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MEDIA INC. ISSUE TWO 20134
CONTENTSVOLUME 25 • ISSUE 2 2013
PUBLISHER
James R. Baker
ASSOCIATE EDITOR
Katie Sauro
SALES MANAGER
Katie Higgins
PRODUCTION MANAGER
John Rusnak
DESIGNERS
Dawn Carlson
Beth Harrison
Christina Poisal
WEBMASTER
Eric Pederson
OFFICE MANAGER
Audra Higgins
INFORMATION SERVICES MANAGER
Lois Sanborn
COVER
On the set of Lucky Them at Corban
University in Tacoma this past Febru-
ary. The film, directed by Megan Grif-
fiths, stars Toni Collette and Thomas
Haden Church. (Photo by Dave Drum-
mond, location manager. See more
from NW location scouts/managers
on pages 22-25.)
Media IndexPublishing GroupP.O. Box 24365, Seattle, WA 98124-03651201 First Ave. S., Suite 309, Seattle, WA 98134(206) 382-9220 • (800) 332-1736Fax (206) 382-9437Email: [email protected]
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written permission of the publisher. Printed in USA
FEATURES8 VICTORY IN SALEM
14 BACKING THE FUTURE
22 LOCATION VOCATIONLocation Manager Q&A
37 WHY STORYTELLING IS THENATURAL NEXT STEP IN B2BCUSTOMER MARKETING
50 CREATIVE TRENDS IN PRINT:GREAT PRINT SELLS INOUR DIGITAL WORLD
6 WHO’S NEWS
20 WA INCENTIVE FILMS WRAPPRINCIPAL PHOTOGRAPHY
38 CHANGE AGENTS: CMDCREDITS ABILITY TO STAYAHEAD OF RAPID CHANGEAS KEY TO SUCCESS
40 AD AGENCY Q&A
42 BEYONDCUSTOMER SERVICE
44 PRR’S RITA BROGANRECEIVES AWARDFROM THE PORTOF SEATTLE
54 WHAT POWERSYOUR DIGITAL MEDIA?
56 PERSONALPUBLICITY STUNTS
58 DESIGN Q&A
MEDIA INC.INDUSTRY LISTS
28 PRODUCTION COMPANIES
46 CORPORATE MEDIA BUYERS
59 GRAPHIC DESIGN FIRMS
68 PHOTOGRAPHERS
28
66 FINDING YOURPHOTOGRAPHY NICHE
70 ON THE RECORD:PARKS CREATIVEPHOTOGRAPHY
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MEDIA INC. ISSUE TWO 20136
WHO’SNEWSCheck out the latest hires and promotions throughout the Northwest’s media companies. If you would like to submit an announcement andphoto for Who’s News, e-mail them to the editor at [email protected], or mail to P.O. Box 24365, Seattle, WA 98124. Photos should be3” x 5” at 300 dpi, tiff or jpeg, labeled as the person’s name.
Anvil Media/PortlandJeff Bedfordpromoted toDigital Strategist
ADVERTISING/MARKETING AND PUBLIC RELATIONS
CREATIVE
Anvil Media/PortlandNiki Grambohired asDigital Analyst
Anvil Media/PortlandBrandon Zienowiczhired asDigital Analyst
Hodgson/Meyers/Kirkland, WAPaul Suttell added asAccount Director
Hydrogen Advertising/SeattleDanielle Wakatsuki promotedto Senior Account Executive
Hydrogen Advertising/SeattleKim Yale joined asDirector of Accounts
JayRay/Tacoma, WARob McNair-Huffadded asAdvisor
Leopold Ketel/PortlandStephanie Howepromoted toAccount Manager
Leopold Ketel/PortlandKelly Williams Brownadded asCopywriter
Leopold Ketel/PortlandRenee Wilkinsonadded asStrategist
PRR/SeattleAnne Broachehired asAssociate
PRR/SeattleKate Elliotthired asProject Coordinator
PRR/SeattleLynsey Gilchrist Burgesspromotedto Associate III
PRR/SeattleKirsten Haugepromoted toSenior Associate II
PRR/SeattleMyra Keovilayhonghired as AccountsReceivables Specialist
PRR/SeattleLaura LaBissoniereMiller promoted toAssociate II
PRR/SeattleHaley Reutimannhired as ProjectCoordinator
PRR/SeattleDiana Steeblehired as Director ofPublic Relations
PRR/SeattleBritt Thorsonpromoted toAccount Executive
Electric Pen/SeattleRima Sinnoadded as CreativeDirector
Phinney Bischoff/SeattleMichelle Andersonjoined as Director,Strategic Marketing
Printing Control/Tukwila, WACarl Vonder Haarappointed as President
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ISSUE TWO 2013 MEDIA INC. 7
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MEDIA INC. ISSUE TWO 20138
in SalemLANDMARK LEGISLATIVESESSION BREATHESNEW LIFE INTO OREGONPRODUCTION INDUSTRY
It was a bumpy, exhausting, arduous ride—butfor those in the Oregon production industry, itwas well worth it.
On July 8—the final day of the 2013 legislativesession—the House of Representatives passedHouse Bill 3367 to increase the state’s film incen-tive, known as the Oregon Production InvestmentFund (OPIF), from $6 million a year to $10million. This is $2 million less than what Gover-nor John Kitzhaber, an ardent supporter of thebill, had been pushing for, but is still a major winfor the local film industry.
The journey wasn’t smooth sailing for HB 3367,which was comprised of several expiring taxcredits, including the film incentive, the earnedincome tax credit, and the Oregon Cultural Trusttax credit, among others.
VICTORYVICTORY
continued on page 12
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at the CapitolINDUSTRY DAY
This legislative session was long and hard-fought by somany in the Oregon production industry, from the Gover-nor’s Office of Film and Television and the
Oregon Media Production Association, to local castand crew, to the untold number of supporters who
called and e-mailed their legislators.On May 2, OMPA hosted a Media Produc-
tion Industry Day at the state capitol torally in support of the bill, then known asHB 2267. Film and media industry profes-sionals came from all corners of the stateto take part in the event, which featuredspeakers such as Governor Kitzhaber, appear-ances by major industry players, informationalbooths and a reception, all to get the word outabout how much the Oregon media industry meansto the state.
The hard work and enthusiasm demonstrated byso many throughout the state played no small partin the outcome of the 2013 legislative session.
(Above) Surrounded by supporters, LAIKA's ParaNorman stands front and center during Oregon's Industry Day at theCapitol. (Below) The rally featured guest speakers, celebrities, politicians, and even Sasquatch.
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MEDIA INC. ISSUE TWO 201312
Just six days prior to its passage, the bill appeared deadwhen Senate lawmakers failed to reach a “grand bargain” onincreasing tax revenue and cutting pension costs, whichwould have helped fund the tax credits. But during a meetingof the Senate Finance and Revenue Committee a few dayslater, several local industry professionals spoke of the filmincentive’s importance to the state, helping to change manycommittee members’ minds. The Senate amended the bill from$12 million to $10 million, and the bill was passed by a voteof 22 to 8. The following day, the last day of the legislativesession, the House of Representatives concurred by a vote of50 to 9.Since its inception, OPIF has attracted many productions to
the state, such as Grimm, Leverage, Portlandia and Para-Norman, among others, but a higher incentive cap meansmore—and bigger—productions, which equals more jobs.And not only does the bill increase the annual cap of OPIF,
but it expands the local filmmaker program (IndigenousOregon Production Investment Fund, or iOPIF) to include“Media Production Service Companies,” such as post-produc-tion and video game development projects. It also lifts thethreshold for out-of-state projects to $1 million of spend inOregon. For iOPIF, the spending threshold will now be $75,000on the low end, and up to the first $1 million of a project. Thebill will become law on the 91st day following adjournment
sine die (early October).Two other bills passed during the session will also posi-
tively impact the local industry. HB 2505 directs money tothe Oregon Business Development Department, includinga program called the Oregon Innovation Council. TheOregon Innovation Council provides funding for severalinitiatives, such as the Oregon Story Board (OSB), whichis designed to grow and incubate the state’s digital mediaindustry. Funding for OSB should begin later in the fall.Finally, the passage of SB 836 means that film, TV and
theatrical professionals are no longer required to obtain acosmetology license as it applies to working on produc-tions.Vince Porter, executive director of the Governor’s Office
of Film and Television, called the legislative session “trans-formational.”“This past legislative session will prove to be a very
important one for Oregon’s film, TV and digital mediaindustry,” said Porter. “Not only will we be able to attractmore productions with the increase in the incentive, but wewill also be able to further work with the local digital mediaindustry through the creation of the Oregon Story Board.More jobs, more local infrastructure and hopefully morelocal entrepreneurial developments.”For more information, visit www.oregonfilm.org.
continued from page 8
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ISSUE TWO 2013 MEDIA INC. 13
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MEDIA INC. ISSUE TWO 201314
By Jessie WilsonPrograms & Communications Coordinator, Washington Filmworks
Backingthe Future
On June 8, Washington Filmworks publiclyannounced funding assistance recipientsfor the Innovation Cycle of the Filmworks
Innovation Lab. The program, which is part of along-term economic development strategy, isdesigned to invest in the future of film by tappinginto Washington’s creative community and encour-aging original storytelling that capitalizes on newforms of production and technology. The Board ofDirectors of Washington Filmworks may allocate upto $350,000 per year in funding assistance supportto projects that apply to the Innovation Lab. Unlikethe standard incentive program, the Lab is acompetitive and juried process.
Washington Filmworks executive director Amy Lillard announces the funding assistance recipients for the most re-cent cycle of the Filmworks Innovation Lab.
Filmmakers and supporters alike gather to celebrate the winning teams.
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(All photos)The filmmakingcommunitygathered tocelebrate theannouncementof this cycle’sfunding recipi-ents.
MEDIA INC. ISSUE TWO 201316
“The entertainment industry is shifting and adoptingalternative distribution paradigms,” says Amy Lillard,Washington Filmworks Executive Director. “WashingtonState is uniquely positioned to capitalize on this digitalrevolution, and create revenue streams that integrateour in-state technology resources. Washington Film-works is passionate about developing programs thatempower our local storytellers to lead the innovationrevolution. Using our creative capital and technologyexpertise, we can create a new economic developmentmodel for the world to follow.”This cycle of the program was designed to chal-
lenge local filmmakers to create motion picturecontent that traverses multiple delivery platforms.Washington Filmworks was thrilled to receive a diverse pool of25 quality applications to the program.For this cycle of the Lab, Washington Filmworks worked with
a jury of industry experts to evaluate projects and make fund-ing assistance recommendations to the Board. The juryrepresented all facets of motion picture production, multiplat-form storytelling, and emerging entertainment models. Servingon the jury were Kraig Baker, Jane Charles, Scott Macklin andMatt Vancil. The jury members share a deep understanding ofthe business of film.Ultimately the jury chose finalists to pitch and made recom-
mendations to the Board about the level of funding assistancefor each project. The Board voted to allocate funds to five proj-ects and decisions were based on the Lab’s selection criteria,as well as the merits of each project and its investment in Wash-ington State. The Innovation Cycle of the Lab encourages thesefilmmakers to present new business and revenue models thatleverage Washington’s film infrastructure in the digital era.The filmmaking community joined Washington Filmworks at
the 2013 Seattle International Film Festival to acknowledge theachievements of all Lab applicants and celebrate with the fund-ing assistance recipients as the results were revealed. Thefollowing is a list of projects that received funding assistanceand the key creatives who pitched each project:
• The Maury Island Incident – Steve Edmiston(Writer/Producer) and Scott Schaefer (Director/Co-Producer)
• Science-Trak (formerly referred to as Project Pluto) –Kevin Maude (Executive Producer) and Graeme Lowry(Producer)
• Rocketmen – Alycia Delmore(Producer/Actor) and Webster Crowell(Writer/Director)
• Salish Sea – Tracy Rector(Producer/Director) and Lou Karsen(Producer/Co-Director)
• Emerald City – Lacey Leavitt(Writer/Director) and Eric Stalzer (Co-Writer)Congratulations to all filmmakers who
participated in the Lab and a specialthank you to our remarkable jury for alltheir hard work and dedication to theevolution of motion picture storytelling inWashington State.
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MEDIA INC. ISSUE TWO 201318
Filmworks inthe Community
This spring the Washington Filmworks team was busytraveling throughout the state, promoting the localfilm industry at various events.
Among the many events Filmworks attended was the 39thAnnual Seattle International Film Festival (SIFF), whereFilmworks executive director Amy Lillard gave a State ofthe Industry presentation. In addition, Filmworks also part-nered with SIFF to present the 2013 Fly FilmmakingChallenge, a competition for local filmmakers. The 2013
program featured four narra-tive short films by Seattle-basedfilmmakers Ben Andrews, AmyEnser, Lulu Gargiulo, and CurtisTaylor.Lillard was also part of a
panel—along with IATSE 488president Greg Smith, costumedesigner Ron Leamon, and SAG-
AFTRA Seattle Local pres-ident John PatrickLowrie—at Seattle’s annualFolklife festival. Entitled“Washington Filmworks:Careers in Film,” the panelanswered questions about theirexperiences working in theindustry and attendees learnedways to build their own filmcareer in Washington.Also this spring, Filmworks made visits to a couple of new
film offices, one located in Walla Walla and the other inShoreline, to meet with local representatives and discussthe potential economic benefits of increased motion pictureproduction in their area.For more information, visit www.washingtonfilm-
works.org.
SEATTLE TELEPROMPTERMaia McQuillan // www.seattleteleprompter.com // CELL 858.945.2076
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ISSUE TWO 2013 MEDIA INC. 19
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Two Washington Filmworksproduction incentive projects
wrapped principal photography thissummer.
The first, 7 Minutes, wrapped in June after shooting in Everett,Washington. Written and directed by first-time feature filmmakerJay Martin, the action-drama stars an exciting mix of up-and-coming talent such as Luke Mitchell (Neighbours), Leven Rambin(The Hunger Games), Zane Holtz (The Perks of Being a Wall-flower) and Brandon Hardesty (Bucky Larson), as well asseasoned pros Kris Kristofferson (Blade), Kevin Gage (Heat) andJason Ritter (Parenthood). The filmwas produced by Jacob Estes,Jacob Mosler, Jim Hart and Rick Rosenthal, in association withWhitewater Films. This production is the second feature film thatWhitewater Films has brought to Washington State in the last twoyears.
7 Minutes tells the story of a once-promising college athlete,his drug-dealing brother and their ex-con friend who embark onan ill-fated heist. As each minute of their simple plan unfolds, theaction spirals closer to a tragic conclusion.“The production was based in Everett, where the combination
MEDIA INC. ISSUE TWO 201320
WF Incentive Films WrapPrincipal Photography
of urban and rural settings within minutes of each other made fora very attractive production center and central location,” saidproducer Rosenthal. “Everett city officials were incredibly helpful.Their positive attitude and unbelievably proactive cooperationmadethe budget of our indie film go a long ways. With picturesque loca-tions and solid film crews, the lure to shoot in the Pacific Northwestis strong, but it was the 30-percent incentive fromWashington Film-works that helpedmake an unbeatable case for filming in the state.”Meanwhile, anotherWF incentive project,Laggies, wrapped after
WashingtonState Senatorsand Representa-tives were in-vited to the setof Laggies onJuly 1. (l to r)Rep. Reuven Car-lyle, Sen. JeanneKohl-Welles,Rep. Ed Orcutt,WF Board Mem-ber Becky Bog-ard, and directorLynn Shelton.(Courtesy ofWashingtonFilmworks)
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ISSUE TWO 2013 MEDIA INC. 21
filming in the Puget Sound region throughout June and early July.Laggies is a feature film directed by Seattle-based Lynn Shelton(Touchy Feely, Your Sister’s Sister) and written by Andrea Seigel.The project stars ChloëGraceMoretz (Dark Shadows), Keira Knight-ley (Pirates of the Caribbean), and Sam Rockwell (Iron Man 2).Laggies is produced by Alix Madigan, Rosalie Swedlin and Steve
Golin from Anonymous Content, and Myles Nestel from The Solu-tion Entertainment Group.The film tells the story of a woman who dodges her long-term
boyfriend’s marriage proposal by pretending to be at a weeklongseminar, but she is actually hanging out with high school girls. Thewoman must struggle to decide what will really make her happywhile reliving the highlights of her high school days. This produc-tion is the first feature film, and third project, that AnonymousContent has brought to Washington State since 2009.Laggies filmed key scenes in several Puget Sound region munic-
ipalities, including Seattle, Shoreline, Kenmore, Lynnwood, MillCreek, Renton, Bellevue and Bothell. The bulk of production tookplace in Seattle and featured numerous locations and neighborhoodsin the Emerald City.“I have been delighted, in every respect, by the experience of
shooting Laggies in the beautiful city of Seattle. Everything—from
the application for funding assistance, the support of WashingtonFilmworks, through the actual shoot—was an effortless, joyousexperience. I loved shooting in Seattle. The crew was simplyoutstanding in every aspect and the locations we secured wereperfect,” said producer Madigan. “It was also wonderful to spendtime in this great city, which has much to offer.”7 Minutes and Laggies are two of 90 projects WF has approved
through the standard funding assistance program. These produc-tions represent an estimated $213-million economic impactstatewide since the Washington Legislature created WF in 2007.
“With picturesque locations and solid film crews,the lure to shoot in the Pacific Northwest is strong,but it was the 30-percent incentive from Washing-ton Filmworks that helped make an unbeatable
case for filming in the state.”- Rick Rosenthal, Producer, 7 Minutes
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MEDIA INC. ISSUE TWO 201322
Craig StewartCraig Stewart Locations, LLC
206-818-6357www.craigstewartlocations.com
How long have you been in the industry and how didyou get into this field?I started at the University of Washington Extension Film
Program and got a job on a movie with my teacher, Laszlo Pal,and his friend, Vilmos Zsigmond, in 1987. I did everything fromprojecting the dailies at night to driving wardrobe trucks to setin the morning and volunteering for every department possible.I was fortunate to have Chuck Fey showme how to load a Panav-isionmag under Vilmos Zsigmond’s camera department. Back thenI was more interested in the camera department. Along the way,I worked for Alan Siegel Films/November Films for about 15 years.We were like a family, traveling all over the country making carcommercials. I started as a production assistant, then startedscouting and coordinating transportation, then became assistantdirector. The scouting part stuck.
LOCATION VOCATIONSome of the state’s most seasoned location scoutsandmanagers talk toMedia Inc. about their careers,their on-set experiences, and their favorite North-west locations.
What are some recent production projects you’veworked on?I just finished working on a Chevy Silverado music video for
Tool of North America with Bob Richardson directing. The storywe had to tell was about America, so we scouted from the Wash-ington coast beaches, to the Canadian border, to the rolling hillsof the Palouse near Idaho. When I have the chance to show filmcrews what Washington has to offer for locations, they are alwayssurprised and end up changing their schedule, shooting more dayshere than they planned. When we drove through Eastern Wash-ington on this scout, the crew, like most, had no idea that EasternWashington could double as Utah, Arizona, or New Mexico. Weshot fishing boats for coastal, wheat fields and a dairy farm forMiddle America, a waterfall for the Rockies, and a cattle ranchin one of Eastern Washington’s coulees for the Southwest UnitedStates. They left Washington with more than they expected.
What kind of tech gear (i.e. cameras, computers,gadgets) are you currently using?I try to keep it simple. I shoot with a Canon 5D, process my
pictures on a MacBook Pro and load all locations to myWeb site.OnmyWeb site, I have access to my library of locations and organ-ize each project into scenes or location categories and attach therelevant notes for each location. These days a Non DisclosureAgreement is more common than not, so when I work for compa-nies like Microsoft, Amazon, Nintendo and Starbucks, myWeb siteprovides a secure link to each project with a username and pass-word.
What do you think makes a good location manager orscout?Location managing is mostly about people skills. Hearing what
the production company wants to accomplish in terms of tone,look, and feel of the overall story. Finding the locations that areneeded that fit into the schedule and communicating clearly witheach property owner and the immediate community. Developingtrue and honest relationships is the key. You can’t cut cornershere! You have to do your homework. If the shoot requires a last-minute location need, I will have a better chance to solve the issuebecause I did my homeworkand developed relationships inthe immediate community. Ifyou listen closely to people youmeet, the information they offercan often solve issues becauseof the people they know. It’s notwhat you know… it’s who youknow.
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ISSUE TWO 2013 MEDIA INC. 23
Alissa DeslerA Hidden Location NW
509-531-5454www.ahiddenlocation.com
How long have you been in the industry and how didyou get into this field?I’ve been in film about five years. I first started out as an extra
in TNT’s Leverage andNBC’s Grimm. Then,through Denise Gibbs atForeground Background, Imoved up in the world tofeature films such as LateAutumn, filming a scenelocally here in Pasco,Washington. The other twofeature films were filmedin Seattle. I have beeninvolved in film locationsfor three years. My first
location position was for an independent film out of Portland,Oregon. The film was Sister Mary’s Angel and soon to come,Sticks and Stones, both written and directed by Mary Knight.
I found myself driving to Portland, then to Seattle, and maybehome for a day—maybe. It was at this point in my travels Ithought to myself, “Why hasn’t there been much filming herein Eastern Washington?” That was when I decided to startpromoting this beautiful side of the state. I take great pride inthe Tri-Cities; we’ve stood tall throughout the economy and itsdownfall. We are a very strong community and we thrive toinvest into our community.
What are some recent production projects you’veworked on?Nature Valley Soft Baked Oatmeal Squares commercial, at
Skamania Lodge. CyscoSystems New York for aprint ad involving apples, atColumbia Fruit Pickers. Afeature film written anddirected by Travis Zariwnytitled Intruder.
What are some of yourmost exciting discov-eries as a locationscout/manager?I’d have to say areas of
land I haven’t yet discov-ered in my travels, I like to go home and research them. I love tolearn about our history, especially the Columbia River and TheFlood.
Tri-Cities, Washington Tri-Cities, Washington
425.269.3396 • [email protected] • www.drummondmedia.com
Location Managementand Production Support
Creative & ThoroughLocation Scouting
Friendly & Reliable Service
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MEDIA INC. ISSUE TWO 201324
What is your most memorable experience on the job?I’d have to say that would be on our own land here in
Kennewick, Washington. My husband and his family are farmersand we own land stretching the Columbia River starting inKennewick wrapping around to the McNary Dam; we own justover 20,000 acres. Well, one time while out scouting on our prop-erty for a Seattle-based t-shirt company, I stumbled upon a metalbox that had just been tossed alongside the road. Well, I pickedit up and opened it. Needless to say, I threw it right back down;I hadn’t stopped to think what could be in that box before I openedit. But as I pulled it open, for some reason I thought to myself,“this could be ashes!” Sure enough, it was, but now I had thrownit down so hard and fast I spilled most of the ashes out. I ran backto my truck faster than I have ever ran before. I called myhusband, who then called Benton County Sheriff and they cameout and retrieved the ashes like it was something that they dealtwith often. I still get goosebumps telling that story.
Dave DrummondDrummond Media
425-269-3396www.drummondmedia.com
What are some recentproduction projectsyou’ve worked on?I recently wrapped on
Lynn Shelton’s latestfeature, called Laggies.Earlier this year I didsome work for a TNTpilot called Lost &Found, and also workedon the feature film LuckyThem.
What kind oftech gear (i.e.cameras,computers,gadgets) are youcurrently using?I do most of my
shooting on a CanonDSLR, but also usesome of the newfeatures of theiPhone quite a bit,including thepanorama featureand the ability toshoot short videos.Both give clients the ability to see a bit more of a particular loca-tion, or to get a sense of potential camera movement.
What are some of your most exciting discoveries as alocation scout/manager?I love discovering hidden or forgotten parts of the region. On
a recent job I was given a tour of some of the basements and lostunderground spaces within Seattle’s International District—many of which haven’t changed since the 1930s.
What is your most memorable experience on the job?A few years ago I worked on a commercial that involved a large
herd of goats. The scene involved the goats jumping out of a truckonto Pine Street in the middle of the city. The shoot took placethe day after one of Seattle’s freak snowstorms in December, andthe entire set was covered with ice. Trying to keep the goats fromescaping was a weird but very memorable experience.
What do you think makes a good location manager orscout?Finding the right balance between the creative and the practi-
cal is the essence of location management. A good scout firstneeds to learn how to notice interesting places that others mightmiss. It requires a good creative eye, but also an ability to lookat a location pragmatically, to determine how a film crew wouldoperate there. You also need to be persuasive, with the ability toconvince location owners to allow filming on their property. Some-times that is the trickiest part.On the set of Lucky Them.
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ISSUE TWO 2013 MEDIA INC. 25
Mark WygantMark Wygant Productions
206-679-3072www.markwygant.com
How long have you been in the industry and how didyou get into this field?25 years right out of college, I did some basic scouting for still
photographers in the late ‘80s while working as a freelance assis-tant. In 1990 a photographer from L.A. referred me to a largeproduction company and a scout job involving aerials. Thephone hasn’t stopped ringing since for locations.
What are some recent production projects you’veworked on?John Deere, Chase Bank, Microsoft.
What kind of tech gear (i.e. cameras, computers,gadgets) are you currently using?Lumix, Mac, Photoshop.
What are some of your most exciting discoveries as alocation scout/manager?Underground rivers and villages in Mexico, Moab, and all the
interesting sub-cultures around the U.S.
m a r kW Y G A N T
Never Had A Bad Day
productions
What is your most memorable experience on the job?Marlboro projects and working with Cowboys.
What do you think makes a good location manager orscout?Attention to detail, staying on task and working fast.
Mark Wygant and the creativedirector from John Deere.
Wygant’s Montana Crew.
m a r kW Y G A N T
Never Had A Bad Day
productions
50 States & International Experience
Complete production services
Location Manager
Detailed Nationwide Locations
Budgets & Schedules
Large Crew & Resource Database
Past productions include:
Anheuser Busch, AT&T, Blue Cross,
Boeing, General Motors, Jaguar,
John Deere, Microsoft, Nike
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Seattle, WAshington
markwygant.com • Tel 206.679.3072
Email [email protected] Monkeys With Footballs Production
2-13 Location Q&A:Layout 1 7/26/13 2:37 PM Page 25
MEDIA INC. ISSUE TWO 201326
BRIEFS (
Digital One Puts the Right Edge on Mutt Industries’Gerber Spot, Wins 2013 Communicator Award
Por tland’sDigital One hasearned anAward of Excel-lence in thecategory ofVideo &Commercial:Sound Designat the 2013CommunicatorAwards.
Mutt Indus-tries tappedDigital One for the Gerber Knives project, “The Instant.” Sound designerChip Sloan worked closely with art director/editor Adam Long, writer MikeHouston, creative directors Scott Cromer, Steve Luker and Mike McCom-mon, and producer Chris Lawson.
The goal of the audio was to create not just footsteps, but the ominousfeeling that Trouble is a living thing—a thing that stalks us—and that partof preparing for Trouble is having the proper weapon to drive it away.Throughout the spot, Trouble is heard just a split second before it arrives,maintaining a feeling of adrenalized anxiety throughout.
No strangers to the great Northwestern outdoors themselves, Sloanand Houston left the studio to do Foley work for the spot. The project wasalso lent a gritty, folksy vibe with the accompaniment of an original songby Charlie Campbell.
Adam Long sewed the whole thing together to effectively capture theinstants in which Trouble arrives, and the essence of the people whostand nose to nose with it.
To view the award-winning spot, visit www.digone.com.
Spin’s MatthewBillings Teams Upwith Tom Skerritt
Tom Skerritt lent ahand and a voice-overfor Treehouse, whichhelps level the playingfield for foster youthby providing educa-tional and essentialsupports. The organi-zation’s new imagevideo premiered attheir Annual Champions for Foster Kids Luncheon at the Seattle Shera-ton this spring.
The commercial was directed by Matthew Billings of Spin Creative andwritten and produced by Jim Lombardo. The session marked a reunionof sorts for Skerritt and Billings. They both starred with Linda Evans inthe 1990 TV movie She’ll Take Romance, which was shot in Seattle.
For more information, visit www.spincreativegroup.com.
The Digits Now Available in PBS LearningMediaPortland-based Web series The Digits recently joined forces with
education icon PBS to offer educators a free teacher-tested mathresource for their elementary school students. Created by Scotty Iseri,The Digits became part of PBS LearningMedia in April, offering teach-ers 10 appisodes (Web episode that’s also available as an app) of TheDigits.
“I have been watching PBS from before I can remember so you canimagine how proud I am that PBS has acknowledged the educationalvalue of The Digits,” said Iseri. “The Digits has been in development foryears, and this new partnership is the most important one we’ve securedso far. The Digits helps older kids learn math just like Sesame Street
MUSIC COMPOSITION | ISDNSOUND DESIGN | MUSIC LICENSING
VOICE RECORD | ADR | SOURCE CONNECT
AUDIO POSTPRODUCTION
2211 NE Oregon St.Portland, OR 97232
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ISSUE TWO 2013 MEDIA INC. 27
Martin Model Management Open forBusinessMartinModelManagement, a full-servicemanage-
ment company representing men, women, andchildren ages 8 and older, is now open for businessin Bellevue, Washington. The new agency offersamazing talent, including new models and newactors/actresses, for print, fashion shows, promo-tional events and broadcast work.For more information, visit www.martinmodeling.com.
Marc Bowen Productions Update2013 brings several new clients and some great projects for Portland-based
film and video production company Marc Bowen Productions. Current andrecently completed projects include:• Learning.com– A series ofWeb-based tutorials for teachers and students.• Port of Portland – Video production for display in an upcoming OHS exhibit.• Portland Community College– A series of informational productions for
the Bond program, showing ongoing construction projects at several PCCcampuses. Featuring the many benefits the program provides for the commu-nity as well as the college and students.• Blount International, Inc. – Ongoing quarterly reports for employees.For more information, visit www.marcbowenproductions.com.
helps younger kids with their ABCs and 123s—using fun and practical situ-ations requiring problem solving—and I am thrilled for this content to beavailable to educators nationwide through PBS LearningMedia.”Now in its second season of filming, The Digits is available on YouTube
for Schools and as an app on all tablet devices and phone platforms includ-ing iTunes, Amazon, Android and Kindle.For more information, visit www.watchthedigits.com.
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MEDIA INC. ISSUE TWO 201328
NWPRODUCTION COMPANIES
TOP LO
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LAIKA/house; Portland, OR503-225-1130; fax [email protected]/house
Lourri Hammack,president/EP
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VODA Studios; Seattle, WA206-441-8158; fax [email protected]
Josh Courtney,chairman/CCO
WND
CMD; Portland, OR & Seattle, WA503-223-6794; fax [email protected]
Phil Reilly, presidentMike Cobb, VP salesMike Pool,managing director
$6.5m
Victory Studios; Seattle, WA206-282-1776; fax [email protected]
Conrad Denke, CEO $6.5m
Wattsmedia, Inc.; Seattle, [email protected]
David Mangone,EP/director
$3.89m
Cesari Direct; Seattle, WA206-282-1492; fax [email protected]
Rick Cesari, presidentTim O’Brien, VP
$1.5m
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ProMotion Arts; Seattle, WA206-938-0348; fax [email protected]
Steve Crandall,managing directorDrew Witt,managing producer
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$987k
Clatter&Din, Inc.; Seattle, WA206-464-0520; fax [email protected]
Peter Barnes, presidentLeigh Eckert, EPVince Werner, CD
WND
Limbo Films; Portland, OR503-228-0844; fax [email protected]
Gary Nolton,owner/director
$759k
Media Arts, Inc.; Redmond, [email protected]
Scott P. Munro,president
WND
Blue Plate Digital; Seattle, WA206-388-0174; fax [email protected]
Brian Pelzel,producer/director/ownerDoug Cooper,creative strategist/producer/director
WND
Persistent Image, Inc.; Langley, WA360-321-8252; fax [email protected]
Bruce Towne, president $560k
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Cinemagic Studios; Portland, OR503-233-2141; fax [email protected]
Joe Walsh, president/EPDebbie Mann,office manager
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red jet films; Seattle, WA206-282-4534; fax [email protected]
Jeff Erwin WND
Production Partners; Seattle, WA206-441-3773; fax [email protected]
John Douthwaite,president
$325k
GoodSide Studio; Seattle, [email protected]
Matt Krzycki, CD $300k
Rocket Pictures; Seattle, [email protected]
Les Fitzpatrick $270k
CineMonster, Inc.; Poulsbo, WA206-953-1946/[email protected]
Dale Fay, owner $250k
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Redstone Pictures; Seattle, WA206-999-0490; fax [email protected]
Cass Redstone, principalJessie Redstone,principal
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$203k
EMA Video Productions, Inc.; Portland, [email protected]
Ed Mellnik WND
KTVA Productions; Portland, [email protected]
Rick Phillips $112k
Adams Creative & Production Services; DesMoines, WA206-824-6970; fax [email protected]
Dan Adams,president/CD
WND
Blu Room Advertising, LLC; Steilacoom, WA253-241-8912charles@bluroomadvertising.comwww.bluroomadvertising.com
Charles Davis, ownerRussell Silva, co-owner
DND
n/fek/tious; Seattle, WA206-956-0902; fax [email protected]
Charles CoreScott DouwesTroy Murison
DND
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ISSUE TWO 2013 MEDIA INC. 35MEDIA INC. ISSUE ONE 2013
McDONALDINSURANCE GROUP, INC.
S P E C I A L I Z E D I N D U S T R I E S
Wa r d r o b e S e t s Po s t P r o d u c t i o n P r o p s Co m m e r c i a l s M u s i c V i d e o s
V i d e o D u p l i c a t i o n B r o a d c a s t i n g A u d i o, S o u n d, V i d e o Fe a t u r e Fi l m s
S h o r t Te r m P r o d u c t i o n s D o c u m e n t a r y I n f o m e r c i a l V i d e o g r a p hy
C a l l J o h n R . G u n nA C C O U N T E X E C U T I V ET O L L F R E E : 1 . 8 8 8 . 8 2 7 . 7 4 0 0D I R E C T : 4 2 5 . 8 9 7 . 5 9 5 6D I R E C T F A X : 4 2 5 . 8 9 7 . 5 9 5 7j o h n g @ m c d o n a l d i n s . c o m
6 2 0 K i r k l a n d W a y , S u i t e 1 0 0 K i r k l a n d , W A 9 8 0 3 3
O F F E R I N G C O V E R A G E F O R A L L Y O U R I N S U R A N C E N E E D S .
S p e c i a l E f f e c t s Tr a n s p o r t a t i o n L i g h t i n g a n d G r i p R e n t a l s S t a g e s
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Pal Productions, Inc.; Seattle, [email protected]
Laszlo Pal, president DND
Spin Creative; Seattle, WA206-686-1090; fax 206-686-1091contact@spincreativegroup.comwww.spincreativegroup.com
Matthew Billings,president/CD
DND
Spirit Media; Clackamas, OR503-698-5540; fax [email protected]
Bill Dolan, presidentAnne DeRock,creative services director
DND
White Rain Films; Seattle, WA206-682-5417; fax [email protected]
Brad BollingBill Phillips
DND
Zupa Films LLC; Portland, OR503-860-0921; fax [email protected]
Adele Amos, EP DND
NR
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ISSUE TWO 2013 MEDIA INC. 37
By Mandy Emel Guest Columnist
People are natural storytellers. Forcenturies, storytelling was theprimary way that cultures around
the world preserved their traditions andkept their customs alive.Over the last few years, B2B marketers
have strayed from one of the most natu-ral, easy ways to influence an audience—the art ofstorytelling. It is as though metric-packed case studies havereplaced the purposeful narrative. Many marketers have beenso focused on metrics, proof points, efficiency and buzzwordsthat they’ve lost sight of the fact that customers are humanbeings who crave a good story. It is no surprise when they stopreading.Good news.The art of storytelling is making a big comeback and regain-
ing relevance in B2B marketing. Major corporations andmarketing professionals are realizing that metrics and valuepropositions alone will not resonate powerfully with theircustomers. Customer engagement begins with emotion, andthere is no better way to make that happen than by telling ameaningful story.One sign of the shift to storytelling is the blurring of lines
between B2B and B2C marketing. Storytelling requireshuman-to-human—rather than human-to-product—connection. Most professionals who market directly toconsumers understand that we live in an “attention economy.”You have to give the customers something they can relate toon an emotional level, and you have to do it early in order tohave a fighting chance of holding their interest.B2B buyers are not so different from consumer buyers—
both demand that your story is “better” than the previousbrand’s story, more so than ever before. This is why B2Bmarketers must change the way they engage their customers.To be clear, purchasing decisions in B2B marketing are not
purely emotional. Rational buying triggers are still important,and savvy marketers know that buying decisions are not madein an emotional vacuum. But storytelling can provide an essen-tial human context, so that a customer who is leaning towardmaking a rational purchase decision also gets the sense thatit “feels right.”Let me illustrate with a telling example—the Halo 4 Big Data
story. The Halo franchise is an award-winning global enter-tainment phenomenon. Halo 4 is the latest release of an epicsci-fi adventure that achieved more than $220 million in globalsales in its first 24 hours, and attracted more than 4 millionplayers in its first five days after launch. The Halo case studyfocuses on data mining to gain insights into player preferencesand behavior. This could easily have been a dry, jargonistic anddata-driven story, but marketers were able to turn the casestudy into a huge success by making a few tweaks to the
Why Storytelling is the Natural NextStep in B2B Customer Marketing
format and highlighting the dramatic and emotional elementsthat epitomize a good story. The focal point was a five-week,free-to-enter online tournament with 2,800 prizes at stake. Themarketers emphasized the big challenge faced by Microsoft’s343 Industries team, which needed to quickly process andanalyze massive amounts of raw data in order to be able toproduce stats, update player rankings and support a daily e-mail campaign designed to increase player retention. Couldthey succeed? Read the customer story to find out.Compared with the next most popular case study published
by Microsoft on the same day, the Halo 4 customer storyreceived 3,357 percent more views: 3,995 views vs. 119. Of the102 case studies published by Microsoft in March 2013, theHalo 4 story was viewed 7.5 times more than the second-most-viewed case study. The Halo 4 customer story also accountsfor 26 percent of all views for all 102 case studies publishedby Microsoft during that month.The lesson the Halo 4 story teaches us is clear: Proof points
and metrics are important, but marketers shouldn’t let themconsume the entire tale. Purely rational stories, absent of thehuman elements of dramatic tension and emotional impact,are forgettable and do little to build loyalty to your brand.
Here are five rules to help you bring yourcustomer stories to life:
Tell your story the sameway you would tell it toa friend or a colleague.
Too many B2B writers revert to formal corporate language.Instead, write as though you are having a conversation with anold college friend. Use buzzwords and jargon sparingly; make thestory fun to read. It’s not a matter of “dumbing down,” but rathera matter of being approachable and establishing a connection.
Don’t just tell yourcustomer’s story.Tell their customer’s story.
In B2B marketing, there’s an unfortunate tendency to focus onyour customer. Remember that your customers have customersof their own. How does the use of your products and servicesimpact your customers’ customers? If your customer is savingmoney by using your solution, why not highlight how that is alsobenefiting their customers?
Create suspense.“Once upon a time, everything was perfect, then it got
even more perfect.” Is that what engages readers? Notlikely. Tension is part of everyday life, and readers expect it in agood story. You don’t have to advertise your company’s short-comings in order to create tension. Instead, talk about realbusiness challenges where the outcome is uncertain, and thenbring us along as you overcome those challenges.
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MEDIA INC. ISSUE TWO 201338
Adifficult economy. A rapidlychanging industry. An ever-evolving business model.
For any agency, trying to survive the turmoil of the past fewyears has been challenging at best. Yet CMD, one of the leadingmarketing agencies on theWest Coast, credits these factors as keyto its success.CMD recently reported one of its most successful quarters in
the company’s 30-plus-year history, achieving record-settingrevenue and profit since the beginning of 2013. In the past threemonths, the agency has added 10 new hires and promoted 6employees. CMD continues to expand its regional presence, withoffices in Seattle and in San Francisco. It has added top talentand new services, including a strategy and solutions group,responsive design capabilities and a metrics and analytics divi-sion.Most importantly, CMD has
broadened its client portfolio,netting a number of newaccounts and clients. Withroots working with some ofthe largest global technologybrands and experience in thehousing and manufacturingsegments, the agency hasused its knowledge to thebenefit of new tech sectorclients such as ASUS andleading consumer brandssuch as Expedia.“Rather than resist change,
we’ve embraced it,” said Phil Reilly, president of CMD. “Oursuccess can be credited to the fact that we’ve never been afraidto evolve our model to fit what clients need.”
Change Comes Second NatureChange comes naturally to CMD, which was founded in the
days when CD-ROMs were considered innovative, and at thetime, the agency focused heavily on providing training services.As marketing strategies evolved and technology increased, CMDstayed on the forefront by working with clients considered lead-ers and innovators in their respective fields. The agency beganincorporating new services, increasing its creative talent pool andshedding old ways of doing things. Constant evolution becamepart of its DNA.Now with approximately 150 employees, Reilly says CMD is
big enough to invest and build out services that have the mostsignificant impact on clients’ marketing needs, but small enough
to be nimble when it comes to institutingchange rapidly. Today, the agency offersdigital, advertising, design, social media,PR, paid media, film and video, events,promotion and content marketing, andmetrics and analytics.“We’ve always been a big believer in
having more than one arrow in ourquiver,” said Reilly. “We invest in andbuild out areas that we believe will havegrowth potential and the biggest impacton clients’ marketing strategies. It’s easyto get distracted in an industry that’s changing so rapidly, so wefocus on how to deliver the most effective campaigns possiblefor the client’s investment.”
Increasing Competitiveness in a Tough EconomyCMD credits a tough economy for being a catalyst for change
and helping the agency succeed. The agency moved from beingheavily concentrated in thehousing segment before theeconomic downturn to effec-tively broadening its clientbase and concentrating ontechnology and other leadingbusiness-to-business andconsumer brands. Addition-ally, CMD saw early on thatdata and analytics would playan important part in howmarketing expenditures wouldbe budgeted for and deter-mined moving forward.“Every client looks for
return on marketing investment and how it impacts the bottomline—and that becomes especially important in a down econ-omy. That’s why we’ve focused on things like adding a stronganalytics department, which put us way ahead of the competi-tion and helps reassure clients that their dollars are workingas hard as possible for them,” said Reilly.According to Reilly, it’s that ability to maintain a competitive
edge and focus on the company’s core values that has allowedthe agency to grow and change the definition of what it meansto be a “creative” agency.“In the old definition, being a ‘creative agency’ meant produc-
ing creative ads,” said Reilly. “At CMD, we believe the truemeaning of creative is the ability to understand and implementthe right combination of effective solutions that motivates anaudience to take action. It’s a balance of both art and science.And that’s the agency of the future that CMD is excited to helppioneer.”
Phil Reilly
“Our success can be creditedto the fact that we’venever been afraid to
evolve our model to fitwhat clients need.”
Change Agents: CMD CreditsAbility to Stay Ahead of RapidChange As Key to Success
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MEDIA INC. ISSUE TWO 201340
Media Inc. spotlights twoNorthwest ad agencies
www.hmgseattle.comWhat would you say are your company’sspecialties?
HMG is laser focused on direct marketing solutions that helpour clients generate leads, acquire new customers, and growin an accountable, measurable and cost-effective way.
What makes you stand apart from yourcompetitors?
We wholeheartedly embrace the science, art and method-ology of direct marketing, and bring large-agency experience,small-agency flexibility and a strong sense of partnership toevery project.
How has your company adapted to theincreasingly digital and mobile advertisinglandscape?
Much of what gets labeled “digital” along with mobile arerelatively new tools, but the principles of our business haveremained the same for many years. Our job is to findcustomers and prospects in the medium and channels they aremost likely to respond, whether that’s through the mail, on acomputer, phone or tablet. Every client situation is differentand we resist any jump into the latest tool or technology,preferring to first test our way into both traditional and newchannels to deliver on our campaign objectives.
Is there a project you’re working oncurrently that you’d like to tell our readers alittle about?
HMG is working on a series of projects that aim to fill thewide gap between traditional campaign executions and ad-hoc(and more expensive) one-off projects. These projects comein the form of web-based “marketing closets” which holdtested and proven creative templates and best practicelist/offer/timing guidelines developed and housed for specificclient objectives. Once the creative assets have been devel-oped, closet engagement and execution can be initiated
directly by the client or from their dealer/store/field agentdistribution partners. The end result is quicker time tomarket, volume scaling that affords more efficient pricing,and a flexibility that allows for client or partner-specificmessaging.
www.jonesadvertising.comWhat would you say are your company’sspecialties?
We specialize in telling client stories with video in digital andtraditional media.
How has your company adapted to theincreasingly digital and mobile advertisinglandscape?
We have been working in digital and social media for aboutten years, and mobile for about five, so it’s not new to us. Whatis new is that we are no longer throwing token amounts ofmedia behind digital, in many cases digital vehicles are ourprimary media. Each campaign we create has to centeraround a concept that can work in virtually any medium, anddigital and mobile are now integral parts of our campaigns.
What is one recent advertising trend you areexcited about (or wary of) and why?
The six-second Vine videos is a fun trend. We regularly dofive-second TV ads and actually did a four-second ad in theSuper Bowl to announce the Washington State Fair, so we’reused to creating short messages. It will be interesting to seewhat people create, and how it applies to advertising.
Is there a project you’re working oncurrently that you’d like to tell our readers alittle about?
We’re rebranding the Puyallup Fair to The WashingtonState Fair. Look for our multi-media campaign running in lateAugust.
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ISSUE TWO 2013 MEDIA INC. 41
Relax. Targeted marketing
is our specialty.
www.gcdirect.com206.262.1999 x 205
eRelax
05999 x 206.262.12comect.gcdir.www
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MEDIA INC. ISSUE TWO 201342
By Lisa Magnuson Guest Columnist
Are all your customer-facing employeesarmed to sell? Are you attracting expansionbusiness on a regular basis through your
front-line people? Is your company thinking beyondcustomer service to win more business?If you want to grow top line revenues and attract
more customers, then everyone on your crewmust get in the boat,grab an oar, and begin to row. Yes, we mean everyone—from theCEO to account managers to customer service to marketing and
Beyond Customer ServiceGROW YOUR BUSINESS BY LEVERAGING YOUR ENTIREORGANIZATION TO EXPAND CURRENT ACCOUNTS
PR. If you’re a university, then we mean the folks in the admis-sions department, too. From stem to stern, it’s all hands on deck,and everyone is pulling for the team like they mean it.Leading organizations, both in the private and public sectors,
are seriously re-thinking their sales assets. In short, they believethat if you engage or impress the customer in a meaningful way,you can make a difference. Combine this idea with another, suchas it’s much easier to expand business with current customersthan to land new ones. This synthesis means you have the oppor-tunity and obligation to influence the customer’s perception ofvalue and their willingness to invest additional dollars in your
Building a top-notch sales force is a dynamic endeavor. Itrequires a solid foundation of leadership, market focus, salesprocess and ongoing management. However, what if you’re nota sales leader and you don’t manage salespeople, yet find your-self in the position to contribute to revenue growth? Maybe youare in charge of a group of accountmanagers, marketing person-nel, field service folks, customer service reps, admissions orintake people. Finally here’s a guide for non-sales leadersdesigned to help arm their front line people to contribute to thetop line and bottom line results.
Leadership• Can your people articulate the link between their role and
the organization’s goals for growth?• Do your people have written strategies and goals for
contributing to the company’s revenue targets for the year?• Do your people have clearly defined and documented expec-
tations for behaviors, skills and results as it relates to expandingbusiness?• Have you set aside time on a regular basis to observe your
people’s interactions and conversations with customers relatedto expanding business?• Do substandard results trigger a corrective action process?• Does your organization have a pro-active, consistent, thor-
ough approach to recruiting top-notch talent including skillsassociated with account development?• Does your department have aworking process to encourage
employee input, share ideas and reinforce best practices associ-ated with growing business?• Have you invested in training specific to outreach and are
resources for support available on an ongoing basis?• Does your group have simple tools available to help expand
business?• Does your leadership style promote a winning, can-do atti-
tude for sales expansion?• Do you recognize and celebrate successes to reinforce
successful habits?
Market Focus• Have you identified all the customer touch points and tested
them for quality and consistency of message?• Do your people understand the ‘value proposition’ of your
products or services?• Do your resources have a clear understanding of how to
‘differentiate’ the company and its products or services?• Has your group reviewed emerging market trends and how
to capitalize on them?• Does your department have effective customer feedback
mechanisms in place?• Are your people empowered to make decisions that enable
them to respond to customers and opportunities in a timelymanner?• Are your people clear on the marketing efforts underway
within the organization?
Development/Outreach• Are the steps to expansion documented specifically for your
department?• Does each of your people have a basic understanding of a
typical sales cycle?• Do your employees have access to helpful talking points,
questions or checklists designed to guide them through the expan-sion process?• Do you have an automatedmethod to collect and share sales
information?• Is there a process in place to ensure cooperation and commu-
nication between your department and sales within yourcompany?• Does your organization have an active referral and reference
program?• Is there an efficient way for your people to pass or transmit
sales leads or sales intelligence to the sales force?• Is there a solid reward system that tracks your people’s contri-
butions, and provides a means for rewarding them for theirsuccesses?
Sales Management Guide for Non-Sales Leaders
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ISSUE TWO 2013 MEDIA INC. 43
products and services.
The StruggleHowever, many organizations struggle to make the transfor-
mation. Non-salespeople just don’t want to sell. For most, it’s notpart of their calling, mission, or skill-set ‘profile’ in the businessworld. They don’t see themselves in a revenue-generating role, andmay even carry a negative impression of selling. Let’s face it, inthis extremely competitive, high-definition age, we almost haveto be ‘born’ to sell, or at least be ‘wired’ for it these days. Besides,most departments are (or will surely claim to be) overworkedwith the task at hand; they don’t believe they have any additionalbandwidth to take onmore duties, let alone be interested in tryingtheir hand at ‘sales,’ even if it’s only part-time.
Be in Front of Your CompetitionThere’s a fine line between asking everyone to be a salesper-
son and arming all customer-facing resources with the necessaryfocus, direction, knowledge and tools to help grow the company.Thriving organizations are rapidly making the transition from thetraditional ‘sales as a single department model’ to ‘empoweredemployees’ who are informed, motivated, and enthusiastic enoughto make a real (and permanent) difference to the top and bottomline. If you want to be out front, begin your transformation nowor your competitors may cross that finish line first.
7 Easy Steps to Get Moving1. Evaluate all your human touch-points. These are all the
people in your organization who ‘touch’ the customer in someway. They can include delivery people, reception, field employ-ees, customer care resources, and so on. Most companies havea virtual army of folks who touch or engage the customer, yet theyremain an under-utilized resource without any ‘sales’ interaction,training, or relationship-building efforts.
2. Prioritize the non-sales group having the largest, mostsignificant, or greatest long-term impact on your customer.(Don’t stop here but it’s a smart place to begin.)
3. Start to create or build awareness and expectations aroundjust how important their role is in growing the company, and whatit takes to sustain that growth. Point out the links between theirjob and all the possibilities that exist to positively influence thecustomer into expanding their business.
4. Invest in training, development, and ongoing support initia-tives to move beyond a customer service/problem solvingmentality into a pro-active, pro-‘public relations’ approach to buildcustomer awareness, brand loyalty, and potential expansion.
5. Offer simple but effective tools and best practices such astalking points, sample questions, guides, real-world examples,and even focus groups to help themmove beyond customer careto customer development.
6. Measure progress and highlight and reward accomplish-ments—both big and small—to ensure a positive, sustainable,company-wide attitude of achievement.
7. Expand to the next group until the entire organization israllied around company growth goals, and your employees(along with the customers they touch) become a virtual army ofwell-informed, mission-ready, and market-savvy brand ambas-sadors.
Although this approach may seem simplistic or even imprac-tical, it can be both powerful and transformational, and perhapseven downright game-changing to your competition. In this tech-hungry, ultra-connected, and data-driven marketplace, sometimesthe difference between tapping into additional revenue (or not)is asking your customer just one simple question: ‘What else canwe do for you, today?’
Lisa Magnuson, founder of Top Line Sales, LLC helps high poten-
tial sales people, business owners who sell and VPs of Sales win
more sales. She works side by side with her clients to navigate
through their most complex sales cycles and sales challenges with
remarkable results. A recent accomplishment was helping one
client secure 44m in contracts last year using her proven frame-
work for landing large opportunities.
Encourage readersto see themselvesin your story.
Even the traditional case study can engage readers if it’s apersonal account of what “someone like me” experienced. Ifbuyers can see themselves as the protagonist, they’re more likelyto take action. One way to make that happen is to incorporateuniversal themes to connect with your reader—overcomingadversity, or the perseverance and ultimate triumph of the under-dog. Give readers a reason to see how your story ends, and givethem a reason to cheer when it’s over.
Get out of yourcomfort zone.Try something new.
Yes, it’s easy to structure the customer stories the same wayagain and again, but that isn’t likely to ignite curiosity or evokea strong emotional response. Even if it’s the same story, it’s possi-ble to tell it in a new way. Keep those “messaging” documents in
continued from page 37
the drawer and focus on writing the story you want to tell. Whyare you passionate about your organization? Why should otherscare? How is your product transforming the industry?
There’s a reason storytelling is one of the most ancient formsof communication. People not only connect to good stories—they remember and retell them. If you make your customers theheroes of the stories you tell them, your products will sell them-selves.
Mandy is an account director specializing in digital projects,
content creation and customer experiences at Metia in Seattle. She
has developed relationships with clients around the world, and has
experience managing digital tool development and global launch
programs. Mandy’s team has worked with thousands of customers
on clients’ behalf, and manages customer-facing projects across
multiple channels, industries and geographies. In addition, Mandy
has been recognized by the Microsoft Enterprise Partner Group
for best practices in the customer reference field.
4
5
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MEDIA INC. ISSUE TWO 201344
Seattle-based communications agencyPRR was recently the recipient of ThePort of Seattle’s Office of Social Respon-
sibility’s 3rd Annual Small Business ChampionAward. The awards recognize a Port employeeor team who has championed increased smallbusiness participation at the Port, and a smallbusiness that has provided outstanding goodsor services to the Port.
PRR’s CEO Rita Brogan was recognized for the latter,thanks to her work as a facilitator between the Port and agroup of local concessionaires, architects and contractorsto examine the Port’s requirements for the design andconstruction of new concessions at Sea-Tac Airport.The effort, designed to save time and money for conces-
sionaires while maintaining standards of safety and design,is critical to assuring the accessibility of concession oppor-
PRR’s Rita Brogan ReceivesAward from The Port of Seattle
tunities for small busi-nesses.“PRR is fantastic at
keeping us all on the samepage,” said Port of Seattlecommission president TomAlbro. “It’s a ton of workto coordinate communica-tions between Port staff,concessionaires, and their designers, architects andbuilders. Without PRR, we wouldn’t have great successeslike Beecher’s Cheese.”Mike Rosen, managing principal at PRR, says that both he and
PRR are “very proud of the work Rita has done for the Port, andthat we are excited to see her recognized for it.”
PRR is certified as a Minority Women’s Business Enterprise (MWBE)
and a Disadvantaged Business Enterprise (DBE). PRR is also
nationally recognized by the U.S. Small Business Administration
(SBA) as a certified Small Disadvantaged Business (SDB). For more
information, please visit www.prrbiz.com.
CelebratingCelebrating 24 YearsYears@ErniePino_
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ISSUE TWO 2013 MEDIA INC. 45
BRIEFS (
DNA Debuts “SHARE” Advertising Campaign for BECUThis spring, DNA, a Seattle-based full-service agency with expertise
in brand strategy, advertising, digital strategy and media, launched a newadvertising campaign for BECU, the country’s fourth largest credit union.The campaign shares actual member comments that have been postedin social media about their experience and satisfaction with BECU, thatreinforce the BECU brand as a member-driven, member-inspired finan-cial institution.BECU is a not-for-profit credit union, owned by its members, and as
social media posts attest, is also truly loved by its members. DNA hasbrought to life the social media conversations surrounding BECU and istaking those conversations to broadcast, outdoor, digital, print and radio.“This kind of member (customer) advocacy is non-existent at the big
banks, and is rare to find with any brand these days,” said Alan Brown,principal and managing director of DNA. “Our approach couldn’t be moreappropriate, because we’re listening to what members are alreadysaying, then putting it verbatim into the advertising. There isn’t any spinhere—it’s just a reflection of the reality that is happening. And, unlikeothers who are creating content for digital media, we’ve taken what ishappening online and we’re sharing it broadly through traditionalmedia.”For more information, visit www.dnaseattle.com.
Hodgson/Meyers Awarded New ProjectsKirkland, Washington-based ad agency Hodgson/Meyers Communi-
cations was awarded a rebrand project for Mobile Structures ofChehalis. Pacific Mobile Structures leases and sells mobile office space,and specializes in modular construction in Washington, Oregon, Idaho,Nevada, Alaska, Montana and California.Hodgson/Meyers was selected from five agencies in a review. The
client noted Hodgson/Meyers’ “innovative B2B creative examples andbranding strategy.”The ad agency was also recently selected to create a national busi-
ness brand awareness campaign for Windstream Communications, a$6-billion telecommunications and technology company in Little Rock,Arkansas. Again, Hodgson/Meyers was chosen from a field of five agen-cies, based on initial campaign creative.For more information, visit www.hodgsonmeyers.com.
Anvil Media Expands ServiceOfferings as Marketing ConsultancyAnvil Media, Inc., a Portland marketing consultancy specializing in
search engine, social media and integrated marketing, has announcedexpanded service offerings and the addition of marketing industryveteran, Mike Terry, as vice president.Anvil has been laser-focused on search engine marketing since its
inception in 2000, but saw an opportunity to meet the evolving needsand sophistication of clients by expanding services to include traditionaland integrated marketing services. The marketing consultancy will focus
on moving clients’ business forward by identifying new opportunitiesacross the digital, marketing and business landscape.“After nearly 13 years in business, it was time for a reboot,” said Kent
Lewis, president and founder of Anvil Media. “Our new services allowmore room to excel at our passion: delighting and elevating our clientsby solving their unique business problems and challenges. Focusingsolely on search marketing was limiting our ability to deliver results.”The expansion of Anvil’s services will be directed by industry veteran,
Mike Terry, who will join the consultancy with 17 years of agency andcorporate marketing experience.For more information, visit www.anvilmediainc.com.
Mediability Celebrates a Decade of SuccessMediability, Inc., a Seattle-based media planning and buying agency,
recently celebrated its 10-year anniversary.Co-owned by Jennifer Witsoe and Michelle Sawyer, Mediability has
grown at the right pace, providing its clients with traditional and non-tradi-tional advertising options including television, radio, print, out-of-homeand interactive marketing with personalized one-on-one service.Witsoe, a resident of West Seattle, and Sawyer, fromMaple Valley, met
13 years ago at Clear Channel Outdoor (formerly AK Media) where theyworked in sales in the Seattle/Tacomamarket. The pair ventured outsideof the “think big” world of outdoor advertising to start their own versionof a client-centered media management business where all types of mediacould be offered.“We started with just two desktop computers, two donated desks, a
printer, no clients and our headquarters in our parents’ houses,” saidJennifer Witsoe, co-founder of Mediability. “Talk about a giant leap offaith!”Mediability has accomplished great things, including working with a
wide variety of local, regional and national clients and embracing themedia industry and its constant changes every day. The Mediability teamhas expanded service offerings to include social media management andall things digital.For more information, visit www.mediability.net.
Atomic Wins Three AwardsBrand DRTV advertising agency Atomic Direct won three awards for
Kobalt Tools fall 2012 campaign, and Teho Tools spring 2012 campaign.Jordan Whitney Inc. awarded their annual “Best Branded Short-Form
Presentation” Greensheet Award to Atomic Direct for its Kobalt Double-Drive Ratchet campaign. Atomic also won the “Best Hardware Infomercial”Greensheet Award for its work on the Teho Garden Maintenance Kit.Along with the Greensheet Awards, Atomic won a Telly for another short-
form project for the Kobalt brand—their fall 2012 campaign for Kobalt’sMagnum Grip, self-adjusting pliers.“At Atomic, it’s all about delivering results for our clients. So it’s an honor
when organizations like Jordan Whitney and the Tellys choose to recog-nize what we’ve done,” states Doug Garnett, president of Atomic Direct.For more information, visit www.atomicdirect.com.
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MEDIA INC. ISSUE TWO 201346
Alaska Airlines
COMPANY NAME WEB SITE
NWCORPORATE MEDIA BUYERS
CONTACT LOCATION
Amazon.com
American Airlines
Amgen Inc.
AT&T Wireless
Bank of America
Banner Corp.
Bartell Drug Co.
Boeing Company
BridgePort Brewing Co.
Burgerville
Car Toys, Inc.
Century Link
Chase Bank
Cmedia
Coinstar Inc.
Columbia Sportswear Co.
Comcast Spotlight
Costco Wholesale Corp.
Cutter & Buck Inc.
Dell Inc.
Delta Air Lines, Inc.
Draper Valley Farms, Inc.
Eddie Bauer Inc.
Emerald Queen Casino
Experience Music Project/Science Fiction Museum and Hall of Fame
FedEx Corp.
Fisher Communications, Inc.
Fluke Corporation
Fred Meyer Stores, Inc.
Full Sail Brewing Co.
Bill & Melinda Gates Foundation
Group Health Cooperative
Halle Hutchison, Managing Director, Brand &Marketing Communications
Jeffrey M. Blackburn, SVP, Business Develop-ment
Robert Johnston, General Manager
Robert A. Bradway, President & CEO
Catherine M. Coughlin, Senior EVP & GlobalMarketing Officer
Brian T. Moynihan, President & CEO
Mark J. Grescovich, President & CEO
Theron Andrews, VP of Marketing
W. James McNerney, Jr., Chairman, President& CEO
Stacey Williams, National Director ofMarketing
Sean Blixseth, Director of Marketing
David Drew, President & COO
Meg Andrews, Media Relations & MarketingManager
Joe Evangelisti, Media
Michelle Cardinal, Group President & CEO
Marci Maule, Director of Public Relations
Timothy P. Boyle, President & CEO
Whitney Joy, Marketing Manager
Ginnie M. Roeglin, SVP Ecommerce& Publishing
Jens Petersson, CEO
Michael Dell, CEO
Richard H. Anderson, CEO
Richard Koplowitz, CEO
Kristen Elliott, Director, Marketing Programs
Tonia Coffee, Marketing Director
Mandy Davis, Marketing &Promotions Manager
Steve Pacheco, Advertising Director
Colleen B. Brown, President & CEO
Leah Friberg, Public Relations Manager
Kaci Cooney, Print Procurement Assistant
Sandra Evans, Marketing Coordinator
Sylvia Mathews Burwell, President,Global Development
Mike Foley, Media Relations Manager
www.alaskaair.com
www.amazon.com
www.aa.com
www.amgen.com
www.att.com
www.bankofamerica.com
www.bannerbank.com
www.bartelldrugs.com
www.boeing.com
www.bridgeportbrew.com
www.burgerville.com
www.cartoys.com
www.centurylink.com
www.chase.com
www.cmedia.tv
www.coinstar.com
www.columbia.com
seattle.comcastspotlight.com
www.costco.com
www.cutterbuck.com
www.dell.com
www.delta.com
www.drapervalleyfarms.com
www.eddiebauer.com
www.emeraldqueen.com
www.empsfm.org
www.fedex.com
www.fsci.com
www.fluke.com
www.fredmeyer.com
www.fullsailbrewing.com
www.gatesfoundation.org
www.ghc.org
Seattle, WA
Seattle, WA
Fort Worth, TX
Seattle, WA
Dallas, TX
Charlotte, NC
Walla Walla, WA
Seattle, WA
Seattle, WA
Portland, OR
Vancouver, WA
Seattle, WA
Seattle, WA
Seattle, WA
Portland, OR
Bellevue, WA
Portland, OR
Seattle, WA
Issaquah, WA
Seattle, WA
Round Rock, TX
Atlanta, GA
Mount Vernon, WA
Redmond, WA
Tacoma, WA
Seattle, WA
Memphis, TN
Seattle, WA
Everett, WA
Portland, OR
Hood River, OR
Seattle, WA
Seattle, WA
Haggen, Inc. John Boyle, SVP, Sales & Marketing www.haggen.com Bellingham, WA
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MEDIA INC. ISSUE TWO 201348
Heritage Financial Corp.
COMPANY NAME WEB SITE
NWCORPORATE MEDIA BUYERS
CONTACT LOCATION
Holland America Line-Westours Inc.
Home Depot, Inc.
Intel Corp.
Gene Juarez, Inc.
Kmart Corp.
Lithia Motors, Inc.
Live Nation
Lowe’s Home Improvement Warehouse
Macy’s
Microsoft Corporation
Muckleshoot Casino
Nike Inc.
Nintendo of America Inc.
Donald V. Rhodes, Chairman of the Board
Mark Kammerer, SVP Marketing & Sales
Joe McFarland, President, Western Division
Kim Miller, Online Marketing Manager,Sales & Marketing Group
Leanne Siguenza, Marketing Manager
Louis J. D’Ambrosio, CEO & President
Bob Striplin, VP Marketing
Dave Aust, VP, Sponsorship Sales
Kevin S. Measel, SVP of Store Operations,West Division
Noelle LaDuca, Newspaper/Mixed Media Manager
Rich Glew, Director of Marketing
Wayne Shadd, Marketing Director
Cheryl Hunter, Marketing Operations Director,North America
Scott Moffitt, EVP, Sales & Marketing
www.heritagebankwa.com
www.hollandamerica.com
www.homedepot.com
www.intel.com
www.genejuarez.com
www.kmart.com
www.lithia.com
www.livenation.com
www.lowes.com
www.macys.com
www.microsoft.com
www.muckleshootcasino.com
www.nike.com
www.nintendo.com
Olympia, WA
Seattle, WA
Atlanta, GA
Hillsboro, OR
Bellevue, WA
Royal Oak, MI
Medford, OR
Seattle, WA
Mooresville, NC
Seattle, WA
Redmond, WA
Auburn, WA
Beaverton, OR
Redmond, WA
Nordstrom Linda Toschi Finn, EVP Marketing www.nordstrom.com Seattle, WA
O’Reilly Auto Parts David O’Reilly, Chairman www.oreillyauto.com Springfield, MO
Office Depot
OfficeMax Inc.
Oregon Lottery
PACCAR Inc.
Papa Murphy’s International Inc.
PCC Natural Markets
Pierre Enterprises, Inc.
Premera Blue Cross
Public Storage
Puget Sound Energy Inc.
Pyramid Breweries, Inc.
QFC/Quality Food Centers
RealNetworks Inc.
Red Lion Hotels Corporation
Neil Austrian, Chairman & CEO
Ravi K. Saligram, President & CEO
Chuck Baumann, Sr. Comm. Spec.
Mark C. Pigott, Chairman & CEO
Jenn Lovelace, Marketing Manager
Laurie Albrecht, Marketing Director
James P. Pierre, President & CEO
H. R. Brereton Barlow, President & CEO
Ronald L. Havner, Jr., Chairman,CEO & President
Philip Malkin, Manager Creative Services
DND
Kristin Maas, Public Affairs Director
Dan Sheeran, SVP Marketing
Pam Scott, Director, CorporateCommunications
www.officedepot.com
www.officemax.com
www.oregonlottery.org
www.paccar.com
www.papamurphys.com
www.pccnaturalmarkets.com
www.pierreautocenters.com
www.premera.com
www.publicstorage.com
www.pse.com
www.pyramidbrew.com
www.qfc.com
www.realnetworks.com
www.redlion.com
Boca Raton, FL
Naperville, IL
Salem, OR
Bellevue, WA
Vancouver, WA
Seattle, WA
Seattle, WA
Seattle, WA
Glendale, CA
Bellevue, WA
Seattle, WA
Bellevue, WA
Seattle, WA
Spokane, WA
Redhook Ale Brewery Inc. Craft Brands Alliance www.redhook.com Woodinville, WA
REI/Recreational Equipment, Inc. Tom Vogl, VP of Marketing www.rei.com Sumner, WA
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ISSUE TWO 2013 MEDIA INC. 49MEDIA INC. ISSUE TWO 201349
SAFECO Corp.
COMPANY NAME WEB SITE
NWCORPORATE MEDIA BUYERS
CONTACT LOCATION
Safeway Inc.
Schwab Tire Centers, Les
Seattle Art Museum
Seattle Mariners
Seattle Opera
Seattle Seahawks
Seattle Sounders FC
Seattle Storm
Sleep Country USA
Sound Transit
Southwest Airlines
Space Needle Corp.
Sprint Nextel Corp.
St. Helens Beef
Standard TV & Appliance
Sterling Financial Corp.
T-Mobile USA, Inc.
Taco Time Northwest
Target Stores Inc.
Thriftway Stores of Washington
Tillamook County Creamery Association
Ron Tonkin Dealership
Trader Joe’s
Tulalip Resort Casino
Tully’s Coffee Corp.
United Airlines Corp.
UPS/United Parcel Service
Verizon Wireless
Wal-Mart Stores Inc.
Washington Lottery
Wells Fargo & Company
Weyerhaeuser Co.
Whole Foods Market, Inc.
Windermere Real Estate
Michael Hughes, President
Steven Burd, Chairman, President & CEO
Brian Capp, VP Marketing
Matthew Renton, Director of Communications
Gregg Greene, Director of Marketing
Ed Hawkins, Advertising Manager
Stephanie Gray, Marketing & Sales Manager
Adrian Hanauer, Owner/General Manager
Shannon Burley, VP Marketing
Terry Horsley, VP Brand Strategy
Tim E. Healy, Marketing& Creative Services Manager
Dave Ridley, SVP & CMO
Mary Bacarella, Director of Marketing
Dan Hesse, CEO
Robert Rebholtz, Jr., President & CEO
Daniel Reese, Director of Marketing
Cara Coon, Communications& Public Affairs Director
Philipp Humm, CEO
Gretchen Everett, Director of Marketing & Ad-vertising
Jeffrey J. Jones II, EVP & CMO
DND
Harold Strunk, President & CEO
Ron Tonkin, President & CEO
Joe Coulombe, Founder
Juan Echevarria, Marketing Director
Diane Geurts, Director of Marketing
Jeffery A. Smisek, President & CEO
Scott Davis, Chairman & CEO
Greg Haller, President, West Area
Michael Duke, CEO
Jean Flynn, Director of Marketing
John G. Stumpf, Chairman, President & CEO
Frank Mendizabal, Director, Media Relations
John Mackey, CEO
Reilly Schanno
www.safeco.com
www.safeway.com
www.lesschwab.com
www.seattleartmuseum.org
www.seattlemariners.com
www.seattleopera.org
www.seahawks.com
www.soundersfc.com
www.storm.wnba.com
www.sleepcountry.com
www.soundtransit.org
www.southwest.com
www.spaceneedle.com
www.sprint.com
www.wabeef.com
www.standardtvandappliance.com
www.bankwithsterling.com
www.t-mobile.com
www.tacotimenw.com
www.target.com
www.thriftway.com
www.tillamook.com
www.tonkin.com
www.traderjoes.com
www.tulalipcasino.com
www.tullys.com
www.united.com
www.ups.com
www.verizonwireless.com
www.walmart.com
www.walottery.com
www.wellsfargo.com
www.weyerhaeuser.com
www.wholefoodsmarket.com
www.windermere.com
Seattle, WA
Pleasanton, CA
Bend, OR
Seattle, WA
Seattle, WA
Seattle, WA
Renton, WA
Renton, WA
Seattle, WA
Kent, WA
Seattle, WA
Dallas, TX
Seattle, WA
Dallas, TX
Toppenish, WA
Portland, OR
Spokane, WA
Bellevue, WA
Renton, WA
Tukwila, WA
Portland, OR
Tillamook, OR
Portland, OR
Monrovia, CA
Tulalip, WA
Seattle, WA
Chicago, IL
Atlanta, GA
Bellevue, WA
Bentonville, AR
Olympia, WA
San Francisco, CA
Federal Way, WA
Bellevue, WA
Seattle, WA
2-13 Corp Media List:Layout 1 7/26/13 4:09 PM Page 49
MEDIA INC. ISSUE TWO 201350
By Jules Van Sant Executive Director,
PPI – The NW Visual Communications Industries Association
Yes, I look up restaurants onmy phone.Yes, I source locations to stay at onmy laptop. And yes, I shop for new
shoes on my iPad. But as we become savvieronline consumers, we become aware that weare getting information that is streamlined forus based on our online habits, purchases,searches, and comments on social media
channels. So how do we gain exposure to new thoughts, newideas, new places to shop and eat?Print is the medium that is starting to emerge as the driver to
new or renewed interest by the buying community. As I havestated in the past, print offers a different multi-sensory experiencethan a screen with sound, print tends to be more trustworthy, andprint is able to be placed on a desk, stuck on a wall or shoved inyour purse for later reference. It is a complementary, differentmedium with the ability to create highly increased results inmarket adoption, purchases, loyalty, branding… you name it.Really, it’s not just me saying this! Given the importance print
still has in the marketing mix, let’s take a page from the CreativeBloq post “Top Trends in Print Design for 2013” by freelancegraphic designer and art director Aaron Kitney. He also feels that“far from being stuck in a timewarp, print design seems to bemorevibrant than ever.” Don’t hold back—maximize the impact byconsidering these hot trends in print design, get noticed, andmoreimportantly, get your message seen:
Creative Trends in PrintGREAT PRINT SELLS IN OUR DIGITAL WORLD
Taking It to a Whole Other Level!When I worked at Saatch & Saatchi on the Toyota business in
the mid-‘80s, we went big on a magazine insert with 3D glasses(long before it was a little more common in print and movietheaters). It received some of the highest recognition ever for anadvertising blow-in. Why? Because it was different. Because it wasinteractive. Because it made you stop and think. Because it wasfun, and it worked.It is so important when concepting a printed piece to think
(Source: Computer Arts: Design Matters)
1.Flat design is a simplisticdesign form in which 3D
effects such as drop shadows, beveland textures are purposelyexcluded, therefore making it stylis-tically 2D.
2.Typographic contrast isdifficult to pull off, but when
done well the results can be spec-tacular, as evidenced here withLaura Meseguer’s cover for I AlsoCook!, written by chef and cookingteacher Eulàlia Fargas.
3.Experimental distor-tion approaches show
just how much impact printdesign can have. Exampleshown illustrates distortingpre-existing artwork to createlarge-scale posters.
4.Using unusual types of paper stock is a greatway to boost your print designs. Interesting paper
stock will entice your target audience to interact with theoutcome.
5.Finally, a playful approach doesn’t just work forchild-oriented print design—it can be incorporated
into many brands and campaigns.
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ISSUE TWO 2013 MEDIA INC. 51
We prefer “best friend.”
Many printing companies use
the term marketing service provider
to describe their relationships with
agencies and design fi rms.
Stevens Integrated Solutions4101 SE 26th Avenue, Portland Oregon503.233.5746 | www.stevensIS.com
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MEDIA INC. ISSUE TWO 201352
beyond the paper and theink and address the experi-ence of your targetaudience. Also rememberthat the interaction doesn’talways have to be specificto the end service or prod-uct, but it should bememorable to the recipient.
Winning the “OMG this is awesome” category is a magazine adcreated by Giovanni + Draftfcb in São Paulo, Brazil, for Nivea. Thead promotes Nivea’s Sun line, and includes an ultra-thin solarpanel and phone plug. The panel on the sunscreen ad is made ofsolar material that captures the sun’s rays, converting it intoenergy for your phone, which plugs in via the port. It takes thetraditional print campaign and makes it useful. See a video show-ing how it works at tinyurl.com/solarad.
Content is KingWe hear it, SEO it, blog it, post it, tag it—content matters to
make great design work. Copywriters of the world rejoice—designers, you need to embrace them. The CMO Councilconducted a study of B2B content seekers’ information gather-ing attitudes, such as what they are seeking from B2B content andthe characteristics most valued.The study found B2B buyers are “turned off by self-serving, irrel-
evant, over-hyped and overly technical content. They’re migratingto peer-based communities and new sources of trusted, relevantand credible content and conversation.”
The findings include:
Characteristics Most Valuedin B2B Content• Breadth and depth of information (47%)• Ease of access, understanding,and readability (44%)
• Originality of thinking and ideas (39%)
Characteristics Most Dislikedin B2B Content• Too many requirements for download (50%)• Blatantly promotional and self-serving (43%)• Non-substantive and uninformed (34%)
Source: CMO Council, “Better Lead Yield in theContent Marketing Field” paper. See more attinyurl.com/printinthemix-B2B.
So don’t lose faith in the printed piece, but rather take it to thenext level. Never underestimate how well print works. It differ-entiates, legitimizes, drives traffic to digital devices, drives sales,and even solves the “age-old” (ha!) problem of how to charge yourphone on the beach!Stay creative, my friends.
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ISSUE TWO 2013 MEDIA INC. 53
206.784.6892
Offset Printing
Fulfillment Envelope Manufacturing
Digital Printing Specialty Bindery
Direct Mail
DCGWest.com
Produce, protect, and deliver your brand.
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MEDIA INC. ISSUE TWO 201354
By Lauren Sigel Guest Columnist
“Please consider the environ-ment before printing thise-mail.” But what about
before reading one on-screen?
Public opinion polls show that concernabout the negative impacts associatedwith using paper and printing continues to
rise, according to PBS. Most people want to make an “envi-ronmentally friendly” choice by choosing to not print an e-mail.After all, print uses paper, which consumes trees, one of theprimary sources of oxygen on the planet, which in turnproduces billowing clouds of smoke and ash from paper mills’giant towers.So, users decide to save it on a cloud storage service instead.But there is no friendly reminder to “consider the environ-
ment” when they send their e-mail into “The Cloud.” There isno one standing over their shoulders reminding them that evenreading that e-mail does just as much damage as saving it on astorage network.Print is powered by trees, which are a renewable resource
that, when responsibly managed, promote the planting offorests and tree farms. Digital media is primarily powered bycoal-powered electricity, a fossil fuel that has no renewable
What Powers Your Digital Media?aspect.Power sources for digital media may not be symbolized by
smoke rising from stacks, but they should evoke mountains inWest Virginia peeled like oranges to reveal their black coalcores.By creating demand for products from responsibly managed
forests, consumers actually help protect forests for future gener-ations. In fact, “to address climate change, we must use morewood, not less. Using more wood sends signals to the market-place to grow more trees,” says Dr. Patrick Moore, Greenpeaceco-founder.According to the Forest Stewardship Council, most of the
forestland in the U.S. is privately owned. If landowners can’tearn a living from these forests, they will cut them down forfarms, ranches, or real estate development.But in the end, it’s hard to directly compare what industry is
better or worse than the other. Paper uses additional energy byburning pulp waste and transporting products. Data centersinvolve millions of laptops, personal computers and mobiledevices. The issue at hand isn’t to force anyone into making aseemingly “responsible” decision, but only to promote aware-ness.Educate yourself on how electronic media is powered and
actions you can do. Turn off your computer each night insteadof putting it to “sleep.” Try to use Cloud services that arepowered by renewable energy.
If you’re going to look at the print industry with an increas-ingly analytical eye, turn that eye on electronic media as well.
Lauren Sigel is leadership development associate/project manager
at Printing Control (a Consolidated Graphics company). Visit
www.printingcontrol.com.
Sources: ngm.nationalgeographic.com/geopedia/E-Waste, us.fsc.org/
why-forests-matter.188.htm, www.pbs.org/mediashift/2010/03/is-digital-media-
worse-for-the-environment-than-print090, www.printisbig.com,
www.greenpeace.org/usa/en/campaigns/toxics/hi-tech-highly-toxic/e-waste-goes/,
www.nytimes.com/2012/09/23/technology/data-centers-waste-vast-amounts-of-
energy-belying-industry-image.html?pagewanted=all.
By creating demandfor products from
responsibly managedforests, consumersactually help protectforests for futuregenerations.
TWITTER attwitter.com/MediaIncMag
FACEBOOK atfacebook.com/MediaIncMag
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MEDIA INC. ISSUE TWO 201356
By Maria Scheleen Guest Columnist
Business is improving for your employer, and you’re certain you’ll receive the long-delayedpromotion you’ve been coveting. But when the announcement is made, you find out a colleaguewas given the opportunity to move up. What do you do?
If you possess similar design skills and experience as your coworker, you may have been passed over because heor she does more to get noticed at work. One of the biggest career mistakes you can make is to sweat and slave over
your projects, and then let your contributions go unnoticed. You may think your work speaks for itself, but sometimes you have totoot your own horn to gain recognition and move forward in your career or land choice design projects. Here are five tips to raiseyour visibility:
Personal Publicity Stunts
Conduct a self-assessment.Before you look for ways to self-promote your work, take an honest look at your professional abilities. Are you commit-
ted to continual learning? If so, what steps have you taken to keep current on creative and design trends? Make sure youare always striving toward excellence and improving any weaknesses. The more effective you are in your role, the moreopportunities there are to be recognized for your contributions.
Show initiative.Volunteer for new projects, even those considered unpleasant or risky. Sometimes these offer the best opportunities to
showcase your abilities. Perhaps the creative director has just requested help with an important internal initiative and noone is willing to take charge. This is an excellent opportunity for you to assume a leadership role and secure a solid plat-form for your ideas. Your efforts to become involved when others are reluctant will be both appreciated andacknowledged.
Speak up.Demonstrate your enthusiasm and interest in the company by actively participating in office discussions. Before you
attend meetings, review the agenda and prepare a few points of interest on the topic at hand. While you don’t want to talkjust to hear yourself speak, don’t hesitate to share your ideas when you have something valuable to add. Also look foropportunities to present on topics. You might, for example, volunteer to serve as a trainer during new-hire orientations,providing an overview of the creative department and how people in other areas of the company can work with your teameffectively.
Exercise your bragging rights.You may have heard the phrase, “It’s not what you know, it’s who you know.” But in many cases, it’s more important
who knows you. Imagine that the creative director is hosting a meeting to decide who will work on an exciting new proj-ect. Would anyone in the room mention your name? Do key people know who you are and what you’ve accomplished? Ifyour name doesn’t ring a bell, you’ve got some self-promoting to do.
Getting on the radar screen of the company’s leaders can be difficult or nerve-racking, so take small steps. Can you e-mail a weekly status report to your boss detailing major accomplishments and upcoming projects? Can you be responsiblefor sending update memos for your team or volunteer to present your group’s milestones at a meeting? All of these activ-ities can help increase your visibility.
Accept credit graciously.When someone compliments you for doing an outstanding job on a project, how do you react? If you typically shrug it
off and say, “It was nothing,” you may be leaving the door wide open for someone else to steal your thunder. A much betterresponse would be “Thank you. I’m really glad the hard work paid off,” or “Thanks. I’m pleased with the way it turnedout, too.” Just be careful about accepting credit that’s not yours—it’s a surefire way to create tension and animosity amongyour teammates.
1.
Working hard will always be critical to your success, but you will never achieve your full potential unless others are aware of yourexpertise and accomplishments. Pursuing new challenges and getting involved in team and cross-departmental activities will help yousteadily build awareness and better position you for future advancement opportunities.
Maria Scheleen is branch manager of The Creative Group, a specialized staffing firm placing interactive, design, advertising and market-
ing professionals on a project and full-time basis. The company has offices in major markets across the United States and in Canada, and
offers online job search services at www.creativegroup.com. Contact the Seattle branch at 206-749-9046.
2.
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MEDIA INC. ISSUE TWO 201358
Synchro Creativewww.synchrocreative.com
What do you feel it takes to be an elite graphic designfirm or designer?Athoroughunderstandingof, and theability toexecute, brandbuild-
ing principles, marketing strategies and top-level designs that engagethe public and get results for our clients.
What is the most exciting aspect of your job?Creating creative solutions and watching them build business for
our clients in unique ways, each time.
How has changing technology affected your companyand the way you do business?More time spent training and/or finding new business partnerships
in newmedia, means being able to offer more to clients.
Is there a project you’re working on currently that you’dlike to tell our readers a little about?Most currentproject is a campaign for amedical doctor’s clinic. The
clinic was adding a new branch of cosmetic surgery services. Theyneeded a new brand that would encompass both sides of the prac-tice.Wecreatedabrand “NewBeginnings” (www.newbeginnings.pro)which accomplished a new strategic positioning in their market withcreative graphic design to create trust and clarity.
RocketDogwww.rocketdog.org.
What is the most exciting aspect of your job?For me it is the challenge of starting with a blank piece of paper
and turning it into something amazing for a client. For some it can beintimidating, but I findyouhave to just beopenand jump in—whetherthat is searching online for inspiration, taking a walk in nature,doodling, talking to people, flipping through a magazine, watching amovie…whatever itmaybe, creative inspirationcanhit at anymomentand I love that about what I do.
What is one recent graphic design trend you are excited
LOCAL GRAPHIC DESIGNFIRMS TALK TRENDS,
TECHNOLOGY, AND MORE
about (or wary of)?I have always found logo trends tobe fascinating.Even though they
are supposed to be symbols of a unique brand, more often than notwe find elements within a logo popping up over several industries indifferent executions. Some of my favorite logo trends right now arebadges, written and iconicmap pins. A great source for tracking logotrends is www.logolounge.com.
How has changing technology affected your companyand the way you do business?It hasn’t changed our company per se, what it has done is given us
the ability to see our creative vision for a client expand exponentially.We are nowable to roll out our creative solutions in a variety of desti-nations. It is exciting to see multiple ways the end customer willinteract with our client’s brand.
Is there a project you’re working on currently that you’dlike to tell our readers a little about?We have a number of great things going on at themoment, but one
in particular is a new blog/website for Microsoft Recruitment. Origi-nally it was a site that was not getting much creative love. ThenRocketDog jumped in. Now the site has been completely overhauledand has received great reviews! We are so happy for our client.
CKA Creativewww.ckacreative.com
What do you feel it takes to be an elite graphic designfirm or designer?One-of-a-kind talent, great listeningskills, thevision toviewthe forest
from the trees, and the self-discipline to never burn bridges..
What is the most exciting aspect of your job?Creating things that never existed before.
What is one recent graphic design trend you are excitedabout (or wary of)?Infographics—I love them and at the same time I’m very cautious
about them.
Is there a project you’re working on currently that you’dlike to tell our readers a little about?CKA Creative has been asked to develop a permanent installation
for the REACH interpretive center in the Columbia Valley. It gives usa chance to mix our 2D and 3D skills to tell a story about one of ourfavorite subjects—Washington wine!
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ISSUE TWO 2013 MEDIA INC. 59
NWGRAPHIC DESIGN FIRMS
TOP LO
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2012
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DESIG
N/WEB
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OTHER
CompanyCity, StatePhone; FaxE-mailWeb site
CMD; Portland, OR & Seattle, WA503-223-6794; fax [email protected]
Phil Reilly, presidentMike Cobb, VP salesDan Hergert, VP/COO
RANK
IDEN
TITY/
BRAND
DEVEL
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$19m
VODA Digital; Seattle, WA206-441-8158; fax [email protected]
Josh Courtney,chairman/CCO
WND
Methodologie, Inc.; Seattle, WA206-623-1044; fax [email protected]
Janet DeDonato, CEODale Hart, CCO
$4.2m
HB Design; Portland, OR503-944-1000; fax [email protected]
Noma HanlonGail SnowLeslie Worth
$3.3m
Turnstyle; Seattle, WA206-297-7350; fax [email protected]
Matt DiefenbachBen GrahamSteve Watson
$2.2m
Blankslate Creative; Seattle, WA206-378-0026; fax 206-378-0027dave@blankslatecreative.comwww.blankslatecreative.com
David Blank, presidentMelinda Torres, principal
$2.1m
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SERVICES PROVIDED
(WND: Will not disclose publicly DND: Did not disclose)
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CompanyCity, StatePhone; FaxE-mailWeb site
Ad Ventures; Seattle, WA206-282-1719; fax 206-282-4795ventures@adventuresdesign.comwww.adventuresdesign.com
Alex Howard, presidentKaren Skeens, CD
RANK
IDEN
TITY/
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$1.9m
Arscentia; Bellevue, WA425-454-8006; fax [email protected]
Grant Cummings,principalLennie Lutes, CEOLee Ater, CD/partner
$1.6m
Artitudes Design; Issaquah, WA425-369-3030; fax [email protected]
Andrea Heuston,creative principal
$1.6m
RocketDog Communications; Seattle, WA206-254-0248; fax [email protected]
Susan ElliottMichael Elliott
$1.5m
Golden Lasso; Seattle, [email protected]
Philip Shaw, presidentBridget Culligan, CEO
$1.2m
Wattsmedia, Inc.; Seattle, [email protected]
David Mangone,EP/director
$1.18m
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SERVICES PROVIDED
(WND: Will not disclose publicly DND: Did not disclose)
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ISSUE TWO 2013 MEDIA INC. 61
Quesinberry and Associates, Inc.[p] 206 323 1173 [ w ] quesinberry.com
Seattle :: San Francisco
WE’LL MAKE YOU SO HAPPY,WE’LL WISH WE WERE YOU.
MARKETING :: BRANDING :: DESIGN LIFESTYLE AND CULTURE
LL MAKELL MAKE’’WEWE
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MEDIA INC. ISSUE TWO 201362
NWGRAPHIC DESIGN FIRMS
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CompanyCity, StatePhone; FaxE-mailWeb site
Electric Pen; Seattle, WA206-528-1207; fax [email protected]
John Pletsch, president
RANK
IDEN
TITY/
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$1.14m
Funk/Levis & Associates; Eugene, OR541-485-1932; fax [email protected]
Anne Marie Levis,CD/president
WND
Rusty George Creative; Tacoma, WA253-284-2140; fax [email protected]
Rusty George, principalKitura George,operations manager
$1.01m
Art4orm; Portland, OR503-228-1399; fax [email protected]
Kevin York, principal/CD $950k
CKA Inc.; Seattle, WA206-448-9274; fax [email protected]
James P. Carey, president $863k
Hammerquist Studios; Redmond, [email protected]
Fred Hammerquist,president
$725k
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SERVICES PROVIDED
Smith/Walker Design; Seattle, WA253-872-2111; fax [email protected]
Jeff Smith &Robin Walker, co-CDs
WND
Creative Company, Inc.; McMinnville, OR503-883-4433; fax [email protected]
Jennifer Morrow,president
$560k
Stafford Creative Inc; Edmonds, WA425-412-1550inquire@staffordcreative.comwww.staffordcreative.com
Sid StaffordTina Stafford
$400k
Victory Studios; Seattle, WA206-282-1776; fax [email protected]
Conrad Denke, CEO $350k
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(WND: Will not disclose publicly DND: Did not disclose)
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MEDIA INC. ISSUE TWO 201364
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CompanyCity, StatePhone; FaxE-mailWeb siteRA
NK
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Synchro Creative; Bellevue, WA425-885-5661; fax [email protected]
Bonnie CheliniCandy Young
$240k
Glitschka Studios; Salem, [email protected]
Von Glitschka, CD/owner $200k
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SERVICES PROVIDED
Moto Interactive; Portland, [email protected]
Dru Martin, CD $170k
Sakkal Design; Bothell, WA425-483-8830; fax [email protected]
Mamoun Sakkal,principal
$120k
Buoyant Creative USA; Point Roberts, WA360-945-0488; fax [email protected]
Darrell Cassidy, president $100k
Design Hovie Studios, Inc.;Seattle & Chelan, WA206-669-2894, [email protected]
Hovie Hawk,president/CD
$100k
Sinclair-Creative; Mill Creek, WA425-531-0925holly@sinclair-creative.comwww.sinclair-creative.com
Holly Sinclair $50k
Blu Room Advertising, LLC; Steilacoom, WA253-241-8912charles@bluroomadvertising.comwww.bluroomadvertising.com
Charles Davis, ownerRussell Silva, co-owner
DND
Hornall Anderson; Seattle, WA206-467-5800; fax [email protected]
Jack Anderson, CEOJohn Anicker, presidentLisa Cerveny, president
DND
Oakley Design Studios; Portland, OR971-221-5023; fax [email protected]
Tim Oakley DND
Quesinberry and Associates, Inc.; Seattle, WA206-323-1173; fax [email protected]
Wendy Quesinberry DND
29
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(WND: Will not disclose publicly DND: Did not disclose)
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MEDIA INC. ISSUE TWO 201366
By Daven Mathies Guest Columnist
Finding Your Photography Niche
At first, asking this question may seem too easy; it sounds likea no-brainer. But if your goal is to turn your passion into a profes-sion, sticking with what you love may prove difficult. When youthink about a professional photographer, who do you picture? I’mguessing that wedding photographer and commercial photogra-pher are probably on most people’s lists. Since most people havebeen to a wedding or read a magazine, these two types of photog-raphy are perhaps the most publicly visible. This makes for a grossmisunderstanding of what it means to be a professional photog-rapher, however, and can be intimidating for someone seeking aphotography career who doesn’t particularly enjoy the abovetypes of photography.The solution? Shoot what you want! If you enjoy taking photos
of your kids, focus on that. Photographing what you love will keepyou engaged and youwill naturally be encouraged to improve yourskills. Child portraiture is completely different from any other typeof portrait photography, and if you take the time to develop theskills it requires, people will look to you as an expert in that field.The same goes for other types of photography: landscape,wildlife, street, etc. Whatever motivates youmost to take out yourcamera, keep at it. Don’t try to be a wedding photographer justbecause you think it would be an easy way to make some quickcash (hint: it’s not). Even if you have an incredibly strange orunique photographic passion, and you can’t possibly see how tomonetize that now, stick to it. Success is not guaranteed, but fail-ure certainly is if you try to focus on anything but your passion.Now, if you really love weddings, then wedding photography
might be a great option for you. But your decision doesn’t end
Aphotographer is not just someone who knows how touse a camera, control light or frame a shot. Photog-raphy, like any artistic discipline, is all about vision.
Sure, the technical side of exposure, lighting and composi-tion are important to achieving your vision, but it is crucialto know which to put first. Becoming a strong photographeris all about finding your niche, which generally starts withasking yourself, “What do I want to shoot?”
there. What type of wedding photographer do you want to be? Doyou want to shoot exotic destination weddings or would youprefer to work solely within your local area? There are benefitsto both, and both require a different type of specialization. Whattype of client do you want to serve? Personality is not to be under-estimated in wedding photography; if you don’t “connect” withyour clients, you will be asking for more hardship than you need.Make it known on your Web site, blog, Facebook page and busi-ness card what type of photographer you are and what kind ofperson you are. Don’t worry about limiting your exposure andreach; instead, think of this as making yourself more visible tothe people youmost want to reach. These are questions that applyto other types of photography, as well.It may take time to figure out what you really want to do. Maybe
that means shooting a wedding or a football game only to realizeyou hate it, and that’s fine. There is nothing wrong with experi-menting and trying new things, but once you find your passion,stick to it. Develop it. Refine it. Maybe you’ll love weddings andfootball, and that’s fine, too—so long as you realize the extra workrequired to specialize in multiple areas. Plenty of establishedphotographers take on a variety of jobs and excel at all of them,but do yourself a favor and start with what you know and enjoymost. Building a business around photography is an incrediblychallenging undertaking, but it’s a challenge well worth it whenyou truly love what you are doing.
Daven Mathies is multimedia producer at Pro Photo Supply in Port-
land. www.prophotosupply.com.
There is nothing wrong with experimenting andtrying new things, but once you find yourpassion, stick to it. Develop it. Refine it.
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ISSUE TWO 2013 MEDIA INC. 67
BRIEFS (
Phinney Bischoff Awarded New AccountsPhinney Bischoff, a Seattle-based brand design firm, recently
began working on initiatives with multiple new accounts, local andnational, including:• The Dispatch Printing Company (Columbus, Ohio). Research
and brand strategy for a complex portfolio of brands ranging fromTV, radio, newsprint, magazines, news and information Web sites,digital solutions, and event and shows group.• Foster Pepper (Seattle). Research and Web site design and
development for a premier law group.• Kennewick General Hospital (Tri-Cities, Washington).
Research, creative development and execution of comprehensiveadvertising campaign for a community hospital.• Robert Leonard Salon (Seattle). Research and Web site
design and development for a luxury salon.• Midwestern Higher Education Compact (Minneapolis,
Minnesota). Research, brand strategy and platform developmentfor a higher education organization.For more information, visit www.phinneybischoff.com.
Sandstrom Partners Announces New ClientsPortland brand design agency Sandstrom Partners announced
it has begun brand strategy and design for Scotts Whitney Farmsand Cocona, according to Sandstrom president Jack Peterson.Whitney Farms is a line of organic and all-purpose plant food
from Marysville, Ohio-based ScottsMiracle-Gro. Cocona, head-quartered in Boulder, Colorado, makes fiber for performance gearand materials for sports brands.Sandstrom Partners is a strategic brand design firm special-
izing in the creation and revitalization of thought-leading brands.For more information, visit www.sandstrompartners.com.
Wright Enterprises Adds HP Indigo 5600Wright Enterprises recently added an HP Indigo 5600, 7-color,
digital press to its Kent, Washington, facility.HP Indigo technology allows:• Up to 7 on-press ink stations including HP ElectronInk White,
Digital Matte or UV Red• Invisible inks to produce security features on short run appli-
cations• The ability to achieve true spot colors for perfect PANTONE®
certified solids• More than 2,500 certified substrates including synthetics,
transparent, dark, metallic and recycled media“Our decision to invest in the HP Indigo 5600 Digital Press was
based on our proven success in the Portland market with the HPIndigo 7600. We recognized our customers’ needs for a trade-onlymanufacturer to meet the growing demand for variable, high-qual-ity, digital printing with quick turnaround requirements and wehave responded with the latest in HP digital technology in bothour Portland and Kent facilities,” said Dan Adkison, president andCOO of Wright Enterprises. “Our new HP Indigo 5600 Digital Pressis the perfect complement to our growing line-up of commercialand digital capabilities in the Northwest.”For more information, visit www.wrightbg.com.
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NWPHOTOGRAPHERS/PHOTOGRAPHY STUDIOS
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PHOTOGRAPHY SPECIALTIES/SERVICES
aftertheimage; Seattle, WA206-283-9383; fax [email protected]
Kathy Fridstein,owner/principal
Appeal Studios/Linna Photo; Seattle, [email protected]
Jim Linna,owner/president
Allegory - commercial photography; McMinnville, [email protected]
Bill Miller,owner/photographerCindi Miller, marketing
Kate Baldwin Photography, Inc.; Seattle, WA206-284-5678kate@katebaldwinphotography.comwww.katebaldwinphotography.com
Kate Baldwin
Adam Bacher Photography; Portland, [email protected]
Adam Bacher, owner
Bernstein Productions; Seattle, WA206-708-6686studio@bernsteinproductions.comwww.bernsteinproductions.com
Darryl Bernstein
Gary Benson Photography; Seattle, [email protected]
Gary Benson
STOCK
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Blackstone Edge Studios; Portland, [email protected]
Donna PizziPhilip Clayton-Thompson
Brofsky Productions, LLC; Bainbridge Island, WA206-842-0756; fax [email protected]
Keith Brofsky, owner
Melanie Conner Photography; Seattle, [email protected]
Melanie Conner, president
Bob Byrd Photography; Vancouver, [email protected]
Bob Byrd
Michael Craft Photography; Seattle, WA206-282-7628; fax 206-282-6713michael@michaelcraftphotography.comwww.michaelcraftphotography.com
Michael Craft, owner
Conrad & Company Photography; Seattle, WA206-284-5663www.conradfoto.com
Christopher Conrad, chiefimage creator
Rick Dahms, Photographer; Seattle, WA206-463-3328; fax [email protected]
Rick Dahms
G S DeBré Imaging; Rogue River, OR541-299-0022/[email protected]
Greg DeBré, owner
Jared Cruce Studio; Ashland, [email protected]
Jared Cruce
DeGabriele Photography; Seattle, WA206-938-9400www.degabrielephoto.com
Dale DeGabriele
Harper Studios, Inc.; Seattle, [email protected]
Earl Harper, president
Flying Trolley Cars; Puyallup, WA425-829-6737andrew@flyingtrolleycars.comwww.flyingtrolleycars.com
Andrew Jacobs, owner
Ben Kerns Photography; Seattle, [email protected]
Ben Kerns, owner
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Rosanne Olson Photography; Seattle, [email protected]
Rosanne Olson
Parks Creative, Inc.; Bellevue, [email protected]
Brian Parks
Timothy J. Park Photography; Redmond, [email protected]
Timothy Park
David Putnam Photography, Inc.; Tacoma, [email protected]
David Putnam, president
Pixel Light Studio; Portland, OR503-241-5005christie@pixellightstudio.comwww.pixellightstudio.com
Christie Hazen
Kenneth Benjamin Reed Photography; Portland, OR503-877-4041ben@kennethbenjaminreed.comwww.kennethbenjaminreed.com
Kenneth Benjamin Reed,photographer
Redstone Pictures; Seattle, WA206-999-0490; fax [email protected]
Cass Redstone, principalJessie Redstone, principal
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Jeff Romeo Photography; Seattle, [email protected]
Jeff Romeo
Smith/Walker Design and Photography; Seattle, WA253-872-2111; fax [email protected]
Jeff SmithRobin Walker
Studio 3, Inc.; Seattle, WA & Portland, ORSeattle: 206-282-0939Portland: [email protected]; www.studio3.com
Jim Felt
Straub Collaborative, Inc.; Portland, OR503-331-1002; fax [email protected]
David Straub, president
Wattsmedia, Inc.; Seattle, [email protected]
David Mangone,partner/EP/directorAndrew Watts, partner
Voda Brands; Seattle, [email protected]
Josh Courtney,chairman/CCO
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Lance Koudele Photography; Hood River, [email protected]
Lance Koudele,owner/photographer
LensSmith Photography; West Linn, OR503-539-7496bruce.macgregor@comcast.netwww.brucemacgregorphotography.com
Bruce MacGregor
KRAYS Productions Inc.; Seattle, WA206-622-5275; fax [email protected]
Kevin Ray Smith,president
Don Mason Photography, LLC; Seattle, WA206-409-6180don@donmasonphotography.comwww.donmasonphotography.com
Don Mason
Lommasson Pictures LLC; Portland, [email protected]
Jim Lommasson, owner
Jeff Miller Photography; Seattle, [email protected]
Jeff Miller
McGowan Photography; Tacoma, WA253-383-4724; fax [email protected]
Kevin McGowan, owner
Dean Zulich Photography LLC; Seattle, [email protected]
Dean Zulich
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MEDIA INC. ISSUE TWO 201370
The Bellevue, Washington-based photographer has providedarchitectural and product photography to surrounding East-side communities of Redmond, Kirkland, Issaquah, Renton,
and Woodinville, as well as the Greater Seattle area, for nearly 30years.
Here is Parks, on the record:
TELL US A LITTLE ABOUT YOURSELF AND HOW YOU GOT STARTED AS APHOTOGRAPHER.I took a series of college-level classes at Tillicum JuniorHigh!We didcolor processing and printing as well as Ansel Adams Zone-SystemB&Was young teens. Thenout of high school I assisted atDH&Y full-time, Seattle’s largest commercial studio in the early ‘80s. I completeda degree in Commercial Photography when they reopened SeattleCentral’s program.
WHAT DO YOU LIKE BEST ABOUT YOUR JOB?It’s exciting tohelppromotenew inventions, products, andplaces intothe market.
TELL US ABOUT A RECENT MEMORABLE PROJECT.Anational apartment developerwanted to incorporate people in theiradvertising; I suggestedmotion-blurs to de-emphasize the people, sotheir communities remained the focus. (Ed. note: Pictured here.)
WHO OR WHAT INSPIRES YOU, EITHER PERSONALLY OR PROFESSIONALLY?All of Creation we are immersed in.
HOW IMPORTANT IS IT FOR YOU AS A PHOTOGRAPHER TO CONNECT ANDENGAGE WITH YOUR SURROUNDING COMMUNITY?Very much so, thus I’ve always focusedmainly on the Eastside busi-ness community.
WHAT ARE SOME OF YOUR MOST GRATIFYING PROFESSIONAL ACCOM-PLISHMENTS?Anytime I can help my clients be a success.
IF YOU COULD BE ANYWHERE IN THE WORLD RIGHT NOW, WHERE WOULDYOU BE?Mywife and I both grew up here and don’t plan to go anywhere; loveraising our boys on the Eastside.
IF A GENIE GRANTED YOU 3 WISHES, WHAT WOULD YOU WISH FOR?Well, for starters,weoncehada 10th anniversary cruise planned, thenfound out wewere due to have another baby right then, so I owemywife that first.
MEDIA INC.’S INTERVIEW SERIES, IN WHICH WE DISCUSS THE LATEST AND
GREATEST WITH A DIFFERENT NORTHWEST COMPANY EACH ISSUE, CONTIN-
UES WITH PARKS CREATIVE PHOTOGRAPHY.
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