The Flatties Return: Contact Energy launches next chapter in ‘It’s Good to be Home’ story via Special
Contact Energy has unveiled the next iteration of the ‘It’s Good to be Home’ platform via agency partner Special. Two years on from when Kiwis were first introduced to the characters, the campaign returns to the iconic Kiwi flat to showcase a household that is now more settled, connected and more endearing than ever.
While the first chapter established Contact’s commitment to a better future for all Aotearoa’s flatties – humans, animals, flora and fauna alike – the latest iteration invites viewers into the home of the eclectic group to show Kiwis the savings they can make thanks to Contact’s free power Good Plans, along with their mobile and broadband offerings.
The Good Plans spot brings viewers inside the dynamic flat where the flatties wait until free power time to do all their chores and use power-hungry appliances, illustrating a smarter way for Kiwis to manage household energy consumption and maximise savings.
Contact Head of Brand and Marketing, Sera Flint, says: “This chapter is about spending more time with our characters, and really demonstrating that Contact truly understands the dynamic of a modern Kiwi home. With Good Plans, we’re offering the chance to save on power by doing things a little bit differently – like saving up household chores and the associated appliance usage until the power is free. That’s both great for your wallet and a great excuse to ‘do it later'”
Contact’s value extends beyond just powering Kiwi homes, with new customers saving on their power when they join a Mobile and Broadband plan. This danceable montage taps into a relatable shared living moment of the flatties getting ready for a party – lights on, live streaming, music blasting.
Flint adds: “We know power bills are on the minds of many households right now, especially as we come into the winter months. The option to take $50 off your power bill each month is so good, we had to make a spot that pulls you in and demands your attention.”
Special CCO, Lisa Fedyszyn, adds, “This chapter is an evolution of the Contact world and two years on, the unique ensemble cast of flatties have truly found their groove. We wanted to share more of those endearing quirks while demonstrating that Contact is more than just energy; it’s making the entire home run smoothly and more affordably.”
Laban Dickinson, Executive Creative Director for Flux says: “Being able to work again on the Contact Flatties has been an absolute privilege. With the help of our exceptional production partners, the director’s unique vision, and the outstanding work of the crew, we were given the perfect canvas and tools to further develop and bring depth to these iconic characters. It has been a technically challenging process, but through collaboration, we have achieved the goals and standards we set from the start.”
Director, Sanjay De Silva: “Since the characters were already so established, it was about evolving a world and seeing how far we could push it. Really just having some fun, giving them all a lot more attitude, like giving Nigel a dance breakdown where he is pointing and body rolling straight at the camera.”
Client: Contact
Sera Flint, Head of Brand and Marketing
Shea Whittington, Advertising Communications Manager
Ben Erwood, Marketing Communications Lead
Rachel Shipman, Marketing Communications Lead
Sam Morse, Head of Innovation and Growth
Agency: Special
Tony Bradbourne, Creative Chairman and CEO
Lisa Fedyszyn,Chief Creative Officer
Jonathan McMahon, Chief Creative Officer
Steve Hansen, Creative Director
Sam Taunton-Clark, Creative
Katie Mortensen, Head of Production
Liz Garneau, Executive Producer
Chris Marshall, Account Director
Ruby Koia, Senior Business Manager
Molly Morton, Senior Business Manager
Rory Gallery, Chief Strategy Officer
Ursula Nichols-London, Group Strategy Director
Media Agency: Together
Penelope Brown, Managing Director – Media
Sam Boniface, Client Principal
Emma Inglis, Planning Director
Kristine Gonzaga, Senior Performance Planning Director
Melvin Hadi, Activation Director
Danika Parkinson, Planning Executive
Production Company: Division
Sanjay De Silva, Director
Genevieve Triquet, Managing Director / Executive Producer
Ylande Dewey, Producer
Max Walter, DOP
Thad Lawrence, Gaffer
Kayne Asher, Key Grip
Adam Martin, Sound Recordist
Robert Key, Production Designer
Jamie Thomson, Construction Manager
Jules Armishaw, Wardrobe/Makeup
Antony Alono, Lead Talent
Tim Mauger, Offline Editor
Flux Animation
Laban Dickinson, Executive Creative Director
Joshua Forsman, Executive Producer
Aldyn Lin, Producer
Conrad Crooks, Technical Director
Jeremy Ball, Technical Director
Pania Williams, Onset VFX Supervisor
Chaz Holland, CFX Artist
Goran Trpkov, CFZ and Groom Artist
Kate Matveenko, 3D Character Artist
Harrison Wiltshire, 3D Generalist
Duncan Van der Schyff, 3D Generalist
Tim Liu, Lead Animator
Lucius Koh, Lead Animator
Joon Yoon, Senior 3D Animator
Lily Martin-Babin, Intermediate 3D Animator
Match Artists
Troy Goodall, Stills Photographer
Grading: MP Colour – Matic Prusnik, Colourist
Music: Level Two Music – Marcus Brooke-Smith, Music Supervisor
Sound Design: Franklin RD Music & Sound – Shane Taipari, Sound Engineer
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