adnews 1Q 2013 by adnews magazine

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publisher’s notes 8 creative showcase 11 creative flashback 28 production notes

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6 7

u of u blasts off with new ad campaign vicki varela guiding utah’s global branding

advertising agencies • media buyers • design • Web design • illustration • marketing research • social media • mobile media • public relations • direct response • interactive advertising industry spotlight automotive | sports marketing | aerospace focus

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30 years of adnews 14 dave newbold summarizes the path 15 con psarras 16 unlocking the true value of content 18 geralyn dreyfous - sundance - oscars... 20 jeff metcalf giving voice 22 tyler measom - utah’s documentarian 24 danfung dennis on condition one 26 impatient cow mooooovin on up! 30 it in utah 34 focus on the utah film commission 43 comcast upfront

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2014 1Q focus film • audio • digital media • photography • stock imagery industry spotlight tourism | energy ad d y w inners bo o k American Advertising Federation - Utah Publisher/Editor: Susen Sawatzki • susen@adnewsonline.com Business Development: Lonnie Blanton • lonnie.adnews@gmail.com Editorial Contributors: Jay Kinghorn, Con Psarras Photographers: Scott Peterson, Jay Kinghorn Cover Image and Content Design: Lonnie Blanton

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publisher’s notes archive

s usen sa wa tz ki

I just had to revive a Publisher’s Notes I wrote in 2002. It gets me laughing. And, in fact, this same photo ran with these notes—I guess it’s time for a more current photo so I’m not accused of dating-site behavior.

So here goes, Harrison is now 21 years old, 6’ 5” tall, an artist and musician. Vintage 2002 - It’s bedtime. It’s dark in the room as I sit on the edge of my 11-yearold son’s bed. He asks, “How many farts would you say you’ve done in your whole life? Total.” I say, “Boy, I don’t really know. Do you count the silent ones?” Harrison: What would be your worst job in the world and what would be your best? Susen: What I do now and what I do now. How about you? Harrison: Well the best job would be to be a pro skateboarder—better than anyone. Just to be paid for what you love. The worst job might be a mime. They hold out their hat and think that people are going to give them money and nobody does. Everybody hates mimes. I like mimes but I don’t want to be one. That dress code and

no talking. Weird. Or a plumber... I mean they have to follow a manual that says to show their butt crack and everything. And they have to talk all like, ‘Hey, lady, ain’t ya gonna flush?’ I wonder what childhood perceptions are of the jobs that we have. When I was a little girl, I thought the sales ladies at Auerbach’s were the highest level of profession. Then later, I watched as Kate Hepburn tore everyone new ones in the editing room of a large newspaper. The perception of prestige job titles and the daily tasks and procedures that go with that title often differ dramatically. We can climb a corporate or entrepreneurial ladder and end where we may, but the only thing that counts is how we behave with every encounter. Kindness, honesty, integrity, quality, longevity. These are the things that bring value to commerce. To seek profit alone is the demise of free enterprise.

tribute to tony young by bruce bain

Trade Print Finishing

Tony’s vision is what set us apart. Tony Young built a fun place to come to work and a nice sanctuary where our clients could escape from their offices for a day or two. And Tony built Digital Bytes to last. He built it to carry on without him, for the dream to continue, for the work to go on. He rarely rested in life. He would want it no other way. His sudden death in August, after a short but ferocious fight with cancer, left our company, our little family, stunned but united. It was never a question of whether to carry on or not. Tony gave us strict instructions that we would. So we will. Our devotion to Tony stems from his belief and investment in us, his generosity and his vision. We all feel such a strong sense of stewardship regarding his legacy that we can’t fail. We will make him proud. 4 adnews |

1Q 2013

R e a C h I N g R I g h t

e y e B a l l S

M O R e I N t h e

O f t h e U ta h

M a R k e t

Comcast Spotlight is opening a lot of eyes these days. Now, thanks to I+, you can reach 37% more home in the Utah market whether they’re cable or satellite homes. But we’re not just delivering more eyeballs, we’re delivering the right ones. Our advanced targeting tools help you assemble all kinds of geographic and psychographic audiences in Utah. Which means you can reach your target with unprecedented accuracy. So if you’re looking for more of the eyeballs you value, look no further than the “One-stop-Shop” at Comcast Spotlight. We’ll get you the right eyeballs. Not to mention the left ones.

Visit us at www.ComcastSpotlight.com for more information

news briefs university of utah restructures its marketing organization and launches new branding campaign A year in the making, the “Imagine U” campaign broke in January with a multimedia placement reaching the local market through broadcast, outdoor, print and online. The campaign was but a twinkle in the U’s eye in June of 2011 when Bill Warren was appointed as the first chief marketing and communications officer, a new cabinet-level position that reports directly to also newly-appointed University of Utah President David Pershing. Bill arrived to Utah from New York City, where he served as vice president of Communications at CA Technologies, one of the largest independent software corporations in the world. During his eight years at CA Technologies, he oversaw a wide range of functions, including government affairs, community relations, executive communications, and internal communications. Prior to CA, Bill was vice president of marketing communications for the Coca-Cola Company, where he helped design and execute the company’s worldwide marketing programs and also served in senior communications roles at MCI, ARCO, PricewaterhouseCoopers, and as chief speechwriter to former New York City Mayor Rudolph Giuliani. He has worked as a consultant on political campaigns and published articles in The New York Times on national education issues.

Brian Rasmussen and Bill Warren

Brian will oversee a team of creative professionals, including graphic designers and copywriters who provide strategic guidance to clients across campus including colleges, departments, programs and schools. Reporting to Bill, Brian will work with the university team to ensure the integrity of the U’s brand is maintained and its story is told consistently and effectively. Brian joins the U from R&R Partners/Salt Lake City, a marketing communications firm where he served as business development and managing director. A loyal and active University of Utah alum, Brian worked at several local agencies and owned an advertising firm and says, “This is my dream job. It’s what I really want to

“Bill’s broad and deep experience in marketing and communication is of great benefit to the U as we move into the Pac 12,” said Fred Esplin, vice president for institutional advancement. “I’m confident he has what it takes to help the university become more sophisticated and competitive in our student recruitment, and as we look to engage more of our alumni and friends in investing in the university.” Filling out the team is Brian Rasmussen as marketing director, Keith Sterling as communication director and Barb Smith as executive communications manager, all 2012 hires.

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1Q 2013

be doing.” Keith Sterling arrived to Salt Lake City from the City of Burbank, California where he worked as a public information officer and prior was communications director for the City of Broken Arrow in Oklahoma. Barb Smith serves as speechwriter for U President David Pershing and as a senior member of the communications staff. She comes to The U from KTVXABC4 in Salt Lake City, where she worked as an anchor-reporter for the last 21 years. Bill burst on the scene with a passion to portray the University of Utah as the stunning geographically situated world-class institution that it is. He started the process with a nation-wide request for proposal, which is where Brian came into contact by pitching R&R for the opportunity. The choice was a Los Angeles and Austin-based firm for the initial research and execution of the first round of creative strategy. According to Bill, current and prospective students, faculty, staff and alumni were consulted to gauge the university’s strengths and help identify the attributes that make a unique learning environment. “Imagine U” is designed to define the University of Utah as a tier-one teaching and research institution offering a collaborative learning experience that prepares students to succeed in a competitive work environment. The setting is a vibrant diverse city with ready proximity to some of the most spectacular natural landscapes in the world. The word “Imagine” was thoughtfully positioned in close proximity to “Do” so that imagine didn’t take on a passive connotation. Bill comments on the final result, “This new brand sends a message worldwide that our university is a place that encourages students, faculty, staff and the community to imagine, and then do.” “We look forward to working closely with our marketing partners across campus to strategically integrate the Imagine U brand,” said Brian. “We believe it will help to unify our message as we tell the world that anything is possible at a place we call Imagine U.”

news briefs vicki varela brings her talents, leadership and big ideas to the utah office of tourism In early January, Vicki Varela was named managing director of Tourism, Film and Global Branding at the Utah Office of Tourism. The position was formerly held by Leigh von der Esch who retired after a long career in state government most recently promoting State tourism since 2005 and director of the Utah Film Commission for 20 years prior to that. Vicki brings to the office an impressive resume with experience in the public and private sectors, a passion for community building and an entrepreneur’s zeal for making an impact from day one. adnews caught up with Vicki on the second day of her new position to discuss her background, the greatest challenges she faces and how she intends to burnish Utah’s reputation as a sterling location for tourism and business.

background Vicki comes to the Utah Office of Tourism fresh off a five-year tenure at the helm of her own consulting firm that specialized in bridging the gap between private and public sectors. It gave her the freedom to “build community movements to change the world in ways that matter,” Vicki says. To that end, she is particularly proud of her participation on the Prosperity 2020 startup team, working to call attention to Utah’s declining educational outcomes. “We’ve had this long-held view of our state as a place where a lot of people graduate from college, but if you look at the statistics, that’s all changed dramatically over the last 15 years,” Vicki says. Prosperity 2020 brings together educational, non-profit and business communities to develop a roadmap to modernize Utah’s educational system, improve graduation rates and strengthen Utah as a technology hub. In the same vein of creating programs that strengthen communities, Vicki worked with the Utah Housing Corporation to roll out a new set of mortgage options for homebuyers who lost equity in their first home during the rapid decline in housing prices, and need down payment assistance to get back in the market. Not one to shy away from challenging topics, earlier in her career, Vicki built community support and accelerated the creation of alternative transportation corridors around Kennecott’s Daybreak community. “It was a remarkable opportunity to do the storytelling and create community support around a very different way of building communities—particularly in a suburban area,” she says. Vicki sees the success of Daybreak and Utahns’ willingness to adopt alternative ways of commuting as a formula for continued success. “I’m amazed at what our community has been able to do with light and commuter rail,” she says. “You look back 20 years ago and you wouldn’t have expected that from a car–focused Western community.” Her strong focus on bringing people together around a shared goal stems from her work in public policy, first at the State Board of Regents, then through the Olympic referendum campaign to secure public support for the Olympic games. Later she worked as deputy chief of staff and spokesperson for Governor Mike Leavitt, a mentor she credits for helping shape her views on leadership and risk taking. “He was always willing to look at other ways of doing things,” Vicki says. It led her to realize that the art of consensus-building was in her DNA. “I find things I’m passionate about and then find a path to make them happen through persuasion and persistence.”

bringing utah to the world One of Vicki’s first projects is to align the Utah tourism and business communities’ outreach efforts to make a greater impact on the world. “The state does a lot of good work in business recruiting and we do a lot of good work in tourism, but we don’t have an integrated, high-level brand that we’re com-

municating to all our audiences,” she says. Social media is at the forefront of Vicki’s efforts to communicate Utah’s strengths. “If I look at what my own friends post on Facebook, a big part of their storytelling is about how much they love Utah,” she says. “I’m looking forward to creating a social media strategy that captures more of Utah conversations about our great state for visitors and businesses. I think that’s the most authentic and persuasive case for a vacation or relocation.”

“the lone ranger” and the mighty five Utah has long been a destination for filmmakers, and Vicki is charged to build on the tradition. Great movies are Utah’s best billboard. Last year Disney filmed “The Lone Ranger” here, with unforgettable shots of Dead Horse Point, Moab and Monument Valley. Vicki is working with Disney on collaborative marketing of Utah and the movie. The July third rollout could be a blockbuster for Utah tourism and filmmaking, especially given that this year’s tourism campaign is focused on Utah’s red rock country. TV ads and the VisitUtah website challenge families to tour The Mighty Five—Utah’s five national parks. “Everyone knows Utah’s winter brand. We have the greatest snow on earth,” Vicki says. “Our message in the other three seasons has been generic. This year’s campaign differentiates. No one can compete with our rocks or our snow, and that’s the message people need to hear. Seeing Johnny Depp and Armie Hammer hanging out in southern Utah as Tonto and the Lone Ranger should put us at the top of people’s bucket lists.”

alcohol and air quality Vicki acknowledges that Utah has two challenges to increase tourism and foster business relocation to the state. The first is Utah’s perception as a “dry” state where it’s a challenge for visitors to get a stiff drink. “I think we’ve made great progress in simplifying our liquor laws from 20 years ago,” she says. Despite this, she admits there is still work to be done. “We don’t want liquor laws to be people’s takeaway memory of Utah. It will be a constant process to ensure that, like any of our laws, liquor laws are straightforward and bring as little burden to our citizens and guests as possible.” Another area of focus that has brought unwelcome attention to the state in recent winters is the poor air quality. “Democracies are driven by crisis. We are all feeling the crisis in one way or another. This is a turning point, just like we had with smoking, littering, water conservation, racial and sex discrimination. We have to change our individual behaviors—idling, speeding, all that stuff. And we have to call on our manufacturers to change too. If LA can clear the air, we can do it here. We will look back and wonder why it took us so long.” Vicki says.

change and rejuvenation Vicki sees change, both personally and within a community, as crucial to sustaining one’s energy and continuing to grow. “My career chapters have always lasted between five and eight years,” she says. “As an avid gardener, I know that periodic repotting makes plants thrive.” It’s apparent that Vicki is clear-eyed about the challenges facing the state of Utah while at the same time deeply optimistic about Utah’s ability to grow and develop more fully into a premiere tourist destination. She sees the rich quality of life, spectacular scenery and outdoor opportunities, and thriving businesses as key ingredients of telling Utah’s story, a recipe, she feels, will result in great success.

by Jay Kinghorn Photo by Scott Peterson 1Q 2013

| adnews 7

creative showcase

RIESTER

LOVE COMMUNICATIONS

Experience the Utah Difference! 3 3

The University of Utah Department of Communication is one of the oldest and most fully integrated communication departments in the nation. Providing concentrations and specializations across the full spectrum of the communication discipline, Utah's Department of Communication offers BA/BS, MA/MS, and PhD programs, along with professional certificates in Integrated Marketing Communication, Conflict Resolution, and Health Communication.

DAVID MEIKLE

The department is housed on lower campus in the state-of-the-art Language and Communication Building with newly installed High Definition television production and editing facilities and digital audio design control rooms and studio.

www.utah.communication.edu 801.581.6889

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1Q 2013

creative showcase AGENCY FUSION

RIESTER helps Alta celebrate its 75th birthday with a new ad campaign.

LOVE COMMUNICATIONS produced new creative ads, including outdoor and TV, to raise awareness of University of Utah Health Care’s Sports Medicine program. Whether the viewer is a world-class athlete, a recreational athlete, or decidedly not an athlete at all, the tagline reassures it’s a service for every body.

While the election is behind us, LOVE COMMUNICATIONS reports that the agency’s Voter Outreach campaign, including TV, outdoor, radio, and PR, generated over 845,000 visits to Vote.Utah.Gov, up almost 352 percent from 2010.

While Surefoot has long been home of the world’s most comfortable ski boot, AGENCY FUSION gave their website a complete makeover, including web design, web development, internationalization, copywriting and a large infusion of raw energy.

The folks at Jauntaroo had an idea for a new travel site: allow people to set a travel budget, specify a few parameters regarding what they’d like to experience while on vacation, and the travel tool would scour the internet for deals that matched the criteria. AGENCY FUSION developed the brand name, the visual brand identity, web design, website development and travel search-engine development.

The Marketing Department for Continuing Education (at the University of Utah) contacted designer David Meikle to create illustrations based on the look of old travel–style posters for a new travel program sponsored by Continuing Education. The illustrations are to be used by the Marketing Office at Continuing Education for postcards, posters, print ads, and electronic ads (including Facebook).

RICHTER7 produced these ads for Aikikai to promote self-defense training with a lot less... self.

RICHTER7

Promoting Utah’s Motion Picture Community to the World

Utah Productions

A 101A 1 FilmUtah is a non-proﬁt, 501(c)(3) organization that helps promote Utah’s ﬁlm crew and support services.

435.200.3460

www.film

utah.org

1Q 2013

| adnews 9

creative showcase

till energized after all these years.

From the first power plants and lights to the exciting new possibilities with renewable energy, Rocky Mountain Power has been there. This year we celebrate our 100th anniversary and we have never been more excited about the future of energy. To us, emerging technologies in solar, wind and geothermal and additional ways we can help our customers use energy more efficiently, makes the next 100 years as important as the last.

RIESTER

VÉRITÉ

HYPERX MEDIA

VÉRITÉ produced the app Ocearch Global Shark Tracker compatible with the Web, iPhone, and iPad

Everything was delicious

and we couldn’t be happier with

Cuisine Unlimited Catering & Special Events

Cuisine Unlimited Catering & Special Events 4641Cherry Street, Salt Lake City, Utah 84123 Salt Lake City 801-268-2332 • Park City 435-647-0010 www.cuisineunlimited.com

10 adnews |

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HYPERX MEDIA’s recent creative projects include: A new website design for Mountain America Credit Union mortgages; a new custom e-commerce web design and development project for Groop Dealz, a rapidly growing daily deal company (groopdealz.com); and highly engaging interactive banner ads for Big O Tires in collaboration with agencies (Kassing Andrews Advertising) and Larry Miller Automotive (Saxton Horne).

creative showcase flashback

Harris & Love - (1987) Blue Cross

Thomas Phillips Clawson - (1986) Hardees

Cole & Weber - (1998) Tunex

FJCandN/Hogle Zoo magazine ad (1996) – Richard Oliver A.D. Dave Newbold writer/CD

Big D (Late 1990’s) - Designer Scott Snow, Royter Snow Design, Art Director Dave Newbold FJCandN/UTA billboard (1996) – Randy Stroman – A.D., Dave Newbold – writer/CD

Bailey Montague

Cole & Weber - (1987) FHP Magazine ad Soter Associates - (1980) Interstate Brick

Richards & Swensen (1980’s)

FJCandN/JH magazine ad (1998) – Dave Newbold – writer/CD Cole & Weber - (1987) Gus Paulos

Richards & Swensen (1980’s)

Est. 1982

Purchased by Robert Ronald - 1990

VĂŠritĂŠ has been designing and producing web tools, as well as marketing, advertising and training campaigns since 1993. We combine cutting edge creative with forward thinking technologies to strengthen brands, reach audiences, and get results. Est. 1993

1982

Est. 1994

1990

Est. 1987

Est. 1989

Est. 1991 The Walton Group, Inc. provides services to businesses by individually improving their communication plan, assisting with their needs and achieving their short and long-term goals.

Est. 1993

Est. 1997 Purchases Lorraine Press - 2012

Est. 1998 Est. 1996

2001 - FJCandN renamed Richter7

2000

Est. 2012

2013

Est. 2003

Est. 1999

Comcast Launches I+ 2011

Moves into new facility - 2012

APOSSIBLY BRIEF, &

DISTORTED, HISTORY OF

SALT LAKE AD THE

AGENCY

WORLD

By Dave Newbold

ome might call this article a hitand-miss retrospective of the Salt Lake ad scene—from the mid-70’s onward. Some might call it revisionist history. And some might be right. Regardless, here’s how I remember it. The best local ad campaign I noticed when I came out of BYU’s ad program in 1976 belonged to the State’s tourism division. It was created, as it had been for a number of years, by Harris & Love, an SLC mainstay agency that sold to Reister several decades later. At that time, Harris & Love was run by the venerable Bob Love, one of the true creative idealists in Utah’s ad industry. When I later worked for him, he was quick to mark up my copy with a red pen to the point where the page looked bloody. Painful? Yes. Instructive? Absolutely. I was grateful to have been one of his students. That was a time period in which Evans Advertising ruled the Salt Lake roost, in terms of size and quantity of accounts. David Evans had started his agency in his mid-fifties, if I recall correctly. I heard him respond, when asked why he waited so long to start his firm, that he had wanted to make mistakes on someone else’s money. I was an Afro-wearing intern at his firm one summer while still in school. He would walk past the intern “cages” and rap his knuckles on the partition walls—probably to keep us alert, awake, and cautious about chatting with each other. 14 adnews |

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That was also the heyday of Ross Jurney, Gardiner Advertising, Gillham Advertising (where Scott Rockwood and Tim Williams originally spent time) and several others, many of which had offices near Social Hall Avenue, where all the major TV stations were located. Bob Fotheringham had started his firm just a few years previous, but was flying under the radar for the most part. So was the firm at which I started after graduating, Soter Associates, located in Provo. Over the following few years, Greg Soter and I hired three people with names that later adorned another well-known SLC agency—John Dahlin, Darrell Smith, and Jon White—Dahlin Smith White known as DSW. A few years later, Ted Phillips, Duff Clawson and Dave Thomas started their own firm with the stunningly innovative name of Thomas, Phillips, Clawson. They became the rabble-rousing creative upstart of the market, and from about 1982 though 1988 earned more UAF awards than any other agency, by far—many of them for Gus Paulos’ perennially appealing campaign. I joined them as Creative Director in 1984, and still remember Ted singing “yo, ho, ho, ho, a pirate’s life for me,” in the hallways after they had stolen an account or a key person from another agency. He and his partners would occasionally shoot off firecrackers in the office, sometimes flipping them over their office wall into the adjacent office without offering any alert whatsoever. There were powder stains on desks and doors throughout the place. Thankfully, no injuries. TPC later sold to Cole & Weber, an Ogilvy-owned agency headquartered in Seattle, and famous for their Boeing work. They instilled a fiscally sound demeanor at the firm, and Dave Thomas and I, who were left to run the shop, learned much from the leaders of that regional powerhouse—the first one to invade SLC. It was during this time that Bonneville Communications was earning national accolades for the LDS Church Homefront spots—including a Cannes Lion—the only one I know of ever awarded to a Salt Lake agency. When Cole & Weber departed, the newly founded Williams & Rockwood filled the city’s creative gap and annually won an enormous proportion of ADDY Awards, the bulk of which were for the Utah Symphony. Tim and Scott, along with Dave Cole, hurriedly teamed up after their employer saw a note unintentionally left behind that divulged details about starting their own agency. Penna, Powers, Cutting and Haynes, a mainstay in the market, was birthed about then as well. But the monster in town at that time was DSW, formed after Darrell Smith, who had been since

hired at Cole & Weber, was let go due to account attrition. DSW earned considerable fame and billings, primarily due to the Intel account and the renowned “Intel Inside” campaign. Later, the hightech agency was sold. Just prior to Cole & Weber selling to Evans (that’s the short version of a layered saga), I left for Bonneville. Soon thereafter, Evans sold to Publicis, the international conglomerate. Dave Thomas ran it for a few years, then retired. Sadly, a few years later, several key accounts left Publicis and the agency’s Salt Lake office folded. So long to the multi-office agency David Evans built. If you listened closely, you would have heard him roll over in his grave. During this time period Bob Fotheringham’s agency grew in size and stature, with Bob and Bruce Jensen at the helm. It morphed into FJCandN, when Hal Christensen and I were named partners in 1994. It became the ADDY Award powerhouse over the next seven years. During that time, Jeff Olsen came, and later left, to form Blaine/ Olsen/White/Gurr, which was sold to the Canadian firm, Rare Method, a few years back. FJCandN merged with Williams and Rockwood in 1998. The creative dominance continued, and a rare feature article about the two agencies in Communication Arts was published just before the merge. Shortly thereafter, Tom Love formed Love Communications and Dave Boede sold his fledgling agency, purchased from DSW holdover Martha Felt, to McCann. About that time, R&R, based in Las Vegas, established an office in town, too. Dave Thomas came out of retirement after running for the U.S. House of Representatives, joined his sons and formed ThomasArts. Meanwhile, FJCandN was renamed Richter7 in 2001, after F, J and C left to form a branding consultancy, and has since then worn the state’s creative crown. Obviously, other agencies have continually existed or been started along the way—too many to be named—but prominent among them is Struck. Some have carved out a respected niche in the market’s ad scene. I apologize to those I have not specifically mentioned. As stated earlier, I no doubt suffer from selective amnesia. But you’ll find a comprehensive history of names and creative prowess in the ADNEWS ADDY Awards back issues, or in the AAF-Utah library. And that’s the way it was. Kind of.

____________ Dave Newbold is President and Executive Creative Director of Richter7, a Salt Lake City advertising and public relations agency—on the days when he is amnesia–free and remembers to go to work.

]

his was going to be about the use of social media by local newspapers and broadcasters to bolster their brands and increase their audiences, but something happened on the way to the second paragraph. After scanning various local newsoriented websites, it occurred to me the question may not be what traditional media might do to harness the power of social media, but rather, what social media is already doing to change the nature of local news. It is certainly a more provocative question: Are we seeing a fundamental change in traditional news judgment as a result of efforts to patronize social media? Is the focus on what works in the online world subverting long-held principles of what constitutes “news?” Are we witnessing, in other words, a case of demand defining supply? Check out nearly any website attached to a local newspaper or broadcast operation and look at the mix of content. On this day, for example, at ksl. com, one of the biggest and most successful news sites anywhere, there’s a distinct pattern in the type of content populating the so-called “top stories.” One is about a guy in Norway who posted a video of himself on YouTube kicking 60-yard field goals. Another is about the Ukrainian Navy planning to arm dolphins with pistols to keep enemy swimmers at bay. Sure, there are stories about the presidential debates, the Governor’s education budget and the daily array of crimes, fires and accidents. But those are generally not the “trending” stories. The items garnering the most attention at this moment have headlines like these: “Man in Germany Finds Car Two Years After Forgetting Where He Parked” “Eighteen Percent Willing to ‘Unfriend’ Someone Over Political Points” “Man Used Child’s Birthday Money to Buy Marijuana” And the lead news story at the moment? “Beyoncé Set for Super Bowl Halftime” I know, it’s not cool to dis on Beyoncé, and I realize this is beginning to sound like the rant of an old news guy annoyed by the presence of “fluff’” on a respected news platform. Actually, I’ve always believed that fluff has its place. The point is that in the current universe, fluff is the place. It started when media executives figured out there is a linear relationship between page views and advertising revenue. Then, they asked what kinds of stories were most likely to get “liked,” “tagged,” linked-to by an aggregator or be offered up on a search engine, and they said, “Great, we need more of those stories.” And for the most part, they’re not the stories editors or producers choose to nominate for a journalism award. They’re more often the stuff once relegated to an italic headline at the bottom of the printed page or, in broadcast, the “kicker” stories that end a newscast—the funny-strange-ironic little blurbs that make us chuckle, copy, paste and hit “send.” Be honest, which story would you most likely forward to a friend, the one about energy development on public lands, or the one about gun-toting

CON PSARRAS

WHAT SOCIAL MEDIA IS DOING TO CHANGE THE NATURE OF LOCAL NEWS

fish in the Ukraine? Editors have long been keen to the value of the so-called “water cooler” story. Now, by virtue of smartphones and their social media apps, the water cooler is everywhere, all day long. Television news producers almost always include a “talker” story in their rundowns, knowing they make for a nice tease across a commercial break and, hopefully, sustain a ratings point. But in the online world, “talker” is king. In fairness, mainline news sites and the journalists who feed them remain cognizant of the value of a balanced diet. There are still healthy servings of serious and important news, but the nutritional pyramid, as it were, seems every day to skew more sweet-tooth. The trend is likely to continue, if only because feeding the online beast what it wants offers instant gratification. Around the newsroom water cooler, reporters have always bragged about the big stories they break, the ones that “brought an indictment” or “got the governor to call a news conference.” Now, you’re just as likely to hear, “Wow, my story got 200 comments in an hour,” or, “Hey, that piece on the blind chimpanzee went viral!” So, as time goes on, do journalists, consciously or subconsciously, under orders or on their own, begin to skew the direction of their stories to generate greater online consumption? If the answer is “yes,” then are we witnessing the beginning of an apocalyptic collapse of traditional news reporting? Probably not, given that the debate

over whether journalists should give readers what they want versus what they need has raged for generations. What’s changed is that the journalist is no longer in control. The modern news consumer is not tethered to any particular source of information, and has a much broader range of shopping options. The purveyors of traditional news are recognizing they are in a buyer’s market—give the consumer what he or she wants or they’ll go somewhere else. Hence the conundrum: most research shows consumers have high regard for traditional, hard-hitting, important, relevant, investigative and contextual news—but their page views speak otherwise. Which master do you serve, and in what proportion? That would seem to be a key question in any discussion of a social media strategy. If it’s just about expanding market reach and revenue, then the impact on content and culture maybe isn’t so important. What’s more apparent by the day is that the tide of online news consumption may be lifting a lot of ships, but it comes with a strong undertow, and it’s taking the practice of daily news judgment into unfamiliar waters.

C0n Psarras is currently an Associate Instructor, University of Utah Dept. of Communication. He enjoyed a long career in broadcast news having guided the news product as news director for KUTV, KTVX and most recently at KSL as Vice President, Editorial Director as well as VP Managing News Director for television radio and digital media. 1Q 2013

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UNLOCKING the TRUE VALUE of your CREATIVE CONTENT by Jay Kinghorn

he past decade has brought a confluence of technological advances in hardware, software, communications and distribution platforms allowing independent creators to shoot, edit, create, publish, market and distribute their content at far lower cost and greater reach than ever before. Pioneering filmmakers and entrepreneurs like Tyler Measom and Danfung Dennis, both profiled in this issue, have created remarkable documentary films reaching wide audiences and critical acclaim with relatively small production budgets. These filmmakers, and other pioneering photographers, game designers, illustrators, authors and other visual creatives prove that it is possible to self-fund and self-distribute creative works that have impact, reach a global audience and provide sustaining financial support for the artist. That’s not to say it’s easy. Nor is it a sure bet. Countless creative projects languish on YouTube or Vimeo with a smattering of views. Despite Kickstarter’s success at crowdfunding creative and innovative projects, fewer than 40 percent of all projects submitted to the site meet their target fundraising goals. Even successfully funded projects still have only a glimmer of hope of reaching a wide audience. According to IndieWire, 4,042 films were submitted to the 2012 Sundance Film Festival in the World Dramatic and Documentary Competition. Of these, only 110 were selected for inclusion in the festival and fewer than 40 films were ultimately acquired by established, full-service film distributors. This means that 99% of films submitted to Sundance—good films requiring years of work and hundreds of thousands of dollars in investments on the part of the creator—are unlikely to ever reach their intended audience. Fortunately, there is renewed energy on the part of creative artists to take the reins and 1% of films submitted to the Sundance Festival in 2012 were acquired for distribution source:IndieWire

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bring their work directly to an appreciative and financially supportive audience. These changes couldn’t come at a better time for creative industries. The great paradox of the times is that while there is tremendous demand for compelling, creative content to fill blog posts, video channels, apps and online publications, creative professionals are seeing their work devalued and commoditized with assignments often going to the lowest bidder. This phenomenon affects all creative industries and all segments of the markets. When accounting for inflation, professional writers have seen their hourly and per-article rates drop over 80% since 1991, Instagram and Google are increasingly separating photographs published online from their original creators and Oscar-award-winning visual effects houses are filing for bankruptcy even as they are accepting their golden statuettes.

a path forward? As I highlighted earlier, there is an increasing number of success stories for creative artists to look to for inspiration and encouragement as well as information and experience. I’ve recently begun work on a project to bring together the stories, strategies and successes of artists who’ve already blazed the past, research the keys to their success and work to develop a roadmap for future independent artists to follow. The findings from this research will be published online and presented at the National Association of Broadcasters conference in Las Vegas on April 10th. The presentation, Unlocking The True Value of Your Creative Content, sponsored by the American Society of Media Photographers, aims to distill this body of research into a series of best practices. By highlighting specific strategies for building an audience for your creative work, techniques for successfully crowdfunding and presenting options for independently distributing your work, I hope to help creatives gain the confidence and knowledge they need to bring their work to market outside traditional publication and distribution channels. While it would be unrealistic to expect that

a majority of creative works will be independently distributed—there are still lots of good reasons to use traditional methods—or that following best practices can eliminate the risk of a new endeavor. However, following time-tested practices and learning from seasoned veterans will improve one’s odds of success. The upside to cultivating an independent community of creative artists is two-fold. First, more professional artists can continue to operate as professional businesses without having to resort to slinging espresso or waiting tables to make ends meet. Secondly, a greater number of creative works that would have otherwise gone unseen will see the light of day and realize the social impact the artist intended. Thirdly, independent success fosters success in traditional distribution channels and puts creatives back on a level playing field with media entities because they are no longer the “only game in town.”

a new mentality Already some clear patterns are emerging. Most prominent is the need for creative artists to expand their focus on the business aspects of their craft. Emily Best, founder and CEO of Seed & Spark, a crowdfunding and distribution portal for filmmakers, believes, “Every creative enterprise is a startup and it has all the qualities of a startup business.” Artists “can’t continue to shun business as the icky side, or dirty side, because that’s simply not true. It’s the sustaining side.” By engaging the audience frequently through social media and showing in-progress work,

the audience is more likely to be invested in the project and help it become successful by contributing to a crowdfunding effort or sharing content on social media channels. Tyler Measom considers this the “we” phenomenon. “When our project reaches milestones on our Kickstarter project, our audience posts comments saying ‘we’re 50 percent of the way there’ or ‘we can do it!’” The shift in tone from “you” the filmmaker to “we” the film’s team, they take ownership and are vested in the process. With this engaged support comes increased responsibility. Emily Best likens this to a CEO being accountable to their shareholders. “If you really want to change the culture around arts funding, you give people that granular, emotional level of involvement.” This deep involvement forces you to produce better work because your friends, family and community are deeply invested into your work both literally and figuratively. They’ve contributed time, money, resources and they’ve personally recommended your work to their friends. This makes it far more difficult for an artist to give anything less than 100 percent to their final product. Although the entrepreneurial spirit and business-focused attitude needed for success on these emerging channels isn’t for everyone— many just want to focus on the art—these tools will undoubtedly mean commercial and creative success for a new breed of artists looking for a better alternative to the current solution. Emily Best sums up today’s reality very clearly. “The people responsible for creating this content are the last ones to get paid. That’s a really broken mechanism because it disincentivizes the wrong people. If we don’t have content, we don’t have television, we don’t have movie theaters, we don’t have the thousands of people working in droves at the concession counters. You have to have the content creators first, yet they’re the last to get paid.” Finding strategies, techniques and platforms for artists to get paid and reach an adoring audience is what this project is all about. I hope you’ll join us.

by joining the Facebook page, visiting the blog, connecting with me on Twitter or attending the presentation at NAB in April. Let me know how I can best help you bring your creative ideas to reality.

Jay Kinghorn calls upon his 15 years of visual media creation, workflow and content strategy work to help his clients publish informational, promotional and educational content to traditional and emerging platforms, including Web, mobile and social media. His work intertwines several disciplines, allowing him to bring a holistic approach to help his clients unlock of your business opportunities created by a turbulent TRUE VALUE technology-driven business landscape. In 2009, CREATIVE CONTENT he co-founded Kinghorn Visual Inc., a dynamic and multi-faceted consultancy that helps busiFacebook: https://www.facebook.comUnnesses and organizations strategically commulockingTheTrueValueOfYourCreativeContent nicate on the Web and mobile devices through Twitter: @jaykinghorn or use the hashtag photography, video, motion graphics and design. #valuecontent Concurrently, Mr. Kinghorn continues to develBlog: http://jaykinghorn.com/unlocking-theop educational content and deliver presentatrue-value-of-your-creative-content/ tions through the American Society of Media Upcoming presentations: Photographers (ASMP) to help their members April 10th, NAB 2013-Las Vegas, NV implement new business strategies to take advanhttp://nab13.mapyourshow. tage of the unstable, but opportunity-laden busicom/5_0/sessions/sessiondetails. ness environment. An established author, Jay blogs cfm?ScheduledSessionID=1BA9CF about the intersection of technology, art, commerce and society and has written three books March 20th, Denver, CO: for McGraw-Hill publishing. Loyal to his roots in http://www.asmpcolorado.org/articles/ photography and technology, Jay has been an upcoming-colorado-events.html Olympus Visionary Photographer since 2006.

UNLOCKING the

get involved For this project to be successful, we need your voice. Please let us know what information you need, what obstacles you’ve encountered and what you need to start your own independent work. Do you know of a success story we should highlight? Please share it with us. The goal of this project is to serve and support the community of creative professionals and we hope you’ll get involved 1Q 2013

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Q+A

GERALYN DREYFOUS AND TYLER MEASOM ON DOCUMENTARY FILMS adnews caught up with Geralyn Dreyfous right before the Sundance Film Festival where the group she founded, Impact Partners, submitted 11 documentaries, had five accepted and two won awards. Geralyn also executive-produced “The Square”, given the Audience Award, World Cinema Documentary at Sundance. Less than a month later, Impact Partners’ films were nominated for two Academy Awards. Geralyn is no stranger to the Oscars—one of her first documentaries she produced, “Born into Brothels”, won Best Feature Documentary in the 2005 Academy Awards. Since founding Impact Partners, she’s added two additional Oscar successes to her resume with “Freeheld” (2008) and “The Cove” (2010). Tyler Measom, profiled on page 22-23, sat down with Geralyn to explore how a producer shapes the success of a documentary film as well as the role documentaries play in igniting social change in an era where investigative journalism by traditional news outlets is on the decline. tyler: you are kind of iconic in the state of utah as a film producer. but what is it exactly that you do?

Geralyn: {laughs} That’s so funny, You know my mother’s always asking me that question too, she says, “I can never explain to people what you do.” Well, I divide my time between funding documentary films. We set up a film fund called Impact Partners and we finance social impact documentaries. We look at about 500 films a year and we fund about thirty of them. We look at stories all day long, we meet with filmmakers, we listen to their pitches and we try to determine stories that we think are particularly original, have social value or haven’t been told before. In most of the cases, we’re funding films when they’re almost finished unless we really know the filmmaker’s body of work and can put the financing for the whole film together. Part of producing a movie is really just putting the financing together; it’s not the artistic side of moviemaking. I think people get very confused by that. So you are behind the camera and financing films because most documentary directors have to do both. I’ve never even picked up a camera—I’ve looked through them, but I wouldn’t know the first thing about shooting a film, or an aspect ratio. I leave these decisions to someone who is much more talented than I am. t: does that make it difficult in funding documentaries because you don’t know what you’re getting?

G: Look, investing in any film is very high risk. While there are more distribution channels, the ones that find a life and find commercial success are very small compared to the content that’s being created. So, you’re always wondering “where is this story going”, “how are you going to get it to the finish line” “will it hold up”, “will it stand the test of time? Good cinema grabs you in the first minute and a half and if it doesn’t, you’ve got a problem. So it’s not that hard to see when something’s going to be good. What’s harder is when something’s not working, knowing whether people {the filmmakers} are going to be able to figure it out, or are they going to have the discipline, or the mindfulness to step back and listen to what the audience is trying to tell them. Which is, “this isn’t working.” You still have great bones, you have a great film, but you’re losing your audience here. That’s the job of a good editor, from a writing point of view; all great authors have great editors who reline their work. That’s the role, sometimes, of a good producer and a good editor has to anticipate great collaboration with the director to say, “tell me more.” Like a writing coach says, “what are you trying to say here? Tell me more.” It’s in that articulation that you say “oh, okay, well then that’s not happening here.” So there’s this cut-and-paste kind of exercise that happens with filmmaking in the same way that it does with writing and I love that connection because I started out teaching writing and now work on films.

going to infiltrate an idea? How’s it going to amplify and align with something else that’s trying to happen whether it is in the environmental space or women’s space? How’s it just going to bring awareness to something that maybe we’re too busy to pay attention to? Those are all the criteria we look for in these films. t: in that order? it’s nice to hear you say social impact first.

G: Actually, I say artistic merit first. It has to be a good story or nobody’s going to see it and it’s not going to have commercial value and it’s not going to have social impact. {laughs} Everything stands on the shoulders of the story. The commercial and the social impact go hand in hand. Right? We’re looking for films that have a social message and story, that’s the filter through which we are selecting our films. But we have to know where we think this will have a broadcast outlet. And the only reason why documentary films are sustainable now is because there is still a broadcast market. Once that goes away, I don’t know what we’re going to do about financing films. For now, there are still broadcasters that are still willing to pay money to recoup some portion of the budget, but it’s never the full budget. So every one of these films is being subsidized or deferred on the backs of the filmmakers or their credit cards or their mortgage payments. I know you know that way too well. {laughs}. t: what has to be done to encourage a public to view these films that are so important? are people watching these films? is viewership of documentaries waning?

G: I don’t think it’s waning. I think it’s growing, but it’s very niche. Films are finding their audiences in new ways because the technology is there, but it’s not in the typical broadcast sense of the way we used to consume media. You consume media now because there’s publicity around an issue, because there’s promotion, because there’s social media. But mostly, what we’re finding is people view media because a friend told them about it. It’s less about the film critic and more about a contemporary or another person who is curating content, or a tastemaker is helping you find your way to the stories you need to see. t: you mentioned a lot of filmmakers and the majority of them were women. as a male documentary maker, i sometimes, well, all of the time, i feel like i’m in the minority. especially the gatekeepers of the documentary world, by and large, are women.

t: what criteria defines how you at impact partners select films for funding?

G: When we look at films we look at, first of all, is it a good story? Is it artistically going to be a great film? That’s the number-one important thing to us. Then, does it have a commercial life? Is it a film we can recoup our investment? Our model is to put equity in to make money back for our investors—not to make money, because no one makes money making documentary films—but so that they can support the next documentary film. We’re like a revolving loan fund for documentary filmmakers and our investors just pay it forward. They take their money out and put it in the next good project. I think that’s an exciting model, it’s renewable, it’s not grants that are one-time only and you feel like, “well I did that already”. Your money comes back and you almost feel obligated to put it into another good film which is exciting. The third is, what is its social impact? How is this film going to change a conversation? How is it 18 adnews |

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G: Because women are so smart! {laughs} I think that it’s true. There are more women documentary directors now. I’d say it’s 60/40 with more women than men. t: if you look at the narrative world, it’s probably 90/10.

G: Although this year at Sundance, I think 40 percent of all directors are women in the narrative space. t: that’s wonderful

documentaries as cultural markers a nd as antidotes to the commercial media we export to the world. Is this what we want the world to think of us as Americans?

G: I think what you see is a different kind of storytelling. That’s what we’re really looking for, right? We want representation of sensibilities, of aesthetic that represents who we are as a people. So you have to have more women, just like you want to hear from all races and all classes and all walks of life because that’s what makes our country diverse, but it’s also how we learn—from other people’s perspectives. Some people will say, “of course there are more women, you don’t get paid, it’s hard work and you don’t get the recognition.” I don’t think that’s the case. I think the best work is being done in nonfiction right now. These women are smart and they understand how ideas travel and they’re deeply committed to good storytelling and the impact that you can make. Festival Template - How to optimize a film festival G: Well, there are so many logistics that go into bringing a film to a festival like Sundance because Sundance is one of the few festivals in the world that is actually a marketplace. I’d say, on average, it’s costing $30K to bring your film to Sundance. We have some films that have bigger teams and are coming in from Mexico and London and it’s costing $45K. So, the first job we have is “Holy shit, we got into Sundance, now how are we going to afford to get the film here?” Part of it is finding money for housing and publicists and having a launch party; then making sure that you have the team around you so you can get the attention of buyers. The festival team and strategy is different than the making of the film’s team and strategy. I’m on conference calls every day in half-hour increments between sales agents and publicists to discuss how we are pitching our films—the messaging and strategy for the film. t: how about during the festival?

G: Well during the festival, your job is making sure people show up and see the film. Then, trying to figure out how to get them interested in buying the film. My partner Dan Cogan does more of the actual sales and negotiations and I do more of the hospitality and curating the conversation around the story. For example, we have an opening-night film, “Who Is Dayani Cristal?” which is an incredible, genre-breaking film that both has a narrative component and a doc component. We’re going to have a conversation around immigration policy in Utah and nationally. I’m doing the logistics around that by asking, “Who do we need to Skype in or fly in to be part of those press conversations, those public conversations and the private conversations that we’ll have with investors and donors who might then want to fund the outreach of this film, so this film can have the social impact that it needs. photo by Scott Peterson

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JEFF METCALF: GIVING VOICE THROUGH DOCUMENTARY FILMS “a documentary film is a confessional of sorts. you step in front of this lens and it’s an act of contrition, of forgiveness and permission. sitting there in the darkness and being invited in and being asked to trust the filmmaker. how can you not think this is one of the most powerful things in the world? to lay it out there raw, bare bones. it’s dangerous in many ways. to allow that lens to be turned on your story, on you, your personal narrative, you’re taking a great risk here. i think that’s By Jay Kinghorn – Editorial and Photo truly an act of bravery. there’s no other way you can get that close to the truth.”

t’s rare for someone to lay bare their deepest, darkest secrets to a friend. Rarer still is a person who turns a camera lens on themselves or their family to reveal stories of drug addiction, homelessness or domestic violence to an audience of total strangers. Jeff Metcalf, and his Humanities in Focus (HIF) program helps his students, primarily adults from underserved communities, find their voice through filmmaking. The results are honest, unflinching, largely autobiographical films that bring healing both to the filmmakers and the communities they live in by showing the frailties of the human psyche and our ability to overcome remarkable adversity. It all began eight years ago, when Jeff was involved in teaching a free, humanitiesbased course for adult learners who had great dreams but low means. Through stories told casually in the classroom, Jeff heard the remarkable stories of refugees who’d had family members assassinated and immigrants risking their lives to come to the country. Inspired by their stories, he asked the attendees if they’d like to create documentary films about their personal histories. Everyone in the class said yes. Jeff enlisted the help of documentary film professor Craig Wirth, and the following year they launched the HIF program, a year-long free program that meets weekly to help participants tell their stories through documentary films. The program initially began in the Salt Lake School District’s Career Technical center and recently moved to University of Utah’s Mariott Library to better accommodate the growing demand for courses. While the U of U provides a home for the program Jeff is the sole fundraiser to keep the program afloat. Seven-and-a-half years after the first class, people from all over the community flock to the program because they have stories to tell and are looking for a vehicle to tell them. “A documentary film is a confessional of sorts. You step in front of this lens and it’s an act of contrition, of forgiveness and permission. Sitting there in the darkness and being invited in and being asked to trust the filmmaker. How can you not think this is one of the most powerful things in the world? To lay it out there raw, bare bones. It’s dangerous in many ways. To allow that lens to be turned on your story, on you, your personal narrative, you’re taking a great risk here. I think that’s truly an act of bravery. There’s no other way you can get that close to the truth.” The stories told in these films run the gamut of human emotion and experience. Crystal tells her story about being addicted to crystal meth while pregnant with her daughter. Another woman points the camera at her family, exposing the dysfunction her husband’s alcoholism and daughter’s substance abuse brought to the family. A young man risked deportation by making a film about his life as an illegal immigrant in Utah. While many films show the reality of drugs, violence or incarceration, others reveal a softer, tender side. “Michael’s World” is the story of a young man with Asperger’s syndrome who turned to painting as a way of communicating with others. His abstract works of ordered blocks, dense, colorful lines and repeating patterns sometimes appear like aerial roadmaps to ancient cities. Ultimately, what makes these documentaries so unique is that these aren’t filmmakers telling stories about other people, these are individuals who’ve become filmmakers to tell stories about themselves. While some of these stories can be shocking, ultimately, their purpose is to heal. “This empowers people,” says Jeff. “It gives the participants permission to forgive

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themselves for the things that have happened to them.” By telling their stories, many participants have been able to move past the situations that have held them back to come to a place where they better themselves and their communities. Nadia, a young woman who escaped gang life, has become an advocate for students and young adults who have been raised in the United States but lack legal citizenship. She’s spoken at the capital, been on the cover of the Tribune five times and she’s become a brave woman speaking out against social injustice. “Cesar Chavez has nothing on her,” Jeff says. Jeff’s love of story can be traced back to the dinner table of his youth, growing up in an Irish neighborhood in New York. His own biography unfolds like a good story should, with tantalizing hints begging for further exploration. In kindergarten he and a friend played hooky from class for several weeks, delivering parcels for a local grocer. He dropped out of junior high school to join a traveling carnival. “I have always found myself on the outside of institutional thinking,” he says with a chuckle as he recalls living in Holland and Saudi Arabia, among other adventures. It wasn’t until he was 20 and on the verge of dropping out of the University of Utah that he found his calling. After much persuading by a friend, Jeff arrived at the office of Dr. Florence Kroll who founded a program for students who had dropped out of school and fallen through the cracks. The more she described the program, the more it resonated with Jeff. It gave him a community and an opportunity to serve a cause larger than himself through teaching. “I’ve been touched deeply and profoundly by every student that has come into my life,” he says. “Dr. Krall believed that people, particularly teachers, could change lives and make a difference. I thought back on all the teachers that affected me and made a difference, and the common element was a permission to believe in yourself . . . believe that you’re going to change the world—no matter how badly the odds are stacked against you,” Jeff says. For many of the attendees of the HIF classes, the odds are stacked against them. Within the program however, they find a supportive com-

munity of people from similar backgrounds and an instructor challenging them to grow outside of their comfort zone to tell their story as authentically as possible. The supporting community allows for the raw openness and honesty to come through in the filmmaking, though Jeff often has to strike a delicate balance to know how far he can challenge his students for greater honesty without crossing the line and opening deep emotional wounds. “I don’t compromise,” Jeff says. “Once you’re around these people for some time and listen to them tell these brave stories, I just simply can’t let them back away from that. I’m prodding them. You have one chance in your life to tell your story. Make it count.” The bravery and honesty shared by Jeff’s students creates a special bond between the filmmakers and the public that watches the finished films. Seeing the vulnerability inherent in these autobiographical films inspires audience members to approach the filmmakers with appreciation for telling a story of a challenge or affliction they are battling in their own lives. Through this connection, the community grows, says Jeff. Many graduates of the program have served as ambassadors of the HIF program, bringing in new participants to tell their own stories. In this way, the program has taken on a life of its own. Jeff can’t keep up with the demand to show the films. There is increased demand for participating in the program as well. Typically class sizes are limited to 20-25 students, but last year Jeff experimented by increasing the class size to 75. Proven to be too many participants, Jeff is working on training past participants and additional faculty to expand the program. A fortuitous convergence between rising demand and an increased availability of relatively inexpensive, high-quality cameras in smartphones and tablets could allow the program to scale to meet the needs of a larger number of participants. Jeff, elated with the success of the program and the many people it has helped, can only see in one direction: fiercely forward. “We’ve all grown exponentially from this,” he says. “I need another hundred years to keep this going.”

Jeff Metcalf is Professor of English, University of Utah and is teaching the following courses this year: Adolescent Literature, Playwriting, Literature, Secondary Teaching Methods and Humanities in Focus. He recently completed a memoir, “52 by 52”, a collection of non-fiction essays that will be published by University of Utah Press this fall. This collection took first prize in the nonfiction, history category in the 2012 Utah Original Writing Competition. Brian Doyle, the judge of the writing competition comments: “I am hell-bent on writing an essay a week for a year,” says the author in his opening lines…” I am guilty of putting my writing on the back-burner for far too long. It is time to pay the piper…This is where…the rubber meets the road…” Continues Brian, “And indeed he does pay the piper, with passion and grace, with

detail and anger, with a sharp eye for the natural world and a sharp ear for the easy lies and hard affections on human life and culture. “I suppose I thought the first virtue of this book was its immediacy of story, its lack of self-pity and self-indulgence, even as the author grapples with his imminent death from cancer; but the second virtue, and no small one either, is how this did not become what it so easily could have been, a long complaint, a long whine, a long staring into the mirror, a mere litany of ills and blaming. I liked this book first for what it is, a cleanly written and fascinating story if a life spent paying close attention to the miracles and muddledness; but I also like it very much for what it isn’t, and could so easily have been. That’s a subtle accomplishment worth noting.”

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feature

TYLER MEASOM UTAH’S DOCUMENTARIAN breaking rank into contentarian for the 21st century by Jay Kinghorn

With more than a hundred commercials to his credit, Hollywood success as the producer of “Take”, a critically acclaimed documentary, “Sons of Perdition”, shown at more than 40 film festivals and recently he directed and produced the documentary “Beehive Spirits” for KUED about alcohol in Utah, Tyler Measom is accelerating into his career with new ways of connecting with his audiences, new technologies for filmmaking and carefully redefining his role as a content provider. Indeed, his success in “traditional” filmmaking outlets belies a fiery independence, and a gritty do-ityourself philosophy toward getting his movies shot, and, most importantly, seen. This bold approach may partially stem from his multiple iterations of “breaking in” that Tyler calls the “Orange Cat Syndrome”. Ready and willing to switch his moniker from the sexy, “Filmmaker” to “Content Provider” he forges ahead as one of the pioneers breaking free of the expiring silos of distribution, length and format. “I made a ton of commercials and when I wanted to break into feature films, they could care less. Then I made a $2 million narrative feature film with Minnie Driver and I wanted to make a documentary—and it didn’t matter that I had made a narrative feature film. It’s a whole different realm. Then I made a documentary that got purchased by Oprah and I wanted to do television work and…it didn’t matter. It’s the ‘Orange Cat Syndrome.’ If you haven’t made an orange cat commercial, you can’t make an orange cat commercial. “Until we break free of those antiquated and outdated notions that you are set in a specific genre or category and decide that we are content providers whatever the form or length—people are so tied to length—a tv show is this long, a movie is this long. In the end, I think it’s really about content. Screw these notions about how long or short something needs to be. The story should drive what the length is.” “Try something new” says Tyler, his voice brimming with passion, “Have some guts to say, ‘let’s do something completely different’ and if it fails, it fails,

Photo by Scott Peterson

but it may not.” For his upcoming documentary, “An Honest Liar”, about the world-famous magician and illusionist James Randi, Tyler and his partners are using social media and crowdfunding to break down the walls between filmmaker and audience. By releasing clips, outtakes and behind-thescenes photo galleries on the movie’s Facebook page as well as launching an ambitious Kickstarter campaign aimed at raising a minimum of $150,000 and reaching for $250,000, they’re building a groundswell of support for the film well before production is complete. For Tyler, the goal isn’t just about raising money, it’s about making the audience feel invested in the process, both literally and metaphorically. At reaching $148,000 with the Kickstarter campaign at exactly the halfway mark to the minute and $246,988 by campain’s close, Tyler says, “Frankly, too many people get fixated on the amount of money raised when they should be just as happy with the number of backers. We have over 2,000 new followers (and might have 3,000 or more by the time it is completed) that will be a part of the film for years. Loyal followers who are happy to promote and endorse this film for years to come. This is just as important as the funds raised.” The social media fundraising continues on the web-

“try something new” says Tyler, “and if it fails, it fails, but it may not.”

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site with sales and custom collectible items such as coasters, posters and playing cards—$6,000 was raised in the first two weeks. In this approach, Tyler draws a stark contrast between his and the traditional filmmaker’s approach to promotion. “There’s this outdated notion that I’m going to make a film, it’s going to

get shown at Sundance and I’m going to make another film. That’s bullshit. When you decide to make a film, commit to it because you’re going to be on it for two to three years and you have to love it. You are the CEO of that film. You are the one that has to sell, produce, make and distribute that product even to the point of selling DVDs out of your trunk. That’s the way the film industry works now. ” In his words and his works, one gains the sense that Tyler is both optimist and pragmatist, laboring to bring meaningful, challenging stories to the world in a time of deep transition. A time where content creators of all stripes, from filmmakers to newspaper journalists, are seeing a dissolution of their traditional revenue models without a settled alternative to take its place. As such, Tyler suffers the two-pronged pains of being shackled to existing licensing deals (“Sons of Perdition”, distributed by Oprah’s OWN network isn’t available for streaming on Netflix) and the arrows of audiences complimenting him on his work, while admitting they downloaded the film illegally. “I worked four years of my life to make that film and you can’t pay $3 on iTunes to watch it. That’s kind of disrespectful. It’s stealing. And for people to brazenly come up to me and say ‘I stole your movie.’ That’s so disheartening to me but it happens, and happens often.” Despite these hardships, Tyler is actively exploring openings created by these changing times. He points to Sundance Channel’s tv mini-series, “Top of the Lake” starring Holly Hunter, Elisabeth Moss and Peter Mullan as well as original tv series, “RECTIFY”, both of which were officially screened at the Sundance Film Festival. He lists product

placements embedded into entertainment and new content distribution platforms as signposts for the new reality in filmmaking. “It’s just this blur

approach to the business of filmmaking mirrors the documentary medium for which he is most well known. “Documentary films aren’t beholden to

of everything and at some point it won’t be delineated between television and film and commercials and Internet, it will just be content downloadable on whatever platform you want.” Tyler’s next big experiment, as a content producer for the technology startup Condition One, (see related story) aims to disrupt the way we think about storytelling and narrative. The brainchild of conflict photographer Danfung Dennis, Condition One is a technology platform enabling the creation of immersive digital films. Through the use of an array of cameras and an impressive amount of sophisticated post-production, the images are stitched together inside a virtual dome. Viewers use their iPhone or iPad to control the view within the virtual dome, panning through the scene or stopping to examine a detail. Although still a nascent company, the free Condition One app effectively showcases the technology’s potential. Rather than simply being a passing observer, Condition One makes you feel as though you’re experiencing the film. As a lead content producer for the Condition One team, Tyler has extensive experience shooting for this new medium and the unique challenges it presents, encompassing everything from composing shots for immersive viewing to editing. Ultimately, the rewards of loosening the filmmaker’s grip on the framing and composition, allowing the audience to see what they want to see in a scene, is key to what makes Condition One so engaging. Tyler’s willingness to rethink his craft to incorporate new tools and technologies, combined with his DIY ethic for promoting and selling his films allows him broad opportunities to experiment creatively, take risks and find ways to connect on a deeper level with his audiences. In many ways, his

any [narrative] structure. Therefore, they can kind of go the way they want. For a lot of people, that’s difficult to follow, but for documentarians, it’s nice to have that clean slate.” While many filmmakers bemoan the changes technology has brought to the craft, it is clear that these changes, combined with social media, crowdfunding and new platforms for storytelling provide Tyler with a clean slate on which to experiment. He says with wild gesture, “It’s an exciting time. Go shoot a movie on your iPhone for God’s sake!”

Tyler Measom’s Filmography Producer/Director: “An Honest Liar” 2013 Producer/Director/Cinematographer: “Beehive Spirits” 2012 Producer/Director/Cinematographer: “Sons of Perdition” 2010 Producer: “Know The Customer” 2008 Executive Producer: “Take” 2007 Producer/Editor: “Loving Kimberly” 2005 Producer/Director/Editor: “The Furniture” 2004 Producer/Director: “Fall of Man” 2003 Editor: “Shooting People” 2001

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CONDITION ONE: HOW D TURNED TECH ENTREPR THE STORY AND NOT LE

houghtful and articulate with a quiet demeanor, sharp intellect and moral compass firmly oriented toward exposing the horrors of war, Danfung Dennis doesn’t look the part of a technology entrepreneur who aims to bring immersive virtual reality to a tablet or smartphone near you. Born to an American father working for the UN and Singaporean mother writing about women’s issues in Southeast Asia and the Khmer Rouge atrocities in Cambodia, he developed an international focus and humanitarian outreach at a very young age. His parents taught him that all people are worthy of attention, particularly those who are impoverished. Dennis’ background fostered a creative mind laser focused on shedding light on social injustice and global awareness through photojournalism. He cut his teeth freelancing for the Associated Press in Beijing while learning how to make a compelling image. When he deemed himself ready, he went to Afghanistan to cover the war, an assignment that dramatically altered the trajectory of his career. Embedded with Echo Company 2/8 of the second Marine division, the regiment was dropped 18 kilometers behind enemy lines. After moving into a small, recently abandoned village, they came under attack and were surrounded by Taliban fighters. In this dire environment, Danfung met Sergeant Nathan Harris. Their camaraderie, born of mutual respect and support forged during a time of extreme physical and emotional duress, led to the creation of Danfung’s Oscar-nominated, breakthrough documentary “Hell and Back Again.” Gripping and poignant, the film documents the war, told through the experience of Sergeant Harris, and his post-war struggle to rebuild his life with a broken body and fragile psyche. Shrinking the distance between film subject and the audience, the film’s “fly on the wall” approach places the viewer inches from tenderly emotional and grippingly intense moments as they unfold. “As a photojournalist, I usually worked alone and taught myself to blend into a scene so that what I was capturing was as real as possible,” says Danfung. “I did very few sit-down interviews. Everything was just simply letting the camera roll and letting events unfold as they would.” Danfung’s unique brand of storytelling won “Hell and Back Again” the 2011 Sundance Best Cinematography and Grand Jury Prize. Despite the accolades, Danfung still felt limited by the tools and the mediums for communicating a visual story. “There is this objective of trying to reach a higher truth,” he says. “In images, you never see what’s beyond the frame. In documentaries, you get a highly compressed version of reality. And in a sense, both are a form of manipulation. You’re either guiding a viewer to a very select area or you’re editing it and completely distorting that

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ANFUNG DENNIS, A FILMMAKER ENEUR, AIMS TO PUT YOU INSIDE T YOU LOOK AWAY. by Jay Kinghorn

sense of time. Even in the purest of documentaries and photographs, there’s still that element of manipulation.” Danfung’s latest invention, an app and supporting technologies called Condition One, eliminates these forms of manipulation by placing the viewer directly into the scene and giving them the control to choose what they look at and what perspective they choose to take. Condition One does this by capturing 4K high-resolution digital video with an ultra-wide-angle lens to record a 180-degree view of a scene. This high-resolution video file is then viewed within the Condition One app, which projects the video onto a virtual dome. The Condition One app then becomes a movable window with which the user can navigate through the scene choosing their own perspectives on the video. Some have compared it to a “first-person shooter” video game as you’re able to look left, right, up or down simply by moving the position of the iPad or iPhone. The result is an engaging, interactive and innovative means of experiencing visual content. As an entrepreneur with an early-stage technology startup with venture funding, Danfung has assembled a core team of technology engineers in Silicon Valley and a business development team in New York to find partners interested in licensing the new technology. Thus far, they’ve completed two publicly available apps, one for Popular Science magazine, which provides a tour through the CERN Large Hadron Collider and a second for Discovery showcasing the hidden worlds of New York City. These apps, plus the Condition One viewer, are available for free download in the Apple App Store. In addition to these companies, Condition One has received overtures from more commercial outlets. “We’ve gotten tremendous interest from brands and agencies to license our software so that they can create a powerful immersive experience of their own content and offerings. We’ve started a number of pilot programs to bring that first-person experience to places where people would want to be. For example: courtside at a major basketball game, front-row at a concert or a tour through a luxury hotel. This has tremendous value for anyone who’s trying to bring [an audience] to their product or service.” Danfung reconciles the company’s commercial ambitions with his personal humanitarian desires with an economist’s pragmatism. “For me personally, I am motivated by humanitarian purposes and I think there is a balance with building a profitable company that has investors expecting returns. You can either have an NGO or a foundation and pursue this, or have it as a for-profit company. I think a company is the best way to organize a team of people with a singular goal and have it able to grow and have a larger impact on society.” He takes inspiration from Pixar’s success in combining bleeding-edge technology, artistry and storytelling. “I like the idea of taking highly technical people and highly creative people that are both driven by a sense of purpose to have a greater impact and creating something that isn’t just simply a feat of engineering or isn’t simply an art project. But, the combination of the two can be something that goes much further.” Looking at the evolution of Danfung’s career, it is clear that he is driven to shake the public from their complacency and act to stop the violence, war and

genocide that exist in the world. Each stage in his journey thus far has brought him closer to the audience and the audience closer to the subject. In this way, Condition One feels like a bold step forward along this core philosophy. He expects that the immediacy and power of Condition One, when it is fully realized, will be a challenging, and sometimes painful medium to experience these visual messages. “It could be quite traumatic for someone to experience, but I think more wrong than those evils committed in the war zone is the indifference back home. You can no longer have the excuse of “Oh, I didn’t know that was happening, I didn’t know it was that bad.” He sees immersive storytelling as a tool for shaking people from indifference by placing the audience directly into the conflict. “That is the hope, that it has that immediate reaction, that it burns into your consciousness and you can’t simply say, “Okay, that was on the news and change the channel.”

photo by Jay Kinghorn

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o M e r ’ y e Th After ten years delivering innovative video and motion graphics projects for world-class clients like Ancestry.com, Life Vantage, SportCourt and myriad agencies, Impatient Cow has grown into a first-rate capture, editing, and post facility. Though their work is sophisticated and incorporates leadingedge technology, don’t accuse them of growing-up. Founders Elliot Cutler and Jon Foster are legendary for their sense of humor and light-hearted approach to their business. A life-size cow statue and a phalanx of dogs guard the new facility, spiritedly called “The Ranch”. The dogs, much like their owners, are in perpetual motion as Impatient Cow continues to expand to meet their clients’ needs and adapt to the rapidly changing market for video production and post-production services. Despite many years in the industry, Elliot and Jon bring a startup mentality to their work and feel Impatient Cow is like a “brand new company ready to set the world on fire.” Shawn Perkins, of Shawn

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Perkins Creative has worked with Impatient Cow on behalf of several different companies and savors the opportunity to bring a project to Impatient Cow because of their fun attitude toward their work and their ability to “push the limits of technology through ingenuity and their collaborative creativity.” The Impatient Cow approach to business was born out of learning from other people’s mistakes. “We don’t nickel and dime our clients,” Jon and Elliot chime in together. Jon continues, “We look at it as a partnership without giving away the Ranch. We just try to be fair and always over deliver whenever possible.” Elliot adds, “The bottom line is we have a truly collaborative process with our clients.” When Elliot and Jon met, Jon was working at the Salt Lake office of Euro RSCG and Elliot had been running Impatient Cow since 1996 in Chicago. For the first few projects they did together in Utah, they worked out of the back room of Elliot’s home, now in Salt Lake City. Needing more space, they moved into “The Barn,” a 2,500 square-foot space where they spent the next nine years. An appropriate location for the Cow, the Barn offered offices, a billiards table, a sound booth, and editing equipment. But as the company expanded, they outgrew their beloved historic structure. They finally arrived at The Ranch after a long search. They’d initially passed over the location a few times worrying it was too big for their needs and tight relationships built from working in close quarters. “It was listed horribly,” they say. There was no picture and the dimensions just

oovin’ O n Up!

seemed like overkill.” But after another deal fell through, the two decided to give the 35,000 square-foot monster a look-see. What at first seemed remote at 1100 West, turned out to be a quick jaunt from downtown and was near to the on/ off ramp for I-15, making it a convenient location for clients and staff. Once inside, the two were hooked immediately. “We walked in and went ‘Wow.’ It was set up perfectly for our needs,” says Jon. The recent improvements, including a new roof, new heating and ventilation and a basic layout of offices, meant that they could move in and get to work quickly. “When you find the right place, you absolutely know it,” Elliot continues. Jon chimes in, “We couldn’t look at each other at all when we were being shown the building by the owner because we would have cracked up.” “From a negotiation standpoint we didn’t want to show our enthusiasm,” Elliot puts in. Today, the expansive main room houses four production desks, the billiards table and a common

meeting area with chairs and couches. Original 7-UP bottle cases found in the building are now filled with awards. The company’s mascot, a venerable cow statue, stands guard. The entire building is monitored by a 16-camera system and the doors and windows are bullet proof to secure the cuttingedge components inside. Currently in operation are three edit bays, a color correction suite equipped with a DaVinci operated by colorist and digital cinematographer Jake Bastian. Across the way, Arnie Mecham handles 2D and 3D animation and motion graphics with the post-production workflow overseen by supervisor Nathan Buchanan. Jon leads us through a secure door to the sound bay and a pre-lit 90’ x 45’ sound stage that will be finished in mid-April. On the other side of the building, oversized bay doors open wide enough to allow production trucks to pull into the building and the second stage can be flooded or trashed depending on the requirements of the shoot, giving them full creative flexibility. Rounding out the facility is a climate-controlled equipment room, a server farm, hair, make-up and wardrobe rooms and sepa-

rate production offices with quick access to the stages and sound bay. The duo is excited about, “walking in, flipping a light switch and getting right to work,” says Elliot. “We can leave the set where it is and not have to tear down. This space is very integrated, very seamless and designed to get your work done.” Jon concludes, “We definitely wanted to have the big tool bag to solve all the problems.” The move to these larger quarters were years overdue but Elliot and Jon waited to pull the trigger until the right place materialized. Elliot refers to their expansion process as, “continuous, controlled, begrudging

growth. We prefer to work at capacity,” says Jon, “We don’t want to be those guys who hire like crazy and then let everybody go. This approach stems from a deep respect for their employees and creates a sense of trust and long-term dedication among the team members. The newest addition to their staff is Lee Phung, an extraordinarily talented artist with a background in design, illustration and digital arts. Lee comes to Impatient Cow from the video gaming world, having worked on “Cars 2”, “The Chronicles of Narnia: Prince Caspian” as well as “Toy Story 3”. “We saw his book and fell in love,” says Elliot, “his work is impressive and his personality meshes really well with our existing culture.” Jon adds, “He’s got great vision. Having Lee here will allow us to offer many more services to our clients and it will up-level all of our work.” Jon and Elliot have invested heavily in the facility, equipment and staff to ensure they have full creative and technical control of the process. “We have a big canvas—now we just have to do it right,” says Jon, “It’s our dream space. We are going to put everything in that is the best—we’re not going to buy this big building and not get what we want.” The attention to detail lavished on the facility carries through to their work adnews reached out to a few clients to get a feel for their experience. Erico Bisquera, Creative Director for Penna Powers Brian Haynes has been working with Impatient Cow for several years and what keeps him coming back is the way they are attuned to how to make the concept become a better end product through collaboration and adding creative assets. In speaking with several of Impatient Cow’s clients, a few phrases kept being repeated, “down to earth,” and “good communicators.” The descriptor used most often, however, was “fun.” “After all the process of budget, writing, scheduling, bringing it to these guys is the fun part,” says Shawn Perkins. He continues, “there’s an ability to have fun when you know it’s going to turn out better than you ever dreamed. Impatient Cow doesn’t

the result matching the message and its audience.” Leta Baker, associate creative director for Ancestry. com says, “I’ve partnered with Impatient Cow for many years now and I hope to work with them for many more. Together we traveled across the country to interview Holocaust survivors for a series of emotional and inspiring videos that helped launch the World Memory Project (and also ended up winning National Addy awards). I’ll never forget filming in the United States Holocaust Memorial Museum in Washington, D.C. at 2 a.m. one night.” Leta summarizes by saying, “The folks at Impatient Cow are reliable, flexible and smart, and they consistently do whatever it takes to get the job right.” Jon and Elliot credit their success to a relentless drive to continually improve the work they do and attention to the small details that collectively separate good work from great. With their new suite of

tools, a growing talented staff and accolades like these from clients, they just might find themselves outgrowing the Ranch more quickly than they anticipate.

stamp their work with a look. Each project ends up with the unique brand essence of the client and

Impatient Cow has hired artist Lee Phung. He comes to the Ranch with a strong background as a graphic designer and concept artist having worked on video games such as “Cars 2”, “The Chronicles of Narnia: Prince Caspian” and “Toy Story 3”. His diverse experience in illustration, storyboarding and concept design will be used on all Impatient Cow projects effective immediately. His abundant talents will be used on various styles of animation projects as well as storyboards and art direction on live-action shoots. The other members of Impatient Cow are excited to work alongside him and welcome him to the herd. 1Q 2013

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production notes 1 impatient cow Impatient Cow has been making use of their enormous new studio space. They have worked for Life Vantage to produce a 3D character animation for a national conference in Las Vegas that played across multiple screens, as well as an opening video for a conference in Japan. They have produced 3D character animations as well as a series of live-action videos for SportCourt. They have produced a longformat B-to-B video for Albion Human Nutrition.

2 media grabbers Media Grabbers Inc, produced a series of branding commercials for Bennche ATVs. All spots were shot on location in Texas with the Red Epic. Joshua Eaton wrote and produced while JT Taylor and Dan Nestel helped behind the lens. The spots were edited, colored and graphically designed by Doug Stringham.

3 lone peak Lone Peak finished 2012 in a flurry with productions that included a training video for Oak Ridge Nat’l Labs on how fire fighters and police should respond to a radiological and/or chemical release. This video was the eighth in as many years and included production at a nuclear power plant in North Carolina and the creation and activation of a car bomb locally. The video is currently being distributed nationally by DHS/FEMA to first responders and state and local emergency managers. Lone Peak wrapped up a series of product promotional videos for Merit Medical that was characterized by macro videography and animations that illustrate how the products are manufactured and used in a clinical environment. This brought the total to 34 which were then compressed for iPAD and are being used as a sales tool to doctors and hospitals by Merit reps. Lone Peak created a whole campaign for UHIN that included television and radio production as well as print and outdoor.

4 stilson completes national infomercial for boston’s euro pro The multimillion dollar national campaign for Euro Pro’s Nina Mega Kitchen System that is currently running heavily on national television was produced by local DR TV production company Stilson LLC. Electronic Retailer magazine’s January issue reported that the Ninja Mega Kitchen System infomercial produced by Stilson is currently ranked #4 on the top 10 Jordan Whitney list for national infomercials. Eric Stilson, CEO and Creative Director, notes the show was shot at studios in Boston as well as at The Gigi Culinary Center in Salt Lake City. Much of the food footage and off–speed scenes were shot on 35mm film in Utah with Utah crews while much of the Boston Demo footage with Euro Pro CEO Mark Rosen and Local Utah Talent Brenda Price, was originated with high-end HD cameras using film lenses. Utah key crew supplemented the Boston union crew. The show was edited in Utah with Editron’s Ron Johnson. 28 adnews |

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Ceo Mark Rosen and Utah Host Brenda Price

production notes 5 vineyard productions Vineyard Productions completed several spots for Orchard Supply Hardware headquartered in California with Matt Hodgson directing and Matthew Williams cinematographer, also for overstock.com. Vineyard produced the first season of “Granite Flats” an original scripted television series for BYUtv.

6 john corser Produced by John Corser and Shauna Williams and directed by Andrew Logan, “Verses & Flow,” sponsored by Lexus, is taping its third season on April 29 at the historic Belasco Theater in Downtown Los Angeles. Continuing the success of the first two seasons, this season will be composed of eight 30-minute weekly variety shows. Each episode will consist of a performance by a music artist as well as performances by three featured poets. “Verses & Flow” will be broadcast on TV One. Supplementing the television show, exclusive content will be available on Lexus’ portal for African-American content, Luxury Awaits (http:// www.luxuryawaits.com). Season 2 was nominated for an Image Award. For the third year, John Corser produced the broadcast of the Sundance Channel during the Sundance Film Festival. Brian Briskman directed under B2+ production company. “We hired as many local crew as possible,” said John, “We shot 4 Canon C300 in the Studio and 4 Canon C300 in the field and used Canon 7D’s for the time lapse and shot with a remote control helicopter over main street for our opening sequence,” says John and continues, “data management was critical. 120 CF cards, 18 micro SD’s!”

7 phil tucket Brooklyn Moore featured in sign language music video produced and directed by Phil Tucket with Luke Jensen as director of photography

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I T U T A H 3.0 U tah’ s (s o mewh a t) q ui e t co nti n ued g rowth i nt o a nat i on al h u b for I T/ s o ftware an d digital me di a co m p an ies

n 1985, Utah was home to two of the three largest software companies in the world—Novell and WordPerfect; Microsoft was the third. That was IT

Utah 1.0. Utah has been the home of leading IT, software, and digital media companies ever since, and the industry continues to grow. Considering the United States economy is struggling to find its post-recession footing, Utah’s IT/Software and digital media sectors are seemingly breaking the sound

Utah Adobe facility exterior | Erickson Photography

barrier, moving faster and faster into the future. While some industry insiders can appreciate the

Utah” partnership of private sector, government and

2011, Fusion-io was named as the #1 most promis-

depth and breadth of this industry’s growth in the

educational leaders and organizations has formed

ing technology company in the U.S. by the Wall

state, it still seems to have taken place somewhat

around Utah’s IT sector.

Street Journal. It’s no wonder they were able to

quietly—but, from Novell and WordPerfect in the

hire Apple inventor Steve Wozniak as their Chief

80’s to the IPO’s and high-profile acquisitions of

IT Utah 3.0—The Harbingers of the Next Generation

Scientist. In fact, Fusion-io is Mr. Wozniak’s first full-

companies like Altiris and Omniture, now owned by

IT Growth in Utah

time role since co-founding Apple more than two

Symantec and Adobe respectively, Utah “techies”

The huge successes of companies like Novell and

decades ago. But that’s Utah.

have not taken the foot off the accelerator. As a

WordPerfect, Altiris and Omniture established a

Meanwhile, Skullcandy has enjoyed a meteoric rise

result, Utah is poised for another decade of strong

beachhead for success in tech in Utah from which

in the consumer electronics world, and in only a

growth in a key economic cluster supported by the

the state will not retreat. In the last year, Utah

relatively few short years has become one of the

Governor’s Office of Economic Development (GOED).

has had two high-profile IPO’s—amid a flagging

most venerated consumer brands on the planet.

To stay competitive and keep ahead of the curve,

IPO market in the U.S.—Fusion-io (NYSE: FIO) and

Moreover, Adobe Systems’ recent $2 billion acquisi-

savvy marketers, advertisers, and creative artists

Skullcandy (NASDAQ: SKUL).

tion of Omniture, a leading web analytics company

are strategically aligning with and investing time

Fusion-io has developed one of the fastest solid-

based in Utah County, shows that Utah has a large

and resources in supporting this burgeoning indus-

state, high-end server drives on the planet and is

stake and significant expertise in IT and Software.

try. As in several of Utah’s key industries, a “Team

in some of the largest data centers in the world. In

Adding to the excitement, the Provo-based research

Utah Adobe facility interior | Erickson Photography

and online survey company, Qualtrics, recently welcomed one of the largest first-round investments in a software company since 2008—$70 million from top-tier Silicon Valley venture capitalists—and with the help of a GOED incentive has announced the creation of over 1,000 new jobs in Utah. The list goes on. A New Tech Bubble? Not Bloody Likely Surprisingly, while jobs in IT in Utah have reached a concentration in the State that approaches the employment level at the height of the “dot com” bubble in the year 2000, there is little talk of another tech bubble. To the contrary, Utah’s recent growth in the IT sector has been strong and sustained over several recent years, this time not the result of an investment frenzy that Alan Greenspan

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dubbed, “irrational exuberance.” In fact, companies like IM Flash Technologies, eBay, EMC, and Oracle along with many other growing IT firms are clustering, investing and growing in the span along the Wasatch Front situated between two of the State’s leading research universities—Brigham Young University and University of Utah. The big overall industry numbers for the IT/Software and digital media sectors in Utah tell a compelling, unembellished story: Utah has nearly 3,600 IT and software companies in the state which include 48,000 jobs and growing. Utah’s concentration of IT jobs as a percentage of total state jobs ranks 8th in the nation. In addition, Utah has outpaced the national average for IT jobs growth over the institutions increase the number of science, technology, engineering and math (STEM) graduates. The private sector is also stepping up with an ambitious effort to place over 20,000 volunteers in Utah classrooms to assist Utah teachers. In another effort to fuel this growth, GOED recruited David Bradford Jr., the JD/MBA son of prominent technology CEO, David Bradford (Novell, Fusion-io, HireVue). Bradford Jr. leads economic development efforts in the IT/Software sector for the State. Mr. Bradford is sharing his strategic plan that describes in great detail Utah’s most promising areas for accelerating growth and creating jobs in the IT sector with organizations and agencies across the State. Growth in IT has helped Utah to achieve one of the lowest unemployment rates in the country, at 5.2% compared to 7.9% nationally and to get last five years despite an historic national reces-

2020 has set the ambitious goal of 66% of the

its job growth engine going again, now running at

sion. As a result, Utah has been gaining share of

workforce to have an advanced degree or profes-

2.3%. In addition, Utah ranks 9th among all states

IT jobs nationally, a trend that reflects the state’s

sional certificate by 2020. To this end Governor

in the U.S. in GDP growth over the past five years.

continued competitive and comparative advantages

Gary Herbert and the Utah Legislature have commit-

These trends are not lost on national observers:

in these sectors.

ted hundreds of millions of dollars in the last few

Utah was recently identified by Inc. magazine as

In 2011, Utah grew IT and software jobs at a rate

years to assist the public and higher educational

“the epicenter of the Inc. 500 Fastest-Growing

of 6%, outpacing the national average of 4% IT job growth, and beating the Utah overall job growth of 2.3%. In addition, in the first six months of 2012, Utah is averaging close to 7% job growth in the IT/Software sector—truly extraordinary given the continued lack of fiscal uncertainty plaguing the U.S. The IT/Software sector is also the largest of the targeted economic clusters of the six sectors identified by the Utah Governor’s Office of Economic Development (GOED) as the state’s strongest. One evidence of this strength can be seen in average wages—IT cluster jobs pay on average 70% higher than the state average wage. Educational institutions in the State continue to align around driving these growing industries forward. In partnership with the educational infrastructure in Utah, Prosperity 2020 aims to increase the number and skill of Utah’s workforce. Prosperity 1Q 2013

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Private Companies” and the ultimate distinction by

high-profile sponsors such as Zions Bank, continues

and resources designed to drive forward the digital

Forbes magazine as the #1 “Best State for Business

to promote and expand these jobs in the State.

media sector in Utah, with the full support and

and Careers” for three straight years.

GOED, in partnership with the Utah System of

backing of their ambitious president, Matt Holland.

Higher Education, and the Utah Department of Workforce Services, has also developed a strategic

Welcome to the Next Generation of Tech in Utah

Utah Cluster Acceleration Partnership (UCAP) around

Not only advertisers and marketers, but business

digital media to help accelerate the statewide effort.

leaders around the world have been put “on

This group convenes executives in digital media

notice.” IT and digital media in Utah are a strong

industry in Utah, key state government agencies,

and growing economic force, and while challenges

and several Utah colleges and universities around

and opportunities abound “Team Utah” is actively

a cohesive plan to grow the sector in the state and

addressing them. While Utah has become home to

continue to drive education, workforce development

some of the largest names in IT, many of Utah’s

and support of industry growth.

companies are small today, and these companies

The University of Utah and Brigham Young University

need creative, graphic design, marketing advice

also play an indispensable role in this growth. The

and support. Advertisers and marketers who learn

UofU was quite literally one of the founding places

how to market to these companies and market for

Digital Media’s Role in Utah’s Frenetic IT Job Growth

of the computer graphics industry and continues

these companies, as well as their large company

Digital media, including graphic design, animation,

that rich legacy through the Scientific Computing

counterparts, will find themselves in a sector “sweet

video game development, creative artistry, mobile

and Imaging Institute (SCI) featuring bachelors and

spot” and part of the upswing of growth in this

apps and the like has been one of the key sub-

masters degrees focused on computer graphics and

exciting industry, well into its next growth phase:

sectors of growth in this IT upswing in Utah. At

video game development. BYU has also secured its

IT Utah 3.0.

nearly 1,500 jobs and growing at 8%, Utah’s digital

place in the past two decades as one of the top one

media is poised to remain vital.

or two most revered programs in computer graphic

Content and research contributed by the Governor’s

Companies like EA, Disney and SmartBomb

design and computer animation—a program which

Office of Economic Development with contributions

Interactive are leading video game design hous-

courts global demand from some of the top film

from David Bradford, IT Cluster Director.

es with locations in the state. Additionally, the

and video game studios in the world. Utah Valley

PushButton Summit, the largest digital media

University (now the largest university in the State)

conference in the state, now in its third year with

is also making significant investments in programs

The University of Utah’s interdisciplinary Entertainment Arts and Engineering Program is one of the best in the nation.

SERIOUS TECH. FRESH CREATIVE. PROVEN RESULTS. We’ve Wrapped Our Tentacles Around Mobile Everyone loves a cool new app. And with Vérité, your business can take full advantage of today’s mobile explosion with customized apps that work across all the major mobile platforms—from iOS to Android. The possibilities for your own mobile business apps are nearly endless. Are you ready to bring serious technology and fresh creative together for your business? Please give us a call. We'd love to start a conversation, put our expertise to work, and let the results speak for themselves.

32 adnews |

1Q 2013

800.368.3487

verite.com

LOOKING FOR SERVICES TO SUPPORT YOUR BUSINESS? TRY YOUR OWN BACKYARD. You don’t have to search the country for a positive economic success story. It’s right here in Utah. No wonder Forbes named us Best State for Business and Careers for the third year running and the American Legislative Exchange Council ranked our economic outlook #1. Want more good news? We’re helping local companies of all sizes with government purchasing, international development, rural business support, healthcare exchange, technology grants and more. To find out what makes Utah thrive, call 801.538.8879 or visit business.utah.gov.

utah film commission special section

film production’s contribution to Utah’s economy OVERVIEW U.C.A 63M-1-1802 The Utah Film Commission markets the entire state as a location for ﬁlm, television and commercial production by promoting the use of local professionals, support services and Utah locations. The ﬁlm commission is a client-driven program that serves international, out-of-state and in-state production companies, along with Utah support services and crew.

Motion Picture Incentive Program The purpose of the Motion Picture Incentive Program (MPIP) is to encourage the use of Utah as a destination for the production of motion pictures, television series and made-for-television movies. The State of Utah provides financial incentives to the film industry so that the State is capable of competing successfully with other states and countries that offer film production incentives. The MPIP allows Utah to foster a strong local motion picture industry that will contribute substantially to improving the State’s economy. The MPIP functions as a tax credit or cash rebate for approved productions and operates on a post-performance basis on expenditures that are made in the state.

State Approved Rebate Percentages •Tax Credit: 20%–25% on dollars left in the State with no per-project cap •Cash Rebate: 20%–25% on dollars left in the State up to $500,000 per project •Cash Rebate: 15% on dollars left in the State up to $999,999 per project

FISCAL YEAR 2012 TOTALS* Features: Studio/Independent/Cable Total Projects: 20** Total Production Days: 539 Economic Impact: $34,348,411

The base incentive of 20% is available for productions with a minimum of $1,000,000 spend in the State of Utah. To be awarded a 25% film incentive, a production must meet the definition of “significant percentage of cast and crew (hired) from Utah” which is 85% for productions that spend at least $1,000,000 in the state or 70% if the production spends a minimum $7,500,000 in the state.

TITLE

UTAH JOBS

DAYS INCENTIVE AMOUNT ECONOMIC IMPACT

12 DOGS OF CHRISTMAS II (25% Cash) 165 22

$500,000

$2,036,775

3 DAYS IN VEGAS (25% Cash) 75 22

$500,000

$2,058,157

AFTER EARTH (20% Tax Credit) 90 10

$959,339

$4,796,694

AMERICAN RIDE Seasons 1-4 (15%) 28 40

$214,350

$2,239,000

Television Total Projects: 20 Total Production Days: 451 Economic Impact: $6,405,073

AUSTENTATIOUS (15% Cash)

35 40

$97,300

$648,045

BREAKING POINTE 12 33

$147,000

$980,000

DOORWAY TO HEAVEN (15% Cash) 61 17

$51,072

$340,508

DR. FUBALOUS (15% Cash) 66 13

$32,112

$214,080

Commercials/Photo/Industrial/ Documentary/Misc. Total Projects: 43 Total Production Days: 102 Economic Impact: $6,536,500

DRAGON WARRIORS: 53 26

$64,500

$431,238

CURSE OF THE DOLVARNOEG (15% Cash) K9 CHRISTMAS (15% Cash) 15 60

$135,000

$1,306,016

THE LONE RANGER (25% Tax Credit) 112 15

$2,284,499

$9,137,997

Other Related Film Activities Sundance Film Festival: $80,000,000 Total Days: 10

MISTLETONES (25% Tax Credit) 95 20

$922,790

$3,691,195

THE MULE (20% Cash) 78 35

$288,906

$1,155,625

NIGHT LIGHT (15% Cash) 58 25

$142,500

$950,000

Overview Total Projects: 84 Total Production Days: 1,102 Total Economic Impact: $127,289,984

OSOMBIE: 23 32

$51,867

$390,100

$35,600

$252,953

*Projected ** 2 projects did not utilize MPIP

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THE AXIS OF EVIL DEAD / ORCS! 2 (15% Cash) THE RANCH (15% Cash) 26 21

THRILLBILLIES Season 4 (25% Tax Credit) 14 225 $325,000

$1,300,000

TURNING POINT Season 3 (25% Tax Credit) 20 42

$1,150,528

18 Projects

$287,632

1,026 698 $7,039,467

$33,078,911

utah film commission special section 12 dogs of christmas

gold fever

k-9 christmas

heavenâ&#x20AC;&#x2122;s door red machine

bentley at the salt flats

granite flats

3 days in vegas

photos by kenyon virchow

1Q 2013

| adnews 35

utah film commission special section Film, Television and Commercial Projects for Fiscal Year 2012

Projects in the works 2013

*Projects that utilized the incentive FILMS • 12 DOGS OF CHRISTMAS II (Sony Pictures)* Producer: Ken Kragen, DP: TC Christensen, Director: Kieth Merrill Locations: Heber, Salt Lake City Distributed on DVD • 3 DAYS IN VEGAS (Red Tie Films)* Producer: Maral Djerejian, DP: Filip Vandwal, Director: Gor Kirakosian • AFTER EARTH (Paramount Pictures)* • BLACK JACKS (Rogue Satellite Productions) • CHRISTMAS ORANGES (Mainstay) • DANGEROUS WORDS FROM THE FEARLESS (55 Degree Films) • DARKNESS (Stranger Than Productions) • DR. FUBALOUS (Hip Hop Doc)* • DRAGON WARRIORS: CURSE OF THE DOLVARNOEG (Camera 40)* • ELECTRICK CHILDREN • HEAVEN’S DOOR * Producer: Dave Hunter, Director: Craig Clyde • HOT BOT • K9 ADVENTURES: A CHRISTMAS TALE * Producer: David Wulf, Director: Ben Gurley • NIGHT LIGHT* • OSOMBIE: THE AXIS OF EVIL DEAD / ORCS! 2 (Camera 40)* • THE MISTLE TONES (ABC Family)* • THE NEW TESTAMENT (LDS Church) • THE LONE RANGER (Walt Disney Pictures) • THE MULE (Domain Entertainment)* • THE RANCH* TELEVISION • 10 THINGS YOU DIDN’T KNOW ABOUT... MORMONS • AMERICAN RIDE Seasons 1-4 (BYU)* • AUSTENTATIOUS* • USU LOGAN PROJECT (BBC) • BREAKING POINTE (CW)* • CODE BREAKERS • DAD, I’M DATING A MORMON • DAYS OF 47 BROADCAST (KSL) • DOLLY & DEAN • FLIP MEN (Spike) • GRANITE FLATS * BYUtv: Producer: Jeff T. Miller, Vineyard Productions, DP: Reed Smoot, Director: Scott Swofford Locations: Magna, Salt Lake City • NATIONAL GEOGRAPHIC • PARANORMAL WITNESS (SyFy) • LOGAN PROJECT – Relativity Real Productions • SO YOU THINK YOU CAN DANCE Season 8 (Fox) • TABOO • THRILLBILLEYS SEASON 4 (Fuel TV)* • TIA & TAMERA • TURNING POINT (BYU)* • WHAT WOULD YOU DO? (ABC) • YOUNG AND MARRIED - (MTV) 36 adnews |

1Q 2013

COMMERCIALS/ PHOTO/ INDUSTRIAL/ DOCUMENTARY/ MISC. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

AIRPORT STILL AND VIDEO SHOOT ALTRA SHOES AMWAY KOREA COMMERCIAL ATV BENTLEY BONNEVILLE BREITLING BROOKE LUDI CANON CAMERAS CAPOERIA BRAZILIAN DANCE CASIO CHEVY CITY CREEK CODE BREAKER DIABETES AWARENESS ESPN TV FOUNDATION FOR A BETTER LIFE FRANLIN COVEY GOAL ZEREO GUNG HO INTERMOUNTAIN HEALTH CARE JAY BIRD HEADPHONES JEEP KAWASAKI KBYU MIC CHECK LIVE – SUNDANCE 2012 NISSAN PENNY DREADFUL PROPER MANNERS QUIKSILVER / ROXY RATTLING STICK - HUAWEI - SHOOT BSF PROVOCRAFT SCHEELS SELECT HEALTH SUBARU TRAVELERS INSURANCE UTA UTA – TRAX SAFETY UTAH OFFICE OF HIGHWAY SAFTEY UTE CONFERENCE YOUTH FOOTBALL VERISIGN WRANGLER XANGO YOUTUBE

• • • • • • • • • • • • • • • • • • •

AFTER THE WEDDING* AMERICAN RIDE* AQUABATS! SUPERSHOW!* BEAUTY IN THE BEAST* BREAKING POINTE* CLOUD 9* DEEP BURIAL* FRIEND REQUEST* GOLD FEVER* GRANITE FLATS* HAUNT* IN FOOTBALL WE TRUST* KINGS OF CRASH* MAGNIFICENT DEATH* MY TURN ON EARTH* NEED FOR SPEED* PARTS PER BILLION* RED MACHINE* SUNDANCE CHANNEL*

Keys to the

Motion Picture Incentive Fund • Download application at film.utah.gov, complete and submit to the Utah Film Commission by the last Friday of the month. • Application reviewed by the Motion Picture Advisory Committee on the first Wednesday of the month. If approved, • Application presented to the Governor’s Office of Economic Development on the second Thursday of the month for reveiw and approval, If approved, • Project contract is signed with Utah Film Commission • Production parameters: To qualify for the 25% incentive, there is a $1 million minimum in-state spend. For the 15% incentive, there is a $200,000 minimum in-state spend. There must be a minimum of five in-state production days, 85% of crew must be Utah locals and the phrase, “Filmed in Utah” must appear in the credits. • Following production, a CPA reviews the in-state expenditures. • If approved, you will receive a check based on in-state expenditures.

AND EVERYTHING IN BETWEEN.

LOCATION

FILM

25% FILM

LIBRARY

DIRECTORY

INCENTIVE

CITIES TO LANDSCAPES

CREWS TO SUPPORT SERVICES

CASH TO CREDITS

Utah has everything for your film, television, commercial and print productions. Contact the Utah Film Commission and learn how your production can be made better by coming to Utah. FI L M.U TA H.G OV

8 0 0. 453.8824

production directory index advanced media solutions ams CD / DVD Duplication 39 avalanche studios Producers / Production Companies 41 axis41 Interactive 41

kineto pictures inc. Editors / Editing Facilities 40 Producers / Production Companies 42 ksl productions / ksl 5 television Producers / Production Companies 42

moving pictures ltd. Equipment Rental Sales & Leasing 40 Expendables 40 Production Support 42 munn powell Directors of Photography / Cinematographers 40

the barry marketing group Producers / Production Companies 41

left turn films Directors 39 Directors of Photography / Cinematographers 40 Producers / Production Companies 42

carolyn leone Costume Design 39

lenz-works production Producers / Production Companies 42

colormill Color Services 39

talent managment group, inc. Models / Actors / Talent 41

corser, inc. Directors 39

lone peak productions Creative Services 39 Editors / Editing Facilities 40 Interactive 41 Producers / Production Companies 42

cosmic pictures inc. Producers / Production Companies 42

matt hodgson directs Directors 39

universal post Editors / Editing Facilities 40

craze talent agency Models / Actors / Talent 41

matthew williams Directors of Photography / Cinematographers 40

vĂŠritĂŠ Animation / Computer Graphics / Special Effects 39 Interactive 41

the digital ranch Animation / Computer Graphics / Special Effects 39 Interactive 41

mccarty talent agency Models / Actors / Talent 41 mediagrabbers Animation / Computer Graphics / Special Effects 39 Editors / Editing Facilities 40 Production Studios / Stages 42

fluid studio Interactive 41 girlfight pictures Editors / Editing Facilities 40 gordon c. lonsdale asc Directors of Photography / Cinematographers 40 impatient cow Animation / Computer Graphics / Special Effects 39 Producers / Production Companies 42

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1Q 2013

metcom studios. Animation / Computer Graphics / Special Effects 39 Audio / Music Composition / Scoring / Production 39 Audio Post Production 39 Editors / Editing Facilities 40 Producers / Production Companies 42 Production Studios / Stages 42

redman movies and stories inc. Equipment Rental Sales & Leasing 40 stilson productions llc Directors 40 Producers / Production Companies 42

tv specialists inc. Equipment Rental Sales & Leasing 40

vineyard productions Producers / Production Companies 42 warner/chappell production music Audio / Music Composition / Scoring / Production 39 Audio Post Production 39 Production Music Libraries 42 wildwood productions, inc. Producers / Production Companies 42

production directory animation / computer graphics / special effects

audio post production

creative services

metcom studios

the digital ranch, inc

vérité

Susan Jensen p 801.485.4503 f 801.485.2316 1354 East 3300 South, #300 Salt Lake City, UT 84106 e susan@digital-ranch.com w www.digital-ranch.com

Kimberley A. Jones p 801.553.1101 f 801.553.1215 608 West 9320 South Sandy, UT 84070 e kjones@verite.com w www.verite.com

With more than 15 years experience in computer graphics and design, The Digital Ranch will provide you with creative solutions and support for your next project.

Vérité, a digital communications agency founded in 1993, produces unique and effective web tools as well as marketing, advertising, and training campaigns. We combine cutting edge creative with forward thinking technologies to strengthen brands, reach audiences, and get results. We’re producing tools and campaigns for: Adobe, Ancestry.com, Bard Access Systems, Intel, Mozy, Novell, Rio Tinto, Symantec and more. Design, Production and Development services include:

impatient cow Jon Foster, Producer, Icow.tv p 801.718.3006 THE RANCH 264 S. G lendale Street, Suite 100 Salt Lake City, UT 84104 e jon.foster@impatientcowinc.com w www.impatientcowinc.com We continue to be a SLC-based production and postproduction company. But now we have a brand new 35,000 sqft facility! Come check it out. Icow.tv.

media grabbers inc. Joshua Eaton, President p 801.951.1382 f 801.951.1387 toll free 888.225.8879 383 North 700 West, Unit B North Salt Lake, UT 84054 e josh@mediagrabbers.com w www.mediagrabbers.com Grabbing people’s attention, thirty seconds at a time! We provide the eye candy that makes your media stand out. Whether it’s photo-real animation or sexy graphic compositing, from concept to delivery, we can make it shine. Find us on Facebook!

Web Design - Motion Graphics - Video Production - Mobile Apps - eToolsTM for Registration, Certification Programs, Content Management & eCommerce – Consultation and Execution for Social, Marketing and Advertising initiatives. Are you ready to find out how amazing creative and innovative technology can come together for your business? Please give us a call or visit our website. We’d love to start a conversation, put our expertise to work, and let the results speak for themselves.

audio / music composition /scoring / production metcom studios Susan Molumby p 801.994.6143 f 801.322.3221 352 South 500 East Salt Lake City, UT 84102 e smolumby@metcomstudios.com w www.metcomstudios.com Spacious 44’ x 36’ scoring stage, multiple ProTools HD control rooms, acoustically treated studios. Industry standard gear; Yamaha C7 Grand Piano, Neumann, Neve, API, Telefunken, etc.

metcom studios

warner/chappell production music

Susan Molumby p 801.994.6143 f 801.322.3221 352 South 500 East Salt Lake City, UT 84102 e smolumby@metcomstudios.com w www.metcomstudios.com

Mike Hicks p 801.531.0060 f 801.531.0346 915 West 100 South Salt Lake City, UT 84104 e mike.hicks@warnerchappellpm.com w www.warnerchappellpm.com

We can draw it, model it, paint it, map it, animate it, composite it and record it... contact us for a demo.

With over 35 years of experience, Warner/Chappell Production Music brings you the largest and most diverse music library in the market today.

Susan Molumby p 801.994.6143 f 801.322.3221 352 South 500 East Salt Lake City, UT 84102 e smolumby@metcomstudios.com w www.metcomstudios.com Four Pro Tools control rooms with three recording studios, custom music, SFX and music libraries, ADR looping, ISDN, SourceConnect, phone patch and Foley stage.

cd / dvd duplication

advanced media solutions Wesley Nappi p 801.397.55501 333 West 500 South Salt Lake City, UT 84119 e info@amsrabbit.com w www.amsrabbit.com AMS / MerchHero, CD / DVD duplication, USB drives, Screen printing and embroidery

color services

colormill Micah Young p 801.463.3880 f 801.463.3885 1345 South Major St Salt Lake City, UT 84115 e micah@colormill.net w colormill.net The dark secret Hollywood doesn’t want you to know about. Studio quality digital cinema finishing on an indie budget. Digital dailies. Full DI and color grading services. Digital Cinema mastering. Clients include Fox Searchlight, dozens of happy indie producers, and you. Need a DCP for digital cinema distribution? We can do that too. Stop by and see the only large screen digital finishing suite in Utah. You’ll be like, “What???” And we’ll be like “I know, right?”

costume design -carolyn leone-creative-collaborative-committed p 323.403.7795 24 years of experience. Works locally in Salt Lake, Los Angeles and Chicago.

lone peak productions Bob Rock, Dennis Powers, Dennis “Leno” Rowley p 801.521.5567 f 801.521.5569 404 North 300 West Salt Lake City, UT 84103 e dennis.leno@lonepeakproductions. com w www.lonepeakproductions.com The only thing better than a great idea is great branding across all your media. Lone Peak’s creative services offer just that, tying your video production to logo design, brochures, posters, environmental design, print advertising and web design to create one brand identity. If you’re ready for a consistent look and message let’s talk about extending your brand today.

directors corser, inc. John Corser p 435.200.3460 f 435.608.6317 125 Matterhorn Drive Park City, UT 84098 e john@corser.com w www.corser.com Corser, Inc. is a production company specializing in marketing, promotions and advertising. The Corser team is composed of A-list professionals at the highest levels of motion pictures, advertising and digital media.

left turn films Tyler Measom, Producer, Director, Cinematographer p 801.836.1578 205 E. Vidas Salt Lake City, UT 84115 e tmeasom@lefturnfilms.com w www.lefturnfilms.com Left Turn Films boasts an extensive reel of national and international projects with a unique specialization in long and short-form documentaries. From the big to the small, from the dangerous to the humdrum, we work our powers of levitation and X-ray vision to produce a myriad of media.

matt hodgson directs Matt Hodgson - Director/Writer p Los Angeles 310.570.5191 p Salt Lake City 801.440.7140 e matthodgsondirects@mac.com w www.matthodgsondirects.com Director/Writer Matt Hodgson is a rare blend of Madison Avenue & Hollywood. His artistic vision, keen branding sense & ingenious storytelling have made him a sought-after creative force in the worlds of Advertising, Entertainment and Politics. Call Jeff Miller, Excective Producer @ Vineyard Productions, SLC, UT 1.801.263.3443 Or Danixa Diaz or Sheima Hassanlou, Exectuve Producers @ Cortez Brothers, Los Angeles, CA 1.310.821.3122 1Q 2013

| adnews 39

production directory directors

editors / editing facilities girlfight pictures

stilson productions llc Eric Stilson p 801.571.6277 f 801.571.6256 11475 South 2875 East Sandy, UT 84092 e estilson@stilson-stilson.com w www.stilson-stilson.com Nationally recognized full-service production company in Video, HD and film production for local, regional and national-quality television spots and direct response infomercials. 30-plus years experience.

directors of photography / cinematographers gordon c. lonsdale, asc m 801.362.6881 e lonsdale1@comcast.net

Representation: Innovative Artists: Cecilia Banck p 310.656.5186 Director of Photography for: commercials and dramatic work, HD, Film, CGI, aerial and underwater.

matthew williams Director of Photography p 801.538.0553 m 818.590.4528 e mwilliamsdp@gmail.com w www.williamsdp.com Film and Digital Cinematography Super 8 to IMAX, DSLR to Arri Alexia

munn powell Blackbox p 801.358.6866 Representation: UTA - Robert Arakelian p 310.860.3741 e blackbox@mac.com w www.munnpowell.com Commercial clients include Verizon, Snapple, Toyota and more.

40 adnews |

1Q 2013

Genéa Gaudet p 801.949.7687 121 Hillside Avenue Salt Lake City, UT 84103 e genea@geneagaudet.com w www.girlfightpictures.com Over 12 years of award-winning editing experience. Commercial client reel includes The Foundation for a Better Life, Melaleuca, Forever Living, University of Utah and the Utah Sports Commission. Documentary reel includes the PBS film Reserved to Fight. Television reel includes History Channel’s series Shark Wranglers and Velocity Channel’s series Kings of Crash. Ms. Gaudet’s work has also been seen on HBO and BYUtv, as well as film festivals nationally and internationally. Avid, Final Cut Pro, and After Effects proficient. Specializing in docu-styled commercials, testimonials and multi-level marketing clients.

kineto pictures inc. Travis Babcock p 801.521.3725 m 801.599.2438 6135 South Stratler Street (380 West) Murray, UT 84147 e travis@kinetopictures.com w www.kinetopictures.com Kineto Pictures is an award-winning, full-service production facility, with a wide range of HD services—various camera packages, editing, color correction, and motion design. We specialize in episodic TV, custom commercials, corporate marketing and documentaries.

media grabbers inc. Joshua Eaton, President p 801.951.1382 f 801.951.1387 toll free 888.225.8879 383 North 700 West, Unit B North Salt Lake, UT 84054 e josh@mediagrabbers.com w www.mediagrabbers.com With 10 seasons of adventure reality shows and 500 commercials under our belt, yes, I’d say we know editing. From short form to long form, we have the experience, the facilities and the creative juices to help deliver awardwinning media. Find us on Facebook!

metcom studios Susan Molumby p 801.994.6143 f 801.322.3221 352 South 500 East Salt Lake City, UT 84102 e smolumby@metcomstudios.com w www.metcomstudios.com Experienced editors and spacious edit suites, featuring real-time uncompressed 10-bit HD, to 4k filmready files in 4:4:4 colorspace on Avid DS and Symphony Nitris and Apple FinalCut Pro.

universal post

lone peak productions Bob Rock, Steve Smith, Dennis “Leno” Rowley p 801.521.5567 f 801.521.5569 404 North 300 West Salt Lake City, UT 84103 e dennis.leno@lonepeakproductions. com w www. lonepeakproductions.com Usually companies that tell you awards aren’t important, don’t win them. Awards aren’t important... but we’ve won many... Addys, Auroras, Tellys and even an Emmy. But what really counts to us is results, however YOU want to measure them. Three complete FCP HD edit suites with color grading, compositing, motion graphics, 2D/3D graphics, music/FX library and interactive for TV, corporate, industrial, and documentary. Audio booth, insert stage and location shooting. Come in and let’s talk about your project and while you’re here, we’ll be happy to show you our trophy case—we’ll even make a space for yours.

Micah Young, p 801.467.4788 f 801.463.3885 1345 South Major St Salt Lake City, UT 84115 e micah@universalpost.tv w universalpost.tv Without exaggeration, the very best place in the Universe. Literally. Edit. Colorization. Motion Graphics. Visual Effects. 2D and 3D Animation. Digital Dailies. Digital Cinema Theater with Assimilate Scratch and Christie 2K Projection. HD. 3D. TV. 2K. 4K. OK? Ask for Micah and he’ll give you the nice face discount.

equipment rental, sales & leasing moving pictures ltd. Troy Parkinson, p 801.973.0632 f 801.973.0380 toll free 800.867.0632 812 West Layton Avenue Salt Lake City, UT 84104 e mail@movingpics.net w www.movingpics.net Grip / Lighting / Dollies / Expendables Production Services—The way you want them. Delivery and pickup available.

redman movies and stories, inc. Bryan Clifton, Dave White, Pat Smart p 801.978.9292 f 801.978.2299

1075 South 700 West Salt Lake City, UT 84104 e bryan@redmanmovies.com dave@redmanmovies.com pat@redmanmovies.com w www.redmanmovies.com Chapman and Fisher dollies. Giraffe and Enlouva cranes. Intel-A-Jib and Turret Jib. Lambda Head with Hot Gears and Talon systems. Generators. Tungsten and HMI lights. Grip packages from 1 ton to 10+ tons. Expendables supply store. 35mm, 16mm and RED and Alexa cameras, 3/5/10 ton trucks, 28/45-foot trailers, 45/60/80-foot Condors. Still photo lighting. Foggers and effect fans. Specializing in complete customer service.

tv specialists, inc. Geoff Barry p 801.486.5757 f 801.486.7566 180 East 2100 South Salt Lake City, UT 84115 e geoffb@tvspec.com w www.tvspecialists.com HD and production camera rentals, editing system packages, digital cinema projectors. Factory authorized sales and support. Locally owned and operated. For current prices, call Geoff.

expendables moving pictures ltd. Troy Parkinson p 801.973.0632 f 801.973.0380 toll free 800.867.0632 812 West Layton Avenue Salt Lake City, UT 84104 e mail@movingpics.net w www.movingpics.net Grip / Lighting / Dollies / Expendables Production Services—The way you want them. Delivery and pickup available.

production directory models / actors / talent

interactive

axis41 Jon Baddley p 801.303.6308 f 801.303.6339 48 W. Market Street Suite 300 Salt Lake City, UT 84101 e jbaddley@axis41.com w www.axis41.com Axis41 combines talents from the areas of Web technology, advertising, marketing communications, brand development and management. The executives are intimately involved in client projects and relationships. Axis41 offers digital communication services that translate your brand into measurable online communications.

the digital ranch, inc Susan Jensen p 801.485.4503 f 801.485.2316 1354 East 3300 South, #300 Salt Lake City, UT 84106 e susan@digital-ranch.com w www.digital-ranch.com As one of the leading web design firms in the West, The Digital Ranch can help with all your online development, support and hosting.

fluid studio Philip Case p 801.295.9820 f 801.951.5815 1065 South 500 West Bountiful, UT 84010 e info@fluid-studio.net w www.fluid-studio.net At Fluid Studio we only create one thing—Maximum Impact. Think of us for . . . Advertising. Marketing. Graphic Design. Web. Social Media. Mobile Application Design and Development.

lone peak productions Bob Rock, Steve Smith, Dennis “Leno” Rowley p 801.521.5567 f 801.521.5569 404 North 300 West Salt Lake City, UT 84103 e dennis.leno@lonepeakproductions. com w www. lonepeakproductions.com Kiosks, museum exhibits, interactive touch-screens…want somebody to do it all? Lone Peak has been “doing it all” since 1979. HD TV production, corporate, industrials, & documentaries

on Sony F3 and Panasonic HDP2. From concept, scripting, and shooting (in our studio or on location [our production van carries ARRI, HMI and LED lights, track & dolly, jib and camera packages]), to interactive programming and post (in one of our 3 HD edit bays). Great talent, great facilities, great work! Call and let us help design your next project.

vérité Kimberley A. Jones p 801.553.1101 f 801.553.1215 608 West 9320 South Sandy, UT 84070 e kjones@verite.com w www.verite.com Vérité, a digital communications agency founded in 1993, produces unique and effective web tools as well as marketing, advertising, and training campaigns. We combine cutting edge creative with forward thinking technologies to strengthen brands, reach audiences, and get results. We’re producing tools and campaigns for: Adobe, Ancestry.com, Bard Access Systems, Intel, Mozy, Novell, Rio Tinto, Symantec and more. Design, Production and Development services include: Web Design - Motion Graphics - Video Production - Mobile Apps - eToolsTM for Registration, Certification Programs, Content Management & eCommerce – Consultation and Execution for Social, Marketing and Advertising initiatives.

producers / production companies avalanche studios Dave Lindsay

p 801.747.1130 f 801.747.1130

mccarty talent agency p 801.581.9292

1326 Foothill Drive Salt Lake City, UT 84108 e mccartytalent@yahoo.com w www.mccartytalentagency.com 39 years of experience representing top professional talent. Check out our user-friendly website on the iPhone or iPad. Thanks for a very successful 2012!

5288 S. Commerce Drive, Building B-150 Salt Lake City, UT 84107 e dave@avalanche-studios.com w www.avalanche-studios.com Full-service production facility specializing in TV ads, corporate video and TV production. High-quality productions at reasonable rates. Three edit suites, sound booth, studio, green screen, and more.

the barry marketing group talent management group, inc. Vickie Panek - Lauralee Bush Matua p 801.263.6940 f 801.263.6950 512 East 4500 South, Suite 200 Salt Lake City, UT 84107 e Vickie@talentmg.com w www.talentmg.com TMG is YOUR source for the most capable talent to satisfy the needs of the most demanding clientele. We are professionals representing professionals – dedicated to the success of every project through excellence, quality and integrity. • Industrial • Print • Commercial • Runway • Voiceover • Presenters • TV • Makeup Artists • Film • Stylists

Bill Kittel, President p 801.942.3018 7540 Silver Fork Salt Lake City, UT 84121 e BillKittel@BarryMarketingGroup.com w www.BarryMarketingGroup.com Since 1986 - a small full-service firm; strategic planning, film, television, radio and print production, national and local media buying, short-form and infomercial production.

Are you ready to find out how amazing creative and innovative technology can come together for your business? Please give us a call or visit our website. We’d love to start a conversation, put our expertise to work, and let the results speak for themselves.

models / actors / talent

craze talent agency Troy Lee p 801.438.0067 f 801.438.0032 9176 South 300 West, #3 Sandy, UT 84070 Boise Office; 410 South Orchard Street, Ste. 146 Boise, ID 83705 p 208.433.9511 Las Vegas Office; 6280 S. Valley View Blvd. #730 Las Vegas, NV 89118 p 702.730.9176 e craze@crazeagency.com w www.crazeagency.com Craze represents 2000 quality Actors, Models, Extras, Voiceovers and Convention Hosts! Large audition facility. Guaranteed satisfaction, reliability and great rates! Member B.B.B. of Utah. 1Q 2013

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production directory production music libraries

producers / production companies

cosmic pictures inc John Murphy p 801.463.3880

F 801.463.3885

1345 South Major St Salt Lake City, UT 84115 e john@cosmicpictures.com w www.cosmicipictures.com Lots of directors to choose from. Lots of camera formats to choose from (film, RED, DSLR, GoPro). Lots of post expertise to choose from (edit, graphics, effects, 3D Animation, compositing, color, VO, and sound sweetening). Lots of projects to have fun on (commercials, industrials, web videos, features, and TV shows). Let’s. Get. Started. Oh and ask us about our Ocotocopter. OPTIONS, people.

ksl productions / ksl 5 television Tami Ostmark p 801.575.7235 KSL Broadcast House 55 North 300 West Salt Lake City, UT 84101 e tostmark@ksl.com w www.ksl.com KSL Productions is a full-service production and post production facility with one of the largest studios in the state. Great video production to meet your needs, done to fit your budget.

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1Q 2013

left turn films

metcom studios

warner/chappell production music

Tyler Measom, Producer, Director, Cinematographer p 801.836.1578 205 E. Vidas Salt Lake City, UT 84115 e tmeasom@lefturnfilms.com w www.lefturnfilms.com

Susan Molumby p 801.994.6143 f 801.322.3221 352 South 500 East Salt Lake City, UT 84102 e smolumby@metcomstudios.com w www.metcomstudios.com

Mike Hicks p 801.531.0060 f 801.531.0346 915 West 100 South Salt Lake City, UT 84104 e mike.hicks@warnerchappellpm.com w www.warnerchappellpm.com

Media Production Company with experienced directors, producers, editors and audio engineers. Sound stage, spacious edit suites, ProTools editing and recording studios.

With over 35 years of experience, Warner/Chappell Production Music brings you the largest and most diverse music library in the market today.

Left Turn Films boasts an extensive reel of national and international projects with a unique specialization in long and short-form documentaries. From the big to the small, from the dangerous to the humdrum, we work our powers of levitation and X-ray vision to produce a myriad of media.

production studio/stages

stilson productions llc

LENZ-works production Dan J Debenham / Victor Shapiro p 801.261.1001 2469 East Fort Union Blvd (7000 South) Salt Lake City, UT 84121 e vic@lenzworks.com w www.lenzworks.com LENZ-works is an award-winning full service, HD production and post-production company. Our team of talented and experienced producers, editors and support crew, along with state-of-theart equipment, deliver clear, consistent, compelling, high-quality content at a fair price. Range of services include; strategic creative concepting, copywriting, studio & location video production, video/audio editing, still/motion graphics, 3D/2D animation and still photography. Our client list consists of local, national and international companies, including a Fortune Magazine most admired company. Award-winning projects range from broadcast commercials, television program development and website content development. Also, documentary films, industrial & corporate training video, and specializing in travel & tourism video.

Eric Stilson p 801.571.6277 f 801.571.6256 11475 South 2875 East Sandy, UT 84092 e estilson@stilson-stilson.com w www.stilson-stilson.com Nationally recognized full-service production company in Video, HD and film production for local, regional and national-quality television spots and direct response infomercials. 30-plus years experience..

vineyard productions Jeff T. Miller

p 801.263.3443 f 801.263.3191

5183 South 300 West Murray, UT 84107 e redmon@vineyardfilmproductions. com w www.vineyardfilmproductions.com Full-service production company specializing in feature-length films, commercials, television and large format. Having successfully managed over $250,000,000 in production funds, Vineyard has the experience and reputation for on-time and on-budget results.

wildwood productions, inc. lone peak productions Bob Rock, Steve Smith, Dennis “Leno” Rowley p 801.521.5567 f 801.521.5569 404 North 300 West Salt Lake City, UT 84103 e dennis.leno@lonepeakproductions. com w www. lonepeakproductions.com Lone Peak has been doing it all since 1979. HD TV production, corporate, industrials, & documentaries on Sony F3 and Panasonic HDP2. From concept, scripting, and shooting (in our studio or on location [our production van carries ARRI, HMI and LED lights, track & dolly, jib and camera packages]), to interactive programming and post (in one of our 3 HD edit bays). Great talent, great facilities, great work! It all starts with an idea, bring yours to us and let’s make it happen.

Bruce Aoki, Director/Cameraman p 801.533.0355 972 South 300 West Salt Lake City, Utah 84101 e aokiflex@wildwoodproductions.net w www.wildwoodproductions.net We’ve travelled the world capturing images for a ton of clients. We like good people, great concepts and would love a chance to work on a project with you. Give us a shout.

media grabbers inc. Joshua Eaton, President p 801.951.1382 f 801.951.1387 toll free 888.225.8879 383 North 700 West, Unit B North Salt Lake, UT 84054 e josh@mediagrabbers.com w www.mediagrabbers.com One of the largest double walledrentable green-screen coves in the Wasatch front. Two stories tall, incredible sound, large enough for a car and houses an industrial turntable that can hold 800lbs. Flip the switch and walls are lit! Find us on Facebook!

metcom studios Susan Molumby p 801.994.6143 f 801.322.3221 352 South 500 East Salt Lake City, UT 84102 e smolumby@metcomstudios.com w www.metcomstudios.com Full-service studio or location shooting, HD and SD cameras, 44’ x 36’ sound stage with lighting grid, 2 coved wall, large drive in entry, kitchen and dressing room.

production studio/stages moving pictures ltd. Troy Parkinson, p 801.973.0632 f 801.973.0380 toll free 800.867.0632 812 West Layton Avenue Salt Lake City, UT 84104 e mail@movingpics.net w www.movingpics.net Grip / Lighting / Dollies / Expendables Production Services—The way you want them. Delivery and pickup available.

Your one-stop-shop Utah Printing Company 801.923.4800 www.saltlakemailing.com

technology

Comcast Upfront Comcast Demonstrates Its “Future of Awesome” at Upfront Event In mid-November 2012, Comcast’s Salt Lake City business divisions invited more than 400 media buyers, corporate marketers and advertising agency executives to view and sample Comcast’s latest innovations, products and services. “Having all the Comcast business units in Salt Lake come together for an event like this has helped our clients and customers understand what we mean by, ‘The Future of Awesome,’ commented Kyle McSlarrow, Comcast Mountain Region Vice President. Major participants in the event included Comcast Spotlight, Xfinity, Business Class, NBCU Cable Networks and new strategic partner Verizon Wireless. To highlight the affiliation with NBCU and underscore NBC’s commitment to the Olympic Games through 2020, Comcast called on Gold Medal winning speedskater, Dan Jansen to remind the audience of the Olympics’ ability to inspire and engage a global audience through the dedication, heroic athletic feats and inspiring personal journeys of the participants. Stories like Jansen’s triumph after overcoming personal tragedy are the stuff Olympic dreams, and television ratings success, are made of. In a recent interview with Fortune magazine, Comcast CEO Brian Roberts outlined some of the ways Comcast pioneered new ways of sharing these stories with viewers. “Social media was something the NBC team embraced. We also used all our networks [NBC, CNBC, MSNBC, Telemundo, Bravo, USA, and many others]. The number of hours of television was unprecedented. We put every single event live online and had mobile apps. The cable side of the company, Xfinity, had on-demand information on every American athlete on laptops, on mobile phones. We had 40 million to 50 million on-demand sessions in 17 days.” Comcast’s success providing coverage of the Olympics on several platforms and to the gamut of viewing devices is a recipe Comcast intends to replicate at future events. “This company is in a position to take an event, news happening or a movie and expose it as widely as possible in a very fragmented world, different from almost any other media or telecommunications company out there,” says Brian Roberts. Between the capabilities/capacity for wireless, broadband and cable, Comcast is looking to take advantage of this moment in technology that is both disruptive

to traditional models and innovative in the way it delivers media to consumers. “Digital entertainment and technology has exploded over the last few years,” said Steve Lindsley, Mountain Region Vice President of Comcast Spotlight.” Current technology includes I+ where advertising can be placed through multiple cable systems with laser-like precision into select homes through geo targeting and the Xfinity X1 box that combines the best of traditional cable television with social sharing and DVR recording. Brent Peterson, Field Marketing Manager with Comcast says, “Xfinity.com has the potential to become a great portal. You come there to check your email, your security cameras or your voicemail. It is another way to reach a consumer where they may be difficult to reach via programming.” For the future, Comcast is looking beyond the home. The event featured product demonstrations from Best Buy, RC Willey and the Larry H. Miller automotive dealerships of Utah to demonstrate how digital entertainment and technology has reached every aspect of life, from new mobile devices that act as the remote control to internet-connected cars. Although these uses are not yet widespread we’ve all experienced how technologies can spread quickly and become a natural part of our daily routines. Comcast’s roadmap for integrating entertainment and information services into every aspect of their customer’s lives certainly does qualify as an awesome future.

R O B C H E U E R R E F S ! 0 0 5 Scan here to get started, or visit the website below:

500FreeBrochures.com/adnews 1Q 2013

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television directory kstu fox 13 continued

ksl 5 television (nbc)

Broadcast House 55 North 300 West Salt Lake City, UT 84180 web www.ksl.com p 801.575.5555 f 801.575.5864 news p 801.575.5500 f 801.575.5560 Jeff Simpson, President/CEO p 801.575.5875 email jsimpson@ksl.com Tanya Vea, VP/News p 801.575.5893 email tvea@ksl.com Michelle Torsak, VP/Programming p 801.575.5884 f 801.575.5887 email mtorsak@ksl.com Tami Ostmark, VP/Marketing, Research & Promotions p 801.575.7235 f 801.575.5830 email tostmark@ksl.com Brent Robinson, Chief Engineer p 801.575.5966 f 801.575.5864 email brent.robinson@ksl.com Mark Wiest, VP/Sales p 801.575.7232 f 801.575.5864 email mwiest@ksl.com Alan Blackburn, Director of Sales p 801.575.5838 f 801.575.5864 email alan.blackburn@ksl.com

kstu fox 13 5020 W. Amelia Earhart Drive Salt Lake City, UT 84116 web www.fox13now.com p 801.532.1300 f 801.537.5335 news f 801.536.1325 Tim Ermish, President/GM p 801.536.1391 f 801.537.5335 Timo Saarelainen, VP/General Sales Mgr p 801.536.1333 f 801.536.1334 email timo.saarelainen@fox13now.com Kent Carbon, National Sales Mgr p 801.536.1338 f 801.536.1334 email kent.carbon@fox13now.com

Beth Young, Local Sales Mgr p 801.536.1394 f 801.536.1334 email beth.young@fox13now.com Renai Bodley, VP/News Director p 801.536.1306 f 801.536.1325 email renai.bodley@fox13now.com Catherine Byington, Digital Sales Mgr p 801.536.1359 f 801.536.1334 email catherine.byington@fox13now.com Melanie Say, VP Creative Services & Programming p 801.536.1302 f 801.537.5335 email melanie.say@fox13now.com 44 adnews |

1Q 2013

Mark Ito, Marketing, Research Director p 801.536.1382 f 801.536.1334 email mark.ito@fox13now.com

kutv 2 (cbs)

ktvx (abc) 4/cw 30 2175 West 1700 South Salt Lake City, UT 84104 p 801.975.4444 f 801-975.4442 web www.abc4.com Matt Jaquint, VP/General Mgr p 801.975.4560 email matt.jaquint@abc4.com Dianne Downey, Director of Sales p 801.975.4555 email dianne.downey@abc4.com Valerie Elgart, Local Sales Mgr p 801.975.4564 email valerie.elgart@abc4.com Terry McFarlane, Creative Services Director p 801.975.4544 email terry.mcfarlane@abc4.com Scott Hums, Web Channel Director p 801.975.4405 email scott.hums@abc4.com

kued channel 7 (pbs)

101 Wasatch Drive Salt Lake City, UT 84112 web www.kued.org p 801.581.7777 f 801.585.5096 Michael A. Dunn, General Mgr p 801.581.3330 f 801.585.5096 email mdunn@kued.org Alice Webber, Development Director p 801.585.1855 f 801.585.5096 email awebber@kued.org Susie Flandro, Corporate Support p 801.581.5694 f 801.585.5096 email sflandro@kued.org Mary Dickson, Creative Director p 801.581.3263 f 801.585.6105 email mdickson@kued.org

299 S. Main Street, #150 Salt Lake City, Utah 84111 web www.kutv.com p 801.839.1234 Kent Crawford, General Mgr p 801.839.1111 f 801.839.1144 email kcrawford@kutv2.com Doug Beck, Director of Sales p 801.839.1117 f 801.839.1101 email dbeck@kutv2.com Mark Crowther, Local Sales Mgr p 801.839.1120 f 801.839.1101 email mcrowther@kutv2.com Shannon Eaker, National Sales Mgr p 801.839.1284 f 801.839.1101 email seaker@sbgnet.com Jodelle Bailey, Director of Digital Media & Marketing p 801.839.1180 f 801.839.1101 email jlbailey@kutv2.com Jennifer Dahl, News Director p 801.839.1300 f 801.839.1235 email jdahl@kutv2.com Stephen Spencer, Director of Research Programming p 801.839.1154 f 801.839.1101 email sjspencer@kutv2.com Donovan Reese, Chief Engineer p 801.839.1344 f 801.839.1144 email dreese@kutv2.com

park city television pctv outside television network uhf45 / cable 17 or 102 1776 Park Avenue, #201 P.O. Box 2877 Park City, UT 84060 web www.parkcity.tv p 435.649.0045 f 435.655.9860 Stanton D. Jones, GM / Owner p 435-640-5555 email Stanton@ParkCity.tv Terry Burden, News Director p 801.835.8297 email Terry@ParkCity.tv

James Davie, Programming Director p 801.581.5506 f 801.581.5620 email jdavie@kued.org Ken Verdoia, Production Director p 801.581.3250 f 801.581.5620 email kverdoia@kued.org Jacqui Voland, Community Outreach p 801.585.3523 f 801.585.6105 email jvoland@kued.org

KULX- HD SALT LAKE CITY 10.1 Telemundo Utah HD Channel 10, 50, 51 Comcast 18 & 645 10.2 Home Shopping Network 10.3 LATV Network Comcast 112 5180 South 300 West Unit I Murray, Utah 84107 web www.telemundoutah.net p 801.313.9500 f 801.281.4847 John C. Terrill, President email john@telemundoutah.net Azucena Covarrubias, Sales Mgr email azu@telemundoutah.net Walter Pe単ate, News Director email walter@telemundoutah.net Enrique Corona, Sports Director email enrique@telemundoutah.net Ramiro Lopez, Chief Operator email ramiro@telemundoutah.net Leslie Urry, Traffic Mgr email traffic@telemundoutah.net

cable directory

radio directory bonneville salt lake radio group

comcast spotlight

Broadcast House 55 North 300 West Salt Lake City, UT 84180

1165 E. Wilmington Avenue, Third Floor Salt Lake City, UT 84106 p 801.488.5650 f 801.488.5670

Service Area: Salt Lake City, Heber, Weber, Davis, Orem, Provo, Park City, Tooele, Logan, Brigham City, St. George, Cedar City, Vernal, Rock Springs

Steve Lindsley, VP/GM Mountain Region p 801.488.5658 m 801.201.4261 email steve_lindsley@cable.comcast.com Angie M. Williams, Senior Mgr Business Operations p 801.488.5652 m 801.557.1707 email angie_williams@cable.comcast.com M’Kay McGrath, General Sales Mgr p 801.401.6030 m 801.750.5207 email mkay_mcgrath@cable.comcast.com Paul Garner, Area Sales Mgr p 801.488.5665 m 801.455.8838 email paul_garner@cable.comcast.com Brent Petersen, Field Marketing Mgr p 801.401.6021 m 801.243.8216 email brent_petersen@cable.comcast.com

257 East 200 South, #400 Salt Lake City, UT 84111 p 801.364.9836 f 801.364.8068

KBZN 97.9, NOW 97.9

KSL 102.7 FM, 1160 AM, KSL NEWSRADIO

Adult Contemporary web www.now979.com

News, Traffic, Weather, Talk web www.ksl.com

KLO RADIO 103.1 FM/1430 AM

Ad Insertion: Yes Insertion Stations: A&E, AMC, Animal Planet, BBCA, Bravo, Cartoon, CBS College Sports, CNBC, CMT, CNN, Comedy Central, Discovery, DIY, DXDisney, E, ESPN, ESPN2, ESPND, ESPNU, Family, Food, Fox News, FX, G4, Galavision, Game Show Network, Golf, Hallmark, Headline, HGTV, History, History 2, Lifetime, Lifetime Movie Network, MSNBC, MTN, MTV, National Geographic, NBC Sports, NFL Network, Nickelodeon, OWN, Oxygen, Speed, Spike, SyFy, TBS, TLC, TNT, Travel, TruTV, TV Land, USA, VH1, WE, Weather

capital broadcasting

KSFI 100.3 FM, FM100 Soft AC web www.fm100.com

KRSP 103.5 FM, 103.5 THE ARROW

Classic Hits web www.1035thearrow.com Jeff Simpson, President/CEO p 801.575.5875 f 801.575.7521 email jsimpson@ksl.com Tami Ostmark, VP/Marketing, Research, Promotions p 801.575.7235 f 801.575.5830 email tostmark@ksl.com Mark Wiest, Group, VP/Sales p 801.575.7232 f 801.575.5864 email mark.wiest@ksl.com

Talk/News web www.kloradio.com John Webb, General Mgr p 801.364.9836 f 801.364.8068 email john@kbzn.com

Matt Webb, General Sales Mgr p 801.364.9836 f 801.364.8068 email mattwebb@kbzn.com Rob Riesen, Operations Mgr p 801.364.9836 f 801.364.8068 email rob@kbzn.com Gary Stanger, Promotions/ Marketing Director p 801.364.9836 f 801.364.8068 email gary@kbzn.com Sheri Jensen, Traffic Mgr p 801.364.9836 f 801.364.8068 email sheri@kbzn.com Jan Bagley, VP/Promotions & Sales p 801.364.9836 f 801.364.8068 email jan@kbzn.com

Stephanie Palmer, Group, GSM p 801.575.5811 f 801.525.7329 email spalmer@ksl.com Kevin LaRue, KSL Newsradio, Program Director p 801.575.7681 f 801.526.7074 email klarue@ksl.com

Matt Elggren, Creative Services p 801.488.5678 email matt_elggren@cable.comcast.com

434 Bearcat Drive Salt Lake City, UT 84115 p 801.485.6700 f 801.487.5369

KUBL 93.3 FM, K-BULL 93 Country web www.kbull93.com

KBEE 98.7 FM, B98.7 Hot AC web www.b987.com

KENZ 101.9 FM, 101.9 THE END Alternative web www.1019theend.com

KBER 101.1 FM, K-BEAR 101 Heritage Rock web www.kber.com

KHTB 94.9 FM, 94.9 ZROCK Active Rock web www.949zrock.com

KKAT 860 AM, UTAH’S BIG TALKER Talk web www.860utahsbigtalker.com

Kelly Hammer, KRSP/KSFI Brand Product Director p 801.325.3133 f 801.526.7074 email khammer@bonneville.com John Dehnel, Chief Engineer p 801.575.7630 f 801.575.7605 email jhehnel@ksl.com

KFAN 1320 AM

All Sports web www.1320kfan.com

Sherri London, Marketing Mgr p 801.488.5653 m 801.550.4192 email sherri_london@cable.comcast.com Dan Bramall, Research Mgr p 801.488.5661 m 801.694.2830 email dan_bramall@cable.comcast.com

cumulus media

KJQS 1230 AM

Say Hello to Your last diet! Lose 3-7 pounds of fat a week while re-establishing pancreatic function (insulin). Dudley Chiropractic and Wellness Group | 801-359-3995

Sports Talk web www.foxsports.com Todd Larsen, General Mgr email todd.larsen@cumulus.com

Program Directors: Sue Kelley - KBER FM, KHTB AM Dan Craig - KBEE FM Shawn Stevens - KUBL FM Aaron Rosen - KKAT FM Kevin Graham - KFAN FM General Sales Managers: Lutisha Merrill - KBER FM, KHTB FM Paulette Cary - KUBL FM, KKAT FM Todd Larsen - KENZ FM, KBEE FM

1Q 2013

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radio directory

continued

ksop, inc

P.O. Box 25548 Salt Lake City, UT 84125 1285 West 2320 South Salt Lake City, UT 84119 p 801.972.1043 f 801.974.0868

KSOP 1370 AM CLASSIC COUNTRY web www.cc1370.com

KSOP-FM 104.3 FM COUNTRY

simmons media group

515 South 700 East, #1C Salt Lake City, UT 84102 p 801.524.2600 f 801.364.1811 Craig Hanson, President/ Market Manager email chanson@simmonsmedia.com p 801.325.3114 f 801.524.6002 Steve Johnson, VP/DOS email sjohnson@simmonsmedia.com p 801.325.3113 f 801.519.6113 Jana Tuttle, NSM/Group Sales Coordinator email jtuttle@simmonsmedia.com p 801.325.3150 f 801.519.6150

web www.z104country.com

Don Hilton, President and GM email donksop@gmail.com Ladd Hadlock, Local and National Sales Manager email laddh@ksopcountry.com Mike Peterson, Sales Rep email mikep@ksopcountry.com Deb Turpin, Program/Music Director email deb.turpin@ksopcountry.com Sarah Hilton, Traffic Manager email sarah@ksopcountry.com Dick Jacobson, News email dickjacobson@ksopcountry.com

KXRK 96.3 - X96

Alternative web www.x96.com Mike Lund, GSM p 801.325.3161 f 801.364.1811 email mikel@x96.com

KEGA 101.5 & 105.1 - THE EAGLE COUNTRY

web www.1015theeagle.com Jacquie Louie, GSM p 801.596.4124 f 801.519.6124 email jlouie@simmonsmedia.com

kuer 90.1

Eccles Broadcast Center 101 South Wasatch Drive, Salt Lake City, UT 84112 p 801.581.6625 web www.kuer.org NPR, BBC, local news, nighttime jazz music. KUER broadcasts two additional channels on HD radio, K2 (rock) and K3 (classical music) stream at kuer.org.

John Greene, General Manager p 801-581-6625 email jgreene@kuer.org Gayle Ewer, Marketing & Community Engagement Manager p 801.587.9331 email gewer@kuer.org Susan Kropf, Development Director p 801.581.6742 email skropf@kuer.org Tristin Tabish, Content Director p 801.581.7549 email ttabish@kuer.org Jaâ&#x20AC;&#x2122;Naye Payne, Corporate Support Manager p 801.581.3227 email jpayne@kuer.org Elaine Clark, RadioWest Producer p 801.581.5015 email eclark@kuer.org 46 adnews |

1Q 2013

KYMV 100.7

web www.rewind1007.com Steve Johnson, GSM p 801.325.3113 f 801.519.6113 email sjohnson@simmonsmedia.com

KUUU 92.5 - U92

web www.u92online.com Erik Goddard, GSM p 801.596.4176 f 801.519.6176 email egoddard@simmonsmedia.com

KUDD 107.9 - MIX

CHR web www.mix1.079fm.com Erik Goddard, GSM p 801.596.4176 f 801.519.6176 email egoddard@simmonsmedia.com