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CONTENTS
VOLUME 24 • ISSUE 4 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 2013 SALARY TRENDS FOR CREATIVE PROFESSIONALS
29 OUTBOUND MARKETING IN THE INBOUND AGE 36 SECOND HALF OF 2012 HAS BEEN BOOMING WITH INDIE FILM PRODUCTION IN OREGON
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
44 KILLER INSTINCT
$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.
54 NORTHWEST TALENT SNAPSHOT
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
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CD DVD USB DUPLICATION • Custom Sleeves • Wraps • Inserts • Booklets and many more...
• Marketing Kits • Brochures • Books • Binders • Postcards • Variable Data Have a unique packaging idea? Let’s talk about it!
Environmentally Friendly Solution.
• Inks and toners used in digital printing are safer for the environment and produce fewer toxins than traditional inks. • No Minimum Quantites, therefore no unused inventory for the landfill. • Uses 70% less energy than traditional offset printing. • Recycled products available.
Quick Turn - Short Run Custom Packaged Media Products As simple or complex as you need it, when you need it.
Design Services Available SEATTLE 206-808-7600 Solutions@ParagonGroup.com www.ParagonGroup.com
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CONTENTS 8
WHO’S NEWS
16
NEW YEARS RESOLUTIONS CIRCA 2013
FEATURE FILMMAKING 46 INDEPENDENT ROARS BACK INTO SOUTHERN OREGON
50 SEATTLE IS A FILM TOWN AGAIN! 21
LOCAL PRINTERS WIN INTERNATIONAL AWARDS
22 LIFE’S MOMENTS DESERVE LIFE’S FLIX 23 THE IMPORTANCE OF A SHOT LIST
TALENT COMMUNITY 52THE AND SAG-AFTRA THE RIGHT VIDEO 63 CHOOSING PRODUCTION COMPANY
HONOR THE BEST IN PORTLAND 64 TAPE, TAPELESS, ARCHIVING, AND YOU 24 ROSEYS ADVERTISING
26 AAF CELEBRATES WHEN ART AND ADVERTISING COLLIDE AT ART BASH 2012
TIME AND MONEY WITH 65 SAVE TELEPROMPTERS ONE EARNS MULTIPLE HONORS 66 DIGITAL FOR SOUND DESIGN
74 ON THE RECORD
15 28 THE CHANGING MARKETING PARADIGM 40 TIME TRAVEL, POLITICS, AND PUNK ROCK DAVID CULP, FORMER INDEX CO42 PUBLISHER, PASSES AWAY 6
MEDIA INC. ISSUE FOUR 2012
MEDIA INC. INDUSTRY LISTS 15
CREATIVE/MEDIA STAFFING AGENCIES
30
DIRECT RESPONSE MARKETING SERVICES
58
TALENT, MODELING, AND CASTING AGENCIES
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RECORDING STUDIOS/AUDIO 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 Jeff Bedford promoted to Digital Analyst
Anvil Media/ Portland Nate Gancher promoted to Digital Analyst
Copacino + Fujikado/Seattle Tarah Finley promoted to Account Coordinator
Copacino + Fujikado/Seattle Kathleen Grebe joined as Senior Art Director/Design Director
Copacino + Fujikado/Seattle Tonya Murphy rejoined as Media Director
Copacino + Fujikado/Seattle Emily Power joined as Executive Assistant
GreenRubino/ Seattle Chelsea Asplund added as Account Coordinator
GreenRubino/ Seattle Dennis Budell added as Associate Creative Director
GreenRubino/ Seattle Melissa Durfee Davis added as Media Director
GreenRubino/ Seattle Quinn Ianniciello added as Designer
GreenRubino/ Seattle Sarah Lemmon added as Senior Account Manager
Magner Sanborn/ Spokane, WA Charlotte Boutz joined as Senior Account Planner
Magner Sanborn/ Spokane, WA Scott Ellis joined as Digital Marketing Specialist
Magner Sanborn/ Spokane, WA Jimmy Gleason joined as Web Developer
PRR/Seattle Jeanne Acutanza hired as Director of Major Projects
52 Limited/Portland Nate Webb added as Account Manager
Hemlock Printers/ Seattle Roxanna Downing joined as Account Representative
Hornall Anderson/ Seattle Rose Cameron hired as Head of Global Brand Strategy
Hornall Anderson/ Seattle David Glaze hired as Vice President of Interactive
CREATIVE
52 Limited/Portland Kate Donnell added as Office Manager
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for
By Maria Scheleen Guest Columnist
s brands vie for attention in today’s cluttered marketplace, employers are becoming increasingly particular when hiring creative professionals. They seek design, marketing and public relations practitioners who are proficient in the latest industry tools and trends, and who have a track record of success in creating relevant, engaging content and campaigns.
A
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NUFACT
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Forty-four percent of advertising and marketing executives said it’s challenging to find skilled creative professionals. Source: TCG survey of 500 advertising and marketing executives in the United States
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Although highly sought, these individuals aren’t always easy to find. According to research for The Creative Group’s newly released 2013 Salary Guide, 44 percent of advertising and marketing executives interviewed said it’s challenging to locate skilled creative professionals. As a result, starting compensation for professionals with the most sought-after skills are showing greater year-over-year salary gains than the 3.5 percent increase projected for creative and marketing professionals overall. “Interactive” is the word of the day among firms on the watch for creative talent. The growth of online, mobile and social media content continues to fuel strong demand for professionals with a range of digital skills. In fact, companies can’t seem to fill interactive positions fast enough, given the shortage of available skilled talent.
MEDIA INC. ISSUE FOUR 2012
Reflecting this trend, the 2013 Salary Guide shows that some of the largest salary increases in the coming year will go to those with interactive expertise. Mobile designers and developers, interactive creative directors, and user experience (UX) designers, for example, are among those expected to see salary increases nearing 5 percent next year. Likewise, SEO/SEM specialists and digital marketing strategists also are expected to see higher-than-average salary increases, according to the 2013 Salary Guide. Perhaps the most desirable candidates of all are “hybrid” candidates—those who possess a combination of strong creative and technical skills. These professionals have the advantage of understanding how to develop and deliver superior content. The 2013 Salary Guide features average starting salary ranges for 127 interactive, design and marketing positions, which can be customized for more than
135 U.S. cities. The data are based on a range of sources, including actual placements of creative professionals in 2012 by The Creative Group teams across North America, and an analysis of current and future hiring trends. See a sampling of creative salaries for the coming year on the opposite page. Following are five indemand positions and starting compensation levels based on research from The Creative Group 2013 Salary Guide:
INTERACTIVE CREATIVE DIRECTOR As companies of all sizes in virtually every industry add new interactive roles, they seek professionals with superb leadership skills and digital expertise to manage these growing teams. Base compensation for this position is projected to rise 4.9 percent to $95,500 to $160,000 annually.
what to PACK
Which skills will you need to accomplish your next creative endeavor? Experienced trailblazers across Paylandia seek individuals who possess knowledge of the following:
• Adobe Creative Suite • Axure RP • CSS • Drupal • Final Cut Pro • Flash 12
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• Google Analytics • HTML • JavaScript • Joomla • jQuery • Keynote
• Omniture • PHP • PowerPoint • WordPress • XHTML
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2013 Salaries for the United States Title
2013 Average Starting Salary
Percent Change From 2012
Interactive Creative Director
$95,500 - $160,000
4.9%
User Experience (UX) Designer
$73,750 - $110,500
4.8%
Mobile Designer
$63,000 - $96,000
4.8%
SEO/SEM Specialist (1 to 3 years)
$48,250 - $64,000
4.7%
Interaction Designer (5+ years)
$75,500 - $108,500
4.6%
Public Relations Manager
$72,500 - $94,000
3.6%
Video Producer
$58,750 - $83,250
3.5%
Copywriter (5+ years)
$72,750 - $102,750
3.4%
Source: The Creative Group 2013 Salary Guide
INTERACTION DESIGNER The best interaction designers can step into the shoes of a company’s customers and attempt to maximize their online experiences. These professionals understand the connections between people and products. Interaction designers with one to five years of experience can expect starting salaries to rise 4.9
percent to a range of $52,250 to $77,500.
MOBILE DESIGNER Continued growth of smartphone and tablet use is driving demand for individuals with experience creating and organizing content for the small screen. These individuals can expect starting salaries in the range of $63,000 to
$96,000, a 4.8 percent increase over 2012 levels.
USER EXPERIENCE (UX) DESIGNER Since so much customer interaction now happens online, companies seek individuals who can devise and build positive digital experiences. Starting compensation for UX designers is expected to rise 4.8 percent to a range of $73,750 to $110,500.
SEO/SEM SPECIALIST Being found online by search engines and consumers is essential to any firm looking to make its digital mark. That’s why companies seek SEO/SEM specialists who can help optimize Web projects for search and increase online visibility. Professionals with one to three continued on page 14
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years of experience are projected to see starting salary gains of 4.7 percent, to a range of $48,250 to $64,000.
personal responsibilities: Flextime: Employees have options for structuring their workday or workweek.
BEYOND THE SALARY: KEEP SCHEDULES F-L-E-X-I-B-L-E
Employees work the normal number of hours but complete those hours in fewer than five days. Job-sharing: Two part-time employees share the same fulltime job. Remote work: Employees spend all or a portion of their hours working from home or from another non-company site. Letting staff members choose when and where they work, as long as they continue to meet (and exceed) on-the-job expectations, can greatly improve team morale and productivity. These arrangements also can be a powerful reward for top-performing employees when additional financial compensation isn’t an option.
Compressed workweek:
An organization’s ability to attract and retain top-performing creative professionals often has as much to do with the work environment it fosters as it does the employee salaries it pays. In particular, talented people want help balancing the challenges they face at work with the pressures they deal with at home. Fortunately, there are many solutions that don’t cost companies a lot of money. For example, firms can consider these alternative work arrangements that help employees better juggle professional and
Visit The Creative Group Salary Center (www.creativegroup.com/salarycenter) for additional information on compensation and hiring trends, including a downloadable version of The Creative Group 2013 Salary Guide and access to our salary calculator, an easy-to-use online tool that enables you to quickly look up the starting salary for a specific position in your area. Maria Scheleen is branch manager of The Creative Group, a specialized staffing firm placing interactive, design and marketing 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 206749-9046.
Destination: Salary Clarity The industry’s most respected resource for freelance and full-time creative and marketing salaries is closer than you think. Simply download your 2013 Salary Guide today at creativegroup.com/salarycenter.
Seattle 206.749.9046 601 Union Street Suite 4300
© 2012 The Creative Group. A Robert Half Company. An Equal Opportunity Employer. 0812-7303
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NW CREATIVE & MEDIA
STAFFING AGENCIES
24 Seven Inc.; Seattle, WA 206-340-0247; fax 206-340-9247 seattle@24seventalent.com www.24seventalent.com
Brien Thompson, VP of business development, Seattle
Both
52 Limited; Portland, OR 503-517-0052; fax 503-517-0053 brooks@52ltd.com www.52ltd.com
Brooks T. Gilley, president
Both
Aquent; Portland, OR 503-797-6600; fax 503-220-1821 www.aquent.us
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The Creative Group; Seattle, WA 206-749-9046; fax 206-749-9243 seattle@creativegroup.com www.creativegroup.com
Megan Slabinski, district president
Temporary/ Freelance
FILTER, LLC; Seattle, WA 206-682-6005; fax 206-682-5830 lisaw@filterdigital.com www.filterdigital.com
Kristin Knight, CEO Max Thelen, president
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Scion Staffing, Inc.; Seattle, WA 888-487-8850; fax 888-487-8850 sales@scionstaffing.com www.scionstaffing.com
Isaac Schild, CEO Braden Busch, EVP
Both
smartdept. inc.; Seattle, WA 206-381-5716; fax 206-625-9993 meghann@thesmartdept.com www.thesmartdept.com
Meghann Kern, managing consultant
Both
Vitamin T; Portland, OR 503-797-6622; fax 503-220-1821 www.vitamintalent.com
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Company City, State Phone; Fax E-mail Web site
PROFESSIONALS/SERVICES PROVIDED
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New Years Resolutions Circa 2013 By Jules Van Sant Executive Director, PPI Association
h e election season is over (finally). One hurdle is now behind us. If the Mayan Doomsday scenario goes the way of Y2K, then 2013 is going to happen and it will be business as, well, still unusual. But, being the optimist I am, let’s go with that plan and make sure we’re in a good space to ride the wave of the future in visual communications—and not get pulled under. But how, you ask? I suggest all of you who market, design, manufacture, sell and love print to adopt a few resolutions for the new year: “I, (fill in your name), will continue to remember to have a good attitude, continue to increase my knowledge, make new industry friends, plan for success, and believe in luck.” Maintain a realistic, yet positive attitude towards success. This is accomplished by acknowledging the fact that communication channels—and money spent on them—continue to fluctuate with the latest, hottest, trendiest way to reach markets and sell products. Print has the chance to be more hip and relevant again, while also measurable and able to drive ROI. In order to know how to get there, you need knowledge. There are many resources from which to gain knowledge, but cutting through the vast amount of information and opin-
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ions can be tricky and time consuming. I’d like to think that’s why I’m doing what I do—to help ease some of that burden by sharing facts, resources and experts without an agenda of selling something. Yes, we love to be used… I mean utilized! Generational changes, business shifts and time have impacted the ranks of who is out there as a colleague, a competitor… a friend. Know your peers within the business you practice. With wisdom, renew connections gone to the
“Friends and good manners will carry you where money won’t go.” – Margaret Walker wayside and make new contacts with whom to share successes and woes. With business being conducted far and wide with the help of the Web, your past “around the corner” competition might be a better ally today than before. Or consider Continued on page 18
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joining a peer network outside your region Credit Availability Improves through social media, associations and networking groups. 0 Planning is difficult for sure, given the Credit Availability Diffusion Index nature of the world we live in, but still so -10 important. There are lots of data, tools and -20 resources available to help set goals and track them over time. Just ask. You’ll find -30 financial ratios, economic reports, lean practices and training, employee incentive and -40 recognition programs, as well as people to -50 bounce ideas off of at your fingertips—via phone, Twitter, listservs, and e-mail. Chart -60 your path knowing crossroads will come 4Q09 1Q10 2Q10 3Q10 4Q10 1Q11 2Q11 and come again. Key words to remember these days are flexibility and nimbleness. Set The new year brings new financial opportunities for visual communications. realistic expectations that everyone within your organization can get behind and reasonthe following six trends will impact how commercial printers ably achieve. You get back what you put out there… will be spending their technology dollars: Boomerang. • Workflow Automation. The goal is to maximize the speed of throughput and drive down the costs for the job. Trends to Watch: • Hybrid Printing. This is occurring in commercial print The technology showcases of the visual communications applications with the integration of digital and offset techindustry—drupa and Graph Expo—provided a glimpse into nologies on the same press equipment. where the industry is headed technology-wise. These trends • Digital Gets Bigger. The primary limiting factor of color have developed amid a growing number of channels where customers can spend marketing and communication dollars. Continued on page 20 Experts at PPI partner Printing Industries of America predict
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digital presses—size—is being addressed with at least six recent introductions of larger-format presses. • Inkjet. New high-speed inkjet production presses may have the biggest technology impact on the commercial printing currently done with offset and toner applications. • Integrated Marketing Management. Customers will increasingly value companies that can help them deliver unified messaging across multiple channels. Print communication businesses can become this type of marketing resource, assisted by new software tools for managing campaigns. • Cellular Manufacturing. The quest for efficiency and speed will increasingly cause printers to place finishing equipment and processes in close proximity to, or even integrated with, their digital printing presses. Money is loosening up and firms are investing. Be sure to know your opportunities for future investment plans and poise your business to ride the front of the curve and not be caught by a sneaker wave. Well, Pollyanna has spoken. Oh, I almost forgot the last one! Someone once told me that luck happens to those who put themselves in a place to experience it. Example: You can’t win the lottery without buying a ticket. Adopt an attitude of “winningâ€? (I know, so 2011). Get lucky with some healthy and happy resolutions: Good attitude, increased knowledge, make more friends, and plan for success. Happy 2013!
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, 1 3 5 * * $-
FACEBOOK at facebook.com/MediaIncMag
TWITTER at twitter.com/MediaIncMag
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Local Printers Win International Awards everal Northwest printing companies earned honors at the 2012 Premier Print Awards Gala, held in Chicago this past October. The Premier Print Awards recognize the highest quality printed pieces in various categories from around the world. This year more than 2,800 entries were submitted for judging, with only the most worthy pieces receiving an award—either a Best of Category, the highest honor; an Award of Recognition; or a Certificate of Merit. Those pieces that won a Best of Category award were presented with the Benny statue at the October 8th gala. During the gala, the 2012 Best of Show was presented to Body of Work of Australia for the piece titled “Body of Work 2012 Collection.” The Best of Show first runner-up was Portland’s Premier Press for its piece in the Art Books category, titled “BHM Ever Higher Books.” Premier Press also won a Benny in the Art Books category.
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Printing Industries of America chair Laura Lawton-Forsyth presents a Benny award to Jeremy Farrara of Premier Press. Photo courtesy PIA.
Piece: Tommy Bahama Other Benny winners included the following Northwestbased printers: Company: Adpro Litho Category: Brochures and Broadsides, Small (4 or more colors) Piece: Gene Juarez “IDENTITY ONE” Brochure Company: Cenveo Graphic Arts Center Category: Web Press Printing (4 or more colors, uncoated paper)
Company: Eagle Web Press Category: Web Press Printing (1, 2, or 3 colors, coated or uncoated paper) Piece: Chronicles of Okanogan Company: PrintWest, Inc. Category: Special Innovation Awards—Printing Piece: PrintWest “Why Print” 2011
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Life’s Moments Deserve Life’s Flix By Charles Davis Owner, Blu Room Advertising
y wife and I got married about a year ago. It was a fun, beautiful wedding that was only missing one thing. We skipped hiring a videographer to save both a few thousand dollars and the awkwardness of another camera intruding all day. Now, memories of the day drift away into fleeting images and scattered photos, leaving my bride to watch her friends’ wedding videos and wish. That’s why we started Life’s Flix. Not only is it a completely original, unobtrusive take on wedding videography, but it’s affordable, interactive, and adds to everyone’s wedding experience. The concept is simple and easy: You shoot, we edit. Here’s how it works: You book your package online and we send you several high-definition, handheld video cameras, smaller than most cell phones. Think of it as the video version of leaving disposable cameras on reception tables. Each Life’s Flix makes wedding videography affordable, interactive, and fun. camera holds up to one hour of fun, personal footage from your guests’ unique perspectives. Maybe the maid of honor has one camera that’s been tagging along all morning as the bride eats breakfast and gets her hair done. Then, she catches mom tearing up as she watches her daughter walk in the room. Later, she shoots behind-the-scenes shots of the newlyweds at dinner. Maybe a groomsman has another camera. He manages a few shots of taking shots that morning. Then, a raw moment where the groom says he’s not nervous, but you look into his eyes and
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know better. Later, the same camera rolls from a distance as the groom takes a first look at his bride. Maybe Uncle Stu has another camera. He’s bored anyways, since he would probably rather be home watching the game. Now, he has a job to do—shoot everything important. He crouches down to get the perfect shots of the wedding party and bride entering. Then, he catches a great shot of the first kiss. Maybe the 15-year-old niece has another camera. She uses her time getting close-ups of all the flowers and decorations. Then, she grabs footage of all the guests dancing and having a good time— including Grandma doing the mashed potato. Maybe a family friend runs another camera to add to the masterpiece. She gets a different angle of the whole ceremony so nothing is missed. Later, she wanders the reception asking people to give best wishes to the newlyweds for a sort of video guestbook. You capture life’s moments (weddings and events). We edit it all together into an amazing memory you’ll watch for the rest of your life. See more at www.lifesflix.com.
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The Importance of a Shot List By Brian Parks Guest Columnist
ere is one to clip and put away in your photographers file. You have an upcoming photo-shoot and realize you need a real pro; great lighting and putting your best foot forward are too important not to. Before you pick up the phone to get some estimates, you need to type up your shot list. Why? Well, because a shot list yields several benefits and it’s best not to put the cart before the horse. First off, you will think ahead about end-use applications you need photographs for. The product sheet cover may call for a vertical image, while the Web site features a horizontal one, thus two versions of the “hero” shot. Ads may dictate props and ambiance, while a third party catalog simply wants clean knock-outs to white. Sales materials may be greatly improved with detail shots to support copy about features or a community’s amenities. You may want to run your draft shot list by others for anything you are forgetting. As you can see, this exercise really helps you think through your needs. Secondly, you have now quantified what photographers can discuss and base estimates on (surprisingly, many inquiries request an estimate before they have any specifics to estimate on!). This info is necessary not only for how much time is required the day of the shoot, but for props, models, other special requirements, and how much editing and post-work in PhotoShop is anticipated. Is the photographer deliver-
H
ing straight photos, or are enhancements and production work needed as well? There may be a fine line between what the photographer envisions creating with light versus via creative controls in PhotoShop. Now that you can weigh estimates apples-to-apples and select your photographer based on skill-set, still keep this list handy for the day of the shoot. In the meantime you can compile all the product, props, staging notes and ideas you think of as the day All the elements that go into this ad were approaches. During the photo-shoot, items on the “shot list.” check off items as the photographer busily uses your list to work through in what seems the most efficient batting-order. When receiving the final images, you can double check from the list that a “hero” shot was delivered for each item, plus any options or additions that were inspired at the shoot. Afterwards, file away your shot list with the project as a helpful aid for future photo-shoots. Brian Parks has been a full-time freelance commercial photographer in the Seattle/Bellevue area since 1984. He has a wide variety of experience with product and interiors photography. As an early adopter of PhotoShop, he does all his own digital work. See Brian’s images at www.parkscreative.com.
Have Quality Photography? Brian Parks has been serving local clients for over 28 Years: 1,200 sq. ft. Studio on the Eastside U Digital Imaging Ser vices U Conveniently Located Off I-90 U Color Managed Workflow U Free Door-Front Parking
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Roseys Honor the Best in Portland Advertising hursday, November 8, marked the annual Rosey Awards, a ceremony celebrating the best advertising and creative work produced in Portland and Southwest Washington this year. The event was held at Union/Pine in the Pearl District of Portland. Presented by Portland Ad Federation, the Roseys have been awarded every year since 1957 to honor creativity and original thinking. Three levels of awards (the coveted Rosey Award, the Award of Excellence, and the Award of Merit) are given out in a variety of categories, ranging from print to Web to TV to mobile and beyond. This year’s judges—Ian Cohen (Wexley School for Girls), Jason Fox (Jasonfox.net), and Joe Shands (Vendor)—handed out 13 Rosey Awards. Most of them went to the night’s biggest winner, Mutt Industries. The Portland-based creative agency pulled in a total of eight Rosey Awards, several Awards of Excellence and Merit, and the honor of Best In Show.
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Here’s a look at this year’s Rosey winners: Agency: Mutt Industries Submission: Hello, Trouble Category: Multi-Channel Campaign Client: Gerber
Agency: Mutt Industries Submission: Hello, Trouble. Microsite Category: Websites/Interactive Rich Media (Under $50K Budget) Client: Gerber Agency: Mutt Industries Submission: Hello, Trouble. Print “Mark Seacat” Category: Print Advertising Client: Gerber Agency: Mutt Industries Submission: Hello, Trouble. Print “Tim Kennedy” Category: Print Advertising Client: Gerber Agency: Mutt Industries Submission: The Instant Category: Web Video Client: Gerber Agency: Mutt Industries Submission: The Myth Category: Web Video Client: Gerber Agency: Mutt Industries Submission: The Instant Category: Editing Client: Gerber Agency: Wieden+Kennedy Submission: Devastating Explosions Category: Websites/Interactive Rich Media (Under $50K Budget) Client: Old Spice
Wieden+Kennedy produced “I Would Run to You” for Nike.
Mutt Industries’ Gerber campaign earned seven Roseys.
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Agency: Wieden+Kennedy Submission: I Would Run to You Category: Branded Entertainment Client: Nike
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“Best Job” won Wieden+Kennedy a Rosey in the Television (over $150K Budget) Category.
Agency: Wieden+Kennedy Submission: Best Job Category: Television (Over $150K Budget) Client: P&G Sandstrom Partners earned the Package Design Rosey.
Agency: Sandstrom Partners Submission: Session Lager/Session Black/Session Fest 12-packs Category: Package Design Client: Full Sail Brewing For a full list of this year’s winners—including the Awards of Excellence and Merit— and submission credits, visit www.roseyawards.com. Photos courtesy of PAF.
Mutt won the Identity Design Rosey.
Agency: Mutt Industries Submission: Mutt Identity Category: Identity Design Client: Mutt Industries Agency: STRUCK Submission: MarryBacon.com Category: Websites/Interactive Rich Media (Over $50K Budget) Client: Jack in the Box
STRUCK’s MarryBacon.com won a coveted Rosey.
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AAF Seattle Celebrates When Art and Advertising Collide at Art Bash 2012 lways a popular event, AAF Seattle hosted their Art Bash fundraiser on November 8 at Sole Repair Shop on Capitol Hill. This annual party has become a favorite within the advertising community—celebrating the intersection between advertising, art and creativity. AAF Seattle gave local agencies blank canvases and the theme of “Seattle Sound” to inspire artists’ imaginations to create one-of-a-kind works of art. Each piece was auctioned off with proceeds going toward AAF Seattle’s Western Washington University scholarship, awarded to minority students pursuing degrees in advertising-related fields. From Seattle music (ranging from Heart to Jimi Hendrix to Nirvana), to the sounds of the city, to the sounds of nature, the “Seattle Sound” can be interpreted in many ways. Music and sound continue to influence our local culture and advertising campaigns. Through 23 works of art, 16 agencies brought their interpretation of Seattle Sound to life. Over 100 attendees joined in a healthy competition, bidding on these canvases, and raising over $2,000 to go toward the scholarship fund. Some went home with new art to hang on their walls; some went home empty-handed vowing they were going to “win” a piece next year. Everyone went home knowing that they contributed to a great cause to help bring more talent to our local advertising community. The success of Art Bash lies with Seattle’s amazing creative talent, so special thanks to this year’s participating agencies, and the artists within: Cole & Weber United; Copacino+Fujikado; Creature; Creative Circle; Crown Social; DNA; The Garrigan Lyman Group; Hacker
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Group; Jones Advertising; POP; Publicis; Razorfish; Smashing Ideas; VML; Wong, Doody, Crandall, Wiener; and Wunderman. If your agency would like to participate in Art Bash 2013, please e-mail events@aafseattle.com to be added to the Art Bash list. Call for entries will be sent next fall, so look for the e-mail with information and next year’s theme. Founded in 1909, the Seattle Chapter of the American Advertising Federation is Seattle’s leading professional organization devoted entirely to the business of advertising. Professionals in the areas of graphic design, marketing, TV and radio, photography, printing, web design and more, come together to represent a diversity of companies from our community. For information on how to get involved or become a member, visit www.adclubseattle.com or www.facebook.com/AdClubSeattle.
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The Changing Marketing Paradigm By John Jerome Guest Columnist
o you remember typesetters? There was a time when the industry was filled with ad agencies, graphic design firms, typesetters, and other specialty marketing firms. Full-service firms also existed, offering all of these services under one umbrella, waiting to deliver should the client call requiring those services. However, the industry has changed. The old concept of keeping high-priced experts on staff waiting for a client to call needing their service has become inefficient and expensive. Yet we’re still expected to be able to deliver the full depth and breadth of marketing services—essentially doing more with less. At the same time, we’ve noticedthatmany ofour SME (smalltomedium enterprise) clients, who recognize the need to market their companies, are frequently lacking key internal factions (sales, operations, purchasing) that allow the marketing effort to work to its full capability. The most effective marketing effort is for naught if the sales force isn’t able to close the sale or if the cash flow isn’t in line with outgo. Today the total integration of marketing, operations, sales, finance, and other departments is integral to the success of a company. The days of marketing being a silo are over. The more each of the different departments work in sync, the more effective each department becomes—while also ensuring that marketing is able to effectively do its job. These days, while a marketing firm is an integral part of a client’s business, you also need to provide additional capabilities outside of what a traditional marketing agency would typically offer. Providing virtual CFO, CTO, COO, and even CEO capabilities has become essential to supporting clients. Not to mention insurance
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resources, M&A experts, investor links, and attorneys. While marketing agencies should ensure they are offering core marketing services to include the basics—market research, designers, writers, animators, photographers, social media, SEO, relationship marketing, viral marketing, public relations, and other traditional marketing positions—they also should look to provide business intelligence, data warehousing and data mining to be able to deliver full-service capabilities to clients. The challenge is how to provide these services without the meter constantly running. Our firm has resolved this challenge by developing an exclusive strategic partnership program with over 40 companies and experts around the world. We vet the resource, sign non-competes and get commitments through memorandums of understanding. Through this process we still manage the marketing process, but now we’ve embedded ourselves into the client’s business across many of the different functions. As a result, we are able to provide not only traditional marketing services, but resources for virtually every business function a client may need. Armed with the in-depth knowledge of our clients’ operations, we’ve been able to consistently help our clients meet their objectives. Whether they are looking for revenue growthortopositiontheircompanyforacquisition, offering a fullline ofbusiness services beyond marketing capabilities is essential in helping to meet clients’ business objectives. John Jerome is co-founder of Jerome, Bruhn, & Associates, recognized as one of the leading business consulting and marketing strategy firms on the West Coast for more than a decade.
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Outbound Marketing in the Inbound Age By Mike Gilbert Guest Columnist
oday’s marketers are inundated with advice to optimize inbound marketing opportunities, and with good reason. People searching social media sites and elsewhere on the Web are usually in the research phase of a purchase, looking for answers and comparing options. These people are low-hanging fruit—self-selected top prospects for the sales organization. Wouldn’t it be ideal if there were an ever-expanding universe of such people, proactively searching for what you sell? Unfortunately for companies not named Apple, this isn’t the case; you need to actively hunt for more prospects. So how do you reach that universe of prospects that aren’t currently researching your category? They may think they don’t need your product or service, or cannot afford it—or they may not even know about it. Sometimes consumers need to be reminded of an opportunity to take action. And if they are ready to purchase, they will buy from your competitor if you don’t reach them first. Outbound marketing has fallen out of favor with some marketers and pundits, but it is a vital, effective, measurable way to drive customer activity and increased revenue. Smart companies are engaged in a variety of outbound marketing campaigns. Here are a few that we’ve seen work well.
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Make sure you remember the basics. Breaking through the thousands of ads every consumer encounters daily is key to getting your ad noticed. This is best accomplished by sending a very relevant message with a compelling offer to a highly targeted audience. This is Direct Marketing 101 and can be accomplished using a wide range of direct marketing tools. Despite rumors to the contrary, direct mail works! Direct mail has lost favor with many marketers, thanks in part to the many other lower-cost channels out there. But none of them have the advantages of direct mail: lists that allow for fine audience targeting, a form factor that can be varied to catch the eye, and little competition in the mailbox (unlike 10 years ago). Another intrinsic advantage is that well-designed direct mail projects credibility because it can’t be created cheaply, unlike a spammer’s e-mail or Web site that can make a new company look well established with little outlay. Win-back programs are a no-brainer. We are constantly surprised when companies give up on past customers. They are an excellent source of new
customers, especially if you do your homework and scrub the list to remove those who were dissatisfied. Who knows your brand better? Although past customers may have been enticed by a competitor’s offer, many will be willing to return if you talk to them! Talk to people when they are ready to purchase. Don’t know when they want to buy? Just keep in touch. Permission-based e-mail is a great tool to reach prospects who have contacted your company in the past, as well as current and past customers. All are familiar with your brand and should be open to communications with relevant content. Then, when they are ready to buy, they will remember you. Use paid search using correlated keywords. Paid search marketing is both an outbound and an inbound tool. If your customer profile shows a strong correlation to other unrelated products or behaviors, such as cruise ship enthusiasts who also tend to be golfers, you can tap into an audience your competitors may have missed. Careful testing of keyword terms from the correlating activity will drive sales.
Outbound marketing has fallen out of favor with some marketers and pundits, but it is a vital, effective, measurable way to drive customer activity and increased revenue. Supercharge your marketing with both inbound and outbound tools. Assembling inbound marketing tools and analytics is important, but ignoring outbound marketing can have dire consequences. Not every current customer found you on their own initiative. You had to find most of them yourself. Ignore outbound marketing, and you might see sales erode and your universe of prospects dwindle. Mike Gilbert is the co-founder of GCDirect, a media neutral marketing firm located in Seattle. He can be reached at mikeg@gcdirect.com or call 206-262-1999 x 206. Visit www.gcdirect.com. ISSUE FOUR 2012 MEDIA INC.
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NW DIRECT RESPONSE
MARKETING SERVICES
AAA Printing; Bellevue, WA 425-454-0156 info@aaa-printing.com www.aaa-printing.com
John Madden, president
AccuDirect Response Co; Portland, OR 503-223-2076; fax 503-228-6632 info@accudirectnw.com www.accudirectnw.com
Karen Munro, president Fred Haase, printing & fulfillment Chris Samples, data processing
ADi; Portland, OR 503-227-5914; fax 503-227-3269 kate@animationdynamics.com www.animationdynamics.com
Kate Ertmann, president
AKA Direct, Inc.; Portland, OR 503-467-2200; fax 503-445-0064 info@akadirect.com www.akadirect.com
Wayne Modica, president/CEO
APDOT LLC; Seattle, WA 206-595-0172; fax 866-853-8568 apheurberg@apdot.com www.apdot.com
Arne-Per Heurberg
Atomic Direct; Portland, OR 503-296-6131; fax 503-292-9684 info@atomicdirect.com www.atomicdirect.com
Doug Garnett Skye Weadick
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NW DIRECT RESPONSE
MARKETING SERVICES
Aurora Prints; Shoreline, WA 206-274-8475; fax 206-364-0584 print@auroraprints.com www.auroraprints.com
Abyaz Mahmud, president
Bradshaw Advertising; Portland, OR 503-221-5000; fax 503-241-9000 info@bradshawads.com www.bradshawads.com
Barb Bradshaw, president Dave Born, CD Jane Kitchen, controller
Catalysis; Seattle, WA 206-826-8000; fax 206-826-8888 info@catalysis.com www.catalysis.com
Douglas Hunt, CEO Nancy Hadley, MD
Cesari Direct; Seattle, WA 206-281-7975; fax 206-284-1281 tobrien@cesaridirect.com www.cesaridirect.com
Rick Cesari, CEO
The Day Group; Seattle, WA 206-652-3400 x41; fax 206-652-3401 jday@daygroup.com www.daygroup.com
James P. Day, president
Direct Connect Group West; Seattle, WA 206-784-6892; fax 206-782-3623 bclarke@mpg.dcgwest.com www.dcgwest.com
Brad Clarke, president Terry Storms, CEO
Direct Marketing Solutions; Portland, OR 503-281-1400; fax 503-249-5120 www.teamdms.com
Mike Sherman, CEO
GCDirect; Seattle, WA 206-262-1999; fax 206-262-0999 mikeg@gcdirect.com www.gcdirect.com
Mike Gilbert, partner Cynthia Cruver, partner
Golden Lasso; Seattle, WA 206-838-3170; fax 206-838-3161 philips@goldenlasso.com www.goldenlasso.com
Bridget Culligan, CEO Philip Shaw, president
Good News Media Group; Tukwila, WA 206-398-2399; fax 206-398-2398 info@tbopusa.com www.tbopusa.com
Dan Langdon, CEO Ken Balduff, president
Hacker Group; Seattle, WA 206-805-1500; fax 206-805-1599 cdillon@hackergroup.com www.hackergroup.com
Spyro Kourtis, president/ CEO
Hunt Marketing Group; Seattle, WA 206-447-5665; fax 206-447-5789 brian@hmgseattle.com www.hmgseattle.com
Brian Hunt, president
K/P Corporation; Renton, WA 425-227-5400; fax 425-204-6305 info@kpcorp.com www.kpcorp.com
Joe Hollandsworth, VP sales
Mailing Lists Plus Inc.; Bellevue, WA 425-451-3335; fax 425-646-4485 info@mailinglistsplus.com www.mailinglistsplus.com
Carol Kollmann
Marketry; Bellevue, WA 425-451-1262; fax 425-451-1941 bruce@marketry.com www.marketry.com
Greg Swent, president Bruce Morrison, VP
Massini Group; Hillsboro, OR 503-640-9800; fax 503-640-9888 info@massini-group.com www.massini-group.com
Joe Krisky, president
McIntyre Direct; Portland, OR 503-286-1400; fax 503-286-1300 dan@mcintyredirect.com www.mcintyredirect.com
Susan McIntyre, founder/chief strategist
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Produce, protect, and deliver your brand.
Offset Printing
Digital Printing
Fulfillment
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Specialty Bindery
Direct Mail
DCGWest.com 206.784.6892
Relax. Targeted marketing is our specialty. www.gcdirect.com 206.262.1999 x 205 ISSUE FOUR 2012 MEDIA INC.
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MARKETING SERVICES
PrintWest, Inc.; Woodinville, WA 425-402-8600; fax 425-481-1454 jim.slayton@printwest.net www.printwest.net
Phil Parrish, president/CEO
R2C Group; Portland, OR 503-222-0025; fax 503-276-4096 info@r2cgroup.com www.r2cgroup.com
Michelle Cardinal, Cmedia CEO Tim O’Leary, Respond2 CEO
Seattle Mailing Bureau; Renton, WA 206-431-5700; fax 206-431-5705 kyler@seattlemailing.com www.seattlemailing.com
Chad Richardson, president
Signature Graphics, Inc.; Portland, OR 503-256-5956; fax 503-256-5763 ddutton@signature-graphics.com www.signature-graphics.com
B. Daniel Dutton, EVP
Sir Speedy Printing and Marketing Services; Seattle, WA 206-768-9686; fax 206-768-9689 jimb@sirspeedy0922.com www.sirspeedy0922.com
Jim Brebner, owner
Synchro Creative Communications; Bellevue, WA 425-885-5661; fax 425-957-7202 bonnie@synchrocreative.com www.synchrocreative.com
Bonnie Chelini Candy Young
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Crew shoots in Brookings for Redwood Highway, one of several indie films shot in Oregon this year.
Second Half of 2012 Has Been Booming with Indie Film Production in Oregon By Vince Porter Executive Director, Oregon Governor’s Office of Film and Television
regon has always been known as a great place for the independent film scene, and 2012 is no exception. Since July, there have been four independent films that have been accepted as a part of the Indigenous Oregon Production Investment Fund (iOPIF), which was created in 2009. In addition, critically acclaimed director Kelly Reichardt directed her fourth film
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in Oregon. These five films, along with a few other completed projects, add up to a very prolific year for Oregon’s indie film community. The first film to go into production was comedy The A-List, which was produced in Lake Oswego. The film was written by D.J. Halferty and directed by Will Bingham. Next to go into production was the Portland-based feature film Wilderness of James, written and directed by Kamp Grizzly alum, Michael Johnson. On the heels of James was the recently completed feature C.O.G. The film is based on a David Sedaris essay about his experiences on an Oregon apple orchard and was directed by Kyle Patrick Continued on page 38
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Alvarez. In Southern Oregon, there were not one, but two films produced in the fall (we believe this is a first). Kelly Reichardt recently wrapped her fourth film shot in Oregon called Night Moves. Night Moves shot in Roseburg, Medford and Ashland and stars Jesse Eisenberg, Dakota Fanning, and Peter Sarsgaard. The film has already received quite a bit of buzz and we’re all hoping it gains the critical acclaim of Reichardt’s other Oregonbased films (Old Joy, Wendy and Lucy, Meek’s Cutoff). The second film shot in Southern Oregon was Redwood Highway, an iOPIF project starring Shirley Knight, Tom Skerritt, and James LeGros. The film was produced, written and directed by a trio of Southern Oregon residents:
Redwood Highway films at Great Cats World Park in Cave Junction.
OREGON’S LARGEST SELECTION OF HD CAMERAS AND ACCESSORIES
James Twyman (producer/writer), Gary Lundgren (writer/director), and Gary Kout (producer). Most of these films tend to be a little under the radar because their crews aren’t as large as the TV series’, so the impact is less visible. There is no doubt, though, that collectively they are making their mark in Oregon. If you want to follow one of the films, I would suggest that you check out the Redwood Highway Facebook page. The team working on the movie is taking a forward-thinking approach to building their audience with regular Facebook updates through prep and production. It’s been fun to watch the photo updates on every production day. The past few months have also been a great time for projects already produced. A few that stand out are the films that the Freeman Brothers produced in Oregon, including Cell Count and The Weather Outside. Also worth mentioning is former state legislator David Edwards’ film, Nightscape, which screened in the Portland area on November 16 and December 14. These screenings came on the heels of a very successful premiere at the Montreal Comicon Horrorfest. The diversity of these projects will hopefully show the wide array of stories that can be told here in our state. Let’s wish the best for all of their success!
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3357 SE 22nd Ave Portland, OR 97202 503-542-3990 gearheadgrip.com
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Time Travel, Politics, and Punk Rock Washington Incentive Projects Grab National Attention By Jacob Ooley Communication Intern, Washington Filmworks
eptember marked the end of Washington Filmworks’ 2012 funding cycle. Board Members approved a total of 15 projects, including 8 commercials and 7 feature films. The organization also reached its threshold for B&O tax donations. With B&O contributions reaching $3.5 million in just a few months, Washington Filmworks can no longer accept contributions for the 2012 season and will resume accepting contributions in 2013. Incentive productions added an additional $10.2 million to the Washington State economy since June 7, 2012. In addition, several incentive alumni feature films gained ground on the
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diverse terrain of Washington. “We are so proud to have created a film within greater Seattle and Eastern Washington that was a story set in ‘Nevada circa 1994,’” said Mosler. “We hope that it convinces other filmmakers that multiple looks are possible in our great state.” Additional Washington-produced incentive films can be found through your local cable provider, streamed online, rented, or seen in select movie theatres. The Details, starring Tobey Maguire and Elizabeth Banks, and Grassroots, starring Jason Biggs and Cedric the Entertainer, are two more alumni incentive features that shot in Seattle, employing area cast and crew. Both features made their way to the
“Washington’s incentive program is competitive and they have created a program that is independent film friendly. We couldn’t have made the film here without it.” - Matthew Lillard national film scene. 2011 Washington incentive feature Safety Not Guaranteed made industry waves throughout 2012. The film follows three cynical Seattle Magazine employees as they investigate an unusual classified ad. The cast was nominated for the annual Gotham Independent Film Award in the category of Best Ensemble Performance, and the film landed on io9’s list of the Biggest Box Office Hits of the 2012 summer season. Safety Not Guaranteed director Colin Trevorrow understood the importance of Washington’s film incentive program when he chose to shoot here. “It was crucial to this production and we just couldn’t have been here without it,” said Trevorrow in an interview with Examiner.com last June. “It allowed us to make a film that was already an extremely modest budget. It allowed us to put more on the screen.” Another 2011 Washington incentive feature film, Eden, was busy stockpiling accolades as well. Eden received a coveted 2012 Audience Award at South by Southwest, and director Megan Griffiths walked away with the award for Emergent Narrative Woman Director. The feature secured North American distribution through Phase 4 Films and is slated for theatrical release in 2013. Though the story is set in Nevada, producer Jacob Mosler shot at various locations across the state, showcasing the 40
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big screen in 2012. Grassroots hit theaters over the summer and is now available online and on DVD. The Details recently opened in theaters this past November. Fat Kid Rules the World also shot in Seattle in 2011 and was released in 2012. Director Matthew Lillard took advantage of Washington’s incentive film program when he made the decision to shoot in the Emerald City. “Unfortunately, filmmaking has become an incentivedriven economy; it’s just not possible to make a feature film in a state without an incentive program,” said Lillard. “Washington’s incentive program is competitive and they have created a program that is independent film friendly. We couldn’t have made the film here without it.” Lillard’s film went on to nab the Narrative Feature Spotlight Audience Award at the 2012 SXSW Film Festival and was picked up by ARC Entertainment for distribution across North America. Washington Filmworks was able to commit all available funds for 2012 in five and a half months, a true tribute to the national reputation Washington State has as a destination for commercials and independent feature films. “Once the program was renewed, we had immediate interest from filmmakers,” said Amy Lillard, executive director of Washington Filmworks. “It was wonderful to get our local cast and crew back to work and we look forward to funding even more projects starting in January 2013.”
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David Culp, Former Index Co-Publisher, Passes Away n October 2, David A. Culp, noted Seattle director and editor, passed away. He was 59. Mr. Culp had been in the production industry for over 20 years in Seattle and San Francisco. He was director and general manager of Kaye-Smith Productions before founding Culp Productions in 1993 in Seattle, where he earned multiple awards for his television commercials and educational films. “Film making was David’s great passion and he was extremely good at it,” read Mr. Culp’s obituary. “He made (directed & edited & sometimes co-wrote) a collection of well-known local commercials for Rainier beer, Ivar’s restaurants, Sea Galley restaurants, Boyd’s Coffee, Long’s
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Mr. Culp proved to be a driving force in the early stages of this publication, and we are forever grateful for his efforts. Drugs and Taco Del Mar, to name a few.” Mr. Culp was also a long-time instructor with the Seattle Film Institute and the University of Washington Film & Video Certificate Program.
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“David had a special gift for working with young people, especially with young actors. He knew how to bring out the confidence and best performances on camera.” In addition, Mr. Culp was the co-publisher, along with Richard Woltjer, of the Film & Video Index in the early 1980s. This was the first incarnation of what is now known as the Northwest Production Index, Media Index Publishing’s annual directory of film and video resources for Washington and Oregon. Mr. Culp proved to be a driving force in the early stages of this publication, and we are forever grateful for his efforts. Mr. Culp not only had a remarkable career, but he truly was a remarkable man, and he will be missed by the local production community and far beyond. David A. Culp is survived by his wife, Crystal (McConnel) Culp, and his children, David Albert Culp III, Kaitlin Scarlet Culp and Sarah Francesca Culp, and Crystal’s two sons, Lucas Lorenzo and Julian Lorenzo. He is also survived by sisters Roberta Culp and Marylin Culp, and brothers Matthew Culp and Thomas Culp.
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thenewBlank’s Bobby Hougham gives direction to The Walking Dead star Norman Reedus
Killer Instinct Seattle production company shoots international promos for The Walking Dead s we walked through the lot, there were dead bodies everywhere. The wind was blowing, sheets of metal were banging. It was really creepy.” That’s Bobby Hougham, co-creative director of Seattle-based production company thenewBlank, discussing his time on the set of The Walking Dead, the zombie-centric AMC series that is now in its third season. Earlier this fall, thenewBlank traveled to Atlanta to shoot international promo spots for the series, and Hougham and his team were able to see firsthand what it’s like to live during a zombie apocalypse. This series of promos is part of a package for Fox International. thenewBlank has also recently shot promos for Glee, New Girl, Ben and Kate, and American Horror Story, among others. “Fox had just rebranded but didn’t know how to develop it for promotions and social media, etc.,” explained Hougham. “We were contacted and we did a full blown pitch—we developed a bunch of different ideas on how the rebrand could be used in multiple circumstances.” Since this was an international project, a big challenge was the communication barrier. “The Fox U.S. tagline is ‘So Fox.’ which doesn’t translate well into many other languages,” said Hougham. “We worked on developing different tags and different promos that would work on a wider scale.” thenewBlank won the bid and got to work.
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The team traveled to Hollywood Center Studios in L.A. to shoot promos for Fox comedies like Glee and New Girl. “We shot on the stage—the actual stage—that Lucille Ball’s show was shot on,” said Hougham. “Right next door to that stage
Working closely with the cast of a production is a part of regular life for thenewBlank, however this production was a particularly unique experience. was the George Burns stage, where he did his show. From that Hollywood history point of view, it was a very cool experience.” But it was nothing compared to what the team would encounter in the woods outside Atlanta. “We were on The Walking Dead’s set, sharing their studio space,” said Hougham. “All of their stages were jam-packed full
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of stuff, so we were tucked into interior sets for our shoot.” As enormous fans of the show and the comic book on which it’s based, the team at thenewBlank was enthused to not only be on set, but to walk around in between shoots and explore the Walking Dead world, from the prison yard to the various interiors. Working closely with the cast of a production is a part of regular life for thenewBlank, however this production was a particularly unique experience. It wasn’t merely that the production offices were set up in The Governor’s office or that you would find dead bodies lying around just outside their set, it was more about how the close-knit cast and crew accepted them as part of their team. “During the shoot we were welcomed in,” said Hougham. “We definitely got an amazing sense of camaraderie. They’ve been working together for nine months in the middle of nowhere and we had the distinct feeling we were a part of that family. “For the Hollywood shoot, all of these actors are hustled in on their off days, and they’re told, basically, ‘you gotta stand up and act pretty for these random people.’ But on Walking Dead, they were coming from rehearsal. They came in between takes. It wasn’t so much of an inconvenience or a hassle for them, but more of a ‘welcome to our home.’” That’s not to say Hougham and crew were always completely at ease. He described working with the zombies—referred to as “walkers” in the show—as “remarkably creepy.” “The walkers don’t see, but they hear and smell really well,” said Hougham. “So you have these people milling about, and then you cue them that they hear or smell something. Looking right into the lens, it looked and felt as though they were looking at and hunting me. “After that, I needed to go ‘shake it off.’ It was really creepy; really cool.” And the creepiness factor didn’t wane in between takes. “I came out of lunch, and down the hall I see three walkers having a smoke and BS-ing. Saying to myself, ‘Oh sure, I’ll bite,’ I headed over and started talking with them,” recalled Hougham. “They were in full makeup—I mean, full on dead and rotting—but they’re talking and behaving like normal, living human beings, of course, and I still caught myself getting the chills. Even in real life they are just bizarre, just creepy. And when they’d snap back into their ‘zombie’ mode, you just wanted to run.” Hougham co-wrote and directed the spots, which were shot over five days in September at an undisclosed studio in Atlanta. “Tammy MacArthur wrote initial drafts of the scripts, and I worked with her and finessed the final scripts,” he said. “My partner Sevrin Daniels has been handling the creative direction and post-production side of things.” The final promos are delivered as After Effects templates that can be easily altered to fit the needs of the various countries it will be shown in. Said Hougham, “We’re creating these promos that are pretty boiled down but certain things like iconography and text can be altered without headache.” Upon completion of the Walking Dead promos, thenewBlank team was back at it, traveling to Wales for Da Vinci’s
Demons, a Starz and BBC production that Fox is distributing nationwide. The team will also soon be shooting another promo for a different show, but Hougham wasn’t at liberty to say which one. “The Fox promos are an ongoing project,” he said. “It’s a big project and we are thrilled to be a part of it.” No rest for the weary, apparently. Especially during a zombie apocalypse. ISSUE FOUR 2012 MEDIA INC.
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Independent Feature Filmmaking Roars Back into Southern Oregon By Gary Kout Founder & Executive Director, SOFaT Photos by Gary Kout and Gary Lundgren
outhern Oregon has been the backdrop for many feature films, starting all the way back in 1914 with Grace’s Visit to the Rogue Valley. Though generally an uncommon event, a strong flurry of filming began in 2000 with at least one independent film being shot every year in the area. Then in 2010, filmmaking came to a screeching halt with no films being made, and in 2011 there were only two micro-indies with budgets in the $100,000 range or less. Those keeping tabs on the industry know that private equity, the usual source of funding for indie production, had become incredibly difficult to procure. The distribution models for independent films had also been going through a fundamental shift, with fewer and fewer theatrical opportunities, skewing everything towards the less lucrative digital markets. Finding money and making money had dropped through the floor. But late 2012 saw a dramatic change in the production landscape as not just one, but two good-sized independent films, both with strong creative talents and recognizable casts, filmed in Southern Oregon. Eager to shake off the dust from their long break, the local industry rose up to meet the challenge. Night Moves, the latest film from critically-acclaimed director Kelly Reichardt, was the first film to roll cameras. Reichardt’s last two films, Wendy and Lucy and Meek’s Cutoff, were both multiple award nominees and winners at major festivals. Continuing her preference for filming in Oregon thanks to its wide range of locations, film-friendly environment, experienced crews, and competitive incentives, Reichardt and longtime screenwriting partner Jonathan Raymond set their latest story of eco-terrorism in the small communities and beautiful landscapes of Southern Oregon. The movie stars Jesse Eisenberg (The Social Network), Dakota Fanning (the Twilight series) and Peter Sarsgaard (An Education). The second film was Redwood Highway, the follow-up feature from the creative team behind Calvin Marshall, starring Steve Zahn, which also filmed in Southern Oregon in winter 2007. Redwood Highway tells the story of Marie, a resident at a retirement community who decides to walk 80 miles down the Redwood Highway to see the coast of Oregon for the first time in 45 years. The movie stars award-winning veteran actress Shirley Knight (As Good as It Gets), with strong supporting roles by Tom Skerritt (A River Runs Through It) and James LeGros (Point Break). Thanks to our familiarity with the local industry, director Gary Lundgren, my fellow producer James Twyman, and I cast several local actors, many of whom perform with the acclaimed Oregon Shakespeare Festival and have strong Hollywood film and TV credits. Living up to its name, Redwood Highway filmed primarily along the actual Hwy 199, Southern Oregon’s main route to the coast. As travelers along the fabled highway know, many interesting and incredible sites await them. The filmmakers wanted to recreate that experience, making the movie a sort of greatest hits of the Redwood Highway. Their filming locations included Lake Selmac, Eight Dollar Mountain, It’s A Burl,
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Redwood Highway crew films outside of Mountain Meadows in Ashland.
Lining up a shot of Shirley Knight on the Redwood Highway.
Tom Skerritt and Shirley Knight with director Gary Lundgren in Cave Junction.
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Cave Junction, Great Cats, Rough and Ready Bridge, Jedidiah Smith State Park (in California), and the beautiful coast in Brookings, Oregon. Other locations filled out the production schedule, covering a large swath of Southern Oregon: Mountain Meadows Retirement Community in Ashland, Talent Club in Talent, the Applegate River Lodge, and downtown Grants Pass. Night Moves also filmed all over the region, from as far north as Roseburg, east to Lake of the Woods, west to the Applegate Valley, and the main population centers of Medford and Ashland. All told, there wasn’t much of Southern Oregon that didn’t see cameras roll, nor feel the economic impact of feature filmmaking. Lundgren, Skerritt, and Knight on the set at It’s a Southern Oregon Film and Television Burl. (or SOFaT for short), the membershipbased local professional association and de-facto film commission for the region, assisted both productions. SOFaT provided strong recommendations about the filmmakers to local public agencies and private businesses, which helped to acquire locations, smooth the various permit processes, and perpetuate the already pro-filming attitude in Southern Oregon. When both productions inquired about local crewmembers and services, SOFaT directed them to its online directory where many professionals in the local industry list their contact info, credits, and links to samples of their work. As a result, many SOFaT members were hired to work on both Lundgren with Michelle Lombardo and Knight at the productions. Such Talent Club. employment not only contributes to the local economy, but it builds the resumes and raises the overall experience level of the local industry, making those members and the region more attractive to future productions. SOFaT and the Southern Oregon industry hope that DP Pat Neary gets a push from key grip Eric Bixler. 2012 is merely the start of another busy decade of filmmaking, and is already working hard to springboard the results and ramifications of Night Moves and Redwood Highway into future filmmaking activity. For more information about making your next project in Southern Oregon, visit SOFaT at www.filmsouthernoregon.org or contact us at info@filmsouthernoregon.org. Gary Kout is the founder and executive director of Southern Oregon Film and Television and a producer on Redwood Highway, as well as having worked on four other feature films in Southern Oregon. He was the production supervisor on the 2011 Academy Award-winning animated feature Rango, starring Johnny Depp, and has line-produced over 100 national commercials. 48
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Crane shot on the Redwood Highway.
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Seattle is a Film Town Again! By Peter Barnes Guest Columnist
nyone remember way back to the ‘90s? We had Northern Exposure, Sleepless in Seattle, Singles, American Heart… we were rolling in TV series and feature films shot in the Great Northwest. Those were the days, right? Everyone in the film industry was busy, right? Wait… what? That’s right; we weren’t busy posting features in the Northwest, only shooting them. I’m going to speak about my home, Seattle, but the story is the same for Portland, our sister to the south. Well, let me tell you something. After several years of what was essentially a film drought in Seattle, we’ve finally come together as a comprehensive community of writers, actors, crew, and post-production providers. One of the things that has changed most dramatically is the way our city and state leaders have refined their message to film production companies when they tour the area. They actually include our local post services as a major part of their story to prospective filmmakers! Our post service community has risen to the occasion, establishing a track record of excellent quality, and we have acquired a firm grasp of the complicated task of feature film post. And boy, is it complicated. We at Clatter&Din are just finishing an inconceivably long list of deliverables for the international release of Grassroots, the Stephen Gyllenhaal film that closed SIFF last year. The complexity is unbelievable, but we’re seeing enough films come through our facility that we’ve become quite comfortable with the challenge. That wasn’t true five years ago. Bad Animals is another company that has done extremely well at working with big film projects and has earned the respect of the broader national
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post community. Their work on Your Sister’s Sister, Lynn Shelton’s hilarious Gotham Film Award-winning piece, was outstanding. A huge shout out is in order to Modern Digital and Alpha Cine, who have been at this a long time and have constantly been raising the bar for picture finishing work. The prolificacy of our Northwest directors, their garnering of national attention, and most importantly their trust in the local post community are huge drivers in developing this tight-knit team of production and post resources. We’re all getting to know each other well and we see each other at events and screenings far more often than ever before. We are truly a community and it’s awesome. The Northwest’s up-and-coming directors, such as Megan Griffiths, Lynn Shelton, Matt Lillard, Sue Corcoran, John Jeffcoat and Nick Gyeney (to name a few), are adamant about keeping their projects local and utilizing our excellent talent pool instead of opting for the “L.A.” treatment. The state film incentive has been very effective in keeping post work in Seattle, and the Office of Film + Music and Washington Filmworks have both set a shining example of professionalism to film production companies across the nation on our behalf. Colin Trevorrow, director of Safety Not Guaranteed, who chose to posthisfilminSeattle, said, “I cannot imagine a more perfect place to have made this movie. I would come back to shoot here in a heartbeat.” He said this because our city has developed a passionate, well-educated team of filmmakers who made his experience here a good one, all the way to those final deliverables. Good for us. Peter Barnes is often out at a party, but when he’s working, it’s usually at Clatter&Din. Visit www.clatterdin.com.
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The Talent Community and SAG-AFTRA By Brad Anderson Executive Director, SAG-AFTRA Seattle Local
he community of professional performers in Seattle and the Northwest has recently been strengthened. The former American Federation of Television and Radio Artists has combined with the former Screen Actors Guild into a more powerful SAG-AFTRA. SAG-AFTRA now speaks with a unified voice for all performers in the region, covering film, television, radio, broadcasting, sound recordings and more. The SAG-AFTRA Seattle Local represents more than 1,600 people working day after day in this industry. These performers are the professional talent that producers depend on to create the quality work the Seattle area is known for. The merged SAG-AFTRA will make it easier for productions to get made. No longer will people have to concern themselves with having to compare two different potential sets of contracts, with differing processes and procedures in how those contracts are administered. SAG-AFTRA in Seattle is now a “one-stop shop” where producers can work with the staff of the Seattle Local to
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performers are only one constituency in this business—talent agents, signatories and other producers, casting directors and paymasters, among others, are also important members of the community. SAG-AFTRA has reached out and will continue to reach out to the entire community, seeking to better learn how to move this market in a positive direction that betters the economic proposition for all. Part of being an effective labor union and participant in the entertainment community is tapping into the innate desire of people, through their own social nature, to lift each other up, not tear each other down. SAG-AFTRA and its members recognize that what is good for them—a better standard of living, access to healthcare and pensions, and satisfying work—is the same for all the members of this community, lifting everyone’s material wellbeing and that of their families and their children. We want to create an environment for work that brings security to performers and other stakeholders. The Seattle Local understands that organizing performers is its responsibility, but believes that the market will become stronger if it is responsive to the needs and
SAG-AFTRA will continue to reach out to the entire community, seeking to better learn how to move this market in a positive direction. get the best fit in terms of a contract and to have their questions and concerns answered in a timely and responsive way. SAGAFTRA has added to the staff on the ground at the Seattle Local specifically to provide a continuing dynamic connection between the Union and other stakeholders. Of course, full integration will take some time—at this point, the legacy contracts for AFTRA and for SAG are still the operative documents and will be until each of the contracts comes up for renegotiation in the ordinary course, at which time they will become unified SAG-AFTRA contracts. For example, SAG-AFTRA is preparing to negotiate the separate collective bargaining agreements for each legacy union’s television and radio commercials, which is intended to lead to a single commercials agreement. One of the functions of the Seattle Local of SAG-AFTRA is to provide assistance with understanding the Union’s contracts. There is a myth that those contracts are “too complicated” and that “there is too much paperwork.” The Seattle Local staff is here to provide guidance through the processes to demonstrate that they are not as complex as people think and that, with staff’s assistance, paperwork can be expedited and simplified. SAG-AFTRA wants to get beyond these kinds of rote reactions and, rather, if there are real problems and real obstacles for producers or agents, focus on finding solutions to those problems if solutions can be found. SAG-AFTRA and the Seattle Local work hard on behalf of their members to enhance their opportunities in this industry and this region. SAG-AFTRA and the Seattle Local understand that 52
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concerns of the other stakeholders, and if it provides continuing outreach and education for the industry. To that end, SAG-AFTRA has embarked on an ambitious program to introduce the merged organization to the industry and to start the educational process. For example, the Seattle Local recently conducted an informal session with all of the talent agents in Seattle to make that introduction and to field questions from the agents about substance and about process. It seemed to be a very popular event and there was great energy in the room. Similarly, the Seattle Local invited all stakeholders to an “Industry Summit,” held on a recent evening at the Film Center of the Seattle International Film Festival. It also was a lively evening with lots of engagement by the participants and good ideas for the future. SAG-AFTRA will produce more of these types of events on an ongoing basis so that this energy and engagement are not dissipated. Finally, it is important to remember that membership in SAG-AFTRA means something—it means that the performer has a level of skill and professionalism that has been recognized. Membership in the Seattle Local, for eligible performers, can be accomplished quickly and easily. The Seattle Local offers an initiation fee discounted from the nationwide rate, and there also is a payment plan to spread the obligation out over time. Combining the talents of SAG-AFTRA members and the expertise of our other community participants can only move this region and this market forward for the benefit of this entire community.
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Talent SNAPSHOT Media Inc. spotlights a cross-section of the region’s talent agencies
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he Pacific Northwest boasts a growing number of on-camera and voiceover actors for film, television, commercial, and digital media projects. At the helm of this burgeoning industry are the region’s many talent agencies and agents, who help keep the production train’s wheels in motion. Here is a look at a few of those agencies:
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IN BOTH EARS oiceover talent agency In Both Ears was founded 10 years ago in Portland. Our owner, Stacey Stahl, set out with the dream of changing the way both clients and talent were treated in the voice casting industry, bringing a personal touch to the world of voice. That boutique spirit still exists today, while IBE has grown to include a roster of over 250 professional talent in the U.S., Canada and beyond, plus youth and foreign language talent rosters. The high-touch service IBE provides means that we maintain a deeply conscientious attitude toward our clients, which include PBS, NBC, Cricket, Alaska Airlines, Target, Nintendo, Wieden+Kennedy, and many others throughout the country and overseas. At In Both Ears, we specialize in giving our clients the finest voiceover options possible. Whether the project is for radio, television, a video game, promos, web or another medium—our voice talent take any project to the next level. Casting is always complimentary and talent are always hand-selected to fit your specific project; no cattle calls at In Both Ears! In Both Ears offers world-class voices and outstanding customer care—please consider us part of your creative team. We’re pretty fun that way!
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THE ACTORS GROUP (The one with the pros.) heeky headline. And frankly, we’re uncomfortable with it. Granted, the agency roster of The Actors Group is a short list of bright, professional, personable talent who’ve earned their strong credentials. And a modicum of fame. This could be because our small and select stable of camera and voice talent also tend to be writers and producers, genial hosts, broadcasters & podcasters, and sometimes top chefs. If we were speaking in bullets, we’d say The Actors Group is: • streamlined, reliable, easy to work with • distinguished, recognized, lauded • skilled, vetted, savvy Our mission is to make things easy for our clients – helping them deliver their creative quickly, simply, and consistently. (We don’t ask our talent to illuminate the gulf between the pros and the part-timers. It just happens, whenever they’re around microphones, lenses, or audiences.) We built our reputation by representing the strongest professional talent you could find in this town. It’s still true 25 years later. And we guess that could seem a little cheeky. Dunno. Maybe we simply have to own it. The Actors Group. (Modestly flaunting it since 1987.)
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Actors First Agency The Right Talent. Every Time. ime. Sometimes it’s on your side. When you have the time to do your job well, all you need to know is that you’ve got the right tools. More than anything else, it means the right talent. The right talent completes a sensational representation of the kind of work you’re capable of doing. And that, in turn, gets you more work. Life is good, right? But let’s be serious here. Time is usually not on your side. Life is not always so good, right? With no time and crazy deadlines, this is what happens: you hope the best studio is available and work down your list of studios until you find one not located in your brother-in-law’s garage. You drop all your other front-burner jobs to write perfect copy, have it checked, make changes, have it checked again, make final changes, have it checked, have it thrown out for a new campaign entirely, and repeat the process until the client is happy. Your stress level rises. You’re ready to cast the project. But after you carefully put out a call that you need specific ages, types, and characteristics of voice talent or on-camera talent for industrials, commercials, film, or multimedia presentations, you get hundreds of submissions from one agency or another. And now, with a deadline that’s measured in seconds instead of days, you sit at your computer and sift through thousands of auditions from actors and waiters and butchers and bakers and candlestick makers of all professional levels until your eyes are bleary and your ears are numb. What exactly are you looking for? • Talent? Certainly. • Trustworthiness? Reputation? Absolutely. • Look? Sound? Undoubtedly. • Drama-free people? Quick workers? People who strive for excellence without issues? Yes, yes, and yes. Relax. Just call Elicia Walker at Actors First Agency. Elicia won’t send you 100 actors that might be okay. She’ll send you a few actors who would be perfect. That’s all she represents: a few actors who are perfect. She’s done all the screening for you. After 137 years in the talent business, Elicia knows better than to waste your time. Whether you have all the time in the world or no time whatsoever, Actors First Agency will provide you the right talent. And when you use her talent, your client will love you. Call Elicia. 206-522-4368. Visit www.actorsfirstagency.com. Life is good. Right?
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Topo Swope Talent fter 18 years, Topo Swope Talent is considered one of Seattle’s most prestigious agencies, providing one-stop-shopping for the Northwest’s best talent. The agency has grown exponentially over the years while still possessing a boutique feel. The scene at the agency is always lively with three strong team members running things as smoothly as possible while maintaining a sense of humor and fun. TST prides itself on specialized attention to each actor and producer/casting director to meet the needs of each job. This agency represents a myriad of talent for film, TV, voice-overs, interactive games, multimedia, audiobooks, live events, print and much more. Offering clients the full gamut of experienced actors with integrity and professionalism, you can be sure all casting needs will be satisfied!
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Arthouse Talent & Literary
www.toposwopetalent.com rthouse Talent & Literary is a uniquely specialized boutique agency representing actors of unsurpassed quality in Portland, Oregon. With 20 years experience in the NW market, Arthouse offers nothing but the best. Talent age range: Adults and Teens Contact: Kaili Carlton Phone: 503-546-8862
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BIG FISH … Big Ponds
RYAN ARTISTS
f asked about her years of experience, Big Fish NW Talent’s owner, Becky Reilly, will likely tell you she “has 15 years of experience...” She’ll then add, “…because 15 years sounds like you are someone who knows what they’re doing… if I tell you the real number, I just sound old!” Transplanted from Denver (where Big Fish originated) in the mid-‘90s, Becky opened Big Fish NW Talent to serve the Spokane production community. Since then, Big Fish has certainly helped the Spokane commercial and film market blossom. In 2001, with Gordon Adams’ help, she expanded Big Fish into Seattle, where their producers and talent have learned to trust the Big Fish team, as well. More than 2,500 actors, extras, models and merchandisers currently make up the Big Fish pool. Their work can be appreciated in more than 45 films, countless television, web & radio commercials, corporate videos, video games, music videos and still photography campaigns. With a large network of people throughout the Pacific Northwest, Big Fish has also become an excellent source for producers to find locations, automobiles & other equipment, specialty talent, and a variety of other odd requests. What do you need today? 877-424-4347 info@bigfishnw.com
his year marks Ryan Artists’ 31st anniversary as a full service modeling, acting, styling and voice over agency here in the Pacific Northwest. SAG-AFTRA franchised, we proudly represent the best union and nonunion talent ranging all ages and ethnicities. Ryan Artists strives to give our clients all that they need from one agency, a “one stop shop”, enabling them to create the most professional product while saving time, money and energy.
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CATHY FAULKNER OPTION MODEL AND MEDIA ption Talent, a division of Option Model and Me dia , has become one of the hottest and most r e lia ble talent divisions in the Pacific Northw e s t . We p r i d e o u r s e l v e s o n o u r p r o m p t a n d pr ofe s s iona l service to the client, and our full time s ta ff of 6 bookers and agents enables us to provide the q uic ke s t and most attentive servic e to meet any pr oduc tion’s demands. Whether your need be Actors or Mode ls , O ption is ready to run with you. Please c onta c t us a nd let us know how we may assist your next production. Talent age range: 1-100 Contact: Dennis Troutman Phone: 503-233-4244 dennis@ommtalent.com
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ince opening her voiceover business in 1994, Cathy has worked for a dynamic array of clients over the years. Cathy’s delivery can range from upbeat and friendly, professional as well as instructional, soccer mom or the girl next door. But the majority of Cathy’s current focus has been in the e-learning, IVR and corporate narration arena. Clients include Microsoft, Exxon, American Express, Numera Health, and AT&T, just to name a few. A more detailed global client list, demos and other information are available on her website, www.cathyfaulkner.com. SAG-AFTRA (fi-core). Cathy is flexible, reliable, and experienced. When words have to speak louder than actions…count on Cathy Faulkner! Contact information: Ph: 206-521-0363 Fax: 206-260-8965 E-mail: me@cathyfaulkner.com
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TCM MODELS & TALENT CM now celebrating over thirty years in business, is a full service model and talent agency located in the heart of downtown Seattle. TCM, which has consistently enjoyed the reputation as one of the largest, most successful and respected agencies on the West Coast, provides a comprehensive list of services, representing men, women and children for on camera, voice-over, fashion and commercial print work. TCM offers on site casting space at no charge in order to assist you in finding the talent best suited for your project. What ever your next project is we will put our team of professionals to work at making it your easiest and most productive ever. We love what we get to do! Talent age range: Infants to mature adults Contact: Terri C. Morgan Phone: 206-728-4826 terrim@tcmmodels.com
T PUDDLETOWN TALENT, INC. uddletown Talent is a specialized talent agency focusing on the kids market. We represent talent for all areas of the industry. Our kids talent have modeled and acted for such companies as Nike, Nintendo, OshKosh, Hanna Andersson, Chrysler, and TNT’s Leverage to name a few. Puddletown Talent’s attention to detail and devotion to clients and talent will make any casting experience a smooth and memorable one. Talent age range: Infant - 18 years old Contact: Jason Jeffords Phone: 503-546-3006 Cell: 503-502-8822 Fax: 503-536-6767 jason@puddletowntalent.com
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Actors First Agency; Seattle, WA 206-52AGENT / 206-522-4368 actors@actorsfirstagency.com www.actorsfirstagency.com
Elicia Walker, owner/agent
AFTRA
20+ yrs
The Actors Group; Vashon, WA 206-427-7449 info@theactorsgroup.com www.theactorsgroup.com
Jamie Lopez
AEA, SAG-AFTRA
DND
Actors in Action, LLC; Portland, OR 503-780-7555 damon@actorsinaction.com www.actorsinaction.com
Damon Jones
SAG-AFTRA
0 - 99 yrs
Arthouse Talent & Literary; Portland, OR 503-546-8862; fax 503-536-6767 kaili@arthousetalentandliterary.com www.arthousetalentandliterary.com
Kaili Carlton
SAG-AFTRA
16 - 100 yrs
Colleen Bell Modeling & Talent Agency; Bellevue, WA & West Linn, OR 425-649-1111; fax 425-226-4324 bellagency@aol.com (WA); bellagencyoregon@aol.com (OR) www.colleenbellagency.com
Colleen Bell Stephanie Yates
SAG-AFTRA
0 - 100 yrs
Big Fish NW Talent Representation; Spokane & Seattle, WA 877-424-4347 info@bigfishnw.com www.bigfishnw.com
Becky Reilly Gordon Adams
N/A
All
The Kim Brooke Group Models-n-Actors; Seattle, WA 206-329-1111; fax 206-328-5177 kimbrookegroup@hotmail.com www.kimbrooke.com
Kimberly Brooke, president
N/A
0 - 100 yrs
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TYPES OF TALENT/SERVICES PROVIDED
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B l vving. Hearing H rring ngg isi Believing. ng.g.. WWW W.. I N B O T H E A R S . C O M
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Copeland Williams Talent; Bellevue, WA 425-748-5133; fax 425-562-0147 calley@copelandwilliams.com www.copelandwilliams.com
Calley Copeland, coowner/booking agent Kathie Williams, coowner/talent director
N/A
0 - 100 yrs
DreamCatchers; Seattle & Spokane, WA 208-696-1761 joshua@dreamcatcherstalent.com www.dreamcatcherstalent.com
Joshua Cooper, owner
N/A
DND
EBF Talent & Management LLC; Seattle, WA 206-300-6080 ebftalent@gmail.com www.ebftalent.com
Erin Bryn Fetridge
N/A
17+ yrs
Emerald City Model & Talent; Edmonds, WA 425-248-4565; fax 425-248-4562 john.harb@emeraldcitymt.com www.emeraldcitymodelandtalent.com
Easa John Harb
N/A
6 mo - 80 yrs
ENTCO International, Inc.; Lynnwood, WA 425-670-0888; fax 425-670-0777 info@entco.com www.entco.com
Terry Quick, president
AFTRA
All
Foreground Background LLC; Milton, WA 425-246-2725 foregroundbackground@gmail.com www.foregroundbackground.com
Denise Gibbs, owner
N/A
DND
Sherrie Garcia & Associates Entertainment Service; Spokane, WA 509-922-2362; fax 509-922-2362 garciaentertainment@yahoo.com
Sherrie Garcia, agent
N/A
DND
TYPES OF TALENT/SERVICES PROVIDED
CIA ERF L OR
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, 1 3 5 * * $ ACTORS I MODELS I VOICE OVER I ARTISTS
www.ryanartists.com
ph: 503.274.1005 fx: 503.274.0907
SAG and AFTRA Franchised
Accredited with the Better Business Bureau
FACEBOOK at facebook.com/MediaIncMag
TWITTER at twitter.com/MediaIncMag
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Heffner Management; Seattle, WA 206-622-2211; fax 206-622-0308 info@heffnermanagement.com www.heffnermanagement.com
Nancy Peppler, president
N/A
DND
In Both Ears, Inc.; Portland, OR & Seattle, WA 503-892-8833; fax 503-892-7182 info@inbothears.com www.inbothears.com
Jennie Mull, agent/CEO Amanda Clark, agent
N/A
3 - 75 yrs
Kalles Levine Casting; Seattle, WA 206-522-2660 kalleslevine@hotmail.com www.kalleslevinecasting.com
Patti Kalles, president/ owner Laurie Levine, CEO
CSA
DND
LLL Talent; Hayden, ID & Spokane Valley, WA 509-720-8312 contactus@LLLtalent.com www.LLLtalent.com
Anne Mitchell, owner Ginny Abdallah, entertainment agent
N/A
DND
LUX management; Tacoma & Seattle, WA 253-573-0634 nfitalent@msn.com www.luxtalent.com
Noreen Hobson, owner/director
N/A
All
Option Model and Media; Portland, OR 503-233-4244 dennis@ommtalent.com www.optionmodelandmedia.com
Kit Garrett, VP Nina McLaughlin, president Dennis Troutman, talent agent
SAG-AFTRA
All
Puddletown Talent, Inc.; Portland, OR 503-546-3006; fax 503-536-6767 jason@puddletowntalent.com www.puddletowntalent.com
Jason Jeffords, owner
SAG-AFTRA
Infancy - 18 yrs
Q6 Model & Artist Management, Inc.; Portland, OR 503-274-8555; fax 503-274-4615 justin@q6talent.com www.q6talent.com
Justin Habel, president
N/A
12+ yrs
Jodi Rothfield Casting CSA; Seattle, WA 206-448-0927; fax 206-448-1016 jodirothfield@gmail.com
Jodi Rothfield, CSA
N/A
DND
Ryan Artists Inc.; Portland, OR 503-274-1005; fax 503-274-0907 modelinfo@ryanartists.com www.ryanartists.com
Cholee Thompson, president
SAG-AFTRA
All
SAG-AFTRA; Seattle, WA & Portland, OR 206-282-2506 brad.anderson@sagaftra.org www.sagaftra.org
Brad Anderson, executive director
SAG-AFTRA
All
Sports + Lifestyle Unlimited; Portland, OR & Los Angeles, CA 503-227-3449; fax 503-227-4383 info@SLUagency.com www.SLUagency.com
Dave Weiss, president Paul Herschell, VP
LA office: AFTRA, ATA
Kids to Seniors
Topo Swope Talent, LLC; Seattle, WA 206-443-2021; fax 206-443-7648 topo@toposwopetalent.com tim@toposwopetalent.com www.toposwopetalent.com
Topo Swope, owner Tim Crist, agent
SAG-AFTRA
18 - 90 yrs
TAKE 2; Portland & Eugene, OR 541-870-7474 info@take2pro.com www.take2pro.com
Stacie Sisk-Overman, PR/talent agent Larry Overman, president
N/A
6 mo senior citizens
TCM Models & Talent LLC; Seattle, WA 206-728-4826; fax 206-728-1814 terrim@tcmmodels.com www.tcmmodels.com
Terri C. Morgan, owner/director
N/A
All
Tiffany Talent Agency; Seattle, WA & Portland, OR 206-264-8433 tanya@tiffanytalent.com www.tiffanytalent.com
Tanya Tiffany, agent
N/A
0 - 99 yrs
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Choosing the Right Video Production Company By Matthew Billings Guest Columnist
very video project is a real partnership between client and production company and there are many important elements to consider. Sometimes the intangibles can be as important as the tangible. All video companies are not created equal and your choice depends on what you want to accomplish. Here are some things to consider before you make a decision.
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The Plan: Before you contact production companies • Establish a clear goal. The more defined your objectives, the better the final product will be. • Determine a budget range. In many cases, the budget will define the finished product. You will save a lot of time by knowing what you want to spend—even if it’s a range. • Know your audience. Will the program be used to sell a product? To educate customers? To launch a product? To enhance your brand and image? To motivate and inspire employees? To entertain? • Establish quantifiable measurements for success. What do you want the audience to do, think or feel after they have seen the video? • Research. Get on the Internet and find out as much as you can about the production companies in which you may be interested. • Ask business colleagues. A lot of business can come from word of mouth. What better way to narrow your choices than to ask your friends who work at other companies? • Check social media. Ask your contacts on LinkedIn for advice and their experiences with video production companies. • Identify internal expectations. What results will persuade your management that the project has been a success? Does your CEO expect to be on camera? How long should the finished product run? • Will there be travel? Budgets can increase dramatically if a crew needs to shoot in multiple cities. Getting customers and experts on camera can strengthen the message and is often worth the additional cost. • What are the preferred delivery options? Will the program stream online? Will it be broadcast on TV? Will it be presented at an event? • Limit the number of bids. Request bids from two or three production companies. • Are there strong opinions for a direction? Sometimes companies think they know what kind of approach they want before they start. If so, they should be made known to the bidders. The Meeting: The first impression can tell you a lot • How’s the pitch? If the company can sell themselves and understands what it takes to deliver key information, the better the chance they can do the same for you. • Have they done their research? They should have some inkling about who you are. • Is there chemistry? You are going to be spending a lot of time with these people. You should at least like them. Do you get the sense they like each other? You don’t need conflict before you even get started. • Do they listen? Do they go on and on about themselves without digging into the purpose of the program and the potential challenges? That’s a warning sign. • Do they ask good questions? Intellectual curiosity is key to a good proposal and a successful script, shoot, edit and finished product.
• Look at reels. If you don’t see examples that show the level of quality you expect, it’s probably not going to suddenly show up in your project. • Take a tour. If they have an editing facility, ask to see it. You don’t need to know much about equipment, but know enough to find out if the gear is relatively new. If the gear is old, there may be problems. • Consider awards. But don’t make a decision based on awards. A shelf of awards can indicate a company’s excellence, or their competence at filling out award competition applications. • Be consistent. If you are getting bids from several production companies, make sure they all receive the same parameters and background and budget information. • Learn about the staff. Do they have in-house writers, editors, videographers, directors and producers, or use freelancers? Or both? What is their experience? • Who owns the footage? In most agreements, the production company owns the raw footage and the customer owns the finished product. Avoid surprises and find out ahead of time. The Proposal: Do they get it? • Is the proposal presented in a professional manner? A wellproduced proposal demonstrates an attention to detail that will be crucial to the production of your project. • Is the process clear? A video production is a logistical challenge. Is the workflow well organized? Is there a deliverables timeline that is clear and easy to understand? Is your role as client defined? • Is the concept appropriate for your audience? Did they pay attention to your input? Does your gut tell you this will work? • Is the creative treatment attuned to your corporate culture? Can you sell this idea to your management? If not, how can it be revised to make it work? • Is the production company open to your creative input? This is a preview of your future working relationship. If they are rolling their eyes now, they are probably not the team for you. • Is a member of the creative team present? Account managers serve a useful purpose but sometimes you need to talk directly to the writer, producer or director to get key questions answered. • Is the budget clearly presented? Did they pay attention to your budget range? Is the payment schedule clear and tied to deliverables? • How many creative treatments? A good proposal will limit the number of creative treatments. This shows confidence in the proposed approach. A bid with four or more treatments tells you the creative team isn’t sure what you want or what will work (but it’s in there somewhere). The Decision: The moment of truth • Check references. Assume that the production company is giving you their happiest clients and most successful stories. You can still dig for useful information. Would they use the production company again? What were the challenges? • Location, location... etc. How important is it that the production company be local? To some folks it matters. • Trust your gut. Decision grids are great but sometimes you just know one company will do a better job. Go with that feeling. Matthew Billings is principal and creative director at Spin Creative, a video production company in Seattle. For more information visit www.spincreativegroup.com. ISSUE FOUR 2012 MEDIA INC.
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Tape, Tapeless, Archiving, and You By George Swords Director of Marketing, The MacPac
“
o I need a disk-based archive?” This is a common question in the post-production world. Along with the follow-up, “Do I need an archive at all?” While it’s a given that the content you produce needs to be saved for reuse, what the industry can’t agree on is where to save content and how to save content. The methods have evolved quite a bit over the last few years. “Tape or tapeless. I get this question every week,” said Jason Knopp, corporate account manager, SAN Specialist, The MacPac, Portland. “People put the same time and consideration into this decision as they do deciding who they’re going to marry. Truth is, in a way, it is the same type of commitment. Nobody wants to make the wrong decision.” While tape in, tape out used to be the obvious answer for archive, it still had its challenges. Once you filed the tapes away, you had to hope the guy who knew where everything was didn’t quit. Or the clipboard with all the tape serial numbers didn’t get lost. Was it the safest archive? Was it the most efficient? The answer is, basically, no. As we started to see more types of in and outs, everything from HD, 2k, 4k, and even 8k and disk (SAN) storage became less expensive per GB, and people began to build larger and larger work-in-process (WIP) repositories. While most people do not like to admit it, many people use their primary WIP SAN as their archive. So where should you store content? Many people are moving content to tape for archive, but there are some things to consider, according to Knopp. “Tape is great for off-site archive, but if you need to regularly access content, you face a lot of delay with tape,” he said. “If your tapes are local, you have easy access, but finding what you need on tape isn’t the fastest, so you have to wait longer than you like to get the content you need. Plus, most people are so busy they have trouble finding time to archive. As a result, everything continues to sit on their SAN. And the box with
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new tape they bought to use for archiving collects dust.” Tapeless could be the right solution for your postproduction facility. It’s not always a replacement for off-site solutions, such as long-term tape, but costs have dropped and most likely will continue to do so, and throughput has increased dramatically. A disk-based archive can improve efficiency and greatly reduce the time needed to recover assets. Time equals money, and if you can’t get to assets, you can’t repurpose them or sell them. According to Alex Grossman, founder and president, Active Storage, “A tapeless workflow gives you the ability to collaborate better, to be able to work with more content than you ever have, and to efficiently move content from ingest to work-in-process to archive. If you’re at all concerned with mining and monetizing content or want to be able to handle more projects more efficiently, disk-based archive is the way to go.” When it comes to deciding how much tapeless storage you might need, there’s no hard and fast rule, as what you need may not be what the post-production studio across town needs. Knopp recommends doing a thorough review of the amount of content you generated over the last year, and do some projections for the coming year. He also suggests taking a serious look at your entire workflow, including your media environment. Is it a tangle of wires and cable? Use this opportunity to upgrade to give your hardware setup a review as well. A little preplanning can make the deployment of your new archive system much smoother, whether you go tape or tapeless. George Swords is director of marketing for The MacPac. Swords promotes the extraordinary combination of technical expertise and down to earth people that create the MacPac experience. Certifications: Apple Product Professional, Apple Sales Professional, Adobe Digital Imaging, Adobe Professional Video, AVID ProVideo system design.
SEATTLE TELEPROMPTER Teleprompter rental and operators for video & film productions, corporate events, conferences, award shows and concerts. Experts in the teleprompting business for over 19 years.
OFFICE 425.454.5659 // CELL 858.945.2076 www.seattleteleprompter.com // teleprompting@gmail.com 64
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Save Time and Money with Teleprompters By Chris Duffel Guest Columnist
here is the traditional “scrolling text on camera” style of prompting but, ultimately, it’s all about saving time. A host looking directly into the lens helps an audience stay more engaged. The problem is, this style lends itself to longer pieces of dialogue and the single angle makes it harder to edit around mistakes—and obviously in live productions these issues are amplified. All of this created the need for teleprompters. Your schedule always accounts for errors, but there’s a limit. Also, most of the scripts we work with have been meticulously scrutinized. Actors may not realize the impact of replacing a word, and when you’ve chosen the authenticity of non-actors, getting the correct language can be even harder. No matter the audience or client, your production is a specific product delivered at a specific time. We’d like to share some different ways our clients have used teleprompters to save time and money. Image in the prompter Any image can be placed in front of the lens. Most commonly it’s the face of your interviewer asking questions to your interviewee. This is a fantastic scenario for putting a nonactor at ease. Is your interviewer stuck in another city? Try Skype, we’ll get the image up in no time.
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PowerPoint slides In fact, anything on a computer screen can be put in front of the lens. Many clients choose PowerPoint slides as a guideline for what they’re saying to camera. Off camera Actors need to know what to say and where to look; this means a monitor with scrolling text can be placed wherever you want the actor’s eye line. Two actors facing each other? Try two monitors, one over each actor’s shoulder. Child actor? Keep them looking where you want and pop up an image that makes them smile. Presidential or podium You choose your words carefully. Now make sure you actually say them when it counts. Whether you’re a president, a CEO, or a motivational speaker, your time with your audience is limited and mistakes are costly. Teleprompters are a tool to keep you on schedule. AK Teleprompt isn’t just equipment, we’re experienced operators who understand sets, client relations, and value of time. Lastminute script changes, nervous talent, high-maintenance or high-profile clients, we’ve seen it all and enjoy doing whatever’s needed. Chris Duffel is COO at AK Teleprompt in Redmond, Washington. Visit www.akteleprompt.com.
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Digital One Earns Multiple Honors for Sound Design ortland-based audio post-production experts Digital One had a fantastic summer. The Cannes International Festival of Creativity, CLIO Awards, and the AICP Show recognized them, alongside Dig1 sound designer Chip Sloan, for work produced under their roof earlier this year. The award-winning Nike TV spot entitled “Jumprope” won Gold Awards at the 2012 AICP Show for Best Editing Digital One sound designer Chip Sloan. and Best S o u n d D e s i g n , a s w e l l a s a G o l d Aw a r d f o r B e s t S o u n d D e s i g n f r o m t h e 2 0 1 2 C L I O Aw a r d s , and a Bronze Lion at the Cannes International F e s t i v a l o f C r e a t i v i t y. T h e m i n u t e - l o n g T V s p o t , produced by Harvest Films Santa Monica and directed by the Hoffman Brothers, features prosurfer Kolohe Andino getting in the zone before h i s s u r f i n g w o r l d t o u r.
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Speaking of Lions, Digital One was also a part of the award-winning Old Spice Fresh Collection campaign spearheaded by worldrenowned Portland advertising agency Wieden+Kennedy. The radio campaign brought home three Radio Lions from Cannes for a hilarious Old Spice campaign featuring Isaiah Mustafa. The spot, titled “Look,” won a Gold Radio Lion, and the spots “Heart Tokens” and “Windows Down, Moods Up” both won Silver Lions. These commercials, written by Jason Bagley, Craig Allen and Eric Kallman of W+K, and engineered by Dig1’s Chip Sloan, were among 28,000 entries that came in from all over the world. Yes, proof that people still find good radio to be worth listening to. To view the award-winning spots, and get a glimpse at the other work that Digital One has done, visit www.digone.com.
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NW RECORDING STUDIOS/ AUDIO SERVICES
ADS Recording; Portland, OR 503-223-9941; fax 503-223-6073 ads-recording@comcast.net www.adsrecording.com
Ryan Wiley, president
2
AM Music; Fall City, WA 425-222-6660 ammusic@ammusic.net www.ammusic.net
Steven Ray Allen, president
1
Aurastan Music Designs Ltd.; Portland, OR 503-297-9254 greg@gregives.com www.gregives.com
Gregory Ives, CEO
2
Avast! Recording Co.; Seattle, WA 206-633-3926 www.avastrecording.com
Stuart Hallerman
2
Bad Animals; Seattle, WA 206-443-1500; fax 206-441-2910 wendi@badanimals.com www.badanimals.com
Dave Howe Mike McAuliffe Tom McGurk
DND
Bear Creek Studio; Woodinville, WA 425-481-4100; fax 425-486-2718 bearcreek@seanet.com www.bearcreekstudio.com
Ryan Hadlock, owner Jerry Streeter, manager
1
Bing Bang Boom!; Otis Orchards, WA 509-892-5382; fax 509-892-8102 info@bingbangboom.net www.bingbangboom.net
Bill Byrne, composer
2
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Blue Charles Prod., dba Studio Blue; Seattle, WA 206-783-6797; fax 206-783-6796 scot@bluecharles.com www.bluecharles.com
Scot Charles, president
1
Clatter&Din, Inc.; Seattle, WA 206-464-0520; fax 206-464-0702 tickle@clatterdin.com www.clatterdin.com
Peter Barnes, president Vince Werner, president Leigh Eckert, EP
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Cloud City Sound; Portland, OR 503-228-2222; fax 503-228-6819 sandi@superdigital.com www.superdigital.com/cloudcitysound.com
Rick McMillen
3
CryBaby Studios; Seattle, WA 206-660-0117 www.crybabystudios.com
Leigh Stone, owner Justin Wilmore, engineer Chris Proff, engineer
1
Dead Aunt Thelma’s Studio; Portland, OR 503-235-9693 mikem@thelmas.com www.thelmas.com
Mike Moore
1
Digital One; Portland, OR 503-228-3441; fax 503-224-7413 cameron@digone.com www.digone.com
Eric Stolberg, president Cameron Shaw, EP
4
Fresh Tracks Studio; Portland, OR 503-235-7402 jon@freshtracksstudio.com www.freshtracksstudio.com
Jon Lindahl, owner/engineer
1
Original Music Audio Production portland s los angeles Award winning scores & sound design Recording Ɣ editing Ɣ 5.1 mixing Ɣ voice casting Ɣ isdn Custom online music library : ConsciousMindMusic.com
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GMB Technical Corporation; Sequim, WA 206-851-6667; fax 866-605-5519 info@gmbtechnical.com www.gmbtechnical.com
Jeffrey Bruton, president
1
Grey Hawk Productions; Olympia, WA 206-595-8408; fax 360-754-9165 mark@greyhawk-productions.com www.greyhawk-productions.com
Mark W. Iler, owner
0
Hanzsek AV; Snohomish, WA 206-380-2641 hanzsekav@comcast.net www.hanzsekav.com
Chris Hanzsek
1
Hayton Multimedia; Conway, WA 360-840-0902 wayne@haytonmultimedia.com www.haytonmultimedia.com
Wayne Hayton
1
Brendan J. Hogan; Seattle, WA 206-678-2699 brendan@brendanjhogan.com www.brendanjhogan.com
Brendan J. Hogan
1
McComb Sound; Seattle, WA 206-774-7915 info@mccombsound.com www.mccombsound.com
Matt McComb, owner Maggie Garcia, producer
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Mirror Sound Studio; Shoreline, WA 206-440-5889 info@mirrorsound.com www.mirrorsound.com
Ken Fordyce, CEO Aaron Parks, engineer Diana Skye, manager
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Company City, State Phone; Fax E-mail Web site
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NW RECORDING STUDIOS/ AUDIO SERVICES
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,sr.editor/audio eng.
2
Orbit Audio; Seattle, WA 206-381-1244 orbitaudio@gmail.com www.orbitaudiorocks.com
Joe Reineke, owner
2
Pure Audio; Seattle, WA 206-728-6300; fax 206-728-1433 inbox@pureaudio.com www.pureaudio.com
Paul Goldberg, president Kathy Levin, studio manager
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Rex Post; Portland, OR 503-238-4525; fax 503-236-8347 info@rexpost.com www.rexpost.com
Russ Gorsline
3
Don Ross Productions; Eugene, OR 541-343-2692 don@donrossproductions.com www.donrossproductions.com
Don Ross
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Secret Studio Records, Inc.; Seattle, WA 206-935-1165 secretstudio@secretstudio.com
Mark Dabek, president
1
StudioBard; Portland, OR 503-273-2273 audiospa@studiobard.com www.studiobard.com
Michael Bard, head funkologist
1
Tim Underwood Productions/TheWebVoice.com; Bend, OR 877-284-7876; fax 541-317-0496 studio@tuproductions.com www.thewebvoice.com
Tim Underwood, owner
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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
4
Wattsmedia, Inc.; Seattle, WA 206-456-6553 david@wattsmedia.us www.wattsmedia.us
David Mangone, partner/EP/director Andrew Watts, partner
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Whiskey Ridge Recording; Marysville, WA 360-659-5462 mark.hibbert@comcast.net www.whiskeyridgeonline.com
Mark Hibbert
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Full service recording studio
Sound de sig Dialog ed n iting ADR Music pro duction Sound eff ects ISDN
541.343.2692 EUGENE, OR
donrossproductions.com
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HE S T NY S U ISC PA E D T COM W S HICH RTHWE W O IN N IES, FERENT LS. R E S DIF MA VIEW ITH A AD ANI R E B W NT ’S I EATEST S WITH . C N GR NUE IA I MED ST AND , CONTI LATE H ISSUE EAC n Emmy Award-winning audio postproduction facility, Bad Animals provides sound design/editing, original music, ADR, Foley, and mixing for projects ranging from episodic TV and feature films to video games, corporate and commercial. The Seattle-based studio is led by partners Dave Howe, Tom McGurk, Mike McAuliffe, and Charlie Nordstrom. Here is Howe, on the record.
A
BAD ANIMALS HAS A LONG AND STORIED HISTORY. WHAT IS THE BIGGEST CHANGE YOU HAVE SEEN OVER THE YEARS? Our biggest change has been the diversification of our clientele. When we took over as owners in 1999, we were primarily a commercial house. Now we probably don’t have more than 20 percent in any one genre (TV/film, corporate, commercial, etc.). WHAT DO YOU LIKE BEST ABOUT YOUR JOB? I love the fact that it’s different every day with new challenges that keep me growing. I also truly enjoy the people that I get to interact with; co-workers, clients, celebrities, politicians, corporate execs, you name it, they all walk through our doors. I joke about what it would cost to have received the education I’ve gotten over the years from being around these people. WHAT IS ONE RECENT PROJECT YOU ARE PARTICULARLY PROUD OF? I know it sounds hokey, but there really isn’t one I can place above another. I still get passionately involved with whatever I’m working on at the moment. My goal is to always keep setting the bar higher and make my next project better than the last. I can say 74
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I’m proud of many projects for various reasons. Sometimes it’s because of the nature of the work, but many times it has to do with the subject matter and the people that I’m working with. WHO OR WHAT INSPIRES YOU, EITHER PERSONALLY OR PROFESSIONALLY? I have been fortunate to have been mentored by some great people. My old high school baseball coach, Ron (L to R) Dave Howe, Mike McAuliffe and Tom McGurk at the Emmys. Davini, was a huge inspiration. He instilled a work ethic and discipline BAD ANIMALS HAS EARNED MANY PRESTIthat pushed me to be far better than I knew GIOUS AWARDS OVER THE YEARS. WHAT ARE I could be. This related not only to baseball, but SOME OF YOUR MOST GRATIFYING PROFEStranslated to life as well. A postSIONAL ACCOMPLISHMENTS? supervisor/editor at Universal, John Elias, I’m very proud of the national Emmy Awards taught me it’s not about the gear or tools, it’s for Bill Nye the Science Guy and also the about relationships and always bringing your Emmy nominations for BizKids. The fact best effort to anything you do. And lastly, I that these are voted on by industry peers want to mention Palmer Pattison. Palmer was means a great deal. I also had a Dolby rep probably the best audio engineer I’ve ever been from New York tell me a film I mixed was around and more than willing to pass on his one of the best mixes he’d ever heard. That knowledge and experience to me when I was was an awesome moment. still pretty green in the business. HOW IMPORTANT IS IT FOR YOUR COMPANY TO CONNECT AND ENGAGE WITH YOUR SURROUNDING COMMUNITY? This is where we live and work, so it’s vital to be involved. It’s important to try to help continue the development of this market because if the market as a whole grows, we all reap the benefits. We try very hard to give back and support local causes and artists. We do this through various outreach activities such as seminars, tours, discounted rates, sponsorships, etc.
IF YOU WERE NOT IN THE RECORDING/AUDIO INDUSTRY, WHAT WOULD BE YOUR DREAM JOB? It’s easy. Jet fighter pilot. I grew up an Air Force brat and was around flight lines a lot as a kid. It was a really tough decision to not follow my dad’s footsteps into the Air Force. IF YOU COULD BE ANYWHERE IN THE WORLD RIGHT NOW, WHERE WOULD YOU BE? I’ve lived all over and the one place I always look forward to returning to is right here in the Seattle area. We are fortunate to live in a place of incredible beauty and opportunity.
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