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CONTENTS
VOLUME 23 • ISSUE 3 2011
PUBLISHER
James R. Baker ASSOCIATE EDITOR
Katie Sauro SALES MANAGER
Katie Higgins SALES
Eric Iles, Gyda LaGrange, Paul Yarnold PRODUCTION MANAGER
John Rusnak DESIGNERS
Dawn Carlson Jenny Carlson WEBMASTER
Eric Pederson OFFICE MANAGER
Audra Higgins INFORMATION SERVICES MANAGER
Lois Sanborn
FEATURES 10
THE ARTISTS FORMERLY KNOWN AS PRINTERS Media Index Publishing Group
36 OREGON’S FILM AND TELEVISION INDUSTRY CLOSES A RECORD YEAR WITH NBC’S GRIMM
P.O. Box 24365, Seattle, WA 98124-0365 1201 First Ave. S., Suite 309, Seattle, WA 98134 (206) 382-9220 • (800) 332-1736 Fax (206) 382-9437 Email: media@media-inc.com www.media-inc.com Display Advertising. Call Media Index Publishing Group for a current rate card. Discounts for frequency advertising. Advertising confirmation deadline is the 30th of the month prior to issue publication. Advertising mechanicals are due the 5th of the month of issue. All submitted materials become the property of Media Index Publishing Inc. and will not be returned. Subscriptions. Annual subscriptions to Media Inc. (4 issues) are $25 (+$2.20 if sent to WA address); two-year subscription is $37.50 (+$3.30 if sent to WA address). Send check or money order to Media Index Publishing Inc., or call (206) 382-9220 with VISA or M/C. Back issues of Media Inc. are available at Media Index Publishing Inc. offices at the cost of $5 plus tax. Copyright © 2011 Media Index Publishing Group. All Rights Re-
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THE FUTURE OF PR IN PUGET SOUND
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
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CONTENTS 14
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MEASURING THE EFFECTIVENESS OF CUSTOMER SERVICE
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WHO’S NEWS
16 17 18
FALL FILM FESTIVAL ROUND-UP 88
BORN FROM PR, CMD EARNED MEDIA TAKES A SYNERGISTIC APPROACH TO SOCIAL MEDIA
90
MOVING UP: TRANSITIONING SMOOTHLY FROM PEER TO BOSS
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AIMING AT THE RIGHT TARGET
KEYS TO FULFILLMENT 3 SALES TIPS YOU’LL NEVER HEAR IN A SALES SEMINAR THE FINE PRINT
38 SEATTLE’S STRONG SUMMER 48
PRE-PRODUCTION IS GOLD
50 GET PAID: FIGHTING BACK
AGAINST BILL-EVADING CLIENTS
52
DEEP GREEN FILMS RENTS PRODUCTION EQUIPMENT
54 Q&As
THE BEST OF NORTHWEST PRODUCTION (PART 2)
86 TRANSLATING USER EXPERIENCE FOR MOBILE APPLICATIONS AND WEB SITES
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94 ON THE RECORD:
MEDIA INC.’S Q&A SERIES WITH EDELMAN
22 MEDIA INC. INDUSTRY LISTS 22 78 92
PRINT/VISUAL COMMUNICATIONS POST PRODUCTION SERVICES PR FIRMS
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Family owned and operated for three generations ISSUE THREE 2011 MEDIA INC.
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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, Inc./Portland NICK HERINCKX promoted to Senior Account Director
Anvil Media, Inc./Portland YAEL LIVNEH promoted to Director of Operations
Copacino+Fujikado/ Seattle MIK SHORE hired as Director of Technology
Formic Media, Inc./ Portland ANNA HUTSON promoted to Senior Account Director
Formic Media, Inc./ Portland JOHN MCPHEE promoted to Vice President
Frause/Seattle NATALIE PRICE added as Vice President
Ivey Performance Marketing/Portland RICK SOBERANIS named Senior Vice President of Client Service
JayRay/Tacoma, WA CAMILLE ST. ONGE added as Advisor
Leopold Ketel & Partners/Portland JEREMY BOLESKY added as Designer
Leopold Ketel & Partners/Portland JULIA SELLNER added as Media Buyer
Magner Sanborn/Seattle JOSH BURNS joined as Copywriter
Magner Sanborn/ Spokane, WA ERIC DAHL joined as Director of Digital
Magner Sanborn/ Spokane, WA KATIE HARNETIAUX joined as Account Supervisor
Magner Sanborn/ Spokane, WA TERESA IDE joined as Account Coordinator
Magner Sanborn/ Spokane, WA CHELSEA NEWMAN joined as Account Coordinator
Funk/Levis & Associates/ Eugene, OR JOE MCRAE hired as Account Executive
Klündt | Hosmer/ Spokane, WA KATIE KOLAHI named Account Coordinator
CREATIVE SERVICES
Magner Sanborn/ Spokane, WA AARON SCHABER joined as Designer
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Metia/Seattle DEBORAH HANAMURA named Director of Marketing
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Funk/Levis & Associates/ Eugene, OR LINDSEY AUTRY hired as Digital Media Coordinator
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The Artists Formerly Known as Printers WHAT’S CHANGED, WHAT’S STAYED THE SAME, AND HOW TO REMAIN RELEVANT IN THE FUTURE. By Jules Van Sant, Executive Director, PPI Association
o decide where you should go, a look in the rearview mirror lends perspective. Today let’s review the history of print communications—its slow steady growth, historical relevance, and how the numbers game has changed it all.
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The past is the story of the way the future has been disrupted by technology and innovation. We must ourselves learn to disrupt the future with technology and innovation (from Disrupting the Future: Uncommon Wisdom for Navigating Print’s Challenging Marketplace by Dr. Joseph Webb and Richard Romano).
DID YOU KNOW: When the printing press was invented in the 1450s, the population of Europe was approximately 50 million people. The literacy rate at that time has been estimated at 1 percent—or 500,000 people capable of reading what was printed. It took about 100 years to get the literacy rate to 50 percent. By then, the population was about 70 million—which means it took 100 years for the number of people who could read what was printed to hit 35 million. What this also means is that it took more than 100 years for the number of users of print to reach 50 million. On the contrary, it took radio 38 years to reach 50 million users. It took television 13 years to reach 50 million users. It took the Internet 4 years to reach 50 million users. It took the iPod 3 years to reach 50 million users. But then Facebook added 100 million users in less than 9 months. iPhone application downloads hit 1 billion in 9 months. The number of Ashton Kutcher’s and Ellen DeGeneres’ Twitter followers exceeds the entire population of Ireland, Norway and Panama. Why should you care? 10
MEDIA INC. ISSUE THREE 2011
s with the popular television show Dancing with the Stars, there are many talented people and firms out there with specific skills, success stories, or luck and good timing to hang their hat on. Some can tango, while others waltz, and still others find comfort doing the jitterbug. The competitors throughout, as is true within our evolving business space, are challenged to transition into a new business model where they face competition, critics to contend with, and a different-looking stage in which to showcase their abilities than they’re used to. Our industry of commercial printing has some of the same challenges. We know what we know, and we’re darned good at it. But being asked to take on new skills, new markets, new products and capabilities—well, we can come across looking clumsy and lost. Sometimes we’re lucky; sometimes the patience that comes with hard work and practice pays off. Most important is to acknowledge weaknesses, work through them, and come across looking good the next time. That’s when you get traction with your audi-
A
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THE ARTISTS FORMERLY KNOWN AS PRINTERS
TWO STEP ONTO THE FLOOR
Continued from page 10
Okay, so you don’t want to be Vista Print, but you want to make money. Once you decide to go on the journey, be prepared to support your new plan. ence and keep dancing another week. Either reenergize your current identity or create a brand that For those without the necessary strengths, the writing is on the means something to the market you’re going after. That doesn’t wall and they eventually do the cha-cha out the door. Not everymean you have to change your name—you need to update your one wins. Lucky for the communications industry, there is room image within the marketplace. And as the competitive space has for a few more winners. changed dramatically, it’s key you nail down where you play. This The print market space continues to contract. Yet communiis most assuredly a different space than it was 10 years ago. cations continue to grow. The landscape of the competition is If you’re an established business, you have a few key points to changing—you can fight it, but you can’t change it. To be a player, consider: Experience with your services and productivity and facing and embracing this fact gets you bonus points. Then the history of adapting over the years; wisdom to understand a client’s work just gets started. needs and execute them efficiently and effectively; and your The updated paradigm of “commercial print” as a business nimbleness with change and willingness to adjust your culture to model has forever shifted. Many strengths of the past play well capture technology advantages and innovative solutions and turn with the communication and information evolution we have been them into revenue. experiencing for over 10 years now. Other industry and organizaIf you’re a new business, you lack experitional legacies limit, if not stall out, our ence, which can mean that you aren’t tied to the momentum. So let’s discuss the opportunities and ver time, as institutions brick and mortar of history and may more how to play for the win. create habits and earn easily adapt as historic levels of change subscribers, they often switch, gradually making the move continue to swirl around us. This also might WHOOOOO ARE YOU? from magical (worth a trip, worth a pay forward into opening up opportunities No matter your niche, it’s now more than ever an conversation) to good (there when that established firms either don’t have the important, regular exercise to understand your you need it). Most TV is just good. Magazines, too. When was the last foresight or the comfort level to exploit. business and be ready to change. Do you print for time People magazine did someFind out who you are. Figure out where you the commercial, trade, packaging or specialty thing that made you sit up and say, want to go, then start practicing. markets? Do you work for a corporation within an "Wow"? Of course, you could argue that they're not in the wow business, What percentage of your business model is in-plant firm or marketing department? What addand you might be right. print? What other modes of print, communion benefit do you bring as a marketing firm, One of the disrupting forces of cation and marketing will complement what advertising agency, bindery, fulfillment house, direct new media is that it makes it harder and harder to succeed without wow. you do, and how can you integrate them all? mail expert or marketing communication advisor? Since you have to earn the converDecide if you want to be in the business of And do you find the lines starting to blur in one sation regularly, phone it in too communications or commodity sales, then or more of these areas? often and attention disappears. WORTH SUBSCRIBING to Seth start marketing. In the book Business Transformation – A New Godin’s Daily Blog — sethgodin.type And for goodness’ sake—understand that the Path to Profit for the Printing Industry, author pad.com sales staff you have must learn to sell new John Foley Jr. outlines the ideas, and differently. They will require new steps to help evaluate and tools, talking points and internal buy-in to be update your traditional print successful. So many transitions into just digibusiness model. It’s strongly tal vs. offset sales have fallen flat thinking you suggested that commercial can stick a square peg in a round hole. Don’t make the printers consider retooling into a same mistakes again. Set yourself up for winning. Printer-Plus/Marketing Services Provider/Marketing Communications Specialist role—aka a “business formerly known as a ACTIONS SPEAK LOUDER THAN WORDS printer.” Whatever you want to call it, let’s just Like it or not, perception is reality. It can add flair to or hinder a suggest there’s new avenues to win in this business. positive perception from your audience. What they think, speak, Here’s the simple outline to get you going: write—and what they don’t—should be taken into consideration. • Make the decision to change. Your messages need to resonate and match your business plan and • Evaluate your current clientele. corporate culture. There are more arenas now than ever before in • Determine exactly what services you plan to offer. which to make your point, and so much more noise to compete with. • Write your business plan. With the advent of electronic communication through blogs, • Look for integration of other technologies and partners. social media outlets and mobile access to all, it’s never been truer • Look for accessibility and support. that “all the world is a stage.” What’s on your printed brochure • Hop on board the learning train (over and over again). or Web site isn’t the only key. What is the rest of the world saying? • Practice what you preach—and preach! Yelp, Facebook, Twitter and other online interactions can be a One size does not fit all, so pick your position and build upon it. friend or foe. All of a sudden our audience is huge, and often we Be agile and ready to move to the left or right a few steps as our don’t even realize it. Be sure to always address those outside your markets continue to change. Make this a committed, ongoing process current circles. throughout the life of your business so you don’t get left in the dust. Set the tone and target. Your voice should be consistent in all
O
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the sales, marketing and public relations in which you engage. Do your best to implement this consciously; often there are multiple messages without a solid theme. Take the time to consider the following when crafting your messages. • What do your current clients think about your company? Consider both your strengths and weaknesses. • What do they know about you and the individuals who bring it all together? • Outside your present contact, do others within the customer’s organization know you exist? • What do they tell others about you? Finally, what are you doing with this information? You’d be surprised sometimes what’s out there and how it can help shift your marketing message and develop new channels and products.
HOW DO YOU SELL IT? The sale just ain’t what it used to be. Helping to navigate the platform of mediums can bring the value-add that makes a vendor relationship invaluable. Consider honing in the markets you go after currently. Become an expert in their needs, their goals, their pains and successes. If you understand their bigger challenges, you can help produce successful marketing in print. You show them greater MROI (marketing return on investment) and bring increased margins and revenues to your bottom line. First, they need to know you have “it”. What’s your wow factor? Ongoing, perpetual, fresh marketing through all mediums is critical. Your mix should include most, if not all, of the following: print, collateral and advertising, direct mail, community outreach, a healthy Web presence, partnerships, and solid word of mouth.
Show them what you can do with the capabilities and partners you have. Make sure they see your quality and expertise. Create a level of trust that a strong self-promotion piece can instill. Use all the mediums your market reads, uses, and should use. Finally, don’t ignore new generations. They have a huge impact on the consumers, users and drivers of media and communications moving forward. Bridge the employee gap between a younger generation and experienced personnel. Make sure your sales and marketing gets their attention and speaks to your company’s value proposition.
IN THE END, IT’S SURVIVAL OF THE FITTEST To not try is to accept failure. Luck happens to those who put themselves out there and take the risk. Nothing is ever perfect by nature, nor do I think it should be. But to not make decisions consciously, to not study, to not practice and improve is the essence of failure. Sure, things happen beyond our control, so be aware, have a plan and a core of people in your camp rooting you on. Just know the route to get there has forever changed. Print is alive and well; tactile and interactive. Let’s get excited about the future and share that enthusiasm with those specifying media messages. Have the energy come from the inside out into the markets you currently Other resources to show the serve and want to develop. Take value of print in the marketthe dive, make the adjustments, ing mix, where it’s effective and why. practice, practice, practice, and printinthemix.com watch potential become reality. printgrowstrees.org Reinvent yourself—everyone chooseprint.org else is.
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Measuring the Effectiveness of Customer Service By Gerry Michael, MBA, CPA Guest Columnist
he printing industry today has become, for many participants, a pretty scary place. In the nearly 30 years our firm has worked with clients in the industry, changes to labor markets, customer sophistication, graphic technology, media options, and a host of other things have combined to make today’s graphic arts industry only a rough approximation of what it was when I first started. Business strategies based on being the low-cost provider, or the fastest turnaround, or the very best at color work, by themselves, just aren’t enough in today’s markets to guarantee success. But over the years, there has been one constant, in my experience, that marks industry leaders. That constant is what I like to call World Class Customer Service. Though the components of this may have changed over the years as lead times shorten dramatically and levels of customer satisfaction shift, with very few exceptions I find that the firms that are leaders in this critical area are also the ones that are most successful, both financially and otherwise. Few industry observers disagree that customer service is important; indeed, it’s almost heresy to suggest otherwise. But when asked what world class customer service consists of, and more to the point, how, or even whether, it can be measured, the conversation usually comes to a halt. It seems that for many, world class customer service is something to be sought, but nearly impossible to define or to monitor. Perhaps being an accountant for most of my working career has made me somewhat unwilling to accept the value of things that I can’t measure or that don’t appear on a financial statement, but to me, measuring customer service is more than merely possible— it is essential. So how can one go about tackling this challenge? The first thing to understand when answering this question is this: Don’t expect to find this information in your normal records. By and large, the accounting systems used in any business are designed to do relatively few things very well. They facilitate making transactions (i.e. invoices, checks, etc.), they track information of a financial nature (receivables, payables, bank balances), and they provide information for the company as a whole in the form of financial statements for owners, lenders, and tax authorities. But none of these really help to understand how well a firm is doing in the area of customer service. To do this, we first need to clarify what “customer service” means, and what it is intended to achieve. Here, I’ll defer to CSM, an e-magazine that specializes in customer service issues, which defines customer service as follows: “Customer service is a process for providing competitive advantage and adding benefits in order to maximize the total value to the customer.”
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If this is an appropriate definition, and I believe that it is, then what should you expect to see change as a result of “improved” customer service at your firm? There are a number of possible answers to this, but among the most common for printers are the following: • On-time delivery – When customer service is properly imple-
mented, customer expectations and printer execution come together. Failure to consistently meet commitments to customers is an indication of weak customer service. • Customer rejections/reruns – Part of good customer service is ensuring that customers have approved proofs on jobs on a timely basis, that production has all the information that it needs to meet customers’ expectations, and that this information is consistent with the customers’ approvals. When this is not happening on a consistent basis, customer service is not doing its job. • Average “throughput” – Though often not measured in any consistent way, throughput is the number of hours (or days, if you prefer) between the acceptance of an order by a printer, and final delivery to the customer. Generally speaking, when customer service is exceptional, the throughput is minimized. This is not the same as “on time.” Other measures can exist, but we think these are a good starting point. But even if you agree these are good indications of how well customer service is working for you, the question remains, how can you measure customer service in your firm? Generally speaking, this information won’t be found in the traditional accounting system, except perhaps the rejection/rerun information, but even here, the information may not be adequate for these purposes. We believe that most measures of customer service effectiveness are based on how long something takes to accomplish correctly. Some of our clients use a “Master Job Log” to record the information that helps to measure how well customer service is performing. Such a log would include, at a minimum, the following, recorded chronologically: • Order number/estimate number (for reference purposes) • Date and time received/accepted • Promised delivery date • Date and time — order entered into production (usually not the same as received) • Date and time — proofs to customer • Date and time — proofs approved • Date and time — job delivered
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• Accepted by customer? (Y/N) • Reason for rejection Notice that tracking dates alone is not good enough in this approach; time of day is equally important. But when tracked, this information should provide all that is needed to begin to “measure” the performance of customer service, and most importantly, to track trends over time. Notice that the measurements are not in dollars, but in time. Ultimately, time is critical in measuring not only customer service, but other things, such as meeting customer expectations, as well. Every company needs to carefully evaluate exactly what “customer service” means to them. It certainly will be different for different companies, and that needs to be taken into account. But customer service can and should be measured in all companies. Ultimately, without measurement, it’s nearly impossible to value something, and customer service is too valuable in today’s difficult marketplace to ignore.
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BRIEFS
GA Creative Earns Healthcare Advertising Award GA Creative, an integrated branding and advertising agency in Bellevue, Washington, has received a Healthcare Advertising Award for the campaign “All doctors are not created equal” for Franciscan Medical Group (FMG) Primary Care, a network of clinics and providers that offer comprehensive health care for residents across the South Puget Sound region. The Primary Care campaign raises the visibility of Franciscan physicians as qualified and compassionate care providers who are a cut above the rest. The campaign consists of one TV spot on area cable, cinema advertising in eight movie theaters, print ads in local magazines, and mailers that were sent to households in the region, communicating the FMG philosophy of care and highlighting clinic locations. “This was a particularly rewarding campaign to create because we were able to partner with actual Franciscan Medical Group physicians to reflect their expertise, care and compassion in a very genuine way,” remarked Karen Axtell, GA communications strategist and Franciscan account manager. “Our client now has powerful visuals and a targeted message to carry through all its marketing efforts.” To view the award-winning Primary Care TV spot and other GA videos, please visit www.youtube.com/theGAchannel, and for more on GA Creative, visit www.gacreative.com.
Gerry Michael, MBA, CPA, is the Managing Principal of the West Coast division of Carlson Advisors, LLC, a CPA and Consulting firm which has advised printing industry clients for over 35 years. Michael founded GA Michael & Company, which has become the Seattle office of Carlson, and led it since 1984, providing a wide range of industry focused services. He has long advocated World Class Customer Service as a part of any firm’s competitive strategy, and as a key to developing a competitive advantage for all firms in the Graphic Arts industry. To learn more, visit www.carlsonadvisors.com/offices-seattle.html.
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KEYS to Fulfillment By Julie Hiatt Guest Columnist
ulfillment… Funny how everybody’s doing it, but everyone’s doing something different.
F
In relation to printing, there are two main types of fulfillment: literature and product fulfillment that is heavy with printed packaging. Distribution is also needed, but technically this is not fulfillment, even though most people call it that. Fulfillment, otherwise known as pick-n-pack, is when every shipment is customized to an order placed by an end user. Distribution is when there is a bulk amount of product or literature that is sent to a list of destinations. No matter what they say, most every printer does distribution; only some provide fulfillment. The key to fulfillment is the system—not Excel, but an actual inventory/order management system. Of course with any system, garbage in is garbage out; there has to be proven procedures and processes in conjunction with a system to have a successful fulfillment program. If you’re going to be in the market for fulfillment, here are some key areas to focus on to ensure a successful program: Prequalification. Often fulfillment buyers ask for pricing when they haven’t taken the time to fully understand their needs. This is critical. I know it sounds tedious, but you must take the time to investigate all the details of what is needed; how else will you
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know if your bid includes all the services you will need? Go visit the prospective vendors. Take a look at their facility, get a demo of their system and how it’s used. Ask for referrals. You need to see similar projects they have done and how successful they were. Project Management. Regularly check to make sure all aspects of your fulfillment project are on track, addressing issues as they arise. As items are received, make sure there is enough for your project; you need to know as early as possible if you’re going to be short. As orders are sent over, look at daily reports showing any missing or problem orders. As orders are fulfilled, review activity reports and look for anomalies that need to be addressed before a shipment is late or shipped incorrectly. If kits are built, make sure you sign off on all BOMs (Bill of Materials) and check QC reports. Reconciliation. After your project is over, you need to confirm that everything shipped correctly and that you have the expected amount of inventory left over. Too much or too little is a red flag that something shipped wrong. Your vendor should provide you with shipment reports; you need to review these reports to make sure you have the expected number of shipments, packages and freight. You can also benefit from reviewing performance reports, examining open time for orders, adjustments and cancellations. Remember, summary reports are your friend! Look for trends or recurring redundancies. Focusing on the big picture will help you to decrease costs, gain efficiencies and achieve better results with your next fulfillment project. Julie Hiatt is president and CEO of Global Fulfillment in Seattle. Visit www.gloful.com.
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SALES TIPS You’ll Never Hear in a Sales Seminar By Pat Detmer Guest Columnist
been selling or managing salespeople since the I’ve ‘80s, and am now a consultant to printers.
Over the past 25 years, I've attended more than my fair share of sales classes and webinars, and during them have eaten a skid of boxed lunches, doodled in the margins of a carload of notepads, ruefully considered the fact that I've never sold a damn thing sitting in a classroom, and wondered why no sales expert has ever taught the real stuff. To wit:
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How to stifle a yawn. It’s Thursday afternoon. You’ve had a heavy lunch, the day is plodding along, the skies are heavy with rain, and you think you’ll go into Customer A and be able to make a decent appearance, sneak out, and be on your way home at 3:30pm. Maybe for a nap. But Customer A is in a chatty mood, and seconds turn into minutes, and then next thing you know, a half-hour has passed and the exit door feels as far away as your last bonus check. You can feel the lids of your eyes drooping, and because you’re not doing any talking, you're barely breathing and your brain is starved for oxygen. You feel it then—the yawn—and you know that if you succumb, it will be met with shock, derision, anger, laughter, silent disappointment or any other number of responses, none of which you wish to face. So you stifle it.
This requires jaws of steel. Clench them. Clench them until your incisors scream for mercy. Do not allow your mouth to open, or your yawn will reveal itself. But here's the thing: You can clench your jaws, but inevitably, in stifling a yawn, your nostrils will flare. So...
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How to keep your nostrils from flaring. It takes at least a decade of practice and exercise. While driving between calls, wear a swimmer’s nose clip. While it's affixed, try to open your nostrils. Do 3 reps of 10 each. The resistance provided by the clip will give you muscles that will allow you to do a 150-pound clean and jerk with your nose. But even if you successfully keep your nostrils from flaring, your eyes will water. So...
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How to keep your eyes from watering. Don’t. When your eyes begin to water and your customer notes it aloud, take a deep breath and tell them about your grandmother/favorite uncle/best friend from high school, and how just before you’d walked in the door, you’d taken a call about the fact that they’d been hospitalized. Next session: “Sympathy Works. How to Turn Your Personal Tragedy into Print Orders.” Pat Detmer of The Quincy Group can teach your sales reps these handy tricks and many others. You can reach her at patdet@aol.com.
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The Fine Print A SELECTION OF NORTHWEST PRINTERS SPILL THEIR INK ABOUT RECENT PROJECTS, NEW SERVICES AND ACQUISITIONS, AND MORE.
PRINTWEST www.printwest.net PrintWest was a major contributor at Print Delivers NW in Seattle on July 26, 2011. The event was held at the Seattle Asian Art Museum with speakers from Starbucks, USPS, pidalia, FSC, The Print Council, West Linn Paper and PPI. The event shined light on the importance and effectiveness of print media to the audience of media and marketing professionals. According to the speakers, B2B organizations find print media to be very effective with a wide range of age groups preferring offers from print media vs. online. Print also plays well with other media and is a strong driver of online sales in addition to being sustainable due to paper recycling and sourcing of virgin materials from well managed forests. For more information, visit printdeliversnw.com/index.php. Contact PrintWest at 425-402-8600 for all your printing and related services needs.
THE WIDE FORMAT COMPANY www.wideformatco.com Servicing the Northwest since 1987, The Wide Format Company has built their reputation around quality equipment, service and printing services. As Authorized Technical Service Partners for HP, Kip, Oce and Mutoh it is very clear that equipment sales and service is the primary business. Specifically wide format equipment. However, over the last few years the company has been highly focused on providing eco-friendly print services to the large color graphics market. All in house production printing is now done with eco-friendly equipment that put off no harmful VOC’s. In August 2011 The Wide Format Company completed a longterm project intended to bring eco-friendly printing solutions to the public nationwide. This new Web-based service, www.BuyGreenSigns.com, will allow anyone with basic computer skills to order large graphics printed on eco-friendly materials.
DIRECT CONNECT GROUP WEST www.dcgwest.com Direct Connect Group West (DCG West) is a marketing service organization serving a number of Fortune 50, 100 and 500 clients. DCG West crosses a variety of communication channels using print, digital, data management and mailing distribution to reach their audience. Based in Seattle, DCG West is comprised of McCallum Print Group and Mailhandlers. This combination offers clients with commercial print production, custom online and fulfillment systems, the latest print-on-demand technology, as well as direct and digital marketing strategy and execution expertise. DCG West holds numerous industry accolades including EPA’s top 20 Green Power Purchasers. In an effort to stay involved in their local community, DCG West supports Solid Ground, an organization dedicated to achieving a just and caring community free from poverty, prejudice and neglect. DCG West’s solutions simplify the sales and marketing process, helping marketing teams to become more productive and their clients to deliver targeted, branded marketing messages to their customers.
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THE FINE PRINT
(
BRIEFS
WIGA Returns with “Expand Your Library” Event Women in Graphic Arts (WIGA) originated in Seattle in the late 1980s and had a full slate of meetings and banquets for five years. Then it went dormant until 2008, when 40 former members and friends met again. Six graphic industry veterans (Susan Bernaeur, Seattle Envelope; Candice Cihon, Seattle Envelope; Pat Detmer, The Quincy Group; Donna Duval, Sunrise Press; Tari Gordon, Elite Label; and Cathy Powell, TCC Printing) have decided that it's time for another party. The “Expand Your Library” networking get-together will be held at Urban Enoteca, in the Sodo area of Seattle, on October 13 from 4 to 8pm. It’s an opportunity to expand your wine library and your networking library at the same time. Urban Enoteca features four Washington wineries. Upon check-in, credit cards are scanned, and attendees will be provided with a “Library Card” to use at the individual wine bars. Sponsors of the event include Neenah Paper, Spicers, Xerox, WCP Solutions, and PPI. To find out more or to RSVP, contact WIGASeattle@gmail.com.
Hornall Anderson Wins Howard Johnson International and Pinkberry Accounts Seattle-based brand design firm Hornall Anderson (part of Omnicom Group) has been awarded two new client accounts, Howard Johnson International and Pinkberry. Following a recent review process that included a number of branding and design agencies, Howard Johnson International, a global chain of midscale and economy hotels and a member of the Wyndham Hotel Group, chose Hornall Anderson for its upcoming evaluation of brand repositioning opportunities. The assignment represents the first time that the businesses have partnered together. Pinkberry, an international frozen yogurt retailer, has also hired Hornall Anderson to create a brand vision and positioning that leverages the company’s current offerings while helping them establish future growth for the business. “We are thrilled to have been chosen by both Howard Johnson and Pinkberry as their strategic brand partners,” said Jack Anderson, chief executive officer of Hornall Anderson. “We are excited to partake in a collaborative journey with them that harnesses design in smart, surprising new ways and that allows us to use our suite of services across multiple channels and mediums.” For more information, visit www.hornallanderson.com.
ADPRO LITHO, INC.
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PUGET SOUND ENVELOPE www.psenvelope.com Puget Sound Envelope has recently acquired and installed equipment from a Canadian envelope company. This includes multiple folding machines, die cutting, patching and latexing equipment to enhance its current services to include nearly all facets of envelope converting. The addition of this equipment and the extensive print capabilities makes the PSE family capable of producing nearly any envelope size or style product. Previously Puget Sound Envelope had acquired the assets of a defunct envelope converter in Portland, Oregon, in 2004. This strategic acquisition, Champion Envelope, was born, verticalizing envelope sourcing and allowing for greater service levels on custom or hard to obtain products. “Our new equipment acquisitions enable Puget Sound Envelope to extend printed litho conversions, custom envelopes and premium grade envelopes in-house at our Redmond plant,” said Rod Reineke, President, Puget Sound Envelope Inc. “With so many changes in envelope sourcing, this was the next viable step in maintaining our service levels to our customers offering a full service envelope vendor.”
STEVENS INTEGRATED SOLUTIONS www.stevensIS.com Formerly Stevens Printing, StevensIS is a high-end offset, digital, and large format printing operation serving small businesses and corporate customers. We complement our core services by offering a suite of digital delivery methods and tracking tools to increase the return on your marketing efforts. Since 1977 we have remained focused on delivering top-quality finished products and positive customer experiences. Contact Rich Stevens at rich@stevensIS.com or 503-233-5746.
www.adprolitho.com Adpro Litho is a trade printer. We opened in 1983 to support printing brokers throughout Washington and beyond. If you are a graphic designer, an advertising or marketing agency, a photographer, a print broker, or anyone who resells printing, our trade service will be a great fit for you. Many printers use our service because of the lack of a specific printing capability, or just the lack of press time due to a busy schedule or mechanical issues. As a TRADE printer we have no outside sales force competing directly for your print orders and will not contact your clients directly unless asked to by you. We have inside CSR's to help you personally. Adpro is a G7 master proof to print, also FSC certified. We have 2 of the newest 6 color+coater presses in Washington. Both are fully equipped to insure the highest quality available today. Contact 425-743-3200 / 1-800-842-3337 or: Chris Smith, VP, csmith@adprolitho.com Jeff Willis, Estimator, jeffw@adprolitho.com Mel Scaggs, Estimator/CSR, mels@adprolitho.com Sandi Lage, Prepress Mgr, slage@adprolitho.com 20
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EMERALD CITY GRAPHICS www.emeraldcg.com Emerald City Graphics (ECG) in Kent, WA, creates high value providing exceptional printed products and services. Ranging from fine offset sheet fed printing, digital printing and variable content programs including kitting, inventory and fulfillment in our 80,000-square-foot facility. ECG is a unique printer offering a wide array of print and marketing materials. Our bindery and finishing capabilities allow us to produce your project in 1 location. Paper board packaging is our fastest growing division producing creative solutions to traditional boxes that serve our customers well. As part of the Consolidated Graphics (CGX – NYSE) headquartered in Houston, Texas, ECG provides web printing, promotional products, oversize printing and POP among our 70 facilities nationwide, Canada, Czech Republic and Japan. We like to say, “It’s your idea—we make it happen!”
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Quality with great service, it just comes naturally to us. D High quality print and web ad preparation. D Catalog production - including image retouching and product matching. D Color accurate proofing to SWOP or GRACoL standards including GMG Dot proof. f D Large format proofing and archival posters. D Customized online ad template utility. D Animated web banners.
Now featuring art quality prints on metal
Now in our 40th year of meeting your challenges large and small.
(206) 623-6963 www.adservices.com 10000 Lake City Way NE, Seattle, WA 98125 ISSUE THREE 2011 MEDIA INC.
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John Madden, president Adpro Litho Inc.; Mukilteo, WA 425-743-3200; fax 425-348-4274 csmith@adprolitho.com www.adprolitho.com Gary Smith, president Chris Smith, VP AllpakTrojan; Renton & Cheney, WA 425-227-0400; fax 425-227-0197 sales@allpaktrojan.com; www.allpaktrojan.com Wayne Millage, president Bruce Hutcheon, sr. VP sales & marketing John Castaldi, commercial print manager Alphagraphics; Seattle, Lynnwood, & Renton, WA 206-448-9100; fax 206-448-1760 cstempler@alphagraphics.com www.us297.alphagraphics.com Charles Stempler, CEO/president Amica Inc.; Kent, WA 253-872-9600; fax 253-872-7414 amica@ix.netcom.com www.amicainc.com DND
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BIN RA DE PH RY Y / MA BIND ER ILI YE NG QU /L D IPM SE IREC IST RV T M EN A I M FU CES AIL/M NAG T E LF AR ME IL KE TIN NT WE LME G B/ MO NT BIL LA RG ES EF ER O VIC RM DE SIG AT ES N
SERVICES PROVIDED R/ SH VE EE HI TF CL ED EW WE OF RA FS BO E PS TP F DIG FSE R I PR IT NT T INT AL ING PR I /
Company; City, State Phone; Fax E-mail Web site
PRODUCTS CA TA L BR OGU OC ES H AN UR NU ES A MA L R GA EPO R Z BO INE TS S OK S PA CK A DI GIN RE G CT MA ST AT I ION LING ER PIE PO Y/ ST LE CES ER T S/ TE B LA BE ANNE RHE AD RS LS /D EN /ST ISP VE IC L AY KE LO S RS P OU TD ES
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Aurora Prints; Seattle, WA 206-274-8475; fax 206-274-8483 print@auroraprints.com www.auroraprints.com Abyaz Mahmud, president BIGink; Seattle, WA 206-340-1151; fax 206-340-9528 johns@bigink.biz www.bigink.biz John Scholl Bridgetown Printing; Portland, OR 503-863-5300; fax 503-863-5301 info@bridgetown.com www.bridgetown.com www.cgx.com Margo L. Yohner, president Capitol City Press Inc; Tumwater, WA 888-943-3556; fax 360-943-2140 michael@capitolcitypress.com www.capitolcitypress.com Michael Eisenmann, president CCS Digital, Inc.; Bellevue, WA 425-653-9606; fax 425-653-9322 sales@ccsprinting.net www.ccsprinting.net Greg Hawes; CEO Kevin Sullivan, president
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BIN RA DE PH RY Y / MA BIND ER ILI YE NG QU /L D IPM SE IREC IST RV T M EN AN ICE MA FU S IL/M AG T LF AR EM IL E KE TIN NT WE LME G B/ MO NT BIL LA RG ES EF ER O VIC R DE M SIG AT ES
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PRODUCTS CA TA L BR OGU OC ES H AN UR E NU S A MA L R GA EPO R Z BO INE TS S OK S PA CK A DI GIN RE G CT M ST AT AILI ION NG E PIE PO ST RY/ LE CES ER T S/ TE B LA BE ANNE RHE AD RS LS /D EN /ST ISP VE IC L AY KE LO S RS P OU TD ES
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YO U
LO O K
It’s what we do.
ISO 9000 Certified
SFI-00570
G OOD
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CDS Publications; Medford & Sunriver, OR & Puyallup, WA 800-388-7575; fax 541-773-1832 info@cdspublications.com www.cdspublications.com Steve Brown, president Cendix; Lake Oswego, OR 888-898-0066; fax 503-210-6479 sales@cendix.com www.cendix.com Wilson Zehr, CEO Champion Envelope; Portland, OR 503-796-0500; fax 503-796-0504 rod@championenvelope.com www.championenvelope.com Steve Kauffman, GM ColorGraphics - A Cenveo Company; Seattle, WA 206-682-7171; fax 206-329-2017 seattleprint@colorgraphics.com www.colorgraphics.com David Carns, GM Brad Barnard, director sales & marketing Consolidated Press; Seattle, WA 206-447-9659; fax 206-447-9477 gstone@consolidatedpress.com www.consolidatedpress.com Gary R. Stone, CEO; Robert T. Brown, CFO; Scott Serna, VP
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SERVICES PROVIDED R/ SH VE EE HI TF CL ED EW WE OF RA FS BO E PS T F PR DIG FSE INT PR IT INT AL T PR ING I /
Company; City, State Phone; Fax E-mail Web site
PRODUCTS CA TA L BR OGU OC ES H AN UR E NU S A MA L R GA EPO R Z BO INE TS S OK S PA CK A DI GIN RE G CT M ST AT AILI ION NG E PIE PO ST RY/ LE CES ER T S/ TE B LA BE ANNE RHE AD RS LS /D EN /ST ISP VE IC L AY KE LO S RS P OU TD ES
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Core Communications; Corvallis, OR 541-757-2016; fax 541-757-2480 lou.butera@corecomm.us www.corecomm.us Lou Butera Digital Print Services, QC Graphics; Kent, WA 425-251-4925; fax 425-251-0605 dtassielli@go4color.com Domenic Tassielli, president Eagle Web Press Co.; Salem, OR 800-800-7980; fax 503-393-4917 sgustafson@eaglewebpress.com www.eaglewebpress.com Michael Gehring, GM; Mike Connor, plant manager; Sharon Gustafson, sales manager Emerald City Graphics A Consolidated Graphics Company; Kent, WA 253-520-2600; fax 253-520-2607 www.emeraldcg.com Mark Steiner, president Global Printing Sourcing & Development (Global PSD); Carnation, WA 206-390-9617/425-354-3690 bob@globalpsd.com www.globalpsd.com Bob Larkin, international sales manager Graphic Arts Center (GAC) - A Cenveo Company; Portland, OR 800-347-4655/503-224-7777; fax 503-248-7210 dan.graaff@cenveo.com www.gacnw.com; www.cenveo.com Dave Webber, SVP of sales James Miller, director of operations Hemlock Printers USA, Inc.; Seattle, WA 206-241-8311; fax 206-241-2177 kwilliams@hemlock.com www.hemlock.com Frits Kouwenhoven, VP Hemlock USA sales Hulett Printing, Inc.; Spokane, WA 509-326-1611/877-644-1611; fax 509-326-2240 brad@hulettprinting.com www.hulettprinting.com Brad Hulett, president Image Media; Portland, OR 503-214-4500; fax 503-221-9737 geoff@imagemediagx.com www.imagemediagx.com Charley Cobb, CEO Geoff Gillam, GM Journal Graphics Inc.; Portland, OR 503-790-9100; fax 503-790-9043 www.journalgraphics.com Phillip Bridge, president K/P Corporation; Renton, WA & Salem, OR 800-328-3284; fax 425-204-6305 www.kpcorp.com Joe Hollandsworth, VP sales Labels Plus, Inc.; Everett, WA 206-523-0477; fax 206-523-1973 sales@labelsplus.com www.labelsplus.com Eric Phillips, owner Tracy Overcash, operation manager Leatherback Printing; Kirkland, WA 425-822-1202; fax 425-828-3935 support@leatherback.net www.leatherback.net Grant Cundy, owner/president
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BIN RA DE PH RY Y / MA BIND ER ILI YE NG QU /L D IPM SE IREC IST RV T M EN AN ICE MA FU S IL/M AG T LF AR EM IL E KE TIN NT WE LME G B/ MO NT BIL LA RG ES EF ER OR DE VIC MA SIG ES T N
SERVICES PROVIDED R/ SH VE EE HI TF CL ED EW WE OF RA FS BO E PS T F PR DIG FSE INT PR IT INT AL T PR ING I /
Company; City, State Phone; Fax E-mail Web site
PRODUCTS CA TA L BR OGU OC ES H AN UR E NU S A MA L R GA EPO R Z BO INE TS S OK S PA CK A DI GIN RE G CT M ST AT AILI ION NG E PIE PO ST RY/ LE CES ER T S/ TE B LA BE ANNE RHE AD RS LS /D EN /ST ISP VE IC L AY KE LO S RS P OU TD ES
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Top Local Executives Lithtex Inc.; Hillsboro, OR 503-726-4102; fax 503-726-4090 les@lithtex.com www.lithtex.com Les Davis, president/CEO Mastercraft of Seattle; Seattle, WA 206-768-1297; fax 206-768-1301 info@mastercraftofseattle.com www.mastercraftofseattle.com DND Metropolitan Fine Printers Inc.; Vancouver, BC 604-254-4201; fax 604-254-5175 nikos@metprinters.com www.metprinters.com Nikos Kallas, president MyBinding.com; Hillsboro, OR & Kent, WA 800-944-4573; fax 503-640-6152 sales@mybinding.com www.mybinding.com Cory Ware, owner Jeff McRitchie, VP of marketing Newman-Burrows, Northwest Publishing Center; Tukwila, WA 206-324-5644; fax 206-324-8939 sales@nwpublishingcenter.com www.nwpublishingcenter.com Mike Daigle, CEO; Doug Andreassen, sales manager; Steve Bergendoff, development director
Locally owned and operated in Seattle, serving our clients’ needs worldwide. We give you a Competitive Advantage in today’s Marketplace by giving you more Time, Money and Focus...
GLOBAL 4 South Idaho Street Seattle, WA 98134
T: 206-405-3350 30
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Company; City, State Phone; Fax E-mail Web site
PRODUCTS
BIN RA DE PH RY Y / MA BIND ER ILI YE NG QU /L D IPM SE IREC IST RV T M EN AN ICE MA FU S IL/M AG T LF AR EM IL E KE TIN NT WE LME G B/ MO NT BIL LA RG ES EF ER O VIC R DE M SIG AT ES
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Olympus Press; Seattle, WA 206-242-2700; fax 206-242-1020 info@olypress.com www.olypress.com Glenn Blue, owner Frank Vertrees, owner Pacific Publishing Company; Seattle, WA 206-461-1322; fax 206-461-1347 ppcprint@nwlink.com www.pacificpublishingcompany.com Robert Munford, VP marketing & operations Terry Fain, sales manager Premier Graphics; Bellingham, WA 360-733-1212; fax 360-676-5805 www.premiergraphics.biz Bob Lynch, president Premier Press; Portland, OR 503-223-4984; fax 503-223-4601 info@premierpress.com www.premierpress.com Jodi Krohn, CEO Print Fusion; Seattle, WA 206-365-1244; fax 206-365-9935 info@print-fusion.com www.print-fusion.com DND Print NW; Tacoma, WA 253-284-2300; fax 253-581-6840 sales@printnw.net www.printnw.net Jeff Stallings, partner/manager Printing Today; Portland, OR 503-641-0200; fax 503-445-4437 www.printingtoday.com Frank Stammers, CEO PrintStreams; Mount Vernon, WA 360-424-5945; fax 360-424-8778 bobsinger@hotmail.com www.printstreams.net Bob Singer, president PrintWest, Inc.; Woodinville & Seattle, WA 425-402-8600 info@printwest.net www.printwest.net Phil Parrish, president/CEO; Charlie Wozow, EVP; Jim Slayton, VP, sales Prographics Services Inc.; Wilsonville, OR 503-968-1999; fax 503-968-8862 mail@prographicsservices.com www.prographicsservices.com Tom Creamer, president Brad Settlemyer, GM Puget Bindery/UltraKote; Kent, WA 253-872-5707; fax 253-872-5221 bob@pugetbindery.com www.pugetbindery.com Bob Bayless, VP Puget Sound Envelope; Redmond, WA 425-869-2420; fax 425-602-8739 rod@psenvelope.com www.psenvelope.com Rod Reineke, president QSL Print Communications; Eugene, OR 541-687-1184; fax 541-743-0708 melissakoke@qslprinting.com www.qslprinting.com Doug Koke
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BIN RA DE PH RY Y / MA BIND ER ILI YE NG QU /L D IPM SE IREC IST RV T M EN AN ICE MA FU S IL/M AG T LF AR EM IL E KE TIN NT WE LME G B/ MO NT BIL LA RG ES EF ER OR DE VIC MA SIG ES T N
SERVICES PROVIDED R/ SH VE EE HI TF CL ED EW WE OF RA FS BO E PS T F PR DIG FSE INT PR IT INT AL T PR ING I /
Company; City, State Phone; Fax E-mail Web site
PRODUCTS CA TA L BR OGU OC ES H AN UR E NU S A MA L R GA EPO R Z BO INE TS S OK S PA CK A DI GIN RE G CT M ST AT AILI ION NG E PIE PO ST RY/ LE CES ER T S/ TE B LA BE ANNE RHE AD RS LS /D EN /ST ISP VE IC L AY KE LO S RS P OU TD ES
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Our Reputation Printing Quality Publications Since 1970
• Best Customer Service • High Quality Printing • Versatility Coated/Uncoated • Latest Technology • On Time Delivery • Eco Friendly
Catalogs • Newsletters • Tabloids • Publications Class Schedules • Directories • Newspapers Books • Magazines • Digests • Bus Schedules
EagleWebPress.com • 800-800-7980
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David Allan, president/CEO Scanner Graphics; Seattle, WA 206-624-4469; fax 206-587-2706 john@scannerinc.com www.scannerinc.com Phil Parrish, president/CEO; Charlie Wozow, EVP; John Ersfeld, senior sales representative SeaPrint; Kent & Woodinville, WA 206-443-2000; fax 425-481-1451 info@seaprint.com www.seaprint.com Phil Parrish, president/CEO; Charlie Wozow, EVP; Jim Slayton, VP, sales Signature Graphics, Inc.; Portland, OR 503-256-5956; fax 503-256-5949 info@signature-graphics.com www.signature-graphics.com Brian Dutton, president/CEO Dan Dutton, EVP Sir Speedy Printing and Marketing Services; Seattle & Tacoma, WA 206-768-9686; fax 206-768-9689 jimb@sirspeedy0905.com www.sirspeedy0922.com Jim Brebner, president Sound Binding Solutions; Kent, WA 425-656-8586; fax 425-656-8080 sbsbind@hotmail.com Don Boland, owner Star Printing; Seattle, WA 206-282-8400; fax 206-283-1213 scott@starprinting.net www.starprinting.net Scott Reid, president Stevens Integrated Solutions; Portland, OR 503-233-5746; fax 503-233-8211 rich@stevensis.com www.stevensis.com Rich Stevens, president Taylor Made Labels; Lake Oswego, OR 503-699-5000; fax 503-699-0408 dtaylor@taylormadelabels.com www.taylormadelabels.com Paul Taylor, CEO/president; Dan Taylor, EVP TCC Printing & Imaging; Seattle, WA 206-622-4050; fax 206-622-4407 michael@tccprinting.com www.tccprinting.com Michael Crumpacker, president Vertis Communications; Portland, OR 503-257-0383; fax 503-257-6908 info@vertisinc.com www.vertisinc.com Kimberly Forbis, GM Windward Communications Group; Seattle, WA 206-382-1117; fax 206-623-5431 info@windwardpress.com www.windwardpress.com David K. Livingston, president Wright Business Graphics; Portland, OR & Seattle, WA 800-547-8397; fax 503-491-4320 gklepec@wrightbg.com www.wrightbg.com Jim Wright, CEO; Dan Adkison, president/COO Zairmail; Lake Oswego, OR 888-898-0066; fax 503-210-6479 sales@zairmail.com www.zairmail.com Wilson Zehr, GM
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Oregon’s Film and Television Industry Closes a Record Year with NBC’s Grimm
Scott Green/NBC
By Vince Porter, Executive Director, Oregon Governor’s Office of Film and Television
e’ve made no secret about the record year for Oregon’s film and television industry in 2011. As the year gets closer to the end, all indications point to 2011 nearly doubling the previous spending record ($62 million in 2009), with more than $110 million in spending on film, television and commercial television production.
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With Leverage wrapping in August and Portlandia wrapping in September, we are left with one last big fish in our state— NBC’s Grimm. Grimm was merely a hopeful pilot earlier in the year, but with the help of a strong local cast and crew, the pilot exceeded expectations and received a 13-episode series order in May. Production on the series began in August and it’s been all systems go ever since. Having any television series in our state is fantastic, but having a larger-budget network show like Grimm in town is a unique experience. The show is set in Portland so the producers are looking to really take advantage of the unique looks the city has to offer. NBC is featuring a behind-the-scenes show blog on the Grimm Web site (www.nbc.com/grimm/), and production designer Michael Wylie spoke recently of the show’s design: 36
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“Describing the ‘look’ of Grimm is difficult. You’ll see in October that the premiere is rather dark and subdued. It also has a slight storybook quality to it. Since we are shooting in Portland, I plan on letting the look and feel of the city itself really dictate some of the look of the show. What they have done here is mix the old with the new. As you walk down the streets you will see an old-timey brick building that has been restored and right next to it is a state-of-the-art glass and steel structure that is very modern. So we will do the same.” In addition to the benefits of having hundreds of local employees working on the show, it’s been a great partnership so far with NBC/Universal thanks to their forward-thinking “green” policies. Every project that NBC produces is given the task of improving their carbon footprint and when we heard of their commitment to this cause, we jumped at the opportunity to provide them with as many local green resources as possible. Jane Ridley in my office has been spearheading our effort, since she was the person who originally created our Green Resource Guide. We hope with the success of Grimm we will be able to offer more green resources to every production in the future. The series premieres on NBC on Friday, October 21, at 9pm and we at Oregon Film are keeping our fingers crossed. With Leverage already renewed for a fifth season, and Portlandia due to premiere its second season in January, we hope a successful Grimm will help us continue our recent success in the world of series television.
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Seattle’s Strong Summer By Paul Nevius, Communications Coordinator, Washington Filmworks
espite the uncertainty surrounding Washington’s motion picture tax incentive and the future of filmmaking in the Evergreen State, summer of 2011 represents one of the busiest and most productive shooting seasons in recent memory. Cities around the state played host to four feature-length films that showcased the variety of locations and the depth and talent of Washington’s crew base. To better understand the impact these films had on Washington and how they came to be made in our home state, the filmmakers were asked to share their experiences.
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Eden tells the harrowing true story of a young Korean-American girl who is abducted and forced into prostitution by domestic human traffickers and comes to join forces with her captors in a desperate plea to survive. At the helm of Eden was director Megan Griffiths, a Washington native and rising star of the indie scene. The incentive was also an integral part of what attracted producer Rick Rosenthal to Seattle to make Fat Kid Rules the World. Adapted from the novel by K.L. Going about an obese 17year-old who becomes drawn into the world of punk rock and
The state played host to four feature-length films that showcased the variety of locations and the depth and talent of Washington’s crew base. erhaps unsurprisingly, the incentive was central to the producers’ decision to film in Washington. “We created a detailed tax incentive analysis to compare the film incentive programs in Washington and California, and the Washington Filmworks funding assistance was the winner by several thousand dollars,” said Jacob Mosler, one of the producers of Eden.
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becomes the drummer of a punk duo, Fat Kid also marks the directorial debut of Matthew Lillard. Rosenthal, an industry veteran with decades of experience in filmmaking, said, “The incentive was vital. We would not have come to Seattle without it. We would have gone to Portland or Continued on page 40
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SEATTLE’S STRONG SUMMER Continued from page 38
even NYC because both have strong incentives that have remained in place. I think it is imperative that Washington bring back the incentive if they wish to stay competitive and stimulate film production in the state.” Australian director Richard Grey of Mine Games acknowledged that the incentive made filming in Washington possible. “Otherwise we would have filmed in California. The extra costs to bring cast and key crew to Seattle (including accommodation, flights, per diems) were directly offset by the incentive. It made everything possible.”
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Washington Filmworks Panel at City Arts Fest Are commerce and art really as mutually exclusive as they appear? The accepted paradigm has long been that a businessperson cannot be artistic and the artist cannot profit from their work without “selling out,” but is this perception a reality? Financially, what does a film director in Seattle need to do in order to be a success, supporting themselves and their loved ones? How can a filmmaker take advantage of their skill and passion to be a commercial success without compromising their integrity as artists? To help better explain this, a panel of industry and business veterans has prepared a practical step-by-step guide about how to make a living as a film director in Seattle. These talented Seattle-based directors will share information about how they learned not only how to survive, but to thrive in their chosen field. And drawing upon their perspective and experience as members of the Seattle directing community, they will provide examples of success and shortcomings, shedding new light on how best to utilize resources in the region and how to employ creative thinking to overcome real-life obstacles. The night will consist of an hour of conversation, followed by an hour of socialization to allow the community to continue the discussion and share their own insights into this exciting topic. Panelists include: Sue Corcoran, producer (Humpday, Ira Finklestein's Christmas); James Keblas, director of the Seattle Office of Film + Music; Amy Lillard, executive director of Washington Filmworks; Mark Titus, 2004 Washington State Screenplay Competition winning screenwriter and owner of August Island Pictures; and Douglas Horn, writer (Ira Finklestein’s Christmas) and director ($5 Cover). This fun and free event, part of City Arts Magazine’s City Arts Festival, will begin at 4pm on October 20 at the FRED Wildlife Refuge on Capitol Hill (127 Boylston Ave E, Seattle, WA 98102).
Filmed in the Ape Cave located in Snoqualmie National Forest, Mine Games is a psychological thriller about a group of young friends who make an incomprehensible discovery in an abandoned mine, but find the more they try to change the future, the more they seal their fate. he unique scenery in Washington was also a compelling factor in attracting these productions. To make their directorial debut, Scott Moore and Jonathan Lucas, writers of The Hangover, selected the University of Washington, basing their fillm, 21 and Over, on the iconic Husky campus. To replicate the look of the American Southwest needed for Eden, producers Mosler and Colin Plank filmed in the eastern part of the state, spending time in Spokane, Ellensburg and Enumclaw. Mosler noted that the services and amenities for the production were top-notch, even when filming was done away from major production centers. “We were able to house our cast and crew in everything from luxury hotels in downtown Seattle, to cozy independent hotels when shooting in the remote desert. The greater Northwest is truly a land with a vibrant economy supported by strong resources that are clearly reflected on screen and added great production value to our film.” For Fat Kid, New York City was replaced by neighborhoods and homes in the Ballard district of Seattle. Said Rosenthal, “Great neighborhoods and diverse locations, coupled with a solid local crew and some talented local actors. A plethora of great restaurants—Ballard seemed to be the favorite hangout neighborhood, along with Capitol Hill.” The Mine Games team had a similar experience. Said Grey, “Locals were very helpful and friendly, crew recommended others, and our Washington team came together very quickly. We found a perfect place to stay at the Red Lion in Bellevue, which catered for all needs. Catering we sourced surprisingly from Enumclaw, and they, too, were very good.”
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s the shooting season comes to a close and the features transition into post-production, it is time to look ahead to what the future holds for filmmakers in Washington. Without the film incentive in place, it will be a tall order to bring filmmakers here to take advantage of the variety of locations and the pool of professionals that make Washington their home. It remains to be seen if the Washington legislature will take the steps to ensure that this season is not the last season for making movies here in the Evergreen State.
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FALL FILM FESTIVAL ROUND-UP rom capitol cities to pastoral towns, it seems every corner of the Northwest boasts a film festival this autumn. Here is a brief look at some of the major events taking place near you. Check out the festivals’ respective Web sites for schedules, ticketing, and other information.
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Local Sightings Film Festival Sept 30 – Oct 6 206-329-2629 ryan@nwfilmforum.org localsightings.nwfilmforum.org Presented by Northwest Film Forum, Local Sightings is an annual showcase of current narrative, documentary and experimental film by Northwest artists. The week-long festival also features panel discussions, historic NW films, and juried awards for a winning short and feature film.
BendFilm Festival Oct 6 – 9 541-388-FEST info@bendfilm.org www.bendfilm.org BendFilm celebrates the brave voice of independent cinema through films, lectures and education. Now in its eighth year, the festival will feature narrative and documentary features, shorts, and student and animated films.
Portland Lesbian & Gay Film Festival Sept 30 – Oct 8 info@plgff.org www.plgff.org The Portland Lesbian & Gay Film Festival celebrates 15 years this year with a new slate of feature, documentary and short films from all over the world. PLGFF kicks off at Cinema 21 with a screening of David Weissman’s We Were Here, with the filmmaker in attendance.
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Tacoma Film Festival Oct 6 – 13 253-572-6062 tacomafilmfestival@gmail.com www.grandcinema.com/page.php?id=43 The Tacoma Film Festival is an eight-day celebration of current independent film from around the globe. Held at The Grand Cinema, the primary focus of the festival is on art house, foreign language, independent, documentaries and numerous short films. Ellensburg Film Festival Oct 7 – 9 coordinator@ellensburgfilm festival.com www.ellensburgfilmfestival.com Since its inception in 2004, the Ellensburg Film Festival has grown into a major film and arts event in the Northwest with over 2,000 people in attendance. The three-day festival features numerous screenings and venues, diverse cultural and artistic offerings, and a fun and relaxed atmosphere open to all.
Gig Harbor Film Festival Oct 14 – 16 253-851-3456 director@gigharborfilmfestival.org www.gigharborfilmfestival.org Nestled in Gig Harbor’s UpTown Shopping Center at The Galaxy Theatre, GHFF screens local, regional, and international films. Now in its fourth year, the festival continues to grow exponentially, with record-breaking ticket sales and attendance in 2010. Salem Film Festival Oct 14 – 21 info@salemfilmfestival.com www.salemfilmfestival.com With the tagline, “A truly inspired celebration of independent film & filmmakers...” the Salem Film Festival strives to showcase a broad selection of indie film talent. Screenings and other events will be held at Salem Cinema on Broadway, High Street Cinema, and The Grand Theater.
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Seattle Lesbian & Gay Film Festival Oct 14 – 23 206-323-4274 info@threedollarbillcinema.org threedollarbillcinema.org/programs/SLGFF/ Held annually since 1996, The Seattle Lesbian & Gay Film Festival has grown into the largest event of its kind in the Pacific Northwest, gaining industry and audience recognition for showcasing the latest and greatest in LGBT film, from major motion picture premieres to emerging talent. Eastern Oregon Film Festival Oct 20 – 22 541-963-4617 info@eofilmfest.com www.eofilmfest.com La Grande, Oregon, is home to Eastern Oregon Film Festival, a non-profit organization dedicated to creating a cinematic experience in Eastern Oregon. Now in its third year, EOFF not only features film, but live music as well.
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Eugene International Film Festival Oct 20 – 23 info@eugenefilmfest.org www.eugenefilmfest.org In addition to the myriad excellent film screenings at EIFF, the event also features a number of networking opportunities for filmmakers (such as the complimentary filmmaker buffet mixer, the intimate nightly cocktail-and-snack lounge, and the exciting awards ceremony), as well as several production workshops.
Portland Latin American Film Festival Oct 20 – 26 503-245-8020 www.pdxlaff.org Produced in partnership with Film Action Oregon, PDXLAFF is a festival with universal appeal that can be enjoyed by native Spanish, Portuguese, and English speakers, and all lovers of the Latin culture. Screenings include new full-length feature films, documentaries and short films that showcase perspectives of Latin American culture.
Astoria International Film Festival Oct 20 – 24 503-484-5122 ron.craig@gmail.com www.goaiff.com Astoria, the oldest American settlement west of the Rockies, and its vaudeville-style Liberty Theater serve as the backdrop for the Astoria International Film Festival. AIFF showcases independent film from around the world, but its programming spotlights regional filmmakers and youth filmmakers as well.
NOVEMBER Northwest Filmmakers’ Festival Nov 11 – 19 503-221-1156 info@nwfilm.org www.nwfilm.org/ festivals/nwfest/ The Northwest Filmmakers’ Festival, produced by the Northwest Film Center in Portland, is the premier showcase of new work by regional filmmakers. Following the festival, the Film Center will assemble selected works for the “Best of the Northwest” Touring Program that will circulate throughout the region next year. Continued on page 46
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MSNBC Broadcasts Documentary Produced by SFI Faculty Member On Saturday, September 10, and Sunday, September 11, MSNBC broadcast On Native Soil in commemoration of the 10-year anniversary of 9/11. The documentary film, which made the short list for an Oscar nomination, was produced by Lenville O’Donnell, director of the Seattle Film Institute’s Master of Arts in Producing for Film program. On Native Soil tells the riveting story of the 9/11 Commission hearings from the point of view of family members who fought for an investigation. On Native Soil exposes provocative, explosive and emotional details, including interviews with witnesses who testified for the Commission behind closed doors. The film is the story of a loose collection of ordinary Americans—united by their single-minded passion for answers—who challenged a bureaucracy and triumphed. On Native Soil is narrated by Kevin Costner and Hilary Swank, and is directed by Linda Ellman and produced by Lenville O’Donnell and Ellman. For more information, visit www.seattlefilminstitute.com.
EMA Streams Resilience Conference Portland’s EMA Video Productions streamed the Resilience Conference, held September 8 through 10, live on the Internet. Over 50 leaders of innovative regional initiatives from around the world gathered in Portland to share experiences and build new frameworks to support the well being of people and place. The event was organized by Ecotrust. The event was covered with three cameras, recorded in HD, and streamed to a player on the Resilience Web site. The Flash files were then uploaded for on-demand viewing as well. “Live streaming is becoming very popular now, and with bandwidth limitations lifting, it is readily available to most Internet users,” said Ed Mellnik, president of EMA Video. “I am hoping we can find more projects to use this service in the Northwest.” EMA Video can run up to eight HD cameras for live event coverage. For more information, visit www.emavideo.com.
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Olympia Film Festival Nov 11 – 20 360-754-6670 offdirector@olympiafilmsociety.org www.olympiafilmsociety.org/festivals/olympiafilm-festival/ Since 1983, Olympia Film Society has hosted the annual Olympia Film Festival, a 10-day around-the-clock extravaganza of films, filmmakers and film-related guests, special performances, discussion panels, and educational workshops. Screenings are held at the Capitol Theater, a 750-seat venue built in 1924. Portland African American Film Festival Nov 17 – 20 503-484-5122 ron.craig@gmail.com www.pdxaaff.com Now in its third year, the Portland African American Film Festival celebrates the depth, contributions, history and more, of African American film and filmmakers. Executive director Ron Craig, a Portland native, produces both PDXAAFF and the Astoria International Film Festival.
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Pre-Production is GOLD By Bill Murray Guest Columnist
just finished a video project for a DVD. I was contacted less than a week in advance of the shooting date, with the expectation that I could have the video edited over the weekend so we could make a hundred DVDs, ready to distribute less than a week after the shoot. We pulled it off.
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First, make your movie in your head. A successful video or film shoot can be best assured, with a well-developed script or story in hand, by thoughtful preproduction. With a vision of the finished project, envisioned as if onscreen, you gather and coordinate every element you need to execute your story before photography takes place. The more you can do ahead of filming, the better. In pre-production you put together a kit, as if preparing to assemble a model. Gather and inventory all the elements. When it’s time for actual assembly—principal photography—you have all the pieces and players you need and can focus on what counts most at that point: directing the actors and telling the story. Surprises always crop up, in conflict with or just different from your vision. The location changes, a last-minute change in casting, loss of a key prop. Suggestion for an improvement from client, cast, or crew. They can derail you—or you can capitalize on them, often improving interpretation of your original vision. Don’t lock in to your vision—consider it your point of departure, and stay open for happy improvements. If you’ve diligently assembled your ‘kit,’ you’re infinitely better prepared to roll with the changes. Often, you’ll step back, mull the changes, shuffle your elements, adjust the storyboard, and continue shooting.
ELEMENTS OF PRE-PRODUCTION Script/Story. Be able to express your story or message clearly, as well as the purpose—the reason you’re making this film. The only failures I’ve experienced were when a client refused to develop or follow a script or even an outline, insisting, “Hey, I do this presentation all the time!” A taped presentation is completely different. It doesn’t have the give and take; doesn’t allow you to ‘dance’ with the audience. Sloppiness that’s vaguely irritating in a live presentation becomes quickly distracting and intolerable in a recording. Audience. An essential element: Clearly define and have a clear 48
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picture of your intended audience. Assure that your story will resonate with them in all aspects. How do you want them to feel, what action do you want them to take, after watching your story? How will you provide additional tools, in case of a commercial, for them to take action? Telephone number, Web site? Casting. Actors are the key ingredients in the tasty dish you’re preparing. Select them carefully. This is not a time for returning favors or playing politics. It’s no favor to miscast your favorite actor in a role that isn’t right for them—or for you. Or for your client or backers, the rest of the cast, the crew, or your career. Everything must support The Story. A good actor will bring delicious elements to the character, to the story, that you may never have imagined. Crew. Get the best folks possible; they, like good actors, will contribute unexpected gems to your production. Post-production. Before you record a foot of tape or film, or structure those ones and zeros on a Flash card or hard drive, organize the editing and post-production and test the process. A tiny, seemingly insignificant tweak early in the process, before you shoot anything, can make enormous changes in efficacy, efficiency and cost of post-production. Catering/Craft Services. An army travels on its stomach. So does a movie set. Often the largest item in the budget of no-budget indies, providing a selection of decent food tells cast and crew that you care about them. Often, they’ll walk up to the table, peruse it, and walk away. The fact that it’s there, that you’re taking care of them, may be enough. Equipment. Your intended application, distribution, budget and audience, with extensive advice, will help determine your required equipment. Get every bit of it lined up, reserved, in advance. With good pre-production, you have a solid but flexible foundation. Changes of any kind may be more easily and creatively assimilated. Arrange all your elements of production ahead of time, and enjoy a stimulating, rewarding production, instead of a horror story. Pre-production is gold. Bill Murray of Bluescooter Productions in Woodinville, Washington, is a director, producer and production wildcard with extensive experience and proficiency in all phases of production. He is a storyteller in multiple media—written, advertising and commercial still photography, marketing, corporate and industrial video, and feature film, from low-budget indie to Disney. For more information, contact 206-264-5454 or wm@bluescooter.net.
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GET PAID!
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Fighting back against bill-evading clients.
By Peter Barnes Guest Columnist
or this article, it was suggested that I address a topic about which I’m passionate. Well, it doesn’t get any more passionate for me these days than discussing the topic of getting paid. As many of you know, my business card says “Suit” and I’m the guy who deals with the business of the organization and I own the task of fiscal management. Clatter&Din has been in business for over 17 years now and we’ve had our share of flakes and liars… as well as, not surprisingly, an overwhelmingly huge percentage of honest, stand-up clients. We also strive to deliver extremely creative, professional results while remaining pliable to a fault when it comes to working within tight budgets and timelines. Working well with others, it’s just who we are… and we’re thriving and growing because of it. That being said, a disturbing trend we’ve noticed lately in our dealings with a few clients (albeit primarily larger institutions), is that they are becoming ever so more creative in finding ways to postpone payment for services rendered. I have filled out the most daunting SAT-test, labyrinth-like vendor applications, dealt with the most frustrating non-working online payment systems, and had Candid Camera moments on the phone with AP departments merely trying to either get set up for payment or collect on an overdue invoice. I don’t have time for this.
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A particularly nasty new trend is emerging (do I really want to publish this to the world?) where a company will print some egregious terms on their PO and by signing the PO, I am now somehow subject to the terms they make up. Really cool terms, like “We’ll pay you when we get paid” or “I’m not your client here, my client is now your client, so if I don’t pay you, you get to go after my client, who doesn’t know you and has great lawyers on retainer.” I’ve spoken with my attorney about this—here’s my free legal advice for the day—and he says that this is basically a scam and I should just X out the PO-induced terms and sign the PO. All I’m saying is that my company works hard, we do great work, we work with clients on the price and the terms, so why would an AP department now try to basically trick us into having to spend an inordinate amount of time trying to get our invoices paid? Until I can just call all my vendors (including AFTRA and SAG) and just say, “Hey, I’ll pay you when I can!” I have to push back and be the suit I’m paid to be. As a community, we should all push back as well, and not let these tactics solidify. We work hard for our cash flow and we have enough challenges as it is. I’m sure many of you have seen this behavior yourselves; please, let’s not be enablers! Peter Barnes is often out at a party, but when he’s working, it’s usually at Clatter&Din. Visit www.clatterdin.com.
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Deep Green Films Rents Production Equipment n the spring of 2008, Deep Green Films bought top of the line production equipment in order to shoot the feature-length documentary Deep Green—Solutions to Stop Global Warming Now. Deep Green Films invested in the purchase of a Sony HDW F900R camera, Sony PMW-EX1 Carey Weatherford shooting Deep Green in China on the Sony HDW F900R camera, Fujinon lenses, an HDCAM tape deck, a Sanyo HD portable projector, and a world class sound kit to produce this high quality documentary. With the recent completion of the final cut of Deep Green, this equipment is now available for rental to industry professionals who know the value of quality low mileage gear. Deep Green Films is offering discounted rental rates for local production professionals with the intention of depreciating the value of the equipment through use and ultimately donating this gear to a local educational program. The Sony HDW F900R Camera Package is a great deal for industry professionals who prefer to output on to HDCAM for broadcast quality HD footage. The package includes a Fujinon 18x7.6 lens, and by renting this package you get a special discount on the rental of the Sony HDW-D1800 HDCAM Tape Deck. In addition,
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Since 1935, Glazer’s has been committed to the evolving art of image making. Check out video and photo gear in the main store, browse the Northwest’s largest lighting department or take your dream gear for a test drive through our rental department. Stop by our store in the South Lake Union neighborhood and experience the Glazer’s difference.
Deep Green offers tape digitizing services and has an inventory of HDCAM tape stock. This camera package rental is guaranteed to satisfy your client with the superior image quality, your camera operator with the streamlined output, and your producer by cutting your budget in half. Also, the Sony HDW-D1800 HDCAM Tape Deck rental is tailored to the needs of industry professionals who have tape stock to digitize or content to submit to festivals and broadcasters. This is a great deal for editors with clients who require output on HDCAM as well as the flexibility of built-in up-converters and down-converters allowing multiple format outputs. Finally, check out the Projection Package, which includes a Sanyo PDG-DHT100L HD Portable Projector, a 14’ x 7.5’ screen, and two JBL PRX612M 12-inch self-powered speakers. This is ideal for filmmakers who would like to see their productions projected in high definition Blu–ray for superior image and sound quality. Great for local festivals, screenings, music events, and corporate events. Deep Green is currently offering fellow members of Oregon Media Production Association a 10 percent discount off of the total first equipment rental. Contact jen@deepgreen films.org or download the rental kit at http://deepgreenmovie.com/camera-rentals/ equipment-rental.
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THE BEST OF NORTHWEST PRODUCTION (PART 2)
M
edia Inc.’s two-part series concludes with succinct yet valuable question and answer sessions with some of the Northwest’s leading production professionals. Read on for thoughts, insights and more from your industry peers.
TALENT AGENCIES Becky Reilly Big Fish NW Talent Representation 877-424-4347/509-328-3474 www.bigfishnw.com What would you say is the current state of the Northwest talent industry? Our depth of talent has grown dramatically in the last 10 years. We've got talent... not the numbers you will find in L.A., but certainly the quality. What sets your agency apart from others in your industry? Easily it is our staff that sets us apart. We have a combined 35 years experience in deciphering talent and assessing a client's needs. Then, we have continually advanced the technology to support us along the way to be sure every talent is considered and every client covered. How has your business changed throughout the years? In my best granny voice, I’ll say: Why, I remember back when I would call 40 people for an audition and give them everything they needed for an audition or gig within the phone conversation... down to the commas in a script! I’d spend hours. Today I could send thousands that same message, while texting and/or calling with an Internet-based system to let them know that we’ve sent an e-mail with all details... I can then have a fully qualified submission to a client within an hour or two.
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Jason Jeffords Puddletown Talent 503-546-3006 www.puddletowntalent.com What would you say is the current state of the Northwest talent industry? The current state of the NW talent industry is strong and on the uprise. More production is coming to town to work in our locations and work our talent. Quality of talent is proving itself time and time again. What is your greatest professional accomplishment? My greatest professional accomplishment is when I decided to open my agency. It was finally a time to do things the way I wanted as well as take the idea of a talent agency for kids in the direction I felt it needed to go. Looking back, I am still smiling at the decision to go forward with opening the doors to Puddletown Talent. What sets your agency apart from others in your industry? Puddletown Talent is the only agency that is purely an infants/kids/teens agency. We do not represent adults. Specialization and quality over quantity is key with us and our roster of talent.
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THE BEST OF NW PRODUCTION Dena Beatty Screen Actors Guild, Seattle/Portland 206-402-5958/ 800-724-0767 www.sag.org
TALENT AGENCIES (continued)
Jamie Lopez The Actors Group 206-463-1544 www.theactorsgroup.com What sets your agency apart from others in your industry? I don’t have a canned list of services. I connect the best talent with the opportunities that are right for them. That can mean the traditional stuff talent agencies do—casting, corporate events, sponsorships, and so on. It can also mean coming up with something nobody’s dreamed of.
“I connect the best talent with the opportunities that are right for them.” How has your business changed throughout the years? We’ve gotten smaller! What is your greatest professional accomplishment? Successfully representing some of the region’s finest talent for nearly 20 years. What would you say is the current state of the Northwest talent industry? Solid! Seattle is home to some of the best professional talent in the world. The continuing growth of the Internet combined with the decrease of production costs allows us to be producers as well as talent. It feels like the sky's the limit. 56
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Topo Swope Topo Swope Talent 206-443-2021 www.toposwopetalent.com How has your business changed throughout the years? Over the past 17 years, I have grown the agency from a small group of about 15 talent into a large agency still with the very best talent in the Pacific Northwest. I came kicking and screaming into the current world of technology. In the dinosaur years, we used Radio Shack tape recorders for voice over tapes for auditions, and couriered everything from said tapes and large photo books of the talent to the casting directors and producers! What would you say is the current state of the Northwest talent industry? Seattle has an expansive pool of talented and diverse actors. The challenge is getting them work in the current economic climate. Most significantly our industry is suffering from the loss of the Washington Film incentive budget. The quality of Seattle talent is vibrant and on par with other large market talent. And we want to keep our Seattle actors working in Seattle! What sets your agency apart from others in your industry? Personalized service. We take pride in our commitment to each one of our actors; with individual attention and open communication we are able to serve our clients with consistently professional and well prepared talent.
What would you say is the current state of the Northwest talent industry? For a market the size of the Pacific Northwest we have a deep talent base of performers possessing various skills. With the volume of motion pictures, television series, commercials and corporate videos, not to mention our vast theatre opportunities, the number of very talented performers in the Northwest continues to grow. How has your business changed throughout the years? One of the most significant changes we’ve seen is the creation of digital technology. This development has allowed many filmmakers to make their films who, just a few years earlier, would not have had the financial means and it has provided them with new methods of distribution. SAG saw the value in this new marketplace and recognized that by working with these talented filmmakers the entire industry could benefit. As a result we created the Low Budget Agreements for Independent Producers. With day rates as low as $100 per day, filmmakers were able to hire SAG members to work on their films at rates that made sense for their budgets. SAG has also had its eye on the Internet and New Media, working this new platform into each of its contracts and making a very versatile Made For New Media contract for entertainment programming. To learn more about these great contracts visit the production center at SAG.org. What is your greatest professional accomplishment? The Screen Actors Guild was founded to protect the rights of working actors in 1930s Hollywood and we have expanded across the nation to protect performers in all stages of their career. Both nationally and here in the Pacific Northwest, our members and staff keep on top of what is happening in the entertainment industry and keep an eye on what is yet to come. This has allowed the Screen Actors Guild to provide contracts that protect performers while recognizing that not all projects fit into the same box. We have been able to customize our contracts to work for the big Hollywood blockbusters as well as for the small independent filmmaker looking to make his first film. Our greatest accomplishment is the ability to work with employers big and small in a fair and balanced way while continuing to provide fair wages and safe working conditions to all performers who work under our contracts.
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LOOKING FOR TALENT? THE ACTORS GROUP has you covered. During twenty-plus years of cultivation (and careful pruning), we’ve gathered a select family of the Northwest’s hardest-working actors, voice talent, hosts, and auctioneers. When you call us, you won’t get the most options—you’ll get the best: committed artists who live and breathe the work and deliver the goods from the word go. Not to mention an agent who is a true partner—and takes your success personally. Your project deserves the best. Make it easy on yourself—call The Actors Group.
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TALENT AGENCIES (continued)
Terri C Morgan TCM Models & Talent LLC 206-728-4826 www.tcmmodels.com What sets your agency apart from others in your industry? We have equally strong commercial and fashion divisions, with wonderful actors and models. We represent infants to seniors and we have wonderfully nice people to work with. How has your business changed throughout the years? We have grown steadily and slowly so that we can do a great job at all aspects of our agency; we gradually have added new divisions once we feel we have the others performing up to standard. The staff has grown from 2 to 7 in just the last 5 years. Each division is run by very competent and capable professionals. What is your greatest professional accomplishment? Honestly I still absolutely love what I get to do every day! I still get excited for each new model or actor’s first booking! It’s a blast! What would you say is the current state of the Northwest talent industry? We have a very strong talent pool here and the quality of talent is amazing. People want to live and work in the Northwest, so consequently we have great talent at our disposal for local and incoming clients.
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Anne Mitchell LLL Talent 509-720-8312 Office 208-818-1912 Direct www.llltalent.com What is your greatest professional accomplishment? Every day I get to work within an industry I always dreamed I would. Nothing can top the feeling of waking up and working with purpose. How many presidents of their drama club actually get to work full-time and earn their living within the field they vowed they would! I'm just a grown up drama geek living my dream. No matter how cheesy that sounds it is really a fantastic accomplishment when you step back and consider it. I never had a Plan B. I always believed in achieving my Plan A and I did! There is a chair in the theatre at my old high school with my company's name on it. What sets your agency apart from others in your industry? We are an actor's agency with a team comprised of individuals who have worked professionally in theatre & film. We have a passion for the craft of acting giving us the unique insight to relate to our actors in their lexicon. We've combined our knowledge of the actor with our business backgrounds to create a company that provides a high caliber of talent to our clients. With decades managing casts and crews, we can effectively nurture and support our actors to provide our client the highest level of service. We are committed to a flawless performance and will work relentlessly to achieve that result for both the talent and client. How has your business changed throughout the years? Initially in the business, you become a search engine to fulfill the needs of clients. Each casting call becomes a hunt for new individuals to suit the client’s needs. Now with a diversified roster we can foster the talent we currently represent. We maintain a mid-sized roster that allows us to know our talent's individual strengths.
Cholee Thompson Ryan Artists, Inc. 503-274-1005 www.ryanartists.com What would you say is the current state of the Northwest talent industry? We are constantly getting rave reviews of the local talent from our client base. The Northwest has a huge range of talent that are not only great at what they do, but they are also very passionate, and professional.
“It is a constantly changing business. If you don't transition with it you'll only fall behind.” What sets your agency apart from others in your industry? We put our talent through a strict threestep auditioning/screening process before signing them. This helps us to know each actor's strengths and weaknesses, and ensures that our clients see the strongest talent available. How has your business changed throughout the years? We have adapted to a paperless system, added a Stylist division, and have started offering free casting to clients for smaller projects, among other things. It is a constantly changing business. If you don't transition with it you'll only fall behind. What is your greatest professional accomplishment? I am very proud of my team and my roster. Together, over the last few years and in spite of a rocky economy, we have grown the agency while planting its roots even deeper to insure another 30 years in business.
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ACTORS I MODELS I VOICE OVER I ARTISTS
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TALENT AGENCIES (continued)
Kaili Carlton ARTHOUSE talent & literary 503-546-8862 www.arthousetalentandliterary.com What would you say is the current state of the Northwest talent industry? We continue to grow by leaps and bounds in relation to the huge growth in production we have seen in the last few years. It’s an exciting time. What sets your agency apart from others in your industry? With Arthouse, I am lucky enough to be able to really specialize in actors exclusively and give them the attention they truly deserve. With bigger agencies, it's really easy for the models to steal all the thunder and resources. I am grateful every day that the caliber of my actors is such that we don't need other divisions to keep our doors open and business thriving. What is your greatest professional accomplishment? Always taking the high road—it’s been the key to my longevity (and sanity)!
“We continue to grow by leaps and bounds in relation to the huge growth in production we have seen in the last few years. It’s an exciting time.” 60
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PHOTOGRAPHERS Amanda Allen amanda allen photography 206-349-6774 www.amandaallen.net amandgaallen.blogspot.com Why did you get into this field? I started working in the Photography industry in 2005 when I was finishing up my degree in Commercial Photography. I started volunteering doing in-studio photography for KEXP and interning and assisting music and editorial photographer Bootsy Holler. What sets you apart from others in your industry? I suppose what sets me apart in my industry is that while I call myself a photographer first and foremost, I have quite a number of varied interests and over the years have been very proactive about learning a wide array of skills. I want to be proficient in whatever a client may be looking for, be it photography, Web and graphic design, video direction and editing, audio recording, lighting or styling. How has changing technology impacted your company and/or the photography industry at large? In the past 6 years as a working professional I think technology has been changing faster than perhaps it ever has before. This has really impacted me as someone who wants to be well versed and knowledgeable on cutting edge software and tools; the biggest impact it’s had on me is financially. It's very expensive to keep up. On the plus side, though, having to always keep up and keep learning has prevented me from getting stuck in a rut with my workflow. What do you enjoy most about your job? What I enjoy most about my job, aside from creating visual imagery which is obvious, I enjoy the huge variety of people I get to meet and work with, and places I get to travel to. I love the nervous excitement of never quite knowing what will happen when going into a shoot or assignment since every job is always so different.
Jeff Helman 206-718-2782 www.helmanphoto.com How has changing technology impacted your company and/or the photography industry at large? One hundred percent, that’s how. I've been involved with strictly commercial work, and it’s a completely different animal than it was 5, 10, 15 years ago. Not only the advancing technology, but what is expected of a professional photographer to know and to be able to execute. There’s just so much information available to everyone—pros and novices—you really have to stay on top of what's relevant. Why did you get into this field? Honestly and fortunately, I was young and naive, and I was fascinated by exploring a career using my creative talents. What sets you apart from others in your industry? I really don't know. A lot of people say it's my personality—I’m more the “behind the scene” kind of guy, not one to draw a lot of attention to myself, but very aware of what's going on. I also attribute most of it to people I've worked with. I feel very fortunate to have worked under a successful and prolific professional for over 10 years—Doug Landreth. He continues to embrace new technology, master it, and apply it, as well as rethink and reinvent his business practices. Hopefully some of that rubbed off on me. What do you enjoy most about your job? The people, the experiences, and that I work in an environment that challenges me mentally and physically.
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THE BEST OF NW PRODUCTION Patrick Sample Paradise Sound Recording 800-877-6867 [MTNS] www.paradisesound.com
AUDIO/ SOUND MIXERS Bill Scream Scream Music 503-310-2566 www.screamusic.com Courtney Bailey CMB Sound 360-440-1761 www.cmbsound.com What sets you apart from others in your industry? What sets me apart from other sound designers is that I like to mix old school with new school. I love to record raw material specifically for each project to create a whole new soundscape for each individual client. New school, I love to create new creative sound using only a few audio plug-ins to create an interesting effect for introduction titles to animated characters. What is one recent audio industry trend you are excited about? I’m more curious than excited about “3D” surround sound. I'm curious on the reaction to see the listener if they notice a difference. How has changing technology impacted your company and/or the audio industry at large? I love how technology can change almost overnight, whether it is through hardware or software. By embracing these new products we are able to be more proficient and creative in our daily work. What are some projects you’ve worked on recently? One new project that I’ve been working on is a horror film called Lost Lake that will be showing at Scream Fest this year. Also a documentary from Oakley documenting a couple of skiers going to one of the most dangerous mountains in France.
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What is one recent audio industry trend you are excited about? The ever-changing palette and canvas of audio design. How has changing technology impacted your company and/or the audio industry at large? More possibilities, way more tweaking, ultimate control. I feel like a wizard, being able to grab this sound and that, mixing it up and creating something entirely new.
“I feel like a wizard, being able to grab this sound and that, mixing it up and creating something entirely new.” What are some projects you’ve worked on recently? Mostly, working for NIKE these days with Dave Frey of Sound Images. We’re creating short videos of everyday stories about sports and fitness, but even more about character and determination. They are fun, revealing, inspiring, rockin' little pieces I am really proud of. What sets your company apart from others in your industry? Personal attention. Passion for expression. Experience. Imagination.
How has changing technology impacted your company and/or the audio industry at large? It’s getting to be an old story but the piracy of recordings off of the Internet has pretty much reduced recording budgets to the point where highly produced projects are a thing of the past. What sets your company apart from others in your industry? Not only is Paradise Sound one of the few recording studios in the area that is built from the ground up and designed with specific acoustics for recording, but the studio is in a beautiful location overlooking the North Fork of the Skykomish River and the Cascade Mountains. The overall concept is to provide a world class recording facility in an environment where the musicians can relax and concentrate on their music without distractions. What is one recent audio industry trend you are excited about? Our most recent Pro Tools systems audio plug-ins have finally improved enough to use in coordination with our outboard effects, which makes for a far more efficient use of studio time and a larger palette of tools to choose from. What we used to spend hours doing is now way faster to accomplish and our list of reverbs/effects presents more options than will ever be needed. What are some projects you’ve worked on recently? This summer many long hours have been spent working on CD projects for Buzz Brump, Seastar and Cookie and the Cutters.
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AUDIO/ SOUND MIXERS (continued)
Scot Charles Studio Blue-Seattle 206-783-6797 www.bluecharles.com How has changing technology impacted your company and/or the audio industry at large? What’s exciting about the industry in general is the ability to work long distance with producers and talent in different parts of the planet with a computer and a wide band Internet connection. Software continues to evolve and what used to take days can now be done in just a few hours. Of course the flip side of that is that it enables more last minute changes and manipulations, and can introduce more chaos and problems to solve as well. Technology gives us great tools, but still needs experience and judgment to arrive at good results. What are some projects you’ve worked on recently? Recently worked post on the PBS NATURE series Bears of the Last Frontier and did production sound, design and surround mix for short film Spinning, directed by John Jacobsen. What sets your company apart from others in your industry? I think what gives us a unique perspective here at Studio Blue is that we work both sides of audio production. One day we’re in the field trying to capture good location sound, and the next we’re back in the studio trying to make everything work in post. It provides us with a better understanding of the challenges, limitations and capabilities of each role. 64
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Michael Bard StudioBard 503-273-2273 www.studiobard.com
Russ Gorsline REX 503-238-4525 www.rexpost.com
What is one recent audio industry trend you are excited about? I wouldn’t call this a trend, but the culmination of one: The passage of the CALM (Commercial Audio Loudness Mitigation) Act, which will finally bring the commercial part of broadcast television in line with the level rules imposed by the FCC when we switched to digital. We can finally listen to the high quality, detailed work done by audio professionals in the television industry, without having our ears blown up at every commercial break.
What sets your company apart from others in your industry? In today’s world of recording in converted garages and bedrooms as recording studios, we have a wonderful collection of rooms designed by the renowned Russ Berger. Working in those rooms are very talented staff. With a wide variety of clients and jobs we record and mix everything from motion pictures to VO tracks for Web videos, from music recording to TV and radio spots. As a production house with video as well as audio it demands that we think in a global manner, not just the area in which we are working at the moment. Every day we bring our “A-Game” to work.
What sets your company apart from others in your industry? With a focus on music and scoring, we also have a huge amount of experience in post production for film, television and new media, which allows us to help our clients concentrate on their creative process while we handle the details. We move effortlessly through mediums such as broadcast commercials, feature film, audio interpretive, and rich media for the Web, with an eye toward a smooth, collaborative client experience. How has changing technology impacted your company and/or the audio industry at large? We took the leap to digital non-linear workflow back in 1988, so we have been pushing the industry in the direction it has been going for the past 20+ years. The fact that the business world at large has finally come entirely into the digital age has made it possible for quite a bit of “off-theshelf” technology to greatly accelerate improvements in our industry, both in lowering the cost of equipment, and in raising the productivity level. What are some projects you’ve worked on recently? We have scored some commercials for new Google products you will be seeing launched soon with our Los Angeles partners Noisy Neighbors; we have worked with our very good client Porter Panther on a series of programs (audio, video, and Web) for the Intel Tomorrow Project, which is looking into the future of technology; and we were fortunate to have been chosen by SandyMontana to score a program for Nike about streetball in Orange County.
What is one recent audio industry trend you are excited about? Because of the market penetration of HD television, people have come to expect 5.1 sound for their programming content to be richer than it used to be. That allows us to bring more creativity and expertise to a project than has been expected in the past. How has changing technology impacted your company and/or the audio industry at large? Thanks to the Internet we can deliver product more quickly without having to make physical media. That saves time and is much greener. We also can easily inter-connect with other studios around the world, more easily than before. Faster computers and better software allow us to do better work. What are some projects you’ve worked on recently? We did picture and audio post for a feature Dancing on the Edge; ADR for Leverage, Warehouse 13, Grimm, and Boardwalk Empire; radio spots for ODOT-Transportation Safety; and narration tracks for Oregon Department of Human Services, and AutoDesk.
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SOUN
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THE BEST OF NW PRODUCTION Jennie Mull In Both Ears 503-892-8833 www.inbothears.com
VOICE TALENT
Jim Cissell VoiceGuy.com 206-933-8642 www.voiceguy.com What is your favorite part of being involved in the voice talent industry? The creativity—both the projects and the people. I love trying to find the voice inside the writer/ producer’s head and bring it to life—without the messy afterbirth. What sets you apart from others in your industry? Experience, versatility, speed, a law degree, and double-jointed thumbs. With all due modesty, no voice talent in the Northwest has the experience and track record that I do—44 years, hundreds of national awards. With Phil Harper, Paul Herlinger, and John Gilbert gone, there are only a handful even close. No voice talent has more versatility—check out www.voiceguy.com. No voice talent is faster—at least in a car. And no other voice talent in the Northwest, that I know, has a law degree—for whatever that’s worth. As for my thumbs—I’ll let them do the talking. What are some recent trends in the voice talent industry that you’re excited about? Maturity. No longer do all the voices we hear on commercials belong to some smart-ass 20-something. This “new” crop of super-stars has been around—they have something to say—a POV they’ve actually fleshed out by living. Jeff Bridges, you rock!
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Cathy Faulkner 206-521-0363 www.cathyfaulkner.com What are some recent trends in the voice talent industry that you’re excited about? I’m always excited about the continued growth in the e-training/e-learning markets as well as the incredible opportunities in the mobile/smartphone world.
“Whether it’s an educational piece for a child, a corporate training module, or an in-store message, I truly enjoy bringing each and every script to life.” What is your favorite part of being involved in the voice talent industry? I love that every day will take me on a different vocal adventure. Whether it’s an educational piece for a child, a corporate training module, or an instore message, I truly enjoy bringing each and every script to life. What are some recent production projects you’ve worked on? Radio and TV spots for Hospice of Spokane; Discover Hyundai; September radio and TV campaigns for Tulalip as well as Quil Ceda Creek Casinos; podcasts for MindTools .com; as well as numerous phone systems and online training modules.
What sets your company apart from others in your industry? In Both Ears is a boutique voiceover talent agency with national reach. We represent over 200 world-class voice talent in the U.S. and Canada, plus more than 300 ethnic, foreign language and youth talent. Our agency, production company and corporate clients are as diverse as the talent that we represent. We offer complimentary casting services and can turn around auditions from our union or nonunion talent after one business day. What are some recent trends in the voice talent industry that you’re excited about? Some of the recent trends that we’re excited about are the return to real voices and the technological advances that allow talent to record from anywhere. Clients are now looking for talent who have an individual point of view, and we totally get that. Advertising is no longer about talking at the consumer and we only get requests for a hard sell or old school announcer delivery when it is humorously over-the-top. Therefore, our roster is full of rich, real voices with interesting quirk and character. We go out of our way to handpick talent who can deliver a script from a genuine, real place with honesty. Another trend we’ve noticed is SourceConnect. SourceConnect is a new-ish technology that has been waiting in the wings over the past few years and is only just beginning to break into mainstream production. We’ve recorded more SourceConnect sessions this year than we ever have in the past. Not to mention the incredible new tech devices and apps available, which allow talent to record and edit entire sessions from their iPad. What is your favorite part of being involved in the voice talent industry? I really enjoy actively helping cast for projects… We feel that we play an integral role in that process—more like a traditional casting director. We look at every script and really consider roles from a producer’s perspective. We never do cattle calls to our roster. We handpick the talent who will audition for every single role that comes through our agency. And we review every single audition before we send it on to our clients.
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We like happy ears!
info@inbothears.com • portland {503} 892-8833 • www.inbothears.com los angeles {310} 279-0713 • seattle {206} 375-8371 2505 SE 11th AVENUE, SUITE 255 • PORTLAND, OREGON 97202
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VOICE TALENT (continued)
Kymberli Colbourne KCVOICE.COM 541-350-5800 www.kcvoice.com What sets you apart from others in your industry? I am basically a one-person shop—as many voice talents are who have home studios are these days. But my home studio in Bend runs on solar power. In fact, with a solar recent upgrade, I am now able to sell power back to the power company. Voice over actor and micro-power producer! What is your favorite part of being involved in the voice talent industry? I enjoy the variety of jobs that every day brings. In a single day, I may do two or three character roles, an announcer, some technical training audio, and then I’m off to the theatre to do a show in the evening. Every day is different. I came to voice over from the stage and my formal training is as a stage actor. I love the balance between these two worlds. My stage work involves a longer rehearsal process and maintaining a quality and truthful process night after night for lengthy periods of time. When I step behind the mic, the sooner I can get inside the producer’s or client’s head and deliver the perfect read, the happier they are. A similar skill set, but a totally different timeline. It keeps me on my toes. In fact, I find I am better at both stage and voice over, when I am doing both! What are some recent production projects you’ve worked on? One of the things I have been most proud of was being the narrator for the American Pavilion Video at the United Nations Climate Change Talks in Copenhagen. Being a ‘solar-powered’ voice talent, it was a project that was right up my alley! I am also thrilled to have several ongoing commercial clients including Tulalip Casino, Food Lion and Belk. 68
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PRODUCTION MANAGEMENT/ PROMOTION Dennis Gleason Dark Wing Productions 503-708-3487 www.darkwingproductions.com How has your company adapted to clients’ changing needs? Being in the entertainment industry, we know that to be successful, we must be agents of change. See opportunities for streamlining processes, simplifying procedures and because of the economy, minimize costs but provide top quality service and products. What are some of the biggest challenges that come with being in your industry, and how are you able to overcome them? The biggest two are the economy and competition. With the economy, fewer projects come down the pipeline and less money available for companies to pay for them. Directly and indirectly related, our competition, mostly new and inexperienced videographers, which is not what we are, undercut the market so that legitimate businesses like ours—that has hundreds of shows, projects and events under our belt—get passed over. This takes contracts away from the honest and established companies and contractors. What we have done to overcome this, is consolidating information that we used to do business to reduce the time and research needed for new projects, and again because we can provide sometimes 3 or 4 services to clients at a time, we can do it for less than 3 or 4 separate companies. What is your greatest professional accomplishment? We are proud to say that earlier this year, we acquired the Portland Teen Idol program. Formerly operated and managed by the City of Portland, this well known program is now owned by us and in our first summer in 2011, have had a better year than the four preceding and have huge changes and growth planned for Season 6.
LOCATION SCOUTS/ MANAGERS Jay Carroll Jfoto 509-493-2007 www.jfoto.com Why did you get into this field? As a professional photographer and outdoor sport enthusiast, location and production is a perfect fusion of my athletic and professional interests. Primarily evolving from requests for assistance with locations for filming whitewater raft and kayak access, as well as other high action sports in the Columbia River Gorge. What are some of your most exciting discoveries as a location scout/manager? Meeting and working with creative people in the film industry and the "gags" or "tricks" that come up as solutions to obstacles. The resource of having a full package grip truck on set... Like when the Joker says as Batman saves the day, "Where does he get all those cool toys?" What is your most memorable experience on the job? Every production has a moment that is memorable due to the creative needs of the job. My favorite is from 20 years ago assisting my father in British Columbia. We needed hostile winter-like storm weather on the edge of a wilderness lake in September for a hunting clothing shoot. With minimal electrical support we needed wind, rain and spitting snow. The solution was simple and overly effective. We lashed the tail of a 1952 Beaver float plane to a tree next to our lake-side set. On action, the Beaver throttled up, hurling spray, reeds, fish and small trees through our set at a hurricane force. After some throttle practice we had it working well with a small exception of the spitting snow illusion. Our environmental solution to offseason snow was freeze-dried potato flakes. They turned into airborne mashed potatoes, smearing onto the side of everything in their path. It worked to get the shot and to the point that the hunting dogs on set would not stop licking the "snow." Cut, the dogs have wrapped for lunch!
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Craig Stewart Locations
LOCATION MANAGEMENT & PRODUCTION SUPPORT
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S e a t t l e , WA s h i n g t o n Tel 206.679.3072 Email wygant1@mac.com ISSUE THREE 2011 MEDIA INC.
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THE BEST OF NW PRODUCTION
MAKEUP/HAIR Kari Sue Baumann Decorate Your Face 253-318-6550 www.decorateyourface.com Why did you get into this field? I have always had a love affair with makeup and theater. Ever since I can remember I've been playing with makeup. I discovered my love for theater in high school and subsequently my love for applying stage makeup. This newly directed passion followed me from high school into college. In 2004 I graduated from Western Washington University with a B.A. in Fine and Performing Arts majoring in Theater. After graduation I decided to refine my talents and alter my focus from make-up applications for theater to film and photography. In 2005 I earned my Journeyman Diploma from The Make-up Designory in Burbank, CA. What sets you apart from others in your industry? My formal education in the art of applying makeup for fashion, photography, and film is what sets me apart from most in my industry. There are different techniques for different mediums and it’s important to do your research so you know which techniques to use. I have never worked at a makeup counter because my focus is on application, not sales. The key is to listen to and observe your clients. What image are they trying to convey? What are they wearing? Do they wear makeup every day? These are all very important factors in creating your design. What has been your most memorable moment on set? There have been so many memorable moments on and off set but the importance lies with the client’s satisfaction. If my client leaves my chair with a smile and an extra spring in his or her step, I know that I have done my job well. The best moments are when my clients look at themselves in the mirror and exclaim, “I love it, and this is exactly what I wanted!” 70
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Danyale Cook 206-849-3681 www.purealchemysalon.com
M'chel Bauxal 503-710-4170 www.bauxal.net
Why did you get into this field? I have always had a love for the performing arts. I began performing when I was 10 years old and at 15 I discovered my passion for hair and makeup artistry. I have been working non-stop since then—devoted to gaining more knowledge and fine tuning my craft and skill set. For me there is nothing more exciting then being on set or in a theatre knowing that my contribution is a valued part of the project.
What sets you apart from others in your industry? My name, business ethics, associations and my skill set. First, my name is M’chel—who spells their name that way (beside me for the last 17 years)? I am a professional that believes that I need to be on my feet, paying attention all the time on my job and who I need to dress for success. I also have a great list of clients, affiliates and partners I work with that helps me be able to sell a package deal. This includes my wonderful husband, Dennis Gleason, that is a producer and marketing expert. Finally, I can do makeup like the best in the industry and for hair, I can do just about anything, from styling, cutting, coloring, extensions—you name it. Most in the industry only can do one or two areas.
What has been your most memorable moment on set? I have had many wonderful and memorable moments on set. Some of them include being amazed at fantastic sets, beautiful lighting, locations I would never normally have the pleasure of seeing, costumes that mystify, and working with the best crews imaginable. My most memorable moments working with the talent include when I was working with an actor who was notorious for being difficult and I found him delightful (this has happened to me a few times!). It takes a lot of hard work and effort to earn the trust of an actor who has had bad experiences with their hair and makeup team in the past but I find it rewarding and completely worth the effort. What are some recent trends in the makeup/hairstyling industry that you’re excited about? I love seeing what new trends are going to be popular each season. What I enjoy the most about a new trend is figuring out were the inspiration for it came from. So many of the "new" styles are simply recycled looks from the past with a twist on them. Being educated in all eras of hairstyling and makeup, from ancient times to today's runway looks, really gives me an edge in creating new concepts for hair and makeup styling and incorporating the modern trends in my work.
What are some of the biggest challenges that come with being in your industry, and how are you able to overcome them? Being a celebrity makeup artist and hairstylist presents several challenges. You have the constant search for work. As an independent business owner, I don’t work a Monday-Friday 9-5 job, I have to constantly be on the look out for folks needing my services. That can be hard during lean times. Second is the competition. Although most are not at the same experience level I am at or don’t do both hair and makeup, there are many other artists trying to undercut bids that sometimes takes away work. What is your greatest professional accomplishment? My greatest professional accomplishment was to be honored and personally asked to do Barack and Michelle Obama's makeup/hair. Although I have a long list of important credits on my IMDB profile such as Portland Teen Idol, Leverage, Grimm and Portlandia, I get the most wide eyes when people find out who and how many household name clients I work with.
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THE BEST OF NW PRODUCTION
SCREENWRITERS
PAs
Douglas Horn 310-739-5649 www.DouglasHorn.com Why did you get into this field? I realized that the projects that had the best scripts invariably turned out the best. Scriptwriting is the m a k e - o r- b r e a k point of production, so to me, that's an exciting place to be. And of course it plays to my strengths as a writer and filmmaker. What is your favorite part of being a script/screenwriter? Seeing an audience react to something I wrote and knowing that it all grew out of an idea. What sets you apart from others in your industry? There are a lot of great screenwriters out there. Producers tell me that they like working with me because they like my voice and I bring them great scenes and visuals that are informed by my experience as a director. I write scripts that they can realistically shoot within their budgets and other constraints. What recent production projects have you been involved with? A family film I wrote and directed, Babysitters Beware, with Danny Trejo and Rico Rodriguez, was just released on DVD by Phase 4 Films and is selling well in Walmart and Target—which is a rare success for an independent. I was the original writer on the feature film, Ira Finkelstein’s Christmas, which just shot in the region. I’m very excited about season one of my action sci-fi Web series Divergence, which will begin airing this winter. And in the middle of those narratives, I also wrote some large corporate projects including Microsoft’s 2011 Standards of Business Practices and Performance Assessment video series.
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T.V. Kippes 509-328-7271 Christopher Drdla 425-830-8510 Since becoming involved in the production industry, what has been your most memorable moment on set? On my first film, I had to dance in the background of the shot as an extra. It was freezing cold and it was me by myself. On top of that, the PA coordinator brought the rest of the PAs to come watch. The moment was good for a laugh for the rest of the shoot. More recently, I worked on a military-themed reality show and was exposed to guns in person for the first time. Experiencing the power of a .50 sniper rifle in person was pretty impressive. What are some projects you’ve worked on recently? Most recently, I’ve worked on an infomercial for a pet product that I can’t name because the product hasn’t come out yet! After that, I was on a reality show focusing on weapons called Triggers that will air on the Military Channel. I also continued to be a post-production coordinator for a feature film titled Rough Hustle. What sets you apart from others in your industry? I’ve always prided myself on being someone who forges good relationships with my co-workers. Along with working hard on the task at hand I try to be someone who people enjoy working with and would like to again in the future.
What sets you apart from others in your industry? I try to keep my eyes and ears open to anything that might disrupt a production. I report potential problems to the production coordinator or whoever is my direct supervisor on the gig. They then take the concern to the appropriate people. Also, I recently became P.A.T.S.-certified. I traveled to Boise in September and participated in the Production Assistant Training Seminar, which offers on-location training for PAs. Since becoming involved in the production industry, what has been your most memorable moment on set? My most memorable time was during the Stuntmasters TV series episodes shot in Coeur’d Alene, Idaho in 1990. It was an incredible crew from around the world. Along with my PA chores, I was given a camera and placed in positions to videotape backup footage of the stunt demonstrations. Some of my shots actually made it into the show. What are some projects you’ve worked on recently? My most recent gig was Extreme Couponing for The Learning Channel and Sharp Entertainment.
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•
•
Director of Photography HD P2 Workflow Creative Editorial and Motion Graphics
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Photography
•
HVX200, HPX500, AF100, 5Dmkll
T.V. KIPPES
P.A. WRITER (509) 328-7271 (509) 481-7730 tvk@comcast.net ISSUE THREE 2011 MEDIA INC.
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THE BEST OF NW PRODUCTION
DPs
HELICOPTERS Lars Larson Optimistic Camera Co. 206-890-5832 www.larslarsondp.com
Jim Bolser Peak Video 509-535-1212 www.peakvideo.us How long have you been involved in the production industry and what was your first project? We’ve had our own business for the past 12 years. Our first project was an ABC shoot in Metaline Falls, WA, for World News Tonight. It was a story on a faction of a group called The Order. What do you enjoy most about working in the production industry? Meeting people, traveling, shooting and every day is a new experience. What sets you apart from others in your industry? I don’t know if anything sets us apart. There are many other companies and freelancers that we work with and admire their work. We just love what we do and don’t feel like we’re working! What are some projects you’ve worked on recently? America’s Wildest Roads for the Travel Channel, 20/20 & Nightline stories, Ironman & Rev 3 Triathlons.
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How long have you been involved in the production industry and what was your first project? I have been in production in one way or the other for 30+ years. My first job as a shooter was a documentary for PBS, With all Deliberate Speed, a look at school bussing in Pontiac, MI.
“I love shooting documentaries! I have been fortunate to see, experience, and record an amazing variety of human endeavors.” What are some projects you’ve worked on recently? I was co-director/cinematographer on Icons Among Us: jazz in the present tense, an AFI 20/20 film in 2010 and SIFF selection. I have also done projects for Zwilling Henckles, Microsoft, Seattle Bank, and Nissan among others. I love shooting documentaries! I have been fortunate to see, experience, and record an amazing variety of human endeavors. What sets you apart from others in your industry? I think my greatest strength is the ability to listen and learn from others and transform that knowledge into a visual statement.
Doug Uttecht Northwest Helicopters 360-754-7200 www.nwhelicopters.com What recent projects has your company provided helicopters to? Most recently, Superman. We also used two helicopters for Animal Planet’s Finding Bigfoot; one camera ship and one on camera. We used a Cineflex Camera in Washington State on Aerial America for the Smithsonian Channel. We had a Huey in the movie 12 Rounds, and one of our Cobras in Reno 911 Miami. What is your most memorable production-related moment? Early on in my career, I had an opportunity to work with David Jones on a major motion picture. David was one of the best helicopter movie pilots ever and helped pioneer the use of helicopters as a camera platform. He was renting a helicopter from the company I was working for at the time. I watched and learned as he made it look easy. But what else could you expect from the pilot of Tora! Tora! Tora! (1968-69), King Kong (1976), and Apocalypse Now (1976-77), not to mention hundreds of other movies and TV series and commercials. What sets your company apart from others in your industry? Our aircraft. We have a large assortment of helicopters available to be used as story aircraft, military as well as our civil helicopters. Where can you go to if you need a cobra attack helicopter? We have three. We also have our own custom trailers to move our helicopters around the country to the filming location. We have experience with several of the camera mounts available today and pilots with a great deal of camera experience including the company owner, Brian Reynolds. It makes a big difference when the pilot and camera operator are in sync. Our most experienced pilot, Jess Hagerman, has over 27,000 hours. We treat all filming projects with professionalism, it doesn’t matter how big or small the project is. What is the most enjoyable part of your job? Being able to share the experience of flying over the scenic areas of the Northwest. It’s especially fun when we have someone on board who has never been in a helicopter before. I like to be able to show them the views from an aerial perspective.
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THE BEST OF NW PRODUCTION
STYLISTS PROPS
TELEPROMPTERS
Doug Clark 206-930-9808 www.clarkprops.com What are your thoughts on the state of the Northwest production industry? We have great people here, and we have a good operational base. I’d love to see the government do more to provide incentives for out-of-state companies to shoot here (a shout-out here to everybody who worked so hard at the last legislative session—thanks from all of us!).
Lisa-Marie Moon 206-551-3105/ 425-522-3527 www.lisamariemoon.com What sets you apart from others in your industry? As a long time local Seattleite, I'd developed a lot of relationships with stores, locations, contacts, etc. Which allows me to adapt to any project. Whether it’s locating props, locations or setting up interviews with local legends. It’s all about connecting the dots. My goal is to complete each project on time and on budget! No problem! What is the most difficult aspect of your job? There is nothing too difficult. That is why I do this job. And the most fun? Wrap parties, of course! Just kidding, the whole process excites me. Always looking forward to the next challenge!
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What sets you apart from others in your industry? My abs. And I have good penmanship. And, I’m not sure, but I think I’m the only production person in Seattle who isn’t in a band. Seriously, though, I’m a hard working guy in an industry filled with tremendously talented, hard working people. It’s the collaborative effort of creating a film or commercial or a photo spread that is the real magic of film. What are some recent production projects you’ve worked on? I’m fortunate to have had the opportunity to work on a lot of really varied projects this year, from a huge snow scene in Pioneer Square and a large-scale build at the convention center to much smaller-scale projects like a deluxe outhouse, or a one-off hand-made championship wrestling belt. One of the great things about this industry is that every job is different. And one of the most challenging things about this industry is that every job is different. There are those moments when I stand back and say, “Well, next time I make a giant rolling lime green wedding cake armed with hidden confetti cannons, t-shirt catapults and a burlesque dancer with her baton ready to explode out the top… I’ll know just how to do it.” What is your most memorable production-related moment? My most memorable moments are always the neardisasters. Like dressing a huge exterior party scene for the next morning’s shoot, and waking up in the middle of the night to the sound of a freak storm ripping through town. Or sending a squad of PAs out to hunt down the hero prop that’s on a FedEx truck that has missed its delivery. The war stories are always the most entertaining! I also love the chance to meet people I’d never normally run across—champion competitive lumberjacks, a steampunk marching band, celebrities, athletes. I even got to dump Bill Gates, Sr., into a dunk tank… not your normal day at the office.
Maia McQuillan Seattle Teleprompter 425-454-5659 www.seattleteleprompter.com What recent projects has your company provided teleprompters to? Recently we have provided teleprompting services for Microsoft, Boeing, Starbucks... as well as several out-of-town projects for other companies such as Qualcomm and Sony.
“We have new teleprompters that are versatile to fit any camera, plus 18 years of experience teleprompting around the globe.” What sets your company apart from others in your industry? We have new teleprompters that are versatile to fit any camera, plus 18 years of experience teleprompting around the globe. How is changing technology impacting your industry? Smaller cameras require lighter and more adaptable teleprompters. We provide new prompters that work well with small cameras.
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Celebrating 37 years of serving the film and video community! PROFESSIONAL OPERATORS with over 30 years experience-- successfully working with talent at every level – from the neophyte to the seasoned pro. ON-CAMERA lightweight (high bright) LCD screens in multiple sizes with custom camera mounts designed to fit every application. “INTERATRON” package so that the talent can give the director dead-on “eye-to eye” contact. “PRESIDENTIAL”/ PODIUM prompters for single or multiple podium applications. AUDIO PROMPTING (Virtually invisible) for prompting applications where total freedom is required.
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ADi; Portland, OR 503-227-5914; fax 503-227-3269 kate@animationdynamics.com www.animationdynamics.com
Kate Ertmann, president
Allied Video Productions; Salem, OR 503-363-7301; fax 503-363-6477 scott@alliedvideo.com www.alliedvideo.com
Scott Hossner, CEO
Arkitek Studios; Seattle, WA 206-286-0337; fax 206-282-4103 beth@arkitek.com www.arkitek.com
Beth Anderson, CEO Doug Huff, CD
Bad Animals; Seattle, WA 206-443-1500; fax 206-441-2910 wendi@badanimals.com www.badanimals.com
Dave Howe Mike McAuliffe Tom McGurk
BingoLewis, Inc.; Portland, OR 503-223-2224 info@bingolewis.com www.bingolewis.com
Nancy Anderson
Blue Plate Digital; Seattle, WA 206-388-0174; fax 206-299-3376 brian@blueplatedigital.com www.blueplatedigital.com
Brian Pelzel, owner
Bullseye Disc; Portland, OR 503-233-2313; fax 503-233-4845 sales@bullseyedisc.com www.bullseyedisc.com
Curtis Kidwell, president
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SERVICES PROVIDED
TH ER
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ED ITI NG
Company City, State Phone; Fax E-mail Web site
T EX OP L EC OC UT A IVE L S
POST-PRODUCTION SERVICES
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NW
Cinemagic Studios; Portland, OR 503-233-2141; fax 503-233-0076 joe@cinemagicstudios.com www.cinemagicstudios.com
Joe Walsh, president/EP
Clatter&Din, Inc.; Seattle, WA 206-464-0520; fax 206-464-0702 tickle@clatterdin.com www.clatterdin.com
Peter Barnes/Vince Werner, principals Leigh Eckert, EP
Collective Editorial; Seattle, WA 206-448-6410; fax 206-624-3854 molly@collective-edit.com www.collective-edit.com
Molly Woodruff, EP Kelly Vander Linda, editor
Cross Films; Seattle, WA 206-297-3456 michael@crossfilms.com www.crossfilms.com
Michael Cross, director/editor
John Davidson Color; Seattle, WA 206-782-5114 john@jdavidsoncolor.com www.johndavidsoncolor.com
John Davidson, owner/operator
Digital Foundry; Portland, OR 503-233-1234
John Meyer, chief editor
Digital One; Portland, OR 503-228-3441; fax 503-224-7413 cameron@digone.com www.digone.com
Eric Stolberg, president Cameron Shaw, EP
Digital Wave Productions, Inc.; Portland, OR 503-227-9283; fax 503-715-0500 wayne@digitalwave.tv www.digitalwave.tv
Wayne Paige, president
Dubs, Inc.; Seattle, WA 206-624-3827; fax 206-624-3854 contact@dubsinc.com www.dubsinc.com
Charles Core, co-owner Troy Murison, co-owner
The Edge Creative; Seattle, WA 206-957-5447 cindykru@theedgecreative.com www.theedgecreative.com
Peter Howland, CEO Cindy Krueger, COO
Film to DVD (division of Tobin Cinema Systems); Spokane Valley, WA 509-922-7841; fax 509-315-9895 filmtodvd@comcast.net www.tobincinemasystems.com
Clive Tobin, president
Final Take Productions; Bothell, WA 206-799-6735 john@finaltakeproductions.com www.finaltakeproductions.com
John Holmes, president Kathleen Holmes, co-owner Dan Holmes, VP
Ford Video Inc.; Seattle, WA 206-525-0449 ford@fordvideo.com www.fordvideo.com
Susan Warden Patricia Ford
Glass Jaw/Michael Gross Productions; Seattle, WA 206-818-5267 mikalgross@glass-jaw.com
Michael Gross, principal
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ED ITI NG
Company City, State Phone; Fax E-mail Web site
T EX OP L EC OC UT A IVE L S
POST-PRODUCTION SERVICES
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GoodSide Studio; Seattle, WA 206-322-1576 studio@goodsidestudio.com www.goodsidestudio.com
Matt Krzycki, CD
Happy Trails Animation, LLC; Portland, OR 503-590-7377; fax 503-590-7111 hta@happytrailsanimation.com www.happytrailsanimation.com
Andy Collen Amy Collen
ILF Media; Spokane, WA 509-755-4536; fax 509-755-4343 allison@ilfmedia.com www.ilfmedia.com
Dave Holcomb, partner/ senior editor Jim Swoboda, partner/ director Daro Walker, partner/ computer programmer
KIRK TV, Incorporated; Seattle, WA 206-789-0401 kirk@kirktv.com www.kirktv.com
Kirk Schroeder, president
A KTVA Production, LLC; Portland, OR 503-659-4417 mail@ktvavideo.com www.ktvavideo.com
Rick Phillips, owner
Lightpress, Inc.; Seattle, WA 206-462-4717 info@lightpress.tv www.lightpress.tv
Jeff Tillotson, president Eric Rosen, VP Shane Dillon
LNS Captioning; Portland, OR 800-366-6201; fax 503-299-6839 lmonfils@lnscaptioning.com www.lnscaptioning.com
Carol Studenmund, president/owner Lisa Monfils, director of sales
Martin Arts; Sammamish, WA 425-269-2729 smartin@martinarts.com www.martinarts.com
Scott Martin, president
Mission Control Inc.; Portland, OR 503-235-1122; fax 503-235-1133 terry@missioncontrolinc.com www.missioncontrolinc.com
Mike Quinn, president
Mortimore Productions; Spokane, WA 509-327-8384 info@mortimore.com www.mortimore.com
Dan Mortimore, president/ DP/producer Angela Downey, VP marketing & sales/producer Ray Gross, senior editor/ audio engineer
MoshMedia; Portland, OR 503-688-1977; fax 503-287-5886 stevewood@moshmedia.com www.moshmedia.com
Steve Wood
Pacific Multimedia; Everett, WA 425-347-4110; fax 425-710-9932 jim@pacmultimedia.com www.pacmultimedia.com
James Campbell
Paragon Media; Seattle, WA 206-808-7600; fax 206-808-7601 solutions@paragongroup.com www.paragongroup.com
George M. Ricci Chris Lamb Gary Ricci
Pilot Rock Productions; Medford, OR 888-262-4937; fax 541-779-5564 info@pilotrockproductions.com www.pilotrockproductions.com
Roger Harris, GM Pete Bedell, senior editor Brian Horton, production coordinator
Producciones Pino; Lynnwood, WA 425-774-7772; fax 425-775-1980 ernesto@producciones.com producpino@aol.com www.producciones.com
Ernesto G. Pino
Production Partners; Seattle, WA 206-441-3773; fax 206-443-5402 john@productionpartners.cc www.productionpartners.cc
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SERVICES PROVIDED
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ProMotion Arts; Seattle, WA 206-938-0348 info@promotionholdings.com www.promotionarts.com
Steve Crandall, managing director Aaron Anderson, managing producer Kevin Knutson, CD
Pure Audio; Seattle, WA 206-728-6300; fax 206-728-1433 inbox@pureaudio.com www.pureaudio.com
Paul Goldberg, president Kathy Levin, studio manager
Recording Associates; Portland, OR 503-777-4621; fax 503-777-4622 recassoc@teleport.com www.recordingassociatesportland.com
Jay Webster, partner Chris Webster, partner Bob Stoutenburg, partner
red jet films; Seattle, WA 206-282-4534; fax 206-812-0768 sue@redjetfilms.com www.redjetfilms.com
Jeff Erwin, owner
Rex Post; Portland, OR 503-238-4525; fax 503-236-8347 info@rexpost.com www.rexpost.com
Russ Gorsline
Roam Editorial; Seattle, WA 206-293-2598 dan@roameditorial.com www.roameditorial.com
Dan Larson, owner/ editor
Rocket Pictures; Seattle, WA 206-623-7678 les@rocket-pictures.com www.rocket-pictures.com
Les Fitzpatrick
Sadis Filmworks; Seattle, WA 206-728-1610 stephen@sadisfilmworks.com www.sadisfilmworks.com
Stephen Sadis
Sparkworks Media; Seattle, WA 206-284-5500; fax 206-284-6611 info@sparkworksmedia.com www.sparkworksmedia.com
Michel Hansmire, president Travis Metcalf, co-owner
SprocketHeads, LLC; Anchorage, AK 907-248-4829; fax 907-248-0239 post@sprocketheads.com www.sprocketheads.com
Loren Church, post production manager
Victory Studios; Seattle, WA 206-282-1776; fax 206-282-3535 info@victorystudios.com www.victorystudios.com
Conrad Denke, CEO Saul Mitchell, VP media services Kevin Smith, CD
Visual Media Group; Bellevue, WA 425-457-7100; fax 425-457-7104 info@visualmediagroup.net www.visualmediagroup.net
Kelly Sparks, owner/ CEO/queen bee
Visual Thinking Northwest; Bend, OR 541-317-0619; fax 541-317-0371 kr@visual-thinking.com www.visual-thinking.com
Kevin Raichl
Wallace Creative Inc.; Portland, OR 503-224-9660 donw@wallyhood.com www.wallyhood.com
Donald Wallace, CD
White Rain Films; Seattle, WA 206-682-5417; fax 206-682-3038 bill@whiterainfilms.com www.whiterainfilms.com
Brad Bolling, director Bill Phillips, producer
SERVICES PROVIDED
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The Future of PR in Puget Sound By Brenda South, PRSA Puget Sound Chapter
s we close out 2011 and begin putting together our plans for 2012, it is interesting to reflect on just how much the communications industry has changed in the last few years. From a spiraling economy and rampant journalist job losses to the advent of social media, there’s been immense change to incorporate into our daily lives as PR practitioners. It impacts all of us, regardless of whether you are on the agency side, corporate, retail or a sole practitioner.
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Over 30,000 journalists lost their jobs from 2008 to 2010, and the numbers continue to be staggering. Ad revenue dropped precipitously, with The New York Times reporting a 30-percent drop in ad revenue in 2009. But the changes didn’t stop there. We have changed the way we conduct business in the last few years. Now, with smartphones, tablets and our ubiquitous connectivity, we are reachable anytime from anywhere, always plugged in. It doesn’t matter where we are, today your office can be almost anywhere. From my own perspective, the fax machine used to be an essential part of my day, and that machine spit out paper nonstop. Now I can’t recall the last time I used it. Instead, today we tweet out links to multimedia stories reaching ever more wideranging communities. They, in turn, actively participate in story development, linking and engaging with us and with our clients. Lines have blurred the definition of a journalist and have caused us to weigh the importance of news sites versus bloggers. The definition of a media organization is also changing, as many 84
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companies become media organizations in their own right. Now they create for themselves compelling content, and engage communities of their own. In numerous cases these communities have grown larger than many of the most popular media companies. This is a huge shift for the industry, as organizations begin to both develop and deliver their own content, instead of relying solely on traditional news to tell their stories to the world. The distinctions between public relations, advertising agencies, and social media agencies will continue to grow fuzzier. Content is becoming integrated and fused across multiple channels and creative ideas come from multiple areas of influence. As we look ahead, what we will see is that more and more clients will hire the agencies with the most powerful ideas for engaging the largest population of advocates, period. Corporations will look to hire the job candidate that is smart, nimble, creative and well versed with how to connect these intersections for the best results. We will continue to see more changes in communications ahead, perhaps at a greater rate than we’ve seen before. Innovations in digital media will continue to tear down the walls between social and traditional media, as well as between communications disciplines and areas of expertise. In the end, there will always be a need for third-party, objective reporting, and storytelling will still be a priority no matter where that story will appear. Our job as communicators is still to help develop, shape and craft those stories and help to facilitate the telling of those stories. But the reporting of those stories will come from different and less commercially-funded sources. The best way to handle all the change is to remain creative, smart and fast on our feet as we maneuver the much more varied, exciting and ever-changing communications field. Brenda South is a board member of the PRSA Puget Sound Chapter and Senior Vice President, Seattle Technology Practice Lead at Weber Shandwick.
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Translating User Experience for Mobile Applications and Web Sites By Cassandra St. Louis Guest Columnist
he line between Web user experience and mobile user experience has been knocked on its head by the explosion of smartphones and tablet devices on the market. With the rapid growth in mobile devices, it’s imperative that your mobile experience is properly designed for a variety of devices. Simply replicating an existing Web site in a mobile environment isn’t a mobile strategy; it risks alienating users and opens the door for competitors to take market share by leveraging the value that mobility offers. Mobile services can offer a serious boost to brand penetration and e-commerce by boosting competitiveness, customer loyalty, quality analytics, and targeted promotions.
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WEB SITE
APPLICATION
Runs on any mobile browser
Downloaded from a marketplace
Updates appear on users’ devices automatically
Updates have to be downloaded and accepted
Available to all Web-enabled devices and platforms
Separate apps need to be created for each platform
No approval required by a third party
Must be approved by Apple or Microsoft. No approval required from Google.
Does not interact with native phone functionality (except in some cases using HTML5)
Can use native phone functionality, such as the camera, gyroscope, offline usage, location/GPS, push notifications, and voice recognition
WHAT CMOS NEED TO KNOW There are many critical and often overlooked issues that CMOs need to be aware of. Top of the list: • Are business objectives clearly defined? Speed to market is important, but it is equally important to set the mobile strategy before development begins. • Invest in the discovery and design for the best ROI and competitive edge. • Users buy more through an application because it’s easier to purchase with a mobile application than on a mobile Web site— how important is e-commerce to your business objectives? Consider content. A traditional Web site model does not apply to mobile user experience design because mobile users are different from desktop users. The goal is to create a great mobile experience. Early mobile efforts often miniaturized the Web experience for mobile, but brands often can’t make the full breadth of their Web content easily viewed on mobile sites or applications. Mobile Web sites and applications need to offer content that is relevant to a user on-the-go with great functionality and features. Drive users to a Web site for more in-depth content. Design for interaction mechanisms. Solving the interaction mechanism riddle begins with answering the right questions. How will you adapt your design for natural user interface and touch navigation on a smartphone? Are there features and capabilities in a smartphone that could be applied to your mobile experience? All mobile experiences aren’t created equal. Mobile applications and Web sites are delivered on the same device but they aren’t the same. Many brands think “apps” when they build a mobile strategy, but brands can give customers a great mobile experience with a mobilized Web site, too. There has been a spike in applications in the market, but users visit mobilized Web sites as often as they download applications. There are important considerations when deciding whether you need a mobile Web site or application. See chart above. 86
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The lines between mobile and desktop experiences continue to blur, just as the lines between Web sites and applications continue to blur. Brands that have the most successful digital marketing programs understand the critical juncture where business objectives intersect with customers’ needs.
UNDERSTAND WHAT YOUR MOBILE BUYERS WANT Early investments in a quality User Experience (UX) may make or break your mobile effort. Work with your Web development firm to answer these questions before developing your mobile experience: • What is the demographic breakdown of your customer base? • What do potential customers want to achieve when mobile? • What features must be included to establish brand loyalty? • What is their ideal workflow? • What is your plan for online data? How can you use analytics to improve your business?
IT’S A MOBILE WORLD—GET IN THE GAME More users are going mobile with smartphones every day, and the demand for untethered access to brand content shows no signs of slowing. Just as mobile services can uplift brands, sales figures, and competitiveness, poorly executed user experiences can destroy brand loyalty and result in lost revenue. “The best advice I can give a company that wants to launch a mobile offering,” said Andrew Martin, vice president of Metia, “is to fully integrate the mobile plan of attack into the overall marketing strategy. It’s Marketing 101—know your users and how to serve them.” Cassandra St. Louis is the creative director for Metia/Seattle, where she leads a team of designers and user experience developers. Metia/Seattle is the North American headquarters of global agency Metia Group, headquartered in London with offices in New York and Singapore. Visit www.metia.com.
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Metia Unveils New ShowMe London App Metia, a global digital marketing agency with its North American headquarters in Kirkland, Washington, recently announced the release of ShowMe London, a free application that allows visitors to London to plan their itinerary and navigate their trip using an Android-based mobile phone or tablet device. ShowMe London is a Metia Labs development project undertaken with the support of Pearson’s Future Technologies team. It is the first application to be created from the DK Eyewitness Guide to London dataset provided through Pearson’s new Plug & Play Platform initiative. Built using HTML5, CSS3 and JavaScript, the new app runs on both Android 2.2 and the latest Android 3.0 devices. Diana Stepner, Head of Future Technologies, Pearson, says: “It is great to see how Metia has taken one of the Plug & Play Platform datasets and created a really useful tool for travelers and tourists who are planning to visit London. The Metia team invested great creativity into ShowMe London, not just in the user interface design but also in terms of the external Web services they have integrated to create a complete travel itinerary planner.” For more information, visit www.metia.com.
Destination Marketing Named Agency of Record for Car Toys Mountlake Terrace, Wa s h i n g t o n - b a s e d Destination Marketing has been awarded the Car Toys advertising Voetmann (r), president of account, according to Dan DM along with David Drew, agency president and president/COO of Car Toys CEO Dan Voetmann. The agency will be involved in all aspects of marketing for Car Toys, including advertising creative, media planning/buying, promotions, online, Web site, public relations and community relations. Work has already begun on several online initiatives, including PPC, SEO and social media. New radio advertising is already on the air. Destination Marketing was the agency that helped develop the Car Toys identity and handled all marketing through the 1990s when Car Toys exploded from 6 Northwest stores to nearly 50 in multiple states. “We’re thrilled to be working with Car Toys again,” said Voetmann. “Car Toys is an iconic brand, and the dominant automotive entertainment specialist in each of their markets. They also have terrific potential to build upon their long-term wireless expertise.” For more information, visit www.destmark.com.
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Born from PR, CMD Earned Media Takes a Synergistic Approach to Social Media By Darcie Meihoff, APR, CMD Earned Media
here has been a lot of discussion about where social media should reside within the marketing and agency world. Is it advertising, digital, PR, direct, customer service—or a totally separate form of marketing that needs to be off on its own? Creating a separate social media “division” is a bit out of touch with the reality of not only how to best utilize it, but also with what most companies can afford to do. For one, these tools have become a marketing mainstay and must be considered a part of any company’s overall communications effort. Yet how social media is approached, managed, coordinated and implemented still remains a question. To maximize social media, it obviously needs to be driven by smart strategy, be well managed, and live synergistically with other disciplines. That’s the reason CMD transformed and extended its public relations department back in 2008 into CMD Earned Media—combining the power of public relations best practices with emerging social media trends. We’ve found social media has a natural home within PR. Here’s why: • Objectives and strategy must be the priority for social media efforts (before leaping straight to using shiny new tools). That meshes nicely with the PR discipline of always emphasizing planning, setting strategy and defining measurable goals before delving into tactics. • The emphasis must be on audiencecentric content that attracts and compels, not pushes. In PR, if you don’t have something of importance to offer to the public or the press, you’re dead. The same is true with social. • There is a fundamental need to build leadership, credibility and reputation in
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order to maximize exposure. As it has been since the beginning, reputation management is core to PR practices. • The basic PR practice of community relations is paramount. Social media connects brands directly with external audiences, including journalists, and having the skills to successfully communicate with those audiences is not only crucial, but oftentimes is publicly visible to other users. • Rallying awareness and support for social causes has been a PR mainstay. Knowing how to successfully leverage social media to support social causes can dramatically increase its reach and impact. • Generating goodwill and influence means listening to input and becoming a credible, responsive and reliable source of information. As true for social as it is in PR. • Proactively monitoring, spotting and responding to issues before they turn into crises is essential best practice in PR as well as in social media. No matter where social media “lives” within an organization, the key is integration. Knowing how social can be used synergistically with other marketing initiatives is an issue many brands are still struggling with. At CMD, social might be managed out of, but it is not isolated within, the earned media group. We regularly collaborate with the digital, paid media, video, creative and analytics teams to help ensure we’re using social in harmony to extend, amplify and generate maximum results. No doubt that social media can help extend just about any marketing or communications effort, but for agencies and brands alike, how it is managed, integrated and executed can make a world of difference when it comes to tapping into its true effectiveness.
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Transitioning Smoothly from Peer to Boss By Ester Frey Guest Columnist
n today’s economy, reorganizations are not uncommon, and you may find yourself suddenly overseeing a group of PR professionals who were once your peers. While transitioning into a supervisory role can be exciting, it also means a shift in dynamics with colleagues. Your success taking on a leadership role is dependent on building positive working relationships with direct reports and being able to exercise authority when necessary. Here are four tips for making the transition from peer to manager as smooth as possible: Seek support for your ideas. It’s smart to have a plan in mind for increasing media coverage or boosting efficiency, but resist the temptation to implement major changes immediately. Exercising your newfound power without first getting staff buy-in can create animosity and sink morale. Instead, take some time to settle into the role. Position yourself as a thoughtful, strategic leader who values others’ insights. Treat everyone equally. You may be closer with certain colleagues than others, but as everyone’s boss you have to keep a level playing field. You’ll damage your credibility if you continually assign the most exciting, high-profile projects to a select few. Perception is reality and anything that hints at favoritism can lead to conflict and resentment. Set the right tone. When one person in an established group is
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selected for advancement, team members may display a range of reactions. Some might applaud the decision while others may let bruised egos get the best of them. If a bitter colleague challenges your authority, address and document the behavior swiftly. You can nip attitude problems in the bud by making it crystal clear that attempts to undermine you will not be tolerated. Build a new support network. You used to commiserate with a good friend on the team. But what do you do when your confidante becomes your direct report and it’s no longer appropriate to use him as a sounding board? Look both inside and outside your company for potential allies and mentors. Whether it’s a newly appointed manager in another department or contacts you’ve made through industry associations, connect with those who’ve traveled a similar career path. Finally, you may experience moments of self-doubt. It’s normal. That said, your employees will notice if you seem unsure of yourself. Remind yourself that you were chosen for the management role for a reason. Trust that you’re up to the job and project a confident—never cocky—attitude from day one. Ester Frey is Regional Vice President of The Creative Group in Seattle, 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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Aiming at the Right Target By Kevin Sanders Guest Columnist
t seems I rarely leave a client presentation nowadays without being asked how to measure the success of what we’re proposing. It is a fair question. And one that too often catches marketing professionals flatfooted. But discussions about measuring the effectiveness of marketing campaigns don’t need to be so challenging. The crucial first step is to get everyone on the same page regarding the proper definition of success. Sounds easy, right? But it’s not always as simple as it appears. That’s because the client can have a very different perspective on what constitutes success. As businesspeople, we’re conditioned to think of success in terms of the final outcome, or end result— the proverbial return on the investment. When I ask a client how they would define the success of a campaign, it is not uncommon to hear something like more sales. But while “sales” is usually a good measure of overall business performance, it is often the wrong metric to use to evaluate a marketing campaign. Sales are a business outcome, the result of a broad organizational chain of activities of which marketing is merely one link. The role of most marketing efforts is to get people to the door, but not necessarily through the door. Thus, if you truly want to measure the performance of the campaign, the definition of success should be limited to the specific customer response gener-
I
ated by the campaign, not the final business outcome. I had this discussion recently with a client in higher education. We were hired to help the university reverse a decline in enrollment. When it came time to choose the best metric to evaluate the campaign, the client wanted to use enrollment hours. I explained that the role of our marketing campaign was to generate awareness and interest among prospective students. Whatever proportion of these prospects went on to apply, gain admittance, and ultimately enroll in classes was beyond the scope of what the campaign could affect. If the campaign were to be successful, the response should be an increase in the number of prospective students contacting the university. Thus, this became our success metric. The key to measuring marketing campaigns is to first gain consensus on how to define success. Again, it sounds simple, but it’s precisely this simplicity that often prevents us from taking the time up front to decide on the proper metric to use. It’s a conversation worth having because you’ll have a better chance of hitting the target if everyone can agree on where to aim. Kevin Sanders is Vice President of Strategic Planning at Hanna & Associates, Inc. in Coeur d’Alene. www.hanna-advertising.com.
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NW PR FIRMS APCO Worldwide; Seattle, WA 206-224-4340; fax 206-224-4344 mplaitis@apcoworldwide.com www.apcoworldwide.com
Maggie Brown, SVP/ managing director
Brenner Associates; Portland, OR 503-736-0610; fax 503-238-7304 brad@brennerassociates.com www.brennerassociates.com
Brad Brenner
CFM Strategic Communications, Inc.; Portland, OR 503-294-9120; fax 503-294-9152 garyc@cfmpdx.com www.cfm-online.com
Gary L. Conkling, president
CMD; Portland, OR & Seattle, WA 503-223-6794; fax 503-223-2430 info@cmdagency.com www.cmdagency.com
Phil Reilly, president Mike Cobb, VP accounts Darcie Meihoff, VP earned media
Colehour + Cohen; Seattle, WA & Portland, OR 206-262-0363; fax 206-262-0366 info@colehourcohen.com www.colehourcohen.com
Julie Colehour, partner Bryan Cohen, partner
DeLaunay Communications; Seattle, WA 206-682-3699; fax 206-682-3899 pete@delaunay.com www.delaunay.com
Pete DeLaunay
Desautel Hege Communications; Spokane, WA 509-444-2350; fax 509-444-2354 andreim@desautelhege.com www.desautelhege.com
Cher Desautel, APR, PhD, president/CEO
Duo Public Relations; Seattle, WA 206-706-0508; fax 206-706-0668 rebecca@duopr.com www.duopr.com
Rebecca Mosley & Amanda Foley, founding partners
Edelman; Seattle, WA & Portland, OR 206-233-1606; fax 206-467-7978 seattle@edelman.com www.edelman.com
Tim Smith, SVP Troy McCombs, SVP Marta Monetti, deputy GM, Portland
Frause; Seattle, WA & Portland, OR 206-352-6402; fax 206-284-9409 bfrause@frause.com www.frause.com
Bob Frause, chairman/CEO Erika Schmidt, president/ COO
Gard Communications; Portland, OR 503-221-0100; fax 503-226-4854 bgard@gardcommunications.com www.gardcommunications.com
Brian Gard, president Scott Sparling, SVP Valarie Edwards, VP/GM
Gogerty Marriott, Inc.; Seattle, WA 206-292-3000; fax 206-292-2063 info@gogertymarriott.com www.gogertymarriott.com
Robert Gogerty, partner David Marriott, partner
Gruman & Nicoll PR; Bellevue, WA 425-451-4387; fax 425-451-4790 getresults@gruman-nicoll.com www.gruman-nicoll.com
Lissa Gruman Margaret Nicoll
The Hallock Agency, Inc.; Portland, OR 503-224-1711; fax 503-224-3206 tbranch@hallockagency.com www.hallockagency.com
Jackie Hallock, president/CD Tiger Branch, CEO
Harvest PR & Marketing Inc.; Portland, OR 503-274-0086; fax 503-961-7055 info@harvest-pr.com www.harvest-pr.com
Amy Wood
Hill & Knowlton; Seattle, WA 206-441-7340 will.ludlam@hillandknowlton.com www.hillandknowlton.com
Will Ludlam, EVP/GM Jennifer West, SVP Christian Brown, SVP
HMH; Portland, OR 503-295-1922; fax 503-295-1938 lisah@hmhagency.com www.hmhagency.com
Lisa Heathman, PR director
LaBrue Communications; Issaquah, WA 425-427-8481; fax 425-427-8198 tlabrue@comcast.net www.labruecom.com
Terry J. LaBrue, principal
Lane PR; Portland, OR 503-221-0480; fax 503-221-9765 wendy@lanepr.com www.lanepr.com
Wendy Lane Stevens, president Amber Roberts, managing director, New York
The Martin Firm; University Place, WA 253-565-2040 kfmartin@martinfirm.com www.martinfirm.com
Kathy Martin
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NW PR FIRMS Maxwell PR, LLC; Portland, OR 503-231-3086; fax 503-231-3089 diane@maxwellpr.com www.maxwellpr.com
Jennifer Maxwell-Muir, principal/founder; Vicky Hastings, managing director; Jen Scott, VP
Metropolitan Group; Portland, OR 503-223-3299; fax 503-223-3474 marketing@metgroup.com www.metgroup.com
Eric Friedenwald-Fishman, CD/president Laura K. Lee Dellinger, senior EVP/principal
MWW Group; Seattle, WA 206-689-8505; fax 206-462-1772 khoffbuhr@mww.com www.mww.com
NI OU NG TR EA CH RE / OP SE INI AR ON CH RE / OT SE HE AR R CH
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Company City, State Phone; Fax E-mail Web site
SERVICES PROVIDED
David Herrick
Nereus; Beaverton, OR 503-619-0656; fax 503-644-6708 info@nereus-worldwide.com www.nereus-worldwide.com
Sara Belkowitz, director
Porter Novelli; Seattle, WA 206-727-2880; fax 206-727-3439 www.porternovelli.com
Angie Schneider, managing director
PRR Inc.; Seattle, WA 206-623-0735; fax 206-623-0781 jvoldal@prrbiz.com www.prrbiz.com
Rita Brogan, CEO Mike Rosen, managing principal
Publicis Consultants USA; Seattle, WA 206-270-4664; fax 206-272-2497 steve.bryant@publicis-pr.com www.publicis-pr.com
Steve Bryant, president; Audrey Lincoff, SVP, corporate communications; Mike Durand, SVP, consumer marketing
Pyramid Communications; Seattle, WA 206-792-0442; fax 206-374-7798 Portland, OR office: 503-241-2341; fax 503-238-5788 sstephan@pyramidcommunications.com www.pyramidcommunications.com
John Hoyt, founder Anne Tillery, managing partner Sarah Stephan, managing director/SVP
Quinn/Brein Public Relations; Bainbridge Island, WA 206-842-8922; fax 206-842-8909 ginger@quinnbrein.com www.quinnbrein.com
Jeff Brein, president
Revolution Public Relations; Seattle, WA & Portland, OR 206-932-2454; fax 206-400-1575 connect@revolutionpr.com www.revolutionpr.com
Jennifer Karkar Ritchie, principal Rebecca Haas, principal
Richmond Public Relations; Seattle, WA 206-682-6979; fax 206-682-7062 general@richmondpr.com www.richmondpr.com
Lorne Richmond, president Jason Hamilton, SVP
Synchro Creative; Bellevue, WA 425-885-5661; fax 425-957-7202 bonnie@synchrocreative.com www.synchrocreative.com
Bonnie Chelini and Candy Young, principals
Tactical Marketing Group; Tacoma, WA 253-678-2617 kevin.hayes@tacticalmark.com www.tacticalmark.com
Kevin Hayes, principal Doug Hudak, principal
Team Soapbox; Seattle, WA 206-528-2550; fax 206-625-0109 christine@teamsoapbox.com www.teamsoapbox.com
Christine Stepherson, founder/owner Janda Black Keenan, founder/owner
Vox Public Relations Public Affairs; Eugene, Portland, & Salem, OR 541-434-7021; fax 541-302-6622 pwalsh@voxprpa.com; www.voxprpa.com
Patrick Walsh, president/ CEO Deborah Herron, VP Sadie Dressekie, VP
Waggener Edstrom Worldwide; Bellevue, WA & Lake Oswego, OR 425-638-7000; fax 425-638-7001 commscore@waggeneredstrom.com www.waggeneredstrom.com
Melissa Waggener Zorkin, CEO/president/founder; Pam Edstrom, president, Microsoft account/founder; Jennifer Houston, president, Studio D
Weber Shandwick; Seattle, WA 206-576-5500; fax 206-576-5599 www.webershandwick.com www.webershandwickseattle.com
Tim Fry, EVP/GM
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T ATES E, L E TH SU USS EACH IS C S I D WE MPANY H C I WH EST CO N I , HW S ERIE T NORT . S AN IEW REN TERV A DIFFE R EDELM N I E ’S H INC. ST WIT R PIONE A I MED GREATE WITH P AND TINUES CON
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delman is the world’s largest independent public relations firm, with wholly owned offices in 53 cities—including 2 award-winning locations in the Northwest region. Here is Marta Monetti, general manager at the Portland location, on the record: TELL US A LITTLE ABOUT YOUR COMPANY. The Portland office of Edelman was founded in 2002 and has since grown to be one of the largest PR agencies in the region. Edelman Portland offers creative, results-oriented communications counsel, with expertise in consumer marketing and public relations, food and beverage, technology, corporate and public affairs, public involvement, transportation infrastructure communications, and social media. HOW HAS YOUR BUSINESS CHANGED THROUGHOUT THE YEARS? Since I joined Edelman in September of 2009, we’ve obviously seen some tremendous changes within the industry. The Portland office of Edelman has been incredibly resilient in the face of these changes, weathering the storm and coming out stronger than ever. As the market took a downturn, we learned how to be nimble while still delivering the same industry-leading results that our clients come to know and expect. WHAT CURRENT PROJECT ARE YOU WORKING ON THAT YOU ARE PARTICULARLY PROUD OF? Creating an internal work culture in our office that fosters creativity, teamwork and stellar client service. EDELMAN HAS BEEN NAMED BOTH “AGENCY OF THE YEAR” AND “AGENCY OF THE DECADE” BY A NUMBER OF LEADING PUBLICATIONS. WHAT DO HONORS SUCH AS THESE MEAN TO YOU? These awards serve as a testament to the world-class creative work that we’ve had the opportunity and privilege to be a part of 94
MEDIA INC. ISSUE THREE 2011
Marta and her son at the 2011 Komen Race for the Cure. Marta sang the National Anthem prior to participating in the race.
on behalf of our clients. We are proud of the work we do and it is an honor to be recognized by both the industry and our peers through awards like this. WHO OR WHAT INSPIRES YOU, EITHER PERSONALLY OR PROFESSIONALLY? I am inspired by Nancy Brinker, the founder of Susan G. Komen for the Cure. My sister died of breast cancer at the young age of 35 and watching what Nancy created for her sister Susan is incredibly powerful. She started a movement with one promise. HOW IMPORTANT IS IT FOR YOUR COMPANY TO CONNECT AND ENGAGE WITH YOUR SURROUNDING COMMUNITY? I have always been active in my community, having served on several boards and engaged in many initiatives that ultimately serve the local community. Playing for something greater than yourself is critical. It makes life worth living… IF YOU COULD BE ANYWHERE IN THE WORLD RIGHT NOW, WHERE WOULD YOU BE? In Italy eating Gnocchi made by my Aunt Ferdnanda. WHAT WOULD YOU DO IF YOU WON THE LOTTERY? Travel, travel, travel… Then having traveled the world, come back home and figure out how I could really make a difference in my community.
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