Media Inc, Issue 1 2011

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CONTENTS

VOLUME 23 • ISSUE 1 2011

PUBLISHER

James R. Baker ASSOCIATE EDITOR

Katie Sauro CONTRIBUTING WRITERS

Tiger Branch, Don Jensen, Chris Lamb, Paul Nevius, Marty Oppenheimer, Maria Scheleen, Gail Snow, Jules Van Sant, Miriam Walsh Lisco, Marc Williams SALES MANAGER

Katie Higgins SALES

Paul Yarnold PRODUCTION MANAGER

John Rusnak DESIGNERS

Christopher Brittain, Dawn Carlson OFFICE MANAGER

Audra Higgins INFORMATION SERVICES MANAGER

Lois Sanborn

FEATURES 10

LETTER FROM THE PUBLISHER

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SNAPSHOTS: A BRIEF HISTORY OF MEDIA INC.

ACCOUNTING

Nick Crane

Media Index Publishing Group P.O. Box 24365, Seattle, WA 98124-0365 1201 First Ave. S., Suite 309, Seattle, WA 98134 (206) 382-9220 • (800) 332-1736 Fax (206) 382-9437 Email: media@media-inc.com www.media-inc.com Display Advertising. Call Media Index Publishing Group for a current

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rate card. Discounts for frequency advertising. Advertising confir-

IN THEIR WORDS REFLECTIONS ON THE PAST THREE DECADES FROM MAJOR NAMES IN THE NORTHWEST MEDIA INDUSTRY

mation 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

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M/C. Back issues of Media Inc. are available at Media Index Pub-

COVER TO COVER

MEDIA INC.’S MOST MEMORABLE COVERS FROM THE LAST 30 YEARS

lishing Inc. offices at the cost of $5 plus tax.

Copyright © 2011 Media Index Publishing Group. All Rights Reserved. No part of this publication may be copied by any means, electronic or mechanical, including photocopying or recording by any information storage or retrieval system, without the express written permission of the publisher. Printed in USA

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CONTENTS 44

ON THE RECORD: Q&A SERIES WITH...

GLAZER’S CAMERA

52 MY 30-YEAR

96 CHANGES IN PHYSICAL MEDIA GENERATE A “PARAGON” OF SUCCESS

88 THE TECHNOLOGY REVOLUTION AND GRAPHIC DESIGN

PERSPECTIVE ON PRINT

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NOSTALGIA IS A TERMINAL DISEASE

62 PRODUCTION IN

OREGON: A RETROSPECTIVE

68 WASHINGTON FILM: A LOOK BACK AT THE LAST 30 YEARS

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FROM TYPEWRITERS TO TWEETS

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30 YEARS OF PROGRESS IN THE CREATIVE FIELD

HOW TECHNOLOGY CHANGED EVERYTHING— AND NOTHING—FOR WALSH DESIGN

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THE POST REVOLUTION

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112 MEDIA INC. INDUSTRY LISTS 114 129

NORTHWEST AD AGENCIES LIST

136

MEDIA DUPLICATORS/ REPLICATORS LIST

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NORTHWEST EQUIPMENT RENTAL LIST

WHAT’S CHANGED AND WHAT HASN’T

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30 YEARS OF NORTHWEST PRODUCTION

MEDIA INC. ISSUE ONE 2011

A DESIGN FIRM 30 YEARS IN THE MAKING

INTERACTIVE DESIGN & DEVELOPMENT COMPANIES LIST

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011 marks three decades for Media Inc. magazine, and to commemorate the occasion we delved into our archives and put together a special issue that is sure to evoke reminiscence and reflection in many of you.

Read on as we relive memories of the past 30 years and join us as we celebrate our anniversary with you— our dedicated readers and advertisers who have made this moment possible.

ISSUE ONE 2011 MEDIA INC.

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Letter from the Publisher 011 marks the 30th anniversary of Media Inc. magazine. As we celebrate this milestone, we reflect on the past three decades, and look forward to the future as we continue to be your leading media industry news resource for many years to come.

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Launched 30 years ago, the publication has undergone many changes. Many of you may remember our first incarnation, Washington Film & Video Association News, which evolved into Point of View, then to Aperture Northwest, and finally to Media Inc. Along the way, parent company Media Index Publishing added new publications, expanding its reach across the country and jumping headlong into the consumer market, but Media Inc. remains the flagship magazine—and the heart of the business.

Yes, we have come a long away since our inception, and we are certainly proud of this journey, yet we know we must continually evolve to meet changing needs. Indeed, in conjunction with our anniversary, we are excited to announce we will be unveiling a new interactive Web site later this year. Also, as you read on in this issue, you will notice we have made some updates to the magazine’s layout. The staticlooking guest columns, for example, have been replaced with splashy graphics and engaging fonts. The industry lists, which some have deemed too wordy, are now more dynamic and much easier to read. In short, everything is more colorful and compelling, while still retaining our admirable qualities as a respected trade publication.

As we embark on this new stage of our voyage, we want to take a moment to thank all those that have helped us over the past 30 years. First and foremost, we must recognize Richard Woltjer and Dan Whalen, whose ingenuity and wisdom brought this publication to fruition. I would also like to thank my wife Kelly for her unyielding patience and encouragement, and my good friend George Ricci of Paragon Media for all his support over the years. I also want to acknowledge Media Inc.’s hard working and dedicated staff without whom this magazine wouldn’t be possible.

Last but certainly not least, we’d like to thank you, our tremendously supportive readers and advertisers. The staff of Media Inc. and I are so proud of what we have achieved over these past three decades, but we would not have been able to do it without you. Thank you!

Jim Baker Publisher Media Index Publishing

THIRTY YEARS. Hundreds of issues.

Thousands of memories.

And millions of thanks.

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MEDIA INDEX PUBLISHING STAFF: (pictured clockwise)

1. ANDY WALGAMOTT, Editor, NW Sportsman Magazine 2. KATIE HIGGINS, Sales Manager, Media Inc. Magazine 3. JOHN RUSNAK, Production Manager 4. BRIAN LULL, Sales Manager, NW Sportsman Magazine 5. AUDRA HIGGINS, Office Manager 6. JIM BAKER, Publisher 7. KURT HANSON, Sales Executive, NW Sportsman Magazine 8. DAWN CARLSON, Designer 9. JIM KLARK, Sales Executive, NW Sportsman Magazine 10. MIKE SMITH, Sales Executive, NW Sportsman Magazine 11. PAUL YARNOLD, Operations Manager 12. LOIS SANBORN, Information Systems Manager 13. CHRISTOPHER BRITTAIN, Lead Designer 14. KATIE SAURO, Editor, Media Inc. Magazine ISSUE ONE 2011 MEDIA INC.

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SNAPSHOTS: A brief history of Media Inc. via news clips and photos, showcasing some of the people and players that have impacted the Northwest media industry over the years.

July 1982 Media Inc.’s first incarnation, Washington Film & Video Association News, was a monthly newsletter that covered production news around the state. The WFVA News became POV shortly thereafter.

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September 1987 T.J. Williams pens an article for POV, detailing a corporate commercial shoot he did in China for Boeing.

November 1987 This is taken from the first issue of Aperture Northwest, which replaced POV as the production news monthly. The new name came with a new newsprint format.

“Short Takes” is the first incarnation of Media Inc.’s “Briefs.” This particular edition features Scott Jonas, of Jonas Jensen, pictured while shooting a documentary.

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May 1988 Eugene Mazzola, Seattle production vet, directs a shoot for Track Record and the Ohio Players.

Both articles on this page appeared in Aperture Northwest before it became Media Inc. in December 1988.

March 1988

Peter Lewis forms AUDISEE, a new sound design company.

Says Lewis of the founding staff (pictured), “I’m the only one left. Marts and I are the only ones still working professionally!”

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D N A L T R O P T IN

POS

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September 1989 Alpha Cine unveils new post production technology—a major breakthrough for film editing. Pictured here is Bob Lasrich, who invented One Cut.

November 1989 Hornall Anderson Design Works, owned by Jack Anderson and John Hornall, is named graphic design firm of the year.

April 1990 Portland-based composer Bill Scream’s audio work is profiled in a 1990 edition of Media Inc.

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Turns out, there’s not a card for every occasion. Happy Anniversary anyway.

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August 1990 Northern Exposure begins filming in Roslyn, Washington, providing great opportunity for local crew and support services. The series filmed its exterior scenes in the area until 1995, when the show wrapped.

September 1990 Art director Ed Augustavo and copywriter Kevin Burrus (along with Hal Hilts) branch out to form their own advertising agency.

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April 1990 Steve Lawson and Heart’s Ann and Nancy Wilson unveil their new studio—Bad Animals. The studio was bought by Dave Howe, Tom McGurk, Mike McAuliffe, and Charlie Nordstrom from Lawson in 1999.

August 1991 Peter Barnes, co-founder of Clatter&Din, and Jim Wolfe once helmed the Music Source, a major Seattle studio that closed its doors in 1996.

January 1992 Will Vinton, owner of claymation haven Vinton Studios, is named one of Media Inc.’s people of the year for 1991.

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February 1993 George Ricci leads Premiere AVD—now known as Paragon Media—to success in the Northwest.

February 1992 David Woolson, executive director of the Oregon Film & Video Office from 1991 to 1999, helps draw major productions to the state.

June 1992 Marty Oppenheimer and Oppenheimer Camera—in business since 1979—doubles in size to accommodate growth.

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March 1993 An early ‘90s article describes advertising as an “industry on the ropes.” The ad industry has experienced many ups and downs over the years, but with recent trends like mobile advertising and social networking, the industry is once again experiencing an upward trajectory.

May 1993 Portland-based Pacific Grip & Lighting purchases the Cine Companies and expands into Seattle.

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July 1994 David and Rich Fassio’s Post Modern (now Modern Digital) acquires telecine and expands its capabilities.

October 1993 Seattle’s Bill Nye the Science Guy goes national.

November 1995 Seattle’s iconic Space Needle cheers on the Mariners’ post-season run.

June 1994 Governor Mike Lowry goes Hollywood, meeting with Steven Spielberg and various studio executives to promote Washington as a filming destination.

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February 1996 Gary Nolton—who founded Limbo Films in 1998—was profiled in a Media Inc. spread of some of the Northwest’s finest directors.

June 1996 Oregon’s David Woolson and Washington’s Suzy Kellett team up to draw productions to the Northwest. Kellett was director of the Washington State Film Office for over a decade, leaving the post in 2008.

September 1996 Ryan Wiley opens up ADS Recording in Portland, bringing 20 years of experience to the table.

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November 1996 Diane Sorensen and Doug Hansen establish Doug and Diane Creative Partners, running their new firm out of their Mercer Island home.

December 1996 Media Inc. celebrates 15 years as a publication with a bash held at headquarters in the Sodo neighborhood.

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January 1997 Jim Copacino leaves McCann-Erickson to start his own venture, taking the Seattle Mariners—a longtime client of his—with him. Here Copacino is pictured with Mariner great Jay Buhner.

November 1997 Eric Rosen and Jeff Tillotson part ways with Modern Digital to form Flying Spot Film Transfer.

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IT’S STILL A JUNGLE OUT THERE, But we know the trails.

Celebrating 30 years.

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January 1998 Eugene, Oregon’s Chambers Productions goes digital with a new facility, which features soundstages, studios, digital suites, editing systems and more.

Media Inc. Issue #3 2003 Koerner Camera Systems unveils a new HD digital camera from Sony.

Pictured is Michael Koerner (right) and Jeff Cree.

Media Inc. Issue #2 2003 Media Inc. went glossy in 1999 and became a quarterly. In 2003, the magazine expanded to six issues a year.

At left, Washington and Oregon Film Offices set up shop at Locations Expo to lure productions to town.

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Media Inc. Issue #4 2005 Oregon Governor Ted Kulongoski signs the “Greenlight” incentive into law, hot on the heels of the state’s Oregon Production Investment Fund.

Media Inc. Issue #6 2005 Media Index Publishing launches digital editions of its publications, including flagship magazine Media Inc.

Media Inc. Issue #2 2006 This issue’s cover story details Washington State’s first film incentive program, signed into law by Governor Gregoire.

The bill received unprecedented grassroots support from the state’s production community.

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Media Inc. Issue #5 2006 Media Inc. is on the scene as popular doctor-drama Grey’s Anatomy lands in Seattle for a location shoot.

Media Inc. Issue #2 2008 Victory Studios celebrates 30 years in the production industry with a major party. Pictured here is founder and owner Conrad Denke.

Media Inc. Issue #4 2008 Ad Club Seattle toasts to 100 years with AdBash, held in the summer of 2008.

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Grip & Lighting Gear Production Supplies Dollies & Jib Arms Expendables Service

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e here at Media Inc. would like to take this opportunity to thank those advertisers that have been with us since the beginning. Our biggest thanks go out to: Alpha Cine, Oppenheimer Cine Rental, Talent Services, Glazer’s Camera, Victory Studios (formerly American Production Services/American Motion Pictures), Paragon Media (formerly Premiere AVD Corporation), AUDISEE, Rex Post, Paradise Sound Recording, Complete Casting by Stephen Salamunovich, and The Actors Group.

W

Ad appeared July 1982

Ad appeared November 1983 Ad appeared September 1987

Ad appeared March 1987

Ad appeared February 1983 Ad appeared March 1988

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Ad appeared May 1988

Ad appeared May 1988

Ad appeared July 1988

You all have been vital to our success as a publication and we want you to know how much you’re appreciated!

Ad appeared July 1988 Ad appeared June 1992 ISSUE ONE 2011 MEDIA INC.

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M

edia Inc. is starting a brand-new interview series, entitled “On the Record,” in which we discuss the latest and greatest with a different Northwest company each issue. Coinciding with our 30th anniversary, Glazer’s Camera—one of Media Inc.’s first-ever advertisers—is a prime choice for kicking off the series.

Glazer’s has been providing camera equipment to Seattle’s bustling photography community since Ed Glazer established the company back in 1935. The company—and the industry at large—has undergone many changes since then, but Glazer’s remains a bastion in the industry and a premier resource for the community. We spoke with Bob Lackman, second generation owner, and Rebecca Kaplan, third generation co-owner (with her brother, Ari Lackman), to discover how Glazer’s has stayed on top all these years.

Media Inc.: Rebecca, when did you and Ari become partners/ co-owners?

Rebecca Kaplan: I believe I started working here in sort of a management position in 2002, and Ari was 2006. We had grown up in the business and worked in different departments over

Glazer’s Camera Timeline:

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summers and played around when we were little. But as managers, and now owners, it’s been within the last decade.

MI: And Bob, when did you formally retire?

Bob Lackman: I haven’t formally retired, but when I had a heart attack back in ’95, I said to Ken Smith, who was a floor manager at the time, “Congratulations, you’re now the manager.” So at that point, I tried to kind of have him shoulder most of the stuff. And Ken stayed with us through the training, if you want to call it that, of Rebecca and Ari, and then he went on.

So I would say Ari and Rebecca both got their chops early and once they did, I really only try to come in when I’m in town for maybe a half-hour and touch base, maybe an hour. I’ll do certain things at home, which is much easier for me, you know, because it’s a busy shop. So I call myself virtually retired. My wife says I’m still not.

RK: You get to do all of the fun “thinking” projects, and Ari and I get to do all the detail, get-it-through-the-day work.

BL: My wife, who is a Glazer—it’s her father that started the business—she and I are very proud of both of our children who are not just carrying a torch, but really doing a great job as business owners. It’s worked out really, really well.

MI: How important was it for your children to “carry the torch” and take over the family business?

BL: I would say it was not important. I say that because I advised them that if they liked the business and would enjoy it, wonderful. But do not feel like there’s any obligation. You spend most of your life at your work—you want to enjoy what you do.

Much has changed since the store’s inception in 1935. Here’s a brief rundown of key Glazer’s dates:

1935

1975

1987

1997

Store founded by Ed Glazer

Robert Lackman joins Glazer’s, takes on ownership

Store moves to South Lake Union

Company opens Rentals Location

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RK: We had opportunities to explore other careers. I’m 38—I came on when I was about 29—so I had already worked in the high-tech world for awhile, and Ari had worked as a glass blower and did work in various other areas, too. So we were able to get out there and get some experience, and now we have a good balance for each other. We do have different personalities, so we try to play off each other.

MI: And it works well?

RK: Yeah. For the most part (laughs). We try to stick to business when we’re here and we can have a really hard day or a tough vendor meeting and have a challenging work day, and then go to their house for dinner on Friday night and it all goes away and we can focus on being a family. So we try to maintain pretty distinct lines between work and outside of work. It can be challenging. But I feel really fortunate that between Bob and Ari and myself we all have a very similar vision for where we’re at as a company and where we’re going. We sometimes take different steps getting there, however, we really aligned with the direction that we’re going.

MI: Glazer’s is a very community-oriented business. Can you talk a little about that and why it’s so important to you?

Glazer’s first location in downtown Seattle.

BL: When Glazer’s opened, we were downtown, kitty-corner from the Bon (now Macy’s). It was really difficult for a customer to get there and park because we always were a destination store—as opposed to a mall store, where you have the foot traffic. And that’s the beauty of the business is that we build relationships—we have customers that we’ve enjoyed for over 50 years—and so I immediately sought out and became active in the various professional societies for photographers and filmmakers. We have staff that’s been on boards; we had one staff member that was the president of ASMP, which is very unusual for a retailer to be president. So it’s really been a real melting with the community.

RK: I would say that every single week we make some type of donation to a non-profit, and we’re actually in the process of formalizing our donation non-profit program because we do have such a high demand. There’s hardly any margin in the hard goods that we have here, so it’s very challenging to accommodate even price-match. So our rental business, that’s one of the areas where we try to give back.

So if we have a client who’s donating their time to a project, we’ll look at that and try to make a decision for how we can support that photographer. The volume that comes in is pretty astounding right now, but we try to accommodate most requests.

In addition, we’ve always supported all of the photo programs like the Youth in Focus and Bridges to Understanding and Blue Earth Alliance—those are three local photo-based non-profits. I just joined the board of the Blue Earth Alliance and I hold an advisory position at Phil Borges’ Bridges to Understanding, so we try to give our time.

We don’t always have as many financial resources to give, but we are there to support the pro community and the arts community. It takes a substantial amount of time to process everything, but we enjoy it.

MI: How has your business changed throughout the years?

RK: When Bob was running the business, it was mostly pro photographers and commercial shooters and there weren’t very many photo enthusiasts who came in, at least not at the proportion that we have now.

So we’ve shifted a lot. We’re still able to service and help those commercial photographers and those pro customers who are still out there, and we have a nice set of corporate clients—a lot of local businesses support us.

However, with digital where it is today, we’ve had to retrain, just recalibrate how we talk to customers because so much of our business is that photo enthusiast or general consumer who is interested in coming in and buying their first camera here. Whereas 15 years ago that would’ve been a smaller incidence.

MI: How are you adapting to the changing clientele?

RK: We’ve worked with our staff to help them easily work with completely different customer sects within even an hour’s period of work. A commercial photographer could come in who has very technical questions about a certain job that they’re trying to do and they need help with that, as far as getting some products for it, or just talking out an issue. And then the next minute someone like myself, who’s a mother of two young boys, might want to come in and get my first point-and-shooter, my first SLR, and talk about how to take family photos. So there’s the whole gamut and we feel like we’ve adjusted to be able to talk to our different customers as far as our product mix.

And the product mix has changed. We feel at Glazer’s one of the things that differentiates us is our knowledge and our expertise and our service, but also the fact that we have such a vast product inventory and that we stock it and it’s here and it’s available. We know that we can’t be everything to every customer, but we try to be as best situated to help a wide variety of customers and we try to build our inventory around that to offer something for everyone. continued on page 46

2001

2002

2005

2006

2010

Company opens Glazer’s Digital Store

Rebecca Kaplan joins as manager

Company brings Digital back to main store and creates Lighting & Supply Store

Ari Lackman joins as manager

Glazer’s celebrates 75 years

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GLAZER’S Continued from page 45

just personally have such a high regard for MI: What are some of your the staff who’s out proudest accomplishments there selling all day with Glazer’s? long. It’s very hard BL: I think mine are when somework—it’s hard physibody comes in from France or cal work and it’s hard Italy or Japan and, considering emotionally to just be the small market that we are engaging all day long internationally, we’ve been told with customers—and over and over that they’ve rarely, they do it all day, every if ever, gone to a store where in day, and they do it one stop they can get anything really well. When we they need. And that really shows get feedback about our the depth and the breadth of the staff, those are things inventory. We get referrals and that help keep me phone calls from all over the going. world and people want to ask Glazer’s celebrated 75 years in June 2010 with a photo festival for the community. Rebecca Kaplan is front row center and Bob Lackman is behind her in black hat.

There’s lots of about our products and they say, moments… Knowing “Great, here’s my FedEx that we are able to have our own little community with our staff and number,” and we’ll ship it to them. our customers—we provide a livelihood for people here. We take a RK: I think just when we get compliments from our customers. There’s lot of pride. It’s a challenging business, it’s a tough economy, the times when someone’s in a real pinch and we’ve been able to help them commercial photo community has been really impacted, and to see through a job or salvage images that they thought they lost on a family people get great jobs and projects from our clients, it’s nice to see that. vacation. We’ve been able to ease their work, whether it’s professional or pleasure.

It’s not a “moment,” but I just have such a high regard for our staff.

For more information, visit www.glazerscamera.com.

Everybody contributes to what happens here in their own way and I

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is … an industry must and a guide to who’s who.

– Tamara Wilson, Wilson PR

… the bottom-line in NW media information & insight.

– Rich Carr, Carr Knowledge

… connective tissue.

– Marc Williams, Williams-Helde

… a great tool for people in the media!

– Barbara Bradshaw, Bradshaw Advertising

… everything you’d want in an online regional news and media resource and more.

– Jim Etzel, Sports One

… for real media men and women.

– Sean Fay, envision Response

… the main link in the Northwest to inform us about what is transpiring in our field.

– Christine Prapas, Christine Prapas Artist Representative

… still around when other trade publications have given up the ghost!

– Kelly Lyles, Grrraphics

… part of my business family.

– Miriam Lisco, Walsh Design

… a good looking, high-quality industry news resource.

– Terri Nakamura, Nakamura Graphic Design

… a great avenue to get your word out to the right target. We know that the best way to be heard is with a strong voice.

– Bonnie Chelini, Synchro Creative 48

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… 30! Woohoo – and continues to be the most comprehensive source for information in the Northwest media community.

– Frank DePalma, Totera Web Systems

… not just getting older; it’s getting better.

… has been a very helpful vehicle for us to let the industry know we are here and what we have to offer.

Thank you Media, Inc.!

– Jeff Fisher, LogoMotives

… consistently useful.

– Pat Sanford, Flying Spot

– Doug Cox, posterGIANT

… a constant icon and resource for news about Northwest creatives and business.

– Tony Gable, Gable Design Group

… a valuable tool in my … best paired with an Aberlour 16 marketing belt.

Year Single Malt Scotch (do you – Les Fitzpatrick, think they’ll pony up some Rocket Pictures advertising dollars for the Plug?).

– Tim Underwood, tim Underwood Productions

… something I read cover to cover to find out what is happening with our peers and friends in the industry. There is always something I find that can be applied in helping us to be a better production house.

– Jeff & Sue Erwin, red Jet Films

… still going and looking younger than when it started.

– Warren Etheredge, The Warren Report

… still the only local publication that showcases local media activity.

– Lisa Hammond

… my friend.

– Bill Scream, Scream Music

… the best marketing tool in my kit. I get work from my ads. And the Media Inc. staff is sooo charming and helpful. Thank you.

- Sherrie Garcia

… a reliable portal into the communication business.

– Mark Haworth, Komori America

… the Bible of the business. I think I have your first book you put out.

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In Their Words Throughout the issue you will find reflections on the past three decades—and insight into thefuture—courtesy of major names in the Northwest media industry.

PAT SANFORD Flying Spot LES FITZPATRICK President Rocket Pictures On Adapting to Clients’ Changing Needs: “I don’t believe clients’ needs have changed much at all. Clearly, emerging technologies have shaped and shifted all of our needs, productionwise. Today, as in the days of film, the elements of good story-telling remain the same. Really, only the deliverable has changed.”

RICK PHILLIPS Owner KTVA Productions Memorable Moments: “Discovering I could make a living doing something I loved!”

Memorable Moments: “Winning a national Emmy Award for an open FlyingSpot created for National Geographic, beating out the big network design groups.”

TJ Williams APS Flying Cameras The Early Years: “Thirty years ago I’d just bought my first Steadicam... Gosh I was the only Steadicam owner operator in Oregon, Idaho, Washington, Wyoming, Missouri, and Northern California. What a swell monopoly that was...”

TRISTA PEREZ Marketing Associate @Large Films STEPHEN SALAMUNOVICH President Complete Casting Memorable Moments: “Probably being awarded the only Artios Award for excellence in casting ever given to a lead casting director outside of L.A. or N.Y. by my peers in the Casting Society of America.”

The Early Years: “Thirty years ago I was an impressionable girl of nine years old with a fierce love of movies and literature. I spent a lot of time in the local cinema or illustrating and writing my own episodes of my favorite TV show Solid Gold.”

COLLEEN PATRICK Producer/Writer/Director PETER BARNES Principal Clatter&Din The Early Years: “In 1981 I was touring with my punk band, most likely in San Francisco or L.A., living in a motor home.”

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Memorable Moments: “The day we wrapped Elisabeth Rohm shooting The Whole Truth, of which I was writer/director and played a producer role. Amazing steak and lobster dinner, wrap gifts given, it was a splendid shoot. A dream come true for more than one of us; we laughed, we cried, we were happier than we had been in a long time.”

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ng industry ti n ri p e th to d ppene go o what has ha d from high school? Yes, e te since I gradua math. When I look back at th e rahead and do th the information I have to refe f ld o ost ls. O last 30 years, m form of printed materia birth, e ence is in th ing and baby announcements gs… n d ri d yearbooks, we s from past holiday gathe oto day cards, ph

S

navigate my computer, books and files (ok, boxes) for documents, photos, images, statistics and more. And yes, I pine for an iPad—shoot me. Wow, change is happening fast in our industry!

But as technology and information shifts and settles, print still matters.

I

Quick 411: Printing is old. It is a process for reproducing text and images, typically with ink or toner on paper or another substrate using a printing “press.” The Chinese claim to have started printing with woodblock reproduction since 220AD, Egyptians since the 4th century. More production printing started to happen with developments by Johannes Gutenberg in the 15th century.

For a long time, print communication has been King of the Hill.

It has been mostly a large-scale industrial process, and has been an essential part of publishing and transaction printing.

Enter the D-word—Digital.

In the ‘80s we started producing artwork on small boxes some called “Macintosh.” We went from typesetters to outputting our own type to paste up on boards to producing film. Then we could take computer files and directly print out film that still needed to be “stripped,” then printing plates made. Within the last 15 years most printing firms produce metal or polymer plates direct from digital files, without boards, cameras or film. This is still the case if you’re printing on a web or sheet fed press. There is still a demand for Gravure (long-run/high-end magazines) and letterpress demand is seeing resurgence with the young design set.

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Sant,

By Jules Van r, Consumer, Mom, Markete ociation ctor at PPI Ass e ir D ve ti u c Exe

Since 1993, we have been able to produce images and words not only in traditional print formats, but digitally, with toner or inkjet technologies. The “copy machines” of old are now referred to as “digital printing presses” with many capabilities and still some limitations.

As with the cell phones, computers and other gadgets we buy, it seems within six months or less, technology, quality and functionality improve again on the delivery machines used in producing print.

As with all the new mediums of messaging that has knocked print off the top of the hill—Web, mobile, social media, blogs—print, too, can make every impression, every message, onto any number of substrates and be unique and targeted. Of course, you can still make several hundred or thousand impressions of the same image, which has and will always have some level of relevance in our lives. All the mediums are finding their place and learning to play together.

The next 30 years will play that out.

Beauty of print—you just need the sun, the moon, a lamp or flashlight to read it. No power cords, no batteries, nor memory. And no need to back it up. The sensory experience with print will forever separate it from the electronic experience, and that’s ok with me. I love both, and will continue to geek out on the latest phone and pad, yet enjoy thumbing through my kids’ yearbooks as they go through high school, giving them a printed card, receiving their report card in the mail, reading a magazine on the beach, framing a photo. Some things still matter…

For more information, visit www.ppiassociation.org.

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EagleWebPress.com • 800-800-7980

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In Their Words KELLY GUENTHER President & Founder Guenther Group Memorable Moments: “Either receiving an Emmy or shooting scenics in Europe and getting paid to do it.”

MICHAEL KOSTOV Executive Producer & Director Kostov Productions The Early Years: “Thirty years ago I was single, and in the process of purchasing CP Productions (now known as Kostov Productions). I was the creative director for Golden West’s radio property in Seattle (KPLZ) and my boss was Todd Bitts. I was working on getting Scott Bauer up to KPLZ (from KTAC); at the same time, I was working on my resignation letter to Todd.”

KAILI CARLTON Co-founder Arthouse Talent & Literary The Early Years: “Thirty years ago I was just your average six-year-old wannabe agent.”

NOREEN HOBSON Owner & Director LUX talent.models.kids On Adapting to Clients’ Changing Needs: “When we first started digital submissions we were blazing a trail that many hadn’t ventured down.

Some clients didn’t like our new system, but I think they came to see that it was kind of a gift they didn’t even know they wanted—and one they likely didn’t ask for. But we were able to offer more information and speedy turnover on projects that it was hard to resist the change.”

GLENN LORBECKI President, Producer & Composer Glenn Sound On Adapting to Clients’ Changing Needs: “We have become more nimble and flexible, collaborating with our clients and anticipating their needs rather than reacting to changes in the marketplace. That’s why we have grown into a virtual production company: we can flex to accommodate our clients’ needs and work wherever it’s most efficient and cost effective. With Kisha running operations and James and me producing, we can tackle a number of large creative projects and get them done swiftly. Since the vast majority of our work is delivered online or via FTP, physical location has become secondary to our operations.”

TIM UNDERWOOD Owner Tim Underwood Productions / TheWebVoice.com Enduring Credo: “A balanced connection always wins an unbalanced one.”

MARTY OPPENHEIMER Managing Director Oppenheimer Cine Rental Enduring Credo: “Great customer service and the need to provide value and knowledge to clients have been consistent themes over my career.

That never changes.”

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CATHY FAULKNER Cathy Faulkner Voiceovers On 30th Birthday Celebrations: “(I celebrated) with friends and time for reflection. I recommend Media Inc. does the same. Happy 30th and best of success in the next 30!”

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Providing Security Insight and Service

security group • Set Security • Event Security • Personal Protection • Security Assessments 206.725.7192 • email@obsidiansecurity.com • www.obsidiansecurity.com ISSUE ONE 2011 MEDIA INC.

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Nostalgia O is a Terminal Disease

k. Let’s get this out of the way right now.

Yes, it was like Mad Men in the ‘60s. No, it was not like Mad Men in the ‘80s. And the ‘80s were nothing like now.

By Tiger Branch, CEO, Hallock Agency

But, surprisingly, without the Internet (invented not by Al Gore but by the U.S. Department of Defense in 1983), without PCs, without e-mail, cell phones or Apple’s Graphical User Interfaces and a mouse to move them, we managed to turn out some pretty damned good advertising in 1980. (True confession: Not everyone thought the mouse was going to become popular. Competitors didn’t immediately embrace it. We actually created an ad for an HP client that boldly screamed, “HP Kills The Mouse!” Yeah, well, you’re probably not right all the time either, pal.)

The decade of the ‘80s spawned some memorable ads: Motel 6’s “We’ll leave the light on for you.” Lying Joe Isuzu. Brooke Shields’ young butt prominently employed to sell Levi’s 501 Blues.

Wieden+Kennedy’s “Just do it” for Nike. Wendy’s “Where’s the beef?” continued on page 58

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NOSTALGIA, Continued from page 56

Good ads then and now start in the fertile minds of talented creative people. (Yes, we did have minds way back then.)

Getting the ad from concept to production did require some special skillsets in 1980.

Artists, hunched over their lighted drawing tables, could actually hand draw illustrations, design powerful logos and stay on brand without even knowing it. They could specify fonts from a limited selection or, as often happened, create a new font— by hand. Ads were “pasted up” after client approval and sent on their merry way with everyone keeping their collective fingers crossed that none of the type came unglued and fell off.

Television was videotaped and manually edited. Ditto with radio. In 1980 the only thing digital was an obscene gesture

In 1980 the only thing digital was an obscene gesture thrust into the air when someone cut you off on the road.

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thrust into the air when someone cut you off on the road.

Media buyers had to be skilled in putting together campaigns that included print, TV, radio, outdoor and direct marketing.

That was about it. No one had heard of the almost limitless options available now because they didn’t exist. Facebook, YouTube, cable, apps, Google, online banner ads, digital radio, analog radio, online radio, home page ads, e-mail, junk mail.

Spam was that crappy ersatz meat that came in a can. Hell, in 1980 the only people who “tweeted” or “twittered” belonged to a weird sub-culture of bird watchers.

As I look around our agency at the unbelievably talented and gifted people I am privileged to work with, I realize that a lot of these brilliant kids weren’t even born yet in 1980. All this “new” technology is old stuff to them. They’ve mastered it and make it work for them. And no matter how many technological new things are added to the mix they just absorb them and keep on doing what they love to do—create.

The creative revolution isn’t over. It’s still growing. And it’s in good hands. But let’s remember the good work turned out by the hardy souls who walked to work in ass-deep snow in 1980 to lay the ground work for where we are today.

Congratulations to Media Inc. for weathering the storms.

Tiger Branch is CEO and senior writer at Hallock Agency in Portland. Visit www.hallockagency.com.

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Strong Creative and Account Service applicants always encouraged. Hanna-advertising.com

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In Their Words

WARREN ETHEREDGE The Warren Report The Early Years: “Thirty years ago I was in high school, dreaming of succeeding Johnny Carson on The Tonight Show.”

JEFF ERWIN & SUE FEIL-ERWIN Co-owners red jet films The Early Years: “Thirty years ago, Jeff was the chief photographer at KTVB Channel 7 (a KING Broadcasting affiliate) and I was a single mom with two little boys—both of us living in Boise, Idaho. I managed a floral shop and had a wonderful time with the people I worked with. They became family to Jeff and me—and they are still dear friends to this day.”

PETER ALLEN Peter Allen Locations

No Photo Available

GRETCHEN HARMON Freelance Makeup Artist On Indispensable Technology: “Naturally, technology has changed dramatically since the ‘old days.’ Having access to digital images so that corrections can be made immediately comes to mind.

(No more waiting for film to be developed!) The advent of HD has brought makeup artistry into a new standard of excellence. Old fashioned attention to detail and technique has NOT changed.”

CRAIG KELLY TV Director Vantage Road Production

MICHEL HANSMIRE Owner Sparkworks Media The Early Years: “Thirty years ago I was making 8mm films with Star Wars action figures.”

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Media

On Adapting to Clients’ Changing Needs: “(I’ve adapted) by adjusting the production process to fit the project.

It used to be that you had a specific method that was your signature.

Now the only thing left is to make sure your standards are intact because the methods are anywhere.”

LISA B. HAMMOND Art Director & Production Design Memorable Moments: “Attending the 2011 Sundance Film Festival premieres of two films I worked on! Blinkin’ Incredible does not even come close to describing this experience shared with a bunch of good friends in both cast and crews!”

On 30th Birthday Celebrations: “I was either stage managing The Matchmaker at Oregon Shakespearean Festival, prepping the lighting design for the tour of Comedy of Errors the next month, or enjoying a quiet evening off with my wife Mary. But I think Media Inc. should do a huge blow out PARTY!!”

BILL SCREAM Owner Scream Music

No Photo Available

On Indispensable Technology: “From a musician’s POV, the technique of sampling instruments, vocals, really anything, has changed the way music and audio is composed and manipulated. For me, it has given an enormous amount of freedom and power to create an entire universe in my solitary world.”

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Production in Oregon:

A

Retrospective regon State boasts a long, rich, and storied history of film.

For more than a century, productions have sought out the state’s vastly diverse landscape as a filming destination, from Oregon’s first-ever film, The Fisherman’s Bride (filmed in Astoria in 1908), to Animal House (which commandeered the University of Oregon campus in 1978), to the myriad television shows and indie films shooting in Portland in 2011.

O

celebrated films in Oregon’s history. The cult classic has had a lasting impact on Astoria, as thousands of fans continually flock to the coastal town to see filming locations and experience the adventures of “Mikey,” “Mouth,” “Chunk,” and the rest of the gang. The film marked its 25th anniversary in 2010 with a weekend-long celebration in Astoria, coinciding with the grand opening of the Oregon Film Museum.

Stand By Me (1985) – A classic coming-of-age tale, Stand By Me stars Wil Wheaton, River Phoenix, Jerry O’Connell and Corey Feldman (who also appears in Goonies) as 12-year-old best friends searching for adventure in a small town. Set in the

To commemorate a selection of these wonderful productions, and to coincide with Media Inc.’s 30th anniversary, here is a look back at the last three decades of Oregon film.

This photo first appeared in Aperture Northwest in March 1988.

Goonies (1984) – Produced by Steven Spielberg and directed by Richard Donner, Goonies is one of the most 62

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continued on page 64

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+ 0 . 0 ;( 3 6 5 , (<+06 76:; 796+<*;065 +0.65, *64

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OREGON FILM, Continued from page 62

undercover as a kindergarten teacher to locate the ex-wife and son of a murderous drug dealer. Astoria serves as the backdrop—a small-town “safe haven” for a family in hiding from its vicious patriarch—and John Jacob Astor Elementary School portrays the fictitious Astoria Elementary School. Other local locations include the Bayview Motel, Commercial Street in downtown Astoria, and Ecola State Park.

This photo first appeared in February 1990 within Media Inc.

fictional town of Castle Rock, Oregon, the film was actually shot in Eugene, Cottage Grove, and Brownsville, among other locations.

Drugstore Cowboy (1988) – Hailed as Portland-based director Gus Van Sant’s breakthrough film, Drugstore Cowboy poignantly tracks a “family” of prescription drug-addled criminals, led by Matt Dillon’s character, as they rob drugstores to fuel their addictions. Roger Ebert’s review lauded the production as “one of the best films in the long tradition of American outlaw road movies—a tradition that includes Bonnie and Clyde, Easy Rider, Midnight Cowboy and Badlands.”

My Own Private Idaho (1990) – Another Van Sant classic and another “road” flick, My Own Private Idaho is a powerful, provocative film about two very different street hustlers— “Mike” (River Phoenix), a desperate and lonely male prostitute, and “Scott” (Keanu Reeves), who hustles only to rebel against his wealthy father—and their journey together. Many consider this to be Phoenix’s best performance ever, in a career—and life—cut short at the age of 23.

Kindergarten Cop (1990) – This much-loved action-comedy stars Arnold Schwarzenegger as a brawny detective who goes

Free Willy (1992) – This feel-good family-oriented film centers on the friendship between a young orphan and an orca whale (played by the infamous Keiko). Much of the production was shot in and around Portland, while the climax of the film—where Willy jumps over the boy and out of captivity— was filmed at Hammond Mooring Basin, near Astoria. Parts of 1994’s Free Willy 2: The Adventure Home were also filmed in Astoria.

Mr. Holland’s Opus (1994) – Richard Dreyfuss stars as the title character, “Glenn Holland,” a composer-turned-high school music teacher who inspires hundreds of students throughout his 30-year career at the fictitious John F. Kennedy High School (portrayed by Ulysses S. Grant High School in Portland). The uplifting drama was so inspirational that it spawned a non-profit, “Mr. Holland’s Opus Foundation,” that donates musical instruments to under-funded school music programs.

Men of Honor (1999) – Based on a true story, Men of Honor is about Carl Brashear, who overcomes discrimination to become the first African-American master diver in the United States Navy. The gripping film—starring Cuba Gooding, Jr. as Brashear and Robert De Niro as his caustic trainer, Master Chief Billy Sunday—was shot in Rainier, Portland, and North Plains. The production even built a naval base set from scratch on the Oregon side of the Columbia River.

Thumbsucker (2003) – A character-driven indie comedy from director Mike Mills, Thumbsucker explores a whole new level of teen-angst as it tells the tale of “Justin” (played by Lou Taylor Pucci), a high schooler who compulsively sucks his thumb. The film also stars Tilda Swinton, Vincent D’Onofrio, continued on page 66

The stop-motion animated film Coraline was produced in Portland.

Arnold Schwarzenegger in Kindergarten Cop. This photo first appeared in February 1991 within Media Inc.

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OREGON FILM, Continued from page 64

Keanu Reeves, Vince Vaughn, and Benjamin Bratt. Set in the fictional town of Beaverwood, Oregon, the production actually shot all over the state, including in Beaverton, Vernonia, Sherwood, the Portland International Airport, and several other locations.

Wendy & Lucy (2007) – This award-winning film features Michelle Williams’ heartrending performance as “Wendy,” a penniless drifter struggling to start anew with her beloved dog (played by director Kelly Reichardt’s own pet). Shot in just under three weeks in and around Portland, Wendy & Lucy premiered at the 2008 Cannes Film Festival and appeared on many critics’ lists of the best films of that year.

Twilight (2008) – The ever-popular vampire series’ first film was shot in dozens of Oregon locations, including Portland, Oxbow Park, and St. Helens, among many others. Like Goonies, Twilight is another tourist draw for fans wanting to see various locations used for the movie—like the historic View Point Inn, where cast and crew filmed the momentous prom night scene.

Coraline (2008) – The first feature from Portland-based animation powerhouse Laika, Coraline is a stop-motion animated film aimed at children and adults alike. The production hired hundreds of animators, designers and technicians to make the characters’ world—the story is set in Ashland, Oregon—come to life, and staged hundreds of miniature hand-

made sets in a 140,000-square-foot warehouse in Hillsboro. The film grossed over $120 million in the U.S. and internationally.

Meek’s Cutoff (2009) – Director Kelly Reichardt and actress Michelle Williams team up again for this pioneer-era Western, filmed in the Harney County desert near Burns, Oregon. Set in 1845, Meek’s Cutoff follows three families’ perilous journey as they trek the Oregon Trail and become lost under the direction of the title character, the caravan’s blustering hired guide.

Acquired at the Toronoto International Film Festival by Oscilloscope, the film is scheduled to screen in theaters throughout the U.S. this spring.

These are just a few of the hundreds of Oregon-filmed productions that have helped shape the local industry into what it is today—an undeniable powerhouse in the national scope thanks to a host of local talent and crew, vital infrastructure, incomparable locations, and a sterling incentive package. And it seems Oregon is showing no signs of slowing down. In fact, 2011 is poised to be the biggest production year ever for the state in terms of dollars, with the return of television series like Leverage and Portlandia, and a number of other films slated to shoot in-state.

For more information, visit www.oregonfilm.org.

INT LIVING ROOM OF MODEST HOME The MAN is lying on his back on the carpet, head propped up with a pillow, watching television.

The CAT walks across the room toward its pet bed, stepping on and over the MAN as if he was just another part of the floor.

MAN Do I look like I’m part of the carpet?

The CAT settles into its pet bed then looks back across the room, superior and indifferent.

CAT (thinking to itself) Did the carpet say something?

T.V. Kippes Writer and Production Assistance 509 - 32 8 - 7271

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Palmquist Productions, Inc.

Is it possible to be too comfortable?

Our 2004 37' Monaco Monarch represents a high level in production motorhome comfort and functionality.The front slideout provides a huge production or talent/client lounge area. The back room has two slideouts and is brightly lit, providing more room for wardrobe/makeup or additional production work. There’s a full galley, VCR, DVD, satellite TV with front A/V inputs, copier, steamer and wireless internet.

We have an onboard 5K Onan generator and a portable 2K Honda generator.

See our new website for details, rates and photos.

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www.palmquistproductions.com

✮ Mobile Internet Service Available ✮ ISSUE ONE 2011 MEDIA INC.

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Washington

Film A Look Back at the Last 30 Years

By Paul Nevius, Communications Coordinator, Washington Filmworks

he red light of the Space Needle blinking against a starry backdrop, the snowdusted peaks of the Cascades, the sun-baked highways winding through rolling desert hills, the endless shades of green in the rainforests. Few other places in the United States can match the diversity of Washington State. Boasting some of the nation’s most dramatic scenery, ranging from waves pounding on rocky beaches to the world famous Seattle skyline, Washington has always been a prime location for film scouts.

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However, with the business of filmmaking changing to reflect today’s economic climate, it will be Washington’s ability to offer competitive incentives and support to productions that will continue to foster motion pictures in our state.

In 1930, legendary movie star Clark Gable came to Mt. Baker, Washington, to film The Call of the Wild. For over 80 years Washington has played host to stars from all eras of filmmaking, from Elvis Presley to John Wayne, Tom Hanks to Matthew Broderick, Johnny Depp to Sylvester Stallone. To recognize some of the remarkable and memorable works that have been made in Washington, we reflect back on the last three decades of Washington film.

An Officer and a Gentleman (1982) – Widely considered to be one of the best films of 1982, An Officer and a Gentleman was one of the pictures that catapulted Richard Gere into the realm of stardom and earned an Academy Award for Best Supporting Actor to Louis Gossett, Jr., the first African American to win an Oscar in that category.

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WASHINGTON FILM, Continued from page 68

WarGames (1983) – A true Cold War time capsule starring Matthew Broderick, WarGames was one of the first films to address the nowcliché movie trope of the “super-computer run amok,” as well as helping introduce the word “hacker” to the common lexicon and inspiring generations of high schoolers to try and change their report cards with their PC. Singles (1992) – Set against the landscape of early ‘90s grunge rock Seattle, Singles was the first of many films targeted at the twentysomethings known as “Generation X.” While commercially and critically successful, the film was partially eclipsed by a soundtrack featuring Seattle-area musicians such as Pearl Jam, Soundgarden and Alice in Chains. After the film’s release, an attempt was made to turn the movie into a TV series and when director Cameron Crowe balked at the notion, the company proceeded with the idea, changed elements and characters, with the result eventually becoming the NBC sitcom Friends.

Snow Falling on Cedars (1999) – Receiving industry-wide acclaim for its cinematography, Snow Falling on Cedars highlights the Japanese-American population of Seattle’s struggle against prejudice in the time before, during, and following WWII. 10 Things I Hate About You (1999) – A late ‘90s teen adaptation of The Taming of the Shrew was America’s first introduction to the late Heath Ledger and a breakout role for the young actor.

The Gamers 2: Dorkness Rising (2008) – A true home-grown gem, this low-budget indie featuring a cast and crew drawn entirely from Washington State has developed a loyal cult following and boasts fans all over the globe, showing the ability of Washington filmmakers to rise above limitations like budget and reach a broad audience.

World’s Greatest Dad (2009) – Directed by comedian Bobcat Goldthwaite and starring Robin Williams, this dark comedy shows Seattle’s versatility as an “Anywhere, USA” location, and was a smash-hit at Sundance.

On the set of Singles, this photo appeared in an April 1991 issue of Media Inc. On the set of World’s Greatest Dad, director Bobcat Goldthwaite pictured above.

The Hand that Rocks the Cradle (1992) – A film with tremendous influence on pop culture, The Hand that Rocks the Cradle enjoyed a place at number one on the box office charts for four consecutive weeks, had a massive impact on American pop-culture and brought actress Rebecca De Mornay to the Hollywood A-list with her chilling portrayal.

The Details (2009) – With a star-studded cast, The Details is a story about raccoons destroying a yard, but the story of how the production overcame difficulties in financing is equally incredible. Debuting at Sundance, The Details was quickly bought for distribution by the Weinstein Brothers, becoming one of the most popular films at the festival.

Benny & Joon (1993) – A love story about two eccentric individuals, Benny & Joon was another critically acclaimed performance by a rising star named Johnny Depp, who brilliantly channeled silent film comedians Buster Keaton and Charlie Chaplin.

Despite the boom of feature films made in the ‘90s, Washington has seen a decline in features in the past decade. A rapidly changing economic climate and the rise of state film incentives all over the country has created a highly competitive film industry where the bottom line trumps locations. These changes have seen Seattle- and Washingtonset films such as Battle in Seattle, Twilight, and Love Actually going to Vancouver, BC, or Oregon.

With the bottom line now more important than ever, Washington’s filmmaking future seems uncertain and will rely on the willingness of state politicians to renew the motion picture incentives that drive the state film industry. More than bringing Hollywood to Washington, these incentives speak to cultivating the caliber of creative talent that has existed here for over 80 years and helping write a new chapter in the history of Washington Film.

Sleepless in Seattle (1993) – Known by many as Seattle’s signature film, featuring locations from Alki Beach to iconic views of the Space Needle, Sleepless in Seattle featured performances by Tom Hanks and Meg Ryan that set the standard for romantic comedies to this day. As a testament to this film’s lasting impact on the city, Sleepless in Seattle merchandise is still sold almost two decades after the film’s release.

Assassins (1995) – Written by the Wachowski Brothers, directed by Richard Donner and starring Sylvester Stallone and Antonio Banderas, Assassins was a high-budget action thriller that showcased the two leads jockeying to kill each other across Seattle.

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For more information, visit www.washingtonfilmworks.org.

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In Their Words JIM CISSELL VoiceGuy.com On Celebration Recommendations: “Based on the current industry trends, I would recommend denial.”

JASON JEFFORDS Owner & Booking Agent Puddletown Talent Memorable Moments: “The most memorable moment of my career was probably the moment I decided to open my own agency. It was finally my chance to run an agency the way I felt best fit what the industry was needing and provide a group of talent with my strengths as an agent/business owner.”

ANNE MITCHELL Owner LLL Talent KIT GARRETT Co-owner OPTION Model and Media Memorable Moments: “That’s a tough one, because being an agent, you work with so many talented young people that you can have several. The three that stand out the most were (1) Being the only agency in Portland that booked all the kids for all the editorial for three issues of Vogue Bambini, including two international covers; (2) Representing Brendan Fraser and Jim Caviezel before they headed down to Los Angeles; and mostly, (3) Opening my own agency with longtime friend, Nina McLaughlin, in May of 2008.”

Enduring Credo: “No matter what aspect you work in the business, it is still discipline, professionalism, hard work, and a great attitude that reap results.”

BECKY REILLY Agency Director Big Fish NW Talent Memorable Moments: “Recovering the first big check we received (in Denver) out of the dumpster.”

JOE REINEKE Orbit Audio The Early Years: “Thirty years ago I was playing guitar in my parents’ house.”

PETER B. LEWIS Founder AUDISEE

CHRISTINA SCHOCK SchockMakeup The Early Years: “Thirty years ago I was four years old, using markers to put ‘makeup’ on magazine covers, as well as using my small cousin as my first makeup client.”

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Enduring Credo: “Sound is still about conveying the emotion of the message/story. Sound still informs the eye. In advertising, sound is what they hear in the kitchen between show segments! A good soundtrack still resonates with emotional memories of the listener to carry a more powerful message, with or without visual stimuli. While visuals go straight to the brain, we sound folks still touch your heart to get our messages across.”

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From TYPEWRITERS to TWEETS

By Marc Williams, Owner, Williams-Helde Marketing Communications

o say the world of communications has changed a bit in the past 30 years is like calling the Grand Teton Mountains a couple of speed bumps. Compared to the late 1960s, when Williams-Helde Marketing Communications was founded, the speed of communications has evolved at a rate unprecedented in all of history.

T

Thirty years ago the world was a much slower, more deliberate place, with information shuttling around at a snail’s pace, courtesy of typewriters and a heavy reliance on the good ole US Postal Service. In those days, by the time your client correspondence reached them, you’d generally have to wait several days before receiving a response. It was just such a lag in communications that gave us the three-martini lunch and secretaries whose primary duty it was to neatly type out our memorandums. I literally cannot comprehend how anything ever got done.

Technology has accelerated our business beyond the wildest dreams of preceding generations of ad men and women. First came the fax machine, and suddenly clients could receive your communications and approve them in a snap; PDFs, desktop publishing, and online proofing tools cut creative lead times in half; and e-mail, smartphones, text messaging, and online content made everything instant. Everything.

In 1994 Williams-Helde jumped into the digital world as we built our first Web site, a basic site for Bayliner. It was hardly interactive, and would likely be scoffed at today, but it had their product information up and read like a brochure—revolutionary for the early ‘90s. During this era we began to see a fundamental change in how consumers shopped. Previously they might have seen an ad, visited their local dealer, gotten a sales pitch, and picked up a brochure. Compare that to today’s consumer who can research all options, read reviews, 74

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compare prices, and watch product performance videos, before they even think of heading to the dealership.

I started working full time at the agency in 1995, although I spent quite a few summers emptying the trash and making sure the office plants weren’t thirsty. I’m certain that such lush fichus trees would’ve been the envy of any agency. At that time the majority of our business was in print, whereas today it’s well over 50-percent digital. Instead of focusing on sales collateral, we’re creating mobile apps, Facebook groups, and online experiences full of rich content.

With all this instantaneous information, it’s essential to understand that marketing communications have become an increasingly two-way street. Modern consumers spend considerably more time gathering product and brand information before making a purchase, and once they’ve made that purchase they’re likely to share their experience with the world via blogs, reviews, Facebook posts, and Twitter tweets.

Marketing methods may have changed, but the fundamentals remain the same. You still need good ideas and solid strategy to back them up.

The only thing that’s really changed is the execution. You need to be able to engage consumers in a back-and-forth dialog with your brand, not just talk at them. You want to add value to consumers’ lives, and give them something to talk about, especially since everyone can hear what they are saying.

We all know the world of communication has grown by leaps and bounds (and I still can’t wrap my head around how anyone got anything done back in the day), but none of this will compare to what the future holds. Already we see consumers speculating over upgrades to the iPad 3 before version two ever hit the market, a battle raging between Android and iPhone operating systems, and emerging social media sites jockeying for position as the next big things.

Staying abreast of new communication opportunities will continue to be the challenge we marketers have to rise to—but with great ideas and nimble teams our strategies should be able to evolve at the speed of tech.

Marc Williams is the second generation owner of Williams-Helde Marketing Communications, the Northwest’s oldest independent advertising agency. He can be reached at mjw@williams-helde.com or @williamshelde on twitter or facebook.com/williamshelde.

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30 Years

Progress in the Creative Field

of

WHAT’S CHANGED AND WHAT HASN’T

By Maria Scheleen, Seattle Division Director, The Creative Group

ongratulations to Media Inc. on your 30th anniversary! Looking back over the years, it goes without saying that a lot has changed in the creative field. In the early 1980s, creative professionals worked with typewriters and pasteup boards—and there was no such thing as the Internet. The first mobile phones were just appearing, and they were almost as bulky as cereal boxes. Personal computers were in their infancy, and no one had ever heard of a smartphone.

C

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,5.(., /HDUQ KRZ WR FRQQHFW ZLWK \RXU VXEVFULEHUV IDQV IROORZHUV +RZ GR \RXU FXVWRPHUV LQWHUDFW ZLWK \RXU EUDQG" )DFHERRN" 7ZLWWHU" (PDLO" /HDUQ KRZ DQG ZKHQ FRQVXPHUV FRQQHFW LQ D QHZ VHULHV RI VL[ UHVHDUFK UHSRUWV DYDLODEOH IRU GRZQORDG IURP *&'LUHFW Â&#x2021; 'LJLWDO 0RUQLQJ²)LUVW GLJLWDO FRQWDFW Â&#x2021; (PDLO ; )DFWRUV²:KDW VHWV HPDLO DSDUW" Â&#x2021; 6RFLDO 3UR¿OH².QRZ \RXU DXGLHQFH Â&#x2021; 3OXV UHSRUWV RQ )DFHERRN 7ZLWWHU DQG PRUH« *&'LUHFW LV \RXU UHVRXUFH WR FRQQHFW ZLWK \RXU FXVWRPHUV WR EXLOG ODVWLQJ UHODWLRQVKLSV DQG JHQHUDWH 52, *R WR ZZZ JFGLUHFW FRP FRQQHFW WR GRZQORDG \RXU ¿UVW UHVHDUFK SDSHU WRGD\ RU FDOO [

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30 YEARS OF PROGRESS, Continued from page 76

What a difference 30 years makes. Today’s professionals must be conversant with digital platforms, including mobile and social media. They need to be able to use and interpret Web analytics, perform search engine optimization and search engine marketing, and know how to build and maximize fully integrated interactive campaigns. In a world where the interaction between user and Web page or mobile device is paramount, user experience designers and information architects, as well as mobile apps developers and designers, are in strong demand.

Despite the seismic shifts that have turned the creative field upside down in the past three decades, the need for some skills hasn’t changed at all. Where would we be, for example, without compelling content?

Whether you call it content or copywriting, the core messaging we create is the heart of all we attempt to package, explain, visualize and promote. Similarly, editing skills help to fine-tune and polish the presentation of each client’s unique value proposition.

Project management skills are timeless as well. It’s a rare project that can get off the ground—much less move to completion—without the support of people with solid organizational skills.

Marketing acumen and attentive account management also are key benefits creatives offer clients—whether it’s 1981 or 2011. All the glossy brochures and dazzling Web sites in the world won’t accomplish their purpose unless they’re driven by well-thought-out strategies and a means of keeping them on track with client expectations.

And last, but most assuredly not least, there’s creativity.

Technology may have offered us amazing new tools to work with over the past 30 years, but they would amount to little without the talent required to make them sing.

Despite advances, the creative field is first and foremost a people profession: People bringing products and services to life and making them relevant to other people. And that’s a connection even time can’t erase.

DESPITE THE SEISMIC SHIFTS THAT HAVE TURNED THE CREATIVE FIELD UPSIDE DOWN IN THE PAST THREE DECADES, THE NEED FOR SOME SKILLS HASN’T CHANGED AT ALL.

Maria Scheleen is the Seattle Division Director for The Creative Group, a specialized staffing service placing creative, advertising, marketing and Web professionals with a variety of firms. For more information, visit www.creativegroup.com or contact the company’s Seattle office at 206-749-9046.

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Cover to Cover

meltdowns, rom Hollywood movie stars to major milestones to economic a look at some Media Inc. has produced some truly memorable covers. Hereâ&#x20AC;&#x2122;s of the most unforgettable.

F

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In Their Words

CHRIS RICH President Ptown Creative On Celebration Recommendations: “All I can say is, just don’t drink too much so you can be at work on time in the morning.”

MARC WILLIAMS Owner Williams-Helde The Early Years: “Thirty years ago our company had offices on the top of Pier 70 with the best view in town, however I was still learning to write in complete sentences, count by twos and read a thermometer as part of my 1st grade curriculum.”

BRETT STEVENSON President & CEO Stevenson Advertising On Adapting to Clients’ Changing Needs: “We have increased our skills and knowledge in online advertising and website design.”

TERRY LABRUE Principal LaBrue Communications

JIM DAY President & CEO Day Group Enduring Credo: “Great advertising is still about great creative! And the rules of direct marketing are still valid within the context of social media channels.

(Thank you David Ogilvy.)”

TAMARA WILSON President Wilson PR On 30th Birthday Celebrations: “Went to Moscow, with one piece of luggage, cowboy boots, and drank with sailors.”

On Celebration Recommendations: “The staff of Media Inc. should go to the top of the Space Needle and throw handfuls of crisp $20 bills from the observation deck. Then, toast with: Alfred Gratien Cuvee Paradis Brut NV Champagne!”

BARBARA BRADSHAW Owner & CEO Bradshaw Advertising RICH CARR President Carr Knowledge On Adapting to Clients’ Changing Needs: “We opened our doors to service their changing needs. Fourteen years ago an ‘Interactive Marketing & Advertising’ firm was a foreign language. It still is to many, but fourteen years later, a second office in Portland, and a cadre of long term clients who all understand you can only lead proves it all to be a great decision.”

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On Adapting to Clients’ Changing Needs: “It seems just as you get one new piece of technology that can help a client the next minute something new comes out. We have to be on top of our game in coming up with what the client might have a need for in the future. Be one step ahead. Constant research is being done at every level within the company to make sure our clients remain competitive.”

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Some of the Northwest’s finest crew, circa 1983. Marty Oppenheimer (far right) with Eric Edwards (far left), who was just starting out as an AC, and is now a very successful DP. Next to Edwards is Rich Blakeslee, who was a Portland filmmaker and DP at the time.

30 Years of

Northwest Production

By Marty Oppenheimer, Managing Director, Oppenheimer Cine Rental & Oppenheimer Camera Products

hirty years of Media Inc.! Wow, it’s been a while. As I recall, the magazine began life as POV. I began working in film in Seattle in 1974, so I had 6-plus years of experience by 1981! There are only a handful of us working today who were working in Washington back then. Off the top of my head, Conrad Denke, Don Jensen, Bob Marts, Bobby Beaumont (or back then, Gribble).

Not many others.

T

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In 1981, we were renting Arriflex 2C and Cinema Products CP16 cameras. I was still operating out of my house on Capitol Hill. Our only competition in the region was Glazer’s... back when they were on 3rd Avenue, near The Bon Marche. In 1981, most serious production companies owned some kind of 16mm (not Super 16) camera, but few owned 35mm and many didn’t own a sync sound 16mm package. Two exceptions I recall were Pal Productions and Filmsmiths, who each had a 35mm camera. Kaye-Smith was the hot production company in town. Down in Portland, Homer Groening (Matt’s dad) owned an Arri 2B, which he sometimes lent to up-and-coming filmmakers. continued on page 86

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30 YEARS OF NW PRODUCTION, Continued from page 84

In addition to renting my cameras and working as an AC, I worked on video shoots but they were usually shot with Ikegami 79 or Sony 300 cameras and recorded onto 1” Sony reel-to-reel tape. Or we worked with Loy and Bonnie Norrix’s truck. Betacam hadn’t come to market (any market, as we were the first, with Phil Mudgett and his new company Modular Video) yet.

There weren’t any serious lighting and grip companies back then. Bob Beaumont and Bill Baum each had a bread truck lighting and grip package. Mike Van Ackeren had a small truck. But no one had a 5-ton package.

Those were exciting times in the Pacific Northwest.

Crews moved between Seattle, Portland and Spokane as the jobs dictated. Most of our work was either commercials or industrials. Sometimes there were national commercials or industrials, particularly with Boeing airplanes or our great locations. There were a few local features happening, as well as a few coming in from L.A. I’d worked as 2nd AC on Joyride back in 1976 (Eugene Mazzola was the PM), and then as 1st AC on Bruce Wilson’s Doubles in 1977. In 1981 (that is 30 years ago!), I was still working as a 1st and hadn’t moved up to DP... that change occurred in 1982.

There were three film labs in the region... Alpha Cine and Forde in Seattle and Technifilm in Portland. And telecine was a brand new art, with the first system in the region a Bosch at Alpha Cine, and then one at Telemation. Much of our telecine work went to Salt Lake City or Vancouver.

Thirty years ago, we still had “The Motion Picture Seminar of the Northwest,” which had just changed (or was about to change) its name to “The Film and Video Seminar of the Northwest.” Alpha Cine drove the seminar and what a gem it was for the region. In this case, by “region” I mean Northern California, Oregon, Washington, Idaho, Montana, Wyoming, Alaska, British Columbia, Alberta and Saskatchewan.

The Seminar brought together hundreds of filmmakers, crew, and vendors for a two-plus-day event in Seattle. It had begun in 1967 and ran until 1983 or ‘84. It was educational and fun, as well as a chance to meet people like James Wong Howe, Robert Wise, Vilmos Zigmund, and many other notables.

And about 30 years ago, both the Oregon Media Production Association and the Washington Film and Video Association were formed. The OMPA is still vibrant today, but the WFVA folded after about 10 to 12 years. Associations are tough to keep running!

Thirty years of changes. Changes in technology, style, crew sizes, union/non-union, types of work originating in the market or coming into the market. What hasn’t changed? But we’re still here, still renting, still selling and now manufacturing gear!

Marty Oppenheimer is managing director of Oppenheimer Cine Rental and Oppenheimer Camera Products.

professional storytellers ... and much more.

www.guenthergroup.com 206.550.8985

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producing • directing • DP services • HD post production • media training media relations & strategy • strategic communications

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206.498.5915 cell jykobayashi@comcast.net ISSUE ONE 2011 MEDIA INC.

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The Technology Revolution and Graphic Design ••••••••••••• HOW TECHNOLOGY CHANGED EVERYTHING— AND NOTHING—FOR WALSH DESIGN

By Miriam Walsh Lisco, Principal, Walsh Design

W

alsh Design, a Pacific Northwest graphic design and visual branding firm founded by the late and legendary designer Frederick Walsh, opened its doors in 1962. As we look to celebrate our 50th year in 2012, we often get asked how we have stayed in business so long, followed by the more provocative question, “How has technology changed the way you do business?”

In a sense, technology changed everything, and it changed nothing.

Hard as it is to imagine today, from the early 1960s to the mid-1980s, we used the same tools to produce art that designers used in the 18th and 19th centuries. I have fond memories of watching my dad take out his antique drawing pens and drafting tools and getting to work on a project. For those who think typography comes from a list of computer fonts, consider this scene, as I often do, with Frederick Walsh meticulously cutting a sable brush, hair by hair, so he could continued on page 90 88

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THE TECHNOLOGY REVOLUTION Continued from page 88

hand-draw beautiful typography and logos that have become the hallmark of our firm.

Technology, indeed, changed everything— from the tools of the trade that included India ink, paintbrushes, rubber cement, thinner, drafting tools, T-squares, pica rules and slide rules, to the extensive and expensive logistics of getting a project to the client for approval.

In the 1970s and ‘80s, our largest client was in Los Angeles, which meant countless trips to the airport. We either “escorted” the artwork, if we needed to discuss it with the client, or we sent finished art on the plane by itself. Artwork, in those days, was something like an Unaccompanied Minor, needing to have someone make sure that it got from Point A to Point B safely. Today, of course, we routinely send artwork to clients all over the globe, just with the push of a button.

Technology, indeed, changed everything and by 1984, after my dad had passed away and I took over the helm of Walsh Design, Apple introduced the Macintosh in a memorable Super Bowl ad titled “1984.” Two days later, the “Mac” was for sale and… the rest is history. When Apple introduced a laser printer, and PageMaker was introduced, technology had changed the entire industry. Typesetting houses went out of business, as did color separation firms and the multitude of graphic supply stores.

Technology, particularly computer “design” programs such as PageMaker, gave us the notion that “anyone can create,” even though nothing could be further from the truth! I used to cringe when I gave a new employee a project to start and he or she would immediately sit down at the computer and start working. There seems to be this belief that “the computer is going to get me there.”

What we have learned and what we see every day is that technology enhances the skills of great designers, but it has also built a massive marketplace of mediocrity.

Yes, in many ways the design world changed completely with the introduction of technology, but it has been a mixed blessing.

Technology allows us to market ourselves worldwide, and that is a good thing. No more flying ourselves or our artwork to places like L.A. Technology enables us to work for clients in Brooklyn, New York, as easily as we take on client work in Bellevue, Washington, or any country across the globe—and we do.

The fact that we have kept up with technology is why we are successful. The way we interact with our clients has changed because of technology, in very specific ways: • The Web is where they find us and evaluate us, and sometimes make a purchasing decision before they ever speak to us.

• E-mail gives us the opportunity to be attached to our clients 24/7, although this is also a mixed blessing. Clients assume we are always looking at our e-mail. They expect an immediate response.

But, as we suggested earlier, technology is just a tool—and it has changed nothing about the creative process for us. While technology has definitely revolutionized the way we conduct our business, we have not departed from some of the core principles established by our founder, Frederick Walsh. We can move faster, act smarter, and shorten the time it takes to get materials into 90

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Drafting tools used by Walsh until the introduction of Apple computers.

Three logos designed by Walsh Design.

production. But at the same time, we still believe in the kind of meticulous attention to detail that was our hallmark from the 1960s to 1984, and we still thrive on personal interaction—the original social networking.

Miriam Walsh Lisco is principal at Walsh Design in Seattle. Visit www.walshdesign.com.

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SEX!

Now that we have your attention, take a peek at this ad gallery. ome say clever; others say obscene. “Salacious” advertising is in the eye of the beholder, and Media Inc. has received its share of angry letters from offended readers. Here is a selection of some of the most provocative, sensational, and otherwise attention-grabbing ads we’ve run on our pages.

S

Ad appeared September 1987

Ad appeared March 1988

Ad appeared June 1988 Ad appeared March 1994

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Ad appeared January 1994

Ad appeared August 1996

Ad appeared April 1997

Ad appeared August 1998

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In Their Words

LYNN SWEENEY President Wilmerco

No Photo Available

Memorable Moments: “Making the decision (in 2009) to leave a stable executive marketing position to pursue entrepreneurial pursuits and passions.”

JIM COPACINO Co-founder & Creative Director Copacino+Fujikado The Early Years: “Thirty years ago I had recently relocated to Seattle after spending my early years in New York agencies. My wife and I moved from Brooklyn to a Wallingford apartment with our four-month-old daughter. I was working for the Chiat/Day office here on the Skipper’s account trying to write the greatest fish ‘n chips commercial the world had ever seen. (Hopefully, you didn’t see it.)”

JIM ETZEL President & Founder SportsOne Enduring Credo: “The importance of forging and maintaining strong relationships has remained constant over the years. The value of honesty, integrity and respect have remained paramount in our agency’s business as well.”

JACKY GROTLE Owner Event Success The Early Years: “Thirty years ago I was just a pre-teen with a prosperous babysitting business.”

SPYRO KOURTIS President & CEO Hacker Group On Adapting to Clients’ Changing Needs: “We’ve embraced the influx of accountable media that helped us achieve our ROI promise to our clients.”

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SEAN FAY Envision Response The Early Years: “Thirty years ago I was 11 and getting ready to enter 7th grade. At this point I was enjoying an excellent career as a professional child, but showing up more and more for amateur events as a teenager.”

CHARLIE BARNETT Augustus Barnett

No Photo Available

The Early Years: “I was starting my own business, 30 years ago this year.”

MICHAEL DRISCOLL Adspec On Indispensable Technology: “We still meet with our customers face to face, but (now) we can also do it across the United States or world.”

MIKE HATHAWAY Encore Media Group On 30th Birthday Celebrations: “My wife ‘kidnapped’ me for dinner at the Space Needle and an overnight stay at the Olympic Four Seasons Hotel.”

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Losing your

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Changes in Physical Media Generate a

“Paragon” of Success

By Chris Lamb, President, Paragon Media

I

find it interesting that when someone asks me what I do for a living and I tell them that I’m in the media manufacturing business, they seem to be sad for me, and some, I think, even feel sorry for me. The prevailing attitude about physical media is that the technology is all but dead, gone the way of the 8-track tape, killed by downloads and streaming media. Heck, if I was on the outside looking in, I would feel sorry for me, too. I’m not suggesting that the media business has not changed. On the contrary, it’s actually changed quite dramatically in a very short period of time, but that is good news—the changes have actually benefited Paragon. Let me explain.

When I started in the disc business in 1994 our initial focus was on creating CD masters for replication. The process for creating a “Gold” master was complicated and expensive and not a lot of companies had the skill set or resources to do it in-house, so we were able to carve out a nice little niche. When the price of recordable media and drives dropped, we started duplicating small quantity orders for our clients. Then came the big time—we received our first order for 50 CD-Rs from a software company called Wall Data. That’s when we knew we had a new business direction.

That was essentially the beginning of what would become our core business model for the next 17 years—short run, quick turn media duplication runs. As time progressed we added new capabilities to match the growing demand for short runs. In 1998 we added DVD duplication, and in 2000 we added digital printing for short run custom printed disc packaging. (Since the installation of our first digital press we’ve added or upgraded an additional five digital presses. I like to tell people we are the best, award-winning digital printer you’ve never heard of.) In 2006 we added one of the first digital disc presses installed in the world for decorating short run discs, and just this last year we installed continued on page 98

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CHANGES IN PHYSICAL MEDIA Continued from page 96

a new 6 color off-set disc press to provide the best quality disc printing in the Northwest.

I know you are asking what all this has to do with the changes in the disc industry and how these changes are “benefiting” Paragon, so I’ll jump right into that. All of our investments and experience over the last 17 years has made us an industry leader in short run media production, and the dramatic changes we are experiencing in the media industry are feeding right into our core competency. Gone are the 100,000-piece orders, replaced with 500disc runs. The size of orders is shrinking but the number of orders is actually on the rise. Since these industry changes are trending toward short runs with quicker turns, Paragon is actually seeing an uptick in business.

In 2010 we produced over 3 million duplicated discs, 100 discs at a time. Actually, that is not true—I mention that for dramatic sake—our average order is 800 units. But that brings up the point that I want to make next: The future and what it holds for Paragon.

As we have seen over the last few years, the size of the orders have fallen but the volume of orders has actually increased— our clients are ordering less discs at a time but more frequently, and we expect this trend to continue. To meet this continuing trend, Paragon has aggressively been investing in innovative new technologies to fully automate our production workflow.

This enables our clients to order one-off packaged CDs and DVDs for Web fulfillment, Web-enabled pay-per-use video download and streaming services, and customized, on-demand

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DVD authoring. Our one-off packaged media services are truly a zero inventory model in which the manufacturing process is triggered once an order has been received. When the order is placed for the product, the disc is produced and decorated and the packaging printed in a fully automated workflow. In bringing to bear the latest in digital workflow technology we are able to effectively produce one packaged disc at a time, saving our clients the expense of inventory.

Our most innovative solution is our customized, on-demand DVD authoring tool. Our clients’ customers can now pick and choose episodic video segments online via a Web portal. Once the end user has selected the video segments they are interested in, their personalized DVD content is authored on the fly. The tool incorporates the end user’s personalized and targeted information into the menu assets, the disc decoration and the disc packaging.

It’s a fantastic evolution of the DVD experience.

The key to the success and the longevity of physical media comes down to return on investment, and in the case of content distribution, physical media is king. The studios protect their DVD and BD release dates because it generates their largest return, and independent producers rely on physical media to drive a majority of their revenue stream. The physical media business is here to stay for a long time, albeit in smaller run sizes.

Chris Lamb is president of Paragon Media in Seattle. Visit www.paragongroup.com for more information.

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The

Post Revolution

By Don Jensen, President, Alpha Cine

I

have been working with film and video production in one way or another since 1974. Two partners (Gerry Cook and Chris Venne) and I spent many years making documentaries and television commercials in Spokane in the mid- to late‘70s. We would work in small format (1/2” open reel) video and 35mm film (for the television commercials).

Around 1981 we started making Corporate Information programs, as the market for documentary projects significantly diminished with the election of Ronald Reagan! It was at that same time that video tools started to become more and more useful, and complicated. Where we used to edit video by putting two video tape recorders on a table and rolling each one back five seconds from the “in point” of an edit—and then very adeptly starting both of them at the same time, while running a stop watch, and being sure to push the “edit” button at exactly the right spot—we started to see computers that would do all of that for us. (In the early days, the computers worked about as well as our error-prone manual approach to editing.)

Around this time, a fellow named Rich Woltjer showed up in Spokane wanting to know what we were up to, and how production could be going on “over here.” He was developing a way to catalogue and categorize all media production going on in the State of Washington. We gave him our information and looked forward to being involved in a very early version of networking. And having contact with the “West Side.”

By the early ‘80s we had become “Pinnacle Productions” and started to draw significant clients from the west side of the state, including Boeing, banks, insurance companies, even Rainier Beer for a “down market” remake of the “Running of the Rainiers.” continued on page 102

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THE POST REVOLUTION Continued from page 100

A talented and growing group of artists and production people joined Pinnacle in our corporate production and special effects group. Our reach was national (we created opens for Monday Night Football and NBC Nightly News) and the content was wonderfully creative. We mostly had great fun, and got a lot of satisfaction out of creating high quality work.

This level of production required increasingly sophisticated equipment, and our own production couldn’t keep it busy enough, so it was finally decided to move this very talented group of people and skills to Seattle (the company was owned

by Cowles Publishing Company in Spokane), and open a brand new production and post production facility in the Belltown area. The idea was to service other clients as well as our own efforts. Seattle and Los Angeles people joined the team from Spokane, and a very capable post production facility was created. The effects and corporate production group were also part of the mix.

By the time we opened in Seattle, Rich Woltjer’s project was now called Media Inc. and was a monthly newspaper that featured a big story about the opening of Pinnacle Productions’ new facility in the early fall of 1990. (See Cover to Cover, page 80). The facility was carefully designed to provide the very best equipment and people in a perfect environment for film transfer, complex editing, and special effects creation. Clients came from around the region and the U.S. Pinnacle provided all kinds of technical and creative services

over the next 10 years, providing production and post production services for many Seattle projects. We hosted the infamous Frugal Gourmet production on our stages for two years, and were involved in editing and developing special effects for Bill Nye the Science Guy. Nike came to town almost weekly from Portland to transfer and color correct film. Most of the local bands going national in the mid-‘90s music videos were worked on in various parts of the facility. And about 50 very talented and dedicated people worked there.

I left Pinnacle in 1997, 23 years after I helped start it. I moved on to work for a few years in the dot com industry, developing ways to stream video on demand and participating in Seattle’s version of the “Dutch Tulip Bubble.” I then moved to Alpha Cine, Seattle’s highly regarded motion picture lab, where I am approaching my 10th year working with independent filmmakers from all over the U.S., and another wonderfully talented group of people.

And during this time, Media Inc., now under the leadership of Jim Baker, has played a significant role in reporting on and developing the industry in the State of Washington. Without Jim and Media Inc.’s support and leadership, the effort to develop film incentives and promote production in the State of Washington would certainly have been more difficult.

Don Jensen is president of Alpha Cine in Seattle. Visit www.alphacine.com for more information.

Happy 30th, Media ia In Inc !

(You don’t look a day over 29)

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TRANSCODE CONFORM COMPOSITE COLOR FINISH ENCODE ARCHIVE 206.462.4717 WWW.LIGHTPRESS.TV ISSUE ONE 2011 MEDIA INC.

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In Their Words

JEFF POLLARD POLLARDdesign Memorable Moments: “Designing the logo for some young hot-shot golfer Nike had just signed to a contract in 1997. I believe his name is Tiger Woods.”

CHRISTINE PRAPAS Christine Prapas Artist Representative On Adapting to Clients’ Changing Needs: “Without any hesitation I have learned to be flexible and accommodating. Customer service is my top priority. You can have the latest technological apparatus, but without excelling in the customer service arena, you will not survive.”

MIRIAM LISCO Principal Walsh Design Memorable Moments: “After my dad died and I was on my own with a business and a lot to learn. I knew I had no one to turn to, but myself.”

BONNIE CHELINI Principal Synchro Creative On 30th Birthday Celebrations: “I always celebrate big O birthdays by doing something strong and powerful. On my 30th birthday, I ran a marathon. It made me feel 20. I recommend you celebrate in any way that brings you great joy.

You have earned it.”

HOVIE HAWK Creative Director Design Hovie Studios Enduring Credo: “Simple, clean, smart design works. Fads and styles come and go but you can’t go wrong with well thought out, clean, design. It stands the test of time.”

MARK HAWORTH District Sales Manager Komori America Enduring Credo: “Personal relationships have always been part of the successful business. In my world the money is big, so trust and relationship are paramount in our clients’ comfort with joining our ‘family.’ We might research via new media but we have to always have one-on-one time to move the process forward.”

KELLY LYLES Grrraphics, Inc. The Early Years: “Thirty years ago I was waitressing in San Francisco on the Waterfront and attending the Academy of Art there.”

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DOUG PLUMMER Doug Plummer, Photographer Memorable Moments: “I don’t believe in singular moments; there’s too many. Living across the river from a herd of Musk Oxen on the Alaskan tundra for a summer, photographing brain surgeries and heart operations and childbirths when I was doing a lot of hospital marketing photography, traveling the back roads of Ireland and learning set dancing when I was doing my Ireland book, learning how to tell a narrative in video.

I hope there’s always competition for the next good memorable moment.”

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A DESIGN FIRM

30 YEARS

IN THE MAKING

By Gail Snow, VP Strategic Development, HB Design

s society and technology change, so does graphic design.

In 1981, MTV launched onto our TVs and into our psyche with round-the-clock music videos that made the music we loved more visual. At that same moment, the introduction of computers into our studio sparked a revolution that incited the design team to push their drawing boards aside and begin processing creative concepts via a mouse and keyboard.

A

continued on page 108 106

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HB DESIGN, Continued from page 106

HB Design was centered firmly within this social and technological transformation. We opened our doors as a graphic design firm in 1978 and began serving our first large corporate client in 1980. In 1981 we added a second, much larger, corporate client to our roster and began to experience the glory of growth—adding more clients, more staff, more equipment, and gradually more structure to our studio.

Back then at the crossroads of change there were businesses with two different mindsets—those that chose to embrace new technology and change, and those that did not. HB Design chose to ride the wave as we began to explore new technologies with our clients. Over the next two decades that ride was exhilarating—for us, our clients, and the other talented Northwest businesses with which we share these rich experiences.

By 1996 it became obvious to most publicly traded companies that a Web presence was no longer optional. By the time I joined HB Design in 1999, the company was already wellestablished and recognized as a leading Northwest design firm capable of navigating the vast, new technological resources necessary to remain current and lead our clients effectively.

As we continued to grow our tech-based clients during the ‘90s, we also branched out to work with leading brands from other industries, including manufacturing, sports apparel, finance and banking, real estate, and healthcare.

I’m often asked what worked well for HB Design as a

company during the workplace metamorphosis between 1980 and 2011. To accurately answer this, it’s important to capture the success of the good times along with the challenges of several significant economic downturns. These are the things that come to mind: • We remained true to our culture—working hard, having fun.

• We continually invested in the best—talent, equipment, and infrastructure.

• We stayed close to those important to us—our clients, our staff, our families, our friends.

• We remained focused on what we do best—strategic design.

As we recognize Media Inc. for their 30-year commitment in keeping us up-to-date with regional industry news and information and promoting our respective businesses, we look back at the highlights of our voyage as a Northwest design firm, now over 30 years in the making.

AT THE CROSSROADS OF CHANGE THERE WERE BUSINESSES WITH TWO DIFFERENT MINDSETS— THOSE THAT CHOSE TO EMBRACE NEW TECHNOLOGY AND CHANGE, AND THOSE THAT DID NOT.

HB Design Through the Years

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Gail Snow is VP Strategic Development at HB Design, a strategic visual communications company that unites design with technology to help companies achieve their business goals. We help clients drive sales, effectively communicate with their employees, educate their audiences, and bring their visual brand to life. With over 30 years of industry experience, HB Design has come to be known for its innovative design solutions, successful business relationships, and “best practices” processes in successfully managing projects.

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In Their Words

DAN SHERWOOD Dan Sherwood Photography The Early Years: “Thirty years ago I was in high school with dreams of becoming |a professional ‘freelance photographer.’”

FRANK DEPALMA Founder & President Totera Web Systems The Early Years: “In 1981 I was just starting high school. I had two computers, a Tandy TRS-80 with no hard drive that I used to program games and connect with other computer users via ‘CompuServe’ dialup service, and an Apple Macintosh that I used to create posters for my rock band.”

TERRI NAKAMURA Owner Nakamura Graphic Design On Adapting to Clients’ Changing Needs: “I’ve had to learn a ton of new things and am in a continual state of learning—and it ROCKS!”

PHIL BANKO President & Creative Director F64cg Enduring Credo: “Business is still about relationships. Good business is about good relationships.”

DOUG COX President posterGIANT Memorable Moments: “Being kissed on the lips by Stevie Nicks! That’s right, Stevie Nicks!”

JEFF FISHER Jeff Fisher LogoMotives The Early Years: “Having moved to Portland in the fall of 1980, in the middle of an economic recession, there were no design or advertising jobs to be found. In early 1981, I was still sending out large numbers of resumes, requesting portfolio reviews and informational interviews, and taking on ANY contract project that came my way. To make ends meet, I was working part-time in an art gallery and picture frame shop. Personally, in my recently college-educated mind, I kept hearing my father saying ‘You will never be able to make a living as an artist or designer.’”

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TONY GABLE Principal & Design Director Gable Design Group Enduring Credo: “Honesty. I had a conversation with a potential client who was interested in a new ‘business card and look’ (before the word ‘branding’). I told him I was shooting myself in the foot, ‘but I like what you have now.’”

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*Published in the 1991 edition of Master Lists.

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citrus, Inc.; Portland & Bend, OR 503-943-5950 info@hellocitrus.com www.hellocitrus.com

Peter Levitan, president

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

Phil Reilly, president Mike Cobb, VP accounts Dan Hergert, VP/COO

Coates Kokes; Portland, OR 503-241-1124; fax 503-241-1326 jeanie@coateskokes.com www.coateskokes.com

Jeanie Coates, founder & CEO Steve Kokes, president

Cole & Weber United; Seattle, WA 206-436-3710; fax 206-233-0178 britt.peterson@cwunited.com www.cwunited.com

Mike Doherty, president

Copacino + Fujikado, LLC; Seattle, WA 206-467-6610; fax 206-467-6604 jcopacino@copacino.com www.copacino.com

Jim Copacino, co-founder/CD Betti Fujikado, co-founder/client services

Creature; Seattle, WA 206-625-6994 amandar@creature-us.com www.welcometocreature.com

Jim Haven & Matt Peterson, principals Robson Grieve, president

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Advertising, marketing, free parking for the games.

AugustavoBurrus. 800 Maynard Avenue South #400. Seattle. 206.442.0700. augbur.com

ISSUE ONE 2011 MEDIA INC.

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Daniels-Brown Communications; Olympia, WA 360-705-3058 info@danielsbrown.com www.danielsbrown.com

Stephen Daniels-Brown, president Celeste Daniels-Brown, VP

The Day Group, Inc.; Seattle, WA 206-652-3400; fax 206-652-3401 jday@daygroup.com www.daygroup.com

James P. Day, president/CEO

Destination Marketing; Mountlake Terrace, WA 425-774-8343; fax 425-774-8499 www.destmark.com

Dan Voetmann, CEO Scott Janzen, SVP Chris Settle, SVP

DHX Advertising; Portland, OR 503-872-9616; fax 503-872-9618 dave@dhxadv.com www.dhxadv.com

Dave DeMots, president Tim Holmes, VP Tim Cobb, managing director

Direct Marketing Solutions; Portland, OR 503-281-1400; fax 503-249-5120 www.teamdms.com

Mike Sherman, CEO

DNA Seattle; Seattle, WA 206-770-9615; fax 206-770-9015 info@dnaseattle.com www.dnaseattle.com

Dan Gross, principal/ECD Alan Brown, principal/ managing director Chris Witherspoon, principal/ director of client services

Draftfcb; Seattle, WA 206-223-6464; fax 206-223-2765 nick.paul@draftfcb.com www.draftfcb.com

Nick Paul, EVP, Chief Growth Officer

TR AD ITI ON AL M BU ED YI IA P NG L AN NI NG ON / SO LI CI NE AL / ME DI VI RA A L

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We just turned 21.

And we’re going to start drinking.

For 21 years, Palazzo Creative has been delivering marketing results for our Northwest, national, and international clients. Perhaps we can help you too. Let’s have a drink and talk about it.

206.328.5555

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egg; Seattle, WA 206-352-1600 info@eggusa.net www.eggusa.net

Marty McDonald, CD & partner Hilary Bromberg, strategy director & partner

Envision Response; Seattle, WA 800-809-8397; fax 206-299-3562 sean@envisiontv.com www.envisiontv.com

Sean K. Fay, CD/CEO Christopher Johns, director business development

Exclaim; Seattle, WA 206-368-0121; fax 206-368-0130 mlee@exclaimllc.com www.exclaimllc.com

Mai Li Lee, managing partner

Field Group; Yakima, WA 509-965-1780; fax 509-965-1990 media@thefieldgroup.net www.thefieldgroup.net

Jack Beeson, president

Fusionhappens, LLC; Seattle, WA 206-264-7707 kate@fusionhappens.com www.fusionhappens.com

Al Doyle, CD Bruce Woodstrom, client services

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

Brian Gard, president Scott Sparling, SVP Valarie Grudier-Edwards, VP/GM

Golden Lasso; Seattle, WA 206-838-3171; fax 206-838-3161 info@goldenlasso.com www.goldenlasso.com

Bridget Culligan, principal Max Wurz, managing director

mason P

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Y

active. authentic. lifestyle 360.352.2543

steve @ masonimage. com www.masonimage.com

ISSUE ONE 2011 MEDIA INC.

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NW AD AGENCIES

Grady Britton; Portland, OR 503-228-4118; fax 503-273-8817 info@gradybritton.com www.gradybritton.com

Frank Grady, president Andy Askren, CD Paige McCarthy, director of client services

GreenRubino; Seattle, WA 206-447-4747; fax 206-447-9494 jenb@greenrubino.com www.greenrubino.com

Cam Green, CEO/ECD John Rubino, president

Hacker Group; Seattle, WA 206-805-1500; fax 206-805-1599 cdillon@hackergroup.com www.hackergroup.com

Spyro Kourtis, president/CEO

The Hallock Agency, Inc.; Portland, OR 503-224-1711; fax 503-224-3026 tbranch@hallockagency.com www.hallockagency.com

Jackie Hallock, president/CD Tiger Branch, CEO

Hammerquist Studios; Redmond, WA 425-869-0191 fred@hammerquist.net www.hammerquist.net

Fred Hammerquist, president

Hanna & Associates Inc.; Coeur dâ&#x20AC;&#x2122;Alene, ID 208-667-2428; fax 208-765-8044 dayneh@hanna-advertising.com www.hanna-advertising.com

Dayne Hanna, CEO John Baechler, VP/CD Jeff Hanna, VP/media director

Heckler Associates Inc.; Seattle, WA 206-352-1010; fax 206-352-1011 tye@hecklerassociates.com www.hecklerassociates.com

Terry Heckler, president

SPANISH LANGUAGE MEDIA Celebrating

Celebrating

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20 Years

21 Years

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

Ed Herinckx, president Megan Miller, director of account services Leah Henderson, CD

Hodgson/Meyers; Kirkland, WA 425-827-2506; fax 425-822-0155 getnoticed@hodgsonmeyers.com www.hodgsonmeyers.com

Gary Meyers, president

Hydrogen Advertising; Seattle, WA 206-389-9500; fax 206-389-4849 deboraht@hydrogenadvertising.com www.hydrogenadvertising.com

Rick Peterson, president

ioCreative, LLC; Ferndale, WA 360-384-4640; fax 360-384-4650 contact@ioCreative.com www.ioCreative.com

Seth Murphy, president Tim Cathersal, CD

JayRay; Tacoma, WA 253-284-2531 scampbell@jayray.com www.jayray.com

Kathleen Deakins, CEO Shari Campbell, VP Jerry McLaughlin, VP

Jones Advertising Inc.; Seattle, WA 206-691-3124; fax 206-691-3495 mark@jonesadvertising.com www.jonesadvertising.com

Mark Jones, president

LION New Media; Lynnwood, WA 425-742-6828; 866-401-6127 sales@lionnewmedia.com www.lionnewmedia.com

Conrad Jungmann, managing partner

SERVICES PROVIDED TR AD ITI ON AL ME BU D I YI A P NG L AN NI NG ON / SO LI CI NE AL / ME DI VI RA A L

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Who are we?

A design firm specializing in marketing and graphic design for the hospitality, food, travel and leisure industries. Our forte? Creating and marketing brands that provide experiences. The things that give the spice to life. This happens to coincide with our philosophy: Create with passion, dare to be different and have fun.

Quesinberry and Associates, Inc. [p] 206 323 1173 [ w ] quesinberry.com Sea le :: San Francisco ISSUE ONE 2011 MEDIA INC.

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Magner Sanborn; Spokane & Seattle, WA 509-688-2200; fax 509-688-2299 dmagner@magnersanborn.com www.magnersanborn.com

Dennis Magner, president Jeff Sanborn, VP/ECD Brandt Heinemann, account planner

Mandala; Bend, OR 541-389-6344; fax 541-389-3531 laury@mandala-agency.com www.mandala-agency.com

Matthew Bowler, partner/president Paul Grignon, ECD Laury Benson, CFO

The Maris Agency, Inc.; Portland, OR 503-236-3486; fax 503-236-3521 admin@marisagency.com www.marisagency.com

Athena Maris, president/CD

The Martin Firm; University Place, WA 253-565-2040; fax 253-565-0974 kfmartin@martinfirm.com www.martinfirm.com

Kathy Martin, president

McCann Erickson; Seattle, WA 206-332-1079 brian.ladyman@mccann.com www.mccannsea.com

Brian Ladyman, SVP, managing director, Seattle

Mike Pursel Advertising; Spokane, WA 509-464-0259 mikepursel@mikepursel.com www.mikepursel.com

Mike Pursel Sr. Mike Pursel Jr.

Missions Media; Poulsbo, WA 360-598-3757; fax 360-598-3757 brian.missionsmedia@comcast.net

Brian Coolbaugh, owner

The New Group; Portland, OR 503-248-4505; fax 503-248-4506 doug.new@thenewgroup.com www.thenewgroup.com

Doug New, CEO Steve Marshall, president

Nonbox; Portland, OR 503-227-1638; fax 503-417-8613 stevek@nonbox.com www.nonboxpdx.com

Steve Karakas, partner Steve Flood, partner/CD

Palazzo Creative; Seattle, WA 206-328-5555; fax 206-324-4348 richard@palazzocreative.com www.palazzocreative.com

Richard Roberts, president/CD

Peterson Media, LLC; Portland, OR 503-235-9474; fax 503-232-9478 leslie@petersonmedia.net www.petersonmedia.net

Leslie Peterson, managing member

posterGIANT, INC; Seattle, WA 206-850-0818 info@postergiant.net www.postergiant.net

Doug Cox, president Mary Beth Felker, account manager Derek LaVarnway, campaign manager

Prime West, Inc.; Mt. Vernon, WA 360-424-5783; fax 360-542-4115 sharmon@primewest.com www.primewest.com

P. Steve Harmon, president/owner

PTown, Inc.; Portland, OR 503-241-2805 ptowncreative@hotmail.com

Christopher Rich, president

Publicis Seattle; Seattle, WA 206-285-2222 www.publicisseattle.com

Mark Cadman, CEO John Fitzpatrick, SVP

Purdie Rogers; Seattle, WA 206-628-7700; fax 206-628-2818 arogers@purdierogers.com www.purdierogers.com

Andrew Rogers, principal Geo Purdie, principal

R2C Group; Portland, OR 503-222-0025; fax 503-276-4096 info@r2cgroup.com www.r2cgroup.com

Michelle Cardinal, Cmedia CEO Tim Oâ&#x20AC;&#x2122;Leary, Respond2 CEO

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Produce, protect, and deliver your brand.

Offset Printing

Digital Printing

Fulfillment

Envelope Manufacturing

Specialty Bindery

Direct Mail

DCGWest.com 206.784.6892

ISSUE ONE 2011 MEDIA INC.

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Rainmaker Creative; Spokane, WA 509-499-3399; fax 509-210-4600 www.spokanerainmaker.com

Billie Gaura, CD/principal Cindy Wiedmer, environmental designer Cameron Glass, relationship manager

remerinc; Seattle, WA 206-624-1010; fax 206-467-2890 info@remerinc.com www.remerinc.com

Dave Remer, CEO/CD

Rusty George Creative; Tacoma, WA 253-284-2140; fax 253-284-2142 info@rustygeorge.com www.rustygeorge.com

Rusty George, creative principal Kitura George, operations Emily Cook, business development

R/West; Portland, OR 503-223-5443; fax 503-223-5805 seanb@r-west.com www.r-west.com

Sean Blixseth, president

Sands Costner & Associates; Tacoma, WA 253-572-2415; fax 253-572-9224 info@sandscostner.com www.sandscostner.com

Curtis Costner, agency dir.

The Silver Agency; Centralia, WA 360-736-8065; fax 360-330-7960 cori@silveragency.com www.silveragency.com

Coralee Taylor

Smart Marketing, Inc.; Tigard, OR 503-539-4963 lisa@you-r-smart.com www.smartmarketing.ws

Lisa Olson

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Smith, Phillips & DiPietro Advertising; Yakima, WA 509-248-1760; fax 509-575-7895 bob1@spdadvertising.com

Rob Phillips, partner Bob DiPietro, partner

Square Tomato; Seattle, WA 206-264-0644 info@sqtomato.com www.sqtomato.com

Frank Clark John Juan Lin

Stanton & Everybody Advertising & Design; Seattle, WA 206-224-4242; fax 206-224-4264 www.stantonandeverybody.com

Rick Stanton, CD/ president Jon Njos, media director/VP Cynti Oshin, director client services/new biz development

Steelhead Advertising Inc.; Portland & Ashland, OR 800-359-9302; fax 503-296-2041 info@spawnordie.com www.steelheadadvertising.com

Jason Ehrlich, partner/president Galen Wright, partner/CD Joel Marshall, partner/EVP

Steenman Associates; Sammamish, WA 425-427-9692; fax 425-427-9693 ed@steenmanassociates.com www.steenmanassociates.com

Ed Steenman, CEO

Stevenson Advertising; Lynnwood & Tri-Cities, WA 425-787-9686; fax 425-787-9702 brett@stevensonadvertising.com www.stevensonadvertising.com

Brett Stevenson, president Tim Grand, VP Kathy Balcom, VP

SERVICES PROVIDED TR AD ITI ON AL ME BU D I YI A P NG L AN NI NG ON / SO LI CI NE AL / ME DI VI RA A L

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

Bonnie Chelini and Candy Young, principals

tbd Advertising; Bend, OR 541-388-7558; fax 541-388-7532 info@tbdagency.com www.tbdagency.com

Paul Evers, president/CCD

Turtledove Clemens, Inc.; Portland, OR & Seattle, WA 503-226-3581 jay@turtledove.com www.turtledove.com

Jay Clemens, CEO Linda Higgons, EVP Stuart Samuelson, VP

Wexley School for Girls; Seattle, WA 206-438-8900; fax 206-438-8992 headmaster@wexley.com www.wexley.com

Cal McAllister, co-founder Ian Cohen, co-founder

White Horse; Portland, OR 503-471-4200; fax 503-471-4299 whitehorse@whitehorse.com www.whitehorse.com

Jen Modarelli, CEO Lisa Osborne, dir. media services

Wieden+Kennedy; Portland, OR 503-937-7000; fax 503-937-8000 sarah.woodward@wk.com www.wk.com

Dan Wieden, co-founder/ global ECD John Jay, global ECD Dave Luhr, COO

Williams-Helde Marketing Communications; Seattle, WA 206-285-1940 slf@williams-helde.com www.williams-helde.com

Marc Williams, president

Wilmerco; Seattle, WA 206-462-2260; fax 425-771-7337 info@wilmerco.com www.wilmerco.com

Lynn Sweeney

Wong, Doody, Crandall, Wiener; Seattle, WA 206-624-5325; fax 206-624-2369 www.wdcw.com

Pat Doody, president Tracy Wong, ECD

Worktank; Seattle, WA 206-254-0950; fax 206-374-2650 talktous@worktankseattle.com www.worktankseattle.com

Leslie Rugaber, CEO Toby Holmes, VP, online event services Corey Pilkington, director, sales & marketing

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*Published in the 1996 edition of Master Lists.

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Ad Ventures Design & Marketing; Seattle, WA 206-282-1719 www.adventureswebdesigndevelopment.com

D. Alex Howard, president Karen Skeens, CD

Adams Creative & Production Services; Des Moines, WA 206-824-6970; fax 206-824-7036 adamscreative@isomedia.com www.adamscreative.net

Dan Adams, president/CD

Ascentium Corporation; Bellevue & Spokane, WA, & Portland, OR 425-519-7700; fax 425-519-7701 sales@ascentium.com www.ascentium.com

Curt Doolittle, CEO Steven Salta, president Steve Farrell, ECD

Bamboo River Marketing; Portland, OR 503-761-4360; fax 503-761-2563 kirsten@bamboorivermarketing.com www.bamboorivermarketing.com

Kirsten Klug & Fer Klug, co-owners

Business Internet Services; Tacoma, WA 253-572-8288; fax 253-572-8303 info@bisc.com www.bisc.com

Janine Terrano, CEO

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

Peter Barnes, president Randy Yount, web developer

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

Phil Reilly, president Mike Cobb, VP accounts Dan Hergert, VP/COO

Cole & Weber United; Seattle, WA 206-447-9595; fax 206-233-0178 britt.peterson@cwunited.com www.cwunited.com

Mike Doherty, president John Maxham, ECD Britt Peterson, director of business development

Copious; Portland, OR 503-255-1822; fax 503-419-9791 hello@copiousinc.com www.copio.us

Patrick Ezell, CEO Tim Haskins, president

Design Central; North Bend, WA 425-747-4115 mct@designcentral.com www.designcentral.com

Michelle Twohig, owner/designer

elephants & ants; Seattle, WA 206-256-0771; fax 206-282-3312 ann@elephantsandants.com www.elephantsandants.com

Ann Donovan, CD

Engine Interactive; Seattle, WA 206-709-1955; fax 206-709-1958 robin@enginei.com www.enginei.com

Robin Naughton, CCO

Gage Design; Seattle, WA 206-622-0905; fax 206-622-8824 bill@gagedesign.com www.gagedesign.com

William Gage, president

HB Design; Portland, OR 503-944-1000; fax 503-944-1030 info@hbdesign.com www.hbdesign.com

Noma Hanlon, president Gail Snow, senior account executive

SERVICES PROVIDED

W DE EB SI DE GN V EL OP ME W NT MA EB / H IN O TE ST NA IN NC G/ E MO FL TI AS ON H G AN RA IM PH AT IC US IO S/ ER N EX PE RI EN WE CE B AP PL IC AT IO NS MO BI LE AP PL IC DIG AT IO INT ITA NS ER L/ AC TIV EM SE AR O/ KE SE TIN M G

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Hemisphere Design; Tacoma, WA 253-779-5800 info@hemispheredm.com www.hemispheredm.com

Adam Welch Heather Stajgr Waymond Hampton

Hornall Anderson; Seattle, WA 206-467-5800; fax 206-467-6411 info@hadw.com www.hornallanderson.com

Jack Anderson, CEO/CD John Anicker, president of development, finance & operations Jamie Monberg, chief experience officer (CXO)

InfoAdvantage LLC; Bellevue, WA 425-869-2157 web@infoadvantage.com www.infoadvantage.com

Eva Chiu, president

McCann Erickson; Seattle, WA 206-332-1079 brian.ladyman@mccann.com www.mccannsea.com

Brian Ladyman, SVP, managing director, Seattle

Methodologie; Seattle, WA 206-623-1044; fax 206-625-0154 info@methodologie.com www.methodologie.com

Janet DeDonato & Dale Hart

Metia; Kirkland, WA 425-629-5800; fax 425-629-5801 info@metia.com www.metia.com

Andrew Martin, VP

Montana Banana Web Design; Seattle, WA 206-322-2435 info@montanab.com www.montanab.com

Stewart McCullough, CEO

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

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NW INTERACTIVE DESIGN & DEVELOPMENT COMPANIES

Moto Interactive + Branding LLC; Portland, OR 503-914-5832 nibble@motointeractive.com www.motointeractive.com

Dru Martin, CD

The New Group; Portland, OR 503-248-4505; fax 503-248-4506 doug.new@thenewgroup.com www.thenewgroup.com

Doug New, CEO Steve Marshall, president

Northwest Web Construction Company; Vancouver, WA 360-260-0347 sales@nwwcc.com www.nwwcc.com

Kelly Burbank, co-owner/ president

OakTree Digital; Portland, OR 503-517-3800; fax 503-517-3801 info-to-you@oaktree.com www.oaktree.com

John Schmitt

Opus Creative Group Inc.; Portland, OR 503-220-0252 todd.jetton@opuscreative.com www.opuscreative.com

Jim Fletcher, owner Todd Jetton, COO

Palazzo Creative; Seattle, WA 206-328-5555; fax 206-324-4348 richard@palazzocreative.com www.palazzocreative.com

Richard Roberts Pennie Pickering

Phinney Bischoff Design House; Seattle, WA 206-322-3484; fax 206-322-3590 nathano@pbdh.com www.pbdh.com

Leslie Phinney, CEO/CD Karl Bischoff, president

IN TE GR AT IO N

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NW INTERACTIVE DESIGN & DEVELOPMENT COMPANIES

Plexipixel Inc.; Seattle, WA 206-781-1405; fax 206-352-1311 info@plexipixel.com www.plexipixel.com

Vicky Tamaru, co-founder/ executive producer

Ply Interactive, Inc.; Seattle, WA 206-283-1130 info@plyinteractive.com www.plyinteractive.com

Patrick Stroud, president

POP; Seattle, WA 206-728-7997; fax 206-728-1144 info@pop.us www.pop.us

Bill Predmore, founder & president

Quango, Inc.; Portland, OR 503-968-0825; fax 503-968-1565 info@quangoinc.com www.quangoinc.com

Dave Anolik, CCO

Realite Networks, LLC; Seattle, WA 206-621-8283; fax 206-299-9114 info@realitenetworks.com www.realitenetworks.com

Malania Calugas, president James Latham, CTO

Sandcastle Interactive; Seattle, WA 206-325-5383; fax 206-568-3291 david@sandcastle-i.com www.sandcastle-i.com

David Newsom, principal Ashlee Bowell, principal

Seven2; Spokane, WA 509-624-1222 nick@seven2.net www.seven2.net

Nick Murto, principal Tyler Lafferty, principal

SightWorks, Inc.; Portland, OR 503-223-4184; fax 503-243-1793 info@sightworks.com www.sightworks.com

Eric Dayton, co-founder Rusty Jennings, co-founder

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Studio Prima Inc.; Seattle, WA 206-325-9037 say-hello@studioprima.com www.studioprima.com

Lindy Wishard

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

Bonnie Chelini and Candy Young, principals

Totera Web Systems; Seattle & Port Townsend, WA 360-385-0931 frank@totera.com www.totera.com

Frank DePalma, president

Visual Media Group; Bellevue, WA 425-457-7100; fax 425-457-7104 info@visualmediagroup.net www.visualmediagroup.net

Kelly Sparks, owner/queen bee

Williams-Helde Marketing Communications; Seattle, WA 206-285-1940 slf@williams-helde.com www.williams-helde.com

Marc Williams, president

Wire Creative, LLC; Milwaukie, OR 503-740-3759; fax 503-296-2875 info@wirecreative.com www.wirecreative.com

Greg Dorr Matt Mair Lowery

ZAAZ; Seattle, WA & Portland, OR 206-341-9885; fax 206-749-9868 info@zaaz.com www.zaaz.com

Shane Atchison, CEO

SERVICES PROVIDED

W DE EB SI DE GN V EL OP ME W NT MA EB / H IN O TE ST NA IN NC G/ E MO FL TI AS ON H G AN RA IM PH AT IC US IO S/ ER N EX PE RI EN WE CE B AP PL IC AT IO NS MO BI LE AP PL IC DIG AT IO INT ITA NS ER L/ AC TIV EM SE AR O/ KE SE TIN M G

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

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206.328.5555 | www.palazzocreative.com

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

Curtis Kidwell, president

Diversified Systems Inc.; Redmond, WA 425-947-1500; fax 425-947-1501 mari@dsgi.com www.dsgi.com

Robert Sambrook, president

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

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

EMA Video Productions, Inc.; Portland, OR 503-241-8663; fax 503-224-6967 emellnik@emavideo.com www.emavideo.com

Ed Mellnik

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

Clive Tobin, president Susan Dow, customer service

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

Jeff Tillotson, president Eric Rosen, VP

NW Media Inc.; Portland, OR 503-223-5010; fax 503-223-4737 jeannea@nwmedia.com www.nwmedia.com

Jeanne Alldredge

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Pacific Multimedia; Everett, WA 425-347-4110/888-373-8273; fax 425-710-9932 jim@pacmultimedia.com www.pacmultimedia.com

James Campbell, owner

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

George M. Ricci, CEO

ProMotion Arts, LLC; Seattle, WA 206-938-0348; fax 206-938-0475 info@promotionarts.com www.promotionarts.com

Steve Crandall, managing director Aaron Anderson, managing producer

Realtime, Inc.; Seattle, WA 206-523-8050; fax 206-524-0711 pip@realtimepip.com www.realtimepip.com

Pip McCaslin, CEO Rebecca Sikes, secretary

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

Russ Gorsline, GM Tara Krick, business manager

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

Les Fitzpatrick

Seattle Motion Picture; Seattle, WA 206-632-3717 info@seattlemotionpicture.com www.seattlemotionpicture.com

Ron Tennison, project manager

We Have You Covered.

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Media Inc. is the industry leader for marketing, advertising, film, video, radio, TV, print media, design, photography, printing, internet and multimedia news and information in the Northwest.

SUBSCRIBE NOW! 4 issues a year.

Call 206-382-9220 to order now.

www.media-inc.com â&#x20AC;˘ media@media-inc.com ISSUE ONE 2011 MEDIA INC.

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*Published in the 1993 edition of Master Lists.

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NW EQUIPMENT RENTAL

Absolute Digital Broadcast Rentals; Bellevue, WA 206-768-9828; fax 425-861-9743 info@absolutedigi.com www.absolutedigi.com

Rey Serna, owner

Cine Rent West; Portland, OR 503-228-2048; fax 503-228-1789 chris@cinerentwest.com www.cinerentwest.com

Chris Crever, owner

CineMonster, Inc.; Seattle, WA 206-780-3907 dale@cinemonster.com www.cinemonster.com

Dale Fay, president

Event Rental Communications, Inc.; Portland, OR 503-232-9031; fax 503-232-7384 jay@eventrental.com www.eventrental.com

Wayne Lund, president Jay Pomeroy, director

FocalPoint Digital; Portland, OR 503-245-5300 steve@focalpointdigital.com www.focalpointdigital.com

Steve Smith, owner

Glazerâ&#x20AC;&#x2122;s Camera; Seattle, WA 206-624-1100 rentals@glazerscamera.com www.glazerscamera.com

Rebecca Kaplan Ari Lackman Bill Seymour

Kenmar Water Truck Service; Stanwood, WA 360-652-3725; fax 360-652-3725 kenmarwater@aol.com www.kenmarwatertrucks.com

Kenneth Fowler, owner

R

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Key Code Media; Seattle, WA 206-728-4000; fax 206-728-4001 seattle@keycodemedia.com www.keycodemedia.com/seattle

Andrew Takacs, NW territory manager

Koerner Camera Systems Inc.; Portland, OR 503-274-6533; fax 503-274-5446 michael@koernercamera.com Seattle, WA office: 206-285-7334; fax 206-285-7335 seattle@koernercamera.com; www.koernercamera.com

Michael Koerner, Portland Karen MacDonald, Seattle

Morgan Sound; Lynnwood, WA 425-771-7257; fax 425-670-1656 johnh@morgansound.com www.morgansound.com

Charlie Morgan, president

Northern Lights; Mountlake Terrace, WA 425-774-1905 doug@loud.net www.loud.net

Douglas Jones, president

Northwest Helicopters; Olympia, WA 360-754-7200; fax 360-754-1761 duttecht@nwhelicopters.com www.nwhelicopters.com

Brian Reynolds, president Doug Uttecht, GM

Northwest Production Services & RVs; Seattle, WA 949-212-9735 chris@nwproduction.com www.nwproduction.com

Christopher Gonzalez, owner

Nuge Inc.; Shoreline, WA 206-234-4075; fax 206-333-1137 dave@go4davenugent.com www.go4nuge.com

David P. Nugent, owner

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NW EQUIPMENT RENTAL T EX OP L EC OC UT A IVE L S

Company City, State Phone; Fax E-mail Web site Oppenheimer Cine Rental; Seattle, WA 206-467-8666; fax 206-467-9165 marty@oppcam.com www.oppenheimercinerental.com

Marty Oppenheimer, managing director

Pacific Grip & Lighting; Portland, OR office: 503-233-4747 Seattle, WA office: 206-622-8540 www.pacificgrip.com

Doug Boss

Picture This Production Services; Portland, OR 503-235-3456 info@pixthis.com www.pixthis.com

Perry Loveridge, president Sari Loveridge, senior account executive Ben Olberg, production manager

PNTA; Seattle, WA 206-622-7850; fax 206-267-1789 info@pnta.com www.pnta.com

Richard Carlson, CEO Andrew Donovan, COO Linet Henry, rental & event manager

Pro Photo Supply; Portland, OR 503-241-1112; fax 503-241-1110 rental@prophotosupply.com www.prophotosupply.com

DND

Professional Video and Tape Inc.; Tigard, OR 503-598-9142; fax 503-598-9172 dmcandrews@provideoandtape.com www.provideoandtape.com

Doug McAndrews, rental manager

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

Jeff Erwin, owner

EQUIPMENT RENTED

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Royal Restrooms of WA; Maple Valley, WA 206-816-5406; fax 425-432-5406 seattle@RoyalRestroomsWA.com www.RoyalRestroomsWA.com

Max & Jayne Van Vleck

Seattle Grip & Lighting; Seattle, WA 206-285-0840; fax 206-285-9503 jknapp@seattlegrip.com www.seattlegrip.com

Mick Lane Jeremy Knapp

Seattle RV Center; Everett, WA 425-741-3860; fax 425-348-0978 jeffr@seattlervcenter.com www.seattlervcenter.com

Jeff Richford

Seattle Teleprompter; Medina, WA 425-454-5659 teleprompting@gmail.com www.seattleteleprompter.com

Maia McQuillan

VER - Video Equipment Rentals; Tukwila, WA 866-837-9288/206-242-3860; fax 206-242-3859 rentals@verrents.com www.verrents.com

Steve Daniels Anthony Routh

Water Buffalo Inc.; Bonney Lake, WA 253-863-8883; fax 253-447-3826 waterbuffaloinc@netzero.net www.waterbuffaloinc.com

Phyllis M. Brown

Westside Camera Crane Co.; Lake Oswego, OR 310-345-2919 1denniskw@gmail.com

Dennis Wilson, president

WorldWind Helicopters, Inc.; Renton, WA 425-271-8441; fax 425-271-8442 info@wwheli.com www.wwheli.com

Michael Oâ&#x20AC;&#x2122;Leary

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