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CONTENTS FEATURES
VOLUME 24 • ISSUE 1 2012
PUBLISHER
James R. Baker ASSOCIATE EDITOR
10 DIGITAL MARKETING TRENDS THAT ARE HERE TO STAY 28 CONTENT MARKETING TAKES A DEEP COMMITMENT 36 AAF SEATTLE PRESENTS THE 2012 ADDYS
Katie Sauro SALES MANAGER
Katie Higgins SALES
Kathy Riley PRODUCTION MANAGER
John Rusnak DESIGNERS
Dawn Carlson Jenny Carlson WEBMASTER
Eric Pederson OFFICE MANAGER
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Audra Higgins
HERE’S TO OUR FUTURE, WASHINGTON INFORMATION SERVICES MANAGER
CONGRATULATIONS, WASHINGTON! REACTIONS TO THE FILM PROGRAM’S RENEWAL
8 WHO’S NEWS 16 PRINT ADVERTISING: CUTTING THROUGH THE DIGITAL NOISE 20 WHY PERSONAL PROJECTS ARE IMPORTANT 22 GA CREATIVE RECEIVES PRAISE FOR ADVERTISING CAMPAIGNS
Lois Sanborn
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 cur-
SCHOOL IS IN SESSION: 30 Q&A WITH CAL MCALLISTER
rent 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
32 34 35 4
$25 (+$2.20 if sent to WA address); two-year subscription is $37.50
“CONVENTION”-AL WISDOM
(+$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. Copyright © 2012 Media Index Publishing Group. All Rights Re-
THE COPYWRITER’S 7 STAGES OF CREATIVE ANGST
served. 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
THEY JUST DIDN’T CARE: WHY MANY EVENTS FAIL
MEDIA INC. ISSUE ONE 2012
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CONTENTS 38 39 60 62 64 66
RENT WEST: 70 CINE FROM SOUNDSTAGE TO CREATIVE CENTER
THREE TYPES OF BAD HIRES TO AVOID INCREASE YOUR SALES SUCCESS BY 50 PERCENT OREGON FILM ROUND-UP: WHAT’S NEW IN 2012?
71 PRO VIDEO: FROM THE GROUND UP ON THE RECORD: 78 MEDIA INC.’S Q&A SERIES WITH RED JET FILMS
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REPRESENTING THE NW AT SXSW
MEDIA INC. INDUSTRY LISTS
CAN, WILL, DO VS. CAN’T, WON’T, DON’T THE IMPORTANCE OF BEING SMALL IN THE LOCAL DUPLICATION INDUSTRY
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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 DAVID BACKES promoted to Senior Account Executive
Anvil Media/Portland CHRIS SLOWIK hired as Account Executive
Anvil Media/Portland BROOKE SNOW promoted to Account Exec/ Marketing Specialist
Blankslate Creative/ Seattle SHANNON COPSTEAD hired as Account Executive
Hanna & Assoc./ Coeur d’Alene, ID ADRIENNE RESSA hired as Art Director
Hydrogen Advertising/Seattle LAUREN MEADOWS-ROSE joined as Media Manager
Hydrogen Advertising/Seattle SCOTT SCHMEHL joined as Senior Art Director
Hydrogen Advertising/Seattle MARK TOMAS joined as Production Manager
Magner Sanborn/ Spokane, WA ETHAN CRAFT joined as Web Developer
Magner Sanborn/ Spokane, WA ALEXA LOHMEYER joined as Junior Web Developer
Magner Sanborn/ Spokane, WA DRAGAN RUSNOV joined as System Architect
McClenahan Bruer/ Portland LEIGH BROOKS hired as Art Director
McClenahan Bruer/ Portland BILL MCRAE hired as Senior Writer
posterGIANT/Seattle JAMIE BELLAMY hired as Accounts Manager
posterGIANT/Seattle OSCAR INGALLS hired as Campaign Manager
posterGIANT/Seattle ANDREW SEXTON hired as Sales Manager
Hunt Marketing/Seattle Front row, left to right: JASON WALDEN (Senior Production Artist), LISA REEDER (Account Director), THERESA TUCK (Senior Art Director). Back row, left to right: JOY BAXTER (Senior Production Manager), SHANNON BERNARDY (Assistant Account Executive), AYA YAGUCHI (Account Coordinator).
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Magner Sanborn/ Spokane, WA JAMIE BLATTSTEIN hired as Senior Level Copywriter
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Digital Marketing Trends That Are Here To Stay By Vicky Tamaru Guest Columnist
s someone old enough to enjoy playing Space Invaders when it was brand new, I’ve had the pleasure of watching digital trends emerge, morph and sometimes die off with an intense sense of wonder. Digital marketing is incredibly fast-paced; tools and technologies seem to change by the second. Some instantly make sense and can give you that “why didn’t I think of that?” moment, others may take awhile for us to appreciate, and then there are those that just don’t cut the mustard.
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when it comes to the use of visuals—it’s nothing new to the world of media in general—but visuals in the digital realm have been greatly enhanced by new technology. Whether it’s crossdevice compatibility or increased screen resolution, we have come a long way in offering a whole new visual experience to a massive online audience. Bland stock photos and bright, shiny buttons aren’t going to do you any favors. Images should tell a story, make a point, and have a purpose. From illustrations to animations and even something as simple as a logo, making it your own and a piece of art in and of itself will help to create a name for your brand.
Here are a few trends that have really struck me over the last few months in the realm of zeros and ones that are more than just flash-in-the-pan fads. GREAT VISUALS Not just good visuals; great visuals. Welcome to the Age of the Designer and if you aren’t working closely with one (or many) that really get your message, you should start now. The rise of infographics, video sharing and applications like Pinterest really illustrate how important visuals are to the online experience. They provide a pleasing format for users to consume information, while allowing them to have some amount of control over what they see. In other words, people are filtering their own content, so you had better make it a point to stand out. The advertising industry has always been pretty perceptive Sherwin-Williams Paint Company uses an interactive application to spread brand awareness while providing a free color selection service (www.letschipit.com) to Web users.
Pinterest and its rapid growth are a testament to the importance of images online and our need to curate our own digital experiences (www.pinterest.com/plexipixel).
INTERACTIVE APPLICATIONS People want to see how they can affect the world around them, even in the smallest of ways. We need to know we have a choice, and have the power to make something our own. This is where truly interactive experiences come in. Visuals are a key component of our iconic memory, which has seemingly unlimited space, but only for short periods of time. Interactive experiences help to bridge that gap by reaching the long-term memory, so creating branded interactive experiences will really give you some staying power. Interactivity isn’t only about being memorable; it’s also about ensuring you are creating relationships with people who will support your company through action. We live in a world overwrought with messaging. Creating something of value that users choose to spend their time on, and potentially share with friends Continued on page 12
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and family, is where I really find that “sweet spot” of marketing— that place where everyone wins. GAMIFICATION AND PLAY-CENTERED DESIGN If images and interactivity support memory building, then play is the Elmer’s glue-stick that holds it all in place. Play is important. It has been proven to increase retention, engagement and brand loyalty. While we’ve been talking about gamification for a few years now, there is a whole new trend of play-centered design that follows the theme of gamification—bringing fun into otherwise mundane activities. Many creative individuals and agencies in the comic book, toy
Spanning the worlds of toy making, illustration and branded music, Seattle agency Invisible Creature (www.invisiblecreature.com/shop/#/about) is a great example of how these wondrously creative worlds can collide.
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and gaming worlds are crossing over to marketing and advertising, and it turns out there is quite an overlap in methodology. We will always be looking at ways to improve gamification to create experiences that bring entertainment and value to the users, so teaming up with someone that really understands the basic human need for play can bring a vibrant new voice to your campaign.
Play is important. It has been proven to increase retention, engagement and brand loyalty. CROSS-PLATFORM ACCESS There are so many devices and platforms for viewing digital content, sometimes it can get a little overwhelming. Luckily there are some great new tools that can help bring digital campaigns to multiple devices without affecting the integrity of the content. Thanks to the concept of responsive Web design, HTML5, and frameworks like PhoneGap, the world of Web development is a much more mobile-friendly place. Continued on page 14
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Some examples of well-implemented responsive Web design from Media Queries (www.mediaqueri.es/popular/).
That being said, not all content is being produced in a multidevice-friendly manner. To ensure that your digital marketing efforts get the most ‘eyeball time,’ you have to plan accordingly and create mobile-friendly content. Be sure you are working with the right vendors or keeping your integrated team up-to-date on the use of these tools so that your campaign gets the visibility it deserves. HUMAN COMPONENT We are entering the Post-Digital world, and we are bringing our devices with us. People are not interested in giving up the modern conveniences that technology can afford us, but there is a certain fear we carry with us that we will lose our sense of humanity amidst the beeps and blips of cyberspace. So what do we do? Remember the human component. Great digital marketing isn’t about creating the most advanced
With less than half the marketing budget of a typical blockbuster film, the team that helped to engage the massive audience behindThe Hunger Games provides an excellent example for effective use of all five of these components. (www.thehungergamesmovie.com/intl/uk/index2.html)
applications with a cacophony of bells and whistles. By creating digital experiences that are beautiful to look at, worth our time, fun to play with and easy to access, you have an opportunity to not only reach new markets, but to create something that improves the human experience even if only to make it more enjoyable for a few moments. When you take a good, hard look at your digital campaign, ask yourself: “Would I pay attention to this?” Vicky Tamaru is co-founder and executive producer of Plexipixel in Seattle. www.plexipixel.com.
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Print Advertising: Cutting Through the Digital Noise By Jules Van Sant, Executive Director, PPI Association
s I’ve written in the past, I love my electronics. I’ve been texting now for over seven years, and have owned a smartphone for probably six of those. I own two iPads, multiple laptops, and a desktop at my office. I’ve been working with digital media so long… well, if I told you, you’d know how young I am.
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Technically a baby boomer, but more a Gen X in practice, I embrace new mediums, using them to better my work and personal life. They are assets and are clearly integrated into my daily life, as they are in the lives of my three children. I appreciate these new mediums, and see their impact on my—and future—generations. As these (for me, necessary) gadgets have integrated into our daily routines, we have seen digital messaging settle into the playing field with our more “traditional” mediums. Clearly, it’s here to stay. I am regularly on one of my devices to communicate, as well
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as to catch up on trends, news, community and world happenings… all the while having the ancillary opportunity to be educated and engaged about products and services through advertising. I’m guessing a majority of those reading this have experienced this, as well. But as I use my nimble fingers to find what I’m looking for, I have learned to tune out much of the noise (thank you, TIVO). What isn’t right in front of me, or at the bottom of my screen, I often don’t see. That’s where print advertising helps drive these digital opportunities further, serving as a branding tool and ultimately resulting in sales. Print reinforces what my eyes might see online through ads, e-mails and promotions, but rarely click through to. My teenagers and I will more often use search platforms to find out more about a product that we’ve seen in print. Consider the following studies reviewing multi-channel advertising and how print matters. These are courtesy of PrintInTheMix.com, a research clearinghouse out of the Rochester Institute of Technology, funded by The Print Council. Ads in Traditional Channels Noticed More According to a 2012 BrandSpark International/Better Homes and Gardens study, traditional advertising channels out-perform digi-
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newspapers (74%) following behind. Examining digital media, only 71% of search engine users say they always or sometimes notice ads on that channel, while 66% say they notice ads placed on social media. One-third of respondents shared that they never noticed social media ads; search engine user responses were similar.
tal channels in engaging American consumers. Data from the “American Shopper Study� shows that Americans engaged in a variety of traditional media are more likely to take note of ads than those engaged in digital media channels. For example, among users of traditional media, 97% say they always or sometimes notice TV ads, with magazine ads (86%), direct mail (82%), outdoor ads (80%), radio (79%), and paid daily
Women More Apt to Notice Traditional Ads The study also finds that women are more likely than men to notice ads among the various kinds of media—most often in traditional media. Marketing Charts reports the largest discrepancy is in magazines, with 88% of women who read magazines saying they often notice advertising in the medium (giving it a top 2 box score), compared to 80% of men. There is also a difference for direct mail (84% of female users vs. 78% of male users). The disparity is narrower for outdoor ads (81% vs. 79%), paid daily newspapers (75% vs. 73%), and online editorial/blogs (55% vs. 52%). Young Adults Pay More Attention to Digital Ads Not surprisingly, online users aged 18-24 were far more likely
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than those aged 65 and older to notice Internet ads (91% vs. 69%), search engine ads (76% vs. 52%), social network ads (80% vs. 41%), and online editorial/blog ads (70% vs. 32%). (Source: Marketing Charts, TV and Magazine Ads Get Most Attention, February 9, 2012.)
Many Consumers Just Prefer Reading the Printed Versions of Magazines According to another study—the Fall 2011 wave of Affinity’s American Magazine Study—there are almost 187 million magazine-reading adults in the U.S. The study finds that while 54% are now accessing magazine branded content and advertising in digital form—either through digital platforms only, or a combination of print and digital readership—almost half of all magazine readers (46%) are interacting with their favorite magazines exclusively in print. When asked why they are not currently reading magazine content digitally, analysis finds few consumers cite any challenges associated with the growing number of mobile devices designed to deliver magazines electronically. Instead, the majority (54%) report that they just prefer reading printed copies of magazines, with 44% expressing little or no interest in reading their magazines in a digital format. See more responses in the chart at right. With that said, almost one out of five print-only readers share that they will probably read or view magazine content in electronic form at some point in the future. (Sources: Affinity’s American Magazine Study e-mail press release; The Digital Magazine Divide; and the Fall 2011 AMS Audience Estimates news release.)
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Yes, time will continue to bring changes to the playground. Print, the old “king of the hill,” has had to find a new corner to play in. But the mediums named “traditional” and “digital” are settling into their spaces, and good ol’ reliable ink on paper clearly works with the rest. Even for this wired diva. Printed collateral and advertising pieces should be strongly considered as a viable, and—now more so than ever—measurable medium given emerging technologies. It is still the most multisensory, non-evasive delivery piece that will increase your ROI on advertising and marketing spends. By the way, when the power is out, your battery is dead, you’re on the beach… print still works, delivering your message to its intended audience.
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Why Personal Projects are Important By Bootsy Holler Guest Columnist
s scared as I was to show my work to an art director that first time, I found that once I did, I felt better.
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I started out as an artist, so when I naively started showing my work to agencies I was surprised to get a good response. The fact that I was different and not trying to stylistically shoot like anyone else was a plus. I didn’t come from a formal photography background; I was a designer and stylist. I was working instinctively with what felt right, and ultimately if something didn’t feel good, I would tear it down and start over. Making work more instinctually and making my subject feel comfortable was key for a great image. What was my book filled with when I went to show it? It was all personal work. And what do creative agency people want to see? Inspiring personal work. The best thing for us photographers to do is show you have a point of view and a style, which in turn shows your personality. There is only one you, so figure out what makes you special. “Be careful who you pretend to be because you are what you pretend to be,” Kurt Vonnegut once said. If you are not shooting what naturally comes out of you, then your work is not genuine.
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And my belief is people can see that ultimately in your images. The place you don’t want to get caught in is when you start making work for others and not yourself. You start thinking too much about what people want from you as a commercial photographer and then you’re not working from instinct. For me, what happens when I’m working on an art project is that I’m not trying to impress anyone and I’m not being influenced by what I think people want to see. So the less I’m thinking about what I’m producing, the better the work becomes. And we need this to create new techniques and ideas to keep our work fresh, and in the end, it impresses the agencies. So what it comes down to for us photographers is this: Always have your personal projects cooking in the background. These personal projects show who we really are and the work that we can produce. Many photographers shooting personal projects have found commercial work directly through a passion project. Personal work rejuvenates who we are and why we like to shoot. So dear photographers, go out and make some art and get inspired. Best known for her remarkably sensitive style of portraiture, Bootsy shoots professionally in the commercial world, but is always producing fine art and personal projects.
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GA Creative Receives Praise for Advertising Campaigns A Creative, an integrated branding and advertising agency in Bellevue, Washington, was recently recognized by the Audio Visual Awards (AVA) and the Service Industry Advertising Awards (SIAA) for its work with local health care provider Franciscan Health System (FHS).
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Television spots for Enumclaw’s St. Elizabeth Hospital and Franciscan Medical Group Primary Care, print ads for Primary Care, and billboards for Franciscan’s Prompt Care received these awards. GA’s TV advertising work may be viewed at www.youtube.com/TheGAChannel. St. Elizabeth Hospital, one of five hospitals in Franciscan Health System, received a bronze award for the 30-second television advertisement featuring a fast-paced and fun peek at the stateof-the-art facilities now available to plateau residents. Franciscan Medical Group’s Primary Care campaign received acclaim for its 30-second television advertisement, as well as for a three-part magazine advertising series, highlighting the superior skill and expertise of Primary Care physicians. The “All doctors are not created equal” campaign, starring actual Franciscan physicians, received a Bronze AVA Award, as well as a Silver SIAA Award.
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An SIAA award-winning billboard for Franciscan Prompt Care, as part of GA Creative’s campaign.
The Franciscan Prompt Care campaign, which features whimsical caricatures of “unexpected bumps, bruises and bugs,” received merit from the SIAA for billboard advertising that can be seen surrounding the Puyallup clinic. “It’s a thrill to see these campaigns recognized,” remarked Karen Axtell, GA Communications Strategist and FHS Account Manager. “It’s an acknowledgement that we’re effectively communicating the advanced care provided across the Franciscan system—by physicians, clinics and hospitals alike.” For more information, visit www.gacreative.com.
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Ad Ventures Design & Marketing; Seattle, WA 206-282-1719 www.adventureswebdesigndevelopment.com
D. Alex Howard, president Karen Skeens, CD
Adams Creative & Production Services; Des Moines, WA 206-824-6970; fax 206-824-7036 adamscreative@isomedia.com www.adamscreative.net
Dan Adams, president/CD
Ascentium Corporation; Bellevue & Spokane, WA, & Portland, OR 425-519-7700; fax 425-519-7701 sales@ascentium.com www.ascentium.com
Curt Doolittle, CEO Steven Salta, president Steve Farrell, ECD
Bamboo River Marketing; Portland, OR 503-761-4360; fax 503-761-2563 kirsten@bamboorivermarketing.com www.bamboorivermarketing.com
Kirsten Klug & Fer Klug, co-owners
Beyond 47; Seattle, WA 206-501-3054 info@beyond47.com www.beyond47.com
Kevin Maude, CEO Ben Medina, CD
Business Internet Services; Tacoma, WA 253-572-8288; fax 253-572-8303 info@bisc.com www.bisc.com
Janine Terrano, CEO
Clatter&Din, Inc.; Seattle, WA 206-464-0520; fax 206-464-0702 randy.yount@clatterdin.com www.clatterdin.com
Peter Barnes, president Randy Yount, web developer
CMD; Portland, OR & Seattle, WA 503-223-6794; fax 503-223-2430 info@cmdagency.com www.cmdagency.com
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Cole & Weber United; Seattle, WA 206-447-9595; fax 206-233-0178 britt.peterson@cwunited.com www.cwunited.com
Mike Doherty, president John Maxham, ECD Britt Peterson, director of business development
Copious; Portland, OR 503-255-1822; fax 503-419-9791 hello@copiousinc.com www.copio.us
Patrick Ezell, CEO Tim Haskins, president
Design Central; North Bend, WA 425-747-4115 mct@designcentral.com www.designcentral.com
Michelle Twohig, owner/designer
elephants & ants; Seattle, WA 206-256-0771; fax 206-282-3312 ann@elephantsandants.com www.elephantsandants.com
Ann Donovan, CD
Engine Interactive; Seattle, WA 206-709-1955; fax 206-709-1958 robin@enginei.com www.enginei.com
Robin Naughton, CCO
Gage Design; Seattle, WA 206-622-0905; fax 206-622-8824 bill@gagedesign.com www.gagedesign.com
William Gage, president
HB Design; Portland, OR 503-944-1000; fax 503-944-1030 gail@hbdesign.com www.hbdesign.com
Noma Hanlon, president
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Hemisphere Design; Tacoma, WA 253-779-5800 info@hemispheredm.com www.hemispheredm.com
Adam Welch Heather Stajgr Waymond Hampton
Hornall Anderson; Seattle, WA 206-467-5800; fax 206-467-6411 us@hornallanderson.com www.hornallanderson.com
Jack Anderson, CEO John Anicker, president Lisa Cerveny, president
InfoAdvantage LLC; Bellevue, WA 425-869-2157 web@infoadvantage.com www.infoadvantage.com
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Montana Banana Web Design; Seattle, WA 206-322-2435 info@montanab.com www.montanab.com
Stewart McCullough, CEO
Moto Interactive + Branding LLC; Portland, OR 503-914-5832 nibble@motointeractive.com www.motointeractive.com
Dru Martin, CD
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The New Group; Portland, OR 503-248-4505; fax 503-248-4506 doug.new@thenewgroup.com www.thenewgroup.com
Doug New, CEO Steve Marshall, president Susan Hawkins, COO
Northwest Web Construction Company; Vancouver, WA 360-260-0347 friendlyweb@nwwcc.com www.nwwcc.com
Kelly Burbank, owner
OakTree Digital; Portland, OR 503-517-3800; fax 503-517-3801 info-to-you@oaktree.com www.oaktree.com
John Schmitt
Opus Creative Group Inc.; Portland, OR 503-220-0252 todd.jetton@opuscreative.com www.opuscreative.com
Jim Fletcher, owner Todd Jetton, COO
Palazzo Creative; Seattle, WA 206-328-5555; fax 206-324-4348 richard@palazzocreative.com www.palazzocreative.com
Richard Roberts Pennie Pickering
Phinney Bischoff; Seattle, WA 206-322-3484; fax 206-322-3590 nathano@pbdh.com www.phinneybischoff.com
Leslie Phinney, CEO Holly Keenan, co-president Nathan Oliver, co-president
Plexipixel, Inc.; Seattle, WA 206-781-1405; fax 206-352-1311 info@plexipixel.com www.plexipixel.com
Vicky Tamaru, CEO
Ply Interactive, Inc.; Seattle, WA 206-283-1130 info@plyinteractive.com www.plyinteractive.com
Patrick Stroud, president
POP; Seattle, WA 206-728-7997; fax 206-728-1144 info@pop.us www.pop.us
Bill Predmore, founder/ president
Quango Inc.; Portland, OR 503-968-0825; fax 503-968-1565 wes@quangoinc.com www.quangoinc.com
Sean Henderson, president/ CEO
Realite Networks, LLC; Seattle, WA 206-621-8283; fax 206-299-9114 info@realitenetworks.com www.realitenetworks.com
Malania Calugas, president James Latham, CTO
Sandcastle Web Design & Development; Seattle, WA 206-325-5383; fax 206-568-3291 david@sandcastle-i.com www.sandcastle-i.com
David Newsom, principal Ashlee Bowell, principal
Seven2; Spokane, WA 509-624-1222 nick@seven2.net www.seven2.net
Nick Murto, principal Tyler Lafferty, principal
SightWorks, Inc.; Portland, OR 503-223-4184 info@sightworks.com www.sightworks.com
Eric Dayton, co-founder/CD Rusty Jennings, cofounder/technical director
Studio Prima Inc.; Seattle, WA 206-552-0345 say-hello@studioprima.com www.studioprima.com
Lindy Wishard, president
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Synchro Creative Communications; Bellevue, WA 425-885-5661; fax 425-957-7202 bonnie@synchrocreative.com www.synchrocreative.com
Bonnie Chelini Candy Young
Totera Web Systems; Seattle & Port Townsend, WA 360-385-0931 frank@totera.com www.totera.com
Frank DePalma, president
Visual Media Group; Bellevue, WA 425-457-7100; fax 425-457-7104 info@visualmediagroup.net www.visualmediagroup.net
Kelly Sparks, owner/queen bee
Williams Helde Marketing Communications; Seattle, WA 206-285-1940 slf@williams-helde.com www.williams-helde.com
Marc Williams, president
Wines of Washington Promotion; Seattle, WA 206-691-3883 bruce@wowpromotion.com www.wowpromotion.com
Bruce Bieber, CMO
Wire Creative, LLC; Milwaukie, OR 503-740-3759; fax 503-296-2875 info@wirecreative.com www.wirecreative.com
Greg Dorr Matt Mair Lowery
ZAAZ; Seattle, WA & Portland, OR 206-341-9885; fax 206-749-9868 info@zaaz.com www.zaaz.com
Shane Atchison, CEO
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Content Marketing Takes a Deep Commitment By Phil Reilly Guest Columnist
oday’s marketing landscape is all about content. Brand self-promotion has been replaced with content marketing, which benefits the audience.
contributed content, then shared that content on their own social media channels, and helped us achieve 1 million social media impressions during the event. Lesson learned: Share the wealth and everyone wins.
What is content? At CMD, we view content as digestible, informative, online resources that educate, entertain or move someone to action. We’ve witnessed the growth of content marketing firsthand with a number of clients. One in particular jumped on board a few years ago with a content marketing strategy that has made them the envy of other groups from their company. How did they do it? Here are a few highlights.
Explore Various Content Forms Blogs. Video. Podcasts. White papers. Video newsmagazines. Live stream broadcasts. Keep the audience engaged with different content forms and measure what they like best. You might be surprised by what types of content your audience prefers.
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Reader First The successful strategy revolves around a community portal that features content about industry topics and very little about the client’s products. CMD recommended a pure editorial approach and generates content for the portal that helps targeted readers with their jobs. The name of the client is rarely mentioned. At every turn, we ask, “How does this benefit the reader, and what are the key takeaways?” The year-over-year results we see support the strategy and the commitment: In one year, readership of the community blog grew 800 percent. Ongoing Effort The success of the campaign attracted a lot of interest from other clients who wanted to replicate the model. However, as a client, if you want to realize success you have to commit long-term to the strategy. You must prove to the audience that you are a credible source that has their best interests at heart. Starts-and-stops turn an audience off, and once they leave it’s difficult to get them back. Be ready to invest resources for at least one year in order to measure if your strategy worked or not. Thought Leadership At the beginning of the campaign our client asked, “What’s in it for us if we take this approach?” The answer was “thought leadership.” Customers coming to your Web site to learn how to do their jobs better, discover new industry trends, and read an expert opinion put you in a position of strength. Each blog read is a customer touchpoint. And they consume the content on their terms, not yours. That’s what it takes today to get in position to make a sale. Customers want to buy from industry leaders. Partner Up Bringing partner companies and outside voices in to a content marketing strategy expands the chances for success. Not only do these third-party voices lend credibility to your effort, they help promote the content they generate for you. For example, at a recent tradeshow we assembled nine partner companies who 28
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Identify Key Metrics Like anything else in marketing, you must measure how well your content strategy is doing. However, with a content strategy, metrics can, and should, be different than traditional measuring sticks. For this particular client, consumption is the most important metric. How many people are reading, watching, and visiting our property? That’s what makes the whole engine run, so we measure consumption on a biweekly basis. When you know what sells, you can package and re-deploy it in different ways. For example, at the end of last year we ran a blog about the Top 10 blogs the community consumed and saw the consumption metrics spike on those posts, some of which were several months old. It turned out that a number of people missed them the first time around and now they all seemed fresh, so giving the audience another chance at consuming them was a benefit. But if we hadn’t measured, we never would have known what to revisit. Plan, Plan, Plan Finally, a content calendar and roadmap with key messages is a must in order to sustain the content marketing effort. Content doesn’t magically appear, and must be planned well in advance to coordinate with events, product launches, industry shows and legislation. The more you can do in advance, the better. Kraft Foods does a lot of things right when it comes to marketing. I read an interview in Forbes the other day with the company’s director of content strategy and integration, Julie Fleischer, who talked about how Kraft creates content, measures success and interacts with target audiences. She mentioned one thing that jumped out at me and sums up content marketing: “To be successful in content marketing you have to take the time to get to know your consumer, what s/he needs, and how you can serve that need uniquely and authentically. Once you understand the role you play, all of the other elements—the channel mix and the role of channels, the creation/curation of content, etc.—can follow.” Well said. Phil Reilly is president of CMD, a synergistic marketing agency in Portland. www.cmdagency.com.
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School is in Session A Q&A WITH WEXLEY HEADMASTER CAL McALLISTER hoosing the name Wexley School for Girls, a Seattle-based marketing and ad agency, was a great way to get noticed and start a conversation.
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Co-founder and executive creative director Cal McAllister’s emphasis on creating experiences that engage consumers has built Wexley from a two-man start-up to an agency of 30 people leading national brands. Since 2003, Wexley has created integrated marketing campaigns that continue to exceed everyone’s expectations—client, consumer, their own—and deliver remarkable results. They are also the founders of the “Fan Factory,” a concept they use to engage, entertain and sustain consumers. Here, McAllister shares his thoughts on the latest advertising trends, Wexley’s integrated approach to advertising, and what sets them apart from other shops with tamer names. What trends do you see in how integrated advertising is implemented and tracked? McALLISTER: Advertising is more measurable than ever. The industry has reached a great point where we can learn, adapt and
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optimize by the minute, based on data we receive from campaigns. We’re no longer guessing about whether or not someone watched a TV spot or not. That’s great, but a sole focus on analytics to drive decisions will create a transaction-driven mentality with customers. At Wexley, we want to create an engaging experience, whether it’s a live event or a stunt that creates interactions for people who are either at the epicenter or thousands of miles away. That means a digital experience and a physical presence, and some form of press coverage. All are measurable. Those experiences create fans, so it’s not just about the sale, but also becomes about longerterm customer value. Not sure you can throw a hashtag on that, but we’ll still call it trending. What does integrated advertising entail, and how does Wexley make it work so well? McALLISTER: It probably means different things to different people. For Wexley, integrated advertising means taking advantage of a two-way conversation with the consumer on their terms. We believe the idea is the most important—it always comes back
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to a good idea and not the medium. From there, we look at the most relevant vehicles to reach our customer and have a sincere engagement with them. Some of them already exist and some we create. Successful integrated advertising is not about matching executions in an ever-growing checklist of media; it’s about making the same idea a feature in the right executions to engage your target. What is your main objective when creating integrated advertising approaches for your clients? McALLISTER: Engagement is one of, if not the most important, result our campaigns can achieve. We look at everyone as a potential fan of a brand. We drop them in different classifications, which helps us dictate how we’re going to engage them. Some folks need a reminder; some need an introduction. All the different mediums we have access to give us unique and interesting ways to start the conversation. We look for places consumers are willing to hear what we have to say. It can take a million shapes. Our creative process is focused on what we can give people to do, versus what we say to them. Clients who choose Wexley embrace the importance of genuine interaction between their brand and their customers. Share an example of how you successfully mixed advertising mediums for maximum impact. McALLISTER: We’ve been working with the Seattle Sounders Football Club since their launch. They’re amazing partners. They are willing to do just about anything in just about any medium,
but most folks in the Northwest know that story. A more recent example is how we helped launch Windows Phone, taking over Herald Square in New York a few months ago. We built a five-story phone with LED panels that opened to create stages. We did five hours of live programming, postered the surrounding area, gave offers driving people to retail in traditional media, and documented the whole thing on social media throughout the day. It was one of the most compelling things we ever accomplished. Our metric for success is our clients’ happiness and their fiscal success. Great creative achieves business goals. What sets Wexley School for Girls apart? Describe your ‘fan factory’ approach. McALLISTER: Wexley has been a ‘fan factory’ for years. We create the ‘fan factory’ by cultivating and igniting consumers’ love for brands. In essence, we are creating free brand messengers. Wexley is an advertising agency that creates joy and laughter for engaged fanatics who deliver value—in the real world race. We make voices scream. We make it rain dead presidents. I’d say this sets us apart. A lot of places are starting to offer stunts and guerrilla tactics these days, but we show years of history and success combining experiential with other forms of advertising. We were founded on solving the business problem before anyone commits to media, and it sets us apart. We use traditional media all the time now, but it’s a complement, not a force-feed. We also have a dozen chainsaw art pieces in our collection.
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“Convention”-al Wisdom THINKING OUTSIDE THE BOX YIELDS POSITIVE RESULTS AT MAJOR MUSIC AND TECH FESTIVAL By Doug Cox Guest Columnist
ow do you stand out from the crowd? That’s a difficult enough question under normal circumstances, so imagine what it takes to grab the attention of attendees at one of the largest film, music and interactive conferences on the planet—South By Southwest (SxSW).
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Branded pedi-cabs are prime advertising space at SxSW.
expecting it. We utilized chalk stencils and a street team to promote a DJ set for Nick Cannon. When street-level buzz (or lack thereof) can either sink your event or elevate it to legendary status in an environment where white noise is already deafening, it’s important to establish your street cred. On the street. Literally. In an environment where everything has already been done, everyone is supremely distracted, and the competition for attention is overwhelming, it helps to think a little differently. We’re unabashedly proud of how being—and thinking—differently can pay off with massive results. Deeply considering how to reach potential audiences is what we do on a daily basis. Doug Cox is the president and founder of posterGIANT, a national guerrilla marketing company based in Seattle with over a decade’s worth of experience reaching audiences efficiently and effectively.
BRIEFS
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Over the past 20 years, the festival has gone from a homegrown collection of regional artists to a monumental event attended by tens of thousands of pop culture junkies from around the world— a 24-7 avalanche of promotion and glad-handing that’s a potential marketing goldmine, assuming you can break through the noise. It takes strategic planning and creativity to get noticed—thinking outside conventional (pun intended) avenues. At posterGIANT, we specialize in doing things differently, but when TuneIn called and asked for our expertise in helping them cut through the constant clutter of SxSW promotional efforts, we knew we had our work cut out for us. Every March, every surface in Austin gets turned into a billboard and every twentysomething becomes a brand ambassador. When the going gets tough, the tough get crafty—and we were able to help TuneIn and other clients turn in high-impact efforts by a combination of skillful strategizing and street-level implementation. Want to get in front of a convention crowd? Try reaching people when they’re trying to get where they need to go. When traditional cabs are in short supply, branded pedi-cabs aren’t just prime advertising space—they’re a muchneeded (not to mention cool) addition to over-taxed transportation options. Rolling up to that buzzworthy party in a buzz-worthy ride is a win-win situation—for everyone involved. Anyone who’s ever conducted business at SxSW knows that an Bar coasters are another way to showcase your brand at conventions. overwhelming proportion of it gets done in bars. What better place to have your name displayed for the duration of the convention? With durable, branded bar coasters, we were able to keep TuneIn in the forefront of movers and shakers’ consciousness by subtly slipping their logo under beverages at every hip bar in town. Of course, not everyone in Austin participates in the convention or its related activities, so we utilized wheatpasting and wildposting across town to reach the locals where they live, work and play. And sometimes it’s good to catch people when they’re least
Tourism Walla Walla Unveils New Campaign Tourism Walla Walla has introduced a new tagline and integrated 2012 marketing campaign, signifying the next major step in the evolution of the Walla Walla Valley as a national leisure travel destination. The new “Share Walla Walla” tagline and campaign were developed by Bend, Oregon-based DVA Advertising & Public Relations, and are intended to take ownership of the many facets of ‘sharing’ a travel destination. The tagline is intended to serve a double meaning: residents sharing their valley with visitors, and visitors sharing experiences with friends, families, and loved ones. The Share Walla Walla concept will appear in Tourism Walla Walla’s 2012 advertising campaign, which will feature a variety of print, digital, outdoor, Web-based and other advertising channels. For more information, visit www.dvaadv.com.
HMH Takes Home Gold at ADDYs HMH, a creative agency with offices in Portland and Bend, Oregon, and Charlotte, North Carolina, received five Golds, nine Silvers and three Merit awards in this year’s statewide ADDY advertising industry creative competitions in Oregon, Idaho and North Carolina. “We’re delighted that our work has been recognized by our peers,” said HMH president, Ed Herinckx, “but most of all we are pleased to have the opportunity to do great work for our clients. Our team really delivered, and I’m honored to work with such talented people.” For more information, visit www.hmhagency.com.
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The Copywriter’s 7 Stages of Creative Angst By Diane Sorensen Guest Columnist
6:20am. Dark, cold and raining. So tired. Bed so warm. Stumble downstairs to the espresso machine. Push button. Feed cat. Slump over hot coffee and contemplate day. Must make list. 7:30am. Stage One: Productivity! I finish a difficult piece of ad copy and send it off to Client A. I’m happy with it and satisfied to know it’ll be waiting for her when she checks her e-mail this morning. I’m ahead of the game. I think I’ll knock off a draft of that landing page I owe Client B. 9:45am. Stage Two: Hope. I’m back in the kitchen, making a double mocha and all things seem possible. I feel confident. I can get everything on my list done this morning, leaving the afternoon free to concentrate on working with Doug, my art director partner, on a product launch campaign for Client C. I just have to stick to my hourby-hour plan. (Foreshadowing)
ance agent calls: I have to return the forms today. And I have to pay some bills, today. Okay, re-group. Buy time. I search my list. What can I push to tomorrow? 2:15pm. Stage Five: INFURIATION. E-mail from Client A: “We have a few more small changes to the copy. SORRY! Can you move the feature mentioned in the last line up to the intro? And about that word “impervious” in the subhead—I know what it means, but do you think our audience does? Deadline EOD.” 3:30pm. Stage Six: Despair. Ad rewrite for Client A is finished—again!—when Client D calls. They bought a company in Brazil. The logo Doug designed still works, but they want me to give the corporate tagline some “South American flare”? What does that even mean? Doug is standing in the doorway of my office. When are we going to work on that branding project? 5:45pm. Stage Seven: Resignation. Guess I’m working tonight…
Noon. Stage Three: Self-satisfaction. E-mail from Client A: “We love the copy. It’s perfect. We just need to change the call to action. (New offer.) Then we’re good to go! Please send back ASAP.”
6:20pm. Dark, cold and snowing. The e-mail flood has ebbed. The clients’ iPhone and Blackberry texts have quieted. I’m sure I’ll have some brilliant ideas after dinner and a beverage (or two). Right. Well, there’s always tomorrow…
1pm. Stage Four: Panic. My schedule is in complete disarray. An Infinite Conferencing call took what felt like an infinite amount of time. Meanwhile, my personal life has reared its head. My insur-
Diane Sorensen, copywriter, and Doug Hansen, art director, are Doug & Diane Creative Partners, specializing in B2B marketing communications since…forever.
WE’LL L MAKE E YOU YO SO SO HAPPY HAP PPY Y, W ’LL WE L WISH WISH WE WERE W E YOU YOU O . MARKETING M A RKETING :: BRAND B BRANDING ING :: DESIGN
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They Just Didn’t Care: Why Many Events Fail By Sam Harmon Guest Columnist
see it happen all the time—promoters put their heart and soul (and money) into some very cool events, only to have disappointing attendance because the target market simply didn’t care enough to attend. Thousands of dollars lost. Disappointed sponsors. Frustrated vendors. Entertainment, location and insurance that must be paid.
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And all too often, the problem was a poorly built bridge to the customer. In other words, their event advertising sucked. Youch! There are so many elements that must sync for an event to be successful, especially the selling of the event to the potential attendee, who is bombarded with so many other life options. But by using the “Hierarchy of Enticement,” the odds of a stable attendance will be much improved. Four of Impact Advertising Services’ most successful events are the Bite of Oregon, Portland Waterfront Blues Festival, Washington County Fair and Portland Roadster Show. The print ads are purposely busy. Yet there is a method to the madness: All have a solid “Hierarchy of Enticement.” That is, the most enticing elements are immediately seen, followed by a step-down effect
of content importance. The order is as follows: 1) One unforgettable visual that is always linked to a bold and powerful event name. A great event logo should be able to sell your event by itself! 2) Date and location. Simple, big and bold. Keep it fairly generic so it does not intrude on the dynamics of the primary event image/name. 3) Two or three photos of event features. Make sure the photos are close-up on the subject because the images are reduced fairly small in the ads. 4) Listings of best features and activities. This communicates that the consumer is getting their money’s worth. 5) Take care of those sponsors. Sure, it may affect the “visual integrity” of the ad, but your sponsors are your event’s pre-financial life-blood and they deserve all the respect you can give them. Make your presenting sponsors large and close to the event image/name, and those secondary sponsors, nice and clean across the bottom. 6) The last element is the logical information about the show (ticket prices, times, directions, parking, etc.). Keep it small, clean and readable near the bottom. It’s absolutely necessary to immediately get your potential attendees’ attention and in an enticed frame of mind with your event advertising. Miss that, and you’ll miss having a successful event. If you have any questions about your event’s advertising, call Sam Harmon at Impact Advertising Services: 503-233-4408.
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AAF Seattle Presents the 2012 ADDYs WHAT TO EXPECT AT THIS YEAR’S AWARDS CEREMONY he 2012 ADDY Awards Show was not held in time for Media Inc.’s press deadline, but we are so incredibly excited for this year’s big event, and we couldn’t help spreading the joy.
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Take a look at some of last year’s ADDY-winning work (pictured here) and get ready to see tons more like this at the April 12th event. Held this year at 415 Westlake, the annual awards show brings Seattle ad industry folks together to rub elbows, indulge in savory food and drink, and most importantly, to celebrate the stellar work produced by the Puget
Sound area’s agencies and creative firms. Many will enter, but only few will win the coveted ADDY. Entries were judged by a panel of ad agency creative directors and executives from across the country. The panel included: Ian Toombs (Anomaly NYC), Cameron Friedlander (Designkitchen), Shanky Das (Goodby, Silverstein & Partners), Ramina Khachi (rbx Brand Excellence), and Lotus Child (G2). To view the full list of winners and a recap of the night’s events, please visit www.media-inc.com on April 13. See you at the show!
BEST OF SHOW PRINT Publicis Seattle: KEXP “KEXP Out of Home”
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BEST OF SHOW JUDGE’S CHOICE DNA Seattle: Simple Mobile “Dog Trainer, Hot Tub”
The annual ADDY Awards Show brings ad industry folks together to celebrate the stellar work produced by the Puget Sound area’s agencies and creative firms.
BEST OF SHOW CAMPAIGN Creature: Sherry Council of America “Secret Sherry Society – Secret Door Tour”
BEST OF SHOW OUT OF HOME Creature: City University “Be City Wise – Ant Habitat”
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Three Types of Bad Hires to Avoid By Maria Scheleen Guest Columnist
iring good employees is arguably the most crucial aspect of running an agency. After all, if you’re not recruiting the right individuals to begin with, your ability to succeed in nearly every other aspect of the hiring process is greatly compromised. First, there’s the time spent trying to acclimate the new hire to your team, often to no avail. You also must deal with the havoc that the “wrong” employee can create: the business you may lose, the costs you incur, and the pressures on other employees. All in all, it’s a scenario best avoided. Following are three common types of poor hires and strategies for avoiding them: The “SOS” Hire. You need a mobile designer for an urgent project and can’t find someone with precisely the right skills— except for Dan, who is proficient in CSS, HTML, JavaScript, jQuery and Photoshop, as well as a number of other pertinent software. Dan’s technical expertise is so impressive and hard to come by that you’re willing to overlook the fact that he showed up late for the interview and checked his smartphone throughout. Don’t let an urgent need blind you to a flawed candidate. If you’re in a bind, buy yourself some time by bringing in someone on a project basis. The Mirror Image Hire. This candidate reminds you of someone you’re familiar with and admire… you! You adore how the
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applicant (like you) is a Pinterest fanatic and has a portfolio of work that’s similar to your own. Although she doesn’t seem at ease when presenting her ideas (something you can relate to), you’re hoping she can polish her speaking skills with time. While it’s completely natural to gravitate toward applicants with similar interests, you may be better off recruiting someone whose skills complement, rather than mimic, your own. The Groupthink Hire. Your seven team members have each met with three top contenders for an open project manager position, and they are divided on who should get the spot. Finally, you decide to hire Annie, because she sparked the least debate. While it can be useful to gather feedback about candidates from team members who will be working closely with the new employee, hiring by committee can cause you to select the least objectionable candidate rather than the strongest one. It’s better to let employees privately share their perceptions about job applicants with you, and then have one or two people make the final choice. Identifying and hiring the right team members for your agency can be harrowing for even the most adept managers. But you can increase the chances of choosing the right person by avoiding common hiring pitfalls, like those mentioned above. Maria Scheleen is the Seattle branch manager of The Creative Group, a specialized staffing service placing interactive, design, marketing, advertising and public relations professionals with a variety of firms. Visit www.creativegroup.com or contact 206-749-9046.
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Increase Your Sales Success by 50 Percent By Lisa Magnuson Guest Columnist
f you’re like most businesses, referrals are a vital part of keeping your sales pipeline full. As a matter of fact, according to Joanne S. Black in her book, No More Cold Calling, success rates for closing referral business are between 50 and 90 percent. And Tom Hopkins (Sales Prospecting for Dummies) pegs the close ratios for non-qualified leads at 10 percent versus a 60 percent close ratio with referred leads. There are two primary reasons for such impressive statistics: One, with a referral you are generally speaking to the right person, and two, they want to speak to you. You are gaining entry on the basis of trust and credibility—and in sales, this is gold. With data so overwhelmingly in favor of referrals as the primary driver of attracting more customers, then we must ask the question: Do you have a referral plan for your business? To kick-start your referral plan, consider the following: Build an Ideal Client Profile. Create an ideal client profile. This exercise can be enlightening to any sales person or business owner. Your profile might vary by product line or service. It should include the type of business (i.e. industry), size (i.e. revenue or number of employees), decision maker for your product or service (i.e. title and characteristics), culture, geography, and typical business problems that your offering is best suited to solve.
I
Consider Referral Resources. Brainstorm all your referral resources. These are the people, given the proper information, who would be in the best position to refer you. The quickest way to start your list is to analyze your existing contact database or LinkedIn contacts. As you’re building your inventory of referral resources, consider past colleagues, past employees, professional support resources such as lawyers, financial people, industry group contacts, and compatible business contacts (i.e. other business people with a similar ideal client profile). Refer Others. A great way to practice and create goodwill is to actively refer others. Ask business associates about their ideal client and typical results that they have achieved. Learn about their value proposition and then look for an opportunity to refer them. Don’t Wait. The experts all agree that referrals increase sales success by 50 percent or more. Don’t wait; get started on your referral plan today. To help you take advantage of all the benefits that an improved referral strategy can provide, I’ve unlocked the TLS Get Started Referral Worksheet that is normally available exclusively as part of our comprehensive sales toolkit that we provide to our coaching and training clients. You can download it today at no charge by going to www.toplinesales.com. Lisa Magnuson, sales strategist and founder of Top Line Sales, LLC, helps high potential and top performing sales people and business owners land larger deals, connect to new customers and expand business.
The Bran d D RT V Agen cy Inn ovati ve m arke ti n g th rou gh d i re ct resp on s e te l evi s i on .
crea t ive
pro duct io n
m a na g em ent
st r a t eg y
Relax. Targeted marketing is our specialty. www.gcdirect.com 206.262.1999 x 205
AT O M I C D I R E C T Por tland, Oregon
5 03. 2 9 6.6131
w w w. a t o m i c d i re c t . c o m
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14 Hands; Portland & Bend, OR 971-634-1777 (Portland)/541-385-7777 (Bend); fax 541-385-7792 georell@14handsagency.com; www.14handsagency.com
Elicia Putnam, founder/strategist Georell Bracelin, account services director
Ad Ventures Design & Marketing; Seattle, WA 206-282-1719 www.adventuresdesign.com
D. Alex Howard, president Karen Skeens, CD
Adlib Advertising Agency; Eugene, OR 541-342-5068; fax 541-342-5218 info@adlib.com www.adlib.com
Donna Smith, president
AHA! (Alling Henning Associates, Inc.); Vancouver, WA 360-750-1680; fax 360-750-1597 betsy@aha-writers.com www.aha-writers.com
Betsy Henning, CEO
Alt.; Seattle, WA 425-802-4458; fax 425-988-0114 stevef@thinkalt.com www.thinkalt.com
Steve Franklin, president
Apex Media & Marketing; Lake Stevens & Bainbridge Island, WA 425-334-1854; fax 425-334-2623 eric@apexmediaseattle.com www.apexmediaseattle.com
Eric Christenson Mike Weisner Jerrod Hainline
Atomic Direct; Portland, OR 503-296-6131; fax 503-296-9890 info@atomicdirect.com www.atomicdirect.com
Doug Garnett, founder/ CEO
Augustavo Burrus Advertising; Seattle, WA 206-442-0700; fax 206-442-0700 kevin@augbur.com www.augbur.com
Ed Augustavo, president/CD Kevin Burrus, partner/ senior writer Sherry Taft, media manager
Augustus Barnett Advertising/Design; Fox Island, WA 253-549-2396; fax 253-549-4707 info@augustusbarnett.com www.augustusbarnett.com
Augustus “Charlie� Barnett
BDC Advertising; Oregon City, OR 503-723-5723; fax 503-594-0526 alex@bdcadvertising.com www.bdcadvertising.com
Alex Brauer, president/CD
Carole Berke Media Services; Portland, OR 503-293-0599; fax 503-293-9008
Carole Berke
Beyond 47; Seattle, WA 206-501-3054 info@beyond47.com www.beyond47.com
Kevin Maude, CEO Ben Medina, CD
Blast Radius; Seattle, WA & Portland, OR 866-473-6800; fax 212-925-5247 hello@blastradius.com www.blastradius.com
Gurval Caer, president/CEO Riccardo Zane, GM Mark Waggoner, ECD
Blu Room Advertising; Steilacoom, WA 253-241-8912 charles@bluroomadvertising.com www.bluroomadvertising.com
Charles Davis, owner Russell Silva, cinematographer/editor
Borders Perrin Norrander; Portland, OR 503-227-2506; fax 503-227-4827 info@bpninc.com www.bpninc.com
Terry Schneider, CD/ chairman John Heinsma, writer Lori Gaffney, media director
Bradshaw Advertising; Portland, OR 503-221-5000; fax 503-241-9000 info@bradshawads.com www.bradshawads.com
Barbara Bradshaw, president
Brandner Communications, Inc.; Federal Way, WA 253-661-7333; fax 253-661-7336 info@brandner.com www.brandner.com
Kimberly Brandner, director of marketing & client services
Brick Duck Communications; Edmonds, WA 206-427-4570 incoming@brickduck.com www.brickduck.com
Tom Farmer, president
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Carr Knowledge Interactive Marketing; Orting & Seattle, WA, Portland, OR 360-872-0032; fax 360-872-0129 rich@carrknowledge.com; www.carrknowledge.com
Rich Carr, president
CBC; Portland, OR 503-249-9363; fax 866-754-1514 jeff@creative-brand.com www.creative-brand.com
Jeff Stephens, CEO
Charlton Engel Marketing; Portland, OR 503-234-0811; fax 503-234-0851 rob@charltonmarketing.com www.charltonmarketing.com
Rob Charlton, president
CMD; Portland, OR & Seattle, WA 503-223-6794; fax 503-223-2430 info@cmdagency.com www.cmdagency.com
Phil Reilly, president Mike Cobb, VP accounts Dan Hergert, VP/COO
Coates Kokes; Portland, OR 503-241-1124; fax 503-241-1326 jeanie@coateskokes.com www.coateskokes.com
Jeanie Coates, founder/ CEO Steve Kokes, president
Cole & Weber United; Seattle, WA 206-436-3710; fax 206-233-0178 britt.peterson@cwunited.com www.cwunited.com
Mike Doherty, president
Copacino + Fujikado, LLC; Seattle, WA 206-467-6610; fax 206-467-6604 jcopacino@copacino.com www.copacino.com
Jim Copacino, co-founder/ CD Betti Fujikado, co-founder/ client services
Creature; Seattle, WA 206-625-6994 kileym@creature-us.com www.welcometocreature.com
Jim Haven & Matt Peterson, principals Robson Grieve, president
SERVICES PROVIDED TR AD ITI ON AL ME BU D YI IA P NG L AN NI NG ON / SO LI N CI E AL / ME DI VI RA A L
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Daniels-Brown Communications; Olympia, WA 360-705-3058 info@danielsbrown.com www.danielsbrown.com
Stephen Daniels-Brown, president Celeste Daniels-Brown, VP
The Day Group, Inc.; Seattle, WA 206-652-3400; fax 206-652-3401 jday@daygroup.com www.daygroup.com
James P. Day, president/CEO
Destination Marketing; Mountlake Terrace, WA 425-774-8343; fax 425-774-8499 www.destmark.com
Dan Voetmann, CEO Scott Janzen, EVP Chris Settle, EVP Jerry May, EVP
DHX Advertising, Inc.; Portland, OR 503-872-9616; fax 503-872-9618 dave@dhxadv.com www.dhxadv.com
Dave DeMots, president Tim Holmes, VP Tim Cobb, managing director
Digital Kitchen; Seattle, WA 206-267-0400 info@thisisdk.com www.thisisdk.com
Tom Schmuckal, CEO Mark Bashore, head of creative Eric Oldrin, managing director
Direct Marketing Solutions; Portland, OR 503-281-1400; fax 503-249-5120 www.teamdms.com
Mike Sherman, CEO
DNA Seattle; Seattle, WA 206-770-9615; fax 206-770-9015 info@dnaseattle.com www.dnaseattle.com
Dan Gross, principal/ECD Alan Brown, principal/ managing director Chris Witherspoon, principal/ director of client services
Draftfcb; Seattle, WA 206-223-6464; fax 206-223-2765 nick.paul@draftfcb.com www.draftfcb.com
Nick Paul, EVP, Chief Growth Officer
DVA Advertising & PR; Bend, OR 541-389-2411; fax 541-389-1208 justin@dvaadv.com www.dvaadv.com
David Day, president/CEO Mary Ramos, director of client services Gary Fulkerson, CD
egg; Seattle, WA 206-352-1600 info@eggusa.net www.eggusa.net
Marty McDonald, CD/ partner Hilary Bromberg, strategy director/partner
Envision Response; Seattle, WA 800-809-8397; fax 206-299-3562 sean@envisiontv.com www.envisiontv.com
Sean K. Fay, CD/CEO Christopher Johns, director business development
EXCLAIM; Seattle, WA 206-368-0121; fax 206-368-0130 mlee@exclaimllc.com www.exclaimllc.com
Mai Li Lee, managing partner
Field Group; Yakima, WA 509-965-1780; fax 509-965-1990 media@thefieldgroup.net www.thefieldgroup.net
Jack Beeson, president
Fusionhappens, LLC; Seattle, WA 206-264-7707 kate@fusionhappens.com www.fusionhappens.com
Al Doyle, CD Bruce Woodstrom, client services
Gard Communications; Portland, OR 503-221-0100; fax 503-226-4854 vgrudier_edwards@gardcommunications.com www.gardcommunications.com
Brian Gard, president Scott Sparling, SVP Valarie Grudier-Edwards, VP/GM
Garrigan Lyman; Seattle, WA 206-223-5548; fax 206-223-0818 norene.sandifer@glg.com www.glg.com
Tim Garrigan, principal Rebecca Lyman, principal
Golden Lasso; Seattle, WA 206-838-3171; fax 206-838-3161 info@goldenlasso.com www.goldenlasso.com
Bridget Culligan, CEO Philip Shaw, president/chief strategist
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Grady Britton; Portland, OR 503-228-4118; fax 503-273-8817 info@gradybritton.com www.gradybritton.com
Paige Campbell, president/ partner Andy Askren, ECD/partner
GreenRubino; Seattle, WA 206-447-4747; fax 206-447-9494 jenb@greenrubino.com www.greenrubino.com
Cam Green, CEO/ECD John Rubino, president
Hacker Group; Seattle, WA 206-805-1500; fax 206-805-1599 cdillon@hackergroup.com www.hackergroup.com
Spyro Kourtis, president/ CEO
Hammerquist Studios; Redmond, WA 425-869-0191 fred@hammerquist.net www.hammerquist.net
Fred Hammerquist, president
Hanna & Associates Inc.; Coeur d’Alene, ID 208-667-2428; fax 208-765-8044 dayneh@hanna-advertising.com www.hanna-advertising.com
Dayne Hanna, CEO John Baechler, VP/creative Jeff Hanna, VP/media Kevin Sanders, VP/strategy
Heckler Associates Inc.; Seattle, WA 206-352-1010; fax 206-352-1011 tye@hecklerassociates.com www.hecklerassociates.com
Terry Heckler, president
HMH; Portland, OR 503-295-1922; fax 503-295-1938 kenp@hmhagency.com www.hmhagency.com
Ed Herinckx, president Megan Miller, director of account services Leah Henderson, CD
Hodgson/Meyers; Kirkland, WA 425-827-2506; fax 425-822-0155 getnoticed@hodgsonmeyers.com www.hodgsonmeyers.com
Gary Meyers, president
Hunt Marketing Group; Seattle, WA 206-447-5665; fax 206-447-5789 info@hmgseattle.com www.hmgseattle.com
Brian Hunt, president
Hydrogen Advertising; Seattle, WA 206-389-9500; fax 206-389-4849 deboraht@hydrogenadvertising.com www.hydrogenadvertising.com
Rick Peterson, president
ioCreative, LLC; Ferndale, WA 360-384-4640; fax 360-384-4650 contact@ioCreative.com www.ioCreative.com
Seth Murphy, president Tim Cathersal, CD
JayRay; Tacoma, WA 253-284-2531 scampbell@jayray.com www.jayray.com
Kathleen Deakins, CEO Shari Campbell, VP Jerry McLaughlin, VP
Jones Advertising Inc.; Seattle, WA 206-691-3124; fax 206-691-3495 mark@jonesadvertising.com www.jonesadvertising.com
Mark Jones, president
KBM Group; Seattle, WA 206-505-7500; fax 206-505-7672 www.kbmg.com
Bonnie Preece, VP
LION New Media; Lynnwood, WA 425-742-6828; 866-401-6127 sales@lionnewmedia.com www.lionnewmedia.com
Conrad Jungmann, managing partner
Magner Sanborn; Spokane & Seattle, WA 509-688-2200; fax 509-688-2299 dmagner@magnersanborn.com www.magnersanborn.com
Dennis Magner, president Jeff Sanborn, VP/ECD Brandt Heinemann, account planner
Magneto Brand Advertising; Portland, OR 503-222-7477; fax 503-222-7737 info@magnetoworks.com www.magnetoworks.com
Craig Opfer, CD
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NW AD AGENCIES Mandala; Bend, OR 541-389-6344; fax 541-389-3531 laury@mandala-agency.com www.mandala-agency.com
Matthew Bowler, partner/ president Paul Grignon, ECD Laury Benson, CFO
The Maris Agency, Inc.; Portland, OR 503-236-3486; fax 503-236-3521 admin@marisagency.com www.marisagency.com
Athena Maris, president/ CD
The Martin Firm; University Place, WA 253-565-2040; fax 253-565-0974 kfmartin@martinfirm.com www.martinfirm.com
Kathy Martin, president
Missions Media; Poulsbo, WA 360-598-3757; fax 360-598-3757 brian.missionsmedia@comcast.net
Brian Coolbaugh, owner
The New Group; Portland, OR 503-248-4505; fax 503-248-4506 doug.new@thenewgroup.com www.thenewgroup.com
Doug New, CEO Steve Marshall, president Susan Hawkins, COO
Nonbox; Portland, OR 503-227-1638; fax 503-417-8613 stevek@nonbox.com www.nonboxpdx.com
Steve Karakas, partner Steve Flood, partner/CD
North Inc; Portland, OR 503-222-4117; fax 503-222-4118 hello@north.com www.north.com
Mark Ray, principal/ECD Rebecca M. Armstrong, principal/managing director
Palazzo Creative; Seattle, WA 206-328-5555; fax 206-324-4348 richard@palazzocreative.com www.palazzocreative.com
Richard Roberts, president/CD
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CREATING WORK THAT WORKS SINCE 1992 Direct marketing strategy, creative and analysis
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Peterson Media, LLC; Portland, OR 503-235-9474; fax 503-232-9478 leslie@petersonmedia.net www.petersonmedia.net
Leslie Peterson, owner
Plexipixel, Inc.; Seattle, WA 206-781-1405; fax 206-352-1311 info@plexipixel.com www.plexipixel.com
Vicky Tamaru, CEO
posterGIANT, INC; Seattle, WA 206-850-0818 info@postergiant.net www.postergiant.net
Doug Cox, president Andrew Sexton, sales manager Oscar Ingalls, campaign manager Jamie Bellamy, accounts manager Barbara Mitchell, communications manager
Prime West, Inc.; Mt. Vernon, WA 360-424-5783; fax 360-542-4115 sharmon@primewest.com www.primewest.com
P. Steve Harmon, president/owner
PTown, Inc.; Portland, OR 503-241-2805 ptowncreative@hotmail.com
Christopher Rich, president
Publicis Seattle; Seattle, WA 206-285-2222 www.publicisseattle.com
Mark Cadman, CEO John Fitzpatrick, SVP
Purdie Rogers; Seattle, WA 206-628-7700; fax 206-628-2818 arogers@purdierogers.com www.purdierogers.com
Andrew Rogers, principal Geo Purdie, principal
Mike Pursel Advertising; Spokane, WA 509-464-0259 mikepursel@mikepursel.com www.mikepursel.com
Mike Pursel Sr. Mike Pursel Jr.
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
Rainmaker Creative; Spokane, WA 509-499-3399; fax 509-210-4600 www.spokanerainmaker.com
Billie Gaura, CD/principal Cindy Wiedmer, environmental designer Cameron Glass, relationship manager
remerinc; Seattle, WA 206-624-1010; fax 206-467-2890 info@remerinc.com www.remerinc.com
Dave Remer, CEO/CD
Rusty George Creative; Tacoma, WA 253-284-2140; fax 253-284-2142 info@rustygeorge.com www.rustygeorge.com
Rusty George, creative principal Kitura George, operations
R/West; Portland, OR 503-223-5443; fax 503-223-5805 seanb@r-west.com www.r-west.com
Sean Blixseth, president
Sands Costner & Associates; Tacoma, WA 253-572-2415; fax 253-572-9224 info@sandscostner.com www.sandscostner.com
Curtis Costner, agency dir.
Sasquatch; Portland, OR 503-222-2346 info@sasquatchagency.com www.sasquatchagency.com
Ken Chitwood Mike Smith
The Silver Agency; Centralia, WA 360-736-8065; fax 360-330-7960 cori@silveragency.com www.silveragency.com
Coralee Taylor
Smart Marketing, Inc.; Tigard, OR 503-539-4963 lisa@you-r-smart.com www.smartmarketing.ws
Lisa Olson
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SPANISH LANGUAGE MEDIA Celebrating
206-230-9242
20 Y• ears Consulting
www.dougndiane.com
Celebrating
He draws the pictures. She writes the words. They argue over the headlines. • • • • •
Branding Copywriting Design Digital illustration Program management
22 Years
ISSUE ONE 2012 MEDIA INC.
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Smith, Phillips & DiPietro Advertising; Yakima, WA 509-248-1760; fax 509-575-7895 bob1@spdadvertising.com
Rob Phillips, partner Bob DiPietro, partner
Square Tomato; Seattle, WA 206-264-0644 info@sqtomato.com www.sqtomato.com
Frank Clark John Juan Lin
Stanton & Everybody Advertising & Design; Seattle, WA 206-224-4242; fax 206-224-4264 www.stantonandeverybody.com
Rick Stanton, CD/president Jon Njos, media director/ VP Cynti Oshin, director client services/new biz development
Steelhead Advertising Inc.; Portland & Ashland, OR 800-359-9302; fax 503-296-2041 info@spawnordie.com www.steelheadadvertising.com
Jason Ehrlich, partner/president Galen Wright, partner/CD Joel Marshall, partner/EVP
Steenman Associates; Sammamish, WA 425-427-9692; fax 425-427-9693 ed@steenmanassociates.com www.steenmanassociates.com
Ed Steenman, CEO
Stevenson Advertising; Lynnwood & Tri-Cities, WA 425-787-9686; fax 425-787-9702 brett@stevensonadvertising.com www.stevensonadvertising.com
Brett Stevenson, president Tim Grand, VP Kathy Balcom, VP
Synchro Creative Communications; Bellevue, WA 425-885-5661; fax 425-957-7202 bonnie@synchrocreative.com www.synchrocreative.com
Bonnie Chelini Candy Young
Tactical Marketing Group; Tacoma, WA 253-678-2617 kevin.hayes@tacticalmark.com www.tacticalmark.com
Kevin Hayes, principal Doug Hudak, principal
tbd Advertising; Bend, OR 541-388-7558; fax 541-388-7532 info@tbdagency.com www.tbdagency.com
Paul Evers, president/CCD
Turtledove Clemens, Inc.; Portland, OR & Seattle, WA 503-226-3581 jay@turtledove.com www.turtledove.com
Jay Clemens, CEO Linda Higgons, EVP Stuart Samuelson, VP
Wexley School for Girls; Seattle, WA 206-438-8900; fax 206-438-8992 headmaster@wexley.com www.wexley.com
Cal McAllister, co-founder Ian Cohen, co-founder
White Horse; Portland, OR 503-471-4200; fax 503-471-4299 whitehorse@whitehorse.com www.whitehorse.com
Jen Modarelli, CEO Lisa Osborne, dir. media services
Wieden+Kennedy; Portland, OR 503-937-7000; fax 503-937-8000 sarah.woodward@wk.com www.wk.com
Dan Wieden, co-founder/ global ECD John Jay, global ECD Dave Luhr, COO
Williams Helde Marketing Communications; Seattle, WA 206-285-1940 slf@williams-helde.com www.williams-helde.com
Marc Williams, president
Wilmerco; Seattle, WA 206-462-2260; fax 425-771-7337 info@wilmerco.com www.wilmerco.com
Lynn Sweeney
Wines of Washington Promotion; Seattle, WA 206-691-3883 bruce@wowpromotion.com www.wowpromotion.com
Bruce Bieber, CMO
Wong, Doody, Crandall, Wiener; Seattle, WA 206-624-5325; fax 206-624-2369 www.wdcw.com
Pat Doody, president Tracy Wong, ECD
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Produce, protect, and deliver your brand.
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DCGWest.com 206.784.6892
Effective and Efficient Media Solutions Providing the experience, judgement, buying power and media solutions your business needs to grow in today’s economy. Ä‘Ĺ? 1((Ĺ? %/ (+/1.! Ä‘Ĺ? +Ĺ?.!,.!/!*0 0%+*Ĺ? +*0. 0/Ĺ? Ä‘Ĺ? +Ĺ?.!0 %*!.Ĺ?"!!/ Media Planning and Buying: Television Radio Internet New Media Newspaper Magazine Direct Mail Outdoor Transit
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apexmediaseattle.com ISSUE ONE 2012 MEDIA INC.
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Here’s to Our Future, Washington MOTION PICTURE COMPETITIVENESS BILL SIGNED INTO LAW By Jessie Wilson, Communications Consultant, Washington Filmworks
FLASHBACK TO 2011: In June of 2011, the Motion Picture Competitiveness Program sunset, in essence halting five years of significant effort to maintain Washington’s viability on the national filmmaking scene. Efforts to renew the legislation that funds our state’s film incentive program passed the Senate in 2011. Unfortunately, the bill stalled in the House of Representatives and was never called to the floor for a vote. The sunset of this program was an undeniable blow to our state’s film industry. The Joint Legislative Audit and Review Committee (JLARC), an independent body of the legislature, had recommended the Motion Picture Competitiveness Program be reinstated. JLARC backed program renewal because it offered a return on the state’s investment and effectively maintained Washington’s position in a competitive marketplace. Yet despite significant contribution to Washington’s economy, the bill to renew the Motion Picture Competitiveness Program sunset on June 30, 2011. The law establishing the program provided that Washington Filmworks could collect up to $3.5 million each calendar year from contributors who were eligible for a dollar-for-dollar B&O tax credit from the Department of Revenue. The Washington Film-
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works board was able to gather this amount before the tax credit expired. This enabled the organization to provide incentive funds for 11 projects in 2011. Knowing that the renewal of the program was uncertain, the Filmworks board developed a contingency plan, which would allow the portion of the program that serves as the state’s film office to continue on a limited basis through June of 2012. After reviewing the organization’s budget, the board took action to reduce staff and all other expenses, while still allowing for meaningful assistance to productions interested in filming in Washington. This also allowed staff, the board, and the community to prepare for another round of lobbying in Olympia the following year. CUT TO 2012: Slightly battered, Washington’s film community had pulled itself up by the bootstraps and was ready for take two on the road to renewal. Facing another state budget shortfall, combined with a short legislative session, provided challenges for the program’s renewal. However, the legislature had made it clear that creating and maintaining jobs was a priority. This gave some hope; the Motion Picture Competiveness Program was designed to create jobs and provide sustainable work for the local film industry. Coming to terms with our bill’s underdog status in this economic
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climate, Washington Filmworks had become a little leaner and meaner. We were officially savvier and determined to keep our supporters informed. As a result, we launched a legislative blog to keep the film community in the fight. Since the bill had stalled during the 2011 legislative session, it once again landed in the house of origin—the Senate. We continued to have great support from our champion, Senator Jeanne Kohl-Welles (Seattle), but this time the landscape had shifted slightly. The Motion Picture Competitiveness Program passed out of the Senate with an overwhelming majority—40 yeas, 8 nays, and 1 excused. The bill, now known as 2ESSB 5539, was headed back to the House of Representatives where the bulk of our fight would still lie. We were somewhat anxious at this news, as the bill had been significantly amended in the House Ways and Means Committee the prior year. Simultaneously, we had reason to feel cautiously optimistic. Washington’s film community was rallying in a way not witnessed in 2011. Washington Filmworks was hearing word that people were taking action, calling legislators, writing letters and e-mails, and visiting Olympia. We were copied on thousands of e-mails to elected officials across the state in support of the Motion Picture Competitiveness Program. Ironically, as our state’s film community was fighting to maintain their industry, Washington Filmworks’ filmmaking alumni were raking in awards and nominations. 2011 films produced through the incentive program were charming the pants off critics and audiences on the 2012 film festival circuit. Safety Not Guaranteed was a darling of Sundance, where it earned world-
wide distribution, while Eden and Fat Kid Rules the World premiered at SxSW, both eventually going on to win Audience Awards. It was clear, Washington had a slew of successes to share with our legislators. A new rally call was put to the film community. Washington Filmworks asked them to get informed, get involved, and get renewed. We knew we could not pass this legislation without their involvement. By early March, things had intensified in Olympia and the legislative session was slated to end in less than a week. By now 2ESSB 5539 had been declared necessary to implement the budget (NTIB), but Olympia had taken a page from Hollywood’s book and things were starting to get dramatic. On the evening of March 2, the GOP seized majority control of the Senate and passed their own version of the budget. Suddenly we were witnessing rare political and parliamentary maneuvers that had not been seen in Washington for over 25 years. Was it time to worry? Was 2011 doomed to repeat itself? Washington Filmworks’ legislative team still felt there was a chance to be heard in the House, and the Washington film community had turned up the heat. Calls and e-mails were flooding into legislators’ offices yet again. Elected officials in each district were hearing from constituents in support of the incentive. There was word from Olympia that their voices were being acknowledged, but it was getting down to the wire. One tremendous hurdle still faced our film community. The bill was referred to the House Ways and Means Committee, where it was amended during the 2011 legislative session. In fact, Ways and Means Committee Chair Representative Ross Hunter had cut the annual funding for the program in half, crippling its effectiveness
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and stopping the momentum that has been created through the film program. Not wanting a repeat performance, on March 7, Washington Filmworks and members of the community headed to Olympia to testify in front of Representative Hunter and members of the House Ways and Means Committee. We were prepared for an underdog scenario, and while Representative Hunter was expectedly outspoken, the support from the rest of the room was apparent. The majority of Representatives in the room spoke in favor of the bill and opponents appeared to have become the minority. Phenomenally, before the Committee could vote on the bill, it was pulled to the Second Substitute Calendar, making it eligible to be heard on the House floor. On March 8, Washington Filmworks and much of our state’s film community spent the day watching the House Floor debate on television. The anxiety was palpable in our office and on our social media platforms. We were fielding questions on parliamentary procedure as other measures came to the floor. By the afternoon the film bill had not been scheduled for a vote and we knew there were no guarantees one would happen. The House had until midnight to consider any bills, and as day turned into evening, 2ESSB 5539 was still not up to be heard. We could only watch and wait, all the while recalling last year. Would that night’s dinner be the equivalent of a last meal for the Motion Picture Competitiveness Program? Around 9pm, Washington Filmworks heard word from our legislative team that the film incentive bill would indeed come to the floor. We were glued to our televisions and computers to watch what unfolded. We had done all we could do. If our strategy had worked, cautious optimism told us to expect
renewal of the Motion Picture Competitiveness Program, but the vote would tell the true story. The Representatives began to speak in support of the bill and the legislation was opened to a vote. Our jaws dropped as the number of “yeas” on the tally board rose higher and higher, finally closing with a count of 92 in favor and 6 against. After 2ESSB 5539 passed out of the House of Representatives, the bill was sent to Governor Gregoire’s office for her signature. It was officially signed on the evening of March 29, 2012, and will become law 90 days after the end of the 2012 legislative session, or June. A HAPPY ENDING This legislative renewal campaign had all of the elements of a Hollywood blockbuster, but one made in Washington. The story is born out of the classic underdog plotline. There were definitely protagonists and antagonists, there have certainly been overwhelming odds, and there was undeniably a lot on the line. When the credits roll, there are many heroes to recognize. None of this would have been possible without the support of the bill’s sponsors, especially Senator Kohl-Welles and Representative Phyllis Gutiérrez Kenney. Washington Filmworks would also like to acknowledge the Speaker of the House, Representative Frank Chopp, who was essential in bringing the Motion Picture Competitiveness Program to the floor for a vote. Watching our industry take ownership of their future has been amazing and we tip our hats to the tremendous grassroots efforts of the film community. It has been an inspiring thing to watch. Here’s to our future, Washington.
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Congratulations, Washington! Reactions to the Film Program’s Renewal embers of Washington’s production community poured forth with celebratory—and congratulatory—words about the Motion Picture Competitiveness Program’s hard-fought battle for renewal. Take a look...
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I was privileged to be a “Team Captain” working with Washington Filmworks. While the process seemed frustrating and mind boggling at times, it was great learning the political ropes and was such a joy to see the House vote! Now we can celebrate, briefly, then it’s back to work! Bring it! – GORDON ADAMS, Big Fish NW Talent
Our members look forward to going back to work on the many projects this legislation will provide and we look forward to working with our industry colleagues to use this program to bring many jobs to the state and expand this program in the future. We would also like to offer a very sincere thank you to all the legislators who stuck by our growing industry and voted this legislation into law. We applaud you! – DENA BEATTY, Executive Director, Screen Actors Guild, Seattle/Portland Over the last few years, I have watched our local filmmakers mature into a very well-organized, savvy and creative bunch. Washington has an incredibly talented group of leaders in our film community. Ms. Amy Lillard is an amazing asset. She and Mr. James Keblas are two intelligent, informed, diligent and inspired leaders for our group of businesses, and our state is reaping the benefits from their unique talents. We are thrilled that they now have the tools they need to compete with the 44 other states that have incentive packages. – PETER BARNES, President, Clatter&Din The incentive is so important in so many ways, but for me, it does the following: Supply me with seasoned, awesome crew that are not forced to leave town for work. My company personally contributes to the incentive with our taxes. We are making money and funding it too. – SUE CORCORAN, Director, Von Piglet Productions/Women in Film 56
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When I heard the news about the Washington film incentive passing the House I was in Austin at the South by Southwest Film Festival, where my film Eden was premiering. Eden was shot almost entirely in Washington state, as were two of the other biggest hits of the festival, Fat Kid Rules the World and Safety Not Guaranteed. All three of these films were incentivized by Washington Filmworks, and all have garnered awards and increased the recognition of our state as an amazing place to make films. I couldn’t be prouder to be part of this community, and now that our incentive is back I look forward to building on that reputation for years to come! – MEGAN GRIFFITHS, Writer/Director, Eden & The Off Hours
I’m thrilled. The signing of this bill now makes Washington competitive again with other states vying for this important industry. This will be a benefit to our local economies and local workers at all levels. With over 40 features shot and produced here in Eastern Washington, I expect we could double that number in the coming years. Washington is such a great place to shoot and produce films with our diversity and variety of locations. It will be great to be back on set. – RICH COWAN, Co-owner, North By Northwest Productions I just spent two weeks scouting locations in Manitoba and North Carolina to double a location in Washington that we already have. Without the incentive I can’t encourage the investors or producers to shoot here even if the location is perfect. – JENNIFER ROTH, Executive Producer, The Details & World’s Greatest Dad As an advocate for Washington’s production community, Hendricks & Lewis is delighted to see the renewal of the Motion Picture Competitiveness Program. This program encourages the production of film, television and commercials in our beautiful state, and is a great tool to win business and keep Washington workers employed. Job well done to the Washington film community for its determination to renew this program and keep Washington State in the movie business. – CAITLIN A. BELLUM, Attorney, Hendricks & Lewis PLLC
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Passage of the Motion Picture Competitiveness Program, Senate Bill 5539, is good news for the Washington film community. The Program administered through “Washington Filmworks” will continue to strengthen the film industry in Washington State by attracting and encouraging investment in film production jobs and economic activity by providing up to $3.5 million in annual tax credits to qualified motion picture and commercial producers through 2017. – J. BOWMAN NEELY, Attorney, Hendricks & Lewis PLLC
Obviously, I’m very pleased that the incentive package passed. I think it is a very important piece of legislation that benefits everyone in the state, not just the film industry. A competitive film industry provides revenues from ancillary services such as restaurants, hotels, rental cars, etc., in addition to the filmrelated services hired for the production. In short, everyone wins. – DAVE HOWE, Principal, Bad Animals This couldn’t be better economic news for Spokane. We have an outstanding, experienced production workforce and we want them working on projects here at home, rather than having to leave town to make a living. The Motion Picture Competitiveness Program ensures that Spokane’s reputation as a film-friendly community will continue to expand and our state will stay on the radar as a great place to make movies. – JEANNA HOFMEISTER, VP/Director of Destination Marketing, Visit Spokane
Comments from Media Inc.’s Blog Readers chime in on the Motion Picture Competitiveness Program’s renewal: It’s a smart move for Washington business and a good investment in local jobs and economies. The way the bill is structured ensures that only money spent in Washington is eligible for rebate—it’s a strong, smart piece of legislation with a proven track record. –Basil I think the Motion Picture Competitiveness Bill is just fine in my book. It’s about time the playing fields got leveled. Personally, I don’t think any one who opposes the bill has any right to consider themselves part of the Washington Film Community. Just sayin’. -JORDAN
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BRIEFS
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Northwest Film Fund Winners to Compete at Tribeca Off Label, a new documentary by October Country filmmakers Michael Palmieri and Donal Mosher, will compete in the World Documentary Feature competition at the Tribeca Film Festival, which runs April 18-29. Off Label won the 2011 Northwest Film Fund, an artist support grant given to documentary filmmakers in the Pacific Northwest by Northwest Film Forum. The award, announced in October, was an $11,000 cash award that came with a package of services that included legal consultation, 80 hours of post-production support with leading Seattle post houses, and meetings with KCTS-Channel 9 and the Seattle International Film Festival. It represents one of the largest single grants given to filmmakers in the Northwest. Applications for the 2012 Northwest Film Fund will be accepted in May. For more information, visit www.nwfilmforum.org.
Seattle Filmmaker’s Documentary Makes U.S. Debut After leaving her job in the tech industry, Seattle filmmaker Wyatt Bardouille started her own film production company to pursue a more artistic path. In 2008, along with her mother and sister, she returned to the littleknown Caribbean nation of Dominica to make a film about her roots. Together, the women uncovered a much deeper story about the island and its history of devastating hurricanes, political upheaval and limited resources. Like Seattle, one of the greenest cities in the world, Dominica's primary focus is on sustainability, as it expands from an economy based mainly on agriculture to one tapping the other gifts that nature has bestowed upon it. The new documentary short, Dominica: Charting a Future for Paradise, tells the remarkable story of how Dominicans, both local and abroad, are coming together to develop the “future industries” of ecotourism and green energy, and move agriculture in a more sustainable direction. Dominicans feel that the country could possibly be the world’s first fully sustainable nation. Yet the Nature Island nation must overcome challenges in its continuing struggle for development in a competitive, global world. “This engaging 35-minute feature with powerful voices, striking visuals and iconic music, tells the Dominica story through those who have lived it,” said Mervin Matthew of GIS News, Dominica. The film was accepted into the Africa World Documentary Film Festival and screened in Barbados on March 8, and in St. Louis on March 26. For more information, including a trailer and photos, visit www.dominicaparadisefilm.com.
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Oregon Film Round-Up: What’s New in 2012? ith more than $110 million in production spend, 2011 was a record-shattering year for Oregon film and television. But never content to rest on its laurels, the state’s film community continues to grow and attract major productions in 2012. Here’s a look at some recent Oregon production projects:
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Wheel of Fortune The popular game show was on location in Portland from March 30 through April 3. Pat Sajak, Vanna White, and the entire Wheel of Fortune crew filmed in the Rose City for the first time ever, taping four weeks’ worth of episodes at the Oregon Convention Center. The process of getting Wheel to Portland was quite a long one. According to a Portland Business Journal article by Web editor Suzanne Stevens, the effort began in 2002. The show had recently aired from Seattle, and Portland’s ABC affiliate KATU began campaigning for the city to host the show. Producers scouted the area three different times over the years before deciding to film in the Oregon Convention Center. In May 2011, Vanna White and a small crew came to Oregon to film on-
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location bumpers at locations such as Multnomah Falls, Pioneer Square, and Pittock Mansion. Finally, in late March, the entire Wheel cast and crew—totaling in the hundreds—arrived in Portland to film its 20 episodes, which are set to air in May.
Leverage TNT’s Leverage began filming season five in early March. This is the fourth season that the show, which is produced by Dean Devlin’s Electric Entertainment, has filmed in Portland. According to estimates, by the end of this season, the show will have spent more than $100 million in-state. In season five, not only is the production moving to a larger soundstage—a newly-renovated, 60,000-square-foot production space in Clackamas County—but the gang is also officially moving to Portland. In previous seasons, the action has been set in Boston but filmed in Portland—but this time around, the show will be set in Stumptown. The Oregon production community is eager to see what this change will mean for the show. Cast and crew are currently shooting the 15-episode season, which will premiere July 15 with an episode featuring guest star Cary Elwes. Grimm In mid-March, it was officially announced that Grimm has been Continued on page 77
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Representing the NW at SxSW everal Washington- and Oregon-made films screened at this spring’s South by Southwest (SxSW) Film Festival. Here’s a look at a few of them:
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Eden Seattle writer/director Megan Griffiths’ third feature film made its premiere at SxSW this year—and won three awards in competition. Eden won the Audience Award for Narrative Feature, the Jury Special All photos courtesy SxSW.com Award for Performance (Jamie Chung), and the SxSW Emergent Narrative Woman Director Award. The film is based on the true story of human trafficking survivor Chong Kim, played in the film by Chung. Set in New Mexico but filmed entirely in Washington last year, Eden was incentivized by the Washington State Motion Picture Competitiveness Program. Blue Like Jazz Adapted from Donald Miller’s best-selling 2003 memoir of the same name, Blue Like Jazz is about a Texas college student (played by Marshall Allman) who flees the hypocrisy of his religious upbringing and lands at “the most godless campus in America”—Reed College in Portland. The film, directed by Steve Taylor, was partially filmed in Nashville and partially in Portland on Reed’s campus. The coming-of-age comedy was picked up by Roadside Attractions and will open nationwide in April.
1 out of 7 Based on actual events, this film takes you on the journey of a teenage girl trying to escape her abusive mother and in the process finds herself joining the forgotten “street kids” living in the shadows of Portland. The film was shot in and around the city, including at Union Station, back in 2007. Directed by York Shackleton, the film made its premiere as part of SxSW’s Community Screenings program, which offers free film screenings to the public. Safety Not Guaranteed In this quirky indie comedy, three Seattle magazine employees (Aubrey Plaza, Jake Johnson and Karan Soni) head out on an assignment to interview a guy who placed a classified ad seeking a companion for time travel. Directed by Colin Trevorrow and filmed in several neighborhoods around Seattle, Safety premiered at Sundance in January and was subsequently picked up by FilmDistrict. The film hits theaters on June 8.
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Fat Kid Rules the World This Seattle-shot feature, also incentivized by the state’s Motion Picture Competitiveness Program, was included on IFC’s list of “must-see” films at SxSW. Helmed by Matthew Lillard (in his directorial debut) and based on a popular young adult novel, Fat Kid is a coming-of-age story about a dysfunctional teen who rises to the top of Seattle’s music scene. Making its world premiere at the festival, the film screened in the Narrative Feature Spotlight category and won an Audience Award.
endeavor of the imagination come to being,” said director/producer Luna. “They Star of Population: 2, Suzanne Tufan on set.
Director Gil Luna on set.
Population: 2 Earns Indie Fest Award
Left to right: writer/director Gil Luna, DP/cinematographer Kenneth Luba, actress Suzanne Tufan, and producer Jonathan Stark.
deserve to be recognized and this award is a sign of their accomplishment.” Moon Tribe Studios in In other news, Population: collaboration with golight2 has been confirmed as an lyfilms, inc. has won the official selection into the prestigious Award of Merit Star Suzanne Tufan and DP Kenneth 45th Annual WorldFestfrom the Indie Fest. The Luba on the set of Population: 2. Houston International Film award was given for Gil and Video Festival, which Luna’s exciting feature film Population: 2, which frames what it would be like to live in the end takes place April 13-22. Not only will the film days into the apocalypse. The Oregon-produced screen at the festival, but it has also been nomifilm features exceptional production quality, nated for a prestigious Remi Award. Stated Kenneth Luba, “As the DP and cinelocations, visuals and sound, and Suzanne Tufan is captivating as Lilith in the lead role. matographer, I am honored to have our film, “I couldn’t have had a better group of people Population: 2, world premiere at WorldFest this to work with to make such an ambitious year! Working alongside writer/director Gil Luna, 62
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we created a strong and inspirational independent film shot and posted in the Northwest.”
golightly’s Zaloudek Wins Award at Accolade Competition Kaja Zaloudek of Portland’s golightlyfilms, inc., has won a prestigious Award of Merit from The Accolade Competition. The award was given for her production of “+ 100 Years of Art and Design.” The video was written, produced and directed by Zaloudek for The Pacific Northwest College of Art and Design. The Accolade Competition recognizes film, television, videography and new media professionals who demonstrate exceptional achievement in craft and creativity, and those who produce standout entertainment or contribute to profound social change. Zaloudek would like to thank: Bingo Lewis Editorial (editor Nancy Anderson), Kenneth Webster of Innervoice Studios, REX Post, Koerner Camera Systems, Ed Henry, Bob McKeehan, Vana O'Brian, Mercedes Rose, Brent Rogers, The Estate of Marian Wood Kolish and Bruce Guenther/Deborah Royer of the Portland Art Museum. To see the award-winning video, visit vimeo.com/4771121. For more info visit www.golightlyfilms.com.
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Can, Will, Do vs. Can’t, Won’t, Don’t By Tim Underwood Guest Columnist
customer asks: “Hey... you guys have any openings next week?” A business answers: “Nope, and unfortunately we won’t until the following week.”
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A customer asks: “Hey... you guys have any openings next week?” A business answers: “We can get you in the following Monday bright and early at 8 o’clock... will that work for you?” In essence, the question was answered the same way in both scenarios. Though one of the two responses certainly sounds less off-putting than the other. If you chose the second example as the more welcoming of the two, good for you! It’s a little rule I have and insist that my employees follow—telling clients what we can do for them versus what we can’t do for them. Your business won’t always have the right light bulb or be able
to accommodate that last-minute repair. Restaurants inevitably run out of their Catch of the Day, and the dentist isn’t always readily available after the sticky taffy was. It happens. So when you’re responding to a customer, take note of how many times the words can’t, won’t and don’t appear in the transaction. Then, the next time the situation presents, try substituting can, will and do. It’s a very subtle change that will help turn short-term disappointment into long-term satisfaction. Tim Underwood is the owner of Tim Underwood Productions. Tim Underwood Productions is tucked cozily into Downtown Bend, Oregon’s historic Post Office Plaza building and specializes in radio commercials, e-Learning and on hold messaging. We’re passionate about our craft, hell-bent on customer service and proud of what we deliver! Click around at TheWebVoice.com for samples of our work.
It’s a little rule I have and insist that my employees follow—telling clients what we can do for them versus what we can’t do for them.
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The Importance of Being Small in the Local Duplication Industry By Pip McCaslin Guest Columnist
started my company, Realtime, Inc., back in ’86 as an audio cassette duplicator. A really small business.
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Back in those days our primary clients were local bands and musicians, with a smattering of regional voice-talent and business types. My initial pile of consumer tape decks eventually expanded into a massive, semi-automated stack of 120 professional Nakamichi machines, racked-up vertically in a giant L shape in the basement. For amusement we would sometimes turn off the lights in the production room and watch all the pretty LEDs dance up and down as the Nirvana or Pearl Jam tapes hummed away. Realtime rode the indie-music and dot-com industry bronco throughout the ’90s, as demand for the five-inch CD and DVD exploded. Scads of local bands, media companies and record labels graced our humble doorstep: Sub Pop, The Presidents of the USA, the Opera and Symphony, Saltmine Creative, Fastrax, Popllama Records, Microsoft, Boeing. The Realtime Command Center buzzed like the control tower at SeaTac. The energy was formidable—and our lunchtimes were fabulous! Realtime was still a small business. The new millennium brought an era of profound change and
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consolidation in the media industry. By the end of the decade, the wide-open Internet and lure of far away mega-operations took some work out-of-state. As its local competitors folded or got gobbled up by the Big Whale, Realtime kept its head down and continued to nurse a nice niche market. The Great Recession forced the “less is better” mentality on many consumers. While challenging, the downturn hastened the demise of plastic packaging and the switch to eco-boardstock sleeves. This has been a good thing. I noticed something a few years ago: People started flocking back to the small local guy. A rediscovered respect for local, community and region pervades the consumer mindset. Genuine homegrown cottage industry is irresistible to people tired of the big box experience. Looking back over the past 25 years of action-packed Realtime duplication and packaging, I am glad of one thing: That I always kept the company small, manageable and accessible to our clients. It’s a strategy that has worked well over the long-term. Through technological change and industry upheaval, Realtime has maintained a vibrant operation, focused on its core Pacific Northwest clients. As long as physical media and packaging remain viable in the marketplace, I expect to be here. Maybe another 25 years? Pip McCaslin is owner/operator of Realtime, Inc. in Seattle. Visit www.realtimepip.com.
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KTVA Productions Celebrates 25 Years
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NEWS: • “Baby Jessica,” Jessica McClure, falls down the well and is later rescued. • Black Monday (October 19), Dow drops 22%, had topped 2,700, ends 1987 at 1938. • Wall Street financier Ivan Boesky sentenced to three years for insider-trading. • German pilot lands airplane on Red Square, Moscow. • The last California Condor was taken into captivity. • Margaret Thatcher re-elected to third term as British PM. STATISTICS: Population: 242,288,918 Life expectancy: 74.9 years Cost of a first-class stamp: $0.22 Average cost of new house: $92,000 Average monthly rent: $395.00
Average price for new car: $10,305 Gasoline: $.89/gallon Bacon: $1.80/lb Eggs: $.65/dozen SPORTS: • Super Bowl: NY Giants def. Denver. • World Series: Minnesota def. St. Louis. • NBA Championship: LA Lakers def. Boston. • Stanley Cup: Edmonton def. Philadelphia. SCIENCE & TECHNOLOGY: • The first 3-D video game invented. • Bill Gates (32) becomes micro-computing’s first billionaire. • Search for Nessie reveals no evidence after $1.6-million investment. • International treaty calls for a 50% reduction in the use of CFCs by the year 2000. • Supernova 1987A, the first “naked-eye” supernova since 1604, is observed. POP CULTURE: • Nobel Prize for Literature: Joseph Brodsky (U.S.). • Grammy Award, Record(ing): “Grace-
Providing operators and equipment
ick Phillips started KTVA-MilwaukieCh.3 (later to become KTVA Productions), a local cable advertising channel, in 1987. A few other items of note occurred that same year.
land,” Paul Simon. • Grammy Award, Album: The Joshua Tree, U2. • Grammy Award, Song: “Somewhere Out There,” B.Mann, C.Weil, J.Horner. • Les Miserables is awarded 8 Tony Awards, including Best Musical. • Oscar, Best Picture: The Last Emperor. • Oscar, Best Director: Bernardo Bertolucci, The Last Emperor. • Oscar, Best Actress: Cher, Moonstruck. • Oscar, Best Actor: Michael Douglas, Wall Street. DEATHS: • Rita Hayworth (b.1918) American film actress • Fred Astaire (b.1899) American actor • Danny Kaye (b.1913) American actor • John Huston (b.1906) American film director KTVA Productions, Custom Video Services since 1987. Said owner Rick Phillips, “This is the best job in the world. Thanks for the memories!”
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Bullseye Disc; Portland, OR 503-233-2313; fax 503-233-4845 sales@bullseyedisc.com www.bullseyedisc.com
Curtis Kidwell, president
Cravedog, Inc.; Portland, OR 503-233-7284; fax 503-345-0864 info@cravedog.com www.cravedog.com
Todd Crosby Michael Fitzgerald
Diversified Systems Inc.; Redmond, WA 425-947-1500; fax 425-947-1501 mari@dsgi.com www.dsgi.com
Robert Sambrook, president
Dubs Inc.; Seattle, WA 206-624-3827; fax 206-624-3854 contact@dubsinc.com www.dubsinc.com
Charles Core, co-owner Troy Murison, co-owner
EMA Video Productions, Inc.; Portland, OR 503-241-8663; fax 503-224-6967 emellnik@emavideo.com www.emavideo.com
Ed Mellnik
Film to DVD (division of Tobin Cinema Systems); Spokane Valley, WA 509-922-7841; fax 509-315-9895 filmtodvd@comcast.net www.tobincinemasystems.com
Clive Tobin, president Susan Dow, customer service
KTVA Productions; Portland, OR 503-659-4417; fax 503-659-4438 mail@ktvavideo.com www.ktvavideo.com
Rick Phillips, owner
Lightpress, Inc.; Seattle, WA 206-462-4717 info@lightpress.tv www.lightpress.tv
Jeff Tillotson, president Eric Rosen, VP
NW Media Inc.; Portland, OR 503-223-5010; fax 503-223-4737 jeannea@nwmedia.com www.nwmedia.com
Jeanne Alldredge
Pacific Multimedia; Everett, WA 425-347-4110/888-373-8273; fax 425-710-9932 jim@pacmultimedia.com www.pacmultimedia.com
James Campbell, owner
Paragon Media; Seattle, WA 206-808-7600; fax 206-808-7601 solutions@paragongroup.com www.paragongroup.com
George M. Ricci, CEO
ProMotion Arts; Seattle, WA 206-938-0348; fax 206-493-2987 info@promotionarts.com www.promotionarts.com
Steve Crandall, managing director Aaron Andersen, managing producer
Realtime, Inc.; Seattle, WA 206-523-8050; fax 206-524-0711 pip@realtimepip.com www.realtimepip.com
Pip McCaslin, CEO Rebecca Sikes, secretary
Rex Post; Portland, OR 503-238-4525; fax 503-236-8347 info@rexpost.com www.rexpost.com
Russ Gorsline, GM Tara Krick, business manager
Rocket Pictures, Inc.; Seattle, WA 206-623-7678 les@rocket-pictures.com www.rocket-pictures.com
Les Fitzpatrick
Seattle Motion Picture; Seattle, WA 206-632-3717 info@seattlemotionpicture.com www.seattlemotionpicture.com
Ron Tennison, project manager
Victory Studios; Seattle, WA 206-282-1776; fax 206-282-3535 conrad@victorystudios.com www.victorystudios.com
Conrad Denke Saul Mitchell Nolan Lehman
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Cine Rent West: From Soundstage to Creative Center ou can hear rain. You can feel rain. But unless it’s a tropical downpour, you’ll have a tough time actually photographing rain.
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That was the challenge facing the creative team for Nike Brand Design. As they planned the photo shoot for Nike’s new line of rain gear for runners, they wanted to show a real athlete running through actual water droplets suspended in the air—the exact experience of many Northwest runners. “Producer Thea Bergeron called me to set up the shoot,” says Chris Crever, owner of Cine Rent West. “He told me that they wanted it to be actually raining in the studio. And we agreed that we would have to build a 600-square-foot wading pool in the middle of our soundstage.” When completed, the shallow pool looked like an industrial koi pond with a bridge down the middle. DP Kevin Fletcher utilized the power of the high-speed Phantom digital camera, capable of taking 1,450 frames per second at full resolution. While the rain was released from a tank above the ramp, the model/athlete would run through it and be photographed. One of the production challenges was to strongly backlight the “rain” so it showed up well, but still have the model and her Nike clothing look really good. In the end, the technique worked. “The results,” says Crever, “were stunning.” The photos will appear as part of Nike’s product launch this spring. Crever points to this as one of many recent examples of clients choosing Cine Rent West not just as a place to rent a big soundstage for a day (though it is the biggest in Portland), but as a place for creative problem-solving. After creating a cultural icon out of the new Old Spice Man, played by actor Isaiah Mustafa, Weiden+Kennedy chose Cine Rent West for several evolutions of the campaign. First there was the challenge to the new Old Spice Man from new, new Old Spice Man contender Fabio. In a specially-designed bathroom set, the two exchanged witty barbs in response to social media messages. (Fabio ultimately lost his challenge.) Then for Christmas 2011, W+K returned with the old Old Spice Man. From a cheery log cabin set, he gave gifts to all 7 billion living humans in a series of 37 YouTube videos. Cine Rent West has been a fixture in Northwest production for the past 25 years. It was originally Will Vinton’s studio where he created memorable animation work like the California Raisins. It was purchased by the Snazelle Film Group in the 1990s, but after several successful years suffered with the decline in the production business. In 2001, assistant cameraman/real estate investor Chris Crever purchased the facility with the sole intention of turning it around. In addition, he added a tenant base that is complementary to film, television and multimedia production. From still photographers to casting agencies, editors and branded entertainment companies, the Northwest Production Center has 70
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Nike shoots at Cine Rent.
been a vibrant collective of creative professionals under one roof for the past 11 years. With more than two decades of commercial production experience, Crever has developed a sharp sense for how successful campaigns for brands are developed and how those brands can strategically focus their message. He also has expanded and developed his relationships in the film community with his keen understanding of the needs of Cine Rent now attracts national production companies and ad agencies. clients such as Nature’s Recipes. In the 11 years since he purchased it, the studio has gone beyond attracting regular production work from prominent local and regional clients. Now it’s becoming a destination for national clients who travel from all over the country. A recent example is Nature’s Recipes. This pet food division of Del Monte Foods recently chose Cine Rent West for a cat food ad shoot. The agency flew up from San Francisco. The client flew in from New York. And the director and his feline star flew up from the L.A. area. Half the stage was taken up by a living room set and the other half became a backyard, complete with several hundred square feet of real grass sod. Northwest creatives know that our region has a unique kind of “cool.” It’s recognized by local companies and their marketing firms. Now it’s being recognized nationally and clients are willing to travel from outside the area to borrow some for their brand. “Clients can go a lot of different places if they just want to rent studio space,” says Crever. “We knew that if we wanted to compete, we would have to be a place where top creatives could do their best work. So from the beginning we’ve worked to be a place where ‘cool’ could happen.” Cine Rent West’s completely soundproofed 71 x 72 production studio is located in the heart of Northwest Portland near Montgomery Park. More info at www.cinerentwest.com.
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Pro Video: From the Ground Up ic Gamble started his video career while working for Sony USA back in the ‘80s, while attending California State University, Northridge. A new division was starting called Business and Industrial Video. Gamble decided that the technology and clientele was headed in a direction that he wanted to follow.
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“I set my goal to working from the ground up, learning every aspect of this new industry with the hope of someday owning my own dealership,” said Gamble. After many years of hard work, he finally pulled the trigger. He and his wife relocated to Portland and opened Professional Video and Tape, Inc. (PVT) in 1991. For the last 21 years, PVT has prided itself on offering great value. The company has a full demo floor with tons of gear available for demo, rental and purchase, and offers a hands-on experience before you buy. PVT not only sells and rents gear, from the simplest of camcorders to the high-end Canon Cinema EOS line, but they also service and integrate what they sell.
The company’s on-site service department is a huge benefit to customers. “We have helped so many people over the years to keep their projects going without interruption,” said Gamble. “That’s always been something that we all take pride in. It must work because most of our customers have been working with us for many years.” Integration and design have been a major part of PVT’s success over the years. In fact, the company built the first, from-the-groundup, state-of-the-art HD TV station on the West Coast. They have also done a complete re-build of one of the Northwest’s largest local TV facilities, along with many other major projects in the cable and production industry. All throughout the Northwest, PVT has integrated, designed and maintained sophisticated video systems for state capitols, military, community access, universities, long-distance learning centers, production, professional sports, and corporate entities. Said Gamble, “As you can see, we have come a long way in 21 years.” For more information, visit www.provideoandtape.com.
“I set my goal to working from the ground up, learning every aspect of this new industry with the hope of someday owning my own dealership.” –Vic Gamble
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Absolute Digital Broadcast Rentals; Bellevue, WA 206-768-9828; fax 425-861-9743 info@absolutedigi.com www.absolutedigi.com
Rey Serna, owner
Cine Rent West; Portland, OR 503-228-2048; fax 503-228-1789 chris@cinerentwest.com www.cinerentwest.com
Chris Crever, owner
CineMonster, Inc.; Seattle, WA 206-780-3907 dale@cinemonster.com www.cinemonster.com
Dale Fay, president
Event Communications; Portland, OR 800-283-COMM support@eventcomm.us www.eventcomm.us
Wayne Lund, president
FocalPoint Digital; Portland, OR 503-245-5300 steve@focalpointdigital.com www.focalpointdigital.com
Steve Smith, owner
Fremont Media Studios; Seattle, WA 206-838-9080; fax 206-838-9088 info@fremontstudios.com www.fremontstudios.com
Scott Jonas, president
Glazerâ&#x20AC;&#x2122;s Camera; Seattle, WA 206-624-1100 rentals@glazerscamera.com www.glazerscamera.com
Rebecca Kaplan Ari Lackman Bill Seymour
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Kenmar Water Truck Service; Stanwood, WA 360-652-3725; fax 360-652-3725 kenmarwater@aol.com www.kenmarwatertrucks.com
Kenneth Fowler, owner
Key Code Media; Seattle, WA 206-728-4000; fax 206-728-4001 seattle@keycodemedia.com www.keycodemedia.com/seattle
Andrew Takacs, NW territory manager
Koerner Camera Systems Inc.; Portland, OR 503-274-6533; fax 503-274-5446 michael@koernercamera.com Seattle, WA office: 206-285-7334; fax 206-285-7335 seattle@koernercamera.com; www.koernercamera.com
Michael Koerner, Portland Karen MacDonald, Seattle
Morgan Sound; Lynnwood, WA 425-771-7257; fax 425-670-1656 johnh@morgansound.com www.morgansound.com
Charlie Morgan, president
Northern Lights; Mountlake Terrace, WA 425-774-1905 doug@loud.net www.loud.net
Douglas Jones, president
Northwest Helicopters; Olympia, WA 360-754-7200; fax 360-754-1761 duttecht@nwhelicopters.com www.nwhelicopters.com
Brian Reynolds, president Doug Uttecht, GM
Northwest Production Services & RVs; Seattle, WA 949-212-9735 chris@nwproduction.com www.nwproduction.com
Christopher Gonzalez, owner
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Company City, State Phone; Fax E-mail Web site Nuge Inc. (Go4Nuge); Seattle, WA 206-234-4075; fax 206-333-1137 dave@go4davenugent.com www.go4nuge.com
David P. Nugent, owner Bobbi Gerlick, co-owner
Oppenheimer Cine Rental; Seattle, WA 206-467-8666; fax 206-467-9165 marty@oppcam.com www.oppenheimercinerental.com
Marty Oppenheimer, managing director
Pacific Grip & Lighting; Portland, OR office: 503-233-4747 Seattle, WA office: 206-622-8540 www.pacificgrip.com
Doug Boss
Picture This Production Services; Portland, OR 503-235-3456 info@pixthis.com www.pixthis.com
Perry Loveridge, president Sari Loveridge, senior account executive Ben Olberg, production manager
PNTA; Seattle, WA 206-622-7850; fax 206-267-1789 info@pnta.com www.pnta.com
Richard Carlson, CEO Andrew Donovan, COO Linet Henry, rental & event manager
Pro Photo Supply; Portland, OR 503-241-1112; fax 503-241-1110 rental@prophotosupply.com www.prophotosupply.com
DND
Professional Video and Tape Inc.; Tigard, OR 503-598-9142; fax 503-598-9172 dmcandrews@provideoandtape.com www.provideoandtape.com
Doug McAndrews, rental manager
red jet films; Seattle, WA 206-282-4534; fax 206-812-0768 sue@redjetfilms.com www.redjetfilms.com
Jeff Erwin, owner
Royal Restrooms of WA; Maple Valley, WA 206-816-5406; fax 425-432-5406 seattle@RoyalRestroomsWA.com www.RoyalRestroomsWA.com
Jayne Van Vleck, member Max Van Vleck, member
Seattle Grip & Lighting; Seattle, WA 206-285-0840; fax 206-285-9503 jknapp@seattlegrip.com www.seattlegrip.com
Mick Lane Jeremy Knapp
Seattle RV Center; Everett, WA 425-741-3860; fax 425-348-0978 jeffr@seattlervcenter.com www.seattlervcenter.com
Jeff Richford
Seattle Teleprompter; Medina, WA 425-454-5659 teleprompting@gmail.com www.seattleteleprompter.com
Maia McQuillan
VER - Video Equipment Rentals; Tukwila, WA 866-837-9288/206-242-3860; fax 206-242-3859 rentals@verrents.com www.verrents.com
Steve Daniels Anthony Routh
Victory Studios; Seattle, WA 206-282-1776; fax 206-282-3535 conrad@victorystudios.com www.victorystudios.com
Conrad Denke Saul Mitchell Brent Sharp
Water Buffalo Inc.; Bonney Lake, WA 253-863-8883; fax 253-447-3826 waterbuffaloinc@netzero.net www.waterbuffaloinc.com
Phyllis M. Brown
Westside Camera Crane Co.; Lake Oswego, OR 310-345-2919 1denniskw@gmail.com
Dennis Wilson, president
WorldWind Helicopters, Inc.; Renton, WA 425-271-8441; fax 425-271-8442 info@wwheli.com www.wwheli.com
Michael Oâ&#x20AC;&#x2122;Leary
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Oregon Film Round-Up: What’s New in 2012? Continued from page 60
renewed for another season, and it has been confirmed that the show will return to Portland, according to executive producers and writers David Greenwalt and Jim Kouf. The NBC series is currently wrapping up production on its first season, and at press time there had been no announcement as to when cast and crew will return to begin filming the 22-episode second season.
Portlandia March was the month of choice for TV series to announce their renewal! The third season of IFC sketch-comedy show Portlandia, starring Fred Armisen and Carrie Brownstein, will film later this year and premiere in January 2013. The breakout hit has scored in the ratings and beyond, spawning a sold-out West Coast tour and a book deal for its two stars. Also coming to IFC this year are two Portlandia specials: Portlandia: The Brunch Special, set to air this summer, and a 30-minute as-yet-untitled Portlandia holiday special. Feature Films Set to Premiere In addition to Oregon’s burgeoning TV production industry, feature films continue to shoot in the area. Two standouts are from homegrown talent—Cell Count, a thriller from Portland-based filmmakers the Brothers Freeman, and LAIKA’s stop-motion animated film, ParaNorman. Cell Count, which premieres in May at the Fantaspoa Film Festival in Brazil, was the third of three feature films shot in 2011 from the Brothers Freeman/Wooden Frame Productions that utilized the Indigenous Oregon Production Investment Fund (iOPIF). This incentive program provides rebates of 20 percent of goods and services and 10 percent of Oregon labor for films produced by Oregon filmmakers who spend a minimum of $75,000, but no more than $750,000, on their project. Over 50 cast and crew for the film were residents of Oregon. “This incentive is why we are able to make feature films in the state that we love,” said filmmaker Todd Freeman in a statement. “Oregon has diverse actors, locations, and crew abilities and without this incentive we would have to consider making movies in another state.” Another Oregon-produced film set to premiere this year is ParaNorman, from animation house LAIKA. The “3D stop-motion animated comedy thriller adventure film” is set for international release on August 17 and will be distributed by Focus Features. The voice cast includes Anna Kendrick, Leslie Mann, Casey Affleck, John Goodman, and Kodi SmitMcPhee as the title character, “Norman.” Similar to LAIKA’s 2009 hit Coraline, ParaNorman is a slightlydark, stop-motion animated film for the whole family. The story is about a misunderstood boy who takes on ghosts, zombies and grown-ups to save his town from a centuries-old curse. For more production news and updates, visit the Oregon Governor’s Office of Film & Television at www.oregonfilm.com, and the office’s blog at www.oregonconfluence.com. ISSUE ONE 2012 MEDIA INC.
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ST LATE E, E H T SU USS EACH IS C S I E D ANY CH WT COMP I H W , IN RTHWES S E I S. NO SER EW FERENT ET FILM I V R IF TE DJ S IN ITH A D LE’S RE ’ . C ATT IA IN ST W MED GREATE WITH SE AND TINUES CON
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perated by husband-andwife team Jeff Erwin and Sue Feil-Erwin, red jet provides start-to-finish high-definition video production services. “Whether it’s a project for the boardroom, a documentary or a feature film bound for festivals,” says Jeff, owner and head DP, “red jet has the experience, the tools and the passion to write, produce, edit and post projects from concept to completion.” Here is Jeff Erwin, on the record: HOW HAS YOUR BUSINESS CHANGED THROUGHOUT THE YEARS? It’s like a fine wine that has aged very well. After 17 years we have worked for hundreds of great clients, many who return time and time again. We have had the opportunity to shoot all over the world and not only have told many stories, but have many yet to tell. SINCE THIS IS OUR EQUIPMENT LIST ISSUE, LET’S TALK EQUIPMENT. Thank god I love buying new tools because staying current in this business means always buying something. Over time we have brought on some cool tools—dollies and jibs, lights, wireless mics and cameras… lots of cameras! WHAT IS ONE RECENT PROJECT THAT YOU ARE PARTICULARLY PROUD OF? We do so many projects we are proud of. I think what I like best is producing stories that either help organizations raise money
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for great causes or send help directly to individuals. Just recently, we produced two videos for World Vision in Tanzania. Following Big Daddy Weave—a Christian band—we shot and produced a music video as well as an appeal movie the band will use during concerts to raise awareness of child sponsorship. WHO OR WHAT INSPIRES YOU, EITHER PERSONALLY OR PROFESSIONALLY? Sue and I have been to IDFA—the International Documentary Festival of Amsterdam—numerous times. I always leave inspired—sometimes because a film is so well done with a message I think everyone should see, and sometimes because I think a film is so bad I should have made something in its place. Either way, it keeps me excited about telling stories.
Erwin in Tanzania for a World Vision shoot.
HOW IMPORTANT IS IT FOR YOUR COMPANY TO CONNECT AND ENGAGE WITH YOUR SURROUNDING COMMUNITY? Time and time again we have purchased equipment locally at a higher cost than what we could have acquired it from a
Shooting on location on the Salt Flats.
dealer in, say, New York, but we do that to support our peeps. Beyond that, Seattle has so many great companies and foundations—and in this business you find out very quickly just how small the world we live in really is. WHAT ARE SOME OF YOUR MOST GRATIFYING PROFESSIONAL ACCOMPLISHMENTS? For me, it is really the clients who have selected me to work on their projects. I have been to many incredible places in the world to make a movie for some very special people. I have truly been blessed in all of the places a camera has taken me. At the end of the day, the fact that we are still here after 17 years says we are doing something right. IF YOU COULD BE ANYWHERE IN THE WORLD RIGHT NOW, WHERE WOULD YOU BE? Sue and I are fortunate to travel a lot. We will come up with something! WHAT WOULD YOU DO FOR A LIVING IF YOU WERE NOT IN THE PRODUCTION BUSINESS? That’s tough. I love what I do. Maybe design cool lighting.
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