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MEDIA INC. ISSUE FOUR 20124

CONTENTSVOLUME 24 • ISSUE 4 2012

PUBLISHER

James R. Baker

ASSOCIATE EDITOR

Katie Sauro

SALES MANAGER

Katie Higgins

SALES

Eric Iles

PRODUCTION MANAGER

John Rusnak

DESIGNERS

Dawn Carlson

Christina Poisal

Beth Harrison

WEBMASTER

Eric Pederson

OFFICE MANAGER

Audra Higgins

INFORMATION SERVICES MANAGER

Lois Sanborn

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]

Display Advertising. Call Media Index Publishing Group for a cur-

rent rate card.Discounts for frequencyadvertising. Advertisingcon-

firmation deadline is the 30th of the month prior to issue

publication. Advertisingmechanicals are due the5th of themonth

of issue. All submitted materials become the property of Media

Index Publishing Inc. and will not be returned.

Subscriptions. Annual subscriptions to Media Inc. (4 issues) are

$25 (+$2.20 if sent toWAaddress); two-year subscription is$37.50

(+$3.30 if sent to WA address). Send check or money order to

Media Index Publishing Inc., or call (206) 382-9220 with VISA or

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

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

Copyright © 2012 Media Index Publishing Group. All Rights Re-

served. No part of this publication may be copied by any means,

electronic or mechanical, including photocopying or recording by

any information storage or retrieval system, without the express

written permission of the publisher. Printed in USA

FEATURES10 2013 SALARY TRENDS FOR CREATIVE

PROFESSIONALS

29 OUTBOUND MARKETING IN THE INBOUND AGE

36

44 KILLER INSTINCT

54 NORTHWEST TALENT SNAPSHOT

SECOND HALF OF 2012HAS BEEN BOOMINGWITH INDIE FILMPRODUCTIONIN OREGON

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Quick Turn - Short Run

CDDVDUSB

DUPLICATION

Custom Packaged Media ProductsAs simple or complex as you need it, when you need it.

Design Services Available

• Custom Sleeves• Wraps• Inserts• Bookletsand many more...

• Marketing Kits• Brochures• Books• Binders• Postcards• Variable Data

Have a unique packaging idea?Let’s talk about it!

EnvironmentallyFriendlySolution.

• Inks and toners used in digital printing are safer for the environment and produce fewer toxins than traditional inks.• No Minimum Quantites, therefore no unused inventory for the landfill.• Uses 70% less energy than traditional offset printing.• Recycled products available.

SEATTLE [email protected]


8 WHO’S NEWS

16 NEW YEARS RESOLUTIONS CIRCA 2013

21 LOCAL PRINTERSWIN INTERNATIONALAWARDS

22LIFE’S MOMENTS DESERVE LIFE’S FLIX

23THE IMPORTANCE OF A SHOT LIST

24ROSEYS HONOR THE BEST IN PORTLANDADVERTISING

28THE CHANGINGMARKETING PARADIGM

40TIME TRAVEL, POLITICS, AND PUNK ROCK

42DAVID CULP, FORMER INDEX CO-PUBLISHER, PASSES AWAY

6 MEDIA INC. ISSUE FOUR 2012

CONTENTS

MEDIA INC.INDUSTRY LISTS15 CREATIVE/MEDIA STAFFING AGENCIES

30 DIRECT RESPONSEMARKETINGSERVICES

58 TALENT,MODELING, ANDCASTINGAGENCIES

68 RECORDING STUDIOS/AUDIO SERVICES

15

46 INDEPENDENT FEATURE FILMMAKINGROARS BACK INTO SOUTHERN OREGON

50SEATTLE IS A FILM TOWN AGAIN!

52THE TALENT COMMUNITYAND SAG-AFTRA

63CHOOSING THE RIGHT VIDEOPRODUCTION COMPANY

64TAPE, TAPELESS, ARCHIVING, AND YOU

65SAVE TIME ANDMONEYWITHTELEPROMPTERS

66DIGITAL ONE EARNSMULTIPLE HONORSFOR SOUND DESIGN

74 ON THE RECORD

26AAF CELEBRATESWHENART AND ADVERTISINGCOLLIDE AT ART BASH2012

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WHO’S NEWSCheck out the latest hires and promotions throughout the Northwest’s media companies. If you would like to submit an announcement and photofor Who’s News, e-mail them to the editor at [email protected], or mail to P.O. Box 24365, Seattle, WA 98124. Photos should be 3” x 5”at 300 dpi, tiff or jpeg, labeled as the person’s name.

Anvil Media/PortlandJeff Bedfordpromoted to DigitalAnalyst

Anvil Media/PortlandNate Gancherpromoted to DigitalAnalyst

Copacino +Fujikado/SeattleTarah Finleypromoted toAccount Coordinator

Copacino +Fujikado/SeattleKathleen Grebejoined as SeniorArt Director/DesignDirector

Copacino +Fujikado/SeattleTonya Murphyrejoined as MediaDirector

Copacino +Fujikado/SeattleEmily Powerjoined as ExecutiveAssistant

GreenRubino/SeattleChelsea Asplundadded as AccountCoordinator

ADVERTISING/MARKETING AND PUBLIC RELATIONS

CREATIVE

GreenRubino/SeattleDennis Budelladded as AssociateCreative Director

GreenRubino/SeattleMelissa Durfee Davisadded as MediaDirector

GreenRubino/SeattleQuinn Iannicielloadded as Designer

GreenRubino/SeattleSarah Lemmonadded as SeniorAccount Manager

Magner Sanborn/Spokane, WACharlotte Boutzjoined as SeniorAccount Planner

Magner Sanborn/Spokane, WAScott Ellisjoined as DigitalMarketing Specialist

Magner Sanborn/Spokane, WAJimmy Gleasonjoined as WebDeveloper

PRR/SeattleJeanne Acutanzahired as Director ofMajor Projects

52 Limited/PortlandKate Donnelladded as OfficeManager

52 Limited/PortlandNate Webbadded as AccountManager

Hemlock Printers/SeattleRoxanna Downingjoined as AccountRepresentative

Hornall Anderson/SeattleRose Cameronhired as Head of GlobalBrand Strategy

Hornall Anderson/SeattleDavid Glazehired as Vice Presidentof Interactive

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ISSUE FOUR 2012 MEDIA INC. 9


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By Maria Scheleen Guest Columnist

As brands vie for attention in today’s clutteredmarketplace, employers are becomingincreasingly particular when hiring creativeprofessionals. They seek design, marketingand public relations practitioners who are

proficient in the latest industry tools and trends, and whohave a track record of success in creating relevant, engagingcontent and campaigns.

continued on page 12

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Although highly sought,these individuals aren’t alwayseasy to find. According toresearch for The CreativeGroup’s newly released 2013Salary Guide, 44 percent ofadvertising and marketingexecutives interviewed saidit’s challenging to locateskilled creative professionals.As a result, starting compen-

sation for professionals withthe most sought-after skills areshowing greater year-over-yearsalary gains than the 3.5 percentincrease projected for creativeand marketing professionalsoverall.“Interactive” is the word of

the day among firms on thewatch for creative talent. Thegrowth of online, mobile andsocial media content contin-ues to fuel strong demand forprofessionals with a range ofdigital skills. In fact, compa-nies can’t seem to fillinteractive positions fastenough, given the shortage ofavailable skilled talent.

Reflecting this trend, the2013 Salary Guide shows thatsome of the largest salaryincreases in the coming yearwill go to thosewith interactiveexpertise. Mobile designers anddevelopers, interactive creativedirectors, and user experience(UX) designers, for example, areamong those expected to seesalary increasesnearing5percentnext year. Likewise, SEO/SEMspecialists and digital marketingstrategists also are expected tosee higher-than-average salaryincreases, according to the 2013Salary Guide.Perhaps the most desirable

candidates of all are “hybrid”candidates—thosewhopossessacombination of strong creativeand technicalskills.Theseprofes-sionals have the advantage ofunderstanding how to developand deliver superior content.The 2013 Salary Guide

features average starting salaryranges for 127 interactive, designand marketing positions, whichcanbecustomized formore than

135U.S.cities.Thedataarebasedon a range of sources, includingactual placements of creativeprofessionals in 2012 by TheCreative Group teams acrossNorth America, and an analy-sis of current and future hiringtrends. See a sampling ofcreative salaries for thecoming year on the oppositepage.Following are five in-

demand positions and startingcompensation levels based onresearch from The CreativeGroup 2013 Salary Guide:

INTERACTIVECREATIVE DIRECTORAs companies of all sizes invirtually every industry addnew interactive roles, theyseek professionals with superbleadership skills and digitalexpertise to manage thesegrowing teams. Base compen-sation for this position isprojected to rise 4.9 percentto $95,500 to $160,000 annu-ally.

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Forty-fourpercent ofadvertisingand market-ing executivessaid it’schallenging tofind skilledcreativeprofessionals.

Source: TCG survey of 500 adver-tising and marketing executives inthe United States

what to PACK

Which skills will you need to accomplish your next creative endeavor? Experiencedtrailblazers across Paylandia seek individuals who possess knowledge of the following:

• Adobe Creative Suite• Axure RP• CSS• Drupal• Final Cut Pro• Flash

• Google Analytics• HTML• JavaScript• Joomla• jQuery• Keynote

• Omniture• PHP• PowerPoint• WordPress• XHTML



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INTERACTION DESIGNERThe best interaction design-ers can step into the shoes ofa company’s customers andattempt to maximize theironline experiences. Theseprofessionals understand theconnections between peopleand products. Interactiondesigners with one to fiveyears of experience can expectstarting salaries to rise 4.9

percent to a range of $52,250to $77,500.

MOBILE DESIGNERContinued growth of smart-phone and tablet use is drivingdemand for individuals withexperience creating andorganizing content for thesmall screen. These individu-als can expect starting salariesin the range of $63,000 to

$96,000, a 4.8 percent increaseover 2012 levels.

USER EXPERIENCE (UX)DESIGNERSince so much customer inter-action now happens online,companies seek individualswho can devise and build posi-tive digital experiences. Startingcompensation for UXdesignersis expected to rise 4.8 percentto a range of $73,750 to$110,500.

SEO/SEM SPECIALISTBeing found online by searchengines and consumers isessential to any firm looking tomake its digital mark. That’swhy companies seek SEO/SEMspecialists who can help opti-mize Web projects for searchand increase online visibility.Professionals with one to three

continued on page 14

2013 Salaries for the United StatesTitle

Interactive Creative DirectorUser Experience (UX) Designer

Mobile Designer

SEO/SEMSpecialist (1 to 3 years)

Interaction Designer (5+ years)

Public Relations Manager

Video Producer

Copywriter (5+ years)

2013 AverageStarting Salary

$95,500 - $160,000

$73,750 - $110,500

$63,000 - $96,000

$48,250 - $64,000

$75,500 - $108,500

$72,500 - $94,000

$58,750 - $83,250

$72,750 - $102,750

Percent ChangeFrom 2012

4.9%

4.8%

4.8%

4.7%

4.6%

3.6%

3.5%

3.4%

Source: The Creative Group 2013 Salary Guide



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years of experience areprojected to see starting salarygains of 4.7 percent, to a rangeof $48,250 to $64,000.

BEYOND THE SALARY:KEEP SCHEDULESF-L-E-X-I-B-L-EAn organization’s ability toattract and retain top-perform-ing creative professionalsoften has as much to do withthe work environment itfosters as it does the employeesalaries it pays. In particular,talented people want helpbalancing the challenges theyface at work with the pres-sures they deal with at home.Fortunately, there are many

solutions that don’t costcompanies a lot of money. Forexample, firms can considerthese alternativework arrange-ments that help employeesbetter juggle professional and

personal responsibilities:Flextime: Employees have

options for structuring theirworkday or workweek.

Compressed workweek:Employees work the normalnumber of hours but completethose hours in fewer than fivedays.

Job-sharing: Two part-timeemployees share the same full-time job.

Remote work: Employeesspend all or a portion of theirhours working from home orfrom another non-companysite.Letting staff members choose

when and where they work, aslongastheycontinuetomeet(andexceed) on-the-job expectations,can greatly improve teammoraleand productivity. These arrange-ments also can be a powerfulreward for top-performingemployeeswhenadditional finan-cialcompensation isn’tanoption.

Visit The Creative GroupSalary Center (www.creative-group.com/salarycenter) foradditional information oncompensation and hiringtrends, including a download-able version of The CreativeGroup 2013 Salary Guide andaccess to our salary calculator,an easy-to-use online tool thatenables you to quickly look upthe starting salary for aspecific position in your area.

MariaScheleen is branchmanager

of The Creative Group, a special-

ized staffing firm placing

interactive, design and marketing

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 serv-

ices at www.creativegroup.com.

Contact the Seattle branch at 206-

749-9046.

continued from page 13

Destination: Salary ClarityThe industry’s most respected resource for freelance and full-time creative and marketing salaries is closer than you think. Simply download your 2013 Salary Guide today at creativegroup.com/salarycenter.

Seattle206.749.9046

601 Union StreetSuite 4300

© 2012 The Creative Group. A Robert Half Company. An Equal Opportunity Employer. 0812-7303



24 Seven Inc.; Seattle, WA206-340-0247; fax [email protected]

Brien Thompson, VP ofbusiness development,Seattle

52 Limited; Portland, OR503-517-0052; fax [email protected]

Brooks T. Gilley,president

Aquent; Portland, OR503-797-6600; fax 503-220-1821www.aquent.us

DND

The Creative Group; Seattle, WA206-749-9046; fax [email protected]

Megan Slabinski,district president

FILTER, LLC; Seattle, WA206-682-6005; fax [email protected]

Kristin Knight, CEOMax Thelen, president

Scion Staffing, Inc.; Seattle, WA888-487-8850; fax [email protected]

Isaac Schild, CEOBraden Busch, EVP

smartdept. inc.; Seattle, WA206-381-5716; fax [email protected]

Meghann Kern,managing consultant

Vitamin T; Portland, OR503-797-6622; fax 503-220-1821www.vitamintalent.com

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By Jules Van Sant Executive Director, PPI Association

The election season is over (finally).One hurdle is now behind us. If theMayan Doomsday scenario goes the

way of Y2K, then 2013 is going to happenand it will be business as, well, stillunusual. But, being the optimist I am, let’sgo with that plan and make sure we’re ina good space to ride the wave of the

future in visual communications—and not get pulled under.But how, you ask? I suggest all of you who market, design,

manufacture, sell and love print to adopt a few resolutions forthe new year: “I, (fill in your name), will continue to remem-ber to have a good attitude, continue to increase myknowledge, make new industry friends, plan for success, andbelieve in luck.”Maintain a realistic, yet positive attitude towards success.

This is accomplished by acknowledging the fact that commu-nication channels—and money spent on them—continue tofluctuate with the latest, hottest, trendiest way to reachmarkets and sell products. Print has the chance to be more hipand relevant again, while also measurable and able to driveROI. In order to know how to get there, you need knowledge.There are many resources from which to gain knowledge,

but cutting through the vast amount of information and opin-

ions can be tricky and time consuming. I’d like to think that’swhy I’m doing what I do—to help ease some of that burdenby sharing facts, resources and experts without an agenda ofselling something. Yes, we love to be used… I mean utilized!Generational changes, business shifts and time have

impacted the ranks of who is out there as a colleague, acompetitor… a friend. Know your peers within the businessyou practice. With wisdom, renew connections gone to the

wayside and make new contacts with whom to share successesand woes. With business being conducted far and wide withthe help of the Web, your past “around the corner” competi-tion might be a better ally today than before. Or consider

New Years Resolutions Circa 2013

“Friends and goodmanners will carryyou where money

won’t go.”– Margaret Walker

Continued on page 18

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joining a peer network outside your regionthrough social media, associations andnetworking groups.

Planning is difficult for sure, given thenature of the world we live in, but still soimportant. There are lots of data, tools andresources available to help set goals andtrack them over time. Just ask. You’ll findfinancial ratios, economic reports, lean prac-tices and training, employee incentive andrecognition programs, as well as people tobounce ideas off of at your fingertips—viaphone, Twitter, listservs, and e-mail. Chartyour path knowing crossroads will comeand come again. Key words to rememberthese days are flexibility and nimbleness. Setrealistic expectations that everyone withinyour organization can get behind and reason-ably achieve. You get back what you put out there…Boomerang.

Trends to Watch:The technology showcases of the visual communications

industry—drupa and Graph Expo—provided a glimpse intowhere the industry is headed technology-wise. These trendshave developed amid a growing number of channels wherecustomers can spend marketing and communication dollars.Experts at PPI partner Printing Industries of America predict

the following six trends will impact how commercial printerswill be spending their technology dollars:• Workflow Automation. The goal is to maximize the

speed of throughput and drive down the costs for the job.• Hybrid Printing. This is occurring in commercial print

applications with the integration of digital and offset tech-nologies on the same press equipment.• Digital Gets Bigger. The primary limiting factor of color

Credit Availability Improves

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-604Q09 1Q10 2Q10 3Q10 4Q10 1Q11 2Q11

Credit Availability Diffusion Index

Continued from page 16


The new year brings new financial opportunities for visual communications.

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digital presses—size—is being addressed with at least sixrecent introductions of larger-format presses.

• Inkjet. New high-speed inkjet production presses mayhave the biggest technology impact on the commercialprinting currently done with offset and toner applications.

• Integrated Marketing Management. Customerswill increasingly value companies that can help themdeliver unified messaging across multiple channels. Printcommunication businesses can become this type ofmarketing resource, assisted by new software tools formanaging campaigns.

• Cellular Manufacturing. The quest for efficiencyand speed will increasingly cause printers to place finish-ing equipment and processes in close proximity to, or evenintegrated with, their digital printing presses.Money is loosening up and firms are investing. Be sure

to know your opportunities for future investment plansand poise your business to ride the front of the curve andnot be caught by a sneaker wave.Well, Pollyanna has spoken. Oh, I almost forgot the last

one! Someone once told me that luck happens to thosewho put themselves in a place to experience it. Example:You can’t win the lottery without buying a ticket. Adoptan attitude of “winning” (I know, so 2011). Get lucky withsome healthy and happy resolutions: Good attitude,increased knowledge, make more friends, and plan forsuccess.Happy 2013!


TWITTER attwitter.com/MediaIncMag

FACEBOOK atfacebook.com/MediaIncMag

MI 4-12 PPI:Layout 1 12/5/12 9:42 AM


Several Northwest printing companies earned honors at the2012 Premier Print Awards Gala, held in Chicago this pastOctober.

The Premier Print Awards recognize the highest quality printedpieces in various categories from around the world. This yearmore than 2,800 entries were submitted for judging, with only themost worthy pieces receiving an award—either a Best of Category,the highest honor; an Award of Recognition; or a Certificate ofMerit. Those pieces that won a Best of Category award werepresented with the Benny statue at the October 8th gala.During the gala, the 2012 Best of Show was presented to Body

ofWork of Australia for the piece titled “Body ofWork 2012 Collec-tion.” The Best of Show first runner-up was Portland’s PremierPress for its piece in the Art Books category, titled “BHM EverHigher Books.” Premier Press also won a Benny in the Art Bookscategory.

Other Benny winners included the following Northwest-based printers:

Company: Adpro LithoCategory: Brochures and Broadsides, Small (4 or more colors)Piece: Gene Juarez “IDENTITY ONE” Brochure

Company: Cenveo Graphic Arts CenterCategory: Web Press Printing (4 or more colors, uncoatedpaper)

Piece: Tommy Bahama

Company: Eagle Web PressCategory: Web Press Printing (1, 2, or 3 colors, coated oruncoated paper)Piece: Chronicles of Okanogan

Company: PrintWest, Inc.Category: Special Innovation Awards—PrintingPiece: PrintWest “Why Print” 2011

Local Printers Win International Awards

Printing Industries of America chair Laura Lawton-Forsyth presents a Benny award to Jeremy Farrara ofPremier Press. Photo courtesy PIA.

MI 4-12 Premier Print Awards:Layout 1 12/5/12 9:44 AM


By Charles Davis Owner, Blu Room Advertising

My wife and I got married about a year ago. It was a fun,beautiful wedding that was only missing one thing. Weskipped hiring a videographer to save both a few thou-

sand dollars and the awkwardness of another camera intrudingall day. Now, memories of the day drift away into fleeting imagesand scattered photos, leaving my bride to watch her friends’wedding videos and wish.

That’s why we started Life’s Flix. Not only is it a completely orig-inal, unobtrusive take on wedding videography, but it’s affordable,interactive, and adds to everyone’s wedding experience. Theconcept is simpleand easy: Youshoot, we edit.

Here’s how itworks: You bookyour packageonline and wesend you severalhigh-definition,handheld videocameras, smallerthan most cellphones. Think ofit as the videoversion of leavingd i s p o s a b l ecameras on recep-tion tables. Eachcamera holds upto one hour of fun, personal footage from your guests’ uniqueperspectives.

Maybe the maid of honor has one camera that’s been taggingalong all morning as the bride eats breakfast and gets her hairdone. Then, she catches mom tearing up as she watches herdaughter walk in the room. Later, she shoots behind-the-scenesshots of the newlyweds at dinner.

Maybe a groomsman has another camera. He manages a fewshots of taking shots that morning. Then, a raw moment wherethe groom says he’s not nervous, but you look into his eyes and

know better. Later, the same camerarolls from a distance as the groomtakes a first look at his bride.

Maybe Uncle Stu has anothercamera. He’s bored anyways, since hewould probably rather be homewatching the game. Now, he has a jobto do—shoot everything important.He crouches down to get the perfectshots of the wedding party and brideentering. Then, he catches a great shotof the first kiss.

Maybe the 15-year-old niece hasanother camera. She uses her time

getting close-ups of all the flowers and decorations. Then, shegrabs footage of all the guests dancing and having a good time—including Grandma doing the mashed potato.

Maybe a family friend runs another camera to add to the master-piece. She gets a different angle of the whole ceremony so nothingis missed. Later, she wanders the reception asking people to givebest wishes to the newlyweds for a sort of video guestbook.

You capture life’s moments (weddings and events). We edit itall together into an amazing memory you’ll watch for the rest ofyour life. See more at www.lifesflix.com.

Life’s Moments Deserve Life’s Flix

Life’s Flix makes wedding videography affordable, interactive, and fun.

MI 4-12 Blue Room:Layout 1 12/5/12 9:47 AM


By Brian Parks Guest Columnist

Here is one to clip and put away in yourphotographers file. You have an upcom-ing photo-shoot and realize you need a

real pro; great lighting and putting your best footforward are too important not to. Before youpick up the phone to get some estimates, youneed to type up your shot list. Why? Well,because a shot list yields several benefits and

it’s best not to put the cart before the horse.First off, you will think ahead about end-use applications you need

photographs for. The product sheet cover may call for a vertical image,while the Web site features a horizontal one, thus two versions of the“hero” shot. Ads may dictate props and ambiance, while a third partycatalog simply wants clean knock-outs to white. Sales materials maybe greatly improved with detail shots to support copy about featuresor a community’s amenities. You may want to run your draft shot listby others for anything you are forgetting. As you can see, this exer-cise really helps you think through your needs.

Secondly, you have now quantified what photographers can discussand base estimates on (surprisingly, many inquiries request an estimatebefore they have any specifics to estimate on!). This info is necessarynot only for how much time is required the day of the shoot, but forprops, models, other special requirements, and how much editing andpost-work in PhotoShop is anticipated. Is the photographer deliver-

ing straight photos, or are enhance-ments and production work neededas well? There may be a fine linebetween what the photographer envi-sions creating with light versus viacreative controls in PhotoShop.

Now that you can weigh estimatesapples-to-apples and select yourphotographer based on skill-set, stillkeep this list handy for the day of theshoot. In the meantime you cancompile all the product, props, stagingnotes and ideas you think of as the dayapproaches. During the photo-shoot,check off items as the photographer busily uses your list to workthrough in what seems the most efficient batting-order. When receiv-ing the final images, you can double check from the list that a “hero”shot was delivered for each item, plus any options or additions thatwere inspired at the shoot. Afterwards, file away your shot list withthe project as a helpful aid for future photo-shoots.

Brian Parks has been a full-time freelance commercial photographer

in the Seattle/Bellevue area since 1984. He has a wide variety of

experience with product and interiors photography. As an early

adopter of PhotoShop, he does all his own digital work. See Brian’s

images at www.parkscreative.com.

The Importance of a Shot List

All the elements that go into this ad wereitems on the “shot list.”

Have Quality Photography?

425.562.0816 ParksCreative.com

P H O T O G R A P H Y

Brian Parks has been serving local clients for over 28 Years: 1,200 sq. ft. Studio on the Eastside

Digital Imaging Services Conveniently Located Off I-90 Color Managed Workflow Free Door-Front Parking

Industrial Food

MI 4-12 Parks:Layout 1 12/5/12 9:49 AM

Thursday, November 8, markedthe annual Rosey Awards, aceremony celebrating the best

advertising and creative workproduced in Portland and SouthwestWashington this year. The event washeld at Union/Pine in the PearlDistrict of Portland.Presented by Portland Ad Federa-

tion, the Roseys have been awarded every year since 1957 to honorcreativity and original thinking. Three levels of awards (thecoveted Rosey Award, the Award of Excellence, and the Awardof Merit) are given out in a variety of categories, ranging from printtoWeb to TV tomobile and beyond. This year’s judges—Ian Cohen(Wexley School for Girls), Jason Fox (Jasonfox.net), and JoeShands (Vendor)—handed out 13 Rosey Awards. Most of themwent to the night’s biggest winner, Mutt Industries.The Portland-based creative agency pulled in a total of eight

Rosey Awards, several Awards of Excellence and Merit, and thehonor of Best In Show.

Here’s a look at this year’s Rosey winners:

Agency: Mutt IndustriesSubmission: Hello, TroubleCategory: Multi-Channel CampaignClient: Gerber

Agency: Mutt IndustriesSubmission: Hello, Trouble. MicrositeCategory:Websites/Interactive Rich Media (Under $50K Budget)Client: Gerber

Agency: Mutt IndustriesSubmission: Hello, Trouble. Print “Mark Seacat”Category: Print AdvertisingClient: Gerber

Agency: Mutt IndustriesSubmission: Hello, Trouble. Print “Tim Kennedy”Category: Print AdvertisingClient: Gerber

Agency: Mutt IndustriesSubmission: The InstantCategory: Web VideoClient: Gerber

Agency: Mutt IndustriesSubmission: The MythCategory: Web VideoClient: Gerber

Agency: Mutt IndustriesSubmission: The InstantCategory: EditingClient: Gerber

Agency: Wieden+KennedySubmission: Devastating ExplosionsCategory:Websites/Interactive Rich Media (Under $50K Budget)Client: Old Spice

Agency: Wieden+KennedySubmission: I Would Run to YouCategory: Branded EntertainmentClient: Nike


Roseys Honor the Best in Portland Advertising

Mutt Industries’ Gerber campaign earned seven Roseys.

Wieden+Kennedy produced “I Would Run to You” for Nike.

MI 4-12 Roseys Recap:Layout 1 12/5/12 9:50 AM

Agency: Wieden+KennedySubmission: Best JobCategory: Television (Over $150K Budget)Client: P&G

Agency: Mutt IndustriesSubmission: Mutt IdentityCategory: Identity DesignClient: Mutt Industries

Agency: STRUCKSubmission: MarryBacon.comCategory: Websites/Interactive Rich Media (Over $50KBudget)Client: Jack in the Box

Agency: SandstromPartnersSubmission: SessionLager/SessionBlack/Session Fest12-packsCategory: Package DesignClient: Full Sail Brewing

For a full list of thisyear’s winners—includ-ing the Awards ofExcellence and Merit—and submission credits, visitwww.roseyawards.com.

Photos courtesy of PAF.


“Best Job” won Wieden+Kennedy a Rosey in the Television (over $150K Budget) Category.

Sandstrom Partners earned the PackageDesign Rosey.

Mutt won the Identity Design Rosey.

STRUCK’s MarryBacon.comwon a coveted Rosey.

MI 4-12 Roseys Recap:Layout 1 12/5/12 9:50 AM


Always a popular event, AAF Seattle hosted their ArtBash fundraiser on November 8 at Sole RepairShop on Capitol Hill. This annual party has become

a favorite within the advertising community—celebratingthe intersection between advertising, art and creativity.AAF Seattle gave local agencies blank canvases and the

theme of “Seattle Sound” to inspire artists’ imaginationsto create one-of-a-kind works of art. Each piece wasauctioned off with proceeds going toward AAF Seattle’sWestern Washington University scholarship, awarded tominority students pursuing degrees in advertising-relatedfields.From Seattle music (ranging from Heart to Jimi Hendrix

to Nirvana), to the sounds of the city, to the sounds ofnature, the “Seattle Sound” can be interpreted in manyways. Music and sound continue to influence our localculture and advertising campaigns. Through 23 works ofart, 16 agencies brought their interpretation of SeattleSound to life. Over 100 attendees joined in a healthycompetition, bidding on these canvases, and raising over$2,000 to go toward the scholarship fund. Some wenthome with new art to hang on their walls; some wenthome empty-handed vowing they were going to “win” apiece next year. Everyone went home knowing that theycontributed to a great cause to help bring more talent toour local advertising community.The success of Art Bash lies with Seattle’s amazing

creative talent, so special thanks to this year’s partici-pating agencies, and the artists within: Cole & WeberUnited; Copacino+Fujikado; Creature; Creative Circle;Crown Social; DNA; The Garrigan Lyman Group; Hacker

AAF Seattle Celebrates When Art andAdvertising Collideat Art Bash 2012

MI 4-12 Art Bash:Layout 1 12/11/12 3:24 PM


Group; Jones Advertising; POP; Publicis; Razorfish;Smashing Ideas; VML; Wong, Doody, Crandall, Wiener; andWunderman.

If your agency would like to participate in Art Bash2013, please e-mail [email protected] to be added tothe Art Bash list. Call for entries will be sent next fall, solook for the e-mail with information and next year’stheme.

Founded in 1909, the Seattle Chapter of the American

Advertising Federation is Seattle’s leading professional

organization devoted entirely to the business of advertising.

Professionals in the areas of graphic design, marketing, TV

and radio, photography, printing, web design and more,

come together to represent a diversity of companies from

our community. For information on how to get involved or

become a member, visit www.adclubseattle.com or

www.facebook.com/AdClubSeattle.

MI 4-12 Art Bash:Layout 1 12/11/12 3:25 PM


By John Jerome Guest Columnist

Doyouremember typesetters?Therewasa timewhen the indus-trywas filledwithadagencies, graphicdesign firms, typesetters,and other specialty marketing firms. Full-service firms also

existed,offeringalloftheseservicesunderoneumbrella,waitingtodelivershould the client call requiring those services.However, the industry haschanged. The old concept of keeping high-priced experts on staff wait-ing for a client to call needing their service has become inefficient andexpensive.Yetwe’re still expected tobeable todeliver the full depthandbreadth ofmarketing services—essentially doingmorewith less.Atthesametime,we’venoticedthatmanyofourSME(smalltomedium

enterprise) clients, who recognize the need to market their companies,are frequently lacking key internal factions (sales, operations, purchas-ing) thatallowthemarketingeffort toworkto its fullcapability.Themosteffectivemarketingeffort is fornaught if thesales force isn’table toclosethe sale or if the cash flow isn’t in line with outgo. Today the total inte-grationofmarketing, operations, sales, finance, andother departmentsis integral to the success of a company. The days of marketing being asilo are over. Themore eachof the different departmentswork in sync,themoreeffectiveeachdepartmentbecomes—whilealsoensuring thatmarketing is able to effectively do its job.Thesedays,whileamarketing firmisan integralpartofaclient’sbusi-

ness, you also need to provide additional capabilities outside ofwhat atraditional marketing agency would typically offer.Providing virtual CFO, CTO, COO, and even CEO capabilities has

become essential to supporting clients. Not to mention insurance

resources, M&A experts, investor links, and attorneys. While market-ing agencies should ensure theyareoffering coremarketing services toinclude the basics—market research, designers, writers, animators,photographers, socialmedia,SEO, relationshipmarketing,viralmarket-ing,publicrelations,andother traditionalmarketingpositions—theyalsoshould looktoprovidebusiness intelligence,datawarehousinganddatamining to be able to deliver full-service capabilities to clients. The chal-lenge is how to provide these services without the meter constantlyrunning.Our firmhasresolvedthischallengebydevelopinganexclusivestrate-

gic partnership program with over 40 companies and experts aroundtheworld.Wevet theresource, signnon-competesandgetcommitmentsthroughmemorandumsofunderstanding.Through thisprocesswestillmanage themarketingprocess,butnowwe’veembeddedourselves intothe client’s business acrossmany of the different functions. As a result,we are able to provide not only traditional marketing services, butresources for virtually every business function a client may need.Armedwith the in-depth knowledge of our clients’ operations,we’ve

beenable toconsistentlyhelpourclientsmeet theirobjectives.Whethertheyare lookingforrevenuegrowthortopositiontheircompanyforacqui-sition,offeringafull lineofbusinessservicesbeyondmarketingcapabilitiesis essential in helping tomeet clients’ business objectives.

John Jerome is co-founder of Jerome, Bruhn, & Associates, recognized as

one of the leading business consulting and marketing strategy firms

on the West Coast for more than a decade.

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MI 4-12 Jerome Bruhn:Layout 1 12/5/12 9:53 AM


By Mike Gilbert Guest Columnist

Today’s marketers are inundated withadvice to optimize inbound market-ing opportunities, and with good

reason. People searching social mediasites and elsewhere on the Web areusually in the research phase of apurchase, looking for answers andcomparing options. These people arelow-hanging fruit—self-selected topprospects for the sales organization.

Wouldn’t it be ideal if there were an ever-expandinguniverse of such people, proactively searching for whatyou sell?Unfortunately for companies not named Apple, this

isn’t the case; you need to actively hunt for moreprospects. So how do you reach that universe ofprospects that aren’t currently researching your cate-gory? They may think they don’t need your product orservice, or cannot afford it—or they may not even knowabout it. Sometimes consumers need to be reminded ofan opportunity to take action. And if they are ready topurchase, they will buy from your competitor if youdon’t reach them first.Outbound marketing has fallen out of favor with some

marketers and pundits, but it is a vital, effective, meas-urable way to drive customer activity and increasedrevenue. Smart companies are engaged in a variety ofoutbound marketing campaigns. Here are a few thatwe’ve seen work well.

Make sure you remember the basics.Breaking through the thousands of ads every consumer

encounters daily is key to getting your ad noticed. Thisis best accomplished by sending a very relevant messagewith a compelling offer to a highly targeted audience.This is Direct Marketing 101 and can be accomplishedusing a wide range of direct marketing tools.

Despite rumors to the contrary, direct mail works!Direct mail has lost favor with many marketers, thanks

in part to the many other lower-cost channels out there.But none of them have the advantages of direct mail:lists that allow for fine audience targeting, a formfactor that can be varied to catch the eye, and littlecompetition in the mailbox (unlike 10 years ago).Another intrinsic advantage is that well-designed

direct mail projects credibility because it can’t becreated cheaply, unlike a spammer’s e-mail or Web sitethat can make a new company look well established withlittle outlay.

Win-back programs are a no-brainer.We are constantly surprised when companies give up

on past customers. They are an excellent source of new

customers, especially if you do your homework andscrub the list to remove those who were dissatisfied.Who knows your brand better? Although past customersmay have been enticed by a competitor’s offer, many willbe willing to return if you talk to them!

Talk to people when they are ready to purchase.Don’t know when they want to buy? Just keep in touch.

Permission-based e-mail is a great tool to reachprospects who have contacted your company in the past,as well as current and past customers. All are familiarwith your brand and should be open to communicationswith relevant content. Then, when they are ready to buy,they will remember you.

Use paid search using correlated keywords.Paid search marketing is both an outbound and an

inbound tool. If your customer profile shows a strongcorrelation to other unrelated products or behaviors,such as cruise ship enthusiasts who also tend to begolfers, you can tap into an audience your competitorsmay have missed. Careful testing of keyword termsfrom the correlating activity will drive sales.

Supercharge your marketing with both inbound andoutbound tools.Assembling inbound marketing tools and analytics is

important, but ignoring outbound marketing can havedire consequences. Not every current customer foundyou on their own initiative. You had to find most of themyourself. Ignore outbound marketing, and you might seesales erode and your universe of prospects dwindle.

Mike Gilbert is the co-founder of GCDirect, a media neutral

marketing firm located in Seattle. He can be reached at

[email protected] or call 206-262-1999 x 206. Visit

www.gcdirect.com.

Outbound Marketing in the Inbound Age

Outbound marketinghas fallen out of favorwith some marketersand pundits, but itis a vital, effective,

measurable way to drivecustomer activity andincreased revenue.

MI 4-12 CG Direct MKT:Layout 1 12/5/12 9:54 AM


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ADi; Portland, OR503-227-5914; fax [email protected]

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MI 4-12 Direct Resp List:Layout 1 12/5/12 10:00 AM

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Dan Langdon, CEOKen Balduff, president

Hacker Group; Seattle, WA206-805-1500; fax [email protected]

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Hunt Marketing Group; Seattle, WA206-447-5665; fax [email protected]

Brian Hunt, president

K/P Corporation; Renton, WA425-227-5400; fax [email protected]

Joe Hollandsworth, VPsales

Mailing Lists Plus Inc.; Bellevue, WA425-451-3335; fax [email protected]

Carol Kollmann

Marketry; Bellevue, WA425-451-1262; fax [email protected]

Greg Swent, presidentBruce Morrison, VP

Massini Group; Hillsboro, OR503-640-9800; fax [email protected]

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McIntyre Direct; Portland, OR503-286-1400; fax [email protected]

Susan McIntyre,founder/chief strategist

Direct Marketing Solutions; Portland, OR503-281-1400; fax 503-249-5120www.teamdms.com

Mike Sherman, CEO

GCDirect; Seattle, WA206-262-1999; fax [email protected]

Mike Gilbert, partnerCynthia Cruver, partner



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MI 4-12 Direct Resp List:Layout 1 12/5/12 12:24 PM


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By Vince Porter Executive Director, Oregon Governor’s Office of

Film and Television

Oregon has always been known as agreat place for the independent filmscene, and 2012 is no exception.

Since July, there have been four independ-ent films that have been accepted as a partof the Indigenous Oregon Production Invest-ment Fund (iOPIF), which was created in2009. In addition, critically acclaimed direc-tor Kelly Reichardt directed her fourth film

in Oregon. These five films, along with a few other completed proj-ects, add up to a very prolific year for Oregon’s indie filmcommunity.The first film to go into production was comedy The A-List,

which was produced in Lake Oswego. The filmwas written by D.J.Halferty and directed by Will Bingham. Next to go into produc-tion was the Portland-based feature film Wilderness of James,written and directed by Kamp Grizzly alum, Michael Johnson. Onthe heels of Jameswas the recently completed feature C.O.G. Thefilm is based on a David Sedaris essay about his experiences onan Oregon apple orchard and was directed by Kyle Patrick

Second Half of 2012 Has Been Boomingwith Indie Film Production in Oregon


Crew shoots in Brookings for Redwood Highway, oneof several indie films shot in Oregon this year.

MI 4-12 Oregon Film:Layout 1 12/11/12 3:28 PM


Alvarez.In Southern Oregon, there were not one, but two films produced

in the fall (we believe this is a first). Kelly Reichardt recentlywrapped her fourth film shot in Oregon calledNight Moves.NightMoves shot in Roseburg, Medford and Ashland and stars JesseEisenberg, Dakota Fanning, and Peter Sarsgaard. The filmhas already received quite a bit of buzz and we’re all hopingit gains the critical acclaim of Reichardt’s other Oregon-based films (Old Joy, Wendy and Lucy, Meek’s Cutoff).The second film shot in Southern Oregon was Redwood

Highway, an iOPIF project starring Shirley Knight, TomSkerritt, and James LeGros. The film was produced, writ-ten and directed by a trio of Southern Oregon residents:

James Twyman (producer/writer), Gary Lundgren(writer/director), and Gary Kout (producer).Most of these films tend to be a little under the radar

because their crews aren’t as large as the TV series’, so theimpact is less visible. There is no doubt, though, that collec-tively they are making their mark in Oregon. If you wantto follow one of the films, I would suggest that you checkout the Redwood Highway Facebook page. The team work-ing on the movie is taking a forward-thinking approach tobuilding their audience with regular Facebook updatesthrough prep and production. It’s been fun to watch thephoto updates on every production day.The past few months have also been a great time for proj-

ects already produced. A few that stand out are the filmsthat the Freeman Brothers produced in Oregon, includingCell Count and The Weather Outside. Also worth mention-ing is former state legislator David Edwards’ film,Nightscape, which screened in the Portland area on Novem-ber 16 and December 14. These screenings came on theheels of a very successful premiere at the Montreal Comi-con Horrorfest.The diversity of these projects will hopefully show the

wide array of stories that can be told here in our state. Let’swish the best for all of their success!


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MI 4-12 Oregon Film:Layout 1 12/5/12 10:13 AM


By Jacob Ooley Communication Intern, Washington Filmworks

September marked the end of Washington Filmworks’2012 funding cycle. Board Members approved a totalof 15 projects, including 8 commercials and 7 feature

films. The organization also reached its threshold for B&Otax donations. With B&O contributions reaching $3.5million in just a few months, Washington Filmworks can nolonger accept contributions for the 2012 season and willresume accepting contributions in 2013. Incentive produc-tions added an additional $10.2 million to the WashingtonState economy since June 7, 2012. In addition, severalincentive alumni feature films gained ground on the

national film scene.2011 Washington incentive feature Safety Not Guaran-

teed made industry waves throughout 2012. The filmfollows three cynical Seattle Magazine employees as theyinvestigate an unusual classified ad. The cast was nomi-nated for the annual Gotham Independent Film Award inthe category of Best Ensemble Performance, and the filmlanded on io9’s list of the Biggest Box Office Hits of the2012 summer season.

Safety Not Guaranteed director Colin Trevorrow under-stood the importance of Washington’s film incentiveprogram when he chose to shoot here.“It was crucial to this production and we just couldn’t

have been here without it,” said Trevorrow in an interviewwith Examiner.com last June. “It allowed us to make a filmthat was already an extremely modest budget. It allowedus to put more on the screen.”Another 2011 Washington incentive feature film, Eden,

was busy stockpiling accolades as well. Eden received acoveted 2012 Audience Award at South by Southwest, anddirector Megan Griffiths walked away with the award forEmergent Narrative Woman Director. The feature securedNorth American distribution through Phase 4 Films and isslated for theatrical release in 2013.Though the story is set in Nevada, producer Jacob Mosler

shot at various locations across the state, showcasing the

diverse terrain of Washington.“We are so proud to have created a film within greater

Seattle and Eastern Washington that was a story set in‘Nevada circa 1994,’” said Mosler. “We hope that itconvinces other filmmakers that multiple looks are possi-ble in our great state.”Additional Washington-produced incentive films can be

found through your local cable provider, streamed online,rented, or seen in select movie theatres. The Details, star-ring Tobey Maguire and Elizabeth Banks, and Grassroots,starring Jason Biggs and Cedric the Entertainer, are twomore alumni incentive features that shot in Seattle, employ-ing area cast and crew. Both features made their way to the

big screen in 2012. Grassroots hit theaters over the summerand is now available online and on DVD. The Detailsrecently opened in theaters this past November.

Fat Kid Rules the World also shot in Seattle in 2011 andwas released in 2012. Director Matthew Lillard took advan-tage of Washington’s incentive film program when he madethe decision to shoot in the Emerald City.“Unfortunately, filmmaking has become an incentive-

driven economy; it’s just not possible to make a feature filmin a state without an incentive program,” said Lillard.“Washington’s incentive program is competitive and theyhave created a program that is independent film friendly.We couldn’t have made the film here without it.”Lillard’s film went on to nab the Narrative Feature Spot-

light Audience Award at the 2012 SXSW Film Festival andwas picked up by ARC Entertainment for distributionacross North America.Washington Filmworks was able to commit all available

funds for 2012 in five and a half months, a true tribute tothe national reputation Washington State has as a destina-tion for commercials and independent feature films.“Once the program was renewed, we had immediate inter-

est from filmmakers,” said Amy Lillard, executive directorof Washington Filmworks. “It was wonderful to get ourlocal cast and crew back to work and we look forward tofunding even more projects starting in January 2013.”

Time Travel, Politics, and Punk RockWashington Incentive Projects Grab National Attention

“Washington’s incentive program iscompetitive and they have created a

program that is independent filmfriendly. We couldn’t have made

the film here without it.”- Matthew Lillard

MI 4-12 WA Film:Layout 1 12/5/12 10:14 AM


On October 2, David A. Culp, noted Seattle director andeditor, passed away. He was 59.

Mr. Culp had been in the production industry for over 20 yearsin Seattle and San Francisco. He was director and generalmanager of Kaye-Smith Productions before founding Culp Produc-tions in 1993 in Seattle, where he earned multiple awards for histelevision commercials and educational films.“Film making was David’s great passion and he was

extremely good at it,” read Mr. Culp’s obituary. “He made(directed & edited & sometimes co-wrote) a collection ofwell-known local commercials for Rainier beer, Ivar’srestaurants, Sea Galley restaurants, Boyd’s Coffee, Long’s

Drugs and Taco Del Mar, to name a few.”Mr. Culp was also a long-time instructor with the Seattle

Film Institute and the University of Washington Film &Video Certificate Program.

“David had a special giftfor working with youngpeople, especially withyoung actors. He knewhow to bring out theconfidence and bestperformances on camera.”In addition, Mr. Culp

was the co-publisher,along with Richard Wolt-jer, of the Film & VideoIndex in the early 1980s.This was the first incar-nation of what is now known as the Northwest ProductionIndex, Media Index Publishing’s annual directory of film andvideo resources for Washington and Oregon. Mr. Culpproved to be a driving force in the early stages of this publi-cation, and we are forever grateful for his efforts.Mr. Culp not only had a remarkable career, but he truly

was a remarkable man, and he will be missed by the localproduction community and far beyond.David A. Culp is survived by his wife, Crystal (McConnel)

Culp, and his children, David Albert Culp III, Kaitlin Scar-let Culp and Sarah Francesca Culp, and Crystal’s two sons,Lucas Lorenzo and Julian Lorenzo. He is also survived bysisters Roberta Culp and Marylin Culp, and brothersMatthew Culp and Thomas Culp.

David Culp, Former Index Co-Publisher, Passes Away

Mr. Culp proved to bea driving force in theearly stages of this

publication, and we areforever grateful for his efforts.

MI 4-12 david culp:Layout 1 12/5/12 10:18 AM


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“As we walked through the lot, there were dead bodieseverywhere. The wind was blowing, sheets of metal werebanging. It was really creepy.”

That’s Bobby Hougham, co-creative director of Seattle-basedproduction company thenewBlank, discussing his time on the setof The Walking Dead, the zombie-centric AMC series that is nowin its third season. Earlier this fall, thenewBlank traveled toAtlanta to shoot international promo spots for the series, andHougham and his team were able to see firsthand what it’s liketo live during a zombie apocalypse.This series of promos is part of a package for Fox International.

thenewBlank has also recently shot promos for Glee, New Girl,Ben and Kate, and American Horror Story, among others.“Fox had just rebranded but didn’t know how to develop it for

promotions and social media, etc.,” explained Hougham. “Wewerecontacted and we did a full blown pitch—we developed a bunchof different ideas on how the rebrand could be used in multiplecircumstances.”Since this was an international project, a big challenge was the

communication barrier.“The Fox U.S. tagline is ‘So Fox.’ which doesn’t translate well

into many other languages,” said Hougham. “We worked on devel-oping different tags and different promos that would work on awider scale.”thenewBlank won the bid and got to work.

The team traveled to Hollywood Center Studios in L.A. to shootpromos for Fox comedies like Glee and New Girl.“We shot on the stage—the actual stage—that Lucille Ball’s

show was shot on,” said Hougham. “Right next door to that stage

was the George Burns stage, where he did his show. From thatHollywood history point of view, it was a very cool experience.”But it was nothing compared to what the teamwould encounter

in the woods outside Atlanta.“We were on The Walking Dead’s set, sharing their studio

space,” said Hougham. “All of their stages were jam-packed full


Seattle production company shoots international promos for The Walking Dead

Killer Instinct

Working closely withthe cast of a productionis a part of regular life forthenewBlank, howeverthis production was aparticularly unique

experience.

thenewBlank’s Bobby Houghamgives direction to The Walking Dead

star Norman Reedus

MI 4-12 NEW BLANK:Layout 1 12/6/12 9:03 AM


of stuff, so we were tucked into interior sets for our shoot.”As enormous fans of the show and the comic book on which

it’s based, the team at thenewBlank was enthused to not only beon set, but to walk around in between shoots and explore theWalking Dead world, from the prison yard to the various interi-ors. Working closely with the cast of a production is a part ofregular life for thenewBlank, however this production was aparticularly unique experience. It wasn’t merely that the produc-tion offices were set up in The Governor’s office or that you wouldfind dead bodies lying around just outside their set, it was moreabout how the close-knit cast and crew accepted them as part oftheir team.“During the shoot we were welcomed in,” said Hougham. “We

definitely got an amazing sense of camaraderie. They’ve beenworking together for nine months in the middle ofnowhere and we had the distinct feeling we were a partof that family.“For the Hollywood shoot, all of these actors are

hustled in on their off days, and they’re told, basically,‘you gotta stand up and act pretty for these randompeople.’ But on Walking Dead, they were coming fromrehearsal. They came in between takes. It wasn’t somuch of an inconvenience or a hassle for them, butmore of a ‘welcome to our home.’”That’s not to say Hougham and crew were always

completely at ease. He described working with thezombies—referred to as “walkers” in the show—as“remarkably creepy.”“The walkers don’t see, but they hear and smell really well,” said

Hougham. “So you have these people milling about, and then youcue them that they hear or smell something. Looking right intothe lens, it looked and felt as though they were looking at andhunting me.“After that, I needed to go ‘shake it off.’ It was really creepy;

really cool.”And the creepiness factor didn’t wane in between takes.“I came out of lunch, and down the hall I see three walkers

having a smoke and BS-ing. Saying tomyself, ‘Oh sure, I’llbite,’ I headedover and started talkingwith them,” recalledHougham. “Theywere in fullmakeup—Imean, full ondeadand rotting—but they’re talking and behaving like normal,living human beings, of course, and I still caught myselfgetting the chills. Even in real life they are just bizarre, justcreepy. And when they’d snap back into their ‘zombie’mode, you just wanted to run.”Hougham co-wrote and directed the spots, which

were shot over five days in September at an undis-closed studio in Atlanta.“Tammy MacArthur wrote initial drafts of the

scripts, and I worked with her and finessed the finalscripts,” he said. “My partner Sevrin Daniels has beenhandling the creative direction and post-production side ofthings.”The final promos are delivered as After Effects templates

that can be easily altered to fit the needs of the various coun-tries it will be shown in. Said Hougham, “We’re creating thesepromos that are pretty boiled down but certain things likeiconography and text can be altered without headache.”

Upon completion of the Walking Dead promos, thenew-Blank team was back at it, traveling to Wales for Da Vinci’s

Demons, a Starz and BBC production that Fox is distributingnationwide. The team will also soon be shooting anotherpromo for a different show, but Hougham wasn’t at liberty tosay which one.“The Fox promos are an ongoing project,” he said. “It’s a big proj-

ect and we are thrilled to be a part of it.”No rest for theweary, apparently. Especially during a zombie apoc-

alypse.

MI 4-12 NEW BLANK:Layout 1 12/6/12 9:04 AM


By Gary Kout Founder & Executive Director, SOFaT

Photos by Gary Kout and Gary Lundgren

SouthernOregonhas been the backdrop formany feature films,starting all thewayback in 1914withGrace’s Visit to the RogueValley. Though generally an uncommon event, a strong flurry

of filming began in 2000with at least one independent filmbeing shotevery year in the area. Then in 2010, filmmaking came to a screech-ing halt with no films being made, and in 2011 there were only twomicro-indies with budgets in the $100,000 range or less.Those keeping tabs on the industry know that private equity, the

usual source of funding for indie production, had become incredi-bly difficult to procure. The distributionmodels for independent filmshad also been going through a fundamental shift, with fewer andfewer theatrical opportunities, skewing everything towards the lesslucrative digital markets. Finding money and making money haddropped through the floor.But late 2012 saw a dramatic change in the production landscape

as not just one, but two good-sized independent films, both withstrong creative talents and recognizable casts, filmed in SouthernOregon. Eager to shake off the dust from their long break, the localindustry rose up to meet the challenge.NightMoves, the latest film fromcritically-acclaimeddirectorKelly

Reichardt,was the first film to roll cameras. Reichardt’s last two films,Wendy and Lucy andMeek’s Cutoff, were bothmultiple award nomi-nees and winners at major festivals. Continuing her preference forfilming in Oregon thanks to its wide range of locations, film-friendlyenvironment, experienced crews, and competitive incentives,Reichardt and longtime screenwriting partner JonathanRaymond settheir latest story of eco-terrorism in the small communities and beau-tiful landscapes of SouthernOregon. Themovie stars JesseEisenberg(The Social Network), Dakota Fanning (the Twilight series) andPeter Sarsgaard (An Education).The second film was Redwood Highway, the follow-up feature

from the creative teambehindCalvinMarshall, starring Steve Zahn,which also filmed in SouthernOregon inwinter 2007.RedwoodHigh-way tells the storyofMarie, a resident at a retirement communitywhodecides towalk 80miles down theRedwoodHighway to see the coastofOregon for the first time in45years. Themovie stars award-winningveteranactressShirleyKnight (AsGoodas ItGets),withstrongsupport-ing rolesbyTomSkerritt (ARiverRunsThrough It) andJamesLeGros(Point Break).Thanks toour familiaritywith the local industry, directorGaryLund-

gren,myfellowproducerJamesTwyman,and Icast several localactors,manyofwhomperformwith theacclaimedOregonShakespeareFesti-val and have strong Hollywood film and TV credits.Livingup to its name,RedwoodHighway filmedprimarily along the

actual Hwy 199, Southern Oregon’smain route to the coast. As travel-ersalong the fabledhighwayknow,many interestingand incrediblesitesawait them.The filmmakerswanted torecreate thatexperience,makingthe movie a sort of greatest hits of the Redwood Highway. Their film-ing locations includedLakeSelmac,EightDollarMountain, It’sABurl,

Independent Feature FilmmakingRoars Back into Southern Oregon


Redwood Highway crew films outside of Mountain Meadows in Ashland.

Lining up a shot of Shirley Knight on the Redwood Highway.

Tom Skerritt and Shirley Knight with director Gary Lundgren in Cave Junction.

MI 4-12 Redwood Hwy:Layout 1 12/5/12 10:28 AM


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Cave Junction, Great Cats, Rough andReadyBridge, JedidiahSmithStatePark(inCalifornia), and thebeautiful coast inBrookings,Oregon.Other locations filledout the production schedule, covering alarge swath of Southern Oregon: Moun-tainMeadowsRetirementCommunity inAshland,TalentClub inTalent, theApple-gateRiverLodge, anddowntownGrantsPass.

Night Moves also filmed all over theregion, from as far north as Roseburg,east to Lake of the Woods, west to theApplegate Valley, and the main popula-tioncentersofMedfordandAshland.Alltold, there wasn’t much of SouthernOregon that didn’t see cameras roll, norfeel theeconomic impactof feature film-making.Southern Oregon Film and Television

(or SOFaT for short), the membership-based local professional associationandde-facto film commission for the region, assisted both productions.SOFaT provided strong recommendations about the filmmakers tolocalpublicagenciesandprivatebusinesses,whichhelped toacquirelocations, smooth the various permit processes, and perpetuate thealready pro-filming attitude in Southern Oregon.When both productions inquired about local crewmembers and

services, SOFaT directed them to its online directory where manyprofessionals in the local industry list their contact info, credits, andlinks to samples of their work. As a result, many SOFaT members

were hired towork on bothproductions.Suchemployment notonly contributesto the local econ-omy,but itbuilds theresumesand raises the overall experi-ence level of the localindustry, making thosemembers and the regionmore attractive to futureproductions.SOFaT and the Southern

Oregon industry hope that2012 is merely the start ofanother busy decade of film-

making, and isalreadyworkinghard tospringboard theresultsandramificationsof Night Moves and Redwood Highway into future filmmaking activity.For more information about making your next project in Southern Oregon,

visit SOFaT at www.filmsouthernoregon.org or contact us at [email protected].

Gary Kout is the founder and executive director of Southern Oregon Film and

Television and a producer on Redwood Highway, as well as havingworked on

four other feature films in Southern Oregon. He was the production supervi-

sor on the 2011 Academy Award-winning animated feature Rango, starring

Johnny Depp, and has line-produced over 100 national commercials.


Lundgren, Skerritt, andKnight on the set at It’s aBurl.

Lundgren with MichelleLombardo and Knight at theTalent Club.

Crane shot on the RedwoodHighway.

DP Pat Neary gets a push from key grip Eric Bixler.



By Peter BarnesGuest Columnist

Anyone remember way back to the ‘90s? WehadNorthern Exposure, Sleepless in Seattle,Singles, American Heart…wewere rolling

in TV series and feature films shot in theGreat North-west. Thosewere thedays, right?Everyone in the filmindustrywasbusy, right?Wait…what?That’s right;we

weren’t busyposting features in theNorthwest, only shooting them. I’mgoingtospeakaboutmyhome,Seattle,but thestory is thesameforPort-land, our sister to the south.Well, letmetell yousomething.After severalyearsofwhatwasessen-

tially a film drought in Seattle, we’ve finally come together as acomprehensivecommunityofwriters,actors,crew,andpost-productionproviders. One of the things that has changed most dramatically is thewayourcityandstate leadershaverefinedtheirmessagetofilmproduc-tion companieswhen they tour the area. They actually includeour localpost services as a major part of their story to prospective filmmakers!Ourpostservicecommunityhasrisentotheoccasion,establishingatrackrecord of excellent quality, and we have acquired a firm grasp of thecomplicated task of feature film post. And boy, is it complicated.WeatClatter&Dinare just finishingan inconceivably long listofdeliv-

erablesfortheinternationalreleaseofGrassroots, theStephenGyllenhaalfilmthatclosedSIFF lastyear.Thecomplexity isunbelievable,butwe’reseeing enough films come through our facility that we’ve become quitecomfortable with the challenge. That wasn’t true five years ago. BadAnimals is another company that has done extremely well at workingwithbig filmprojectsandhasearned the respectof thebroadernational

postcommunity.TheirworkonYour Sister’s Sister,LynnShelton’shilar-iousGothamFilmAward-winningpiece,wasoutstanding.Ahuge shoutout is in order toModernDigital andAlphaCine, who have been at thisa long time and have constantly been raising the bar for picture finish-ingwork.TheprolificacyofourNorthwestdirectors, their garneringofnational

attention, andmost importantly their trust in the local post communityarehugedrivers indevelopingthis tight-knit teamofproductionandpostresources.We’reallgettingtoknoweachotherwellandweseeeachotherat events and screenings farmore often than ever before.We are truly acommunityandit’sawesome.TheNorthwest’sup-and-comingdirectors,such asMeganGriffiths, LynnShelton,Matt Lillard, SueCorcoran, JohnJeffcoat andNick Gyeney (to name a few), are adamant about keepingtheirprojects localandutilizingourexcellent talentpool insteadofoptingfor the “L.A.” treatment.The state film incentive has been very effective in keeping postwork

inSeattle,andtheOfficeofFilm+MusicandWashingtonFilmworkshavebothsetashiningexampleofprofessionalismtofilmproductioncompa-nies across thenationonourbehalf. ColinTrevorrow, director ofSafetyNotGuaranteed,whochosetoposthisfilminSeattle,said,“Icannotimag-ine amore perfect place to havemade thismovie. Iwould comeback toshoot here in a heartbeat.”He said this becauseour city has developed apassionate,well-educated teamof filmmakerswhomadehis experiencehere a good one, all theway to those final deliverables. Good for us.

Peter Barnes is often out at a party, butwhen he’sworking, it’s usually at

Clatter&Din. Visit www.clatterdin.com.

Seattle is a Film Town Again!

McDONALDINSURANCEGROUP, 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

4 1 6 6 t h S t . S 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

MI 4-12 Clatter:Layout 1 12/5/12 10:34 AM


By Brad Anderson Executive Director, SAG-AFTRA Seattle Local

The community of professional performers in Seattle and theNorthwest has recently been strengthened. The formerAmerican Federation of Television and Radio Artists has

combined with the former Screen Actors Guild into a more power-ful SAG-AFTRA. SAG-AFTRA now speaks with a unified voice forall performers in the region, covering film, television, radio, broad-casting, sound recordings and more. The SAG-AFTRA SeattleLocal represents more than 1,600 people working day after dayin this industry. These performers are the professional talent thatproducers depend on to create the quality work the Seattle areais known for.

The merged SAG-AFTRA will make it easier for productions toget made. No longer will people have to concern themselves withhaving to compare two different potential sets of contracts, withdiffering processes and procedures in how those contracts areadministered. SAG-AFTRA in Seattle is now a “one-stop shop”where producers can work with the staff of the Seattle Local to

get the best fit in terms of a contract and to have their questionsand concerns answered in a timely and responsive way. SAG-AFTRA has added to the staff on the ground at the Seattle Localspecifically to provide a continuing dynamic connection betweenthe Union and other stakeholders.

Of course, full integration will take some time—at this point,the legacy contracts for AFTRA and for SAG are still the opera-tive documents and will be until each of the contracts comes upfor renegotiation in the ordinary course, at which time they willbecome unified SAG-AFTRA contracts. For example, SAG-AFTRAis preparing to negotiate the separate collective bargaining agree-ments for each legacy union’s television and radio commercials,which is intended to lead to a single commercials agreement.

One of the functions of the Seattle Local of SAG-AFTRA is toprovide assistance with understanding the Union’s contracts.There is a myth that those contracts are “too complicated” andthat “there is too much paperwork.” The Seattle Local staff is hereto provide guidance through the processes to demonstrate thatthey are not as complex as people think and that, with staff’s assis-tance, paperwork can be expedited and simplified. SAG-AFTRAwants to get beyond these kinds of rote reactions and, rather, ifthere are real problems and real obstacles for producers or agents,focus on finding solutions to those problems if solutions can befound.

SAG-AFTRA and the Seattle Local work hard on behalf of theirmembers to enhance their opportunities in this industry and thisregion. SAG-AFTRA and the Seattle Local understand that

performers are only one constituency in this business—talentagents, signatories and other producers, casting directors andpaymasters, among others, are also important members of thecommunity. SAG-AFTRA has reached out and will continue toreach out to the entire community, seeking to better learn howto move this market in a positive direction that betters theeconomic proposition for all.

Part of being an effective labor union and participant in theentertainment community is tapping into the innate desire ofpeople, through their own social nature, to lift each other up, nottear each other down. SAG-AFTRA and its members recognizethat what is good for them—a better standard of living, access tohealthcare and pensions, and satisfying work—is the same for allthe members of this community, lifting everyone’s material well-being and that of their families and their children. We want tocreate an environment for work that brings security to perform-ers and other stakeholders. The Seattle Local understands thatorganizing performers is its responsibility, but believes that themarket will become stronger if it is responsive to the needs and

concerns of the other stakeholders, and if it provides continuingoutreach and education for the industry.

To that end, SAG-AFTRA has embarked on an ambitiousprogram to introduce the merged organization to the indus-try and to start the educational process. For example, theSeattle Local recently conducted an informal session withall of the talent agents in Seattle to make that introductionand to field questions from the agents about substance andabout process. It seemed to be a very popular event andthere was great energy in the room. Similarly, the SeattleLocal invited all stakeholders to an “Industry Summit,” heldon a recent evening at the Film Center of the Seattle Inter-national Film Festival. It also was a lively evening with lotsof engagement by the participants and good ideas for thefuture. SAG-AFTRA will produce more of these types ofevents on an ongoing basis so that this energy and engage-ment are not dissipated.

Finally, it is important to remember that membership inSAG-AFTRA means something—it means that the performerhas a level of skill and professionalism that has been recog-nized. Membership in the Seattle Local, for eligible performers,can be accomplished quickly and easily. The Seattle Local offersan initiation fee discounted from the nationwide rate, and therealso is a payment plan to spread the obligation out over time.Combining the talents of SAG-AFTRA members and the expert-ise of our other community participants can only move this regionand this market forward for the benefit of this entire community.

The Talent Community and SAG-AFTRA

SAG-AFTRA will continue to reach outto the entire community, seeking tobetter learn how to move thismarket in a positive direction.

MI 4-12 SAG:Layout 1 12/5/12 10:32 AM


IN BOTH EARS

Voiceover talent agency In Both Ears was founded 10 years agoin Portland. Our owner, Stacey Stahl, set out with the dream ofchanging the way both clients and talent were treated in the

voice casting industry, bringing a personal touch to the world of voice.That boutique spirit still exists today, while IBE has grown to include a roster of over 250 professional talent in the U.S., Canada andbeyond, plus youth and foreign language talent rosters. The high-touch service IBE provides means that we maintain a deeply consci-entious attitude toward our clients, which include PBS, NBC, Cricket, Alaska Airlines, Target, Nintendo, Wieden+Kennedy, and manyothers throughout the country and overseas.At In Both Ears, we specialize in giving our clients the finest voiceover options possible. Whether the project is for radio, televi-

sion, a video game, promos, web or another medium—our voice talent take any project to the next level. Casting is always complimentaryand talent are always hand-selected to fit your specific project; no cattle calls at In Both Ears!In Both Ears offers world-class voices and outstanding customer care—please consider us part of your creative team. We’re pretty

fun that way!www.inbothears.com

THE ACTORS GROUP (The one with the pros.)

Cheeky headline. And frankly, we’re uncomfortable with it. Granted, the agency roster of The Actors Groupis a short list of bright, professional, personable talent who’ve earned their strong credentials. And a modicumof fame.

This could be because our small and select stable of camera and voice talent also tend to be writers and produc-ers, genial hosts, broadcasters & podcasters, and sometimes top chefs.If we were speaking in bullets, we’d say The Actors Group is:• streamlined, reliable, easy to work with• distinguished, recognized, lauded• skilled, vetted, savvy

Our mission is to make things easy for our clients – helping them deliver their creative quickly, simply, and consistently. (We don’task our talent to illuminate the gulf between the pros and the part-timers. It just happens, whenever they’re around microphones,lenses, or audiences.)We built our reputation by representing the strongest professional talent you could find in this town. It’s still true 25 years later.

And we guess that could seem a little cheeky.Dunno. Maybe we simply have to own it.The Actors Group. (Modestly flaunting it since 1987.)

www.theactorsgroup.com

The Pacific Northwest boasts a growingnumber of on-camera and voiceover actorsfor film, television, commercial, and digital

media projects. At the helm of this burgeoningindustry are the region’s many talent agencies andagents, who help keep the production train’swheels in motion. Here is a look at a few of thoseagencies:

TalentSNAPSHOT

Media Inc.spotlights a

cross-sectionof the region’s

talent agencies

MI 4-12 Talent Focus:Layout 1 12/5/12 10:41 AM


Actors First Agency The Right Talent. Every Time.

Time. Sometimes it’s on your side.When you have the time to do your job well, all you need to know is that you’ve got the righttools. More than anything else, it means the right talent. The right talent completes a sensa-

tional representation of the kind of work you’re capable of doing. And that, in turn, gets you morework. Life is good, right?But let’s be serious here. Time is usually not on your side. Life is not always so good, right?With no time and crazy deadlines, this is what happens: you hope the best studio is available and

work down your list of studios until you find one not located in your brother-in-law’s garage. You dropall your other front-burner jobs to write perfect copy, have it checked, make changes, have it checkedagain, make final changes, have it checked, have it thrown out for a new campaign entirely, and repeat

the process until the client is happy. Your stress level rises.You’re ready to cast the project. But after you carefully put out a call that you need specific ages, types, and characteristics of voice

talent or on-camera talent for industrials, commercials, film, or multimedia presentations, you get hundreds of submissions from oneagency or another. And now, with a deadline that’s measured in seconds instead of days, you sit at your computer and sift throughthousands of auditions from actors and waiters and butchers and bakers and candlestick makers of all professional levels until youreyes are bleary and your ears are numb. What exactly are you looking for?• Talent? Certainly.• Trustworthiness? Reputation? Absolutely.• Look? Sound? Undoubtedly.• Drama-free people? Quick workers? People who strive for excellence without issues? Yes, yes, and yes.Relax. Just call Elicia Walker at Actors First Agency.Elicia won’t send you 100 actors that might be okay. She’ll send you a few actors who would be perfect. That’s all she represents:

a few actors who are perfect. She’s done all the screening for you. After 137 years in the talent business, Elicia knows better than towaste your time.Whether you have all the time in the world or no time whatsoever, Actors First Agency will provide you the right talent. And when

you use her talent, your client will love you.Call Elicia. 206-522-4368. Visit www.actorsfirstagency.com. Life is good. Right?

Topo Swope Talent

After 18 years, Topo Swope Talent is considered oneof Seattle’s most prestigious agencies, providingone-stop-shopping for the Northwest’s best talent.

The agency has grown exponentially over the years whilestill possessing a boutique feel. The scene at the agency isalways lively with three strong team members runningthings as smoothly as possible while maintaining a senseof humor and fun. TST prides itself on specialized atten-tion to each actor and producer/casting director to meetthe needs of each job. This agency represents a myriad oftalent for film, TV, voice-overs, interactive games, multi-media, audiobooks, live events, print and much more.Offering clients the full gamut of experienced actors with

integrity and professionalism, you can be sure all castingneeds will be satisfied!www.toposwopetalent.com

Arthouse Talent &Literary

Arthouse Talent & Literary is a uniquely specializedboutique agency representing actors of unsur-passed quality in Portland, Oregon. With 20 years

experience in the NW market, Arthouse offers nothing butthe best.Talent age range: Adults and TeensContact: Kaili CarltonPhone: 503-546-8862www.facebook.com/arthousetalentwww.arthousetalentandliterary.com



BIG FISH … Big Ponds

If asked about her years of experi-ence, Big Fish NW Talent’s owner,Becky Reilly, will likely tell you she

“has 15 years of experience...” She’llthen add, “…because 15 years soundslike you are someone who knows what

they’re doing… if I tell you the real number, I just sound old!”Transplanted from Denver (where Big Fish originated) in the

mid-‘90s, Becky opened Big Fish NW Talent to serve the Spokaneproduction community. Since then, Big Fish has certainly helpedthe Spokane commercial and film market blossom. In 2001, withGordon Adams’ help, she expanded Big Fish into Seattle, wheretheir producers and talent have learned to trust the Big Fish team,as well.More than 2,500 actors, extras, models and merchandisers

currently make up the Big Fish pool. Their work can be appreci-ated in more than 45 films, countless television, web & radiocommercials, corporate videos, video games, music videos andstill photography campaigns. With a large network of peoplethroughout the Pacific Northwest, Big Fish has also become anexcellent source for producers to find locations, automobiles &other equipment, specialty talent, and a variety of other oddrequests.What do you need [email protected]

RYAN ARTISTS

This year marks Ryan Artists’ 31st anniversary as a fullservice modeling, acting, styling and voice overagency here in the Pacific Northwest. SAG-AFTRA

franchised, we proudly represent the best union and non-union talent ranging all ages and ethnicities. Ryan Artistsstrives to give our clients all that they need from oneagency, a “one stop shop”, enabling them to create the mostprofessional product while saving time, money and energy.

www.ryanartists.com

CATHY FAULKNER

Since opening her voiceover business in 1994, Cathyhas worked for a dynamic array of clients over the years.Cathy’s delivery can range from upbeat and friendly, profes-

sional as well as instructional, soccer mom or the girl next door.But the majority of Cathy’s current focus has been in the e-learn-ing, IVR and corporate narration arena. Clients include Microsoft,Exxon, American Express, Numera Health, and AT&T, just toname a few. A more detailed global client list, demos and otherinformation are available on her website, www.cathyfaulkner.com.SAG-AFTRA (fi-core). Cathy is flexible, reliable, and experienced.When words have to speak louder than actions…count on CathyFaulkner!Contact information:Ph: 206-521-0363Fax: 206-260-8965E-mail: [email protected]

OPTION MODELAND MEDIA

Option Talent, a division of Option Model andMedia, has become one of the hottest and mostrel iable talent divisions in the Pacif ic North-

west . We pr ide ourse lves on our prompt andprofessional service to the client , and our ful l t imestaff of 6 bookers and agents enables us to providethe quickest and most attentive service to meet anyproduction’s demands. Whether your need be Actorsor Models, Option is ready to run with you. Pleasecontact us and let us know how we may assist yournext production.Talent age range: 1-100Contact: Dennis TroutmanPhone: [email protected]



PUDDLETOWN TALENT, INC.

Puddletown Talent is a specialized talent agency focusing onthe kids market. We represent talent for all areas of theindustry. Our kids talent have modeled and acted for such

companies as Nike, Nintendo, OshKosh, Hanna Andersson,Chrysler, and TNT’s Leverage to name a few. Puddletown Talent’sattention to detail and devotion to clients and talent will makeany casting experience a smooth and memorable one.Talent age range: Infant - 18 years oldContact: Jason JeffordsPhone: 503-546-3006Cell: 503-502-8822Fax: [email protected]

TCM MODELS & TALENT

TCM now celebrating over thirty years in business, is a fullservice model and talent agency located in the heart ofdowntown Seattle. TCM, which has consistently enjoyed

the reputation as one of the largest, most successful and respectedagencies on theWest Coast, provides a comprehensive list of serv-ices, representing men, women and children for on camera,voice-over, fashion and commercial print work. TCM offers on sitecasting space at no charge in order to assist you in finding thetalent best suited for your project. What ever your next projectis we will put our team of professionals to work at making it youreasiest and most productive ever. We love what we get to do!Talent age range: Infants to mature adultsContact: Terri C. MorganPhone: [email protected]



NWTALENT, MODELING AND CASTING AGENCIES

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TYPES OF TALENT/SERVICES PROVIDED

Actors First Agency; Seattle, WA206-52AGENT / 206-522-4368actors@actorsfirstagency.comwww.actorsfirstagency.com

Elicia Walker,owner/agent

The Actors Group; Vashon, [email protected]

Jamie Lopez

Actors in Action, LLC; Portland, [email protected]

Damon Jones

Arthouse Talent & Literary; Portland, OR503-546-8862; fax 503-536-6767kaili@arthousetalentandliterary.comwww.arthousetalentandliterary.com

Kaili Carlton

Colleen Bell Modeling & Talent Agency; Bellevue, WA &West Linn, OR425-649-1111; fax [email protected] (WA); [email protected] (OR)www.colleenbellagency.com

Colleen BellStephanie Yates

ON-CAMER

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SPOKE

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MODELS

HAIR

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ARTIS

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ARDR

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RTA

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AEA,SAG-AFTRA

SAG-AFTRA

SAG-AFTRA

SAG-AFTRA

20+ yrs

DND

0 - 99 yrs

16 - 100 yrs

0 - 100 yrs

Big Fish NW Talent Representation; Spokane & Seattle, [email protected]

Becky ReillyGordon Adams

N/A All

The Kim Brooke Group Models-n-Actors; Seattle, WA206-329-1111; fax [email protected]

Kimberly Brooke,president

N/A 0 - 100 yrs

MI 4-12 Talent List:Layout 1 12/5/12 10:58 AM


Hearing is Believing.

WWW.INBOTHEARS.COM. INBOTHEARS.COMWWW BOTHEARS.COM

Hearing Hearing Hearing Hearing Hearing Hearing HHH is Believing.is Believing.is Believing.is Believing.is Believing.is Believing.ring H ring ring H ring ring H r ng iggg i B l ving.i ving.ving.i ving.ving.i v ng..g.



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Copeland Williams Talent; Bellevue, WA425-748-5133; fax [email protected]

Calley Copeland, co-owner/booking agentKathie Williams, co-owner/talent director

DreamCatchers; Seattle & Spokane, WA208-696-1761joshua@dreamcatcherstalent.comwww.dreamcatcherstalent.com

Joshua Cooper, owner

EBF Talent & Management LLC; Seattle, [email protected]

Erin Bryn Fetridge

Emerald City Model & Talent; Edmonds, WA425-248-4565; fax 425-248-4562john.harb@emeraldcitymt.comwww.emeraldcitymodelandtalent.com

Easa John Harb

ENTCO International, Inc.; Lynnwood, WA425-670-0888; fax [email protected]

Terry Quick, president

ON-CAMER

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SPORT

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SPOKE

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CAST

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N/A

N/A

N/A

N/A

AFTRA

0 - 100 yrs

DND

17+ yrs

6 mo - 80yrs

All

Foreground Background LLC; Milton, WA425-246-2725foregroundbackground@gmail.comwww.foregroundbackground.com

Denise Gibbs, owner N/A DND

Sherrie Garcia & Associates Entertainment Service;Spokane, WA509-922-2362; fax [email protected]

Sherrie Garcia, agent N/A DND


ACTORS I MODELS I VOICE OVER I ARTISTS

SAG and AFTRA FranchisedAccredited with the Better Business Bureau

www.ryanartists.comph: 503.274.1005 fx: 503.274.0907

TWITTER attwitter.com/MediaIncMag

FACEBOOK atfacebook.com/MediaIncMag



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Heffner Management; Seattle, WA206-622-2211; fax [email protected]

In Both Ears, Inc.; Portland, OR & Seattle, WA503-892-8833; fax [email protected]

Nancy Peppler, presi-dent

Kalles Levine Casting; Seattle, WA206-522-2660kalleslevine@hotmail.comwww.kalleslevinecasting.com

Jennie Mull, agent/CEOAmanda Clark, agent

LLL Talent; Hayden, ID & Spokane Valley, [email protected]

Patti Kalles, president/ownerLaurie Levine, CEO

LUX management; Tacoma & Seattle, [email protected]

Anne Mitchell, ownerGinny Abdallah,entertainment agent

ON-CAMER

ATA

LENT

SPORT

S/LIF

ESTY

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TALE

NT

TALE

NT AGE RANGE

SPOKE

SPEO

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MODELS

HAIR

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AKEU

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TS/W

ARDR

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N/A

N/A

CSA

N/A

N/A

Option Model and Media; Portland, [email protected]

Noreen Hobson,owner/director

SAG-AFTRA

Puddletown Talent, Inc.; Portland, OR503-546-3006; fax [email protected]

Kit Garrett, VPNina McLaughlin,presidentDennis Troutman, talentagent

SAG-AFTRA

Q6 Model & Artist Management, Inc.; Portland, OR503-274-8555; fax [email protected]

Jodi Rothfield Casting CSA; Seattle, WA206-448-0927; fax [email protected]

Ryan Artists Inc.; Portland, OR503-274-1005; fax [email protected]

SAG-AFTRA; Seattle, WA & Portland, [email protected]

Sports + Lifestyle Unlimited; Portland, OR & Los Angeles, CA503-227-3449; fax [email protected]

Topo Swope Talent, LLC; Seattle, WA206-443-2021; fax [email protected]@toposwopetalent.comwww.toposwopetalent.com

TAKE 2; Portland & Eugene, [email protected]

TCM Models & Talent LLC; Seattle, WA206-728-4826; fax [email protected]

Jason Jeffords, owner

Justin Habel, president

Jodi Rothfield, CSA

Cholee Thompson,president

Brad Anderson,executive director

Dave Weiss, presidentPaul Herschell, VP

Topo Swope, ownerTim Crist, agent

Stacie Sisk-Overman,PR/talent agentLarry Overman, presi-dent

Terri C. Morgan,owner/director

N/A

N/A

SAG-AFTRA

SAG-AFTRA

LA office:AFTRA,ATA

SAG-AFTRA

N/A

N/A

DND

3 - 75 yrs

DND

DND

All

All

Infancy - 18yrs

12+ yrs

DND

All

All

Kids toSeniors

18 - 90 yrs

6 mo -senior citizens

All

Tiffany Talent Agency; Seattle, WA & Portland, [email protected]

Tanya Tiffany, agent N/A 0 - 99 yrs




By Matthew Billings Guest Columnist

Every video project is a real partnership between client andproduction company and there aremany important elementsto consider. Sometimes the intangibles can be as important

as the tangible. All video companies are not created equal and yourchoice depends on what you want to accomplish. Here are somethings to consider before you make a decision.

The Plan: Before you contact production companies•Establish a clear goal. Themoredefinedyourobjectives, thebetter

the final product will be.• Determine a budget range. In many cases, the budget will define

the finished product. Youwill save a lot of time by knowingwhat youwant to spend—even if it’s a range.• Know your audience.Will the programbe used to sell a product?

To educate customers? To launch a product? To enhance your brandand image? To motivate and inspire employees? To entertain?• Establish quantifiable measurements for success. What do you

want the audience to do, think or feel after they have seen the video?• Research. Get on the Internet and find out as much as you can

about the production companies in which you may be interested.• Ask business colleagues. A lot of business can come fromword

of mouth. What better way to narrow your choices than to ask yourfriends who work at other companies?• Check social media. Ask your contacts on LinkedIn for advice

and their experiences with video production companies.• Identify internal expectations. What results will persuade your

management that the project has been a success? Does your CEOexpect to be on camera? How long should the finished product run?•Will there be travel? Budgets can increase dramatically if a crew

needs to shoot in multiple cities. Getting customers and experts oncamera can strengthen themessage and is oftenworth the additionalcost.•What are the preferred delivery options?Will the programstream

online? Will it be broadcast on TV? Will it be presented at an event?• Limit the number of bids. Request bids from twoor three produc-

tion companies.• Are there strong opinions for a direction? Sometimes companies

think they knowwhat kind of approach they want before they start.If so, they should be made known to the bidders.

The Meeting: The first impression can tell you a lot• How’s the pitch? If the company can sell themselves and under-

standswhat it takes to deliver key information, the better the chancethey can do the same for you.• Have they done their research? They should have some inkling

about who you are.• Is there chemistry? You are going to be spending a lot of time

with these people. You should at least like them.Do you get the sensethey like each other? You don’t need conflict before you even getstarted.• Do they listen? Do they go on and on about themselves without

digging into the purpose of the programand the potential challenges?That’s a warning sign.•Do they ask good questions? Intellectual curiosity is key to a good

proposal and a successful script, shoot, edit and finished product.

• Look at reels. If you don’t see examples that show the level ofquality you expect, it’s probably not going to suddenly show up inyour project.• Take a tour. If they have an editing facility, ask to see it. You don’t

need to knowmuch about equipment, but know enough to find outif the gear is relatively new. If the gear is old, theremay be problems.• Consider awards. But don’t make a decision based on awards.

A shelf of awards can indicate a company’s excellence, or theircompetence at filling out award competition applications.• Be consistent. If you are getting bids from several production

companies,make sure they all receive the sameparameters andback-ground and budget information.• Learn about the staff. Do they have in-house writers, editors,

videographers, directors and producers, or use freelancers?Or both?What is their experience?• Who owns the footage? In most agreements, the production

company owns the raw footage and the customer owns the finishedproduct. Avoid surprises and find out ahead of time.

The Proposal: Do they get it?• Is the proposal presented in a professional manner? A well-

produced proposal demonstrates an attention to detail that will becrucial to the production of your project.• Is the process clear? A video production is a logistical challenge.

Is theworkflowwell organized? Is there a deliverables timeline that isclear and easy to understand? Is your role as client defined?• Is the concept appropriate for your audience? Did they pay atten-

tion to your input? Does your gut tell you this will work?• Is the creative treatment attuned to your corporate culture? Can

you sell this idea to yourmanagement? If not, how can it be revised tomake it work?• Is the production company open to your creative input? This is a

previewofyour futureworking relationship. If theyare rolling their eyesnow, they are probably not the team for you.• Is amemberof thecreative teampresent?Accountmanagers serve

a useful purpose but sometimes you need to talk directly to thewriter,producer or director to get key questions answered.• Is the budget clearly presented? Did they pay attention to your

budget range? Is the payment schedule clear and tied to deliverables?• How many creative treatments? A good proposal will limit the

numberof creative treatments.This showsconfidence in theproposedapproach.Abidwith fourormore treatments tellsyou thecreative teamisn’t surewhatyouwantorwhatwillwork(but it’s in theresomewhere).

The Decision: The moment of truth• Check references. Assume that the production company is giving

you their happiest clients andmost successful stories. You can still digfor useful information. Would they use the production companyagain? What were the challenges?• Location, location... etc. How important is it that the production

company be local? To some folks it matters.• Trust your gut. Decision grids are great but sometimes you just

know one company will do a better job. Go with that feeling.

Matthew Billings is principal and creative director at Spin Creative, a video

production company in Seattle. For more information visit www.spin-

creativegroup.com.

Choosing the Right Video Production Company

MI 4-12 Spin Creative:Layout 1 12/5/12 11:01 AM


By George Swords Director of Marketing, The MacPac

“Do I need a disk-based archive?” This is a common ques-tion in the post-production world. Along with thefollow-up, “Do I need an archive at all?”

While it’s a given that the content you produce needsto be saved for reuse, what the industry can’t agree onis where to save content and how to save content. Themethods have evolved quite a bit over the last few years.“Tape or tapeless. I get this question every week,” said

Jason Knopp, corporate account manager, SAN Special-ist, The MacPac, Portland. “People put the same timeand consideration into this decision as they do decidingwho they’re going to marry. Truth is, in a way, it is thesame type of commitment. Nobody wants to make thewrong decision.”While tape in, tape out used to be the obvious answer

for archive, it still had its challenges. Once you filed thetapes away, you had to hope the guy who knew whereeverything was didn’t quit. Or the clipboard with all thetape serial numbers didn’t get lost. Was it the safestarchive? Was it the most efficient? The answer is, basi-cally, no.As we started to see more types of in and outs, every-

thing from HD, 2k, 4k, and even 8k and disk (SAN)storage became less expensive per GB, and peoplebegan to build larger and larger work-in-process (WIP)repositories. While most people do not like to admit it,many people use their primary WIP SAN as their archive.So where should you store content?Many people are moving content to tape for archive,

but there are some things to consider, according toKnopp. “Tape is great for off-site archive, but if you needto regularly access content, you face a lot of delay withtape,” he said. “If your tapes are local, you have easyaccess, but finding what you need on tape isn’t thefastest, so you have to wait longer than you like to getthe content you need. Plus, most people are so busy theyhave trouble finding time to archive. As a result, every-thing continues to sit on their SAN. And the box with

new tape they bought to use for archiving collectsdust.”Tapeless could be the right solution for your post-

production facility. It’s not always a replacement foroff-site solutions, such as long-term tape, but costs havedropped and most likely will continue to do so, andthroughput has increased dramatically. A disk-basedarchive can improve efficiency and greatly reduce thetime needed to recover assets. Time equals money, andif you can’t get to assets, you can’t repurpose them orsell them.According to Alex Grossman, founder and president,

Active Storage, “A tapeless workflow gives you theabil ity to collaborate better, to be able to work withmore content than you ever have, and to efficientlymove content from ingest to work- in -process toarchive. If you’re at all concerned with mining andmonetizing content or want to be able to handle moreprojects more efficiently, disk-based archive is theway to go.”When it comes to deciding how much tapeless stor-

age you might need, there’s no hard and fast rule, aswhat you need may not be what the post-productionstudio across town needs.Knopp recommends doing a thorough review of the

amount of content you generated over the last year,and do some projections for the coming year. He alsosuggests taking a serious look at your entire workflow,including your media environment. Is it a tangle ofwires and cable? Use this opportunity to upgrade togive your hardware setup a review as well. A little pre-planning can make the deployment of your new archivesystem much smoother, whether you go tape or tapeless.

George Swords is director of marketing for The MacPac. Swords

promotes the extraordinary combination of technical expertise and

down to earth people that create the MacPac experience. Certifi-

cations: Apple Product Professional, Apple Sales Professional,

Adobe Digital Imaging, Adobe Professional Video, AVID Pro-

Video system design.

Tape, Tapeless, Archiving, and You

SEATTLE TELEPROMPTERTeleprompter rental and operators for video & film productions,

corporate events, conferences, award shows and concerts.

Experts in the teleprompting business for over 19 years.

OFFICE 425.454.5659 // CELL 858.945.2076www.seattleteleprompter.com // [email protected]

MI 4-12 PowerMacPac:Layout 1 12/5/12 11:03 AM


By Chris Duffel Guest Columnist

There is the traditional “scrolling text on camera” styleof prompting but, ultimately, it’s all about savingtime. A host looking directly into the lens helps an

audience stay more engaged. The problem is, this style lendsitself to longer pieces of dialogue and the single angle makesit harder to edit around mistakes—and obviously in liveproductions these issues are amplified.All of this created the need for teleprompters. Your sched-

ule always accounts for errors, but there’s a limit. Also, mostof the scripts we work with have been meticulously scruti-nized. Actors may not realize the impact of replacing a word,and when you’ve chosen the authenticity of non-actors,getting the correct language can be even harder. No matterthe audience or client, your production is a specific prod-uct delivered at a specific time. We’d like to share somedifferent ways our clients have used teleprompters to savetime and money.

Image in the prompterAny image can be placed in front of the lens. Most

commonly it’s the face of your interviewer asking questions toyour interviewee. This is a fantastic scenario for putting a non-actor at ease. Is your interviewer stuck in another city? Try Skype,we’ll get the image up in no time.

PowerPoint slidesIn fact, anything on a computer screen can be put in front of

the lens. Many clients choose PowerPoint slides as a guideline forwhat they’re saying to camera.

Off cameraActors need to knowwhat to say and where to look; this means

a monitor with scrolling text can be placed wherever you wantthe actor’s eye line. Two actors facing each other? Try twomonitors, one over each actor’s shoulder. Child actor? Keepthem looking where you want and pop up an image that makesthem smile.

Presidential or podiumYou choose your words carefully. Now make sure you actu-

ally say them when it counts. Whether you’re a president, aCEO, or a motivational speaker, your time with your audienceis limited and mistakes are costly.Teleprompters are a tool to keep you on schedule. AK

Teleprompt isn’t just equipment, we’re experienced operatorswho understand sets, client relations, and value of time. Last-minute script changes, nervous talent, high-maintenance orhigh-profile clients, we’ve seen it all and enjoy doing whatever’sneeded.

Chris Duffel is COO at AK Teleprompt in Redmond, Washington.

Visit www.akteleprompt.com.

Save Time and Money with Teleprompters

MI 4-12 AK Teleprompt:Layout 1 12/10/12 10:05 AM


Portland-based audiop o s t - p r o d u c t i o nexperts Digital One

had a fantastic summer. TheCannes International Festi-val of Creativity, CLIOAwards, and the AICP Showrecognized them, alongsideDig1 sound designer ChipSloan, for work producedunder their roof earlier thisyear.The award-winning Nike

TV spot entitled “Jumprope”won Gold Awards at the 2012AICP Show for Best Editingand Best Sound Des i gn , a swe l l a s a Go ld Award fo rBe s t Sound Des i gn f r om the 2012 CL IO Awa rd s ,a nd a B ron z e L i on a t t h e Canne s I n t e r n a t i ona lFe s t i v a l o f C r e a t i v i t y. The m inu t e - l ong TV spo t ,p r o du c ed by Ha r v e s t F i lm s S an t a Mon i c a andd i r e c t ed by t h e Ho f fman Bro t h e r s , f e a t u r e s p ro -s u r f e r Ko l ohe And i no ge t t i n g i n t h e zone be f o r eh i s s u r f i n g wo r l d t ou r.

Speaking of Lions, DigitalOne was also a part of theaward-winning Old SpiceFresh Collection campaignspearheaded by world-renowned Portland advertisingagency Wieden+Kennedy. Theradio campaign broughthome three Radio Lions fromCannes for a hilarious OldSpice campaign featuringIsaiah Mustafa. The spot,titled “Look,” won a GoldRadio Lion, and the spots“Heart Tokens” and“Windows Down, Moods Up”both won Silver Lions. Thesecommercials, written by

Jason Bagley, Craig Allen and Eric Kallman of W+K, andengineered by Dig1’s Chip Sloan, were among 28,000entries that came in from all over the world. Yes, proofthat people still find good radio to be worth listening to.To view the award-winning spots, and get a glimpse at

the other work that Digital One has done, visitwww.digone.com.

Digital One Earns Multiple Honors for Sound Design

Digital One sound designer Chip Sloan.

MI 4-12 digital one:Layout 1 12/5/12 11:34 AM


NWRECORDING STUDIOS/AUDIO SERVICES

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SERVICES PROVIDED

ADS Recording; Portland, OR503-223-9941; fax [email protected]

Ryan Wiley, president

AM Music; Fall City, [email protected]

Steven Ray Allen,president

Aurastan Music Designs Ltd.; Portland, [email protected]

Gregory Ives, CEO

Avast! Recording Co.; Seattle, WA206-633-3926www.avastrecording.com

Stuart Hallerman

Bad Animals; Seattle, WA206-443-1500; fax [email protected]

Dave HoweMike McAuliffeTom McGurk

Bear Creek Studio; Woodinville, WA425-481-4100; fax [email protected]

Ryan Hadlock, ownerJerry Streeter, manager

ANALOG

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DND

1

Bing Bang Boom!; Otis Orchards, WA509-892-5382; fax [email protected]

Bill Byrne, composer 2

MI 4-12 Recording List:Layout 1 12/5/12 11:52 AM



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SERVICES PROVIDED

Blue Charles Prod., dba Studio Blue; Seattle, WA206-783-6797; fax [email protected]

Scot Charles, president

Clatter&Din, Inc.; Seattle, WA206-464-0520; fax [email protected]

Peter Barnes, presidentVince Werner, presidentLeigh Eckert, EP

Cloud City Sound; Portland, OR503-228-2222; fax [email protected]/cloudcitysound.com

Rick McMillen

CryBaby Studios; Seattle, WA206-660-0117www.crybabystudios.com

Leigh Stone, ownerJustin Wilmore, engineerChris Proff, engineer

Dead Aunt Thelma’s Studio; Portland, [email protected]

Mike Moore

Digital One; Portland, OR503-228-3441; fax [email protected]

Eric Stolberg, presidentCameron Shaw, EP

ANALOG

RECORDIN

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4

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1

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4

Fresh Tracks Studio; Portland, [email protected]

Jon Lindahl,owner/engineer

1

portland los angeles

Original MusicAudio Production

Award winning scores & sound design

Recording editing 5.1 mixing voice casting isdn

Custom online music library : ConsciousMindMusic.com




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GMB Technical Corporation; Sequim, WA206-851-6667; fax [email protected]

Jeffrey Bruton,president

Grey Hawk Productions; Olympia, WA206-595-8408; fax 360-754-9165mark@greyhawk-productions.comwww.greyhawk-productions.com

Mark W. Iler, owner

Hanzsek AV; Snohomish, [email protected]

Chris Hanzsek

Hayton Multimedia; Conway, [email protected]

Wayne Hayton

Brendan J. Hogan; Seattle, [email protected]

Brendan J. Hogan

McComb Sound; Seattle, [email protected]

Matt McComb, ownerMaggie Garcia,producer

ANALOG

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Mirror Sound Studio; Shoreline, [email protected]

Ken Fordyce, CEOAaron Parks, engineerDiana Skye, manager

1

POST IN PORTLAND




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Mortimore Productions; Spokane, [email protected]

DanMortimore,president/DP/producer;AngelaDowney,VPmarketing&sales/producerRayGross,sr.editor/audioeng.

Orbit Audio; Seattle, [email protected]

Joe Reineke, owner

Pure Audio; Seattle, WA206-728-6300; fax [email protected]

Paul Goldberg,presidentKathy Levin, studiomanager

Rex Post; Portland, OR503-238-4525; fax [email protected]

Russ Gorsline

Don Ross Productions; Eugene, OR541-343-2692don@donrossproductions.comwww.donrossproductions.com

Don Ross

Secret Studio Records, Inc.; Seattle, [email protected]

Mark Dabek, president

ANALOG

RECORDIN

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2

4

3

1

1

Tim Underwood Productions/TheWebVoice.com; Bend, OR877-284-7876; fax [email protected]

Tim Underwood, owner 2

StudioBard; Portland, [email protected]

Michael Bard,head funkologist

1

Victory Studios; Seattle, WA206-282-1776; fax [email protected]

Conrad Denke, CEOSaul Mitchell, VP mediaservices

4

Wattsmedia, Inc.; Seattle, [email protected]

David Mangone,partner/EP/directorAndrew Watts, partner

4+

Whiskey Ridge Recording; Marysville, [email protected]

Mark Hibbert 1



541.343.2692EUGENE, OR

donrossproductions.com

Full service recording studio

Sound designDialog editingADRMusic productionSound effectsISDN



AnEmmyAward-winning audio post-production facility, Bad Animalsprovides sound design/editing, orig-

inal music, ADR, Foley, and mixing forprojects ranging from episodic TV andfeature films to video games, corporate andcommercial. The Seattle-based studio is ledby partnersDaveHowe, TomMcGurk,MikeMcAuliffe, and Charlie Nordstrom.Here is Howe, on the record.

BAD ANIMALS HAS A LONG AND STORIEDHISTORY. WHAT IS THE BIGGEST CHANGE YOUHAVE SEEN OVER THE YEARS?Our biggest change has been the diversifi-cation of our clientele. When we took overas owners in 1999, we were primarily acommercial house. Now we probably don’thavemore than 20 percent in any one genre(TV/film, corporate, commercial, etc.).

WHAT DO YOU LIKE BEST ABOUT YOUR JOB?I love the fact that it’s different everydaywithnewchallenges that keepme growing. I alsotruly enjoy the people that I get to interactwith; co-workers, clients, celebrities, politi-cians, corporate execs, you name it, they allwalk through our doors. I joke aboutwhat itwould cost to have received the educationI’ve gotten over the years frombeing aroundthese people.

WHAT IS ONE RECENT PROJECT YOU AREPARTICULARLY PROUD OF?I know it sounds hokey, but there really isn’tone I can place above another. I still getpassionately involved with whatever I’mworking on at the moment. My goal is toalways keep setting the bar higher andmakemynext project better than the last. I can say

I’m proud of many projects for vari-ous reasons. Sometimes it’s becauseof the nature of the work, but manytimes it has to do with the subjectmatter and the people that I’mwork-ing with.

WHO OR WHAT INSPIRES YOU, EITHERPERSONALLY OR PROFESSIONALLY?I have been fortunate to have beenmentored by some great people. Myold high school baseball coach, RonDavini, was a huge inspiration. Heinstilled a work ethic and disciplinethat pushed me to be far better than I knewIcouldbe.Thisrelatednotonly tobaseball,buttranslated to life as well. A post-supervisor/editor at Universal, John Elias,taught me it’s not about the gear or tools, it’sabout relationships and always bringing yourbest effort to anything you do. And lastly, Iwant tomentionPalmerPattison.Palmerwasprobably thebestaudioengineer I’veeverbeenaround and more than willing to pass on hisknowledge and experience tomewhen Iwasstill pretty green in the business.

HOW IMPORTANT IS IT FOR YOUR COMPANY TOCONNECT AND ENGAGE WITH YOURSURROUNDING COMMUNITY?This is where we live and work, so it’s vitalto be involved. It’s important to try to helpcontinue the development of thismarket because if the market as awhole grows, we all reap the benefits.We try very hard to give back andsupport local causes and artists. We dothis through various outreach activitiessuch as seminars, tours, discountedrates, sponsorships, etc.

BAD ANIMALS HAS EARNED MANY PRESTI-GIOUS AWARDS OVER THE YEARS. WHAT ARESOME OF YOUR MOST GRATIFYING PROFES-SIONAL ACCOMPLISHMENTS?I’mveryproudof thenationalEmmyAwardsfor Bill Nye the Science Guy and also theEmmy nominations for BizKids. The factthat these are voted on by industry peersmeans a great deal. I also had a Dolby repfrom New York tell me a film I mixed wasone of the best mixes he’d ever heard. Thatwas an awesome moment.

IF YOU WERE NOT IN THE RECORDING/AUDIOINDUSTRY,WHATWOULD BE YOUR DREAM JOB?It’s easy. Jet fighter pilot. I grew up an AirForce brat and was around flight lines a lotas a kid. It was a really tough decision to notfollowmydad’s footsteps into theAir Force.

IF YOU COULD BE ANYWHERE IN THE WORLDRIGHT NOW, WHERE WOULD YOU BE?I’ve lived all over and the one place I alwayslook forward to returning to is right here inthe Seattle area. We are fortunate to live ina place of incredible beauty andopportunity.

MEDIA INC.’S INTERVIE

W SERIES,

IN WHICHWE DISC

USSTHE

LATEST AND

GREATEST

WITH A DIFFERENT

NORTHWEST

COMPANY

EACHISSU

E, CONTIN

UESWITH BAD

ANIMALS.

(L to R) Dave Howe, Mike McAuliffe and Tom McGurk at the Emmys.

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