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CONTENTS

VOLUME 24 • ISSUE 3 2012

PUBLISHER

James R. Baker ASSOCIATE EDITOR

Katie Sauro SALES MANAGER

Katie Higgins SALES

Eric Iles PRODUCTION MANAGER

John Rusnak DESIGNERS

Dawn Carlson Christina Poisal Beth Harrison WEBMASTER

Eric Pederson OFFICE MANAGER

Audra Higgins INFORMATION SERVICES MANAGER

Lois Sanborn

FEATURES 10 34

THE PRINT EVOLUTION 3.0 PINTEREST THE TEMPTRESS

44 WASHINGTON WARMS UP WITH SUMMER PRODUCTION

Media Index Publishing Group P.O. Box 24365, Seattle, WA 98124-0365 1201 First Ave. S., Suite 309, Seattle, WA 98134 (206) 382-9220 • (800) 332-1736 Fax (206) 382-9437 Email: media@media-inc.com www.media-inc.com Display Advertising. Call Media Index Publishing Group for a current rate card. Discounts for frequency advertising. Advertising confirmation deadline is the 30th of the month prior to issue publication. Advertising mechanicals are due the 5th of the month of issue. All submitted materials become the property of Media Index Publishing Inc. and will not be returned. Subscriptions. Annual subscriptions to Media Inc. (4 issues) are $25 (+$2.20 if sent to WA address); two-year subscription is $37.50 (+$3.30 if sent to WA address). Send check or money order to Media Index Publishing Inc., or call (206) 382-9220 with VISA or M/C. Back issues of Media Inc. are available at Media Index Publishing Inc. offices at the cost of $5 plus tax.

52 THE DIGITS BLASTS OFF

Copyright © 2012 Media Index Publishing Group. All Rights Reserved. No part of this publication may be copied by any means, electronic or mechanical, including photocopying or recording by any information storage or retrieval system, without the express written permission of the publisher. Printed in USA

MEDIA INC. ISSUE THREE 2012

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CONTENTS 8

WHO’S NEWS

58 MANAGING CLIENT EXPECTATIONS

LOOKING AHEAD – WHAT TO EXPECT

SANDSTROM PARTNERS OVERHAULS 15 DIFFERENT CHEHALEM WINE LABELS

OLYMPIC CHAMPION SUGAR RAY SEALES FEATURED IN COMING DOCUMENTARY

OFF! 36 HANDS RETAINING YOUR TOP PUBLIC RELATIONS TALENT

40 ART + COMMERCE = MAXIMUM IMPACT 42 A DAY AT THE BEACH FILM-FRIENDLY 48 WASHINGTON’S OLYMPIC PENINSULA

50 OREGON PRODUCTION UPDATE

DIY? THE PERKS OF 62 WHY USING A PRODUCTION COMPANY THE RECORD: 70 ON MEDIA INC.’S Q&A SERIES WITH BLUE PLATE DIGITAL

22 MEDIA INC. INDUSTRY LISTS POWER OF CRAFT 56 THE IN VIDEO PRODUCTION

MEDIA INC. ISSUE THREE 2012

22 38 82

PRINT/VISUAL COMMUNICATIONS PR FIRMS POST-PRODUCTION SERVICES

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WHO’S NEWS Check out the latest hires and promotions throughout the Northwest’s media companies. If you would like to submit an announcement and photo for Who’s News, e-mail them to the editor at editor@media-inc.com, or mail to P.O. Box 24365, Seattle, WA 98124. Photos should be 3” x 5” at 300 dpi, tiff or jpeg, labeled as the person’s name. ADVERTISING/MARKETING AND PUBLIC RELATIONS

Anvil Media/ Portland

JASON DONALDSON RACHEL FREEMAN

Anvil Media/ Portland

LEISA HALL

JASON KANE

YAEL LIVNEH

HEATHER SCHWARTZ

STEVEN WENTWORTH

REBECCA WHITEFIELD

promoted to Account Director

hired as Digital Analyst

hired as Sales & Marketing Analyst

hired as Digital Strategist

promoted to Director promoted to Vice of Strategy President of Client Service

CMD/Portland

MEGAN BLANKENSHIP

JESSE DAVIS

BRANDON WICK

promoted to Assistant Account Executive

joined as Account Supervisor

joined as Account Executive

promoted to Account promoted to Vice Director President of Operations

Copacino+Fujikado/ Copacino+Fujikado/ Copacino+Fujikado/ Copacino+Fujikado/ DNA Seattle/Seattle Seattle Seattle Seattle Seattle SHANNON BURKE ANDY CORBETT MIKE HAYWARD SITHA NGY IRENE YUNG hired as Senior hired as Senior appointed as hired as Senior joined as Interactive Writer Writer Creative Director Art Director Producer/Project Manager

CREATIVE

DNA Seattle/ Seattle KRISTIE CHRISTENSEN

hired as Account Supervisor

DNA Seattle/Seattle Grady Britton/ PAUL TEODORESCU Portland hired as Billing MICHELLE Coordinator BLINKHORN joined as Account Director

Grady Britton/ Portland

Hodgson/Meyers/ Kirkland, WA

Funk/Levis & Assoc/ Eugene, OR

JOHN BOHLS

FRANCIS KERSHAW

BEN PETERS

JASON FRUMMET

MARTINA BENOVA

joined as Senior Digital Designer

joined as Account Coordinator

joined as Digital Director

promoted to VP of Client Services

hired as Public Relations Assistant

FILM/VIDEO

Funk/Levis & Assoc/ GA Creative/ Bellevue, WA Eugene, OR

GA Creative/ Bellevue, WA

Wright Enterprises/ Portland

Paragon Media/ Seattle

CATHRÍONA SMITH

JOE BOWMAN

KEMIE NANSTAD

MIKE ZINDER

STEVE CLARK

KURT COLEMAN

hired as Business Development Director

hired as Marketing Coordinator/Social Media Specialist

added as General Manager

promoted to Business Development

hired as Business Development

LINDA KOKANOVICH

MARY WOOD

hired as Account Assistant

MEDIA INC. ISSUE THREE 2012

hired as Project Coordinator

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THE

3.0

Evolution

TRENDS & OPPORTUNITIES TO THRIVE

By Jules Van Sant Executive Director, PPI Association

he anatomy of printed material continues to evolve, trying to stand upright after its ongoing reign as the leader in mass communication for over 700 years or so. This has been the case up until about 20 years ago, when the digital age started to become a broad factor in our daily lives. This era in our history, called the “information revolution,” continues to move very quickly. We live in a society of handheld, on-demand, timely information and resources. Want it or not, you seriously have to live under a rock to not know what’s going on around the world at a moment’s notice. Printed material, although often still relevant, struggles to find new purpose in this space.

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Evolution is something us Homo sapiens are familiar with and have been doing since the beginning of time. We continue to learn how to thrive and physically adapt to environmental changes. Simple factors that have influenced this include the type of food we have been able to forage, the shelters we can build, and the predators that we face and try to escape. Survival of the fittest The particular niche of the Hominid species also aids in shaping specific features. This progression has taken millions of years, and is an eternal process, for our environment is continually changing. For instance, the modern-day Homo sapien tends to be taller, have a larger brain, and have a thicker skull than those of the past. As designers, engineers, marketers, producers and consumers of information (aka Print Providers), we’re all taking in information differently and more frequently. The bigger questions become clear: What type of information should we produce, how Continued on page 12

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can we best produce it, and does this mean we have to engage in producing something other than print? To survive on a basic level, we still need to find profits as we navigate the landscape. The strongest will surpass the weak as the demand continues to decline. In response to the changing global environment, we either organically or by the forces of nature develop or become extinct. Thomas J. Williams, a founding member of New Direc-

tainment and information—and power has shifted from the provider to the customer. The greatest challenge is for mass media companies to create distinctive value for tech-savvy young consumers and get paid for it as traditional business models erode. Going the other direction is the oligopoly in the print industry. It is the result of consolidation, a trend that gained momentum in the 1990s with tuck-ins and roll-ups of commercial printing firms nationwide. These deals, funded by easy money, began to

Are you ready to evolve your business model—not be tied to the idea of individual project sales, but move towards proving ROI to the customer base you serve? Truth be told, if you don’t, someone else will. tion Partners (www.newdirectionpartners.com), has shared on a number of occasions in recent history the story of print as an industry destined for a new frontier. That landscape by the year 2020 could strongly resemble an oligopoly—a state of limited competition, in which a market is shared by a small number of producers or sellers. What was once a comfortable oligopoly for mainstream media has fragmented into a marketplace of multiple choices for enter-

come apart in the early 2000s when the synergies put forward by some consolidators to stakeholders failed to materialize. Defaults and bankruptcies followed, causing some firms acquired by the consolidators to be closed, sold, liquidated, returned to former owners, or handed over to lenders. Many survivors—hobbled by debt, business contraction or poor management—were especially vulnerable when the events of 9/11 pushed the fragile economy into recession. By the mid-2000s, the stage had been set for what Williams calls an unprecedented transformation of the graphic communications industry. Traditional printing operations saw sales decline by 30 percent. Over-capacity created extreme pricing pressure, worsened by budget cuts on the customer side. Today, the rise of non-print media has pushed the storm to its full fury as clients pursue alternative channels for advertising and promotion. The explosive growth of smartphones, e-readers and tablets as delivery systems for digital content has driven print volumes down in many categories. Clients paying for cross-channel customer communication programs demand accountability for cost and ROI—a demand that traditional print operations often find difficult to satisfy. Are you ready to evolve your business model—not be tied to the idea of individual project sales, but move towards proving ROI to the customer base you serve? Truth be told, if you don’t, someone else will. And then what? The last buffalo… Natural order—time to step it up! Find your voice, clear your throat, take a leap, and be smart about what role you play in this expanded industry of visual communication, where screens and ink can live in harmony. Showcase your capabilities and learn new applications for what can still be a craft, but with results.

Quick Response (QR) codes are an example of how print and digital marketing can work together.

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There are many new opportunities to be found in the midst of the chaos. We’ve all heard by now of personalized URLs (PURLs), Quick Response (QR) codes, and variable data printing (VDP). You should understand how they fit into the many forms of print marketing. These resources bring together digital, mobile, analog and live response opportunities, and results can be measured. Although effective, they require voluntary interaction to participate. As adoption of digital technology continues to grow, this should positively affect cross-platform response rates, therefore should always be considered an option. This is where creative, craft-driven design and execution can help cut through the noise and encourage interaction by your intended audience. Studies show that specific targeting through direct mail increases response rates. Are you gathering that data for your customers? Are you touting the success and building additional revenue streams from that model? You have the technology, the opportunities are real, but the competitive landscape is rapidly changing, and as with the dinosaurs… you get the visual. Where are some new opportunities? In the online magazine Campaigns & Elections, there was an article challenging those who are most pessimistic about the future of mail as a campaign tool. Even a direct mail guy knows we live in a digital age. But the fact is, the advance of technology doesn’t mean the end of direct mail. Test after test shows mail still works, and in an age where it’s increasingly difficult to find meaningful metrics, those results matter. We are about to enter a new era—digitized mail. We can produce mail (and books and posters) with sound and

Even with the rise in digital marketing, direct mail remains an effective tool.

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video right now. The technology is a little more expensive than we would like, but it can easily be done. We can also list a Web site or include a QR code that points people to where we want them to go. Multiple options for response. The next frontier is embedding computer chips in printed materials, aka Near Field Communication (NFC). No need to enter a Web address or take a picture with your cell phone to access content. Just wave your If anyone would like to purchase a copy of the Value of mobile phone over the poster, Print Flip Book for your sales representatives, contact Jules@ppiassociation.org. mail piece or point-of-sale display the way you wave your credit card over a high-tech keypad. The computer chip will then match tested messaging to the user’s profile and online history, generating a personalized message for the user. In the political campaign realm, this technology will highlight the issues the user cares about and tailor message specifics based on the biographic details on the user’s device. For example, if the user does Web searches on education, the computer chip will calculate the dollar amount her neighborhood schools will lose in funding if the wrong candidate gets elected in her state or

district. If the user is a thirtysomething female with two young children, the picture on the front of the Web site will be the same. What this means is that ink on paper can remain an important part of our future. Digitized direct mail and other applications will unlock the potential of both digital and print media by merging the two formats, each complementing and bolstering the other. Consider the other applications, too: publication ads, fundraising, point-of-sale discounts, travel attractions—the possibilities are endless. Help your clients get creative and you’ll continually win new business. Where are you in the food chain? Ready to thrive? Print’s not going to die. Yes, there are forces beyond anyone’s control that have changed the business environment and we need to consciously consider our place. Yes, change is here to stay, but profits are out there to be captured and communications are going to continue to evolve in someone’s favor. Start the work now to figure out in what capacity you want to grow, within what marketplace you want to exist, and how print fits in as part of your business model. Show awareness, be agile, and plan to think differently than in the past so you’re part of the future of the new communications industry—Print 3.0.

RESOURCES: www.whattheythink.com www.printing.org/valueofprint www.campaignsandelections.com

Enthusiast Media Group: Print and Branding Management and why it is critical to your successful business growth Bring your brand to life! This is our tagline and also our belief in creating solutions in print and promotion management. I founded Enthusiast Media Group in 2006, focused on providing complete solutions for magazines and catalogs across the country. We have over 20 years’ experience in Web, sheetfed and mailing production. We added digital printing (large and small format) plus promotional item management in 2009 to support our client growth and capitalize on technology advancements for them. Printing is an art that does not work on the notion that the more you pay, the better the quality or service. Quite the opposite is true. The reality of today is: “The less you pay, the more improved the quality and service.” This is due to technology advancements in the printing industry over the past seven years. Does this mean if you get the lowest quote, you should not question it? Absolutely not. What it does mean is that to be consistently successful, you need a good print management group that has a network of plants and knows immediately where your print media projects belong. Our statistics show that we save our clients 25%, on average, in the first year of 16

MEDIA INC. ISSUE THREE 2012

working together, based on equipment fit, paper options, postage, and volume economies. We work with over 20 publications and 60 catalogers and we are an extension to their

company in print management and buying. Our clients are industry leaders in their niche and are supported through the education, print management, and the guidance of our team. Our printing services include full web, sheetfed, packaging, digital and large format signage. Our mailing and comail expertise will ensure that you are paying the lowest postage possible and we will show you through analysis. Our aggressive newsstand approach, both traditional and in the APP

stores, provides exceptional distribution growth. And finally, our digital page turning and iPad app built directly from your print media platform is the hottest addition to catalog and magazine production. We make it simple for you to save money, create value, and be profitable. We understand your hard earned reputation deserves just the right printed message, quality, and professional management to ensure your success. If you are working directly with a plant and you have multiple print and promotional item projects in progress, give us a call. We will find the right fit, the right price, and the right print solution. Enthusiast Media Group is dedicated to our clients’ success. Become one of our clients! You will benefit from the results and we will enjoy working with you. We don’t talk about stretching your print marketing dollars—we talk about getting the most exposure and opportunity within your current budget and saving you money. This is what we do exceptionally well. Please see our Web sites at www.enthusiastmediagroup.com and www.emgpromo.com for over 800,000 promotional item ideas.

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Looking Ahead – What to Expect By Gerry Michael Guest Columnist

s the largest CPA firm in the country specializing in the printing and graphic arts industry, we find that more than ever before, firms in the industry have widely different views of their future. Someone not familiar with the industry could easily believe that Dickens was talking about printing with his famous quote, “It was the best of times, it was the worst of times…” I wanted to take a few minutes to discuss why we feel this is the case. Over the past 100 years, few industries are as closely correlated to the change in gross national product (GNP) as the printing and graphic arts industry. Printing Industries of America’s (PIA) economic research department has tracked these changes, and it’s pretty clear that for the industry as a whole, a solid and growing economy translates pretty quickly into a solid and growing printing industry, and vice versa. This correlation seems stronger than shifts in technology or the role of competitive industries like the Internet, because whether it’s in packaging or promotion, mailings or manuals, point-of-purchase or wide format, printing is tightly interwoven into every aspect of our economy. So change in the overall economy is quickly reflected by changes in the graphic arts industry. In some ways, as the economy goes, so goes the printing industry… Now, nearly five years into the “Great Recession,” there’s still no consensus on when we can expect to see the economy as a whole really begin to recover. As this article is written, the most recent unemployment report shows increased rates in 44 states— hardly a good sign. The reasons for this economic malaise are many and economists vary widely on how they are likely to affect the business climate, but at a minimum, they include the following: • Continuing high unemployment and under-employment rates are causing real drags on consumer spending, which reduces even more the economic outlook. And perhaps even more worrying is the fact that as I write this, over three million jobs in America are going unfilled…what’s wrong with this picture? The answer is that for many of the unemployed, the jobs we are creating are not the jobs they have been trained for. • Europeans are finally coming to grips with decades of deficit spending that many said were never supportable to begin with, and that are now coming home to roost. In addition, the Chinese economy has slowed. The result is that for many countries, who in the past have been the best customers for American goods, there is now high or growing unemployment, low or in some cases negative economic growth, and disjointed government policies, meaning that any quick recovery is questionable at best. This means that markets for American goods overseas are even weaker than at home. • The failure of the American economy’s financial sector to perform its all-important role as the principal supplier of capital for small business continues to plague the economy. In spite of assurances to the contrary, the nation’s largest banks (and many of the smaller regional banks) seem to believe that they are “too big to fail” and remain unwilling to place the needs of the larger

MEDIA INC. ISSUE THREE 2012

economy first. Instead of addressing the needs of the small business sector, they have instead actually pulled back from lending to this sector, while continuing to fight against efforts to reduce their investment activities, or to curtail fees, which have spiraled out of control over the past decades. The changes in the economy have resulted in changes to the industry that few would have predicted just 20 years ago. In fact, just a few years ago, the printing industry numbered over 35,000 establishments. As a result of the above trends and others, that number is closer to 30,000 today, and headed lower. Some expect the final number to be in the 20-25,000 range before 2020. Does this herald the end of an industry that traces its origins back over 500 years? Hardly! Today, in spite of the changes discussed above, the average graphic arts firm is actually growing, in both sales and profits. PIA actually expects the average firm to grow as much as 30 percent over the next few years, partly because there will be fewer firms, as consolidation continues in the industry, but also because real growth in overall demand for print has resumed. And when the economy finally does recover (and it will), the expectation is that this growth will continue, and probably accelerate. I know that for many printers, this rosy outlook seems almost unbelievable. For those firms, finding customers and jobs to support their existing capacity seems like an insurmountable hurdle, and talk of strength in the printing industry must seem unrealistic, to say the least. In some cases, this is blamed on the Internet; in others, it’s blamed on a perceived loss of business to “price under-cutting.” For still others, it seems to be blamed on emerging technologies, such as mobile or digital media like DVDs, etc. But it seems to me that each of these perceived threats is actually an opportunity for printers to expand their service offerings, and provide an increasing range of services to their customers. Changing technologies are opportunities for printers, at least as much as they are threats to printers. UPC codes, variable data, QR codes, and other technologies all are opportunities that can Continued on page 20

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be combined with print, as opposed to competing with print. In fact, few people know as much about graphic communications as printers do, and fewer still understand how to bring all these technologies together to serve the needs of their customers. The shift away from “cost-plus pricing” to “market-based pricing” has led many firms to embrace much more aggressive and effective pricing methods, which empower them in ways they never appreciated before to add businesses and print-jobs that they might otherwise have felt they could not compete for. And by focusing on value to the customer, rather than the costs to produce a product or service, some firms have actually witnessed higher price realization and margins. I’ve discussed this before in other articles, but “market pricing” is a step forward for the industry, not backwards, and is the only way for printers to effectively compete against the other industries that have been eroding, to some extent, their market share. And the fears that the Internet was going to “replace printing” have been grossly exaggerated. In fact, Web-to-print, Web site design and hosting, and cross-media campaigns, which utilize both e-mail and print combined, have actually been new resources for printers that might not have existed had the Internet not evolved to the point it has. New technology need not be a threat to a business that defines itself as a true “solutions provider.” It merely adds tools to the toolbox that such a firm can employ for their customers. The challenge for printers today is to understand that markets drive decisions, and today’s markets want more than just print. True, they want and need high-quality printed pieces to meet many

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of their needs. But they also want their print to be done efficiently in shorter run lengths, they want to be able to customize their messages or presentations, and they want to combine traditional “ink-on-paper” solutions with those that take advantage of what is now possible thanks to technology. They are looking for suppliers that can provide a range of services, with a focus on solving the customer’s needs, not for firms who are just trying to produce already designed printed pieces at the lowest possible cost. What is needed to succeed in the industry today is not so much a change in equipment or technology as a change in attitude and approach to the market, based on a re-definition of what it means to be a “printing company” in 2012. For those printers that “get” that, it can be the “best of times.” But for those that continue to believe that the industry will somehow return to where it was 10 or even 20 years ago, I fear that “the worst of times” are still to come. It’s still about putting “ink on paper”—it’s just not only about putting ink on paper. The successful firms in the industry today do that, certainly, but also much more. Gerry Michael is the West Coast’s managing principal of Carlson Advisors, LLP, a CPA and consulting firm focused on serving printers and graphic arts firms for over 35 years. In addition to Pacific Printing Industries, the Northwest’s printing association, his firm is a member of PIA Southern California, PIA San Diego, NAPL, and the Printing Industries of the Midwest. Gerry has worked with printers large and small throughout his career, and is a frequent speaker at industry events and workshops, and a prolific contributor to various industry publications. He can be reached at gamichael@carlson-advisors.com.

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Sandstrom Partners Overhauls 15 Different Chehalem Wine Labels rand design agency Sandstrom Partners recently completed a series of new labels for nationally acclaimed, Newberg, Oregon-based winemaker Chehalem, according to Sandstrom president Jack Peterson. The new label design, which will cover bottles of 15 different Chehalem wines from several different vineyards, is a radical departure from the winery’s previous packaging, which hadn’t changed in more than 20 years, said Peterson. Employing a journal-like format, the label tells the story of each wine and its corresponding vineyard in rich imagery and narrative detail. “The labels reflect not only the consistent quality of our wines, but at the same time show the excitement of individual vintages,” said Chehalem founder and winemaker Harry Peterson-Nedry. “You won’t find anything else like them on a wine shelf anywhere.” The Sandstrom-designed labels started appearing this summer on Chehalem pinot noir, pinot gris, Gamay, Riesling and gruner wines, with nine more arriving later this fall and winter.

For more on Sandstrom Partners, visit www.sandstrompartners.com.

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John Madden, president Ad Services; Seattle, WA 206-623-6963; fax 206-682-1945 csr@adservices.com www.adservices.com Ed Millman Adpro Litho Inc.; Mukilteo, WA 425-743-3200; fax 425-348-4274 csmith@adprolitho.com www.adprolitho.com Gary Smith, president; Chris Smith, VP AllpakTrojan; Renton & Cheney, WA 425-227-0400; fax 425-227-0197 sales@allpaktrojan.com; www.allpaktrojan.com Wayne Millage, president; Bruce Hutcheon, sr. VP sales & marketing; John Castaldi, commercial print manager Alphagraphics; Seattle, Lynnwood, Renton, & Bellevue, WA 206-448-9100; fax 206-448-1760 cstempler@alphagraphics.com www.alphagraphicsseattle.com Charles Stempler, CEO/president Amica Inc.; Kent, WA 253-872-9600; fax 253-872-7414 amica@ix.netcom.com www.amicainc.com DND

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Top Local Executives AAA Printing; Bellevue, WA 425-454-0156; fax 425-454-5786 info@aaa-printing.com www.aaa-printing.com

BIN RA DE PH RY Y / MA BIND ER ILI YE NG QU /L D IPM SE IREC IST RV T MA EN ICE MA FU S IL/M NAG T E LF AR ME IL KE TIN NT WE LME G B/ MO NT BIL LA RG ES EF ER O VIC RM DE SIG AT ES N

SERVICES PROVIDED R/ SH VE EE HIC TF LE ED WE WR OF FS BO AP E TP S F F DIG SE R I PR IT NT INT AL T PR I N G I /

Company; City, State Phone; Fax E-mail Web site

PRODUCTS CA TA L BR OGU OC ES H AN UR NU ES A MA L R GA EPO R Z BO INE TS OK S S PA CK A DI GIN RE G CT MA ST AT I ION LING ER PIE PO Y/ ST LE CES ER T S/ TE B LA BE ANNE RHE AD RS LS /D EN /ST ISP VE IC KE LAYS LO RS P OU TD ES

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Q U A L I T Y

P R I N T I N G

ISO Certified 9001:2008

ISO 9000 Certified

SFI-00570

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Abyaz Mahmud, president Bridgetown Printing; Portland, OR 503-863-5300; fax 503-863-5301 info@bridgetown.com www.bridgetown.com www.cgx.com Margo L. Yohner, president Capitol City Press Inc; Tumwater, WA 888-943-3556; fax 360-943-2140 michael@capitolcitypress.com www.capitolcitypress.com Michael Eisenmann, president CCS Digital, Inc.; Bellevue, WA 425-653-9606; fax 425-653-9322 sales@ccsprinting.net www.ccsprinting.net Greg Hawes, CEO; Kevin Sullivan, president CDS; Medford and Sunriver, OR & Puyallup, WA 800-388-7575; fax 541-773-1832 cdssales@cdspubs.com www.cdspubs.com Steve Brown, president Cendix; Lake Oswego, OR 888-898-0066; fax 503-210-6479 sales@cendix.com www.cendix.com Wilson Zehr, CEO Champion Envelope; Portland, OR 503-796-0500; fax 503-796-0504 rod@championenvelope.com www.championenvelope.com Steve Kauffman, GM ColorGraphics - A Cenveo Company; Seattle, WA 206-682-7171; fax 206-329-2017 seattleprint@colorgraphics.com www.colorgraphics.com David Carns, GM; Brad Barnard, director sales & marketing Consolidated Press; Seattle, WA 206-447-9659; fax 206-447-9477 gstone@consolidatedpress.com www.consolidatedpress.com Gary R. Stone, CEO; Robert T. Brown, CFO; Scott Serna, VP CORE Communications; Corvallis, OR 541-757-2016; fax 541-757-2480 lou.butera@corecomm.us www.corecomm.us Lou Butera DCG West; Seattle, WA 206-784-6892; fax 206-782-3623 info@dcgwest.com; www.dcgwest.com Terry Storms, CEO, McCallum Print Group Brad Clarke, president, McCallum Print Group Tammy Peniston, president, Mailhandlers Digital Print Services, QC Graphics; Kent, WA 425-251-4925; fax 425-251-0605 dtassielli@go4color.com Domenic Tassielli, president

Eagle Web Press Co.; Salem, OR 800-800-7980; fax 503-393-4917 sgustafson@eaglewebpress.com; www.eaglewebpress.com Michael Gehring, GM; Mike Connor, plant manager; Sharon Gustafson, sales manager

MEDIA INC. ISSUE THREE 2012

IN N V WE G ARIA TIN BL BED G T AT FL O-PR A EX I OG NT

Top Local Executives Aurora Prints; Seattle, WA 206-274-8475; fax 206-274-8483 print@auroraprints.com www.auroraprints.com

BIN RA DE PH RY Y /B IND MA E ILI RY NG EQ /L D UIP SE IREC IST ME RV T M N AN ICE MA FU S IL/M AG T LF AR EM IL E KE TIN NT WE LME G B/ N T MO BIL LA RG ES EF ER OR VIC DE MA SIG ES T

SERVICES PROVIDED R/ SH VE EE HIC TF LE ED WE WR OF FS BO AP E T S F PR F D INT PR IGIT SET INT AL I P N R G I /

Company; City, State Phone; Fax E-mail Web site

PRODUCTS CA TA L BR OGU OC ES H AN UR NU ES A MA L R GA EPO R Z BO INE TS S OK S PA CK A DI GIN RE G CT MA ST AT I ION LING ER PIE PO Y/ ST LE CES ER TT S/ B LA E BE ANNE RHE A RS LS / DIS D EN /ST PL VE IC AY KE LO S RS P OU TD ES

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Mark Steiner, president Enthusiast Media Group, LLC; Portland, OR 253-617-0395; fax 503-253-2234 wmartin@enthusiastmediagroup.com www.enthusiastmediagroup.com Wendie Martin, president; Lisa White Global Printing Sourcing & Development (Global PSD); Carnation, WA 206-390-9617/425-354-3690 bob@globalpsd.com; www.globalpsd.com Bob Larkin, international sales manager Graphic Arts Center (GAC) - A Cenveo Company; Portland, OR 800-347-4655/503-224-7777; fax 503-248-7210 dan.graaff@cenveo.com www.gacnw.com; www.cenveo.com Dave Webber, SVP of sales; James Miller, director of operations HB Design; Portland, OR 503-944-1000; fax 503-944-1030 gail@hbdesign.com www.hbdesign.com Noma Hanlon; Gail Snow; Leslie Worth Hemlock Printers USA, Inc.; Seattle, WA 206-241-8311; fax 206-241-2177 kwilliams@hemlock.com www.hemlock.com Frits Kouwenhoven, VP Hemlock USA sales Hulett Printing, Inc.; Spokane, WA 509-326-1611/877-644-1611; fax 509-326-2240 brad@hulettprinting.com www.hulettprinting.com Brad Hulett, president Image Media; Portland, OR 503-214-4500; fax 503-221-9737 geoff@imagemediagx.com www.imagemediagx.com Charley Cobb, CEO; Geoff Gillam, GM Journal Graphics Inc.; Portland, OR 503-790-9100; fax 503-790-9043 www.journalgraphics.com Phillip Bridge, president

MEDIA INC. ISSUE THREE 2012

IN N V WE G ARIA TIN BL BED G T AT FL O-PR A EX IN T OG

Top Local Executives Emerald City Graphics - A Consolidated Graphics Company; Kent, WA 253-520-2600; fax 253-520-2607 www.emeraldcg.com

BIN RA DE PH RY Y / MA BIND ER ILI YE NG QU /L D IPM SE IREC IST RV T M EN AN ICE MA FU S IL/M AG T E LF AR ME IL KE TIN NT WE LME G B/ MO NT BIL LA RG ES EF ER O VIC RM DE SIG AT ES N

SERVICES PROVIDED R/ SH VE EE HIC TF LE ED WE WR OF FS BO AP ET S F P F D RIN PR IGIT SET TIN INT AL P R G I /

Company; City, State Phone; Fax E-mail Web site

PRODUCTS CA TA L BR OGU OC ES H AN UR NU ES A MA L R GA EPO R Z BO INE TS S OK S PA CK A DI GIN RE G CT MA ST AT I ION LING ER PIE PO Y/ ST LE CES ER T S/ TE B LA BE ANNE RHE AD RS LS /D EN /ST ISP VE IC L AY KE LO S RS P OU TD ES

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Joe Hollandsworth, VP sales

Labels Plus, Inc.; Everett, WA 206-523-0477; fax 206-523-1973 sales@labelsplus.com www.labelsplus.com Eric Phillips, owner; Tracy Overcash, operation manager Leatherback Printing; Kirkland, WA 425-822-1202; fax 425-828-3935 support@leatherback.net www.leatherback.net Grant Cundy, owner/president Lithtex Inc.; Hillsboro, OR 503-726-4102; fax 503-726-4090 les@lithtex.com www.lithtex.com Les Davis, president/CEO Mastercraft of Seattle; Seattle, WA 206-768-1297; fax 206-768-1301 info@mastercraftofseattle.com www.mastercraftofseattle.com DND McCallum Print Group; Seattle, WA 206-784-6892; fax 206-782-3623 info@mccallumprintgroup.com www.mccallumprintgroup.com Terry Storms, CEO; Brad Clarke, president McIntyre Direct; Portland, OR 503-286-1400; fax 503-286-1300 dan@mcintyredirect.com www.mcintyredirect.com Susan McIntyre, founder/chief strategist Metropolitan Fine Printers Inc.; Vancouver, BC 604-254-4201; fax 604-254-5175 nikos@metprinters.com www.metprinters.com Nikos Kallas, president MyBinding.com; Hillsboro, OR & Kent, WA 800-944-4573; fax 503-640-6152 sales@mybinding.com www.mybinding.com Cory Ware, owner; Jeff McRitchie, VP of marketing Newman-Burrows, Northwest Publishing Center; Tukwila, WA 206-324-5644; fax 206-324-8939 sales@nwpublishingcenter.com www.nwpublishingcenter.com Mike Daigle, CEO; Doug Andreassen, sales manager; Steve Bergendoff, development director Olympus Press; Seattle, WA 206-242-2700; fax 206-242-8230 info@olypress.com www.olypress.com Glenn Blue, owner; Frank Vertrees, owner Pacific Publishing Company; Seattle, WA 206-461-1322; fax 206-461-1347 ppcprint@nwlink.com www.pacificpublishingcompany.com Robert Munford, VP marketing & operations Terry Fain, sales manager Premier Graphics; Bellingham, WA 360-733-1212; fax 360-676-5805 www.premiergraphics.biz Bob Lynch, president

MEDIA INC. ISSUE THREE 2012

IN N V WE G ARIA TIN BL BED G T AT FL O-PR A EX I OG NT

DO O

Top Local Executives K/P Corporation; Renton, WA & Salem, OR 800-328-3284; fax 425-204-6305 www.kpcorp.com

BIN RA DE PH RY Y /B IND MA E ILI RY NG EQ /L D UIP SE IREC IST ME RV T M N AN ICE MA FU S IL/M AG T LF AR EM IL E KE TIN NT WE LME G B/ N T MO BIL LA RG ES EF ER OR VIC DE MA SIG ES T

SERVICES PROVIDED R/ SH VE EE HIC TF LE ED WE WR OF FS BO AP E T S F PR F D INT PR IGIT SET INT AL I P N R G I /

Company; City, State Phone; Fax E-mail Web site

PRODUCTS CA TA L BR OGU OC ES H AN UR NU ES A MA L R GA EPO R Z BO INE TS S OK S PA CK A DI GIN RE G CT MA ST AT I ION LING ER PIE PO Y/ ST LE CES ER TT S/ B LA E BE ANNE RHE AD RS LS /D EN /ST ISP VE IC LA K LO YS PE ERS OU S T

PRINT/VISUAL COMMUNICATIONS

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ADPRO LITHO Your Offset Printer for the Trade Awarded Best of Category at The Premier Print Awards 2012 & First Place at PPI PrintROCKS 2011 for the "Identity One" Piece • Offering FSC® Certified and G7 Master Proof to Print Certified • We use Bio Renewable Process Color Inks • Our Speedy Fiber Network Takes Less Time for Uploads With this im-press-ive lineup, no job is too small or to large for us, we are the local trade printer for you!

Call 425-743-3200 • 800-842-3337 or fax 425-348-4274 or email us at quote@adprolitho.com Visit our new website – www.adprolitho.com

Full Service Printer • In Business for 29 Years Stationery Letterheads Envelopes Business Cards Note Cards Thank You Cards Business Materials Brochures Annual Reports Sales Literature Price Lists Spec Sheets Presentation Folders Binders Direct Mail Flyers Mailers Newsletters Postcards Catalogs

Books/Manuals Coffee Table Books Installation Manuals Magazines Reports Packaging Slip Top Boxes Auto Lock Boxes STE 4 & 6 Corner Boxes Gift Card Holders DVD Packaging POP Specialities Pop Displays Cut-Outs Pop-Ups

Calendars Desk Top Style Wall Style 12-16 Month Folding Large Offset Printing Limited Edition Art Prints Posters Maps Letterpress Die Cutting Embossing/Deboss Foiling Numbering Scoring/Perfing Kiss Cutting

Cards/Tags Holiday Cards Gift Cards Hang Tags Door Hangers Table Tents Speciality Substrates Magnets Polyart Mylar Some Plastics Boards up to 40pt Aqueous Finishes Soft Touch Coatings Strike Through Varnish Drip Off Coatings Gloss Coating THERE ARE MANY TYPES OF PRINTED MATERIALS, Matte Coating THESE ARE JUST A FEW TO LIST. Satin Coating WE SPECIALIZE IN THE UNIQUE AND EXCEL IN EVERYTHING ELSE. UV Primers

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Jodi Krohn, CEO Print Fusion; Seattle, WA 206-365-1244; fax 206-365-9935 info@print-fusion.com www.print-fusion.com DND Print NW; Tacoma, WA 253-284-2300; fax 253-581-6840 sales@printnw.net www.printnw.net Jeff Stallings, partner/manager Printing Control; Tukwila, WA 206-575-4114; fax 206-575-3098 toniao@printingcontrol.com www.printingcontrol.com Tonia Olson, president Printing Today; Portland, OR 503-641-0200; fax 503-445-4437 www.printingtoday.com Frank Stammers, CEO

PrintStreams; Mount Vernon, WA 360-424-5945; fax 360-424-8778 bobsinger@hotmail.com www.printstreams.net Bob Singer, president PrintWest, Inc.; Woodinville & Seattle, WA 425-402-8600 info@printwest.net www.printwest.net Phil Parrish, president/CEO; Charlie Wozow, EVP; Jim Slayton, VP, sales Prographics Services Inc.; Wilsonville, OR 503-968-1999; fax 503-968-8862 mail@prographicsservices.com www.prographicsservices.com Tom Creamer, president; Brad Settlemyer, GM Puget Bindery/UltraKote; Kent, WA 253-872-5707; fax 253-872-5221 bob@pugetbindery.com www.pugetbindery.com Bob Bayless, VP Puget Sound Envelope; Redmond, WA 425-869-2420; fax 425-602-8739 rod@psenvelope.com www.psenvelope.com Rod Reineke, president QSL Print Communications; Springfield, OR 541-687-1184; fax 541-743-0708 melissakoke@qslprinting.com www.qslprinting.com Doug Koke, owner; Pete Gribskov, special projects Rhino Print Solutions; Blaine, WA 888-333-7917 reception@rhinoprintsolutions.com www.rhinoprintsolutions.com David Allan, president/CEO Scanner Graphics; Seattle, WA 206-624-4469; fax 206-587-2706 john@scannerinc.com; www.scannerinc.com Phil Parrish, president/CEO; Charlie Wozow, EVP; John Ersfeld, senior sales representative

MEDIA INC. ISSUE THREE 2012

IN N V WE G ARIA TIN BL BED G T AT FL O-PR A EX I OG NT

Top Local Executives Premier Press; Portland, OR 503-223-4984; fax 503-223-4601 info@premierpress.com www.premierpress.com

BIN RA DE PH RY Y /B IND MA E ILI RY NG EQ /L D UIP SE IREC IST ME RV T M N AN ICE MA FU S IL/M AG T LF AR EM IL E KE TIN NT WE LME G B/ N T MO BIL LA RG ES EF ER OR VIC DE MA SIG ES T

SERVICES PROVIDED R/ SH VE EE HIC TF LE ED WE WR OF FS BO AP E T S F PR F D INT PR IGIT SET INT AL I P N R G I /

Company; City, State Phone; Fax E-mail Web site

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Top Local Executives SeaPrint; Kent & Woodinville, WA 206-443-2000; fax 425-481-1451 info@seaprint.com; www.seaprint.com Phil Parrish, president/CEO; Charlie Wozow, EVP; Jim Slayton, VP, sales Signature Graphics, Inc.; Portland, OR 503-256-5956; fax 503-256-5949 info@signature-graphics.com www.signature-graphics.com Brian Dutton, president/CEO; Dan Dutton, EVP Sir Speedy Printing and Marketing Services; Seattle & Tacoma, WA 206-768-9686; fax 206-768-9689 jimb@sirspeedy0905.com; www.sirspeedy0922.com Jim Brebner, president Sound Binding Solutions; Kent, WA 425-656-8586; fax 425-656-8080 sbsbind@hotmail.com Don Boland, owner Star Printing; Seattle, WA 206-282-8400; fax 206-283-1213 scott@starprinting.net www.starprinting.net Scott Reid, president Stevens Integrated Solutions; Portland, OR 503-233-5746; fax 503-233-8211 rich@stevensis.com www.stevensis.com Rich Stevens, president

Produce, Pr oduce, pr protect, ottect, and deliver your brand.

Offset Of fset Printing

Digital Printing

Fulfillment

Envelope M Manufacturing anufacturing

DCGWest.com 206.784.6892 206. .784.6892

MEDIA INC. ISSUE THREE 2012

Specialty Bindery

Direct Mail

IN N V WE G ARIA TIN BL BED G T AT FL O-PR A EX I OG NT

Company; City, State Phone; Fax E-mail Web site

R/ SH VE EE HIC TF LE ED WE WR OF FS BO AP E TP S F F DIG SE R INT PR IT INT AL T PR I N G I /

SERVICES PROVIDED

CA TA L BR OGU OC ES H AN UR NU ES A MA L R GA EPO BO ZINE RTS OK S S PA CK A DI GIN RE G CT MA ST AT I ION LING ER PIE PO Y/ ST LE CES ER T S/ TE B LA BE ANNE RHE AD RS LS /D EN /ST ISP VE IC KE LAYS LO RS P OU TD ES

PRODUCTS

BIN RA DE PH RY Y / MA BIND ER ILI YE NG QU /L D IPM SE IREC IST RV T MA EN ICE MA FU S IL/M NAG T E LF AR ME IL KE TIN NT WE LME G B/ MO NT BIL LA RG ES EF ER O VIC RM DE SIG AT ES N

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IN N V WE G ARIA TIN BL BED G T AT FL O-PR A EX I OG NT

Top Local Executives

BIN RA DE PH RY Y / MA BIND ER ILI YE NG QU /L D IPM SE IREC IST RV T M EN A I M FU CES AIL/M NAG T E LF AR ME IL KE TIN NT WE LME G B/ MO NT BIL LA RG ES EF ER O VIC RM DE SIG AT ES N

SERVICES PROVIDED R/ SH VE EE HIC TF LE ED WE WR OF FS BO AP ET S F P F DIG SE R I PR IT NT INT AL T PR I N G I /

Company; City, State Phone; Fax E-mail Web site

PRINT/VISUAL COMMUNICATIONS

Taylor Made Labels; Lake Oswego, OR 503-699-5000; fax 503-699-0408 dtaylor@taylormadelabels.com; www.taylormadelabels.com Paul Taylor, CEO/president; Dan Taylor, EVP TCC Printing & Imaging; Seattle, WA 206-622-4050; fax 206-622-4407 michael@tccprinting.com; www.tccprinting.com Michael Crumpacker, president Vertis Communications; Portland, OR 503-257-0383; fax 503-257-6908 info@vertisinc.com; www.vertisinc.com Kimberly Forbis, GM Voda Brands; Seattle, WA 206-441-8158 info@vodastudios.com; www.vodastudios.com DND Windward Communications Group; Seattle, WA 206-382-1117; fax 206-623-5431 info@windwardpress.com; www.windwardpress.com David K. Livingston, president Wright Business Graphics; Portland, OR & Seattle, WA 800-547-8397; fax 503-491-4320 gklepec@wrightbg.com; www.wrightbg.com Jim Wright, CEO; Dan Adkison, president/COO Zairmail; Lake Oswego, OR 888-898-0066; fax 503-210-6479 sales@zairmail.com; www.zairmail.com Wilson Zehr, GM

ISSUE THREE 2012 MEDIA INC.

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Pinterest the Temptress RESISTANCE IS FUTILE: A MARKETER’S GUIDE TO HARNESSING THE PASSION OF PINTEREST differ and/or complement other social and content strategies? Understand the audience. Who is any of my social media peers your core demo target? For larger don’t fall for new platforms brands with multiple product lines very easily. We’ve seen lots of and audience s ( B -to-B v s . B -tofly-by-nights and the promise of the C), how will various business next latest and greatest thing. So, no units be repre s e nte d? matter how seductive something may Develop a c o n t en t st r at egy. seem at the time, we try to maintain a What boards are important to start with healthy bit of skepticism. We have one and what are the first pins to consider? and one focus only, which is simply: Is a content/asset audit needed and how What’s the benefit and opportunity will that be managed/structured? (Like for businesses, brands and the bottom a blog, we always recommend having a line? “bank” of content to work with when That said, it’s easy to understand you launch, and build on the structure why there is a love fest going on with from there.) Pinterest. For many brands and prodSet guidelines for how to engage. ucts, the benefits—from the amount of Who will find, produce and recommend time users spend onsite, to how pins? Who may need to approve prior to elegantly simple the interface is, to the (Above and below) CMD’s Pinterest boards aren’t just for fun – they’re a uploading? How can new boards or pins direct connection to purchase intent— strategice form of branding. be requested by internal teams? How indicate that there’s a whole lot to like frequently will content be updated? Who (okay, love) about this platform. I outreaches and engages on other likemust admit, I too am completely minded or partner boards? What is the charmed. ongoing strategy for following users? But before falling head over heels, Determine monitoring/moderahere are a few things brands should tion action items. How often will consider when it comes to fostering the community manager respond to a healthy relationship on Pinterest: comments? What will be monitored? It all starts with goals. No How will we react if there is a negadifferent than any other channel, tive response or inappropriate pin? determine what the prime motivaDon’t forget about promotion. tion is for participants and what the How will you bring people to the measurable objectives are. page? What other social/Web tie-ins Set up your editorial team, need to be considered? How will content plan and process. Figureout search best practices and plans be who will establish the platform and initial incorporated? board/pin topics. Will different individuals be As always, measure and evalresponsible for maintaining and managing uate. Who, how frequently, and by each board? How will these teams interact what method do we plan to measure and sync in regard to content? Who will moniand monitor Pinterest activities and tor the page on an ongoing basis? How will evaluate them based on objectives? legal play a role in agreeing what can and How will monitoring be fed back to cannot be shared? Who else needs to be the editorial/management teams to help inform ongoing looped in prior to launch? content and engagement strategies? Establish rules of engagement. As with all your other Thinking through these items isn’t meant to dampen the social platforms, a moderation/content/engagement policy infatuation for Pinterest, it’ll simply help make your brand’s needs to be established (especially true in light of all the pinning efforts more meaningful and, ultimately, a richer content copyright issues that are going on right now. As an experience for you and your followers. And isn’t that the example: Will you only pin content you own right now and secret of any great long-term relationship? how will you ensure source transparency?) Set tone/personality. Serious, quirky, informative, fun—what does your brand want to convey, and does it sync Darcie Meihoff is managing director, earned media, at CMD in Portwith what Pinterest audiences expect? How does Pinterest land. Visit www.cmdagency.com for more information.

By Darcie Meihoff Guest Columnist

MEDIA INC. ISSUE THREE 2012

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Hands Off! RETAINING YOUR TOP PUBLIC RELATIONS TALENT By Maria Scheleen Guest Columnist

ccording to the most recent The Creative Group Hiring Index, the employment outlook for creative and communications professionals will remain strong in the fourth quarter of 2012. A net 13 percent of marketing and advertising executives surveyed said they plan to hire in the last three months of the year, which is up two points from the third quarter forecast. Eleven percent of executives said they expect to hire public relations professionals. As business picks up and PR teams and agencies take on more projects and clients, many employers are recognizing a need to bring in extra support. Some are filling full-time positions that were eliminated during the downturn, and others are hiring freelance PR professionals to help with heavier workloads. Finding highly skilled PR professionals isn’t always easy, however. Nearly half (44 percent) of executives surveyed for our Hiring Index said it’s challenging to find skilled creative professionals today. Why is it so hard to find top talent? Part of it has to do with changing skill sets: Companies want PR professionals who bring a combination of skills to the table, from traditional media relations and writing abilities, to knowledge of social and digital media. Often, there simply aren’t enough professionals with the desired skill sets to meet the demand for these workers. Because top-notch PR professionals are hard to find, PR firms and corporate PR departments are increasingly focused on retention. If you have a great team of workers, how do you keep them from looking at greener pastures? The rules of the game have changed in recent years—stable employment and lucrative compensation alone no longer have the influence they once did to keep workers on board. Following are some strategies for retaining your top PR performers:

MEDIA INC. ISSUE THREE 2012

Re-recruit your best workers. Talk with employees about what might enhance their job satisfaction and remind them of the unique benefits your company provides. Emphasize what your firm has to offer, whether it’s a great corporate culture or strong industry reputation. Invest in professional development, like online learning opportunities, mentoring programs and tuition reimbursement. PR professionals recognize the need to keep pace with new industry developments and appreciate the opportunity to acquire new skills in areas like social media. Provide opportunities for career advancement. Structure positions so employees can grow their careers without leaving your firm. Offer promotions to employees who have demonstrated they can succeed at the next level. Provide project support. Lean PR teams mean, in many cases, that employees are doubling down. If hiring is not an option, consider bringing in PR consultants to help alleviate workloads. Temporary PR professionals are available at every level and for a variety of positions, from media relations experts to writers. Consider compensation. Keep salaries competitive. If there’s no room to increase salaries, consider awarding spot bonuses at the end of a major project or team accomplishment. Promote work/life balance. Give staff members the option to follow a flexible schedule or telecommute one day a week. It doesn’t cost anything to implement these changes and workers will appreciate the leeway. Encourage team-building. Many companies may have cut back on employee perks, but an occasional activity, such as a trip to an art gallery or an offsite lunch, can help employees build camaraderie and provide a much-needed break. Maria Scheleen is the branch manager of The Creative Group, a specialized staffing firm placing creative, advertising, public relations, marketing and Web professionals on a project and fulltime basis. The company has offices in major markets across the United States and in Canada, and offers online job search services at www.creativegroup.com. Contact the Seattle branch at 206-749-9046.

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NW PR FIRMS Maggie Brown, SVP/managing director

Brenner Associates; Portland, OR 503-736-0610; fax 503-238-7304 brad@brennerassociates.com www.brennerassociates.com

Brad Brenner

CFM Strategic Communications, Inc.; Portland, OR 503-294-9120; fax 503-294-9152 garyc@cfmpdx.com www.cfm-online.com

Gary L. Conkling, president

CMD; Portland, OR & Seattle, WA 503-223-6794; fax 503-223-2430 info@cmdagency.com www.cmdagency.com

Phil Reilly, president Mike Cobb, VP accounts Darcie Meihoff, VP earned media

Colehour + Cohen; Seattle, WA & Portland, OR 206-262-0363; fax 206-262-0366 info@colehourcohen.com www.colehourcohen.com

Julie Colehour, partner Bryan Cohen, partner

DeLaunay Communications; Seattle, WA 206-682-3699; fax 206-682-3899 pete@delaunay.com www.delaunay.com

Pete DeLaunay

Desautel Hege Communications; Spokane, WA 509-444-2350; fax 509-444-2354 andreim@desautelhege.com www.desautelhege.com

Cher Desautel, APR, PhD, president/CEO

Duo Public Relations; Seattle, WA 206-706-0508; fax 206-706-0668 rebecca@duopr.com www.duopr.com

Rebecca Mosley & Amanda Foley, founding partners

Edelman; Seattle, WA 206-233-1606; fax 206-467-7978 seattle@edelman.com www.edelman.com

Will Ludlam, GM

Frause; Seattle, WA & Portland, OR 206-352-6402; fax 206-284-9409 bfrause@frause.com www.frause.com

Bob Frause, chairman/CEO Erika Schmidt, president/COO

Gard Communications; Portland, OR 503-221-0100; fax 503-226-4854 bgard@gardcommunications.com www.gardcommunications.com

Brian Gard, president Liz Fuller, director of client services Valarie Edwards, VP/GM

Gogerty Marriott, Inc.; Seattle, WA 206-292-3000; fax 206-292-2063 info@gogertymarriott.com www.gogertymarriott.com

Robert Gogerty, partner David Marriott, partner

Gruman & Nicoll PR; Bellevue, WA 425-451-4387; fax 425-451-4790 getresults@gruman-nicoll.com www.gruman-nicoll.com

Lissa Gruman, partner Margaret Nicoll, partner

Harvest PR & Marketing, Inc.; Portland, OR 503-274-0086; fax 503-961-7055 info@harvest-pr.com www.harvest-pr.com

Amy Wood, managing director

Hill + Knowlton Strategies; Seattle, WA 206-441-7340 www.hkstrategies.com

Jennifer West, SVP Christian Brown, SVP

HMH; Portland, OR 503-295-1922; fax 503-295-1938 lisah@hmhagency.com www.hmhagency.com

Lisa Heathman, PR director

LaBrue Communications; Issaquah, WA 425-427-8481; fax 425-427-8198 tlabrue@comcast.net www.labruecom.com

Terry J. LaBrue, principal

Lane PR; Portland, OR 503-221-0480; fax 503-221-9765 wendy@lanepr.com www.lanepr.com

Wendy Lane Stevens, president Angie Galimanis, VP Kristen Siefkin, VP Amber Roberts, VP, New York

MEDIA INC. ISSUE THREE 2012

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APCO Worldwide; Seattle, WA 206-224-4340; fax 206-224-4344 mplaitis@apcoworldwide.com www.apcoworldwide.com

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NW PR FIRMS Kathy Martin

Maxwell PR; Portland, OR 503-231-3086; fax 503-231-3089 vicky@maxwellpr.com www.maxwellpr.com

Jennifer Maxwell-Muir, founder/principal Vicky Hastings, managing director Jen Scott, VP

Metropolitan Group; Portland, OR 503-223-3299; fax 503-223-3474 marketing@metgroup.com www.metgroup.com

Eric Friedenwald-Fishman, CD/president Laura K. Lee Dellinger, senior EVP/principal

MWW Group; Seattle, WA 206-689-8505; fax 206-462-1772 khoffbuhr@mww.com www.mww.com

David Herrick

Nereus; Beaverton, OR 503-619-0656; fax 503-644-6708 info@nereus-worldwide.com www.nereus-worldwide.com

Sara Belkowitz, director

Porter Novelli; Seattle, WA 206-727-2880; fax 206-727-3439 www.porternovelli.com

Angie Schneider, managing director

PRR Inc.; Seattle, WA 206-623-0735; fax 206-623-0781 jvoldal@prrbiz.com www.prrbiz.com

Rita Brogan, CEO Mike Rosen, managing principal

Publicis Consultants USA; Seattle, WA 206-270-4664; fax 206-272-2497 steve.bryant@publicis-pr.com www.publicis-pr.com

Steve Bryant, president Audrey Lincoff, SVP, corporate communications Mike Durand, SVP, consumer marketing John Hoyt, founder Anne Tillery, managing partner Sarah Stephan, managing director/SVP

Pyramid Communications; Seattle, WA 206-792-0442; fax 206-374-7798 Portland, OR office: 503-241-2341; fax 503-238-5788 sstephan@pyramidcommunications.com www.pyramidcommunications.com Quinn/Brein Public Relations; Bainbridge Island, WA 206-842-8922; fax 206-842-8909 ginger@quinnbrein.com www.quinnbrein.com

Jeff Brein, president

Revolution PR; Seattle, WA & Portland, OR 206-354-8049; fax 206-400-1575 connect@revolutionpr.com www.revolutionpr.com

Jennifer Karkar Ritchie, principal Rebecca Haas, principal

Richmond Public Relations; Seattle, WA 206-682-6979; fax 206-682-7062 general@richmondpr.com www.richmondpr.com

Lorne Richmond, president Jason Hamilton, SVP

Synchro Creative Communications; Bellevue, WA 425-885-5661; fax 425-957-7202 bonnie@synchrocreative.com www.synchrocreative.com

Bonnie Chelini, principal Candy Young, principal

Tactical Marketing Group; Tacoma, WA 253-678-2617 kevin.hayes@tacticalmark.com www.tacticalbg.com/tacticalmark

Kevin Hayes, principal Doug Hudak, principal

Team Soapbox; Seattle, WA 206-528-2550; fax 206-625-0109 christine@teamsoapbox.com www.teamsoapbox.com

Christine Stepherson, founder/owner Janda Black Keenan, founder/owner

Vox Public Relations Public Affairs; Eugene & Portland, OR 541-434-7021; fax 541-302-6622 pwalsh@voxprpa.com www.voxprpa.com

Pat Walsh, CEO Patricia Pearson, president Sadie Dressekie, VP

Waggener Edstrom Worldwide; Bellevue, WA & Lake Oswego, OR

Melissa Waggener Zorkin, CEO/president/founder Pam Edstrom, president, Microsoft account/founder Jennifer Houston, president, Studio D Tim Fry, EVP/GM

425-638-7000; fax 425-638-7001 commscore@waggeneredstrom.com www.waggeneredstrom.com

Weber Shandwick; Seattle, WA 206-576-5500; fax 206-576-5599 www.webershandwick.com www.webershandwickseattle.com

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The Martin Firm; University Place, WA 253-565-2040 kfmartin@martinfirm.com www.martinfirm.com

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Art + Commerce = Maximum Impact By Doug Cox Guest Columnist

rt and commerce—there are those who don’t believe the two can peacefully co-exist, much less be one and the same. They’re overlooking a very powerful marketing tool. People are constantly bombarded by advertising and marketing, whether in the form of billboards, bus signage, radio and television commercials, newspaper ads, event posters, or even the names of their sporting stadiums. It’s getting progres- Darigold’s mobile marketing piece. sively more difficult to break through that white noise, and especially difficult to engage consumers meaningfully. Simply put, it’s hard to make an impact. Guerrilla marketing is built upon the unexpected— on capturing people off guard. Microsoft Advertising’s mural. It’s an active pursuit of the passive attention most marketers pursue. Think about it—when is the last time a billboard made an impression on you? Can you even remember what the last commercial you saw or listened to was for? At posterGIANT, we believe that art and commerce not only can co-exist, but that when they’re skillfully combined, they offer an unbeatable impact. Take the graffiti mural we recently facilitated for Microsoft Advertising. Occupying a 70- by 20foot wall in downtown Seattle, its boldly colored images are impossible to miss. They’re also a striking street-level representation of the multiple dimensions and platforms available to MSA’s clients. And not only is the mural a stand-alone piece of art with a subtle marketing message, but its creation was documented by videographers to generate another compelling (and utterly unique) marketing tool. The Washington State Lottery used a similar tactic, painting a reserved parking space with a Washington Lottery’s marketing campaign.

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“Lottery Winners Only” message to capture the attention and imagination of its audience. Not only was it a striking visual, but it got people talking, further expanding the reach of the campaign efforts. Sometimes our marketing/art projects are more portable. Darigold needed to find a way to grab the attention of attendees at fairs and special events. What better way to reinforce the dairy’s message of good oldfashioned quality than by decking out vintage tractors with Americana-themed artwork? The show-stopping machines never fail to elicit ‘oohs’ and ‘aahs,’ while underscoring the agricultural cooperative’s all-American values. Once again, these art pieces with a brand message make a huge and lasting impression. These kinds of outside-of-the-box thinking are a compelling and cost-effective way to go—and also the kind of marketing that leaves a lasting impression. When your audience is actively engaged and talking to their friends and family about your marketing efforts, you’ve scored a huge win. Doug Cox is the president and founder of posterGIANT, a national guerrilla marketing company based in Seattle with over a decade’s worth of experience reaching audiences efficiently and effectively.

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BRIEFS Dave’s Killer Bread Hires Grady Britton

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Dave’s Killer Bread has hired Portland marketing agency Grady Britton to help the famed Northwest bread maker build new fans across the West. Grady Britton will utilize CEO “KillerBreadman” Dave Dahl’s story and the popularity of the bread itself to support distribution of products like Good Seed, 21 Whole Grains, Peace Bomb and Sin Dawg into Southern California and other major markets. “We’ve always had plenty of opportunities to tell our story locally and throughout the Northwest, but now we’re growing into markets that are farther from home,” said Dahl. “We were impressed with Grady Britton’s creativity and energy, and felt they were the right partner to help us tell our story and help us grow our fan base in new places where we really need to start from scratch.” For more information, visit www.gradybritton.com.

JayRay Guides Credit Unions through Merger Campaign When the big M-word was facing Montana First Credit Union members, news about financial institution takeovers made them reluctant. The credit union wanted members to know that as a not-for-profit credit union, a merger with Spokane’s Horizon Credit Union would only bring benefits such as more to lend, more mortgage services and updated technology. After a small voter turnout last December that resulted in a no vote, the credit union planned to give members a second chance. Tacoma, Washington-based agency JayRay was brought in to guide communications efforts and turn the second vote around.

A campaign with the theme “Better for you, better for Montana” featured members, employees and community ambassadors explaining why they supported the merger and planned to vote yes. The message was delivered via outdoor, print, direct mail, Web and in Montana First branches. “JayRay was able to effectively apply its campaign and credit union knowledge to help us better communicate the benefits and turn the vote around,” said Jeff Adams, CEO of Horizon Credit Union. The result was a 56 percent vote in favor of merging, and the merger is expected to be finalized by the end of September. For more information, visit www.jayray.com.

Borders Perrin Norrander Wins Old World Industries Account Thus far, 2012 has been a very good year for Portland ad agency Borders Perrin Norrander (BPN). It’s the agency’s 35th anniversary, a new president was recently appointed, and now comes the announcement that BPN has won a new account. “We have had an impressive string of new business wins lately and this one adds significantly to our momentum,” said Lori Gaffney, newly appointed president. “We are proud to announce our new client, Old World Industries, based in the Chicago area. BPN will provide creative services as well as media planning and buying for the full line of OWI’s products.” Old World Industries is a privately held company that was founded 30 years ago. The PEAK family of products is marketed in more than 30 countries around the world utilizing NASCAR driver Danica Patrick as the long-term spokesperson. For more information, visit www.bpninc.com. Continued on page 43

Relax. Targeted marketing is our specialty. www.gcdirect.com 206.262.1999 x 205 ISSUE THREE 2012 MEDIA INC.

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A Day at the Beach COURTESY OF TACO DEL MAR® AND WEXLEY SCHOOL FOR GIRLS exley School for Girls, a Seattle-based advertising agency, teamed up with TACO DEL MAR® to bring the Baja to the Northwest on July 21 at Westlake Park in downtown Seattle. To raise TACO DEL MAR®’s profile and increase business, Wexley sought to re-introduce consumers in their twenties and thirties to the restaurant chain with an unconventional mix of humor and outdoor activities by dumping 100 tons of sand in the park for impromptu beach volleyball and a day of fun in the sun. “The only thing that TACO DEL MAR® takes too seriously is its food,” says Ian Cohen, Chief Creative Officer of Wexley School for Girls. “Beyond that, we were given creative rein to come up with any stunt we liked, so we pulled out all the stops.” Approximately 10 percent of the 50,000 Seattle residents and visitors passing through Westlake Park stopped by the event to play in a four-on-four beach volleyball tournament, build sandcastles, take photos in a muscle beach standee, listen to live music, and more. Participants also received TACO DEL MAR® gear and a BOGO coupon for the new Shrimp Tostada. Nearly 5,700 pieces of TACO DEL MAR® branded swag were given out throughout the day, including 241 tanks and headbands, 4,100 stickers and temporary tattoos, and 450 beach balls. “The most authentic advertising engagements are those that include the consumer in the process and allow them to make it their own,” says Cohen. “So, we provided consumers with the freedom to engage and just have fun at TACO DEL MAR®’s beach event, making the link to the type of fun, Baja-style environment that consumers experience at TACO DEL MAR®.”

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Square Tomato Named Digital Agency for Corbisâ&#x20AC;&#x2122; Veer Brand Square Tomato, an independently owned advertising agency based in Seattle, has been named by Corbis as a digital advertising agency of record for its Veer brand, a retailer of affordable stock photography, stock illustration, and fonts. â&#x20AC;&#x153;Veer is an exciting client for us,â&#x20AC;? said Frank Clark, Square Tomato owner and creative director. â&#x20AC;&#x153;They have the unique brand position as the most creative and artful resource for stock imagery and fonts. We are executing witty and engaging work for an audience we understand very well.â&#x20AC;? The partnership has already produced several successful acquisition and retention campaigns, including â&#x20AC;&#x153;The Creative Mysticâ&#x20AC;? and â&#x20AC;&#x153;Mike Spear Needs a Life.â&#x20AC;? Square Tomato will work with Veerâ&#x20AC;&#x2122;s internal team on the brandâ&#x20AC;&#x2122;s advertising and digital efforts across North America. For more information, visit www.sqtomato.com.

Anvil Media Expands Digital Marketing Expertise to Include Casinos Anvil Media Inc., a Portland digital marketing agency specializing in search engine and social media marketing services, recently announced the addition of Seminole Gaming of the Seminole Tribe of Florida to its client roster. Initially, Anvil will

provide digital marketing services to three Seminole Gaming properties, including the Seminole Hard Rock Hotels & Casinos in Tampa and Hollywood, Florida, and the Seminole Casino Coconut Creek. For more information, visit www.anvilmediainc.com.

Hydrogen Advertising Named One of Washingtonâ&#x20AC;&#x2122;s Best Workplaces Hydrogen Advertising, a full-service advertising agency in Seattle, was named as one of Washingtonâ&#x20AC;&#x2122;s Best Workplaces by the Puget Sound Business Journal. Hydrogen received the bronze medal in the small business category for those with 10-50 employees. â&#x20AC;&#x153;We are thrilled to be recognized by the Puget Sound Business Journal, a publication that has its pulse on what is happening in business throughout the region,â&#x20AC;? said Rick Peterson, president of Hydrogen Advertising. â&#x20AC;&#x153;I am so proud of all our employees whose incredible talent, dedication, and creativity make our company a great place to work and who are major contributors to our ongoing success.â&#x20AC;? Hydrogen offers clients a full spectrum of advertising and marketing services with special attention to brand and media, strategy, creative excellence, and achieving measurable results. Its workplace culture encourages active involvement from team members across disciplines, creating a safe place for ideas to be explored and developed, and open collaboration with clients. For more information, visit www.hydrogenadvertising.com.

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One Square Mile director Charles-Olivier Michaud speaks with area residents about production at a Rainier Beach neighborhood meet-and-greet. Photo by Chris Swenson

Washington Warms Up with Summer Production By Jessie Wilson Programs and Communications Coordinator (Interim), Washington Filmworks

ashington was buzzing with activity during the busy summer shooting season. From production resources to funding assistance, Washington Filmworks (WF) was busy assisting both incentive and non-incentive productions around the state. The WF Board of Directors approved funding for several projects, among them a national commercial that included a number of aerial shots featuring Mount Rainier. Not only did the commercial capture the beauty of one of our state’s natural treasures, it put more than 40 Washington-based cast and crew to work.

n the Seattle area, the Washington incentive feature One Square Mile found a home in the neighborhoods collectively known as Rainier Beach. The film, starring Kim Basinger, Richard Jenkins, and local Auburn High School graduate Cam Gigandet, shot a total of 10 days at 3 different residences. Line producer Mel Eslyn was pleased with the welcome

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that the film received. “Rainier Beach literally opened their doors to our production,” said Eslyn. “Neighbors offered up their homes as locations, and visited our set with baked goods for the hardworking crew.” Deborah Moore, One Square Mile producer, felt as if the look of the area was perfect for their production. “The juxtaposition of the working class neighborhood set against the beautiful backdrop of the Seattle skyline with views of the water on two sides added a striking visual layer to our film,” she explained. “It said a lot about our characters and literally was a made-to-order location for us.” Not only did the area offer amazing visuals, but the relationship between Rainier Beach and the production was mutually beneficial. “Several neighbors let us use their backyards and other areas for staging equipment and personnel,” said Dave Drummond, One Square Mile location manager. “On warm evenings many of them came out to watch the action from across the street.” Production brought business to the area as well. Added Drummond, “The Rainier Beach Merchants’ Association Continued on page 46

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provided us with information on local restaurants and businesses, which we took full advantage of.” n the eastern side of Washington, incentive feature film Admissions, starring Andy Garcia and Vera Farmiga, returned production to the Spokane and Pullman areas. Admissions writer and producer Glenn German discussed their decision to partner with North by Northwest Productions (NXNW) in Spokane to make the feature film. “I had never been to the Pacific Northwest and didn’t know what to expect when we came to scout,” said German. He acknowledges that while the film wouldn’t have happened without Washington’s film incentive, he discovered a hardworking group of extremely talented crew at NXNW who made the experience of creating Admissions extraordinary. “What began as a financial incentive became a collaboration that I and my fellow producers are tremendously grateful for,” said German. “The services and the caliber of the crew in Eastern Washington were wonderful. Across the board, from costume designers to production designers to editorial, all of the departments were first-rate. There isn’t a better group of people in the film industry. These are really special, hardworking craftsmen.” Admissions scouted nearly 40 colleges in 6 states to find the particular look they wanted, finally selecting the campuses of Gonzaga University and Washington State University (WSU). “Both campuses had the locations we

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wanted, but they were gracious hosts, too,” said German. “We felt completely welcome. The students were excited to participate and all of our needs were handled warmly by the campus staff.” Both German and director Adam Rodgers were met with such hospitality that they intend to revisit the campuses once Admissions is released. “Our time there was so inviting that we want to return to WSU and Gonzaga,” said German. “We’d like to screen the film, answer questions about production, and share our knowledge on the business of film with students and staff who are interested in filmmaking.” German and Rodgers see a return trip as a small way of giving back for a fantastic overall experience. “This was a really exceptional partnership,” said German of his time shooting in the state. “One that included NXNW, Washington Filmworks, the campuses of Gonzaga and WSU, and Washington cast and crew. We hope that the quality of the relationship will be reflected in the caliber of the final product.” ith the renewal of the film incentive this past spring, Washington Filmworks couldn’t be more proud to bring an influx of film business back to Washington. If the collective experiences of this summer’s incentive productions are a sign of things to come, locations, cast, crew and vendors in both Eastern and Western Washington are enthusiastically welcoming back production, too.

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WASHINGTONâ&#x20AC;&#x2122;S OLYMPIC PENINSULA Beautiful scenery with lakeside retreats, vintage towns, working waterfronts and secluded getaways.

Let us help you find the setting and support for your project. Call or click for assistance. Olympic Peninsula Visitor Bureau Film Commission Diane Schostak (360) 452-8552, (800) 942-4042 diane@olympicpeninsula.org olympicpeninsula.org/page/film-commission

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Washington’s Film-Friendly Olympic Peninsula By Diane Schostak Olympic Peninsula Visitor Bureau

ense rainforest valleys, wild Pacific shores, alpine meadows. These are the trademark landscapes of the Olympic Peninsula, the primary parts of Olympic National Park. The park offers sought after backdrops for features, commercials and stills, but is often daunting to reach when federal regulation and fees come into play. The good news is that Olympic National Park is nearly 1 million acres, but the Olympic Peninsula is over 3.4 million acres. Beyond the park are more lush forests, mountain peaks, and amazing beaches—situated on the more film-friendly lands of the U.S. Forest Service, local tribes, and private timber lands, as well as many state and county parks. Add to these natural landscapes the historical and man-made buildings, and you have locations that can be used in a myriad of ways. Victorian Port Townsend is very film-friendly, both in the variety of visual landscapes and in the city’s permitting and enthusiasm for film projects. From catalogue shoots to feature films to commercials, Port Townsend is satisfying many a producer for the perfect setting—visually, financially and business-wise. Puzzle-like shorelines abound all across the Peninsula. Finding a secluded spot to wash up, fall in love, or commit a murder—or whatever your storyboard dictates—is within reach. Olympic Peninsula communities have distinct looks, starting with the

Victorian brickwork of Port Townsend and the WWI military barracks at Fort Worden. Port Angeles has retained its 1950s–era facades in this waterfront village, with the Olympic Mountains rising behind it. Sequim offers a sweet, clean downtown, with a wide valley spreading to the shore in the rain shadow of the Olympics, with many farms, lavender fields and dairies dotting the landscape. To the west, one finds the quintessential logging town of Forks, and the fishing resort village of Sekiu on the Strait of Juan de Fuca National Scenic Byway. And, speaking of scenic, winding roads with forest and water views stretch all across the region, from the Hood Canal to Neah Bay. The entire Olympic Peninsula has benefited not only from the popular Stephenie Meyer Twilight book series and the films that followed, but from many commercials, catalogue shoots, and travel story coverage. The rural nature of the region and the friendly attitude of the locals mean that they approach film projects with a welcoming, can-do attitude. The regional film office is the Olympic Peninsula Visitor Bureau, with a strong network of locals who can help a scout find the special place/building/vista/machine, or fill the must-have request. Every town has a company or two willing to repurpose equipment to hold lights, piping or screens. Visit www.OlympicPeninsula.org for more inspiration!

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Oregon Production Update S

ParaNorman. The second feature film from ummer 2012 was a busy one for Oregon’s Hillsboro, Oregon-based animation studio production industry. LAIKA—the first was 2009’s Coraline—ParaPortland kept busy as NBC horror-fantasy Norman wrapped production last year. The series Grimm filmed its second season, family-oriented horror-comedy, released by while IFC’s sketch comedy Portlandia shot Focus Features, received strong reviews and its third. generated plenty of buzz. In addition, in July it was announced that ParaNorman’s release also garnered much both series received Emmy nominations. excitement in the local community, with GoverPortlandia was nominated for Outstanding nor John Kitzhaber issuing an official Writing for a Variety Series. The show was Proclamation declaring August 17, 2012 to be also nominated for Outstanding Directing in “ParaNorman Day.” a Variety Series for Jonathan Krisel’s direcParaNorman inspired this shoe from NIKE. Credit: NIKE. Additionally, Nike unveiled its new ParaNortion of “One Moore Episode.” These noms man Air Foamposite One shoes to coincide with come on the heels of Portthe film’s release. Nike co-founder Phil Knight launched LAIKA landia’s Peabody Award, in 2005, so there is an obvious connection between the two announced in April. Oregon companies. Grimm, meanwhile, was Throughout its summer theater run, the film—featuring the nominated in the Outstanding voices of Casey Affleck, John Goodman, Anna Kendrick and Kodi Stunt Coordination category. Smit-McPhee—proved to be a success, grossing more than $74 Stunt coordinator Matt Taylor million worldwide. was recognized for his work on LAIKA plans to begin work on its third feature film this fall, the episode “The Woman in though the company had not revealed any details as of press time. Black.” Finally, August saw the release of the much-anticipated stopFor more information on Oregon’s production industry, visit Governor Kitzhaber proclaimed August motion animated 3D movie 17, 2012, to be “ParaNorman” Day. www.oregonfilm.com.

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The Digits Blasts Off PORTLAND FILMMAKER’S NEW WEB SERIES MAKES LEARNING A DIGITAL ADVENTURE he school year has barely begun for millions of American children, but what bothers Portland-based Web series producer Scotty Iseri is that this means there’s also millions of homework questions floating around unanswered, especially about math. So Iseri conceived a new Web series designed for children 7to-11 who are struggling with math comprehension. His series, The Digits, strives to make math learning cool through interactive storytelling. Now with a number of episodes already on YouTube for Schools, The Digits (www.YouTube.com/FUNDAwatch) is also available as a new app (or “appisode”) that launched to iTunes and Android Market in mid-September. The characters of The Digits began asking kids and parents to submit their brain-stumping questions in episode four about right triangles. Want Pavi to answer about parallelograms? No problem. Want Gorgolax to field your long The Digits plays on mobile devices as well as on the web.

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Scotty Iseri (right) and one of The Digits’ characters, Pavi, discuss a scene.

division quandaries? No worries. You can even ask the recycled robot Ray Ray or the airheaded The Galaxy Twins, Chad and Becky, their thoughts. Fire away in the YouTube comments section, and by subscribing to the channel, parents and kids are notified of a new episode each Wednesday. Unlike the majority of educational apps and Web series, The Digits was created under the guidance of a curriculum designer Continued on page 54

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and implemented by a 20-year veteran schoolteacher. Iseri strives to address a slightly older age group than most educational apps, aimed at later elementary students (third through fifth grade), which is a critical time in a child’s development. This is the age when kids are making affinity choices and they’re deciding who they are, what they like, and what they’re good at. It’s also when math and science start to get more difficult; math moves from simple arithmetic and into more abstract concepts like fractions, or geometry. This non-traditional media product is also using a non-traditional funding model. The Digits is a start-up and is working with Angel Investors to create it. Iseri plans a suite of shows and toys focused on a STEM (Science, Technology, Engineering and Math) curriculum. “Television viewership is down and kids are more likely to have access to a smartphone than a desktop computer,” says Iseri. “Instead of fighting for limited broadcast bandwidth, we want to go where the audience is: on phones, tablets and YouTube.” He continues, “Most children’s content (from TV shows to games) is funded by advertising, and the reality is that ad-funded programming does not have children’s interests at heart. This is a new business model for launching an entertainment product. We’re a company that wants to do well by doing good.” The Digits began as a fellowship with the Center for Asian American Media (CAAM). Iseri set the Web workaday world on fire with Web series Scotty Got an Office Job in 2009, and before that led The Paper Hat project in Chicago. His long-touring comedy rock act “The Big Rock Show” also landed him on the Dr. Demento show. Scotty Iseri

The Digits Earns i-OPIF Rebates arlier this year, the Oregon Governor’s Office of Film and Television granted The Digits production rebates through the Indigenous Oregon Production Investment Fund (i-OPIF). Over the years, many film and television projects have been awarded production rebates from the film office, but The Digits, which is filmed in and around Portland, is the office’s first Next Generation media project to be so honored. The i-OPIF program provides rebates of 20 percent of goods and services and 10 percent of Oregon labor for projects produced by Oregon filmmakers who spend a minimum of $75,000 but not more than $750,000. Visit www.oregonfilm.org for more.

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MEDIA INC. ISSUE THREE 2012

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The Power of Craft in Video Production By Matthew Billings Guest Columnist

he video and film production business is in a state of relentless flux. There are always new technologies, improved equipment and ever-evolving notions of what’s hip and what’s not. Trends come and go, but craft is eternal. I define “craft” as the sum of all the small decisions that ensure the highest quality in every aspect of the production. Craft makes a statement about your company. It tells your audience that you care about your image and, by extension, your products, your customers and your employees. Craft sets you apart. Craft makes a difference. Great video is created. The key word is “created.” This is not a tangible product that can be mass-produced. Each program is custom-made to the specifications of a discerning client. It is storytelling brought to life with words and music. Of course, quality is highly subjective, but here are some of the elements that define craft for me. Story. An effective video begins with a great story and it’s important that the primary concept that holds the program together makes sense and connects to the audience. Craft is about making a powerful connection to the viewer. The Creative Brief. Ideally, a strong creative brief is both creative and brief. It presents the rationale for the project and clearly states the goals and objectives. This is critical because at various points along the way, you will need to determine if a given decision will achieve the stated goal. A good producer will raise a warning if a production decision strays from the stated goal and will get things back on track. Craft works from a clearly defined vision. Creative Treatment. Before a word of the script is written, an overall direction and framework for the program must be agreed to. In the creative treatment, the elements are defined and decisions made that will determine the plan of action. Most important, the client and the production team must agree. Otherwise you will be going through multiple versions of the budget and the script. Script. This is the blueprint for the final product you are all building. The writer should indicate what action is occurring on the screen, as well as what’s going on while we see it. What is the narrator saying? Is there music? Are there special effects or graphics? A good script will drive consensus and guide the way to a successful shoot. Production Execution. The creation of a video is a logistical dance. Craft makes that choreography seamless. Planning is extremely important if a shoot is to be successful. Your production team should work closely with you to stay on schedule and on budget. Craft is economically responsible. Location. Where will your program be shot? In a studio? Your corporate offices? At a customer location? Wherever it happens, it must look like some thought has gone into the visual design. Interviewing a customer in front of a cinder block wall is not likely to create viewer interest, unless perhaps the customer sells cinder block. Run and Gun. Spin does not send out crews to “see what happens.” We don’t document meetings, weddings, baseball games or news stories. We don’t show up without a plan. We don’t bring cameras, lights and crews so a product manager can “wing it.” Run and gun wastes time and money—and often misses opportunities (due to poor planning) to elevate storytelling impact. Craft does not.

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Audio Quality. The visuals may be stunning but if the audio is garbled it not only creates a bad impression, but also threatens the success of the video. If a production company tells you that the camera microphone is adequate, find another production company. If they tell you an audio engineer is unnecessary, find another production company. Lighting. Effective lighting gives your production texture and depth. It is neither too light nor too dark. A competent videographer knows that shadows are as important as light. It sometimes surprises clients how many artificial light sources it takes to make a shot look natural. In a visual medium, good lighting is key. Plan What to Shoot & Shoot What You Plan. The script is an agreement between the production company and the client that specifies what elements will be included in the finished product. The script is also a tool to stay on budget. If it isn’t in the script, it’s probably not in the budget. Quality Interviews. Great interviews don’t just happen, and great planning will make a good interview better. The key is an in-depth pre-interview. The director and producer should know what points will be covered before the camera is turned on. A pre-interview lets you know what the subject will say and how well they will say it. The Director. It may seem obvious, but an effective director should be good at working with people. Even if you’re shooting food or cars, the director must communicate well with the stylist, the producer, the DP, the grip—and of course the client. Which reminds us of the shoot where the director was composing a shot, looked up from the viewfinder, and said, “Lose the bald guy.” The bald guy was the VP of marketing. Talent. Sometimes a client will tell us that Sid on the loading dock has a great voice and should narrate their program. Or Melissa in accounting is taking acting lessons. Most of the time, Sid and Melissa should keep their day jobs. Unless they are being interviewed about what they do, craft requires the use of professional talent who have the right look and know how to perform for camera. Camera Movement. Video and film captures movement. That’s why you’re not just handing out brochures. Sometimes the movement also includes the camera. A fluid, traveling shot with the camera on a dolly or a Steadicam can gracefully draw the viewer into the scene for greater impact. Graphics. The artful use of type can enhance almost any program. But don’t let the graphics overwhelm or distract from the message. Tasteful yet creative is important to support the storytelling. Fix It in Post. The cost of video production rises as the production moves towards completion. Post-production—the step where the footage is organized, narration recorded, music composed and edited—is not the place to solve problems that occurred during the shoot. It makes no sense to make major changes during the most expensive phase of the process. A well-produced video, with quality at every step in the process, can compel an audience in a way few things can. Craft is what separates an adequate product from an unqualified success. Matthew Billings is principal and creative director at Spin Creative, a video production company in Seattle. For more information, visit www.spincreativegroup.com.

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Managing Client Expectations By Daniel Cardenas Guest Columnist

lients drive me crazy. They don’t seem to think, act or communicate like regular people with even a bit of respect. And it’s hard to know what they expect. That’s the personal side of me talking and in reality it doesn’t matter what I think or feel. We’re in a service business, we’re for hire, and it’s our job to let our clients know what to expect, and don’t give ‘em any unpleasant surprises. On a recent project I stepped way out of my comfort zone and outsourced (which we normally don’t do) a majority of the grunt work to another firm, and for the first time in a long time I was the client.

What were my clients thinking? Were they frustrated? Was the project proceeding in a way that they thought it should? This unfortunate experience really made me sit back and realize how important managing client expectations really is. We’re in the business of providing creative services. It’s such a touchy-feely sounding business, and I like to think that I have my hand on the pulse of what my client thinks and how they expect the experience should be. If I don’t, well then, we end up with clients that are frustrated, confused, and have unmet expectations, which often leads to no repeat business. There are, of course, professional standards, best practices, and business ethics and we try to follow these the best we can. But sometimes in these days of flying-by-the-seatof-our-pants speed in which business is conducted, some of these standards go out the window.

We’re in a service business, we’re for hire, and it’s our job to let our clients know what to expect. It seemed that the tables were turned. I was the one with the short answers, the one with a lack of excitement, the picky one, the one to tear apart all of the work that was delivered for my approval. Halfway through this grueling process, I realized that as the client, my expectations were not being met. Certain things that I expected were not happening the way I expected them to happen, let alone the actual process. It was all wrong. I found myself making excuses to my client and being very frustrated with my vendor. We were missing milestones, they were not available when I wanted to talk, and “the team” they assembled was a looseknit group of virtual artists without a hands-on person running point. The project did not proceed as I thought it would or should. It actually made me quite frustrated to think that as the client, I had so many let-downs during one project. I was not getting what I expected.

MEDIA INC. ISSUE THREE 2012

This is why properly managing client expectations is so important to a smooth operation. I like to think of it as the “ready, set, go” of a sprint race. • First, you get warmed up by communicating with your client how the work process will go. • Then, you get into the starting block and let them know what to expect. • When the gun goes off, you kick it down the track and deliver another win for them. By the way, the project turned out fine. I ended up working some nights and weekends, managing and assembling the project. It also took a bit of effort managing my client’s expectations, mostly because we did not sufficiently get ready and set before we started to go. Daniel A. Cardenas is creative director and founder of Sierra Media, Inc. Visit www.sierra-media.com.

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Olympic Champion Sugar Ray Seales Featured in Coming Documentary By Ariel Evans Guest Columnist

ward-winning filmmaker Oliver Tuthill has announced that 1972 Olympic Gold Medal-winning boxing champion Sugar Ray Seales will be featured in his next documentary. Titled Fighting Blind, the film is about the life and career of the Tacoma-based boxer, who suffered multiple eye injuries in the ring as a professional fighter, and who defended his North American Boxing Federation middleweight title against James Shuler in 1982 while legally blind. Seales passed his boxing physicals by memorizing the eye charts before each one of his bouts. During the Shuler contest, Seales was completely blind in his left eye and had lost about 95 percent vision in his right eye. Shuler was killed in a motorcycle accident shortly after the fight in which he won Sealesâ&#x20AC;&#x2122; title over 12 rounds of a brutal engagement. The future looked golden for the 20-year-old Seales in 1972 when he defeated the German boxer Ulrich Beyer to take the gold and what looked like a promising career as a professional. Seales was the only American boxer to win gold at the 1972 Olympic Games held in Munich, Germany. During the Games, the Palestine terrorist group Black September took a number of Jewish athletes prisoner, and they were subsequently murdered by the terrorists at the airport when the police opened fire on them. Many believe this tragedy dampened the enthusiasm of a nationâ&#x20AC;&#x2122;s interest in Sugar Ray Seales. Unlike Sugar Ray Leonard, who won the gold in 1976 and was offered $40,000 for his first fight and a lucrative television contract, Seales labored in obscurity for years until he fought the former undisputed middleweight champion, Marvelous Marvin Hagler. Seales battled Hagler three times, losing twice

Photo courtesy of Sugar Ray Seales

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and drawing once. Tuthill, who won the 2002 Washington State Governorâ&#x20AC;&#x2122;s Award in Media from then-Governor Gary Locke, fought as an amateur boxer in Chicago, Detroit and Los Angeles before suffering a wrist injury that forced him to give up the sport. He became an official correspondent for Ring Magazine, the oldest sports publication in the United States, for 25 years. Tuthill appeared with Seales on the NBC Today show on May 28, 1987. Tuthill was pitching a film about Seales then, and he is still doing it today. â&#x20AC;&#x153;This is a chance for Ray to tell his story, and it reads like fiction,â&#x20AC;? said Tuthill. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s an amazing story of a man who lost everything and refused to give up.â&#x20AC;? MovieMaker Magazine editor-in-chief and publisher Tim Rhys has come aboard as a producer, along with Portland native Tara Walker. Rhys started MovieMaker in Seattle back in the â&#x20AC;&#x2DC;90s, and has directed and produced features and documentaries. Seales believes the film will finally bring out the truth of what he experienced losing his eyesight in the ring, but also what his relationships were like with men such as sports commentator Howard Cosell, boxing promoters Don King and Bob Arum, and three-time heavyweight champion Muhammad Ali. Production of Fighting Blind commenced on September 15 in Tacoma at a testimonial dinner honoring Seales on what is known in the city as â&#x20AC;&#x153;Sugar Ray Seales Day.â&#x20AC;? Ariel Evans is a freelance photojournalist from Los Angeles who has previously written for Washington Film Magazine.

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Why DIY? The Perks of Using a Production Company By Graeme Lowry Guest Columnist

n today’s completely digital post-production environment, a media maker can shoot, edit, finish, and distribute on the same system in a matter of hours—all for less money than one stage of the production process used to take a decade ago. The prevalence of one-man production companies and DIY filmmakers has exploded in the era of inexpensive acquisition media and physical storage. Add to this the prevalence of powerful mobile non-linear edit systems, subtract the need for expensive and clunky tape decks, throw Internet distribution in there for good measure, and you have a true digital workflow. I don’t need to expound upon the inexpensive and easy-to-use tools available to remind you that everything from a digital camera shooting on SD cards, to inexpensive non-linear edit solutions, to image stabilization tools, camera tracking, compositing, color correction and mix, are all available for easily less than $5,000. If it can truly all be done in our home offices, or on the road, then where does the need for a production company arise? Is the era of full-service production companies and boutique post houses over? I don’t think so… though I do think their role is changing a bit. At a company like Beyond Home (a production company I work for in Seattle), we can take any production and act as a one-stop shop, from script to screen. Where does a company like that fit with indie media makers in a small market like the Northwest? Are we in competition or collaboration? I propose we are the latter. A decade ago, a shop like Beyond Home was valued by the money invested in all that camera gear and post-production technology. That has been neutralized by the laptop and camera probably sitting on your kitchen table right now. The true value now comes with having a shop full of people and equipment at your disposal. Things like support staff and infrastructure are inherent pluses; I can’t count the number of times I’ve been working on a project

MEDIA INC. ISSUE THREE 2012

when something technical goes wrong and it’s just me and Google figuring it out. I wished it were someone else’s equipment and therefore their problem. If, during those times, I had been at a shop, there would have been other people to troubleshoot with (and on their equipment, I might add). There are also intangibles, like compounded years of experience and collaborative workflows. I have found that simply taking a finished project to another person to color or mix, or using a motion graphics artist instead of doing it myself, actually adds to the overall production value of the project. Things like tunnel vision are avoided in the process of collaborating with others. Just because I can do it myself doesn’t mean I always should. A few days ago, I got a call from a guy we typically hire as a freelance editor at our shop. He wanted to know if he could use one of our edit suites. Although he has a full set-up at home and is more than capable of producing his commercial there, he needed to interact with clients for two days and didn’t want to bring them to his house. He explained that not only is our shop a great office to bring clients to, with comfortable edit suites, but he didn’t want to worry about anything going wrong while he was working. Our equipment is well maintained and his footage is immediately backed up as soon as it gets onto our SAN (Storage Area Network). We are more than happy to accommodate and collaborate with him. We are more than happy to collaborate with you as well, and look forward to working with “independent” media makers no matter how the digital environment changes the game again. Graeme Lowry recently moved to Seattle from Los Angeles to escape the smog and traffic (yes, it’s worse there). He’s currently the lead editor and post-super at Beyond Home Productions. He is finishing editing on an independent feature documentary, Am I Broken. Other feature film credits include The Tao of Steve, Clash of the Titans 3D, and I Want Your Money. His television credits include The Real World, Road Rules, The Bachelor, The Mole, The Simple Life, and Showtime documentary Reversal of Fortune.

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ADi; Portland, OR 503-227-5914; fax 503-227-3269 kate@animationdynamics.com www.animationdynamics.com

Kate Ertmann, president

Allied Video Productions; Salem, OR 503-363-7301; fax 503-363-6477 scott@alliedvideo.com www.alliedvideo.com

Scott Hossner, CEO

Arkitek Studios; Seattle, WA 206-286-0337; fax 206-282-4103 beth@arkitek.com www.arkitek.com

Beth Anderson, CEO Doug Huff, CD

Bad Animals; Seattle, WA 206-443-1500; fax 206-441-2910 wendi@badanimals.com www.badanimals.com

Dave Howe Mike McAuliffe Tom McGurk

Beyond Home Productions; Seattle, WA 206-501-3054 info@beyondhome.com www.beyondhome.com

Kevin Maude, CEO Paul Killebrew, lead producer Ben Medina, CD

BingoLewis, Inc.; Portland, OR 503-223-2224 info@bingolewis.com www.bingolewis.com

Nancy Anderson

Blue Plate Digital; Seattle, WA 206-388-0174; fax 206-299-3376 brian@blueplatedigital.com www.blueplatedigital.com

Brian Pelzel, owner

Bullseye Disc; Portland, OR 503-233-2313; fax 503-233-4845 curtis@bullseyedisc.com www.bullseyedisc.com

Curtis Kidwell, president

Cinemagic Studios; Portland, OR 503-233-2141; fax 503-233-0076 joe@cinemagicstudios.com www.cinemagicstudios.com

Joe Walsh, president/EP

Clatter&Din, Inc.; Seattle, WA 206-464-0520; fax 206-464-0702 tickle@clatterdin.com www.clatterdin.com

Peter Barnes/Vince Werner, principals Leigh Eckert, EP

Collective Editorial; Seattle, WA 206-448-6410; fax 206-624-3854 molly@collective-edit.com www.collective-edit.com

Molly Woodruff, EP Kelly Vander Linda, editor

Cross Films; Seattle, WA 206-297-3456 michael@crossfilms.com www.crossfilms.com

Michael Cross, director/editor

Digital Foundry; Portland, OR 503-233-1234

John Meyer, chief editor

Digital One; Portland, OR 503-228-3441; fax 503-224-7413 cameron@digone.com www.digone.com

Eric Stolberg, president Cameron Shaw, EP

Digital Wave Productions, Inc.; Portland, OR 503-227-9283; fax 503-715-0500 wayne@digitalwave.tv www.digitalwave.tv

Wayne Paige, president

Dubs, Inc.; Seattle, WA 206-624-3827; fax 206-624-3854 contact@dubsinc.com www.dubsinc.com

Charles Core, co-owner Troy Murison, co-owner

The Edge Creative; Seattle, WA 206-957-5447 cindykru@theedgecreative.com www.theedgecreative.com

Peter Howland, CEO Cindy Krueger, COO

Film to DVD (division of Tobin Cinema Systems); Spokane Valley, WA 509-922-7841; fax 509-315-9895 filmtodvd@comcast.net www.tobincinemasystems.com

Clive Tobin, president

Final Take Productions; Bothell, WA 206-799-6735 john@finaltakeproductions.com www.finaltakeproductions.com

John Holmes, president Kathleen Holmes, co-owner Dan Holmes, VP

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Ford Video Inc.; Seattle, WA 206-525-0449 ford@fordvideo.com www.fordvideo.com

Susan Warden Patricia Ford

Glass Jaw/Michael Gross Productions; Seattle, WA 206-818-5267 mikalgross@glass-jaw.com

Michael Gross, principal

GoodSide Studio; Seattle, WA 206-322-1576 studio@goodsidestudio.com www.goodsidestudio.com

Matt Krzycki, CD

Happy Trails Animation, LLC; Portland, OR 503-590-7377; fax 503-590-7111 hta@happytrailsanimation.com www.happytrailsanimation.com

Andy Collen Amy Collen

HEARby; Seattle, WA 206-948-0169 info@HEARbysound.com www.HEARbysound.com

John Buroker, owner

ILF Media; Spokane, WA 509-755-4536; fax 509-755-4343 allison@ilfmedia.com www.ilfmedia.com

Dave Holcomb, partner/ senior editor; Jim Swoboda, partner/director; Daro Walker, partner/computer programmer

John Davidson Color; Seattle, WA

John Davidson, owner/operator

206-782-5114 john@jdavidsoncolor.com www.johndavidsoncolor.com

SERVICES PROVIDED

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KIRK TV, Incorporated; Seattle, WA 206-789-0401 kirk@kirktv.com www.kirktv.com

Kirk Schroeder, president

KTVA Productions; Milwaukie, OR 503-659-4417 mail@ktvavideo.com www.ktvavideo.com

Rick Phillips, owner

Lightpress, Inc.; Seattle, WA 206-462-4717 info@lightpress.tv www.lightpress.tv

Jeff Tillotson, president Eric Rosen, VP Shane Dillon

LNS Captioning; Portland, OR 800-366-6201; fax 503-299-6839 lmonfils@lnscaptioning.com www.lnscaptioning.com

Carol Studenmund, president/owner Lisa Monfils, director of sales

Martin Arts; Sammamish, WA 425-269-2729 smartin@martinarts.com www.martinarts.com

Scott Martin, president

McComb Sound; Seattle, WA 206-774-7915 info@mccombsound.com www.mccombsound.com

Matt McComb, owner/engineer Maggie Garcia, producer

Mission Control Inc.; Portland, OR 503-235-1122; fax 503-235-1133 terry@missioncontrolinc.com www.missioncontrolinc.com

Mike Quinn, president

Mortimore Productions; Spokane, WA 509-327-8384 info@mortimore.com www.mortimore.com

Dan Mortimore, president/ DP/producer; Angela Downey, VP marketing & sales/producer; Ray Gross, senior editor/audio engineer

MoshMedia; Portland, OR 503-688-1977; fax 503-287-5886 stevewood@moshmedia.com www.moshmedia.com

Steve Wood

Pacific Multimedia; Everett, WA 425-347-4110; fax 425-710-9932 jim@pacmultimedia.com www.pacmultimedia.com

James Campbell

Paragon Media; Seattle, WA 206-808-7600; fax 206-808-7601 solutions@paragongroup.com www.paragongroup.com

George M. Ricci Chris Lamb Gary Ricci

Pilot Rock Productions; Medford, OR 888-262-4937; fax 541-779-5564 info@pilotrockproductions.com www.pilotrockproductions.com

Roger Harris, GM Pete Bedell, senior editor Brian Horton, production coordinator

Producciones Pino; Lynnwood, WA 425-774-7772; fax 425-775-1980 ernesto@producciones.com producpino@aol.com www.producciones.com

Ernesto G. Pino

Production Partners; Seattle, WA 206-441-3773; fax 206-443-5402 john@productionpartners.cc www.productionpartners.cc

John Douthwaite

ProMotion Arts; Seattle, WA 206-938-0348; fax 206-493-2987 info@promotionarts.com www.promotionarts.com

Steve Crandall, managing director Drew Witt, managing producer

Pure Audio; Seattle, WA 206-728-6300; fax 206-728-1433 inbox@pureaudio.com www.pureaudio.com

Paul Goldberg, president Kathy Levin, studio manager

Recording Associates; Portland, OR 503-777-4621; fax 503-777-4622 recassoc@teleport.com www.recordingassociatesportland.com

Jay Webster, partner Chris Webster, partner Bob Stoutenburg, partner

red jet films; Seattle, WA 206-282-4534; fax 206-812-0768 sue@redjetfilms.com www.redjetfilms.com

Jeff Erwin, owner

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Rex Post; Portland, OR 503-238-4525; fax 503-236-8347 info@rexpost.com www.rexpost.com

Russ Gorsline

Roam Editorial; Seattle, WA 206-293-2598 dan@roameditorial.com www.roameditorial.com

Dan Larson, owner/editor

Rocket Pictures; Seattle, WA 206-623-7678 les@rocket-pictures.com www.rocket-pictures.com

Les Fitzpatrick

Sadis Filmworks; Seattle, WA 206-728-1610 stephen@sadisfilmworks.com www.sadisfilmworks.com

Stephen Sadis

Sparkworks Media; Seattle, WA 206-284-5500; fax 206-284-6611 info@sparkworksmedia.com www.sparkworksmedia.com

Michel Hansmire, president Travis Metcalf, co-owner

SprocketHeads, LLC; Anchorage, AK 907-248-4829; fax 907-248-0239 post@sprocketheads.com www.sprocketheads.com

Loren Church, post production manager

StudioBard LLC; Portland, OR 503-273-2273; fax 503-225-1852 audiospa@studiobard.com www.studiobard.com www.hotspotmusiccompany.com

Michael Bard, head funkologist

Tim Underwood Productions/TheWebVoice.com; Bend, OR 877-284-7876; fax 541-317-0496 studio@tuproductions.com www.thewebvoice.com

Tim Underwood, owner

Victory Studios; Seattle, WA 206-282-1776; fax 206-282-3535 info@victorystudios.com www.victorystudios.com

Conrad Denke, CEO Saul Mitchell, VP media services

Visual Thinking Northwest; Bend, OR 541-317-0619; fax 541-317-0371 kr@visual-thinking.com www.visual-thinking.com

Kevin Raichl

VMG/Studio520; Bellevue, WA 425-457-7100; fax 425-457-7104 info@visualmediagroup.net www.vmgstudio520.com

Kelly Sparks, CEO/queen bee

Voda Brands; Seattle, WA 206-441-8158 info@vodastudios.com www.vodastudios.com

DND

Wallace Creative Inc.; Portland, OR 503-224-9660 donw@wallyhood.com www.wallyhood.com

Donald Wallace, CD

Wattsmedia, Inc.; Seattle, WA 206-456-6553 david@wattsmedia.us www.wattsmedia.us

David Mangone, partner/EP/director Andrew Watts, partner

White Rain Films; Seattle, WA 206-682-5417; fax 206-682-3038 bill@whiterainfilms.com www.whiterainfilms.com

Brad Bolling, director Bill Phillips, producer

MEDIA INC. ISSUE THREE 2012

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T ATES E, L E TH SU USS EACH IS C S I E D ANY CH WT COMP I H W , IN RTHWES S E I O ER W S ERENT N AL. E I V T IFF IGI TER S IN ITH A D PLATE D ’ . C UE IA IN ST W MED GREATE WITH BL AND TINUES CON he Seattle-based production and post-production company maintains an innovative, creative, and customer-oriented approach to their work, which has earned them a loyal, growing client base. According to the team at Blue Plate, “We specialize in productions that our clients can afford, and have developed a long list of raving fans that keep coming back.”

Here is Brian Pelzel (producer/director/owner) and Doug Cooper (director of marketing strategies), on the record:

Welcome to Blue Plate Digital.

HOW HAS THE POST-PRODUCTION INDUSTRY CHANGED THROUGHOUT THE YEARS, AND HOW HAS BLUE PLATE DIGITAL BEEN ABLE TO ADAPT? Good question. The biggest change in post-production in the last 10 years has been in workflow. The old days of overnight or multi-day rendering projects are no longer an issue, along with digitizing tape. Today’s workflow takes advantage of faster processors and HD cameras recording to flash media instead of tape. This makes the post process more efficient, so we can pass that savings on to 70

MEDIA INC. ISSUE THREE 2012

our clients. WHAT DO YOU LIKE BEST ABOUT YOUR JOB? Every day is different, and we get to bring visions to life, so our clients can reach their goals. WHAT IS ONE RECENT PROJECT YOU ARE PARTICULARLY PROUD OF? The edit suite at Blue Plate Digital. We recently won the IF YOU WERE NOT IN THE PRODUCTION Wild Waves account, and have been able INDUSTRY, WHAT WOULD BE YOUR DREAM to raise the bar on their television and JOB? radio production significantly. Being an innovator. WHO OR WHAT INSPIRES YOU, EITHER IF YOU COULD BE ANYWHERE IN THE WORLD PERSONALLY OR PROFESSIONALLY? RIGHT NOW, WHERE WOULD YOU BE? How we approach creative, and how we Right here. execute the creative. It’s how we do it that sets us apart. IF A GENIE GRANTED YOU 3 WISHES, WHAT WOULD YOU WISH FOR? HOW IMPORTANT IS IT FOR YOUR COMPANY More office space, more hard drive space, TO CONNECT AND ENGAGE WITH YOUR and world peace. SURROUNDING COMMUNITY? Very. We are very connected to the West Seattle community, as well as the rest of Seattle. We are active in the Seattle Chamber of Commerce, Downtown Seattle Association, and the Seattle chapter of The Better Business Bureau. WHAT ARE SOME OF YOUR MOST GRATIFYING PROFESSIONAL ACCOMPLISHMENTS? The fact that our clients keep coming back time after time, project after project.

The Blue Plate Digital conference room.

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