," he said "Even in sport itself, just the nature of sport where things change, where rosters change, injuries occur, ratings change." Big Ant was also criticised for its inability to manage demand on its servers, which locked players out for hours. Symons said the demand for the game was six times higher than expected, and said it had outsold video game franchise members Assassin's Creed: Shadows, Death Stranding 2: On The Beach and Donkey Kong Bananza. "It is number one by a margin and our servers also had that problem." Despite the backlash about Rugby League 26 from users, the fact there is a game for a code played predominantly in just three countries is noteworthy. A large part of that, and the reason for an eight-year hiatus, was the commercial viability of making a game for a relatively small market. Big Ant Studios was the recipient of the Digital Games Tax Offset (DGTO), introduced in 2023 to encourage local game development studio investment in Australia, which allows companies to claim back 30 per cent of qualified Australian expenditure. This funding model is similar to other schemes designed to encourage local filmmaking, and Symons says this program "allows us to take risks that we otherwise couldn't take". "The world would call the AFL, the same with NRL and to some extent cricket, a niche sport. It's our lifeblood and we love it, but no one else wants to make these sports games. "That's where the DGTO really, really does help, it enables to tell Australian stories and in particular, Australian sport because I don't think Australian sport gets a title if it's not for things like the DGTO because it just becomes not commercially viable." Big Ant Studios also made the AFL and cricket video games, as well as a tennis game based around the Australian Open. The Sydney Roosters were approached for comment but did not respond before publication.
Martechvibe
31-01-2025
- Business
- Martechvibe
Synergy Between Human Insight and AI-Powered Execution
Focus on AI as a collaborative tool, not a replacement, says Ross Symons, Chief Creative Officer at ZenRobot. He shares his experience of training creatives and marketers to combine human intuition, strategic thinking, and artistic skills with AI's efficiency. Topics Featured Martech Share Share Synergy Between Human Insight and AI-Powered Execution Whatsapp Linkedin For AI coach and content creator Ross Symons, storytelling has always been at the centre of his pursuits. In 2014, he decided to start an Instagram account dedicated to a daily challenge of folding and showcasing a new origami figure. His followers grew from 120 to over 100,000 in just 18 months. Ross' latest venture has him working closely with agencies and brands to bridge the gap between AI and human creativity. Storytelling remains at the helm of these efforts, and while his work involves ensuring that teams can leverage new and emerging tools effectively, his main game is to ensure creative professions aren't 'losing their unique artistic vision.' Martechvibe spoke to Ross Symons, Chief Creative Officer at ZenRobot, about the best way to leverage genAI for creative work, and the process he teaches for best results. Full interview; Tell us about your journey from developer to content creator and then AI expert. My career began in web development in advertising, where I learned how to solve technical problems but felt creatively unfulfilled. I transitioned into content creation, specifically origami stop-motion animation, which led to collaborations with global brands. Over time, I realised that my strength lay not just in creating, but in helping others understand and implement creative techniques. When generative AI tools like ChatGPT and MidJourney emerged in 2022, I saw their potential to revolutionise creative workflows. I started experimenting with these tools to optimise concept development, storyboarding, and animation. As AI evolved, I became increasingly focused on training creatives and marketers on how to integrate AI into their work—helping them streamline ideation, enhance visual storytelling, and unlock new creative possibilities. Today, I work with agencies and brands to bridge the gap between AI and human creativity, ensuring that teams can leverage these tools effectively without losing their unique artistic vision. How did you get started on using genAI tools in visual storytelling? What advice would you give those getting started? I started using gen AI tools purely out of interest. Initially, I used ChatGPT for brainstorming and refining code scripts and templates, then incorporated MidJourney for generating images for animations. As more AI powered tools emerged, I began integrating them into as many stages of content production, from ideation to animation. If you're getting started, my advice is to focus on AI as a collaborative tool, not a replacement. Start by using AI to speed up repetitive tasks, like generating variations of ideas or refining visual references, so you can spend more time on the cool stuff that you enjoy doing. Marketers and creatives should also invest in learning how to craft detailed prompts, as the quality of AI outputs depends heavily on how well you communicate with the tool. Once you grasp these fundamentals, you can start experimenting with AI-driven video, voiceovers, and automation to further optimise your workflow. What would you say to the critics of genAI tools for creatives? Are humans losing their role in the creative process? I understand the concerns about AI in the creative industry. Many worry that automation will replace human creativity, but the reality is that AI is a tool that enhances, not replaces, the creative process. From my experience training creatives and marketers, the most successful AI users are those who combine human intuition, strategic thinking, and artistic skills with AI's efficiency. History has shown that every new creative technology, from photography to digital design, has faced some pushback. The key is to use AI in a way that supports and accelerates creative work rather than relying on it for originality. AI can generate options quickly, but it still requires a human to provide context, make decisions, and add the emotional depth that makes content truly resonate. The best results come from a synergy between human insight and AI-powered execution. Give us a run-down on the tools you are currently using, and for what. I train creatives and marketing teams on how to integrate AI into their workflows, so I use a combination of AI-powered and traditional tools. Here's what I currently work with: ChatGPT – For brainstorming, content strategy, refining copy, and generating structured prompts for visual AI tools. – For brainstorming, content strategy, refining copy, and generating structured prompts for visual AI tools. MidJourney – Text to image used extensively for concept art, mood boards, and reference imagery, helping brands visualise creative directions before production. – Text to image used extensively for concept art, mood boards, and reference imagery, helping brands visualise creative directions before production. Invoke – For text to image generation, editing and manipulation. For text to image generation, editing and manipulation. Luma Labs – Dream Machine – For AI-generated video content, from concept animations to marketing visuals. – For AI-generated video content, from concept animations to marketing visuals. Kling – Another AI video tool I use for motion effects, text-to-video transformations, and creating dynamic marketing assets from images. – Another AI video tool I use for motion effects, text-to-video transformations, and creating dynamic marketing assets from images. Eleven Labs – For AI generated voice overs that add depth to presentations, videos, and branded content. – For AI generated voice overs that add depth to presentations, videos, and branded content. Adobe Photoshop & After Effects – Used for compositing, post-production, and enhancing AI-generated visuals for a polished final product. – Used for compositing, post-production, and enhancing AI-generated visuals for a polished final product. Canva -A go-to for quick content creation, designing marketing materials, and generating social media assets efficiently. Tell us what goes into the process of creating a video using genAI tools, from vision, prompt, fine-tuning the model to the final product. The process of creating a video using AI tools is a blend of creativity, strategic planning, and technical refinement. Here's the workflow I teach to creative teams and marketers: Concept & vision – Define the objective of the video. Is it a brand campaign, social media content, or an experimental piece? Understanding the goal helps shape the AI prompts and visual direction. Prompt development – Craft detailed prompts tailored to each tool. For MidJourney, this involves specifying composition, color palettes, and textures. For video tools like Dream Machine or Kling, prompts focus on movement, style, and consistency. Generating visual assets – AI-generated images serve as keyframes or reference points. If necessary, they are edited in Photoshop before being animated. Motion & animation -Using AI-powered video tools, images are animated, looped, or combined with motion graphics. This stage requires fine-tuning to avoid inconsistencies common in AI-generated motion. Fine tuning & post production – AI-generated visuals often require polishing. I refine sequences, adjust pacing, and apply additional effects in After Effects. Sound & Voiceover – Using Eleven Labs or traditional editing software, I add narration, sound effects, and background music to enhance engagement. Final Output & Optimisation -The video is formatted for different platforms, ensuring the best quality for social media, presentations, or digital campaigns. From your experience, what advice would you give creative influencers to build a following on social media? For creative influencers and marketers, building a following requires more than just posting content — it's about delivering consistent value and establishing authority. Here's what I advise: Position yourself as an expert – Whether you focus on AI, design, or marketing, define a clear niche and provide educational or insightful content that resonates with your audience. Post consistently – Social media algorithms reward regular posting. Have a content calendar and balance educational, inspirational, and interactive posts. Show behind the scenes content – Sharing your creative process, from AI-generated concepts to finished pieces, helps audiences understand the value of your work. Engage with your audience – Reply to comments, ask questions, and collaborate with others. Building a community is super important. Use AI to enhance your content – AI can help with content ideation, design templates, and even video creation, allowing you to produce high-quality content more efficiently. Leverage trending topics authentically – Trends can boost visibility, but ensure they align with your expertise. Adapting trends in a meaningful way keeps content relevant without feeling forced. Experiment & refine – Test different content formats and track engagement. If certain types of posts perform well, lean into that while continuously iterating on your approach.
