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A decade of innovation and leadership, of change and progress, of growth and transformation. It’s been a remarkable first ten years, and the best is yet to come. We’re celebrating by looking ahead to the “Next 10.” Just as Comcast is shaping the future for consumers at the intersection of media and technology, Comcast Spotlight is

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winter 2014 digital media arts edition departments 4

publishing production notes

news briefs stilson adding digital competency kent frogley at salt lake community college 6 vicki varela named in skift50 6 simmons media purchased by broadway media 7 aaa guest judges cast vote 7 rfp for utah’s life elevated initiative 5 5

features  oug fabrizio - the story teller d 10 the digital frontier 12 mediaone - essential to utah’s events 14 salt lake comic con boldy goes into 2014 8 Untitled-4 1

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directories 28 radio 29 television Publisher/Editor: Susen Sawatzki • Business Development: Lonnie Blanton • Interior Design and Layout: Francine Eden Platt - Eden Graphics, Inc. Cover Image: Randall Lloyd Printing: Hudson - reinvent print adnews p 801.532.1325

magazine production notes This special Sundance Film Festival edition of adnews magazine was made possible with the support of Hudson Printing: Reinvent Print! Art, copy, layout and design for this remarkable edition of adnews all coalesced into final print files at 6:05 pm MST on Wednesday evening, January 15th. These files were prepared and proofed overnight. Thursday morning, 2.2GB of final data was transferred the world’s first HP T330 high-speed inkjet web press for printing of the text pages, and another 46MB of data was sent to Hudson’s HP Indigo 5600 digital press for printing of the covers. Just a few short hours later, the output from these two different imaging devices was combined, and bound on the world’s first Standard Horizon Stitchliner equipped with unique selective binding capabilities. And thus was born the first-ever digitally printed edition of adnews, created especially for you, and select attendees of the 2014 Sundance Film Festival. Paper: Cover is Sterling 100# Gloss - Text is 70# Whitehall Opaque

No responsibility is assumed by the publisher for its accuracy or completeness. All rights reserved.

Transform your small business into the next big thing. Our newly redesigned website and 14 Business Resource Centers can help take you from raw idea to reality. Existing businesses can learn how to grow, get funding as well as expand nationally and internationally. To help start or build your company, visit 32444-Small Biz Rural Papers-7.5x5.indd 2

12/30/13 3:09 PM

winter 2014 | adnews 3

The David Ross Fetzer Foundation for Emerging Artists T h E

D A v E y

F o u n D A T i o n

promoting innovative theatre and film through grants and mentoring The Davey Foundation was created to honor the life of David Ross Fetzer and his commitment to the film and theatre arts. The Foundation is excited to make available grants to artists 35 and younger for the development of innovative film and theatre projects, and to provide the mentoring framework that will allow the Davey grantee to flourish. If you are an emerging artist, consider submitting your screenplay or script and applying for one of the grants by going to

donate Your gift can make a difference in a young artist’s life.

By making a donation, you are helping to make possible a grant to an emerging artist that will allow the artist to pursue a finished product. Paypal or credit card donations at donate or sending a check to The Davey Foundation, 1169 Yale Avenue, Salt Lake City, Utah 84105

4 Q 2013

4 adnews | winter


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news briefs S T I L S O N A C Q U I R E S U TA H B A S E D D I G I TA L A G E N C Y I G N I T I V E L LC A N D R E O P E N S I N U TA H

K E N T F R O G L E Y N A M E D A S S I S TA N T VP OF INSTITUTIONAL MARKETING A N D C O M M U N I C AT I O N S F O R S LC C Salt Lake Community College named Kent Frogley assistant vice president of institutional marketing and communications. This senior-level position is responsible for the College’s communications and marketing efforts.
“We are delighted to add someone to our team with the experience and vision that Kent brings,” says SLCC vice president of institutional advancement Alison McFarlane. UT

Stilson (Advertising and Marketing) LLC, along with newly acquired and Utah based digital agency Ignitive (digital Marketing) LLC recently reopened its Sandy office to local and regional accounts following more than a decade of focus on the national arena. Stilson combines 30-plus years of regional and national experience in traditional media and TV production with the digital expertise of Ignitive and their team of savvy young digital marketing experts in Stilson’s new Ignitive digitial division. UT

See the next edition for more detail.

Kent comes to SLCC with experience in senior leadership positions that include leading global marketing at FranklinCovey, partner at Taylor Fife Kent as well as experience at O.C. Tanner, Saatchi & Saatchi DFS and Bates Worldwide.
 “Salt Lake Community College is thriving,” says Kent, “I feel fortunate to join an insti-

tution that is so important to Utah’s educational ecosystem.” He continues, “Education gives people power—it opens up choices and, ultimately, leads to the freedom to achieve your dreams.”

V I C K I VA R E L A N A M E D I N S K I F T 5 0

Vicki Varela, Managing Director, Utah Office of Tourism, Film and Global Branding made the Skift50 list for top travel marketers across the globe in 2013. Vicki is recognized alongside marketing executives from British Airways, Google, Travel Belize and Kimpton Hotel Group. For the full list, visit: UT

This list represents travel executives driving the go-to-market strategies of high-profile consumer-facing brands.

winter 2014 | adnews 5


S I M M O N S M E D I A O P E R AT E D B Y B R O A D WA Y M E D I A – P E N D I N G S A L E “K107.3″ KAOX Kemmerer, WY and associated boosters. On option is 960 KOVO Provo. Broadway will also acquire the Humpy Peak tower site from Simmons for $2 Million.

Broadway Media, owned by Dell Loy Hansen, took over operations of Simmons Media October 1st , 2013 and plans to acquire most of the assets of Simmons Media for $11 million. This brings to a conclusion the finance equity partnership between Simmons Media and Goldman Sachs. UT

The stations included in the sale are Rhythmic CHR “U92” 92.5 KUUU, Alternative “X96” 96.3 KXRK, Variety Hits “Rewind 100.7” KYMV, Country “Eagle 101.5” KEGA, and CHR “Mix 107.9” KUDD in the Salt Lake City market and Oldies 940 KMER and AC

Dell Loy Hansen already owns Sports “ESPN 700” KALL in the Salt Lake City market along with Real Salt Lake, Wasatch Property Management, Inc. with a real estate portfolio in excess of $1.2 billion and nearly a dozen venture companies with some 900 employees located across Utah, Idaho and California. The companies range from sports clubs, recycling and waste disposal, a golf course, a plastic injection and molding company as well as a wood milling company and a utility management and billing service.

The American Advertising Federation – Utah selected three judges for its annual American Advertising Awards, the ADDYs. UT

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The sale is anticipated to close in spring, 2014 and it is expected that with local ownership focus, Simmons Media will grow and innovate to serve the stations’ constituency and stake holders.

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Patrick Maravilla, creative director, EVB, San Francisco, CA Patrick’s career has led him to working at agencies like 72andSunny, AKQA, Crispin

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news briefs Porter + Bogusky and he is currently the Creative Director of The Evolution Bureau in San Francisco. His background in the digital and traditional advertising worlds has led him to create some of the most recognizable work for brands like Coke Zero and Samsung.

He also spent some time at RPA working on Honda.

Josh Souter, Creative Technologist, McKinney, Raleigh-Durham, NC


Josh is a digital designer, storyteller, frontend developer, UX cobbler, a hair salon owner, and a filthy liar. He’s excellent at 10 things. One of them is crafting digital experiences.

assignment would include development, implementation and evaluation of a comprehensive branding and public engagement program to promote “Utah: Life Elevated®” in state, nationally and internationally.

Join the unveiling of the judge’s hard work at the 2014 Salt Lake ADDYS, Saturday, February 8 at 6 p.m., Utah Museum of Fine Arts.

There are two phases on the schedule for the rollout. Phase one – October 2013 through June 2014 - includes selecting the branding/consulting firm, research, launching several strategies and updating brand style guide as well as reaching out to legislation for additional funding. The initial planned budget for the Phase 1 branding/public outreach campaign is $200,000. Phase two – July 2014 through June 2015 - includes the possibility for a second budget through additional funding; continued rollout of all sections of focus including research, social media, outreach, speakers’ bureau, public engagement, messaging; holding signature events, refine and implement visual icons and tool kit through where the brand is widely executed by mid 2015.

Jamin Duncan, Associate Creative Director, Crispin Porter + Bogusky, Boulder, CO Recently transported from the beach to the mountains, Jamin is currently an ACD at Crispin Porter + Bogusky working on Best Buy, Xbox and Prior to that he spent most of his time in Los Angeles at TBWA\Chiat\Day and Media Arts Lab working on Apple, PlayStation, Pepsi and Pedigree.

Under the direction of Vicki Varela, managing director of the Utah Office of Tourism, Film and Global Branding, a Request for Proposal was issued in December 2013 for the Integrated Global Branding and Public Outreach Initiative based on “Utah: Life Elevated ®”. According to the RFP, the UT

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the storyteller Q&A with Doug Fabrizio Host/Executive Producer, KUER’s RadioWest and Curator of VideoWest, a collaborative online video series. By Susen Sawatzki Susen S: Tell me how the idea for VideoWest came about? Doug F: I have always been a radio snob: I believe radio is the most intimate media for certain stories but I was surprised when I started doing documentaries with our sister station, KUED—how much I enjoyed it and I came to appreciate that video was also a great medium for telling stories. In fact, I realized that it was the story and not the medium that really mattered. When the project at KUED came to an end I missed it; I really liked the craft of it. When I started in radio, I was in the field and I always enjoyed the process of collecting tape, organizing a story and writing around it. [The documentary project] made me want to do more of that. So, I thought I’d like to do that again; why don’t I get a camera and start doing them myself? I really wanted to get back into the craft of storytelling. Another part of my decision was that there were times when we had conversations on RadioWest and I really liked [the stories] and I wondered if there was a way to extend the conversation and give it another life. VideoWest made a lot of sense. We could have these conversations on the radio and we could then ask filmmakers (or do it ourselves) to give it another spin. I was also really inspired by a filmmaker called Will Hoffman who had done a series of shorts for the radio program called RadioLab. [Hoffman’s short films] were high-concept pieces based on the themes from RadioLab. They were really stylized and didn’t have a beginning, middle and end narrative but they were an extension of the theme. The final piece of the puzzle was that I knew there are really great local filmmakers out there who are doing really cool work and beyond YouTube and Vimeo, they don’t really have an outlet for their work that is relative to this place. That became the final part; finding filmmakers who were local and were making stories about who they were as people who live here—by this place I mean Utah or the Intermountain West.


oug Fabrizio has been asking questions and sharing stories for more than 30 years and has garnered welldeserved praise and national awards for his work. His thoughtful approach is his trademark and the reason why he is so beloved in the broadcasting industry. He

has interviewed luminaries including Isabel Allende, the Dalai Lama, Madeleine Albright and Desmond Tutu. His latest project, VideoWest, is an exciting evolution of his craft and one adnews wanted to learn more about. This is a man who was born to share stories and human truths with his audiences. He never disappoints. We decided to turn the tables on Doug and ask him about his latest venture and what motivated him to step into the world of video. 8 adnews | winter


I wanted to create VideoWest as a gathering place for local filmmakers who are connected to Utah. So, I hired a designer and pretty quickly we launched, and so far so good. SS: Where can people catch these videos and what can they expect? DF: You can get to VideoWest two ways. It’s connected to RadioWest so you can pick it up through the website, but VideoWest is at Every week there is a new film—some of it is new and some is existing stuff. In the early days we’re just trying to introduce local filmmakers so some of the videos have already been seen, but a lot of it is new. The idea is to partner with the filmmakers; sometimes they

shoot it and we’ll handle interviews, other times they do the whole thing and then hand it over to us to edit. It’s a real collaboration; it’s a mix. Right now we’re in the process of figuring it out.

of how it will evolve. So tell me, how does it feel to have this new

SS: Back to RadioWest, where you have logged in thousands of interviews that air on KUER. Tell me more about your philosophical beliefs on the art of the interview.

our program is resisting, at all costs, complacency. The moment you

mode of expression after so many years of working in radio? DF: It feels disorienting. But I love that. One thing that is crucial for say, ‘Hey, we’ve really figured this out, we’re really great’ is, I think, a disaster for any creative enterprise. You have to be always question-

DF: There are three essential things to a good interview.

ing of your methods. So I tend to resist the feeling of being too com-

Firstly, be prepared. If you are interviewing somebody about a book, read the book. Learn as much as you can about the subject you are interviewing about. Have something to say about the subject, have real questions. If you are naturally inquisitive, you will have questions.

fortable. So, with VideoWest, not exactly knowing how it’s going to

Secondly, listen. It’s so crucial. Most people don’t really listen; they’re just waiting for the other person to shut up so they can make their point. A lot of human conversations aren’t really give-and-take, it’s just people making their own point. Listening requires you to actually hear what they are saying. It’s really about being present.


play out, or who is going to help us, is a good thing. I don’t feel I’m really in total control and I love it. SS: What haven’t I asked you? What would you like to say in DF: I guess it’s more of a question. That is, can I ask your readers for input? The big challenge for us is how do we reach people to help us? I have this thing I want to share and I’m promoting it on

Thirdly, this is the crucial one for me: remember that it isn’t about you [the interviewer]. That’s an important part of RadioWest; it’s not about my opinions or where I’m coming from. The role I play is the guy who asks the questions. Of course, the questions are my own and my approach to the craft of journalism, so I’m not completely divorced from the subject. But, when I’m doing an interview, I keep myself out of it and give them a space to speak. So, if I was to synthesize the art of the interview it would be those three parts.

air but how do I get people to pay attention? And the other thing is

SS: How do you inspire or cultivate chemistry with your subjects?

DF: A lot of times I’m not face-to-face with the person, but ideally it’s good to be in front of the person, so you can interact with them and their body language. When you get down to it, journalism is about creating empathy. Creating empathy demands that you craft questions that help a person express their point of view in a way that prompts the audience to have an empathic response to the subject also. Creating a connection often comes down to being prepared. If they see that I care enough about them that I have read their book, or I’m asking questions that are a bit deeper than the typical questions, they are often more inclined to make more of a personal investment in the interview and a more intimate connection with me. SS: Do you think that your journalistic instinct bleeds into your personal life? Do you find yourself keeping things neutral and asking questions that seek out a person’s story? DF: That’s a good question. You know, sometimes when people first meet me—and perhaps they know something about what I do—they expect me to be that neutral sort of figure who is probing and asking deep questions to get at something. But that’s not how I am socially. Yes, I’m naturally curious and my wife would say that I’m interested in contrasting ideas. That is, if somebody is expressing an opinion, I’m interested in the counter opinion to that. I think it’s boring when people over-simplify something, so if I hear an opinion I may ask, ‘well what about this perspective?’ So, in that respect I do probe a little. But, I do have very strong opinions that I am not afraid to share with my family and friends. I just try and keep those opinions to myself professionally. SS: Yeah, right. Of course. Otherwise you’d be like Rush Limbaugh. DF: Yeah. (Laughs) SS: I love that you are secure and content enough in yourself to let VideoWest go live without having it totally locked down in terms

how do I find the filmmakers? I’m a little baffled about how do I find these people? I’m also figuring out how we will partner with people. Anyone can pick up a camera and shoot something, but I’m really looking for people who are good storytellers. I know they’re out there, I just have to figure out how to reach them. Any help we could get would be great. For more information about VideoWest you can reach Doug at


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portfolio: winter 2014 | adnews 9


alt Lake City Comic Con put Utah’s Digital Media Arts community in the spotlight bringing fans and professionals together to celebrate pop culture and talk about the future.

So what does the future look like? That’s the big question; to which everyone has a slightly different answer. One thing I think we can all agree on is that the future of digital media arts is bright. The explosion of visual arts in the past five years is nothing short of astounding. The combined effect of technological advancement and our inability as humans to process the sheer volume of information floating about out there has served to push visual arts to new heights. Stories are sticky (in terms of how our brains function) images are even stickier; consequently digital media is rapidly outpacing traditional channels as the primary means of dissemination.

industrial infrastructure in place. Warren Workman, Marketing Director at Arrowstream Entertainment and Adjunct Professor at Salt Lake Community College, commented, “Utah has resources that no other state provides. We have exquisite locations that cannot be duplicated anywhere on earth. Utah families are also very involved in the arts. Singers, dancers, actors, gymnasts, athletes and artists in Utah have the support of their families to do great things. Because great things are expected, these creative people refine their gifts until they become the best in the world.” He makes a very interesting point about how creativity is supported in Utah. In addition to both industrial and natural assets, Utah really does foster creativity in a way that very few other places do. Creativity is part of the fabric of community in Utah and can be seen everywhere. I’ve traveled

comic arts (Broadview being one of only a handful of schools offering dedicated comic courses in America), programming, film production and everything between. Salt Lake Community College also has a solid and innovative program in place supported by a newly constructed Center for Arts and Media just south of downtown Salt Lake City complete with the latest in technology that was guided by local industry professionals as well as national guidelines. Brigham Young University (BYU) has designed a program that teaches visual effects through an interdisciplinary approach. Right in downtown Salt Lake is Neumont University, in Sandy is the Art Institute and in Utah County is Utah Valley University all with specialized programs to guide students succinctly into digital media careers. There is literally something for everyone (and every budget).

the digital f By Joanne Bloomfield

Visual story telling is not only a welcome relief for our fragile human minds, it’s proving itself to be the most effective vehicle for sustainable marketing ROI. Digital channels are fueling creativity in ways I think none of us could have imagined even 10 years ago. Video on Demand (VOD) and Gaming are—in my humble opinion—the areas that are really driving change both commercially and creatively. In every corner of the globe, digital media artists and technicians are pushing boundaries and it’s paying off in a constantly rising bar of creative excellence. Digital Media is multi-disciplinary beast that—more than any other area of business—brings together technology and art. One without the other simply doesn’t work. I believe that is exactly why Utah is quickly becoming a global center of creative excellence across a huge range of digital arts. I asked some industry and academic professionals why Utah was becoming such an important creative hub for digital media arts. Rando Schmook, of Broadview University commented, “Utah has long been the hub of IT hardware development and programming, but now it appears to be overtaking Silicon Valley in software development too. With moves to the area by companies like Adobe to tap the existing personnel resource, there seems to be a parallel entrepreneurial initiative. It probably doesn’t hurt that the NSA has set up camp here as well.” Digital media arts are for naught without constantly evolving technology. Hardware and software form the skeleton around which the creative digital arts industry wraps itself; success for both sides of the creative fence is inextricably linked. But there is more to this story than simply having the right 10 adnews | winter


all around the world and having only immigrated to America eight years ago I feel as if I am looking in on something quite unique with fresh eyes. England is, and always has been, awash with creativity, but for many, a career in creative arts is still considered a bit of a hippy choice. Certainly there isn’t the mass support for creative arts that I have seen in Utah. Everybody is at it. Hell, even I was at it by the time I stepped onto the plane to head back to New York. The fact that Utah has also become synonymous with independent film is significant in terms of attracting the best talent and global media interest; all of which helps keep the creative ball rolling in the right direction. Sundance, Slamdance, Park City Film Music Festival et al are playing an enormous role in Utah’s development as an international hub for digital media arts. The convergence of the right industrial infrastructure and a creatively driven community is fostering the perfect environment for long-term growth in the digital arts. But, the glue that binds the present and future of Utah’s creative community together is education and this is where Utah truly excels. Some of the best and most innovative college programs for digital media arts can be found in Utah. The University of Utah’s video design program was named best in the country in 2013 beating out 150 other institutions in the rankings published by The Princeton Review and PC Gamer magazine. But theirs is just one of many worldclass courses available. The breadth of programs on offer in Utah is outstanding covering the complete spectrum of digital media arts. Broadview University offers programs in everything from

The pace of growth is exciting and all of the colleges reported a huge uptake in the last two years, with more applicants than available places in a lot of cases.

What is more significant is that Utah colleges are heavily involved with the industry to help cultivate programs that truly answer the needs of employers. While all agreed that there is room for improvement, in terms of connecting classroom teaching with real world needs, Utah colleges are actively engaged with (and employing) industry professionals to help design and deliver courses. The BYU program is officially mentored by Pixar, but they also receive mentoring support from Sony, Dreamworks and Disney. The school reports that a significant proportion of their graduates are hired by the leading film, animation and gaming companies in the world. Which is very good news for graduates. But, BYU isn’t the exception. All of the schools have great success in placing graduates both globally and at home in Utah. With a host of homegrown and relocated production, animation and effects companies in Utah, the local job market isn’t just a place for Utah graduates, it’s also fast becoming a place to which talent migrates. We asked R. Brent Adams, director and creator of BYU’s visual effects program what makes his program stand out from the crowd. He commented: “The BYU program is highly collaborative and truly interdisciplinary; which we feel are key factors in our success. What also sets our program apart is that all of the seniors work together on a single ‘graduation’ film; generally students would work on individual projects and seek the help of one or two other students. We felt that working on a single project was not only a great teaching tool, it also teaches the students about real-world collaboration and to respect other disciplines. The

final projects have film, communication, computer science and animation majors all working together as a team.” BYU graduation films have won a number of College Television Awards that are referred to as the student EMMYs as they are awarded by the Television Academy. They have also won several student awards from the Motion Picture Academy. BYU student films have been played at some of the most prestigious creative global film and animation festivals including Sundance and Cannes. All of this brings a lot of attention to the students, the BYU program and Utah’s creative community as a whole. The link between education and the long-term commercial success of any industry is undeniable, but never was it more essential than in the digital arts. Warren Workman sums why Utah schools are

talent—that previously stood little chance of being heard—into the global arena. Where we’ll be in the next 10 years is anybody’s guess, but Utah is certainly going to be at the forefront of the next phase of the digital evolution. Mario DeAngelis, adjunct digital video instructor and producer, director, editor, screenwriter since 2001 mentions an important aspect to the digital evolution when he describes the new paradigm of distribution: “Transmedia, social marketing, the use of outlets like Vimeo, You Tube, Netflix and Red Box are all explosive areas of growth that have grown in the past five years so IN five years the potential is exciting. As a filmmaker I need these type of outlets for my own digital media arts and as an educator at BEAU (Broadview Entertainment Arts University,) these are vital outlets for student work

frontier churning out creative talent by the boatload. “SLCC offers courses in film, television, visual arts, radio and journalism. SLCC allows students to use the equipment they will be using in the private sector. They are allowed to create their own projects, make mistakes and ask questions. This experience provides students with an amazing opportunity to discover their interests and strengths. The instructors are all working professionals in their respective fields, providing students with current information regarding trends and best practices in their industry.” Pretty much every school is taking this approach to integrating real-world experience with academic rigor and the freedom to explore creativity. Combine this with Utah’s unique creative landscape (both physical and spiritual) and a creative industrial base that is literally second to none and it’s not hard to see why so much international attention is being paid to Utah and its creative community. So, how do events such as Comic Con help the local digital media arts community (academic and professional)? Rando Schmook has the answer. two important levels; first it increases community awareness of the image-making field/profession and secondly, it underscores the fact that the world of Comic Con is filled with ‘professionals’ and that world offers the possibility of employment. This last item is the number-one blind spot with local parents, (maybe all parents)—that comics and games and visual storytelling in general is a viable professional career. It’s not just for recess.” Film festivals and creative conventions provide a forum for creative expression that elevates the conversation to a higher level. Visual story telling is transforming the way we, as a species, interact with each other and digital channels are propelling

to get out there. The reason this is so important in this day and age is that the wave for the next five years is for filmmakers/comic book artists/writers to take their own future in their hands in regards to self-distribution. We still need to go the regular way of distribution but self-distribution is more possible because of these outlets.” Rando, Brent, Warren and Mario all agree that digital video is perhaps the most exciting area of digital arts right now and promises the most change in coming years. Rando summed it up beautifully when he said:

“I am most excited about the continued development of visual storytelling and the expansion of Transmedia. We are entering an age where imagery is the new language. Coupled with the explosion of digital technology we stand on the edge of a creative development that we can only guess at. Ten years ago, the smart phone only existed on the drawing board and in 10 years, most of today’s college graduates in the digital arts will be employed in positions that do not exist today. Comics are becoming movies, movies are becoming games, games are becoming story books— everything visual is becoming something else visual and everything is accessed with the touch of a button or swipe of a finger on a glowing piece of glass. I have been a designer for motion pictures for 30 years and I find the changes taking place in digital media today exciting on every level.” Transmedia story telling started to emerge during the late 1970s in experiments that aimed to create collective narratives across mainstream media. The advent of the digital age made it possible to fully realize this concept. In essence, Transmedia story telling engages an audience across multiple forms of media and channels in order to deliver unique pieces of synchronized content, which only when viewed as a whole, deliver the complete message and experience. Anyone born after 1985 has been weaned on the Transmedia campaigns and entertainment events and much of the digital arts revolution has been powered by the need for more Transmedia style content. As we move into the next era of digital arts, I believe we will see more demand for these complex, highly interactive narratives that engage an audience both intellectually and emotionally on a level we are only just beginning to understand. If I ask myself what am I most excited about in terms of what’s next for Digital Arts, the answer is two-fold. Being around to see where Transmedia story telling will take us, and what role will Utah’s creative and academic community play in its development? I think the answer is already staring us in the face. Transmedia/visual story telling is going to propel the industry into a new era of emotional, highly creative engagement that bridges the gap between commerce and creativity in delicious new ways. I also have no doubt that Utah will be leading the creative charge.

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winter 2014 | adnews 11

MediaOne’s Part in the Growth of the Local Economy through Events By Susen Sawatzki


ediaOne Events has grown both by the number of events it puts on as well as the scale of the annual events through organic growth. To have a concept for a convention, a consumer or an athletic event is one thing. To pull it off is another. MediaOne of Utah, formerly known as the Newspaper Agency Corporation and owned jointly (through the joint operating agreement) by the Deseret News and The Salt Lake Tribune began developing events and conferences in 2007 under the banner, MediaOne Events. The first two events were the Utah Economic Summit and the What a Woman Wants Show. MediaOne was a co-producer and helped organize the 2013 Salt Lake Comic Con which outgrew its first venue in the first phase of promotion and actually outgrew its second venue with no time to change. MediaOne and the show’s producers, Dan Farr and Bryan Brandenburg of Dan Farr Productions were on rapid response as the interest in the event grew by unexpected leaps and bounds. The presence of MediaOne Events and its array of products (apps, spectrum of print media, etc.) and services (relationships, skills, experience, etc.) facilitates dreams into reality through a 360-degree, turn-key solution and delivers to the Utah community a robust menu of athletic, business development, cultural, educational, and entertainment events. 12 adnews | winter


adnews inquired and Dan Hartman vice president of business development for MediaOne Events responded. What is an overview of services and how are you implementing technology? MediaOne has taken its experience and expertise in producing events by providing management and planning through the process from the early development stages. This includes our ability to implement and manage budget, registration and ticketing solutions, mobile event applications, digital development and marketing integration. No matter the depth of what MediaOne provides the objectives are simple: create experiential events that help our clients engage with their audiences.

Comic Con are completely different. But the objectives are often the same, engage the audience at a variety of levels through good content and our sponsors. We are able to start engaging audiences much more effectively today than ever before. MediaOne provides a full-scale event solution. We integrate strategy, creative and production planning with our internal teams and external suppliers. Then we manage the details through execution of the event. The unique aspect of our event agency is layering in marketing and interactive capability. When you are able to help clients leverage the products of the largest media company in the

MediaOne has a process-driven approach geared toward taking on complex events requiring substantial creativity and strategic vision. We treat each event as a collaboration. In addition, we actively manage event budgets in order to maximize value. From sponsor and exhibitor activation through contract negotiation and supplier deployment, our team can provide services to handle setup, food and beverage services, housing and room agreements and transportation solutions surrounding the event. Today’s events are becoming more and more interactive. The experience at an event such as the Utah Economic Summit versus

state, MediaOne’s solutions help to increase engagement pre, during and post event. The MediaOne online registration solution can be effectively utilized across a wide range of events from business conferences to athletic events; seminars to major trade

shows. Online registration can then be setup in a traditional, on-site registration process or integrated with mobile applications. What did Salt Lake Comic Con present as unique challenges? Salt Lake Comic Con’s single challenge and opportunity was the overwhelming response of fans from all over the world (literally). Handling this unexpected growth of a firsttime event was really a fun challenge. One of the key functions was engaging our digital production team to create an online/ mobile registration system that would streamline the check-in process. When we partnered with Salt Lake Comic Con, we felt it was time to really expand our registration solution that could accommodate the expected turnout and scale to any kind of event a client may want to create. The new registration solution was able to accommodate a wide range of ticketing options with the end goal of making sure the check-in process was easy for volunteers to help attendees. Comic Con had over 20 options for ticketing and then there were VIP experiences that had to be accommodated on top of that. Every ticketing option would have to be handled clearly at check-in during the event.

As marketing efforts were executed for Comic Con, the reaction from the fan base here in the region was unexpected. Selling over 40,000 tickets in the first three months, we knew we would need a mobile solution for on-site check in to reduce the impact of lines. The MediaOne digital team launched a mobile application for on-site check-in that made the process much more convenient for attendees. The biggest challenge was then moved from attendee

check-in to attendee crowd management. And how did you address that challenge? One of the best things we did was have an early pick-up to avoid the check-in lines. We had a day before the event open for early pick up so people wouldn’t have to wait in line to get their tickets. We also had a quick pass created by John Sloan, Vice President of Interactive, so you could be scanned and get your wristband. What are some of the most unique things that are trending as far as events? Obviously active lifestyle events have been on the rise. There are so many “pop-up” runs that overlap, we expect to see a consolidation of those kinds of events in the future. We expect to see new events that target a wider audience. For example we are working with a partner to launch the Salt Lake City Hoopfest that will be hosted in downtown Salt Lake in June. This event will be for the family and allow players from 3rd grade and up to participate in a variety of categories. This is really a family-style event to invite an active lifestyle. Also, nationally, we see “pop culture” events like Comic Con and gaming conventions have gained a lot of popularity and will continue to expand. There is no secret that experiential marketing continues to be a great way for businesses to engage with attendees. Social marketing has become one of the key components to reach specific demographics and therefore begins to extend the brand to pre-show, show and post-show marketing opportunities to attendees and non-attendees alike. Attendees are constantly looking for ways to engage the brand or service at the event and through an ongoing basis following the event.

How does Utah size up as far as supporting services such as tables/drapes, etc. sound, talent, lights, transportation, etc.?

We have some of the best suppliers in the West. And not just a few experts, but a lot of experts. While we have our preferred vendors like GES, Alliant, Modern Display, Cornerstone, among others, we recognize that there is no shortage of talented firms who we can utilize to meet specific needs. In fact, a lot of our local suppliers are working beyond the borders of Utah. If we decided to launch an event in Portland, we know that we have incredible resources from Utah who can help us do that. What is the smallest event you do? The smallest event we do is the Utah Women’s Run. We built the all-women’s run starting in 2009 and sold it in 2011. When we sold the race it was the largest women’s run in the state with nearly 2,000 women runners. We reacquired the race in 2013 and are in the process of rebuilding it. It’s a fun event that allows us to focus on the health and active lifestyle of women. What is the outlook for MediaOne Events? We are excited to be in a growth mode with events. We expect to develop some new events in 2014 locally, along with expanding our managed services. To that end, we are allocating additional staff and resources to this portion of our business. Between our managed services, proprietary events, and our online ticketing/registration software solution, we are excited about the future and how we can work with event producers to expand their events. How do you package the add-value of the print media properties of MediaOne? As Utah’s largest media company with our family of newspapers, magazines and online services, we have the ability to reach a massive audience. Our family of products include the print and digital editions of the Deseret News, The Salt Lake Tribune, Hometown Values magazine, Utah Business magazine, Save Now, Utah Rides, Utah Spaces, Life in Utah magazine, Downtown the magazine, Parade of Homes and others. This creates a rich opportunity for an event organizer to customize a solution. A client can leverage our media network, use our managed event services or create an optimal package to their expectation. winter 2014 | adnews 13

To Boldly Go... Salt Lake Comic Con 2013— an exercise in integrated, social media mastery By Joanne Bloomfield • Photos by Laena Brandenburg


he results are in; you’ve probably already seen quite a few of the stats as well as the flurry of press and preparatory events for the 2014 events. Salt Lake Comic Con 2013 was an unprecedented success. Period. Dan Farr and Bryan Brandenburg of Dan Farr Productions defied the naysayers who quibbled about ‘not enough time’ or ‘not enough traction’ creating an event that not only wowed the visitors but knocked the retro socks off the national Comic Con community. With preparations already well underway for two events in 2014—FanXperience in April and Salt Lake Comic Con 2014 in September— adnews wanted to take a look at both the detailed 2013 results and what it took to achieve them; as well as take in the bigger picture of what this all means for Utah.

actually made. Dan Farr and Bryan Brandenburg may have been new to creating a Comic Con event, but they are anything but novices when it comes to social media. They are both connoisseurs and master craftsmen; they know what it looks like AND they can tell you how it was made. Integration is tough; plain and simple. Getting the cheddar out of the marketing milk barrel takes a combination of skill, creativity and a huge amount of guts. Time was not on their side—a massive understatement—but they did it anyway. The glue that binds any social media campaign together is ‘emotion’ and knowing how to leverage that is what really separates the masters from the amateurs. Bryan, as VP of Marketing for the event, engineered an ingenious integrated social plan for the event with Facebook at its center. He mastered the art of the ‘Meme’ creating irresistible graphics and a protocol that demanded they create a personal relationship with every person who friended and commented on the Salt Lake Comic Con Facebook page. A tall order, but he knocked it out of the park. He didn’t just pull together a Facebook strategy; he touched hearts by responding to

virtually every Facebook post. He took social media engagement and made it work for everybody; a genuine, two-way conversation… with 200,000 people per day. On paper, social media engagement looks easy, but in practice it’s incredibly tough and takes an unrelenting determination to live up to the promise of real conversations, with real people, in real time. The artistry in their campaign was grounded in a genuine love for the subject matter and long-held associations with sci-fi genre and the digital arts. Dan Farr has deep ties to the celebrity world of super heroes and comic icons and both he and Bryan are key players in the digital arts world. Exhaustive research (and personal experience) informed their approach giving them the kind of head start they needed to make it all come together in time for the event. Comic Cons are so much more than just exhibitions—they are thriving communities. Devout fans, dedicated celebrities and connoisseurs of comic and digital arts flock to these events and continually engage across digital and social domains. Some would say that the Comic Con online community is an easy audience to reach. Perhaps that’s true

Integration? Don’t mind if I do. People talk about integrated social media campaigns the way they talk about cheese. They can tell you what it looks like, what it tastes like and how well it all goes down. But very few can tell you how the cheese is 14 adnews | winter


Dan Farr stands in the center, flocked by Salt Lake Comic Con 2013 attendees.

from a purely tactical perspective. But make no mistake, these fans can spot a fake at a thousand paces. Comic Con fans are, above all else, aficionados of authenticity, not to mention self-proclaimed Brainiacs. You can’t fake your way into this group. Easy to reach? Maybe. Easy to engage? Definitely not. To an outsider, these events can seem ridiculous. Tens of thousands of geeks in fancy dress piling into a convention center to ogle stars of long-since shelved sci-fi programs. Sure, there are lots of people dressed up in costume and yes, a fair proportion of Comic Con visitors would describe themselves as geeks, but that doesn’t make any part of a Comic Con ridiculous. Sci-fi (arts and entertainment) is a multibillion dollar business. There’s nothing ridiculous about that. From retro styling, to cutting-edge gaming, a Comic Con is a mashup of performing arts, science, fine art and community. Dan and Bryan get it because they embody it—digital-arts mavericks, business men and lovers of all things sci-fi. Short on time, they had to make smart media choices. Perhaps one of the most impressive elements of this project is how mutuality shaped their strategy. That is, they sought to share and entertain ahead of any attempt to sell. Their strategy created an emotional vortex that drove traffic to their website and created an online buzz that organizations will be looking to emulate for years to come. The power of community shaped their social strategy, which in turn created an environment that made it easier to pull in the ‘big names’ and make those vital product/program associations that create genuine excitement within the Comic Con community. Here’s how their scoreboard stacks up. • Organically grew Facebook page to more than 8,100 ‘likes’ in approximately one month • Had a ‘talking about’ rate of more than 8,000, making it one of the top 1% on Facebook • From March to early August the Facebook page had more than 45,000 fans, with more than 35,000 people joining the conversations. Currently they have more than 60,000 fans and continues to grow • The week before the convention, their Facebook page was reaching more than 1.3 million people a week within 600 miles of Salt Lake City • Facebook contests drove traffic and demand for tickets, photo ops, and artist alley

• • • • •

More than 50,000 tickets sold More than 72,000 attendees from 46 states $1.6M in ticket revenue Facebook reach of 1.3M unique people It was the largest first-year Comic Con in North American history • It was the third largest Comic Con in the United States • 80% of ticket buyers heard of the Salt Lake Comic Con brand online • 95% of celebrities met Guest Guaranteed Minimums (Most guests averaged 150% of guarantee)

George Takei

Further proof that their strategy to share, ahead of sell, was the right way to go can be found in their referral sources stats. • 80% Facebook • 3% Twitter • 2% Google • 2% • 1.75% • .68%

George Takei’s adventure began in a WWII internment camp and wove through a robust acting career that started with being the English voiceover of Japanese films such as, “Godzilla Raids Again” and “Rodan.” He acted in feature films to include “Red Line 700” and “The Green Berets” as well as television series like, “Perry Mason”, “The Twilight Zone” and “Mission: Impossible” with appearances in such television series as, “The Six Million Dollar Man”, “MacGyver”, “Miami Vice”, “3rd Rock from the Sun”, Scrubs”, “The Big Bang Theory”, “Community” among many others and voiced for dozens of movies and tv series including, “Mulan”, “The Simpsons”, Batman Beyond” and more. He has authored two books, “Oh Myyy!: There Goes The Internet” and “Lions and Tigers and Bears: The Internet Strikes Back.”

With just $17,000 dedicated to paid Facebook promotion, the paid campaign together with Bryan’s hard-working unpaid strategy created such buzz that it quickly morphed into an organic growth engine that had a life of its own. His Facebook plans included an exhausting list of promises. He posted daily social memes, intriguing videos and pictures. He provided links to credible news coverage, created contests that offered the marketed product as a prize converting a desire to win into a need to buy, one post at a time. He called for volunteers and posted multiple daily updates relating to contests and guest confirmations. He asked questions and actively replied to online participants. He prequalified attendees with giveaways and engagement activities gaining him access to a highly targeted audience. Most of all, he kept his promise to engage in a mutually beneficial conversation. He diligently replied to virtually every message, email and comment on the website and across the entire spread of social media platforms—something that is unheard of on social media pages. The company’s Facebook ads helped increase awareness and drive sales by utilizing pretested ads targeting different age segments across the largely ‘geek factor’ and sci-fi fan base. Promoted ‘likes’ (Your Friend Likes Salt Lake Comic Con—a paid referral) were the

George Takei, most notably known for his role as Hikaru Sulu, the helmsman of the Starship Enterprise in Star Trek: The Original Series and the subsequent film series, made an appearance at a FanX pre-event on January 17 at the Leonardo in Salt Lake in conjunction with a film, “To Be Takei:” being named as an Official Selection at the 2014 Sundance Film Festival held in Park City, Utah.

His star appearances rival the popularity of his Facebook fan base of five million as he enacts a playful movement for laughter, equality and love.

primary vehicle. The company also focused on features that contributed considerable value to the product mix without excessive spending. Their decision to lead with authentic, viralworthy content is what helped make this campaign one for the history books. Dan and Bryan found that actively engaging fans using Social Media—especially with those on Facebook (which drove 80% of all referral winter 2014 | adnews 15

traffic)—drove impression rates through the roof, creating an audience of evangelists who fueled organic growth for the event. While the 72,000 attendees packed the allotted 40 percent of the Salt Palace with lines around the block and some ticket holders not gaining entry, 2014 ushers in two events. FanXperience in April and Salt Lake Comic Con 2014 in September. Both events will occupy 100 percent of the Salt Palace. But how can they be sure that hosting two events in their second year will work?

Utah-based creativepreneurs. Bold, brave and doggedly determined, this new breed of creative spirit is cutting into the international creative landscape in a big way. Utah creative companies aren’t just making a name for themselves, they are snatching up national and international business bringing economic and creative gold into Utah. What makes this all the more exciting is that it spans the entire breadth of creative arts. Film, music, graphic design, marketing, media planning, digital arts, printers . . . the list goes on. The Sundance Film Festival put a spotlight on Utah, creatively speaking, which the combined might of the creative and academic communities eagerly picked up and ran with. Some of the largest entertainment, internet, software and digital arts giants of the world call Utah home; Adobe, Google, Electronic Arts and Disney to name but The imagination anticipates the inaugural a few. Utah is rapidly FanXperience 2014 — Illustration by Randall Lloyd becoming one of the key creative hubs in the United States. Events Well, they listened. such as the Comic Con cast a fun light on “Fans in and around Utah have spoken and what is a very serious business. But why made it clear that one event a year is not should casting a fun light on the industry matter? enough,” said Dan. “This FanX will build One of the hot issues for the digital arts upon the accomplishments of the first Comic industry is keeping the talent pool full and Con and has expanded into virtually the refreshed. Offering tax breaks and logistical entire Salt Palace Convention Center. With incentives to creatively driven companies continued support from the fans, we can rival is important, no doubt, but it isn’t enough. the largest Comic Cons in North America.” Companies looking to locate their business And they learned. centers in Utah need to know that they The Salt Lake 2013 Comic Con ranks fourth in can recruit people from the local environ2013 attendance for Comic Cons across the ment and attract specialists from elsewhere. whole of North America and was the largest first-year Comic Con in North American history. It’s fair to say that Dan and Bryan didn’t just ‘boldy go’ they pretty much scorched a burning hot path into Comic Con history. So what does this all mean for Utah? Apart from the obvious economic benefits of hosting such a voluminous show, Comic Con put Utah—once again—in the creative spotlight. Utah is creating a new breed of business pioneers; let’s hear it for the creativepreneurs. Comic Con 2013 was a stellar example of all that embodies the spirit and drive of 16 adnews | winter


Bryan Brandenburg in Governor Gary Herbert’s office

Consequently it’s incredibly important that Utah is recognized as a great place to learn, live and work. Comic Con successfully put Utah in the cross hairs of many talented people and businesses that might otherwise not have considered Utah as a place to pitch their stakes in the burgeoning digital frontier. Perhaps one of the pivotal players in ‘presenting’ Salt Lake City and the surrounding area as more than a spectacular vacation destination is Visit Salt Lake. Scott Beck, CEO of Visit Salt Lake commented, “For the future, Comic Con represents an opportunity to showcase a very unique and fun element of today’s society and will add a very engaging element to the events that make our community so great to live in. The [2014 FanX and Comic Con] two-show concept will bring diversity to the experience, one focused more on gaming, and one focused more on the Comic/Super Hero/Supernatural element of this industry.” Digital Arts is a rapidly expanding industry and is attracting some of the most talented people from a host of creative sectors. Utah boasts one of the busiest clusters of digital arts companies in the country. So filling the creative pipeline over the long term is crucial. That’s why the synchronicity of the business and academic communities is vital. From the University of Utah (its video game design program is no. 1 in the nation), to Salt Lake Community College, to BEAU and a host of schools in between, digital arts courses are thriving. But this link between education and business isn’t just about the next generation of digital artists, it’s also important for creative people already in the workplace who are looking to retool. Access to world-class creative education is critical to the longevity of Utah’s creative community. Dan Farr and Bryan Brandenburg did so much more than create another Comic Con; they tapped into the digital movement, engaged and boldly went where no other Utah Creativepreneurs had gone before. The next generation of creatives await the 2014 FanXperience and Salt Lake Comic Con. To Dan Farr and Bryan BranManu Bennett relaxing in Southern Utah denburg we say … make it so. after a successful Salt Lake Comic Con 2013

BRINGING THE JETSONS TO LIFE By Jessica Nield, Governor’s Office of Economic Development

U n manned A erial S ystem Tec hno l o gy P rovides I m po r tant Tool for th e Ent er tai nmen t In d u str y

Override-01: Override Films flying a Red Epic on an Octocopter for a recent Mitsubishi Commercial at the Bonneville Salt Flats


train rushes down the track. In the

ers to capture shots they never deemed possible at

Filmmakers have already started utilizing UAS.

distant horizon a rugged cowboy

a price that seems too good to be true.

Opening scenes for the most recent James Bond

riding horseback can be seen gaining speed on the charging locomotive. All of this effort is directed at

rescuing the fair damsel and recovering the millions of dollars stolen from a small Midwestern town by the notorious robbers on board. Nothing about this movie scene is too uncommon, but what is new is the gyro-stabilized camera rushing alongside the posse.

Aerial cinematography is a staple in many movies and TV shows. Capturing an aerial shot is not easy or cheap, as it requires use of a helicopter filming crew with a price tag upwards of $2,000 an hour. With the development of Unmanned Aerial Systems (UAS) technology, aerial shots can be captured at a fraction of the cost. The money that would be used for a helicopter can be redirected to other areas. Further,

The TV and film industry will greatly benefit from

independent films with miniscule budgets will have

commercial integration of Unmanned Aerial Vehicles.

many more filming options open to them.

This industry is known for making the impossible

movie “Skyfall” were shot using unmanned aerial systems. A little closer to home, Override Films, a full-service Utah production company specializing in aerial video and photography, uses unmanned aircrafts to provide beautiful, unique imagery for cinema and promotional projects. Override Films utilizes a variety of remote-control aircrafts for its productions with camera payload capabilities varying from small GoPro cameras to as large as the Red Epic. The technology they use to film from the air is cutting edge, which includes a GPS flight system,

Another benefit of UAS technology for the TV and

live HD video feed to the ground and gyro-stabilized

film industry is increased worker safety. Many film-

camera mounts. In addition to feature films, indus-

makers have been placed in dangerous situations

tries such as luxury real estate, tourism, events, and

in order to get requested footage for producers.

action sports have begun to incorporate Override

In February 2013, three men were killed in a heli-

Films’ aerial services into their media packages.

copter accident while filming a reality TV show for

“Unmanned Aerial Systems are a more affordable

the Discovery Channel in Acton, California. Usage

way to get wide shots that seem to establish time

of unmanned aircrafts will allow filmmakers to get

and place in a film,” said Marshall Moore, director

Touted as the most innovative technology to come

the shot they want without endangering any lives.

of the Utah Film Commission. “For the TV and film

out of the aerospace sector since the launch of the

Accidents like the one experienced by the Discovery

industry in Utah, unmanned aircrafts provide the

space shuttle, unmanned aircrafts will allow filmmak-

Channel will be eliminated.

opportunity to get dramatic shots that showcase the

possible and viewers have come to expect new, innovative movie magic every couple of years. To stay relevant in this fast-moving industry, filmmakers have to be constantly looking for ways to make the viewing experience more exciting and meaningful for audiences. Unmanned aircrafts provide the opportunity to take the TV and film industry to the next level.

winter 2014 | adnews 17

beautiful scenery the state has to offer.” Though use of unmanned aircrafts is increasing, there are many restrictions in place that prevent widespread adoption of this technology. Federal Aviation Administration (FAA) approval is required for flying UAS for business purposes. There are currently two methods for gaining FAA approval for flying UAS: Special Airworthiness Certificates—Experimental Category for civil aircrafts and Certificates of Authorization for public aircrafts. Hollywood and other industries have asked for regulations and rules to be developed to speed up commercial integration of unmanned aircrafts. Seeing the value that unmanned vehicles hold, congress issued a mandate to the FAA in 2012 to safely integrate unmanned aerial vehicles into the U.S. airspace by 2015. The FAA has taken steps toward meeting this goal, one of which was

More than a pioneer and gold miner state Utah has a rich legacy in unmanned aircraft. For the last decade in particular, researchers and companies have been exploring ways to develop this technology for commercial purposes. Unmanned Aerial Systems are comprised of operators, hardware, software, and unmanned aerial vehicles. These components work together to enable safe, coordinated operations of the vehicles. Five of Utah’s universities have dedicated resources to developing unmanned systems, one of which is Utah State University (USU). Researchers and students at USU have come together to create UAS to collect data on crops, track invasive wetland plant species and monitor in-stream fish habitat. While USU is looking at agricultural uses of unmanned aircrafts, Brigham Young University (BYU) is at the forefront of UAS guidance and control technologies. BYU has a center for unmanned aircraft systems that has more than 15 years of research experience and has conducted hundreds of hours of flight tests with small UAS.

the announcement that it would establish six test sites across the nation to create regulations for commercial integration of unmanned aircrafts. Utah bids to build an even stronger aerospace industry To determine locations for the six announced test sites, the Federal Aviation Administration solicited proposals in February 2013. Utah is one of twenty-four states that submitted a proposal to be considered as a location. Information collected from test sites will provide the FAA with the necessary information to eventually permit routine UAS operations in the National Airspace System (NAS).

The state’s private sector is also committed to moving Unmanned Aerial Systems forward. L-3 Communication Systems-West is a company that has more than 20 years of experience in developing communications solutions for UAS. The company delivers communications products, systems and services to U.S. Armed Forces and commercial customers. A few of the other Utah-based companies involved in UAS development and manufacturing include: Procerus, Rockwell Collins, ImSAR, Rocky Mountain Composites, Rockwell Collins, and Nammo Composite Solutions. Utah’s established infrastructure, UAS history and complex of potential launch and recovery areas make it an ideal location to continue testing unmanned vehicles. The ground work is in place for the state to be at the forefront of expanding this technology.

Utah’s proposal to the FAA focused on the infrastructure, environment and people that have created a strong aerospace industry in Utah thus far. Available airspace/terrain, higher education assets, legislative support and aerospace/defense supply chain were all highlighted in the submission. “Normalized access to the National Airspace for Unmanned Systems will unleash a torrent of ideas for UAS applications that will have an enormous positive economic impact,” said Marshall Wright, aerospace and defense cluster director for GOED. Requirements for the FAA test sites were developed through input from the UAS user community as well as the public. Specifically, the FAA requested input on public versus private management of the sites, research activities and capabilities of the test areas, the requirements for test-site operators, and the Override-05: HD video feed is sent wirelessly to the camera operator on the ground.

18 adnews | winter


geographic and climate factors that should influence

site selection. The FAA wanted to ensure all factors were considered in choosing the locations. The State of Utah’s submission was via the Mountain West Unmanned Systems Alliance, which is a unique collaboration of Utah academic institutions, economic development organizations and industry partners. The FAA is reviewing the submission and plans to announce its selections by the end of December 2013. What once seemed like movie magic will become part of everyday lives as rules and regulations are developed for commercial use of Unmanned Aerial Systems. The FAA is establishing sites that will provide the first steps in having a personal unmanned vehicle in the average citizen’s home to take out the trash or vacuum. What seems like a distant dream could become reality with the advances that are being made in Unmanned Aerial Systems. The TV and film industry is one of the many industries that will benefit from commercial integration of unmanned aircrafts. With this technology, audiences will watch a movie and ask the question, “How did they do that?” The answer will be simple, through the use of Unmanned Aerial Systems. Override-06: Override Films flying in Michigan for the Outdoor Channel

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winter 2014 | adnews 19

Neuromarketing Now It’s a brave new world. Or is it?


rom the Internet, to Facebook, to email marketing and everything in between, the way we do business has changed forever. It’s hard to believe that Facebook has only been around for 10 years. Back in the day we didn’t tweet, or pin, we didn’t imessage or snapchat. We pretty much did things the way they had always been done; slowly. Today we chuckle at how ‘backward’ things were in the 1980s. It’s true; things are so much easier now. I started my business in 1996 and, even though I had a mobile phone and an email account, there was no way for me to check my mail when I was away from my desk. Jumping onto the Internet was accompanied by the pop, fizz and ping of a dial-up connection and surfing the web was a time consuming, pain in the ass. I still marvel at how easy it is to keep in touch with clients today. I honestly don’t miss anything about the ‘old days’ and even though I could do with a break from my email every now and again, I am obsessed with all things digital. So, what’s the problem? Here’s the thing. Technology has moved on, how we use it has moved on, but how we think hasn’t. Bottom line? We’re cavemen; gnarly, sweaty, instinctive cave men (and women of course). Our brains are processing information like it was 10,000 BC and change isn’t happening anytime soon. Marketers believe people are really ‘thinking’ about their messages and engaging with their content, but they aren’t. No, the consumer is busy feeling it, they aren’t thinking about it— well, not at first anyway. Fun factoid No.1. The part of our brain that makes 90% of our decisions can’t read. Seriously. Fun factoid No.2. 95% of our decisions are made at a subconscious level. Translated, you’ve decided long before you choose. Fun (slightly upsetting) factoid No.3. Our emotional brain (the limbic system) rules the roost. Our logical brain (the neocortex) comes in a sloppy second. But, what does this all mean for us everyday marketers? Technology has opened up the world of communication in ways we could only have dreamed about—even 15 years ago. But human behavior hasn’t and won’t change for a very long time to come. We feel it, long before we think it. This isn’t up for debate; neuroscience has

20 adnews | winter


proved it over and over again and yet the vast majority of marketers are creating campaigns that pay no heed to the way our brains actually work. The most successful brands are those that engage with their customers on an emotional level (no matter whether B2C or B2B). It can take up to two years to form a permanent memory and at any point during that process your brain can choose to ‘delete’ it.Yeah … wow … two years! Sticky memories are emotional memories—logic has very little to do with it. There are marketing pundits who peddle the so called ‘new rules of marketing’ as if the advent of social media changed everything and tipped marketing theory on its head. If you take a hard look at theory, it all works exactly the same way; it’s just happening at the speed of light now. I contest that the only thing that has really changed is that the consumer is no longer passive. He’s as much a part of the channel as the advertiser. He helps shape communication because, in a lot of cases, he is creating it. Neuromarketing is a relatively new term, but the brain sciences have been picking apart the way we think and act for nearly 100 years. There is so much data out there to help us make better choices about how we structure our campaigns. I’m delighted to have been asked to impart my experience with neuromarketing and give you access to some of the juicier bits of research that can literally transform the way you think about marketing and creativity. In coming issues I will cover some of the hotbutton topics and give you examples of how to make it work in the real world. I will summarize a topic in print, but each article will have a detailed downloadable PDF that will include a ton of information. The first PDF download will cover how the brain works and how memories are formed, but moreover how it applies to branding. I will also cover the basics of Neuromarketing and what are the main research techniques. Let’s get emotional people.

Joanne Bloomfield FCIM Originally from the United Kingdom, Joanne is a Fellow of the Royal Chartered Institute of Marketing (the largest professional and academic marketing organization in the World). She is a 26-year veteran of international marketing who specializes in the behavioral adaptation of marketing programs and is known for her incredibly high-performing direct campaigns. She also lectures about Marketing Communication at Universities in Europe and the USA. If you have any questions about this article or simply want to connect with Joanne email her at or connect with her on LinkedIn http://www.

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ksl 5 television (nbc)

Broadcast House 55 North 300 West Salt Lake City, UT 84180 web p 801.575.5555 f 801.575.5864 news p 801.575.5500 f 801.575.5560

Darrell Brown, President/GM p 801.575.5873 f 801.575.7521 email Tanya Vea, VP/News p 801.575.5893 email Tami Ostmark, VP/Marketing, Research & Promotions p 801.575.7235 f 801.575.5830 email Brent Robinson, Chief Engineer p 801.575.5966 f 801.575.5864 email

ktvx (abc) 4/cw 30 2175 West 1700 South Salt Lake City, UT 84104 p 801.975.4444 f 801-975.4442 web

Kent Crawford, General Mgr p 801.839.1111 f 801.839.1144 email

Dianne Downey, Director of Sales p 801.975.4555 email

Doug Beck, Director of Sales p 801.839.1117 f 801.839.1101 email

Celia Willette, Local Sales Mgr p 801.975.4564 email

Mark Crowther, Local Sales Mgr p 801.839.1120 f 801.839.1101 email

Mike Spiecha, Creative Services Director p 801.975.4544 email

Shannon Eaker, National Sales Mgr p 801.839.1284 f 801.839.1101 email

Jeremy Miner, Web Channel Director p 801.975.4405 email

Jodelle Bailey, Director of Digital Media & Marketing p 801.839.1180 f 801.839.1101 email Jennifer Dahl, News Director p 801.839.1300 f 801.839.1235 email

kued channel 7 (pbs)

101 Wasatch Drive Salt Lake City, UT 84112 web p 801.581.7777 f 801.585.5096

James Morgese, General Mgr p 801.581.3330 f 801.585.5096 email

kstu fox 13 5020 W. Amelia Earhart Drive Salt Lake City, UT 84116 web p 801.532.1300 f 801.537.5335 news f 801.536.1325

Timo Saarelainen, VP/General Sales Mgr p 801.536.1333 f 801.536.1334 email Kent Carbon, National Sales Mgr p 801.536.1338 f 801.536.1334 email Beth Young, Local Sales Mgr p 801.536.1394 f 801.536.1334 email Renai Bodley, VP/News Director p 801.536.1306 f 801.536.1325 email Catherine Byington, Digital Sales Mgr p 801.536.1359 f 801.536.1334 email Melanie Say, VP Creative Services & Programming p 801.536.1302 f 801.537.5335 email Mark Ito, Marketing, Research Director p 801.536.1382 f 801.536.1334 email

Stephen Spencer, Director of Research Programming p 801.839.1154 f 801.839.1101 email Brent Robinson, Chief Engineer p 801.839.1344 f 801.839.1144 email

KULX- HD SALT LAKE CITY 10.1 Telemundo Utah HD Channel 10, 50, 51 Comcast 18 & 645 10.2 Home Shopping Network 10.3 LATV Network Comcast 112 5180 South 300 West Unit I Murray, Utah 84107 web p 801.313.9500 f 801.281.4847

John C. Terrill, President email Azucena Covarrubias, Sales Mgr email Walter Pe単ate, News Director email Enrique Corona, Sports Director email Ramiro Lopez, Chief Operator email Leslie Urry, Traffic Mgr email

Alice Webber, Development Director p 801.585.1855 f 801.585.5096 email Susie Flandro, Corporate Support p 801.581.5694 f 801.585.5096 email

park city television pctv

Mary Dickson, Creative Director p 801.581.3263 f 801.585.6105 email

1776 Park Avenue, #201 P.O. Box 2877 Park City, UT 84060 web p 435.649.0045 f 435.655.9860

James Davie, Programming Director p 801.581.5506 f 801.581.5620 email

Stanton D. Jones, GM / Owner p 435-640-5555 email

Ken Verdoia, Production Director p 801.581.3250 f 801.581.5620 email

Terry Burden, News Director p 801.835.8297 email

Rachelle Anderson, Community Outreach p 801.585.3523 f 801.585.5096 email

Tiffany Gillespie, Mktg Director p 435.659.7775 email

Elise Peterson, Education p 801.585.6163 f 801.585.5096 email

outside television network uhf45 / cable 17 or 102


Tim Ermish, President/GM p 801.536.1391 f 801.537.5335

299 S. Main Street, #150 Salt Lake City, Utah 84111 web p 801.839.1234

Richard Jones, VP/General Mgr p 801.975.4560 email

Mark Wiest, VP/Sales p 801.575.7232 f 801.575.5864 email Alan Blackburn, Director of Sales p 801.575.5838 f 801.575.5864 email

kutv 2 (cbs)

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cable directory

radio directory bonneville salt lake radio group

comcast spotlight

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

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

Service Area: Salt Lake City, Heber, Weber, Davis, Orem, Provo, Park City, Tooele, Logan, Brigham City, St. George, Cedar City, Vernal, Rock Springs, Moab, Price Ad Insertion: Cable & Satellite Insertion Stations: A&E, AMC, Animal Planet, BET, Bravo, Cartoon, CBS College Sports, CMT,CNBC, CNN, Comedy Central, Discovery, E, ESPN, ESPN2, Family, Food, Fox News, Fox Sports 1, FX, Galavision, Game Show Network, Golf, Hallmark, Headline, HGTV, History, Lifetime, MSNBC, MTV, National Geographic, NBC Sports, NFL Network, Nickelodeon, Oxygen, PAC 12, ROOTS, Spike, SyFy, TBS, TLC, TNT, Travel, TruTV, TV Land, USA, VH1, Weather

capital broadcasting

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

Adult Contemporary web



News, Traffic, Weather, Talk web


KLO RADIO 103.1 FM/1430 AM Talk/News web

KSFI 100.3 FM, FM100 Soft AC web

John Webb, General Mgr p 801.364.9836 f 801.364.8068 email Matt Webb, General Sales Mgr p 801.364.9836 f 801.364.8068 email

KRSP 103.5 FM, 103.5 THE ARROW Classic Hits web

Rob Riesen, Operations Mgr p 801.364.9836 f 801.364.8068 email Gary Stanger, Promotions/ Marketing Director p 801.364.9836 f 801.364.8068 email

Steve Lindsley, VP/GM Mountain Region p 801.488.5658 m 801.201.4261 email

Tami Ostmark, VP/Marketing, Research, Promotions p 801.575.7235 f 801.575.5830 email

Sheri Jensen, Traffic Mgr p 801.364.9836 f 801.364.8068 email

Angie M. Williams, Senior Mgr Business Operations p 801.488.5652 m 801.557.1707 email

Mark Wiest, Group, VP/Sales p 801.575.7232 f 801.575.5864 email

Jan Bagley, VP/Promotions & Sales p 801.364.9836 f 801.364.8068 email

Paul Garner, Area Sales Mgr p 801.488.5665 m 801.455.8838 email Brent Petersen, Field Marketing Mgr p 801.401.6021 m 801.243.8216 email Sherri London, Marketing Mgr p 801.488.5653 m 801.550.4192 email Dan Bramall, Research Mgr p 801.488.5661 m 801.694.2830 email Robert Coppa, Internet Sales p 801.401.6011 m 801.824.9670 email Matt Elggren, Creative Services p 801.488.5678 email

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

KBZN 97.9, NOW 97.9

Darrell Brown, President/GM p 801.575.5873 f 801.575.7521 email

M’Kay McGrath, General Sales Mgr p 801.401.6030 m 801.750.5207 email

ksop, inc

Stephanie Palmer, Group, GSM p 801.575.5811 f 801.525.7329 email

John Dehnel, Chief Engineer p 801.575.7630 f 801.575.7605 email


Don Hilton, President and GM email Ladd Hadlock, Local and National Sales Manager email Mike Peterson, Sales Rep email Deb Turpin, Program/Music Director email Sarah Hilton, Traffic Manager email Dick Jacobson, News email

krcl radio

1971 W North Temple Salt Lake City, UT 84116 p 801.834.6717

Kevin LaRue, KSL Newsradio, Program Director p 801.575.7681 f 801.526.7074 email Kelly Hammer, KRSP/KSFI Brand Product Director p 801.325.3133 f 801.526.7074 email


Vicki Mann, General Mgr p 801.834.6717 email

kuer 90.1

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

John Greene, General Manager p 801-581-6625 email Gayle Ewer, Marketing & Community Engagement Manager p 801.587.9331 email Susan Kropf, Development Director p 801.581.6742 email Tristin Tabish, Content Director p 801.581.7549 email Ja’Naye Payne, Corporate Support Manager p 801.581.3227 email Elaine Clark, RadioWest Producer p 801.581.7781 email

22 adnews | winter


radio directory


broadway media

515 South 700 East, #1C Salt Lake City, UT 84102

Craig Hanson, President - Radio email p 801.325.3114 John Kimball, President REAL Media email p 801.718.5964 Steve Johnson, Director of Sales email p 801.325.3113


web Steve Johnson, GSM p 801.325.3113 email

Bret Leifson, CFO email p 801.325.3113 Jana Tuttle, National/Group Sales Manager email p 801.325.3150

KUUU 92.5 - U92

web Erik Goddard, GSM p 801.596.4176 email

KXRK - X96 96.3 - Alternative web Mike Lund, GSM p 801.325.3161 email

KEGA 101.5 & 105.1 The Eagle web Jacquie Louie, GSM p 801.596.4124 email

KUDD 107.9 - MIX - CHR

web Erik Goddard, GSM p 801.596.4176 email


web Justin Weidauer, GSM p 801.596.4176 email

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winter 2014 | adnews 23

24 adnews | winter


adnews Winter 2014 - Digital Media Arts Edition  

With a special section on Salt Lake Comic Con, this quarterly Digital Media Arts Edition explores education, economic growth through events,...

adnews Winter 2014 - Digital Media Arts Edition  

With a special section on Salt Lake Comic Con, this quarterly Digital Media Arts Edition explores education, economic growth through events,...