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first quarter 2013

departments4 publisher’s notes8 creative showcase11 creative flashback28 production notes

news6 u of u blasts off with new ad campaign7 vicki varela guiding utah’s global branding

features12 �celebrating 30 years of adnews14 dave newbold summarizes the path15 con psarras16 �unlocking the true value of content18 �geralyn dreyfous - sundance - oscars...20 �jeff metcalf giving voice22 �tyler measom - utah’s documentarian24 danfung dennis on condition one26 impatient cow mooooovin on up!30 it in utah 34 focus on the utah film commission43 comcast upfront

directories38 �production44 �television46 �radio

Publisher/Editor:�Susen�Sawatzki�•� susen@adnewsonline.com�

Business�Development:�Lonnie�Blanton�•�lonnie.adnews@gmail.com�

Editorial�Contributors:�Jay�Kinghorn,�Con�Psarras�

Photographers:�Scott�Peterson,�Jay�Kinghorn�

Cover�Image�and�Content�Design:�Lonnie�Blanton�

Production�and�Content�Design:�Mark�Starhawk�Strango�

Printing�and�Mailing:�Conquest�Graphics�

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

adnews p 801.532.1325 www.adnewsonline.com

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2014 1Q focus film • audio • digital media • photography • stock imagery industry spotlight tourism | energy

addy winners book American Advertising Federation - Utah

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4�adnews�|�1Q�2013

Comcast Spotlight is opening a lot of eyes these days. Now, thanks to I+, you can reach 37% more home in the Utah market whether

they’re cable or satellite homes. But we’re not just delivering more eyeballs, we’re delivering the right ones. Our advanced targeting

tools help you assemble all kinds of geographic and psychographic audiences in Utah. Which means you can reach your target with

unprecedented accuracy. So if you’re looking for more of the eyeballs you value, look no further than the “One-stop-Shop” at Comcast

Spotlight. We’ll get you the right eyeballs. Not to mention the left ones.

R e a C h I N g M O R e O f t h e

R I g h t e y e B a l l S I N t h e U t a h M a R k e t

Visit us at www.ComcastSpotlight.com for more information

publisher’s notes archive

susen sawatzki

I�just�had�to�revive�a�Publisher’s�Notes�I�wrote�in�2002.�It�gets�me�laughing.

And,�in�fact,�this�same�photo�ran�with�these�notes�—I�guess�it’s�time�for�a�more�current� photo� so� I’m� not� accused� of�dating-site�behavior.

Tony’s vision is what set us apart.

Tony�Young�built�a�fun�place�to�come�to�work�and�a�nice�sanctuary�where�our�clients�could�escape�from�their�offices�for�a�day�or�two.�And�Tony�built�Digital�Bytes�to�last.�He�built�it�to�carry�on�without�him,�for�the�dream�to�con-tinue,�for�the�work�to�go�on.�He�rarely�rested�in�life.�He�would�want�it�no�other�way.

His�sudden�death�in�August,�after�a�short�but�ferocious�fight�with�cancer,�left�our�com-pany,�our�little�family,�stunned�but�united.�It�was�never�a�question�of�whether�to�carry�on�or�not.�Tony�gave�us�strict�instructions�that�we�would.�So�we�will.�Our�devotion�to�Tony�stems�from�his�belief�and�investment�in�us,�his�generosity�and�his�vision.�We�all�feel�such�a�strong�sense�of�stewardship�regarding�his�legacy�that�we�can’t�fail.�

We�will�make�him�proud.

Trade�Print�Finishing

tribute to tony young by bruce bain

So� here� goes,� Harrison� is� now� 21� years�old,�6’�5”�tall,�an�artist�and�musician.�

Vintage 2002 - It’s bedtime. It’s dark in the room as I sit on the edge of my 11-year-old son’s bed. He asks, “How many farts would you say you’ve done in your whole life? Total.” I say, “Boy, I don’t really know. Do you count the silent ones?”

Harrison: What would be your worst job in the world and what would be your best?

Susen: What I do now and what I do now. How about you?

Harrison: Well the best job would be to be a pro skateboarder—better than any-one. Just to be paid for what you love. The worst job might be a mime. They hold out their hat and think that people are going to give them money and nobody does. Everybody hates mimes. I like mimes but I don’t want to be one. That dress code and

no talking. Weird. Or a plumber... I mean they have to follow a manual that says to show their butt crack and everything. And they have to talk all like, ‘Hey, lady, ain’t ya gonna flush?’ I wonder what childhood perceptions are of the jobs that we have. When I was a little girl, I thought the sales ladies at Auerbach’s were the highest level of profession. Then later, I watched as Kate Hepburn tore everyone new ones in the editing room of a large newspaper. The perception of prestige job titles and the daily tasks and procedures that go with that title often differ dramatically. We can climb a corporate or entrepreneurial ladder and end where we may, but the only thing that counts is how we behave with every encounter.

Kindness, honesty, integrity, quality, lon-gevity. These are the things that bring value to commerce. To seek profit alone is the demise of free enterprise.

Comcast Spotlight is opening a lot of eyes these days. Now, thanks to I+, you can reach 37% more home in the Utah market whether

they’re cable or satellite homes. But we’re not just delivering more eyeballs, we’re delivering the right ones. Our advanced targeting

tools help you assemble all kinds of geographic and psychographic audiences in Utah. Which means you can reach your target with

unprecedented accuracy. So if you’re looking for more of the eyeballs you value, look no further than the “One-stop-Shop” at Comcast

Spotlight. We’ll get you the right eyeballs. Not to mention the left ones.

R e a C h I N g M O R e O f t h e

R I g h t e y e B a l l S I N t h e U t a h M a R k e t

Visit us at www.ComcastSpotlight.com for more information

6�adnews�|�1Q�2013

A� year� in� the� making,� the� “Imagine� U”�campaign� broke� in� January� with� a� multi-media�placement�reaching�the�local�market�through� broadcast,� outdoor,� print� and�online.� The� campaign� was� but� a� twinkle�in� the� U’s� eye� in� June� of� 2011� when� Bill�Warren� was� appointed� as� the� first� chief�marketing� and� communications� officer,� a�new� cabinet-level� position� that� reports�directly�to�also�newly-appointed�University�of�Utah�President�David�Pershing.Bill� arrived� to� Utah� from� New� York� City,�where� he� served� as� vice� president� of�

Communications�at�CA�Technologies,�one�of�the�largest� independent�software�corporations� in� the� world.� During� his� eight� years� at� CA� Technologies,� he�oversaw�a�wide� range�of� functions,� including� government� affairs,� community�relations,� executive� communications,� and� internal� communications.� Prior� to�CA,� Bill� was� vice� president� of� marketing� communications� for� the� Coca-Cola�Company,�where�he�helped�design�and�execute�the�company’s�worldwide�mar-keting�programs�and�also�served�in�senior�communications�roles�at�MCI,�ARCO,�PricewaterhouseCoopers,� and� as� chief� speechwriter� to� former� New� York� City�Mayor�Rudolph�Giuliani.�He�has�worked�as�a�consultant�on�political�campaigns�and�published�articles�in�The�New�York�Times�on�national�education�issues.

“Bill’s�broad�and�deep�experience�in�marketing�and�communication�is�of�great�benefit�to�the�U�as�we�move�into�the�Pac�12,”�said�Fred�Esplin,�vice�president�for�institutional�advancement.�“I’m�confident�he�has�what�it�takes�to�help�the�university�become�more�sophisticated�and�competitive� in�our�student� recruit-ment,�and�as�we�look�to�engage�more�of�our�alumni�and�friends�in�investing�in�the�university.”Filling�out�the�team�is�Brian�Rasmussen�as�marketing�director,�Keith�Sterling�as�communication�director�and�Barb�Smith�as�executive�communications�manager,�all�2012�hires.�

Brian�will�oversee�a�team�of�creative�professionals,� including�graphic�design-ers�and�copywriters�who�provide�strategic�guidance�to�clients�across�campus�including�colleges,�departments,�programs�and�schools.�Reporting�to�Bill,�Brian�will�work�with�the�university�team�to�ensure�the�integrity�of�the�U’s�brand�is�maintained�and�its�story�is�told�consistently�and�effectively.�Brian�joins�the�U�from�R&R�Partners/Salt�Lake�City,�a�marketing�communications�firm�where�he�served� as� business� development� and� managing� director.� A� loyal� and� active�University� of� Utah� alum,� Brian� worked� at� several� local� agencies� and� owned�an�advertising�firm�and�says,�“This�is�my�dream�job.�It’s�what�I�really�want�to

be�doing.”�Keith�Sterling�arrived� to�Salt� Lake�City� from� the�City�of�Burbank,�California�where�he�worked�as�a�public�information�officer�and�prior�was�com-munications�director�for�the�City�of�Broken�Arrow�in�Oklahoma.Barb� Smith� serves� as� speechwriter� for� U� President� David� Pershing� and� as� a�senior�member�of�the�communications�staff.�She�comes�to�The�U�from�KTVX-ABC4� in�Salt� Lake�City,�where� she�worked�as�an�anchor-reporter� for� the� last�21�years.�Bill�burst�on�the�scene�with�a�passion�to�portray�the�University�of�Utah�as�the�stunning�geographically�situated�world-class�institution�that�it�is.�He�started�the�process�with�a�nation-wide� request� for�proposal,�which� is�where�Brian� came�into�contact�by�pitching�R&R�for�the�opportunity.�The�choice�was�a�Los�Angeles�and�Austin-based�firm�for�the�initial�research�and�execution�of�the�first�round�of�creative�strategy.�According�to�Bill,�current�and�prospective�students,�faculty,�staff� and�alumni�were� consulted� to�gauge� the�university’s� strengths�and�help�identify� the�attributes� that�make�a�unique� learning�environment.�“Imagine�U”�is�designed�to�define�the�University�of�Utah�as�a�tier-one�teaching�and�research�institution� offering� a� collaborative� learning� experience� that� prepares� students�to�succeed�in�a�competitive�work�environment.�The�setting�is�a�vibrant�diverse�city�with� ready�proximity� to�some�of� the�most�spectacular�natural� landscapes�in�the�world.The�word�“Imagine”�was�thoughtfully�positioned�in�close�proximity�to�“Do”�so�that�imagine�didn’t�take�on�a�passive�connotation.�Bill�comments�on�the�final�result,� “This�new�brand�sends�a�message�worldwide� that�our�university� is�a�place� that�encourages�students,� faculty,�staff�and�the�community� to� imagine,�and�then�do.”“We�look�forward�to�working�closely�with�our�marketing�partners�across�campus�to�strategically�integrate�the�Imagine�U�brand,”�said�Brian.�“We�believe�it�will�help�to�unify�our�message�as�we�tell�the�world�that�anything�is�possible�at�a�place�we�call�Imagine�U.”

university of utah restructures its marketing organization and launches new branding campaign

Be (seen) more

Reach the most upscale, educated and loyal audience on television. Promote your brand, build goodwill and support KUED. Sponsor the quality PBS programs on KUED 7.

Call the KUED Development Department for pricing information.

801-581-4302

Brian�Rasmussen�and�Bill�Warren

news briefs

1Q�2013�|�adnews 7

In� early� January,�Vicki�Varela�was� named�managing� director� of� Tourism,� Film�and�Global�Branding�at�the�Utah�Office�of�Tourism.�The�position�was�formerly�held�by�Leigh�von�der�Esch�who�retired�after�a�long�career�in�state�government�most�recently�promoting�State�tourism�since�2005�and�director�of�the�Utah�Film�Commission� for� 20� years� prior� to� that.�Vicki� brings� to� the�office� an� impres-sive� resume�with�experience� in� the�public�and�private�sectors,�a�passion� for�community�building�and�an�entrepreneur’s�zeal�for�making�an�impact�from�day�one.�adnews�caught�up�with�Vicki�on�the�second�day�of�her�new�position�to�discuss�her�background,�the�greatest�challenges�she�faces�and�how�she�intends�to�burnish�Utah’s�reputation�as�a�sterling�location�for�tourism�and�business.�

background

Vicki� comes� to� the�Utah�Office�of�Tourism� fresh�off�a�five-year� tenure�at� the�helm�of�her�own�consulting�firm�that�specialized�in�bridging�the�gap�between�private� and� public� sectors.� It� gave� her� the� freedom� to� “build� community�movements� to� change� the� world� in� ways� that� matter,”� Vicki� says.� To� that�end,� she� is� particularly� proud� of� her� participation� on� the� Prosperity� 2020�startup� team,� working� to� call� atten-tion� to� Utah’s� declining� educational�outcomes.� “We’ve�had� this� long-held�view�of�our�state�as�a�place�where�a�lot� of� people� graduate� from� college,�but�if�you�look�at�the�statistics,�that’s�all� changed� dramatically� over� the�last� 15� years,”� Vicki� says.� Prosperity�2020� brings� together� educational,�non-profit�and�business� communities�to� develop� a� roadmap� to�modernize�Utah’s� educational� system,� improve�graduation�rates�and�strengthen�Utah�as�a�technology�hub.�In�the�same�vein�of� creating�programs� that� strengthen�communities,� Vicki� worked� with� the�Utah�Housing�Corporation� to� roll�out�a� new� set� of� mortgage� options� for�homebuyers�who� lost� equity� in� their�first� home� during� the� rapid� decline�in� housing� prices,� and� need� down�payment� assistance� to� get� back� in�the� market.� Not� one� to� shy� away�from�challenging�topics,�earlier�in�her�career,�Vicki�built�community�support�and�accelerated�the�creation�of�alter-native�transportation�corridors�around�Kennecott’s� Daybreak� community.� “It�was� a� remarkable� opportunity� to� do�the�storytelling�and�create�community�support� around� a� very� different�way�of�building�communities—particularly�in�a� suburban�area,”� she� says.�Vicki�sees� the� success� of� Daybreak� and�Utahns’�willingness� to�adopt�alterna-tive�ways�of�commuting�as�a�formula�for�continued�success.�“I’m�amazed�at�what�our�community�has�been�able�to�do�with�light�and�commuter�rail,”�she�says.�“You�look�back�20�years�ago�and�you�wouldn’t�have�expected�that�from�a�car–focused�Western�community.”Her�strong�focus�on�bringing�people�together�around�a�shared�goal�stems�from�her�work�in�public�policy,�first�at�the�State�Board�of�Regents,�then�through�the�Olympic�referendum�campaign�to�secure�public�support�for�the�Olympic�games.�Later�she�worked�as�deputy�chief�of�staff�and�spokesperson�for�Governor�Mike�Leavitt,�a�mentor�she�credits� for�helping�shape�her�views�on�leadership�and�risk�taking.�“He�was�always�willing�to�look�at�other�ways�of�doing�things,”�Vicki�says.�It�led�her�to�realize�that�the�art�of�consensus-building�was�in�her�DNA.�“I�find�things�I’m�passionate�about�and�then�find�a�path�to�make�them�happen�through�persuasion�and�persistence.”�

bringing utah to the world

One�of�Vicki’s� first� projects� is� to� align� the�Utah� tourism�and�business� com-munities’�outreach�efforts�to�make�a�greater�impact�on�the�world.�“The�state�does�a�lot�of�good�work�in�business�recruiting�and�we�do�a�lot�of�good�work�in�tourism,�but�we�don’t�have�an�integrated,�high-level�brand�that�we’re�com-

municating� to� all� our� audiences,”� she� says.� Social�media� is� at� the� forefront�of�Vicki’s�efforts�to�communicate�Utah’s�strengths.�“If� I� look�at�what�my�own�friends�post�on�Facebook,�a�big�part�of�their�storytelling� is�about�how�much�they� love� Utah,”� she� says.� “I’m� looking� forward� to� creating� a� social� media�strategy� that� captures�more�of�Utah� conversations� about� our� great� state� for�visitors�and�businesses.�I�think�that’s�the�most�authentic�and�persuasive�case�for�a�vacation�or�relocation.”�

“the lone ranger” and the mighty five

Utah�has�long�been�a�destination�for�filmmakers,�and�Vicki�is�charged�to�build�on�the�tradition.�Great�movies�are�Utah’s�best�billboard.�Last�year�Disney�filmed�“The�Lone�Ranger”�here,�with�unforgettable�shots�of�Dead�Horse�Point,�Moab�and�Monument�Valley.�Vicki�is�working�with�Disney�on�collaborative�marketing�of�Utah�and�the�movie.�The�July�third�rollout�could�be�a�blockbuster�for�Utah�tourism�and�filmmaking,�especially�given�that�this�year’s�tourism�campaign�is�focused� on� Utah’s� red� rock� country.� TV� ads� and� the� VisitUtah� website� chal-lenge� families� to� tour�The�Mighty�Five—Utah’s�five�national�parks.�“Everyone�

knows�Utah’s�winter� brand.�We� have�the� greatest� snow� on� earth,”� Vicki�says.� “Our� message� in� the� other�three�seasons�has�been�generic.�This�year’s�campaign�differentiates.�No�one�can� compete� with� our� rocks� or� our�snow,�and�that’s�the�message�people�need� to� hear.� Seeing� Johnny� Depp�and� Armie� Hammer� hanging� out� in�southern�Utah�as�Tonto�and�the�Lone�Ranger� should� put� us� at� the� top� of�people’s�bucket�lists.”�

alcohol and air quality

Vicki� acknowledges� that� Utah� has�two� challenges� to� increase� tourism�and�foster�business�relocation�to�the�state.�The�first�is�Utah’s�perception�as�a�“dry”�state�where�it’s�a�challenge�for�visitors� to� get� a� stiff� drink.� “I� think�we’ve�made�great�progress� in�simpli-fying� our� liquor� laws� from� 20� years�ago,”� she� says.� Despite� this,� she�admits�there�is�still�work�to�be�done.�“We� don’t� want� liquor� laws� to� be�people’s�takeaway�memory�of�Utah.�It�will�be�a�constant�process� to�ensure�that,�like�any�of�our�laws,�liquor�laws�are�straightforward�and�bring�as�little�burden�to�our�citizens�and�guests�as�possible.”Another� area� of� focus� that� has�brought� unwelcome� attention� to� the�state� in� recent� winters� is� the� poor�air� quality.� “Democracies� are� driven�

by�crisis.�We�are�all�feeling�the�crisis�in�one�way�or�another.�This�is�a�turning�point,�just�like�we�had�with�smoking,�littering,�water�conservation,�racial�and�sex�discrimination.�We�have�to�change�our�individual�behaviors—idling,�speed-ing,�all�that�stuff.�And�we�have�to�call�on�our�manufacturers�to�change�too.�If�LA�can�clear�the�air,�we�can�do�it�here.�We�will�look�back�and�wonder�why�it�took�us�so�long.”�Vicki�says.�

change and rejuvenation

Vicki�sees�change,�both�personally�and�within�a�community,�as�crucial�to�sus-taining�one’s�energy�and�continuing�to�grow.�“My�career�chapters�have�always�lasted�between�five�and�eight�years,”�she�says.�“As�an�avid�gardener,�I�know�that�periodic�repotting�makes�plants�thrive.”�It’s�apparent�that�Vicki� is�clear-eyed�about�the�challenges�facing�the�state�of�Utah�while� at� the� same� time� deeply� optimistic� about� Utah’s� ability� to� grow�and�develop�more�fully�into�a�premiere�tourist�destination.�She�sees�the�rich�quality� of� life,� spectacular� scenery� and� outdoor� opportunities,� and� thriving�businesses�as�key� ingredients�of� telling�Utah’s�story,�a� recipe,�she� feels,�will�result�in�great�success.��

vicki varela brings her talents, leadership and big ideas to the utah office of tourism

by�Jay�Kinghorn����Photo�by�Scott�Peterson

news briefs

8�adnews�|�1Q�2013

RIESTER

1

RIESTER

DAVID MEIKLE 6

Experience the Utah Difference!

The University of Utah Department of Communication is one of the oldest and most fully integrated communication departments in the nation.

Providing concentrations and specializations across the full spectrum of the communication discipline, Utah's Department of Communication offers BA/BS, MA/MS, and PhD programs, along with professional certificates in Integrated Marketing Communication, Conflict Resolution, and Health Communication.

The department is housed on lower campus in the state-of-the-art Language and Communication Building with newly installed High Definition television production and editing facilities and digital audio design control rooms and studio.

www.utah.communication.edu 801.581.6889

creative showcase

3

LOVE COMMUNICATIONS

2

3

1Q�2013�|�adnews 9

4

AGENCY FUSION

5

RIESTER� helps� Alta� celebrate� its� 75th�

birthday�with�a�new�ad�campaign.

1

While� the� election� is� behind� us,� LOVE

COMMUNICATIONS�reports�that�the�agen-

cy’s� Voter� Outreach� campaign,� including�

TV,�outdoor,�radio,�and�PR,�generated�over�

845,000�visits�to�Vote.Utah.Gov,�up�almost�

352�percent�from�2010.

3

The� folks�at� Jauntaroo�had�an� idea� for�a�

new�travel�site:�allow�people�to�set�a�travel�

budget,�specify�a� few�parameters� regard-

ing� what� they’d� like� to� experience� while�

on� vacation,� and� the� travel� tool� would�

scour�the�internet�for�deals�that�matched�

the� criteria.� AGENCY FUSION� developed�

the�brand�name,�the�visual�brand�identity,�

web� design,� website� development� and�

travel�search-engine�development.

5

While� Surefoot� has� long� been� home� of�

the� world’s� most� comfortable� ski� boot,�

AGENCY FUSION� gave� their� website� a�

complete�makeover,�including�web�design,�

web� development,� internationalization,�

copywriting� and� a� large� infusion� of� raw�

energy.

4

LOVE COMMUNICATIONS� produced� new�

creative� ads,� including� outdoor� and� TV,�

to� raise� awareness� of� University� of� Utah�

Health� Care’s� Sports� Medicine� program.�

Whether� the� viewer� is� a�world-class� ath-

lete,� a� recreational� athlete,� or� decidedly�

not�an�athlete�at�all,�the�tagline�reassures�

it’s�a�service�for�every�body.

2

RICHTER7� produced� these� ads� for�Aikikai�

to�promote�self-defense�training�with�a�lot�

less...�self.�

7

The�Marketing�Department� for�Continuing�

Education� (at� the� University� of� Utah)�

contacted� designer� David� Meikle� to� cre-

ate�illustrations�based�on�the�look�of�old�

travel–style�posters� for�a�new� travel�pro-

gram�sponsored�by�Continuing�Education.�

The� illustrations� are� to� be� used� by� the�

Marketing� Office� at� Continuing� Education�

for�postcards,�posters,�print�ads,�and�elec-

tronic�ads�(including�Facebook).

6

RICHTER7

7

FilmUtah is a non-profit, 501(c)(3) organization that helps promote Utah’s film crew and support services.

Promoting Utah’s Motion Picture Community to the World

gro.hatumlif.www0643.002.534

snoitcudorP hatU

A A101 1

creative showcase

4

10�adnews�|�1Q�2013

HYPERX�MEDIA’s�recent�creative�projects�include:�A�new�website�design�

for�Mountain�America�Credit�Union�mortgages;�a�new�custom�e-commerce�

web�design�and�development�project� for�Groop�Dealz,�a� rapidly�grow-

ing�daily�deal�company�(groopdealz.com);�and�highly�engaging�interac-

tive�banner�ads�for�Big�O�Tires�in�collaboration�with�agencies�(Kassing�

Andrews�Advertising)�and�Larry�Miller�Automotive�(Saxton�Horne).�

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From the fi rst power plants and lights to the exciting new possibilities with renewable energy, Rocky Mountain Power has been there. This year we celebrate our 100th anniversary and we have never been more excited about the future of energy. To us, emerging technologies in solar, wind and geothermal and additional ways we can help our customers use energy more effi ciently, makes the next 100 years as important as the last.

till energized after all these years.

HYPERX MEDIA

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and we couldn’t be happier with

Cuisine Unlimited Catering & Special Events

4641Cherry Street, Salt Lake City, Utah 84123 Salt Lake City 801-268-2332 • Park City 435-647-0010

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creative showcase

FJCandN/UTA billboard (1996) – Randy Stroman – A.D., Dave Newbold – writer/CD

FJCandN/JH magazine ad (1998) – Dave Newbold – writer/CD

FJCandN/Hogle Zoo magazine ad (1996) – Richard Oliver A.D.Dave Newbold writer/CD

FJCandN/Hogle Zoo magazine ad

Big D (Late 1990’s) - Designer Scott Snow, Royter Snow Design, Art Director Dave Newbold

Cole & Weber - (1987) Gus Paulos

creative showcase flashback

Cole & Weber - (1998) Tunex

Thomas Phillips Clawson - (1986) Hardees

Soter Associates - (1980) Interstate Brick

Cole & Weber - (1987) FHP Magazine ad

Harris & Love - (1987) Blue Cross Thomas Phillips Clawson - (1986) Hardees

Soter Associates - (1980) Interstate Brick

Harris & Love - (1987) Blue Cross

Richards & Swensen (1980’s)Richards & Swensen (1980’s)Richards & Swensen (1980’s)

Richards & Swensen (1980’s)

Bailey Montague

The� Walton� Group,� Inc.� provides� services�to� businesses� by� individually� improving�their� communication� plan,� assisting� with�their�needs�and�achieving� their� short�and�

long-term�goals.

1982 1990

Est. 1991

Vérité� has� been� designing� and� producing�web� tools,� as� well� as� marketing,� advertis-ing� and� training� campaigns� since� 1993.�We�combine� cutting� edge� creative�with� forward�thinking� technologies� to� strengthen�brands,�

reach�audiences,�and�get�results.Est. 1993 Est. 1994Purchased�by�Robert�Ronald�-�1990Est. 1982

Est. 1989 Est. 1993Est. 1987

Est. 1997

20132000

2001 - FJCandN�renamed�Richter7

Est. 1999

Est. 1999

Est. 1996

Comcast�Launches�I+ 2011

Purchases�Lorraine�Press�-�2012

Est. 2003

Est. 1998

Moves�into�new�facility - 2012

Est. 2012

14�adnews�|�1Q�2013

hired�at�Cole�&�Weber,�was� let�go�due�to�account�attrition.� DSW� earned� considerable� fame� and� bill-ings,� primarily� due� to� the� Intel� account� and� the�renowned�“Intel� Inside”�campaign.�Later,� the�high-tech�agency�was�sold.�Just�prior� to�Cole�&�Weber�selling�to�Evans�(that’s�the� short� version� of� a� layered� saga),� I� left� for�Bonneville.�Soon�thereafter,�Evans�sold�to�Publicis,�the�international�conglomerate.�Dave�Thomas�ran�it�for�a�few�years,�then�retired.�Sadly,�a�few�years�later,�several�key�accounts�left�Publicis�and�the�agency’s�Salt�Lake�office�folded.�So�long�to�the�multi-office�agency� David� Evans� built.� If� you� listened� closely,�you�would�have�heard�him�roll�over�in�his�grave.During�this�time�period�Bob�Fotheringham’s�agency�grew�in�size�and�stature,�with�Bob�and�Bruce�Jensen�at� the� helm.� It� morphed� into� FJCandN,� when� Hal�Christensen�and�I�were�named�partners�in�1994.�It�became�the�ADDY�Award�powerhouse�over�the�next�seven�years.�During�that�time,�Jeff�Olsen�came,�and�

later� left,� to� form� Blaine/Olsen/White/Gurr,� which�was� sold� to� the�Canadian�firm,� Rare� Method,� a�few� years� back.� FJCandN�merged�with�Williams�and�Rockwood� in� 1998.� The�creative� dominance� con-tinued,�and�a� rare� feature�article�about�the�two�agen-cies�in�Communication�Arts�was�published� just�before�the�merge.�Shortly�thereaf-ter,�Tom�Love�formed�Love�Communications�and�Dave�Boede� sold� his� fledgling�agency,� purchased� from�DSW� holdover� Martha�Felt,� to� McCann.� About�that� time,� R&R,� based� in�Las�Vegas,� established�an�office�in�town,�too.Dave� Thomas� came� out�of� retirement� after� run-ning� for� the� U.S.� House�of� Representatives,� joined�his� sons� and� formed�

ThomasArts.� Meanwhile,� FJCandN� was� renamed�Richter7� in� 2001,� after� F,� J� and� C� left� to� form� a�branding�consultancy,�and�has�since�then�worn�the�state’s�creative�crown.�Obviously,�other�agencies�have�continually�existed�or� been� started� along� the� way—too� many� to� be�named—but� prominent� among� them� is� Struck.�Some� have� carved� out� a� respected� niche� in� the�market’s�ad�scene.�I�apologize�to�those�I�have�not�specifically�mentioned.�As�stated�earlier,�I�no�doubt�suffer�from�selective�amnesia.�But�you’ll�find�a�com-prehensive�history�of�names�and�creative�prowess�in�the�ADNEWS�ADDY�Awards�back�issues,�or�in�the�AAF-Utah�library.�And�that’s�the�way�it�was.�Kind�of.

____________Dave�Newbold� is�President� and�Executive�Creative�Director�of�Richter7,�a�Salt�Lake�City�advertising�and�public� relations� agency—on� the� days� when� he� is�amnesia–free�and�remembers�to�go�to�work.

That�was�also�the�heyday�of�Ross�Jurney,�Gardiner�Advertising,� Gillham� Advertising� (where� Scott�Rockwood� and�Tim�Williams�originally� spent� time)�and�several�others,�many�of�which�had�offices�near�Social�Hall�Avenue,�where�all�the�major�TV�stations�were�located.Bob� Fotheringham�had� started�his�firm� just� a� few�years�previous,�but�was�flying�under� the� radar� for�the�most�part.�So�was� the�firm�at�which� I� started�after�graduating,�Soter�Associates,�located�in�Provo.�Over�the�following�few�years,�Greg�Soter�and�I�hired�three�people�with�names�that�later�adorned�another�well-known�SLC�agency—John�Dahlin,�Darrell�Smith,�and�Jon�White—Dahlin�Smith�White�known�as�DSW.A�few�years�later,�Ted�Phillips,�Duff�Clawson�and�Dave�Thomas�started�their�own�firm�with�the�stunningly�innovative�name�of�Thomas,�Phillips,�Clawson.�They�became� the� rabble-rousing� creative� upstart� of�the� market,� and� from� about� 1982� though� 1988�earned�more�UAF�awards�than�any�other�agency,�by�far—many� of� them� for�Gus�Paulos’�perennially�appealing� campaign.� I�joined�them�as�Creative�Director� in� 1984,� and�still� remember� Ted�singing� “yo,� ho,� ho,�ho,� a� pirate’s� life� for�me,”� in� the� hallways�after� they� had� stolen�an� account� or� a� key�person� from� another�agency.� He� and� his�partners� would� occa-sionally� shoot� off� fire-crackers� in� the� office,�sometimes� flipping�them� over� their� office�wall� into� the� adjacent�office� without� offering�any� alert� whatsoever.�There� were� powder�stains� on� desks� and�doors� throughout� the�place.� Thankfully,� no�injuries.�TPC� later�sold�to� Cole� &� Weber,� an�Ogilvy-owned�agency�headquartered�in�Seattle,�and�famous� for� their�Boeing�work.�They� instilled�a�fis-cally�sound�demeanor�at�the�firm,�and�Dave�Thomas�and�I,�who�were�left�to�run�the�shop,�learned�much�from�the�leaders�of�that�regional�powerhouse—the�first�one�to�invade�SLC.It� was� during� this� time� that� Bonneville�Communications� was� earning� national� accolades�for� the� LDS� Church� Homefront� spots—including� a�Cannes�Lion—the�only�one�I�know�of�ever�awarded�to�a�Salt�Lake�agency.�When�Cole�&�Weber�depart-ed,�the�newly�founded�Williams�&�Rockwood�filled�the� city’s� creative� gap� and� annually�won� an� enor-mous�proportion�of�ADDY�Awards,�the�bulk�of�which�were�for�the�Utah�Symphony.�Tim�and�Scott,�along�with� Dave� Cole,� hurriedly� teamed� up� after� their�employer�saw�a�note�unintentionally�left�behind�that�divulged� details� about� starting� their� own� agency.�Penna,�Powers,�Cutting�and�Haynes,�a�mainstay� in�the�market,�was�birthed�about�then�as�well.But� the� monster� in� town� at� that� time� was� DSW,�formed� after� Darrell� Smith,� who� had� been� since�

�

Some� might� call� this� article� a� hit-and-miss� retrospective�of� the�Salt�Lake�ad�scene—from�the�mid-70’s�onward.� Some� might� call� it� revi-sionist� history.� And� some� might�be� right.� Regardless,� here’s� how� I�remember�it.

The�best�local�ad�campaign�I�noticed�when�I�came�out�of�BYU’s�ad�program� in�1976�belonged�to� the�State’s� tourism� division.� It� was� created,� as� it� had�been� for�a�number�of�years,�by�Harris�&�Love,�an�SLC� mainstay� agency� that� sold� to� Reister� several�decades�later.At� that� time,�Harris�&�Love�was�run�by�the�vener-able�Bob�Love,�one�of�the�true�creative�idealists�in�Utah’s�ad�industry.�When�I�later�worked�for�him,�he�was�quick�to�mark�up�my�copy�with�a�red�pen�to�the�point�where� the�page� looked�bloody.�Painful?�Yes.�Instructive?�Absolutely.�I�was�grateful�to�have�been�one�of�his�students.That�was�a�time�period�in�which�Evans�Advertising�ruled� the� Salt� Lake� roost,� in� terms� of� size� and�quantity�of�accounts.�David�Evans�had�started�his�agency�in�his�mid-fifties,�if�I�recall�correctly.�I�heard�him�respond,�when�asked�why�he�waited�so�long�to�start�his�firm,�that�he�had�wanted�to�make�mistakes�on� someone� else’s� money.� I� was� an�Afro-wearing�intern�at�his�firm�one�summer�while�still�in�school.�He�would�walk�past�the�intern�“cages”�and�rap�his�knuckles�on� the�partition�walls—probably� to�keep�us�alert,� awake,�and�cautious�about� chatting�with�each�other.�

A BRIEF, & POSSIBLY

DISTORTED, HISTORY OF THE SALT LAKE AD AGENCY WORLD� By Dave Newbold

1Q�2013�|�adnews 15

over�whether� journalists�should�give�readers�what�they� want� versus� what� they� need� has� raged� for�generations.�What’s�changed�is�that�the�journalist�is�no�longer�in�control.�The�modern�news�consumer�is�not�tethered�to�any�particular�source�of�information,�and�has�a�much�broader�range�of�shopping�options.�The�purveyors� of� traditional� news� are� recognizing�they� are� in� a� buyer’s� market—give� the� consumer�what�he�or�she�wants�or�they’ll�go�somewhere�else.Hence� the� conundrum:�most� research� shows� con-sumers� have� high� regard� for� traditional,� hard-hit-ting,�important,�relevant,�investigative�and�contex-tual�news—but�their�page�views�speak�otherwise.Which�master� do� you� serve,� and� in�what� propor-tion?�That�would�seem�to�be�a�key�question�in�any�discussion� of� a� social� media� strategy.� If� it’s� just�about� expanding�market� reach� and� revenue,� then�the� impact�on�content�and�culture�maybe� isn’t�so�important.�What’s�more�apparent�by�the�day�is�that�the�tide�of�online�news�consumption�may�be�lifting�a�lot�of�ships,�but�it�comes�with�a�strong�undertow,�and�it’s�taking�the�practice�of�daily�news�judgment�into�unfamiliar�waters.

C0n� Psarras� is� currently� an� Associate� Instructor,�University� of� Utah� Dept.� of� Communication.� He�enjoyed� a� long� career� in� broadcast� news� having�guided�the�news�product�as�news�director�for�KUTV,�KTVX�and�most� recently�at�KSL�as�Vice�President,�Editorial� Director� as� well� as� VP� Managing� News�Director� for� television� radio� and� digital� media.�

fish�in�the�Ukraine?Editors� have� long� been� keen� to� the� value� of� the�so-called� “water� cooler”� story.� Now,� by� virtue� of�smartphones�and�their�social�media�apps,�the�water�cooler� is�everywhere,�all�day�long.�Television�news�producers�almost�always�include�a�“talker”�story�in�their�rundowns,�knowing�they�make�for�a�nice�tease�across� a� commercial� break� and,� hopefully,� sustain�a� ratings� point.� But� in� the� online� world,� “talker”�is�king.In� fairness,� mainline� news� sites� and� the� journal-ists�who� feed� them� remain� cognizant�of� the�value�of�a�balanced�diet.�There�are�still�healthy�servings�of�serious�and� important�news,�but� the�nutritional�pyramid,�as�it�were,�seems�every�day�to�skew�more�sweet-tooth.The�trend�is�likely�to�continue,�if�only�because�feed-ing� the� online� beast� what� it� wants� offers� instant�gratification.� Around� the� newsroom� water� cooler,�reporters�have�always�bragged�about�the�big�stories�they�break,� the�ones�that�“brought�an� indictment”�or� “got� the� governor� to� call� a� news� conference.”�Now,�you’re� just�as� likely� to�hear,� “Wow,�my�story�got�200�comments�in�an�hour,”�or,�“Hey,�that�piece�on�the�blind�chimpanzee�went�viral!”So,�as�time�goes�on,�do�journalists,�consciously�or�subconsciously,�under�orders�or�on�their�own,�begin�to� skew� the� direction� of� their� stories� to� generate�greater�online�consumption?If� the�answer� is�“yes,”�then�are�we�witnessing�the�beginning�of� an�apocalyptic� collapse�of� traditional�news�reporting?�Probably�not,�given�that�the�debate�

This�was�going� to�be�about� the�use�of�social�media�by�local�newspapers�and� broadcasters� to� bolster� their�brands�and�increase�their�audiences,�but�something�happened�on�the�way�to�the�second�paragraph.After� scanning� various� local� news-

oriented�websites,� it�occurred� to�me� the�question�may� not� be� what� traditional� media� might� do� to�harness�the�power�of�social�media,�but�rather,�what�social�media�is�already�doing�to�change�the�nature�of�local�news.It�is�certainly�a�more�provocative�question:�Are�we�seeing� a� fundamental� change� in� traditional� news�judgment�as�a�result�of�efforts� to�patronize�social�media?� Is� the� focus� on�what�works� in� the� online�world�subverting�long-held�principles�of�what�con-stitutes�“news?”�Are�we�witnessing,�in�other�words,�a�case�of�demand�defining�supply?Check� out� nearly� any�website� attached� to� a� local�newspaper�or�broadcast�operation�and�look�at�the�mix� of� content.� On� this� day,� for� example,� at� ksl.com,�one�of�the�biggest�and�most�successful�news�sites�anywhere,�there’s�a�distinct�pattern�in�the�type�of�content�populating�the�so-called�“top�stories.”One�is�about�a�guy�in�Norway�who�posted�a�video�of�himself�on�YouTube�kicking�60-yard�field�goals.�Another� is� about� the� Ukrainian� Navy� planning� to�arm� dolphins� with� pistols� to� keep� enemy� swim-mers�at�bay.Sure,� there� are� stories� about� the� presidential�debates,�the�Governor’s�education�budget�and�the�daily�array�of�crimes,�fires�and�accidents.�But�those�are�generally�not�the�“trending”�stories.�The�items�garnering�the�most�attention�at�this�moment�have�headlines�like�these:“Man� in� Germany� Finds� Car� Two� Years� After�Forgetting�Where�He�Parked”“Eighteen� Percent� Willing� to� ‘Unfriend’� Someone�Over�Political�Points”“Man�Used�Child’s�Birthday�Money�to�Buy�Marijuana”And�the�lead�news�story�at�the�moment?�“Beyoncé�Set�for�Super�Bowl�Halftime”I�know,�it’s�not�cool�to�dis�on�Beyoncé,�and�I�real-ize� this� is�beginning� to�sound� like� the� rant�of�an�old�news�guy�annoyed�by� the�presence�of�“fluff’”�on�a�respected�news�platform.�Actually,�I’ve�always�believed�that�fluff�has�its�place.�The�point�is�that�in�the�current�universe,�fluff�is�the�place.It�started�when�media�executives�figured�out�there�is� a� linear� relationship� between� page� views� and�advertising� revenue.�Then,� they�asked�what� kinds�of�stories�were�most�likely�to�get�“liked,”�“tagged,”�linked-to�by�an�aggregator�or�be�offered�up�on�a�search�engine,�and�they�said,�“Great,�we�need�more�of�those�stories.”�And�for�the�most�part,�they’re�not�the�stories�editors�or�producers�choose�to�nominate� for�a� journalism�award.�They’re�more�often�the�stuff�once�relegated�to�an� italic�headline�at� the�bottom�of� the�printed�page�or,�in�broadcast,�the�“kicker”�stories�that�end�a� newscast—the� funny-strange-ironic� little� blurbs�that�make�us�chuckle,�copy,�paste�and�hit�“send.”Be� honest,� which� story� would� you� most� likely�forward�to�a�friend,�the�one�about�energy�develop-ment�on�public�lands,�or�the�one�about�gun-toting�

[CONPSARRAS

WHAT SOCIAL MEDIA IS DOING TO CHANGE THE NATURE OF LOCAL NEWS

]

16�adnews�|�1Q�2013

UNLOCKING theTRUE VALUE of your

CREATIVE CONTENT

he past decade has brought a confluence of technological advances in hardware, software, communications and distribution platforms allowing independent creators to shoot, edit, create, publish, market and distribute their content at far lower cost and greater reach than ever before. Pioneering filmmak-ers and entrepreneurs like Tyler Measom and Danfung Dennis, both profiled in this issue, have created remarkable documentary films reaching wide audiences and critical acclaim with relatively small production bud-gets. These filmmakers, and other pioneering photographers, game designers, illustrators, authors and other visual creatives prove that it is possible to self-fund and self-distribute creative works that have impact, reach a global audience and provide sustaining finan-cial support for the artist. That’s not to say it’s easy. Nor is it a sure bet. Countless creative projects languish on YouTube or Vimeo with a smattering of views. Despite Kickstarter’s success at crowdfund-ing creative and innovative projects, fewer than 40 percent of all projects submitted to the site meet their target fundraising goals. Even successfully funded projects still have only a glimmer of hope of reaching a wide audience. According to IndieWire, 4,042 films were submitted to the 2012 Sundance Film Festival in the World Dramatic and Documentary Competition. Of these, only 110 were selected for inclusion in the festival and fewer than 40 films were ulti-mately acquired by established, full-service film distributors. This means that 99% of films submitted to Sundance—good films requiring years of work and hundreds of thousands of dollars in investments on the part of the creator—are unlikely to ever reach their intended audience.Fortunately, there is renewed energy on the part of creative artists to take the reins and

bring their work directly to an appreciative and financially supportive audience. These changes couldn’t come at a better time for creative industries. The great paradox of the times is that while there is tremendous demand for compelling, creative content to fill blog posts, video channels, apps and online publications, creative professionals are see-ing their work devalued and commoditized with assignments often going to the lowest bidder. This phenomenon affects all creative industries and all segments of the markets. When accounting for inflation, professional writers have seen their hourly and per-article rates drop over 80% since 1991, Instagram and Google are increasingly separating pho-tographs published online from their origi-nal creators and Oscar-award-winning visual effects houses are filing for bankruptcy even as they are accepting their golden statuettes.

a path forward?As I highlighted earlier, there is an increasing number of success stories for creative artists to look to for inspiration and encourage-ment as well as information and experience. I’ve recently begun work on a project to bring together the stories, strategies and successes of artists who’ve already blazed the past, research the keys to their success and work to develop a roadmap for future independent artists to follow. The findings from this research will be published online and presented at the National Association of Broadcasters conference in Las Vegas on April 10th. The presentation, Unlocking The True Value of Your Creative Content, spon-sored by the American Society of Media Photographers, aims to distill this body of research into a series of best practices. By highlighting specific strategies for building an audience for your creative work, techniques for successfully crowdfunding and present-ing options for independently distributing your work, I hope to help creatives gain the confidence and knowledge they need to bring their work to market outside traditional pub-lication and distribution channels. While it would be unrealistic to expect that

a majority of creative works will be inde-pendently distributed—there are still lots of good reasons to use traditional methods—or that following best practices can eliminate the risk of a new endeavor. However, follow-ing time-tested practices and learning from seasoned veterans will improve one’s odds of success. The upside to cultivating an indepen-dent community of creative artists is two-fold. First, more professional artists can continue to operate as professional businesses with-out having to resort to slinging espresso or waiting tables to make ends meet. Secondly, a greater number of creative works that would have otherwise gone unseen will see the light of day and realize the social impact the artist intended. Thirdly, independent success fosters success in traditional distribution channels and puts creatives back on a level playing field with media entities because they are no longer the “only game in town.”

a new mentalityAlready some clear patterns are emerging. Most prominent is the need for creative art-ists to expand their focus on the business aspects of their craft. Emily Best, founder and CEO of Seed & Spark, a crowdfunding and distribution portal for filmmakers, believes, “Every creative enterprise is a startup and it has all the qualities of a startup business.” Artists “can’t continue to shun business as the icky side, or dirty side, because that’s simply not true. It’s the sustaining side.” By engaging the audience frequently through social media and showing in-progress work,

1% of films submitted to the Sundance Festival in 2012were acquired for distributionsource:IndieWire

by�Jay�Kinghorn

T

UNLOCKING theTRUE VALUE of your

CREATIVE CONTENT

1Q�2013�|�adnews 17

UNLOCKING theTRUE VALUE of your

CREATIVE CONTENT

the audience is more likely to be invested in the project and help it become success-ful by contributing to a crowdfunding effort or sharing content on social media chan-nels. Tyler Measom considers this the “we” phenomenon. “When our project reaches milestones on our Kickstarter project, our audience posts comments saying ‘we’re 50 percent of the way there’ or ‘we can do it!’” The shift in tone from “you” the filmmaker to “we” the film’s team, they take ownership and are vested in the process. With this engaged support comes increased responsibility. Emily Best likens this to a CEO being accountable to their shareholders. “If you really want to change the culture around arts funding, you give people that granular, emotional level of involvement.” This deep involvement forces you to produce better work because your friends, family and com-munity are deeply invested into your work both literally and figuratively. They’ve con-tributed time, money, resources and they’ve personally recommended your work to their friends. This makes it far more difficult for an artist to give anything less than 100 percent to their final product. Although the entrepreneurial spirit and busi-ness-focused attitude needed for success on these emerging channels isn’t for everyone—many just want to focus on the art—these tools will undoubtedly mean commercial and creative success for a new breed of artists looking for a better alternative to the cur-rent solution. Emily Best sums up today’s reality very clearly. “The people responsible for creating this content are the last ones to get paid. That’s a really broken mechanism because it disincentivizes the wrong people. If we don’t have content, we don’t have televi-sion, we don’t have movie theaters, we don’t have the thousands of people working in droves at the concession counters. You have to have the content creators first, yet they’re the last to get paid.”Finding strategies, techniques and platforms for artists to get paid and reach an adoring audience is what this project is all about. I hope you’ll join us.

get involvedFor this project to be successful, we need your voice. Please let us know what infor-mation you need, what obstacles you’ve encountered and what you need to start your own independent work. Do you know of a success story we should highlight? Please share it with us. The goal of this project is to serve and support the community of creative professionals and we hope you’ll get involved

by joining the Facebook page, visiting the blog, connecting with me on Twitter or attending the presentation at NAB in April. Let me know how I can best help you bring your creative ideas to reality.

Facebook: https://www.facebook.comUn-lockingTheTrueValueOfYourCreativeContentTwitter: @jaykinghorn or use the hashtag #valuecontentBlog: http://jaykinghorn.com/unlocking-the-true-value-of-your-creative-content/Upcoming presentations: April 10th, NAB 2013-Las Vegas, NVhttp://nab13.mapyourshow.com/5_0/sessions/sessiondetails.cfm?ScheduledSessionID=1BA9CF

March 20th, Denver, CO: http://www.asmpcolorado.org/articles/upcoming-colorado-events.html

Jay Kinghorn calls upon his 15 years of visual media creation, workflow and content strategy work to help his clients publish informational, promotional and educational content to tradi-tional and emerging platforms, including Web, mobile and social media. His work intertwines several disciplines, allowing him to bring a holistic approach to help his clients unlock business opportunities created by a turbulent technology-driven business landscape. In 2009, he co-founded Kinghorn Visual Inc., a dynamic and multi-faceted consultancy that helps busi-nesses and organizations strategically commu-nicate on the Web and mobile devices through photography, video, motion graphics and design. Concurrently, Mr. Kinghorn continues to devel-op educational content and deliver presenta-tions through the American Society of Media Photographers (ASMP) to help their members implement new business strategies to take advan-tage of the unstable, but opportunity-laden busi-ness environment. An established author, Jay blogs about the intersection of technology, art, com-merce and society and has written three books for McGraw-Hill publishing. Loyal to his roots in photography and technology, Jay has been an Olympus Visionary Photographer since 2006.

UNLOCKING theTRUE VALUE of your

CREATIVE CONTENT

UNLOCKING theTRUE VALUE of your

CREATIVE CONTENT

18�adnews�|�1Q�2013

Q+Agoing�to�infiltrate�an�idea?�How’s�it�going�to�amplify�and�align�with�something�else�that’s�trying�to�happen�whether�it�is�in�the�environmental�space�or�women’s�space?�How’s�it�just�going�to�bring�awareness�to�something�that�maybe�we’re�too�busy�to�pay�attention�to?�Those�are�all�the�crite-ria�we�look�for�in�these�films.�

t: in that order? it’s nice to hear you say social impact first.�

G:�Actually,� I� say�artistic�merit�first.� It�has� to�be�a�good�story� or� nobody’s� going� to� see� it� and� it’s� not� going� to�have� commercial� value�and� it’s�not�going� to�have� social�impact.� {laughs}� Everything� stands� on� the� shoulders� of�the�story.�The�commercial�and�the�social�impact�go�hand�in�hand.�Right?�We’re�looking�for�films�that�have�a�social�message�and�story,�that’s�the�filter�through�which�we�are�selecting�our�films.�But�we�have�to�know�where�we�think�this�will�have�a�broadcast�outlet.�And�the�only�reason�why�documentary� films� are� sustainable� now� is� because� there�is�still�a�broadcast�market.�Once� that�goes�away,� I�don’t�know�what�we’re� going� to� do� about� financing� films.� For�now,� there� are� still� broadcasters� that� are� still� willing� to�pay�money�to�recoup�some�portion�of�the�budget,�but�it’s�never�the�full�budget.�So�every�one�of�these�films�is�being�subsidized�or�deferred�on�the�backs�of�the�filmmakers�or�their�credit�cards�or�their�mortgage�payments.�I�know�you�know�that�way�too�well.�{laughs}.

t: what has to be done to encourage a public to view these

films that are so important? are people watching these films?

is viewership of documentaries waning?

G:� I� don’t� think� it’s�waning.� I� think� it’s� growing,� but� it’s�very�niche.�Films�are�finding�their�audiences�in�new�ways�because�the�technology�is�there,�but�it’s�not�in�the�typical�broadcast�sense�of� the�way�we�used�to�consume�media.�You�consume�media�now�because�there’s�publicity�around�an�issue,�because�there’s�promotion,�because�there’s�social�media.� But� mostly,� what� we’re� finding� is� people� view�media�because�a�friend�told�them�about�it.�It’s�less�about�the�film�critic�and�more�about�a�contemporary�or�another�person�who�is�curating�content,�or�a�tastemaker�is�helping�you�find�your�way�to�the�stories�you�need�to�see.�

t: you mentioned a lot of filmmakers and the majority of them

were women. as a male documentary maker, i sometimes, well,

all of the time, i feel like i’m in the minority. especially the

gatekeepers of the documentary world, by and large, are women.

G:�Because�women�are�so�smart!�{laughs}�I�think�that�it’s�true.�There�are�more�women�documentary�directors�now.�I’d�say�it’s�60/40�with�more�women�than�men.�

t: if you look at the narrative world, it’s probably 90/10.

G:�Although�this�year�at�Sundance,�I�think�40�percent�of�all�directors�are�women�in�the�narrative�space.�

t: that’s wonderful

adnews�caught�up�with�Geralyn�Dreyfous�right�before�the�Sundance�Film�Festival�where�the�group�she� founded,� Impact� Partners,� submitted� 11� documentaries,� had� five� accepted� and� two� won�awards.� Geralyn� also� executive-produced� “The�Square”,� given� the�Audience�Award,�World� Cinema�Documentary�at�Sundance.�Less�than�a�month�later,�Impact�Partners’�films�were�nominated�for�two�Academy�Awards.�Geralyn�is�no�stranger�to�the�Oscars—one�of�her�first�documentaries�she�produced,�“Born�into�Brothels”,�won�Best�Feature�Documentary�in�the�2005�Academy�Awards.�Since�founding�Impact�Partners,�she’s�added�two�additional�Oscar�successes�to�her�resume�with�“Freeheld”�(2008)�and�“The�Cove”� (2010).�Tyler�Measom,�profiled�on�page�22-23,�sat�down�with�Geralyn� to�explore�how�a�producer�shapes�the�success�of�a�documentary�film�as�well�as�the�role�documentaries�play�in�igniting�social�change�in�an�era�where�investigative�journalism�by�traditional�news�outlets�is�on�the�decline.

tyler: you are kind of iconic in the state of utah as a film producer. but what is it exactly that you do?

Geralyn:�{laughs}�That’s�so�funny,�You�know�my�mother’s�always�asking�me�that�question�too,�she�says,�“I�can�never�explain�to�people�what�you�do.”�Well,�I�divide�my�time�between�funding�documentary�films.�We�set�up�a�film�fund�called�Impact�Partners�and�we�finance�social�impact�documentaries.�We�look�at�about�500�films�a�year�and�we�fund�about�thirty�of�them.�We�look�at�stories�all�day�long,�we�meet�with�filmmakers,�we�listen�to�their�pitches�and�we�try� to�determine�stories�that�we�think�are�particularly�original,�have�social�value�or�haven’t�been�told�before.�In�most�of�the�cases,�we’re�funding�films�when�they’re�almost�finished�unless�we�really�know�the�filmmaker’s�body�of�work�and�can�put� the�financing� for� the�whole�film�together.�Part�of�producing�a�movie� is� really� just�putting� the�financing� together;� it’s�not� the�artistic� side�of�moviemaking.� I� think�people�get� very� confused�by� that.� So� you�are�behind� the� camera�and�financing�films�because�most�documentary�directors�have�to�do�both.�I’ve�never�even�picked�up�a�camera—I’ve�looked�through�them,�but�I�wouldn’t�know�the�first�thing�about�shooting�a�film,�or�an�aspect�ratio.�I�leave�these�decisions�to�someone�who�is�much�more�talented�than�I�am.

t: does that make it difficult in funding documentaries because you don’t know what you’re getting?

G:�Look,� investing� in�any�film� is�very�high�risk.�While� there�are�more�distribution�channels,� the�ones�that�find�a�life�and�find�commercial�success�are�very�small�compared�to�the�content�that’s�being�created.�So,�you’re�always�wondering�“where� is� this�story�going”,�“how�are�you�going� to�get�it�to�the�finish�line”�“will�it�hold�up”,�“will�it�stand�the�test�of�time?�Good�cinema�grabs�you�in�the�first�minute�and�a�half�and�if�it�doesn’t,�you’ve�got�a�problem.�So�it’s�not�that�hard�to�see�when� something’s� going� to�be�good.�What’s� harder� is�when� something’s�not�working,� knowing�whether�people�{the�filmmakers}�are�going�to�be�able�to�figure�it�out,�or�are�they�going�to�have�the�discipline,�or�the�mindfulness�to�step�back�and�listen�to�what�the�audience�is�trying�to�tell�them.�Which�is,�“this�isn’t�working.”�You�still�have�great�bones,�you�have�a�great�film,�but�you’re�losing�your�audience�here.�That’s�the�job�of�a�good�editor,�from�a�writing�point�of�view;�all�great�authors�have�great�editors�who�reline�their�work.�That’s�the�role,�sometimes,�of�a�good�producer�and�a�good�editor�has�to�anticipate�great�collaboration�with�the�director�to�say,�“tell�me�more.”�Like�a�writing�coach�says,�“what�are�you�trying�to�say�here?�Tell�me�more.”�It’s�in�that�articulation�that�you�say�“oh,�okay,�well�then�that’s�not�happening�here.”�So�there’s�this�cut-and-paste�kind�of�exercise�that�happens�with�filmmaking�in�the�same�way�that�it�does�with�writing�and�I�love�that�connection�because�I�started�out�teaching�writing�and�now�work�on�films.�

t: what criteria defines how you at impact partners select films for funding?

G:�When�we�look�at�films�we�look�at,�first�of�all,�is�it�a�good�story?�Is�it�artistically�going�to�be�a�great�film?�That’s�the�number-one�important�thing�to�us.�Then,�does�it�have�a�commercial�life?�Is�it�a�film�we�can�recoup�our�investment?�Our�model�is�to�put�equity�in�to�make�money�back�for�our�investors—not�to�make�money,�because�no�one�makes�money�making�documentary�films—but�so�that�they�can�support�the�next�documentary�film.�We’re�like�a�revolving�loan�fund�for�documentary�filmmakers�and�our�investors�just�pay�it�forward.�They�take�their�money�out�and�put�it�in�the�next�good�project.�I�think�that’s�an�exciting�model,�it’s�renewable,�it’s�not�grants�that�are�one-time�only�and�you�feel�like,�“well�I�did�that�already”.�Your�money�comes�back�and�you�almost�feel�obligated�to�put�it�into�another�good�film�which�is�exciting.�The�third�is,�what�is�its�social�impact?�How�is�this�film�going�to�change�a�conversation?�How�is�it�

GERALYN DREYFOUS AND TYLER MEASOM ON DOCUMENTARY FILMS

1Q�2013�|�adnews 19

G:� I� think� what� you� see� is� a� different� kind� of�storytelling.� That’s� what� we’re� really� looking� for,�right?� We� want� representation� of� sensibilities,� of�aesthetic�that�represents�who�we�are�as�a�people.�So� you�have� to�have�more�women,� just� like� you�want�to�hear�from�all�races�and�all�classes�and�all�walks�of�life�because�that’s�what�makes�our�coun-try�diverse,�but�it’s�also�how�we�learn—from�other�people’s� perspectives.� Some� people� will� say,� “of�course�there�are�more�women,�you�don’t�get�paid,�it’s�hard�work�and�you�don’t�get�the�recognition.”�I�don’t�think�that’s�the�case.�I�think�the�best�work�is�being�done�in�nonfiction�right�now.�These�women�are� smart� and� they� understand� how� ideas� travel�and�they’re�deeply�committed�to�good�storytelling�and�the�impact�that�you�can�make.�

Festival�Template�-�How�to�optimize�a�film�festival

G:�Well,� there� are� so�many� logistics� that� go� into�bringing�a�film�to�a�festival�like�Sundance�because�Sundance�is�one�of�the�few�festivals�in�the�world�that�is�actually�a�marketplace.�I’d�say,�on�average,�it’s� costing�$30K� to�bring�your�film� to�Sundance.�We�have� some�films� that�have�bigger� teams�and�are� coming� in� from� Mexico� and� London� and� it’s�costing� $45K.� So,� the� first� job�we� have� is� “Holy�shit,�we�got�into�Sundance,�now�how�are�we�going�to�afford�to�get�the�film�here?”�Part�of�it�is�finding�money� for� housing� and� publicists� and� having� a�launch�party;�then�making�sure�that�you�have�the�team�around�you�so�you�can�get�the�attention�of�buyers.�The�festival�team�and�strategy�is�different�than� the�making� of� the� film’s� team� and� strategy.�I’m� on� conference� calls� every� day� in� half-hour�increments�between�sales�agents�and�publicists�to�discuss�how�we�are�pitching�our�films—the�mes-saging�and�strategy�for�the�film.

t: how about during the festival?

G:�Well�during�the�festival,�your�job�is�making�sure�people�show�up�and�see�the�film.�Then,�trying�to�figure� out� how� to� get� them� interested� in� buying�the�film.�My�partner�Dan�Cogan�does�more�of�the�actual�sales�and�negotiations�and�I�do�more�of�the�hospitality� and� curating� the� conversation� around�the�story.�For�example,�we�have�an�opening-night�film,�“Who�Is�Dayani�Cristal?”�which� is�an� incred-ible,�genre-breaking�film�that�both�has�a�narrative�component�and�a�doc�component.�We’re�going�to�have�a�conversation�around�immigration�policy�in�Utah�and�nationally.�I’m�doing�the�logistics�around�that�by�asking,�“Who�do�we�need�to�Skype�in�or�fly�in�to�be�part�of� those�press�conversations,� those�public� conversations� and� the� private� conversa-tions� that� we’ll� have� with� investors� and� donors�who�might�then�want�to�fund�the�outreach�of�this�film,�so� this�film�can�have� the�social� impact� that�it�needs.�

documentaries as cultural markers and as antidotes to the commercial media we export to the world. Is this what we want the world to think of us as Americans?

photo by Scott Peterson

20�adnews�|�1Q�2013

JEFF METCALF: GIVING VOICE THROUGH DOCUMENTARY FILMS

“a documentary film is a confessional of sorts. you step in front of this lens and it’s an act of contrition, of forgiveness and

permission. sitting there in the darkness and being invited in and being asked to trust the filmmaker. how can you not think

this is one of the most powerful things in the world? to lay it out there raw, bare bones. it’s dangerous in many ways. to

allow that lens to be turned on your story, on you, your personal narrative, you’re taking a great risk here. i think that’s

truly an act of bravery. there’s no other way you can get that close to the truth.” By Jay Kinghorn – Editorial and Photo

t’s�rare�for�someone�to�lay�bare�their�deepest,�darkest�secrets�to�a�friend.�

Rarer�still�is�a�person�who�turns�a�camera�lens�on�themselves�or�their�fam-

ily�to�reveal�stories�of�drug�addiction,�homelessness�or�domestic�violence�

to�an�audience�of�total�strangers.� Jeff�Metcalf,�and�his�Humanities� in�Focus�(HIF)�

program�helps�his�students,�primarily�adults�from�underserved�communities,�find�

their�voice�through�filmmaking.�The�results�are�honest,�unflinching,�largely�autobio-

graphical�films�that�bring�healing�both�to�the�filmmakers�and�the�communities�they�

live�in�by�showing�the�frailties�of�the�human�psyche�and�our�ability�to�overcome�

remarkable�adversity.�

It�all�began�eight�years�ago,�when�Jeff�was�involved�in�teaching�a�free,�humanities-

based� course� for� adult� learners�who�had�great� dreams�but� low�means.�Through�

stories�told�casually�in�the�classroom,�Jeff�heard�the�remarkable�stories�of�refugees�

who’d�had�family�members�assassinated�and�immigrants�risking�their�lives�to�come�

to�the�country.�Inspired�by�their�stories,�he�asked�the�attendees�if�they’d�like�to�cre-

ate�documentary�films�about�their�personal�histories.�Everyone�in�the�class�said�yes.�

Jeff�enlisted�the�help�of�documentary�film�professor�Craig�Wirth,�and�the�following�

year�they�launched�the�HIF�program,�a�year-long�free�program�that�meets�weekly�

to�help�participants�tell�their�stories�through�documentary�films.�The�program�ini-

tially�began�in�the�Salt�Lake�School�District’s�Career�Technical�center�and�recently�

moved�to�University�of�Utah’s�Mariott�Library�to�better�accommodate�the�growing�

demand�for�courses.�While�the�U�of�U�provides�a�home�for�the�program�Jeff�is�the�

sole�fundraiser�to�keep�the�program�afloat.�Seven-and-a-half�years�after�the�first�

class,�people�from�all�over�the�community�flock�to�the�program�because�they�have�

stories�to�tell�and�are�looking�for�a�vehicle�to�tell�them.�

“A�documentary�film�is�a�confessional�of�sorts.�You�step�in�front�of�this�lens�and�

it’s�an�act�of�contrition,�of�forgiveness�and�permission.�Sitting�there�in�the�dark-

ness�and�being�invited�in�and�being�asked�to�trust�the�filmmaker.�How�can�you�not�

think�this�is�one�of�the�most�powerful�things�in�the�world?�To�lay�it�out�there�raw,�

bare�bones.�It’s�dangerous�in�many�ways.�To�allow�that�lens�to�be�turned�on�your�

story,�on�you,�your�personal�narrative,�you’re�taking�a�great�risk�here.�I�think�that’s�

truly�an�act�of�bravery.�There’s�no�other�way�you�can�get�that�close�to�the�truth.”�

The�stories�told�in�these�films�run�the�gamut�of�human�emotion�and�experience.�

Crystal� tells�her�story�about�being�addicted� to�crystal�meth�while�pregnant�with�

her�daughter.�Another�woman�points�the�camera�at�her�family,�exposing�the�dys-

function�her�husband’s�alcoholism�and�daughter’s�substance�abuse�brought�to�the�

family.�A�young�man�risked�deportation�by�making�a�film�about�his�life�as�an�illegal�

immigrant�in�Utah.�

While�many�films�show�the�reality�of�drugs,�violence�or�incarceration,�others�reveal�

a�softer,�tender�side.�“Michael’s�World”�is�the�story�of�a�young�man�with�Asperger’s�

syndrome� who� turned� to� painting� as� a� way� of� communicating� with� others.� His�

abstract� works� of� ordered� blocks,� dense,� colorful� lines� and� repeating� patterns�

sometimes�appear� like�aerial� roadmaps�to�ancient�cities.�Ultimately,�what�makes�

these�documentaries�so�unique�is�that�these�aren’t�filmmakers�telling�stories�about�

other�people,�these�are�individuals�who’ve�become�filmmakers�to�tell�stories�about�

themselves.

While�some�of�these�stories�can�be�shocking,�ultimately,�their�purpose�is�to�heal.�

“This�empowers�people,”�says�Jeff.�“It�gives�the�participants�permission�to�forgive�

themselves�for�the�things�that�have�happened�to�

them.”�By� telling� their� stories,�many�participants�

have�been�able�to�move�past� the�situations�that�

have� held� them�back� to� come� to� a� place�where�

they� better� themselves� and� their� communities.�

Nadia,� a� young� woman� who� escaped� gang� life,�

has�become�an�advocate�for�students�and�young�

adults�who�have�been�raised�in�the�United�States�

but� lack� legal� citizenship.� She’s� spoken� at� the�

capital,�been�on�the�cover�of�the�Tribune�five�times�

and� she’s� become� a� brave�woman� speaking� out�

against�social�injustice.�“Cesar�Chavez�has�nothing�

on�her,”�Jeff�says.

Jeff’s�love�of�story�can�be�traced�back�to�the�dinner�

table�of�his�youth,�growing�up�in�an�Irish�neighbor-

hood�in�New�York.�His�own�biography�unfolds�like�

a�good�story�should,�with�tantalizing�hints�begging�

for� further� exploration.� In� kindergarten�he� and� a�

friend�played�hooky�from�class�for�several�weeks,�

delivering�parcels� for� a� local� grocer.�He�dropped�

out�of�junior�high�school�to�join�a�traveling�carni-

val.� “I� have�always� found�myself�on� the�outside�

of� institutional� thinking,”�he�says�with�a�chuckle�

as�he� recalls� living� in�Holland�and�Saudi�Arabia,�

among�other�adventures.�

It�wasn’t�until�he�was�20�and�on�the�verge�of�drop-

ping�out�of� the�University�of�Utah� that�he� found�

his� calling.� After� much� persuading� by� a� friend,�

Jeff�arrived�at�the�office�of�Dr.�Florence�Kroll�who�

founded�a�program�for�students�who�had�dropped�

out�of�school�and� fallen� through� the�cracks.�The�

more�she�described�the�program,�the�more�it�reso-

nated�with� Jeff.� It�gave�him�a�community�and�an�

opportunity� to� serve� a� cause� larger� than�himself�

through�teaching.�“I’ve�been�touched�deeply�and�

profoundly� by� every� student� that� has� come� into�

my�life,”�he�says.

“Dr.�Krall�believed�that�people,�particularly�teach-

ers,� could� change� lives� and�make�a�difference.� I�

thought�back�on�all�the�teachers�that�affected�me�

and�made�a�difference,�and�the�common�element�

was�a�permission�to�believe�in�yourself�.�.�.�believe�

that�you’re�going�to�change�the�world—no�matter�

how� badly� the� odds� are� stacked� against� you,”�

Jeff� says.� For� many� of� the� attendees� of� the� HIF�

classes,�the�odds�are�stacked�against�them.�Within�

the�program�however,�they�find�a�supportive�com-

I

1Q�2013�|�adnews 21

JEFF METCALF: GIVING VOICE THROUGH DOCUMENTARY FILMS

Jeff Metcalf is Professor of English, University

of Utah and is teaching the following

courses this year: Adolescent Literature,

Playwriting, Literature, Secondary Teaching

Methods and Humanities in Focus.

He recently completed a memoir, “52 by

52”, a collection of non-fiction essays that

will be published by University of Utah Press

this fall. This collection took first prize in the

nonfiction, history category in the 2012 Utah

Original Writing Competition.

Brian Doyle, the judge of the writing compe-

tition comments: “I am hell-bent on writing

an essay a week for a year,” says the author

in his opening lines…” I am guilty of put-

ting my writing on the back-burner for far

too long. It is time to pay the piper…This is

where…the rubber meets the road…”

Continues Brian, “And indeed he does pay

the piper, with passion and grace, with

detail and anger, with a sharp eye for the

natural world and a sharp ear for the easy

lies and hard affections on human life and

culture.

“I suppose I thought the first virtue of this

book was its immediacy of story, its lack of

self-pity and self-indulgence, even as the

author grapples with his imminent death

from cancer; but the second virtue, and no

small one either, is how this did not become

what it so easily could have been, a long

complaint, a long whine, a long staring into

the mirror, a mere litany of ills and blaming.

I liked this book first for what it is, a cleanly

written and fascinating story if a life spent

paying close attention to the miracles and

muddledness; but I also like it very much

for what it isn’t, and could so easily have

been. That’s a subtle accomplishment worth

noting.”

munity� of� people� from� similar� backgrounds� and�

an�instructor�challenging�them�to�grow�outside�of�

their�comfort�zone�to�tell�their�story�as�authenti-

cally�as�possible.�

The� supporting� community� allows� for� the� raw�

openness� and� honesty� to� come� through� in� the�

filmmaking,�though�Jeff�often�has�to�strike�a�deli-

cate� balance� to� know�how� far� he� can� challenge�

his�students�for�greater�honesty�without�crossing�

the� line� and� opening� deep� emotional� wounds.�

“I� don’t� compromise,”� Jeff� says.� “Once� you’re�

around�these�people�for�some�time�and�listen�to�

them� tell� these�brave�stories,� I� just� simply�can’t�

let�them�back�away�from�that.�I’m�prodding�them.�

You�have�one�chance�in�your�life�to�tell�your�story.�

Make�it�count.”

The�bravery�and�honesty�shared�by�Jeff’s�students�

creates� a� special� bond� between� the� filmmakers�

and� the� public� that� watches� the� finished� films.�

Seeing� the� vulnerability� inherent� in� these� auto-

biographical�films� inspires�audience�members� to�

approach� the� filmmakers� with� appreciation� for�

telling�a�story�of�a�challenge�or�affliction�they�are�

battling� in� their�own� lives.�Through� this� connec-

tion,�the�community�grows,�says�Jeff.

Many� graduates� of� the� program� have� served� as�

ambassadors�of�the�HIF�program,�bringing�in�new�

participants�to�tell�their�own�stories.�In�this�way,�

the�program�has� taken�on�a� life�of� its�own.� Jeff�

can’t�keep�up�with�the�demand�to�show�the�films.�

There�is�increased�demand�for�participating�in�the�

program�as�well.�Typically�class�sizes�are� limited�

to�20-25�students,�but�last�year�Jeff�experimented�

by� increasing� the�class�size� to�75.�Proven� to�be�

too�many�participants,�Jeff�is�working�on�training�

past�participants�and�additional�faculty�to�expand�

the� program.� A� fortuitous� convergence� between�

rising� demand� and� an� increased� availability� of�

relatively� inexpensive,� high-quality� cameras� in�

smartphones�and�tablets�could�allow�the�program�

to�scale�to�meet�the�needs�of�a�larger�number�of�

participants.�

Jeff,�elated�with�the�success�of� the�program�and�

the�many�people� it�has�helped,� can�only� see� in�

one�direction:�fiercely� forward.� “We’ve�all� grown�

exponentially�from�this,”�he�says.�“I�need�another�

hundred�years�to�keep�this�going.”

22�adnews�|�1Q�2013

With more than a hundred commercials to

his credit, Hollywood success as the producer of

“Take”, a critically acclaimed documentary, “Sons

of Perdition”, shown at more than 40 film festi-

vals and recently he directed and produced the

documentary “Beehive Spirits” for KUED about

alcohol in Utah, Tyler Measom is accelerating into

his career with new ways of connecting with his

audiences, new technologies for filmmaking and

carefully redefining his role as a content provider.

Indeed, his success in “traditional” filmmaking out-

lets belies a fiery independence, and a gritty do-it-

yourself philosophy toward getting his movies shot,

and, most importantly, seen.

This bold approach may partially stem from his

multiple iterations of “breaking in” that Tyler calls

the “Orange Cat Syndrome”. Ready and willing to

switch his moniker from the sexy, “Filmmaker” to

“Content Provider” he forges ahead as one of the

pioneers breaking free of the expiring silos of dis-

tribution, length and format. “I made a ton of com-

mercials and when I wanted to break into feature

films, they could care less. Then I made a $2 million

narrative feature film with Minnie Driver and I

wanted to make a documentary—and it didn’t

matter that I had made a narrative feature film. It’s

a whole different realm. Then I made a documen-

tary that got purchased by Oprah and I wanted to

do television work

and…it didn’t mat-

ter. It’s the ‘Orange

Cat Syndrome.’ If

you haven’t made

an orange cat com-

mercial, you can’t make an orange cat commercial.

“Until we break free of those antiquated and out-

dated notions that you are set in a specific genre

or category and decide that we are content pro-

viders whatever the form or length—people are

so tied to length—a tv show is this long, a movie

is this long. In the end, I think it’s really about con-

tent. Screw these notions about how long or short

something needs to be. The story should drive

what the length is.”

“Try something new” says Tyler, his voice brim-

ming with passion, “Have some guts to say, ‘let’s do

something completely different’ and if it fails, it fails,

but it may not.” For his upcoming documentary,

“An Honest Liar”, about the world-famous magi-

cian and illusionist James Randi, Tyler and his part-

ners are using social media and crowdfunding to

break down the walls between filmmaker and audi-

ence. By releasing clips, outtakes and behind-the-

scenes photo galleries on the movie’s Facebook

page as well as launching an ambitious Kickstarter

campaign aimed at raising a minimum of $150,000

and reaching for $250,000, they’re

building a groundswell of support

for the film well before produc-

tion is complete. For Tyler, the

goal isn’t just about raising money,

it’s about making the audience

feel invested in the process, both literally and

metaphorically. At reaching $148,000 with the

Kickstarter campaign at exactly the halfway mark

to the minute and $246,988 by campain’s close,

Tyler says, “Frankly, too many people get fixated on

the amount of money raised when they should be

just as happy with the number of backers. We have

over 2,000 new followers (and might have 3,000 or

more by the time it is completed) that will be a part

of the film for years. Loyal followers who are happy

to promote and endorse this film for years to

come. This is just as important as the funds raised.”

The social media fundraising continues on the web-

site with sales and custom collectible items such as

coasters, posters and playing cards—$6,000 was

raised in the first two weeks.

In this approach, Tyler draws a stark contrast

between his and the traditional filmmaker’s

approach to promotion. “There’s this outdated

notion that I’m going to make a film, it’s going to

TYLER MEASOM - UTAH’S DOCUMENTARIAN

“try something new” says Tyler, “and if it fails, it fails, but it may not.”

breaking rank into contentarian for the 21st century

Photo by Scott Peterson

by�Jay�Kinghorn

feature

1Q�2013�|�adnews 23

get shown at Sundance and I’m going to make

another film. That’s bullshit. When you decide to

make a film, commit to it because you’re going to

be on it for two to three years and you have to

love it. You are the CEO of that film. You are the

one that has to sell, produce, make and distribute

that product even to the point of selling DVDs

out of your trunk. That’s the way the film industry

works now. ”

In his words and his works, one gains the sense

that Tyler is both optimist and pragmatist, labor-

ing to bring meaningful, challenging stories to the

world in a time of deep transition. A time where

content creators of all stripes, from filmmakers to

newspaper journalists, are seeing a dissolution of

their traditional revenue models without a settled

alternative to take its place. As such, Tyler suffers

the two-pronged pains of being shackled to existing

licensing deals (“Sons of Perdition”, distributed by

Oprah’s OWN network isn’t available for stream-

ing on Netflix) and the arrows of audiences com-

plimenting him on his work, while admitting they

downloaded the film illegally. “I worked four years

of my life to make that film and you can’t pay $3

on iTunes to watch it. That’s kind of disrespectful.

It’s stealing. And for people to brazenly come up to

me and say ‘I stole your movie.’ That’s so disheart-

ening to me but it happens, and happens often.”

Despite these hardships, Tyler is actively explor-

ing openings created by these changing times.

He points to Sundance Channel’s tv mini-series,

“Top of the Lake” starring Holly Hunter, Elisabeth

Moss and Peter Mullan as well as original tv series,

“RECTIFY”, both of which were officially screened

at the Sundance Film Festival. He lists product

placements embedded into entertainment and

new content distribution platforms as signposts

for the new reality in filmmaking. “It’s just this blur

of everything and at some point it won’t be delin-

eated between television and film and commercials

and Internet, it will just be content downloadable

on whatever platform you want.” Tyler’s next big

experiment, as a content producer for the technol-

ogy startup Condition One, (see related story)

aims to disrupt the way we think about storytelling

and narrative.

The brainchild of conflict photographer Danfung

Dennis, Condition One is a technology platform

enabling the creation of immersive digital films.

Through the use of an array of cameras and an

impressive amount of sophisticated post-produc-

tion, the images are stitched together inside a

virtual dome. Viewers use their iPhone or iPad

to control the view within the virtual dome, pan-

ning through the scene or stopping to examine a

detail. Although still a nascent company, the free

Condition One app effectively showcases the

technology’s potential. Rather than simply being a

passing observer, Condition One makes you feel as

though you’re experiencing the film.

As a lead content producer for the Condition

One team, Tyler has extensive experience shooting

for this new medium and the unique challenges it

presents, encompassing everything from composing

shots for immersive viewing to editing. Ultimately,

the rewards of loosening the filmmaker’s grip on

the framing and composition, allowing the audience

to see what they want to see in a scene, is key to

what makes Condition One so engaging.

Tyler’s willingness to rethink his craft to incorpo-

rate new tools and technologies, combined with

his DIY ethic for promoting and selling his films

allows him broad opportunities to experiment

creatively, take risks and find ways to connect on a

deeper level with his audiences. In many ways, his

approach to the business of filmmaking mirrors the

documentary medium for which he is most well

known. “Documentary films aren’t beholden to

any [narrative] structure. Therefore, they can kind

of go the way they want. For a lot of people, that’s

difficult to follow, but for documentarians, it’s nice

to have that clean slate.”

While many filmmakers bemoan the changes tech-

nology has brought to the craft, it is clear that these

changes, combined with social media, crowdfunding

and new platforms for storytelling provide Tyler

with a clean slate on which to experiment. He says

with wild gesture, “It’s an exciting time. Go shoot a

movie on your iPhone for God’s sake!”

Tyler Measom’s FilmographyProducer/Director:

“An Honest Liar” 2013

Producer/Director/Cinematographer:

“Beehive Spirits” 2012

Producer/Director/Cinematographer:

“Sons of Perdition” 2010

Producer:

“Know The Customer” 2008

Executive Producer:

“Take” 2007

Producer/Editor:

“Loving Kimberly” 2005

Producer/Director/Editor:

“The Furniture” 2004

Producer/Director:

“Fall of Man” 2003

Editor:

“Shooting People” 2001

24�adnews�|�1Q�2013

were� surrounded� by� Taliban� fighters.� In� this� dire�

environment,�Danfung�met�Sergeant�Nathan�Harris.�

Their�camaraderie,�born�of�mutual�respect�and�sup-

port�forged�during�a�time�of�extreme�physical�and�

emotional�duress,�led�to�the�creation�of�Danfung’s�

Oscar-nominated,�breakthrough�documentary�“Hell�

and�Back�Again.”�

Gripping� and� poignant,� the� film� documents� the�

war,�told�through�the�experience�of�Sergeant�Harris,�

and�his�post-war�struggle�to�rebuild�his�life�with�a�

broken�body�and�fragile�psyche.�Shrinking�the�dis-

tance�between�film�subject�and�the�audience,�the�

film’s�“fly�on�the�wall”�approach�places�the�viewer�

inches� from� tenderly� emotional� and� grippingly�

intense�moments�as�they�unfold.�“As�a�photojour-

nalist,�I�usually�worked�alone�and�taught�myself�to�

blend� into� a� scene� so� that�what� I�was� capturing�

was�as�real�as�possible,”�says�Danfung.�“I�did�very�

few�sit-down�interviews.�Everything�was�just�simply�

letting�the�camera�roll�and�letting�events�unfold�as�

they�would.”

Danfung’s� unique� brand� of� storytelling� won�

“Hell� and� Back� Again”� the� 2011� Sundance� Best�

Cinematography�and�Grand�Jury�Prize.�Despite�the�

accolades,� Danfung� still� felt� limited� by� the� tools�

and� the� mediums� for� communicating� a� visual�

story.�“There�is�this�objective�of�trying�to�reach�a�

higher�truth,”�he�says.�“In� images,�you�never�see�

what’s� beyond� the� frame.� In� documentaries,� you�

get�a�highly�compressed�version�of�reality.�And�in�

a� sense,� both� are� a� form�of�manipulation.�You’re�

either� guiding� a� viewer� to� a� very� select� area� or�

you’re� editing� it� and� completely� distorting� that�

CONDITION ONE: HOW DTURNED TECH ENTREPRTHE STORY AND NOT LE

houghtful�and�articulate�with�a�quiet�demeanor,�sharp�intellect�and�moral�compass�firmly�ori-

ented�toward�exposing�the�horrors�of�war,�Danfung�Dennis�doesn’t�look�the�part�of�a�technology�

entrepreneur�who�aims�to�bring�immersive�virtual�reality�to�a�tablet�or�smartphone�near�you.�Born�

to�an�American�father�working�for�the�UN�and�Singaporean�mother�writing�about�women’s�issues�

in�Southeast�Asia�and�the�Khmer�Rouge�atrocities�in�Cambodia,�he�developed�an�international�focus�

and�humanitarian�outreach�at�a�very�young�age.�His�parents�taught�him�that�all�people�are�worthy�of�

attention,�particularly� those�who�are� impoverished.�Dennis’�background� fostered�a�creative�mind� laser�

focused�on�shedding�light�on�social�injustice�and�global�awareness�through�photojournalism.�He�cut�his�

teeth�freelancing�for�the�Associated�Press�in�Beijing�while�learning�how�to�make�a�compelling�image.�When�

he�deemed�himself�ready,�he�went�to�Afghanistan�to�cover�the�war,�an�assignment�that�dramatically�altered�

the�trajectory�of�his�career.�

Embedded�with�Echo�Company�2/8�of�the�second�Marine�division,�the�regiment�was�dropped�18�kilometers�

behind�enemy� lines.�After�moving� into�a�small,� recently�abandoned�village,� they�came�under�attack�and�

1Q�2013�|�adnews 25

sense�of�time.�Even�in�the�purest�of�documentaries�and�photographs,�there’s�

still�that�element�of�manipulation.”

Danfung’s� latest� invention,� an� app� and� supporting� technologies� called�

Condition�One,�eliminates�these�forms�of�manipulation�by�placing�the�viewer�

directly�into�the�scene�and�giving�them�the�control�to�choose�what�they�look�

at�and�what�perspective�they�choose�to�take.�Condition�One�does�this�by�cap-

turing�4K�high-resolution�digital�video�with�an�ultra-wide-angle�lens�to�record�

a� 180-degree�view�of� a� scene.�This�high-resolution�video�file� is� then�viewed�

within�the�Condition�One�app,�which�projects�the�video�onto�a�virtual�dome.�

The�Condition�One�app�then�becomes�a�movable�window�with�which�the�user�

can�navigate�through�the�scene�choosing�their�own�perspectives�on�the�video.�

Some�have�compared�it�to�a�“first-person�shooter”�video�game�as�you’re�able�

to� look� left,� right,�up�or�down�simply�by�moving�the�position�of� the� iPad�or�

iPhone.�The�result�is�an�engaging,�interactive�and�innovative�means�of�experi-

encing�visual�content.�

As�an�entrepreneur�with�an�early-stage�technology�startup�with�venture�funding,�

Danfung�has�assembled�a�core�team�of�technology�engineers�in�Silicon�Valley�

and�a�business�development�team�in�New�York�to�find�partners� interested�in�

licensing� the�new� technology.�Thus� far,� they’ve�completed� two�publicly�avail-

able�apps,�one�for�Popular�Science�magazine,�which�provides�a�tour� through�

the� CERN� Large�Hadron� Collider� and� a� second� for�Discovery� showcasing� the�

hidden�worlds�of�New�York�City.�These�apps,�plus�the�Condition�One�viewer,�are�

available�for�free�download�in�the�Apple�App�Store.�In�addition�to�these�com-

panies,�Condition�One�has� received�overtures� from�more� commercial�outlets.�

“We’ve� gotten� tremendous� interest� from�brands� and� agencies� to� license� our�

software�so�that�they�can�create�a�powerful�immersive�experience�of�their�own�

content�and�offerings.�We’ve�started�a�number�of�pilot�programs�to�bring�that�

first-person�experience�to�places�where�people�would�want�to�be.�For�example:�

courtside�at�a�major�basketball�game,�front-row�at�a�concert�or�a�tour�through�

a�luxury�hotel.�This�has�tremendous�value�for�anyone�who’s�trying�to�bring�[an�

audience]�to�their�product�or�service.”�

Danfung� reconciles� the� company’s� commercial� ambitions� with� his� personal�

humanitarian� desires� with� an� economist’s� pragmatism.� “For�me� personally,� I�

am�motivated�by�humanitarian�purposes�and� I� think� there� is�a�balance�with�

building� a� profitable� company� that� has� investors� expecting� returns.� You� can�

either�have�an�NGO�or�a�foundation�and�pursue�this,�or�have�it�as�a�for-profit�

company.�I�think�a�company�is�the�best�way�to�organize�a�team�of�people�with�

a�singular�goal�and�have�it�able�to�grow�and�have�a�larger�impact�on�society.”�

He�takes�inspiration�from�Pixar’s�success�in�combining�bleeding-edge�technol-

ogy,�artistry�and�storytelling.�“I�like�the�idea�of�taking�highly�technical�people�

and�highly�creative�people�that�are�both�driven�by�a�sense�of�purpose�to�have�

a�greater�impact�and�creating�something�that�isn’t� just�simply�a�feat�of�engi-

neering�or�isn’t�simply�an�art�project.�But,�the�combination�of�the�two�can�be�

something�that�goes�much�further.”

Looking�at� the� evolution�of�Danfung’s� career,� it� is� clear� that� he� is�driven� to�

shake�the�public�from�their�complacency�and�act�to�stop�the�violence,�war�and�

by Jay Kinghorn

ANFUNG DENNIS, A FILMMAKER ENEUR, AIMS TO PUT YOU INSIDE T YOU LOOK AWAY.

genocide�that�exist�in�the�world.�Each�stage�in�his�journey�thus�far�has�brought�

him�closer�to�the�audience�and�the�audience�closer�to�the�subject.�In�this�way,�

Condition�One� feels� like�a�bold�step� forward�along� this� core�philosophy.�He�

expects�that�the�immediacy�and�power�of�Condition�One,�when�it�is�fully�real-

ized,�will�be�a�challenging,�and�sometimes�painful�medium�to�experience�these�

visual�messages.�“It�could�be�quite�traumatic�for�someone�to�experience,�but�

I�think�more�wrong�than�those�evils�committed�in�the�war�zone�is�the�indiffer-

ence�back�home.�You�can�no�longer�have�the�excuse�of�“Oh,�I�didn’t�know�that�

was�happening,�I�didn’t�know�it�was�that�bad.”�He�sees�immersive�storytelling�

as�a�tool�for�shaking�people�from�indifference�by�placing�the�audience�directly�

into�the�conflict.�“That�is�the�hope,�that�it�has�that�immediate�reaction,�that�

it�burns�into�your�consciousness�and�you�can’t�simply�say,�“Okay,�that�was�on�

the�news�and�change�the�channel.”�

photo by Jay Kinghorn

26�adnews�|�1Q�2013

After� ten� years� delivering� innovative� video� and�motion�graphics�projects�for�world-class�clients�like�Ancestry.com,�Life�Vantage,�SportCourt�and�myriad�agencies,�Impatient�Cow�has�grown�into�a�first-rate�capture,� editing,� and� post� facility.� Though� their�work� is� sophisticated� and� incorporates� leading-edge�technology,�don’t�accuse�them�of�growing-up.�Founders� Elliot� Cutler� and� Jon� Foster� are� legend-ary� for� their� sense� of� humor� and� light-hearted�approach� to� their�business.�A� life-size� cow�statue�and�a�phalanx�of�dogs�guard�the�new�facility,�spirit-edly�called�“The�Ranch”.�The�dogs,�much�like�their�owners,�are�in�perpetual�motion�as�Impatient�Cow�continues� to� expand� to�meet� their� clients’� needs�and�adapt�to�the�rapidly�changing�market�for�video�production�and�post-production�services.��Despite�many�years�in�the�industry,�Elliot�and�Jon�bring� a� startup� mentality� to� their� work� and� feel�Impatient�Cow�is�like�a�“brand�new�company�ready�to�set�the�world�on�fire.”�Shawn�Perkins,�of�Shawn�

Perkins� Creative� has� worked� with�Impatient�Cow�on�behalf�of�several�different� companies�and�savors� the�opportunity� to� bring� a� project� to�Impatient�Cow�because�of� their� fun�attitude�toward�their�work�and�their�ability� to� “push� the� limits� of� tech-nology� through� ingenuity� and� their�collaborative�creativity.”�The� Impatient� Cow� approach� to�business� was� born� out� of� learning�from� other� people’s� mistakes.� “We�don’t� nickel� and� dime� our� clients,”�Jon� and� Elliot� chime� in� together.�Jon� continues,� “We� look� at� it� as� a�partnership�without�giving�away�the�Ranch.� We� just� try� to� be� fair� and�always� over� deliver� whenever� pos-sible.”�Elliot�adds,�“The�bottom�line�is�we�have�a�truly�collaborative�process�with�our�clients.”

When�Elliot�and�Jon�met,�Jon�was�working�at�the�Salt�Lake�office�of�Euro� RSCG� and� Elliot� had� been�running� Impatient� Cow� since�1996� in� Chicago.� For� the� first�few� projects� they� did� together�in�Utah,� they�worked�out�of� the�back�room�of�Elliot’s�home,�now�in� Salt� Lake� City.� Needing�more�space,� they� moved� into� “The�Barn,”�a�2,500�square-foot�space�where� they� spent� the� next� nine�years.� An� appropriate� location�for� the� Cow,� the� Barn� offered�offices,�a�billiards�table,�a�sound�booth,� and� editing� equipment.�But� as� the� company� expanded,�they� outgrew� their� beloved� his-toric�structure.��They� finally� arrived�at�The�Ranch�after�a�long� search.� They’d�initially� passed�over� the� location�a� few� times� worry-ing� it� was� too� big�for� their�needs�and�tight� relationships�built� from� working�in� close� quarters.�“It�was� listed�horri-bly,”�they�say.�There�was�no�picture�and�the�dimensions�just�

seemed� like� overkill.”� But� after� another� deal� fell�through,� the� two� decided� to� give� the� 35,000�square-foot� monster� a� look-see.� What� at� first�seemed� remote�at� 1100�West,� turned�out� to�be�a�quick�jaunt�from�downtown�and�was�near�to�the�on/off� ramp� for� I-15,�making� it�a�convenient� location�for�clients�and�staff.Once� inside,� the� two� were� hooked� immediately.�“We�walked�in�and�went�‘Wow.’�It�was�set�up�per-fectly�for�our�needs,”�says�Jon.�The�recent�improve-ments,� including� a� new� roof,� new� heating� and�ventilation�and�a�basic�layout�of�offices,�meant�that�they�could�move�in�and�get�to�work�quickly.�“When�you�find�the� right�place,�you�absolutely�know� it,”�Elliot� continues.� Jon� chimes� in,� “We�couldn’t� look�at� each� other� at� all� when� we� were� being� shown�the�building�by�the�owner�because�we�would�have�cracked� up.”� “From� a� negotiation� standpoint� we�didn’t�want�to�show�our�enthusiasm,”�Elliot�puts�in.Today,� the�expansive�main� room�houses� four�pro-duction� desks,� the� billiards� table� and� a� common�

They’re

Mooovin’ On Up!

1Q�2013�|�adnews 27

meeting� area� with� chairs� and� couches.� Original�7-UP� bottle� cases� found� in� the� building� are� now�filled�with�awards.�The�company’s�mascot,�a�vener-able�cow�statue,�stands�guard.�The�entire�building�is�monitored�by�a�16-camera�system�and�the�doors�and�windows�are�bullet�proof�to�secure�the�cutting-edge�components�inside.Currently� in�operation�are�three�edit�bays,�a�color�correction� suite� equipped� with� a� DaVinci� oper-ated� by� colorist� and� digital� cinematographer� Jake�Bastian.�Across�the�way,�Arnie�Mecham�handles�2D�and� 3D� animation� and� motion� graphics� with� the�post-production� workflow� overseen� by� supervisor�Nathan�Buchanan.�Jon� leads�us� through�a�secure�door� to� the�sound�bay� and� a� pre-lit� 90’� x� 45’� sound� stage� that�will�be�finished� in�mid-April.�On�the�other�side�of� the�building,� oversized� bay� doors� open� wide� enough�to�allow�production�trucks�to�pull�into�the�building�and� the� second� stage� can� be� flooded� or� trashed�depending�on�the�requirements�of�the�shoot,�giving�them�full�creative�flexibility.�Rounding�out�the�facil-ity�is�a�climate-controlled�equipment�room,�a�server�farm,�hair,�make-up�and�wardrobe�rooms�and�sepa-

rate� production� offices� with� quick� access� to� the�stages� and� sound�bay.�The�duo� is� excited� about,�“walking� in,� flipping� a� light� switch� and� getting�right� to�work,”�says�Elliot.� “We�can� leave� the�set�where�it�is�and�not�have�to�tear�down.�This�space�is�very� integrated,�very�seamless�and�designed�to�get�your�work�done.”�Jon� concludes,� “We�definitely� wanted� to�have�the�big�tool�bag�to�solve�all�the�prob-lems.”The� move� to� these�larger� quarters� were�years� overdue� but�Elliot�and�Jon�waited�to� pull� the� trigger�until� the� right� place�materialized.�Elliot�

refers�to�their�expan-sion� process� as,�“continuous,� con-trolled,� begrudging�

Impatient�Cow�has�hired�artist� Lee�Phung.�He�comes�to�the�Ranch�with�a�strongbackground� as� a� graphic� designer� and�concept� artist� having� worked� on� video�games� such� as� “Cars� 2”,� “The� Chronicles�of� Narnia:� Prince� Caspian”� and� “Toy� Story�3”.� His� diverse� experience� in� illustration,�storyboarding� and� concept� design� will� be�used�on�all�Impatient�Cow�projects�effective�immediately.� His� abundant� talents� will� be�used�on�various�styles�of�animation�projects�as�well�as�storyboards�and�art�direction�on�live-action� shoots.� The� other� members� of�Impatient� Cow� are� excited� to� work� along-side�him�and�welcome�him�to�the�herd.

growth.� We� prefer� to� work� at�capacity,”� says� Jon,� “We� don’t�want� to�be� those� guys�who�hire�like�crazy�and�then�let�everybody�go.� This� approach� stems� from� a�deep�respect� for�their�employees�and�creates�a�sense�of� trust�and�long-term� dedication� among� the�team�members.�The�newest�addi-tion�to�their�staff�is�Lee�Phung,�an�extraordinarily�talented�artist�with�a� background� in� design,� illustra-tion�and�digital�arts.� �Lee�comes�to� Impatient�Cow�from�the�video�gaming�world,�having�worked�on�

“Cars�2”,�“The�Chronicles�of�Narnia:�Prince�Caspian”�as�well�as�“Toy�Story�3”.��“We�saw�his�book�and�fell� in� love,”� says� Elliot,� “his� work� is� impressive�and� his� personality� meshes� really�well�with�our�existing�culture.”�Jon�adds,�“He’s�got�great�vision.�Having�Lee�here�will�allow�us�to�offer�many�more�services�to�our�clients�and�it�will�up-level�all�of�our�work.”�Jon�and�Elliot�have�invested�heavily�in�the�facility,�equipment�and�staff�to� ensure� they� have� full� creative�and� technical� control� of� the� pro-cess.�“We�have�a�big�canvas—now�we� just� have� to�do� it� right,”� says�Jon,�“It’s�our�dream�space.�We�are�going� to� put� everything� in� that� is�the� best—we’re� not� going� to� buy�this�big�building�and�not�get�what�we�want.”�The�attention� to� detail� lavished� on� the� facility� carries�through�to�their�work�adnews� reached� out� to� a� few� clients� to� get� a�feel� for� their� experience.� Erico� Bisquera,� Creative�Director� for�Penna�Powers�Brian�Haynes�has�been�

working� with� Impatient� Cow� for�several�years�and�what�keeps�him�coming� back� is� the� way� they� are�attuned� to�how� to�make� the� con-cept�become�a�better�end�product�through� collaboration� and� adding�creative� assets.� In� speaking� with�several�of� Impatient�Cow’s�clients,�a�few�phrases�kept�being�repeated,�“down� to�earth,”�and�“good�com-municators.”� The� descriptor� used�most� often,� however,� was� “fun.”�“After� all� the� process� of� budget,�writing,� scheduling,� bringing� it� to�these� guys� is� the� fun� part,”� says�

Shawn�Perkins.�He�continues,�“there’s�an�ability�to�have�fun�when�you�know�it’s�going�to�turn�out�bet-ter�than�you�ever�dreamed.�Impatient�Cow�doesn’t�

stamp�their�work�with�a�look.�Each�project�ends�up�with� the� unique� brand� essence� of� the� client� and�

the�result�matching�the�message�and�its�audience.”Leta�Baker,�associate�creative�director�for�Ancestry.com� says,� “I’ve� partnered�with� Impatient� Cow� for�many�years�now�and�I�hope�to�work�with�them�for�many�more.�Together�we�traveled�across�the�coun-try�to�interview�Holocaust�survivors�for�a�series�of�emotional�and�inspiring�videos�that�helped�launch�the�World�Memory�Project�(and�also�ended�up�win-ning�National�Addy�awards).�I’ll�never�forget�filming�in�the�United�States�Holocaust�Memorial�Museum�in�Washington,�D.C.�at�2�a.m.�one�night.”Leta�summarizes�by�saying,�“The�folks�at�Impatient�Cow�are�reliable,�flexible�and�smart,�and�they�con-sistently�do�whatever�it�takes�to�get�the�job�right.”�Jon� and� Elliot� credit� their� success� to� a� relentless�drive�to�continually�improve�the�work�they�do�and�attention�to�the�small�details�that�collectively�sepa-rate�good�work�from�great.�With�their�new�suite�of�

tools,�a�growing� talented�staff�and�accolades� like�these�from�clients,�they�just�might�find�themselves�outgrowing� the� Ranch� more� quickly� than� they�anticipate.�

28�adnews�|�1Q�2013

3

2

4

Ceo�Mark�Rosen�and�Utah�Host�Brenda�Price

Impatient�Cow�has�been�making�use�of�their�enor-mous�new�studio�space.�They�have�worked�for�Life�Vantage�to�produce�a�3D�character�animation�for�a�national�conference�in�Las�Vegas�that�played�across�multiple�screens,�as�well�as�an�opening�video�for�a�conference�in�Japan.�They�have�produced�3D�char-acter�animations�as�well�as�a�series�of� live-action�videos�for�SportCourt.�They�have�produced�a�long-format�B-to-B�video�for�Albion�Human�Nutrition.

1impatient cow

Media�Grabbers�Inc,�produced�a�series�of�branding�commercials�for�Bennche�ATVs.�All�spots�were�shot�on�location�in�Texas�with�the�Red�Epic.�Joshua�Eaton�wrote�and�produced�while�JT�Taylor�and�Dan�Nestel�helped�behind�the�lens.�The�spots�were�edited,�col-ored�and�graphically�designed�by�Doug�Stringham.�

2media grabbers

Lone� Peak� finished� 2012� in� a� flurry� with� produc-tions�that�included�a�training�video�for�Oak�Ridge�Nat’l� Labs�on�how�fire�fighters�and�police� should�respond�to�a�radiological�and/or�chemical�release.�This� video�was� the� eighth� in� as�many� years� and�included� production� at� a� nuclear� power� plant� in�North�Carolina�and�the�creation�and�activation�of�a�car�bomb�locally.�The�video�is�currently�being�dis-tributed�nationally�by�DHS/FEMA�to�first�responders�and� state� and� local� emergency� managers.� Lone�Peak�wrapped�up�a�series�of�product�promotional�videos�for�Merit�Medical�that�was�characterized�by�macro� videography� and� animations� that� illustrate�how� the� products� are� manufactured� and� used� in�a� clinical� environment.� This� brought� the� total� to�34�which�were�then�compressed�for� iPAD�and�are�being�used�as�a�sales�tool�to�doctors�and�hospitals�by�Merit�reps.�Lone�Peak�created�a�whole�campaign�for�UHIN�that�included�television�and�radio�produc-tion�as�well�as�print�and�outdoor.

3lone peak

The� multimillion� dollar� national� campaign� for�Euro�Pro’s�Nina�Mega�Kitchen�System� that� is� cur-rently� running� heavily� on� national� television� was�produced� by� local� DR� TV� production� company�Stilson� LLC.� Electronic� Retailer�magazine’s� January�issue�reported�that�the�Ninja�Mega�Kitchen�System�infomercial�produced�by�Stilson�is�currently�ranked�#4�on� the� top� 10� Jordan�Whitney� list� for�national�infomercials.�Eric�Stilson,�CEO�and�Creative�Director,�notes�the�show�was�shot�at�studios� in�Boston�as�well�as�at�The�Gigi�Culinary�Center�in�Salt�Lake�City.�Much� of� the� food� footage� and� off–speed� scenes�were�shot�on�35mm�film�in�Utah�with�Utah�crews�while�much�of�the�Boston�Demo�footage�with�Euro�Pro�CEO�Mark�Rosen�and�Local�Utah�Talent�Brenda�Price,� was� originated� with� high-end� HD� cameras�using�film�lenses.�Utah�key�crew�supplemented�the�Boston�union�crew.�The�show�was�edited� in�Utah�with�Editron’s�Ron�Johnson.

4stilson completes national infomercial for boston’s euro pro

1

production notes

1Q�2013�|�adnews 29

6

7

5

Produced� by� John� Corser� and� Shauna� Williams�and� directed� by�Andrew� Logan,� “Verses�&� Flow,”�sponsored� by� Lexus,� is� taping� its� third� season�on� April� 29� at� the� historic� Belasco� Theater� in�Downtown� Los� Angeles.� Continuing� the� success�of�the�first�two�seasons,�this�season�will�be�com-posed� of� eight� 30-minute� weekly� variety� shows.�Each� episode� will� consist� of� a� performance� by�a� music� artist� as� well� as� performances� by� three�featured�poets.�“Verses�&�Flow”�will�be�broadcast�on� TV� One.� Supplementing� the� television� show,�exclusive�content�will�be�available�on�Lexus’�portal�for�African-American�content,�Luxury�Awaits�(http://www.luxuryawaits.com).� Season� 2�was� nominated�for�an�Image�Award.For�the�third�year,�John�Corser�produced�the�broad-cast�of�the�Sundance�Channel�during�the�Sundance�Film� Festival.� Brian� Briskman� directed� under� B2+�production�company.�“We�hired�as�many�local�crew�as� possible,”� said� John,� “We� shot� 4� Canon� C300�in� the�Studio�and�4�Canon�C300� in� the�field�and�used�Canon�7D’s�for�the�time�lapse�and�shot�with�a� remote� control� helicopter� over� main� street� for�our�opening�sequence,”�says� John�and�continues,�“data� management� was� critical.� 120� CF� cards,� 18�micro�SD’s!”

john corser

vineyard productions

phil tucket

production notes

Vineyard� Productions� completed� several� spots�for� Orchard� Supply� Hardware� headquartered� in�California�with�Matt�Hodgson�directing�and�Matthew�Williams�cinematographer,�also�for�overstock.com.Vineyard� produced� the� first� season� of� “Granite�Flats”� an� original� scripted� television� series� for�BYUtv.

Brooklyn� Moore� featured� in� sign� language� music�video�produced� and�directed�by�Phil� Tucket�with�Luke�Jensen�as�director�of�photography

30�adnews�|�1Q�2013

In� 1985,� Utah� was� home� to� two� of�

the� three� largest� software� companies�

in� the� world—Novell� and� WordPerfect;�

Microsoft� was� the� third.� That� was� IT�

Utah� 1.0.� Utah� has� been� the� home� of� leading� IT,�

software,� and�digital�media� companies� ever� since,�

and� the� industry� continues� to� grow.� Considering�

the�United�States�economy�is�struggling�to�find�its�

post-recession�footing,�Utah’s�IT/Software�and�digital�

media� sectors� are� seemingly� breaking� the� sound�

barrier,� moving� faster� and� faster� into� the� future.�

While� some� industry� insiders� can� appreciate� the�

depth�and�breadth�of� this� industry’s�growth� in� the�

state,� it�still�seems�to�have�taken�place�somewhat�

quietly—but,� from� Novell� and� WordPerfect� in� the�

80’s� to� the� IPO’s� and� high-profile� acquisitions� of�

companies�like�Altiris�and�Omniture,�now�owned�by�

Symantec� and� Adobe� respectively,� Utah� “techies”�

have� not� taken� the� foot� off� the� accelerator.� As� a�

result,�Utah�is�poised�for�another�decade�of�strong�

growth�in�a�key�economic�cluster�supported�by�the�

Governor’s�Office�of�Economic�Development�(GOED).�

To� stay� competitive� and�keep�ahead�of� the� curve,�

savvy� marketers,� advertisers,� and� creative� artists�

are� strategically� aligning� with� and� investing� time�

and�resources�in�supporting�this�burgeoning�indus-

try.�As� in�several�of�Utah’s�key� industries,�a�“Team�

Utah”�partnership�of�private�sector,�government�and�

educational� leaders� and� organizations� has� formed�

around�Utah’s�IT�sector.

IT Utah 3.0—The Harbingers of the Next Generation

IT Growth in Utah

The� huge� successes� of� companies� like� Novell� and�

WordPerfect,� Altiris� and� Omniture� established� a�

beachhead� for� success� in� tech� in�Utah� from�which�

the� state� will� not� retreat.� In� the� last� year,� Utah�

has� had� two� high-profile� IPO’s—amid� a� flagging�

IPO�market� in� the�U.S.—Fusion-io� (NYSE:�FIO)�and�

Skullcandy�(NASDAQ:�SKUL).

Fusion-io� has� developed� one� of� the� fastest� solid-

state,� high-end� server�drives�on� the�planet� and� is�

in�some�of�the�largest�data�centers�in�the�world.�In�

2011,�Fusion-io�was�named�as�the�#1�most�promis-

ing� technology� company� in� the� U.S.� by� the� Wall�

Street� Journal.� It’s� no� wonder� they� were� able� to�

hire� Apple� inventor� Steve� Wozniak� as� their� Chief�

Scientist.�In�fact,�Fusion-io�is�Mr.�Wozniak’s�first�full-

time� role� since� co-founding�Apple� more� than� two�

decades�ago.�But�that’s�Utah.

Meanwhile,�Skullcandy�has�enjoyed�a�meteoric�rise�

in� the� consumer� electronics� world,� and� in� only� a�

relatively� few� short� years� has� become� one� of� the�

most� venerated� consumer� brands� on� the� planet.�

Moreover,�Adobe�Systems’�recent�$2�billion�acquisi-

tion�of�Omniture,�a�leading�web�analytics�company�

based�in�Utah�County,�shows�that�Utah�has�a�large�

stake�and�significant�expertise� in� IT�and�Software.��

Adding�to�the�excitement,�the�Provo-based�research�

and�online�survey�company,�Qualtrics,�recently�wel-

comed�one�of�the�largest�first-round�investments�in�

a�software�company�since�2008—$70�million� from�

top-tier�Silicon�Valley�venture�capitalists—and�with�

the� help� of� a� GOED� incentive� has� announced� the�

creation� of� over� 1,000� new� jobs� in� Utah.� The� list�

goes�on.

A New Tech Bubble? Not Bloody Likely

Surprisingly,�while� jobs� in� IT� in�Utah�have� reached�

a� concentration� in� the� State� that� approaches� the�

employment� level� at� the� height� of� the� “dot� com”�

bubble� in� the� year� 2000,� there� is� little� talk� of�

another�tech�bubble.�To�the�contrary,�Utah’s�recent�

growth� in� the� IT� sector� has� been� strong� and� sus-

tained�over�several� recent�years,� this� time�not� the�

result�of�an�investment�frenzy�that�Alan�Greenspan�

Utah�Adobe�facility�exterior�|�Erickson�Photography

Utah’s (somewhat) quiet continued growth into a national hub for IT/software and digital media companies

Utah�Adobe�facility�interior�|�Erickson�Photography

I T U T A H 3.0

1Q�2013�|�adnews 31

dubbed,� “irrational� exuberance.”� In� fact,� compa-

nies� like� IM� Flash� Technologies,� eBay,� EMC,� and�

Oracle� along� with� many� other� growing� IT� firms�

are� clustering,� investing� and� growing� in� the� span�

along� the�Wasatch� Front� situated� between� two� of�

the� State’s� leading� research� universities—Brigham�

Young�University�and�University�of�Utah.

The�big�overall�industry�numbers�for�the�IT/Software�

and�digital�media�sectors�in�Utah�tell�a�compelling,�

unembellished�story:�Utah�has�nearly�3,600�IT�and�

software� companies� in� the� state� which� include�

48,000� jobs� and� growing.� Utah’s� concentration� of�

IT� jobs� as� a� percentage� of� total� state� jobs� ranks�

8th� in� the�nation.� In� addition,�Utah�has�outpaced�

the� national� average� for� IT� jobs� growth� over� the�

last� five� years� despite� an� historic� national� reces-

sion.�As�a� result,�Utah�has�been�gaining� share�of�

IT� jobs�nationally,�a� trend� that� reflects� the�state’s�

continued�competitive�and�comparative�advantages�

in�these�sectors.�

In�2011,�Utah�grew�IT�and�software� jobs�at�a� rate�

of�6%,�outpacing�the�national�average�of�4%�IT�job�

growth,�and�beating�the�Utah�overall�job�growth�of�

2.3%.��In�addition,�in�the�first�six�months�of�2012,�

Utah� is� averaging� close� to� 7%� job� growth� in� the�

IT/Software� sector—truly� extraordinary� given� the�

continued� lack� of� fiscal� uncertainty� plaguing� the�

U.S.�The�IT/Software�sector�is�also�the�largest�of�the�

targeted�economic�clusters�of�the�six�sectors�iden-

tified� by� the� Utah� Governor’s� Office� of� Economic�

Development�(GOED)�as�the�state’s�strongest.�One�

evidence�of� this� strength� can�be� seen� in� average�

wages—IT�cluster�jobs�pay�on�average�70%�higher�

than�the�state�average�wage.

Educational� institutions� in� the� State� continue� to�

align� around� driving� these� growing� industries�

forward.� In�partnership�with�the�educational� infra-

structure�in�Utah,�Prosperity�2020�aims�to�increase�

the�number�and�skill�of�Utah’s�workforce.�Prosperity�

institutions�increase�the�number�of�science,�technol-

ogy,� engineering�and�math� (STEM)�graduates.�The�

private� sector� is� also� stepping� up� with� an� ambi-

tious�effort�to�place�over�20,000�volunteers�in�Utah�

classrooms�to�assist�Utah�teachers.

In�another�effort�to�fuel�this�growth,�GOED�recruited�

David� Bradford� Jr.,� the� JD/MBA� son� of� prominent�

technology�CEO,�David�Bradford�(Novell,�Fusion-io,�

HireVue).�Bradford�Jr.� leads�economic�development�

efforts� in� the� IT/Software� sector� for� the�State.�Mr.�

Bradford�is�sharing�his�strategic�plan�that�describes�

in� great� detail� Utah’s� most� promising� areas� for�

accelerating� growth� and� creating� jobs� in� the� IT�

sector�with�organizations�and�agencies�across� the�

State.�Growth�in�IT�has�helped�Utah�to�achieve�one�

of� the� lowest� unemployment� rates� in� the� country,�

at� 5.2%� compared� to� 7.9%� nationally� and� to� get�

its�job�growth�engine�going�again,�now�running�at�

2.3%.�In�addition,�Utah�ranks�9th�among�all�states�

in�the�U.S.�in�GDP�growth�over�the�past�five�years.��

These� trends� are� not� lost� on� national� observers:�

Utah� was� recently� identified� by� Inc.� magazine� as�

“the� epicenter� of� the� Inc.� 500� Fastest-Growing�

2020� has� set� the� ambitious� goal� of� 66%� of� the�

workforce� to� have� an� advanced� degree� or� profes-

sional� certificate� by� 2020.� To� this� end� Governor�

Gary�Herbert�and�the�Utah�Legislature�have�commit-

ted�hundreds�of�millions�of�dollars� in� the� last� few�

years� to� assist� the� public� and� higher� educational�

32�adnews�|�1Q�2013

LOOKING FOR SERVICES TO

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© 2012 Utah Governor’s Office of Economic Development

You don’t have to search the country for a positive economic success story. It’s right here

in Utah. No wonder Forbes named us Best State for Business and Careers for the third year

running and the American Legislative Exchange Council ranked our economic outlook #1. Want

more good news? We’re helping local companies of all sizes with government purchasing,

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and more. To find out what makes Utah thrive, call 801.538.8879 or visit business.utah.gov.

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Private�Companies”�and�the�ultimate�distinction�by�

Forbes�magazine�as�the�#1�“Best�State�for�Business�

and�Careers”�for�three�straight�years.�

�

Digital Media’s Role in Utah’s Frenetic IT Job Growth

Digital�media,�including�graphic�design,�animation,�

video� game� development,� creative� artistry,�mobile�

apps� and� the� like� has� been� one� of� the� key� sub-

sectors� of� growth� in� this� IT� upswing� in� Utah.� At�

nearly�1,500�jobs�and�growing�at�8%,�Utah’s�digital�

media�is�poised�to�remain�vital.�

Companies� like� EA,� Disney� and� SmartBomb�

Interactive� are� leading� video� game� design� hous-

es� with� locations� in� the� state.� Additionally,� the�

PushButton� Summit,� the� largest� digital� media�

conference� in� the�state,�now�in� its� third�year�with�

high-profile�sponsors�such�as�Zions�Bank,�continues�

to�promote�and�expand�these�jobs�in�the�State.�

GOED,� in� partnership� with� the� Utah� System� of�

Higher� Education,� and� the� Utah� Department� of�

Workforce�Services,�has�also�developed�a�strategic�

Utah�Cluster�Acceleration�Partnership�(UCAP)�around�

digital�media�to�help�accelerate�the�statewide�effort.�

This� group� convenes� executives� in� digital� media�

industry� in� Utah,� key� state� government� agencies,�

and� several�Utah� colleges�and�universities� around�

a�cohesive�plan�to�grow�the�sector�in�the�state�and�

continue�to�drive�education,�workforce�development�

and�support�of�industry�growth.�

The�University�of�Utah�and�Brigham�Young�University�

also�play�an�indispensable�role�in�this�growth.�The�

UofU�was�quite�literally�one�of�the�founding�places�

of� the� computer� graphics� industry� and� continues�

that� rich� legacy� through� the� Scientific� Computing�

and�Imaging�Institute�(SCI)�featuring�bachelors�and�

masters�degrees�focused�on�computer�graphics�and�

video�game�development.�BYU�has�also�secured�its�

place�in�the�past�two�decades�as�one�of�the�top�one�

or�two�most�revered�programs�in�computer�graphic�

design�and�computer�animation—a�program�which�

courts� global� demand� from� some� of� the� top� film�

and�video�game�studios� in� the�world.�Utah�Valley�

University�(now�the�largest�university� in�the�State)�

is�also�making�significant�investments�in�programs�

and�resources�designed�to�drive�forward�the�digital�

media� sector� in� Utah,� with� the� full� support� and�

backing�of�their�ambitious�president,�Matt�Holland.

Welcome to the Next Generation of Tech in Utah

Not� only� advertisers� and� marketers,� but� business�

leaders� around� the� world� have� been� put� “on�

notice.”� IT�and�digital�media� in�Utah�are�a�strong�

and�growing�economic�force,�and�while�challenges�

and�opportunities�abound�“Team�Utah”� is� actively�

addressing�them.�While�Utah�has�become�home�to�

some� of� the� largest� names� in� IT,� many� of� Utah’s�

companies� are� small� today,� and� these� companies�

need� creative,� graphic� design,� marketing� advice�

and�support.�Advertisers�and�marketers�who� learn�

how�to�market�to�these�companies�and�market�for�

these� companies,� as� well� as� their� large� company�

counterparts,�will�find�themselves�in�a�sector�“sweet�

spot”� and� part� of� the� upswing� of� growth� in� this�

exciting� industry,�well� into� its� next� growth� phase:�

IT�Utah�3.0.

�

Content�and�research�contributed�by�the�Governor’s�

Office�of�Economic�Development�with�contributions�

from�David�Bradford,�IT�Cluster�Director.

800.368.3487 verite.com

We’ve Wrapped Our Tentacles Around MobileEveryone loves a cool new app. And with Vérité, your business can take full advantage of today’s mobile explosion with customized apps that work across all the major mobile platforms—from iOS to Android. The possibilities for your own mobile business apps are nearly endless.

Are you ready to bring serious technology and fresh creative together for your business? Please give us a call. We'd love to start a conversation, put our expertise to work, and let the results speak for themselves.

SERIOUS TECH.

FRESH CREATIVE.

PROVEN RESULTS.

The�University�of�Utah’s�interdisciplinary�Entertainment�Arts�and�Engineering�Program�is�one�of�the�best�in�the�nation.�

LOOKING FOR SERVICES TO SUPPORT YOUR

BUSINESS?

TRY YOUR OWN BACKYARD.

© 2012 Utah Governor’s Office of Economic Development

You don’t have to search the country for a positive economic success story. It’s right here

in Utah. No wonder Forbes named us Best State for Business and Careers for the third year

running and the American Legislative Exchange Council ranked our economic outlook #1. Want

more good news? We’re helping local companies of all sizes with government purchasing,

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and more. To find out what makes Utah thrive, call 801.538.8879 or visit business.utah.gov.

®

31600-AdNews_Backyard.indd 1 12/17/12 2:10 PM

34�adnews�|�1Q�2013

film production’s contribution to Utah’s economyOVERVIEWU.C.A�63M-1-1802

The�Utah�Film�Commission�markets�the�entire�state�as�a�location�for�film,�

television�and�commercial�production�by�promoting�the�use�of�local�pro-

fessionals,�support�services�and�Utah�locations.�The�film�commission�is�a�

client-driven�program�that�serves�international,�out-of-state�and�in-state�

production�companies,�along�with�Utah�support�services�and�crew.

Motion Picture Incentive ProgramThe�purpose�of�the�Motion�Picture�Incentive�Program�(MPIP)�is�to�encour-

age�the�use�of�Utah�as�a�destination�for�the�production�of�motion�pic-

tures,�television�series�and�made-for-television�movies.�The�State�of�Utah�

provides�financial�incentives�to�the�film�industry�so�that�the�State�is�

capable�of�competing�successfully�with�other�states�and�countries�that�

offer�film�production�incentives.�The�MPIP�allows�Utah�to�foster�a�strong�

local�motion�picture�industry�that�will�contribute�substantially�to�improv-

ing�the�State’s�economy.�The�MPIP�functions�as�a�tax�credit�or�cash�rebate�

for�approved�productions�and�operates�on�a�post-performance�basis�on�

expenditures�that�are�made�in�the�state.

State Approved Rebate Percentages•Tax�Credit:�20%–25%�on�dollars�left�in�the�State�with�no�per-project�cap

•Cash�Rebate:�20%–25%�on�dollars�left�in�the�State�up�to�$500,000�per�

project

•Cash�Rebate:�15%�on�dollars�left�in�the�State�up�to�$999,999�per�project

The�base�incentive�of��20%�is�available�for�productions�with�a�minimum�

of�$1,000,000�spend�in�the�State�of�Utah.�To�be�awarded�a�25%�film�

incentive,�a�production�must�meet�the�definition�of�“significant�percent-

age�of�cast�and�crew�(hired)�from�Utah”�which�is�85%�for�productions�

that�spend�at�least�$1,000,000�in�the�state�or�70%�if�the�production�

spends�a�minimum�$7,500,000�in�the�state.

FISCAL YEAR 2012 TOTALS*

Features:�Studio/Independent/Cable

Total�Projects:�20**

Total�Production�Days:�539

Economic�Impact:�$34,348,411

Television

Total�Projects:�20

Total�Production�Days:�451

Economic�Impact:�$6,405,073

Commercials/Photo/Industrial/�Documentary/Misc.

Total�Projects:�43

Total�Production�Days:�102

Economic�Impact:�$6,536,500

Other��Related�Film�Activities

Sundance�Film�Festival:�$80,000,000

Total�Days:�10

Overview

Total�Projects:�84

Total�Production�Days:�1,102

Total�Economic�Impact:�$127,289,984

*Projected

**�2�projects�did�not�utilize�MPIP

TITLE UTAH JOBS DAYS INCENTIVE AMOUNT ECONOMIC IMPACT

12�DOGS�OF�CHRISTMAS�II�(25%�Cash)� �������165�����22� $500,000�� $2,036,775

3�DAYS�IN�VEGAS�(25%�Cash)� � �������75� ����22� $500,000�� $2,058,157

AFTER�EARTH�(20%�Tax�Credit)��� �������90� ����10� $959,339�� $4,796,694

AMERICAN�RIDE�Seasons�1-4�(15%)�� �������28� ����40� $214,350�� $2,239,000

AUSTENTATIOUS�(15%�Cash)� � �������35� ����40� $97,300� � $648,045

BREAKING�POINTE� � � �������12� ����33� $147,000�� $980,000

DOORWAY�TO�HEAVEN�(15%�Cash)� �������61� ����17� $51,072� � $340,508

DR.�FUBALOUS�(15%�Cash)� � �������66� ����13� $32,112� � $214,080

DRAGON�WARRIORS:�� � �������53� ����26� $64,500� � $431,238

CURSE�OF�THE�DOLVARNOEG�(15%�Cash)

K9�CHRISTMAS�(15%�Cash)� � �������15� ����60� $135,000�� $1,306,016

THE�LONE�RANGER�(25%�Tax�Credit)� �������112�����15� $2,284,499� $9,137,997

MISTLETONES�(25%�Tax�Credit)��� �������95� ����20� $922,790�� $3,691,195

THE�MULE�(20%�Cash)� � �������78� ����35� $288,906�� $1,155,625

NIGHT�LIGHT�(15%�Cash)� � �������58� ����25� $142,500�� $950,000

OSOMBIE:����� � � �������23� ����32� $51,867� � $390,100

THE�AXIS�OF�EVIL�DEAD�/�ORCS!�2�(15%�Cash)

THE�RANCH�(15%�Cash)� � �������26� ����21� $35,600� � $252,953

THRILLBILLIES�Season�4�(25%�Tax�Credit)���������14� ����225� $325,000�� $1,300,000

TURNING�POINT�Season�3�(25%�Tax�Credit)������20� ����42� $287,632�� $1,150,528

18 Projects 1,026 698 $7,039,467 $33,078,911

utah film commission special section

1Q�2013�|�adnews 35

3 days in vegas

red machine

granite flats

k-9 christmas

heaven’s door

gold fever

bentley at the salt flats

12 dogs of christmas

utah film commission special section

photos by kenyon virchow

36�adnews�|�1Q�2013

CITIES TO LANDSCAPES

AND EVERYTHING IN BETWEEN.

CASH TO CREDITS

FILMDIRECTORY

CREWS TO SUPPORT SERVICES

25% FILMINCENTIVE

LOCATIONLIBRARY

Utah has everything for your film, television, commercial and print productions. Contact the Utah Film Commission and learn how your production can be made better by coming to Utah.

F I L M . U T A H . G O V 8 0 0 . 4 5 3 . 8 8 2 4

FILMS

•�12�DOGS�OF�CHRISTMAS�II�(Sony�Pictures)*�

���Producer:�Ken�Kragen,�DP:�TC�Christensen,�

���Director:�Kieth�Merrill

���Locations:�Heber,�Salt�Lake�City

���Distributed�on�DVD

•�3�DAYS�IN�VEGAS�(Red�Tie�Films)*�

���Producer:�Maral�Djerejian,�DP:�Filip�Vandwal,�

���Director:�Gor�Kirakosian

•�AFTER�EARTH�(Paramount�Pictures)*

•�BLACK�JACKS�(Rogue�Satellite�Productions)

•�CHRISTMAS�ORANGES�(Mainstay)

•�DANGEROUS�WORDS�FROM�THE�FEARLESS�

���(55�Degree�Films)

•�DARKNESS�(Stranger�Than�Productions)

•�DR.�FUBALOUS�(Hip�Hop�Doc)*

•�DRAGON�WARRIORS:��

���CURSE�OF�THE�DOLVARNOEG�(Camera�40)*

•�ELECTRICK�CHILDREN

•�HEAVEN’S�DOOR�*

���Producer:�Dave�Hunter,�Director:�Craig�Clyde

•�HOT�BOT

•�K9�ADVENTURES:�A�CHRISTMAS�TALE�*

���Producer:�David�Wulf,�Director:�Ben�Gurley

•�NIGHT�LIGHT*

•�OSOMBIE:�THE�AXIS�OF�EVIL�DEAD�/�ORCS!�2�

���(Camera�40)*

•�THE�MISTLE�TONES�(ABC�Family)*

•�THE�NEW�TESTAMENT�(LDS�Church)

•�THE�LONE�RANGER�(Walt�Disney�Pictures)

•�THE�MULE�(Domain�Entertainment)*

•�THE�RANCH*

TELEVISION

•�10�THINGS�YOU�DIDN’T�KNOW�ABOUT...

���MORMONS

•�AMERICAN�RIDE�Seasons�1-4��(BYU)*

•�AUSTENTATIOUS*

•�USU�LOGAN�PROJECT�(BBC)

•�BREAKING�POINTE�(CW)*

•�CODE�BREAKERS

•�DAD,�I’M�DATING�A�MORMON

•�DAYS�OF�47�BROADCAST�(KSL)

•�DOLLY�&�DEAN

•�FLIP�MEN�(Spike)

•�GRANITE�FLATS�*

���BYUtv:�Producer:�Jeff�T.�Miller,�

���Vineyard�Productions,�DP:�Reed�Smoot,�

���Director:�Scott�Swofford�

���Locations:�Magna,�Salt�Lake�City

•�NATIONAL�GEOGRAPHIC

•�PARANORMAL�WITNESS�(SyFy)

•�LOGAN�PROJECT�–�Relativity��Real�Productions

•�SO�YOU�THINK�YOU�CAN�DANCE�Season�8�(Fox)

•�TABOO

•�THRILLBILLEYS�SEASON�4�(Fuel�TV)*

•�TIA�&�TAMERA

•�TURNING�POINT�(BYU)*

•�WHAT�WOULD�YOU�DO?�(ABC)

•�YOUNG�AND�MARRIED�-�(MTV)

COMMERCIALS/ PHOTO/ INDUSTRIAL/

DOCUMENTARY/ MISC.

•�AIRPORT�STILL�AND�VIDEO�SHOOT

•�ALTRA�SHOES

•�AMWAY�KOREA�COMMERCIAL

•�ATV

•�BENTLEY

•�BONNEVILLE

•�BREITLING

•�BROOKE�LUDI

•�CANON�CAMERAS

•�CAPOERIA�BRAZILIAN�DANCE

•�CASIO

•�CHEVY

•�CITY�CREEK

•�CODE�BREAKER

•�DIABETES�AWARENESS

•�ESPN�TV

•�FOUNDATION�FOR�A�BETTER�LIFE

•�FRANLIN�COVEY

•�GOAL�ZEREO

•�GUNG�HO

•�INTERMOUNTAIN�HEALTH�CARE

•�JAY�BIRD�HEADPHONES

•�JEEP

•�KAWASAKI

•�KBYU

•�MIC�CHECK�LIVE�–�SUNDANCE�2012

•�NISSAN

•�PENNY�DREADFUL

•�PROPER�MANNERS

•�QUIKSILVER�/�ROXY

•�RATTLING�STICK�-�HUAWEI�-�SHOOT��BSF

•�PROVOCRAFT

•�SCHEELS

•�SELECT�HEALTH

•�SUBARU

•�TRAVELERS�INSURANCE

•�UTA

•�UTA�–�TRAX�SAFETY

•�UTAH�OFFICE�OF�HIGHWAY�SAFTEY

•�UTE�CONFERENCE�YOUTH�FOOTBALL

•�VERISIGN

•�WRANGLER

•�XANGO

•�YOUTUBE

Film,�Television�and�Commercial�Projects�for�Fiscal�Year�2012�*Projects�that�utilized�the�incentive

Projects�in�the�works�2013�

•�AFTER�THE�WEDDING*

•�AMERICAN�RIDE*

•�AQUABATS!�SUPERSHOW!*

•�BEAUTY�IN�THE�BEAST*

•�BREAKING�POINTE*

•�CLOUD�9*

•�DEEP�BURIAL*

•�FRIEND�REQUEST*

•�GOLD�FEVER*

•�GRANITE�FLATS*

•�HAUNT*

•�IN�FOOTBALL�WE�TRUST*

•�KINGS�OF�CRASH*

•�MAGNIFICENT�DEATH*

•�MY�TURN�ON�EARTH*

•�NEED�FOR�SPEED*

•�PARTS�PER�BILLION*

•�RED�MACHINE*

•�SUNDANCE�CHANNEL*

Keys�to�the�Motion�Picture�Incentive�Fund

•�Download�application�at�film.utah.gov,�complete�

and�submit�to�the�Utah�Film�Commission�by�the�

last�Friday�of�the�month.

•�Application�reviewed�by�the�Motion�Picture�

Advisory�Committee�on�the�first�Wednesday�of�the�

month.�If�approved,

•�Application�presented�to�the�Governor’s�

Office�of�Economic�Development�on�the�second�

Thursday�of�the�month�for�reveiw�and�approval,�

If�approved,

•�Project�contract�is�signed�with�Utah�Film�

Commission

•�Production�parameters:�

To�qualify�for�the�25%�incentive,�there�is�a�$1�mil-

lion�minimum�in-state�spend.�

For�the�15%�incentive,�there�is�a�$200,000�mini-

mum�in-state�spend.�

There�must�be�a�minimum�of�five�in-state�produc-

tion�days,�85%�of�crew�must�be�Utah�locals�and�

the�phrase,�“Filmed�in�Utah”�must�appear�in�the�

credits.�

•�Following�production,�a�CPA�reviews�the�in-state�

expenditures.

•�If�approved,�you�will�receive�a�check�based�on�

in-state�expenditures.

utah film commission special section

CITIES TO LANDSCAPES

AND EVERYTHING IN BETWEEN.

CASH TO CREDITS

FILMDIRECTORY

CREWS TO SUPPORT SERVICES

25% FILMINCENTIVE

LOCATIONLIBRARY

Utah has everything for your film, television, commercial and print productions. Contact the Utah Film Commission and learn how your production can be made better by coming to Utah.

F I L M . U T A H . G O V 8 0 0 . 4 5 3 . 8 8 2 4

38�adnews�|�1Q�2013

production directory index

advanced media solutions amsCD�/�DVD�Duplication�39

avalanche studiosProducers�/�Production�Companies�41

axis41Interactive�41

the barry marketing group Producers�/�Production�Companies�41

carolyn leoneCostume�Design�39

colormill Color�Services�39

corser, inc.Directors�39

cosmic pictures inc.Producers�/�Production�Companies�42

craze talent agencyModels�/�Actors�/�Talent�41

the digital ranchAnimation�/�Computer�Graphics�/�Special�Effects�39

Interactive�41

fluid studioInteractive�41

girlfight picturesEditors�/�Editing�Facilities�40

gordon c. lonsdale ascDirectors�of�Photography�/�Cinematographers�40

impatient cowAnimation�/�Computer�Graphics�/�Special�Effects�39

Producers�/�Production�Companies�42

kineto pictures inc.Editors�/�Editing�Facilities�40

Producers�/�Production�Companies�42

ksl productions / ksl 5 televisionProducers�/�Production�Companies�42

left turn filmsDirectors�39

Directors�of�Photography�/�Cinematographers�40

Producers�/�Production�Companies�42

lenz-works productionProducers�/�Production�Companies�42

lone peak productionsCreative�Services�39

Editors�/�Editing�Facilities�40

Interactive�41

Producers�/�Production�Companies�42

matt hodgson directsDirectors�39

matthew williamsDirectors�of�Photography�/�Cinematographers�40

mccarty talent agencyModels�/�Actors�/�Talent�41

mediagrabbersAnimation�/�Computer�Graphics�/�Special�Effects�39

Editors�/�Editing�Facilities�40

Production�Studios�/�Stages�42

metcom studios.Animation�/�Computer�Graphics��/�Special�Effects�39

Audio�/�Music�Composition�/�Scoring�/�Production�39

Audio�Post�Production�39

Editors�/�Editing�Facilities�40

Producers�/�Production�Companies�42

Production�Studios�/�Stages�42

moving pictures ltd.Equipment�Rental�Sales�&�Leasing�40

Expendables�40

Production�Support�42

munn powell Directors�of�Photography�/�Cinematographers�40

redman movies and stories inc.Equipment�Rental�Sales�&�Leasing�40

stilson productions llcDirectors�40

Producers�/�Production�Companies�42

talent managment group, inc.Models�/�Actors�/�Talent�41

tv specialists inc.Equipment�Rental�Sales�&�Leasing�40

universal postEditors�/�Editing�Facilities�40

véritéAnimation�/�Computer�Graphics�/�Special�Effects�39

Interactive�41

vineyard productionsProducers�/�Production�Companies�42

warner/chappell production musicAudio�/�Music�Composition�/�Scoring�/�Production�39

Audio�Post�Production�39

Production�Music�Libraries�42

wildwood productions, inc.Producers�/�Production�Companies�42

1Q�2013�|�adnews 39

production directoryanimation / computer graphics / special effects

creative servicesaudio post production

the digital ranch, incSusan Jensen p 801.485.4503 f 801.485.23161354 East 3300 South, #300 Salt Lake City, UT 84106e susan@digital-ranch.com w www.digital-ranch.com

With more than 15 years experience in computer graphics and design, The Digital Ranch will provide you with creative solutions and support for your next project.

impatient cowJon Foster, Producer, Icow.tv p 801.718.3006THE RANCH264 S. G lendale Street, Suite 100 Salt Lake City, UT 84104e jon.foster@impatientcowinc.com w www.impatientcowinc.com

We continue to be a SLC-based produc-tion and postproduction company. But now we have a brand new 35,000 sqft facility! Come check it out. Icow.tv.

media grabbers inc.Joshua Eaton, President p 801.951.1382 f 801.951.1387 toll free 888.225.8879383 North 700 West, Unit B North Salt Lake, UT 84054e josh@mediagrabbers.com w www.mediagrabbers.com

Grabbing people’s attention, thirty seconds at a time! We provide the eye candy that makes your media stand out. Whether it’s photo-real animation or sexy graphic compositing, from concept to delivery, we can make it shine. Find us on Facebook!

metcom studiosSusan Molumby p 801.994.6143 f 801.322.3221352 South 500 East Salt Lake City, UT 84102e smolumby@metcomstudios.com w www.metcomstudios.com

We can draw it, model it, paint it, map it, animate it, composite it and record it... contact us for a demo.

véritéKimberley A. Jones p 801.553.1101 f 801.553.1215608 West 9320 South Sandy, UT 84070e kjones@verite.com w www.verite.com

Vérité, a digital communications agency founded in 1993, produces unique and effective web tools as well as marketing, advertising, and training campaigns. We combine cut-ting edge creative with forward think- ing technologies to strengthen brands, reach audiences, and get results. We’re producing tools and campaigns for: Adobe, Ancestry.com, Bard Access Systems, Intel, Mozy, Novell, Rio Tinto, Symantec and more. Design, Production and Development services include:

Web Design - Motion Graphics - Video Production - Mobile Apps - eToolsTM for Registration, Certification Programs, Content Management & eCommerce – Consultation and Execution for Social, Marketing and Advertising initiatives.

Are you ready to find out how amaz-ing creative and innovative technology can come together for your business? Please give us a call or visit our web-site. We’d love to start a conversation, put our expertise to work, and let the results speak for themselves.

audio / music composition /scoring / production

metcom studiosSusan Molumby p 801.994.6143 f 801.322.3221352 South 500 East Salt Lake City, UT 84102e smolumby@metcomstudios.com w www.metcomstudios.com

Spacious 44’ x 36’ scoring stage, multiple ProTools HD control rooms, acoustically treated studios. Industry standard gear; Yamaha C7 Grand Piano, Neumann, Neve, API, Telefunken, etc.

warner/chappell production musicMike Hicks p 801.531.0060 f 801.531.0346915 West 100 South Salt Lake City, UT 84104e mike.hicks@warnerchappellpm.com w www.warnerchappellpm.com

With over 35 years of experience, Warner/Chappell Production Music brings you the largest and most diverse music library in the market today.

metcom studiosSusan Molumby p 801.994.6143 f 801.322.3221352 South 500 East Salt Lake City, UT 84102e smolumby@metcomstudios.com w www.metcomstudios.com

Four Pro Tools control rooms with three recording studios, custom music, SFX and music libraries, ADR looping, ISDN, SourceConnect, phone patch and Foley stage.

cd / dvd duplication

advanced media solutionsWesley Nappi p 801.397.55501333 West 500 South Salt Lake City, UT 84119e info@amsrabbit.com w www.amsrabbit.com

AMS / MerchHero, CD / DVD duplica-tion, USB drives, Screen printing and embroidery

color services

colormillMicah Young p 801.463.3880 f 801.463.38851345 South Major St Salt Lake City, UT 84115e micah@colormill.net w colormill.net

The dark secret Hollywood doesn’t want you to know about.

Studio quality digital cinema finishing on an indie budget. Digital dailies. Full DI and color grading services. Digital Cinema mastering. Clients include Fox Searchlight, dozens of happy indie pro-ducers, and you.

Need a DCP for digital cinema distri-bution? We can do that too. Stop by and see the only large screen digital finishing suite in Utah. You’ll be like, “What???” And we’ll be like “I know, right?”

costume design

-carolyn leone- -creative- -collaborative- -committedp 323.403.7795

24 years of experience. Works locally in Salt Lake, Los Angeles and Chicago.

lone peak productionsBob Rock, Dennis Powers, Dennis “Leno” Rowley p 801.521.5567 f 801.521.5569404 North 300 West Salt Lake City, UT 84103e dennis.leno@lonepeakproductions.com w www.lonepeakproductions.com

The only thing better than a great idea is great branding across all your media. Lone Peak’s creative services offer just that, tying your video produc-tion to logo design, brochures, posters, environmental design, print advertising and web design to create one brand identity. If you’re ready for a consistent look and message let’s talk about extending your brand today.

directors

corser, inc.John Corser p 435.200.3460 f 435.608.6317125 Matterhorn Drive Park City, UT 84098e john@corser.com w www.corser.com

Corser, Inc. is a production company specializing in marketing, promotions and advertising. The Corser team is composed of A-list professionals at the highest levels of motion pictures, advertising and digital media.

left turn filmsTyler Measom, Producer, Director, Cinematographerp 801.836.1578205 E. Vidas Salt Lake City, UT 84115e tmeasom@lefturnfilms.com w www.lefturnfilms.com

Left Turn Films boasts an extensive reel of national and international projects with a unique specialization in long and short-form documentaries. From the big to the small, from the danger-ous to the humdrum, we work our powers of levitation and X-ray vision to produce a myriad of media.

matt hodgson directsMatt Hodgson - Director/Writer p Los Angeles 310.570.5191 p Salt Lake City 801.440.7140e matthodgsondirects@mac.com w www.matthodgsondirects.comDirector/Writer Matt Hodgson is a rare blend of Madison Avenue & Hollywood. His artistic vision, keen branding sense & ingenious storytelling have made him a sought-after creative force in the worlds of Advertising, Entertainment and Politics.

Call Jeff Miller, Excective Producer @ Vineyard Productions, SLC, UT 1.801.263.3443

Or Danixa Diaz or Sheima Hassanlou, Exectuve Producers @ Cortez Brothers, Los Angeles, CA 1.310.821.3122

40�adnews�|�1Q�2013

production directoryeditors / editing facilities

stilson productions llcEric Stilson p 801.571.6277 f 801.571.625611475 South 2875 East Sandy, UT 84092e estilson@stilson-stilson.com w www.stilson-stilson.com

Nationally recognized full-service production company in Video, HD and film production for local, regional and national-quality television spots and direct response infomercials. 30-plus years experience.

directors of photography / cinematographers

gordon c. lonsdale, ascm 801.362.6881 e lonsdale1@comcast.netRepresentation:Innovative Artists: Cecilia Banck p 310.656.5186

Director of Photography for: commercials and dramatic work, HD, Film, CGI, aerial and underwater.

left turn filmsTyler Measom, Producer, Director, Cinematographerp 801.836.1578205 E. Vidas Salt Lake City, UT 84115e tmeasom@lefturnfilms.com w www.lefturnfilms.com

Left Turn Films boasts an extensive reel of national and international projects with a unique specialization in long and short-form documentaries. From the big to the small, from the dangerous to the humdrum, we work our powers of levitation and X-ray vision to produce a myriad of media.

matthew williamsDirector of Photography p 801.538.0553 m 818.590.4528e mwilliamsdp@gmail.com w www.williamsdp.com

Film and Digital Cinematography Super 8 to IMAX, DSLR to Arri Alexia

munn powellBlackbox p 801.358.6866Representation: UTA - Robert Arakelian p 310.860.3741e blackbox@mac.com w www.munnpowell.com

Commercial clients include Verizon, Snapple, Toyota and more.

girlfight picturesGenéa Gaudet p 801.949.7687121 Hillside Avenue Salt Lake City, UT 84103e genea@geneagaudet.com w www.girlfightpictures.com

Over 12 years of award-winning editing experience. Commercial client reel includes The Foundation for a Better Life, Melaleuca, Forever Living, University of Utah and the Utah Sports Commission. Documentary reel includes the PBS film Reserved to Fight. Television reel includes History Channel’s series Shark Wranglers and Velocity Channel’s series Kings of Crash. Ms. Gaudet’s work has also been seen on HBO and BYUtv, as well as film festivals nationally and internationally. Avid, Final Cut Pro, and After Effects proficient. Specializing in docu-styled commercials, testimonials and multi-level marketing clients.

kineto pictures inc.Travis Babcock p 801.521.3725 m 801.599.24386135 South Stratler Street (380 West) Murray, UT 84147e travis@kinetopictures.com w www.kinetopictures.com

Kineto Pictures is an award-winning, full-service production facility, with a wide range of HD services—various camera packages, editing, color correc-tion, and motion design. We specialize in episodic TV, custom commercials, corporate marketing and documentaries.

lone peak productionsBob Rock, Steve Smith, Dennis “Leno” Rowley p 801.521.5567 f 801.521.5569404 North 300 West Salt Lake City, UT 84103e dennis.leno@lonepeakproductions.com w www. lonepeakproductions.com

Usually companies that tell you awards aren’t important, don’t win them. Awards aren’t important... but we’ve won many... Addys, Auroras, Tellys and even an Emmy. But what really counts to us is results, however YOU want to measure them. Three complete FCP HD edit suites with color grading, compositing, motion graphics, 2D/3D graphics, music/FX library and interactive for TV, corporate, industrial, and documentary. Audio booth, insert stage and location shooting. Come in and let’s talk about your project and while you’re here, we’ll be happy to show you our trophy case—we’ll even make a space for yours.

media grabbers inc. Joshua Eaton, President p 801.951.1382 f 801.951.1387 toll free 888.225.8879383 North 700 West, Unit B North Salt Lake, UT 84054e josh@mediagrabbers.com w www.mediagrabbers.com

With 10 seasons of adventure reality shows and 500 commercials under our belt, yes, I’d say we know editing. From short form to long form, we have the experience, the facilities and the creative juices to help deliver award-winning media. Find us on Facebook!

metcom studiosSusan Molumby p 801.994.6143 f 801.322.3221352 South 500 East Salt Lake City, UT 84102e smolumby@metcomstudios.com w www.metcomstudios.com

Experienced editors and spacious edit suites, featuring real-time uncompressed 10-bit HD, to 4k film-ready files in 4:4:4 colorspace on Avid DS and Symphony Nitris and Apple FinalCut Pro.

universal postMicah Young, p 801.467.4788 f 801.463.3885 1345 South Major St Salt Lake City, UT 84115e micah@universalpost.tv w universalpost.tv

Without exaggeration, the very best place in the Universe. Literally. Edit. Colorization. Motion Graphics. Visual Effects. 2D and 3D Animation. Digital Dailies. Digital Cinema Theater with Assimilate Scratch and Christie 2K Projection. HD. 3D. TV. 2K. 4K. OK? Ask for Micah and he’ll give you the nice face discount.

equipment rental, sales & leasing

moving pictures ltd.Troy Parkinson, p 801.973.0632 f 801.973.0380 toll free 800.867.0632812 West Layton Avenue Salt Lake City, UT 84104e mail@movingpics.net w www.movingpics.net

Grip / Lighting / Dollies / Expendables Production Services —The way you want them. Delivery and pickup available.

redman movies and stories, inc.Bryan Clifton, Dave White, Pat Smart p 801.978.9292 f 801.978.2299

1075 South 700 West Salt Lake City, UT 84104e bryan@redmanmovies.com dave@redmanmovies.com pat@redmanmovies.com w www.redmanmovies.com

Chapman and Fisher dollies. Giraffe and Enlouva cranes. Intel-A-Jib and Turret Jib. Lambda Head with Hot Gears and Talon systems. Generators. Tungsten and HMI lights. Grip packag-es from 1 ton to 10+ tons. Expendables supply store. 35mm, 16mm and RED and Alexa cameras, 3/5/10 ton trucks, 28/45-foot trailers, 45/60/80-foot Condors. Still photo lighting. Foggers and effect fans. Specializing in com-plete customer service.

tv specialists, inc.Geoff Barry p 801.486.5757 f 801.486.7566180 East 2100 South Salt Lake City, UT 84115e geoffb@tvspec.com w www.tvspecialists.com

HD and production camera rentals, editing system packages, digital cinema projectors. Factory authorized sales and support. Locally owned and operated. For current prices, call Geoff.

expendables

moving pictures ltd.Troy Parkinson p 801.973.0632 f 801.973.0380 toll free 800.867.0632812 West Layton Avenue Salt Lake City, UT 84104e mail@movingpics.net w www.movingpics.net

Grip / Lighting / Dollies / Expendables Production Services —The way you want them. Delivery and pickup available.

directors

1Q�2013�|�adnews 41

production directoryproducers /production companies

axis41Jon Baddley p 801.303.6308 f 801.303.633948 W. Market Street Suite 300 Salt Lake City, UT 84101e jbaddley@axis41.com w www.axis41.com

Axis41 combines talents from the areas of Web technology, advertis-ing, marketing communications, brand development and management. The executives are intimately involved in client projects and relationships. Axis41 offers digital communication services that translate your brand into measur-able online communications.

véritéKimberley A. Jones p 801.553.1101 f 801.553.1215608 West 9320 South Sandy, UT 84070e kjones@verite.com w www.verite.com

Vérité, a digital communications agency founded in 1993, produces unique and effective web tools as well as marketing, advertising, and training campaigns. We combine cut-ting edge creative with forward think- ing technologies to strengthen brands, reach audiences, and get results. We’re producing tools and campaigns for: Adobe, Ancestry.com, Bard Access Systems, Intel, Mozy, Novell, Rio Tinto, Symantec and more. Design, Production and Development services include:

Web Design - Motion Graphics - Video Production - Mobile Apps - eToolsTM for Registration, Certification Programs, Content Management & eCommerce – Consultation and Execution for Social, Marketing and Advertising initiatives.

Are you ready to find out how amaz-ing creative and innovative technology can come together for your business? Please give us a call or visit our web-site. We’d love to start a conversation, put our expertise to work, and let the results speak for themselves.

the digital ranch, incSusan Jensen p 801.485.4503 f 801.485.23161354 East 3300 South, #300 Salt Lake City, UT 84106e susan@digital-ranch.com w www.digital-ranch.com

As one of the leading web design firms in the West, The Digital Ranch can help with all your online development, support and hosting.

interactive

fluid studioPhilip Case p 801.295.9820 f 801.951.58151065 South 500 West Bountiful, UT 84010e info@fluid-studio.net w www.fluid-studio.net

At Fluid Studio we only create one thing—Maximum Impact. Think of us for . . . Advertising. Marketing. Graphic Design. Web. Social Media. Mobile Application Design and Development.

lone peak productionsBob Rock, Steve Smith, Dennis “Leno” Rowley p 801.521.5567 f 801.521.5569404 North 300 West Salt Lake City, UT 84103e dennis.leno@lonepeakproductions.com w www. lonepeakproductions.com

Kiosks, museum exhibits, interactive touch-screens…want somebody to do it all? Lone Peak has been “doing it all” since 1979. HD TV production, corporate, industrials, & documentaries

models / actors / talent

craze talent agencyTroy Lee p 801.438.0067 f 801.438.00329176 South 300 West, #3 Sandy, UT 84070Boise Office; 410 South Orchard Street, Ste. 146 Boise, ID 83705p 208.433.9511Las Vegas Office; 6280 S. Valley View Blvd. #730 Las Vegas, NV 89118p 702.730.9176e craze@crazeagency.com w www.crazeagency.com

Craze represents 2000 quality Actors, Models, Extras, Voiceovers and Convention Hosts! Large audition facil-ity. Guaranteed satisfaction, reliability and great rates! Member B.B.B. of Utah.

mccarty talent agencyp 801.581.92921326 Foothill Drive Salt Lake City, UT 84108e mccartytalent@yahoo.com w www.mccartytalentagency.com

39 years of experience representing top professional talent. Check out our user-friendly website on the iPhone or iPad. Thanks for a very successful 2012!

talent management group, inc.Vickie Panek - Lauralee Bush Matua p 801.263.6940 f 801.263.6950 512 East 4500 South, Suite 200 Salt Lake City, UT 84107 e Vickie@talentmg.com w www.talentmg.com

TMG is YOUR source for the most capable talent to satisfy the needs of the most demanding clientele. We are professionals representing professionals – dedicated to the success of every project through excellence, quality and integrity.

• Industrial • Print• Commercial • Runway• Voiceover • Presenters• TV • Makeup Artists• Film • Stylists

on Sony F3 and Panasonic HDP2. From concept, scripting, and shooting (in our studio or on location [our production van carries ARRI, HMI and LED lights, track & dolly, jib and camera pack-ages]), to interactive programming and post (in one of our 3 HD edit bays). Great talent, great facilities, great work! Call and let us help design your next project.

models / actors / talent

avalanche studiosDave Lindsay p 801.747.1130 f 801.747.1130

5288 S. Commerce Drive, Building B-150 Salt Lake City, UT 84107e dave@avalanche-studios.com w www.avalanche-studios.com

Full-service production facility special-izing in TV ads, corporate video and TV production. High-quality productions at reasonable rates. Three edit suites, sound booth, studio, green screen, and more.

the barry marketing groupBill Kittel, President p 801.942.3018 7540 Silver Fork Salt Lake City, UT 84121e BillKittel@BarryMarketingGroup.com w www.BarryMarketingGroup.com

Since 1986 - a small full-service firm; strategic planning, film, television, radio and print production, national and local media buying, short-form and infomercial production.

42�adnews�|�1Q�2013

production directory

cosmic pictures incJohn Murphy p 801.463.3880 F 801.463.3885

1345 South Major St Salt Lake City, UT 84115e john@cosmicpictures.com w www.cosmicipictures.com

Lots of directors to choose from. Lots of camera formats to choose from (film, RED, DSLR, GoPro). Lots of post expertise to choose from (edit, graph-ics, effects, 3D Animation, compositing, color, VO, and sound sweetening). Lots of projects to have fun on (commer-cials, industrials, web videos, features, and TV shows). Let’s. Get. Started. Oh and ask us about our Ocotocopter. OPTIONS, people.

impatient cowJon Foster, Producer, Icow.tv p 801.718.3006THE RANCH264 S. G lendale Street, Suite 100 Salt Lake City, UT 84104e jon.foster@impatientcowinc.com w www.impatientcowinc.com

We continue to be a SLC-based produc-tion and postproduction company. But now we have a brand new 35,000 sqft facility! Come check it out. Icow.tv.

kineto pictures inc.Travis Babcock p 801.521.3725 m 801.599.24386135 South Stratler Street (380 West) Murray, UT 84147e travis@kinetopictures.com w www.kinetopictures.com

Kineto Pictures is an award-winning, full-service production facility, with a wide range of HD services—various camera packages, editing, color correc-tion, and motion design. We specialize in episodic TV, custom commercials, corporate marketing and documentaries.

ksl productions / ksl 5 televisionTami Ostmark p 801.575.7235KSL Broadcast House 55 North 300 West Salt Lake City, UT 84101e tostmark@ksl.com w www.ksl.com

KSL Productions is a full-service pro-duction and post production facility with one of the largest studios in the state. Great video production to meet your needs, done to fit your budget.

left turn filmsTyler Measom, Producer, Director, Cinematographerp 801.836.1578205 E. Vidas Salt Lake City, UT 84115e tmeasom@lefturnfilms.com w www.lefturnfilms.com

Left Turn Films boasts an extensive reel of national and international projects with a unique specialization in long and short-form documentaries. From the big to the small, from the dangerous to the humdrum, we work our powers of levitation and X-ray vision to produce a myriad of media.

LENZ-works productionDan J Debenham / Victor Shapiro p 801.261.1001 2469 East Fort Union Blvd (7000 South) Salt Lake City, UT 84121e vic@lenzworks.com w www.lenzworks.com

LENZ-works is an award-winning full service, HD production and post-pro-duction company. Our team of talented and experienced producers, editors and support crew, along with state-of-the-art equipment, deliver clear, consistent, compelling, high-quality content at a fair price. Range of services include; strategic creative concepting, copywrit-ing, studio & location video produc-tion, video/audio editing, still/motion graphics, 3D/2D animation and still photography. Our client list consists of local, national and international com-panies, including a Fortune Magazine most admired company. Award-winning projects range from broadcast commer-cials, television program development and website content development. Also, documentary films, industrial & corporate training video, and special-izing in travel & tourism video.

lone peak productionsBob Rock, Steve Smith, Dennis “Leno” Rowley p 801.521.5567 f 801.521.5569404 North 300 West Salt Lake City, UT 84103e dennis.leno@lonepeakproductions.com w www. lonepeakproductions.com

Lone Peak has been doing it all since 1979. HD TV production, corporate, industrials, & documentaries on Sony F3 and Panasonic HDP2. From concept, scripting, and shooting (in our studio or on location [our production van car-ries ARRI, HMI and LED lights, track & dolly, jib and camera packages]), to interactive programming and post (in one of our 3 HD edit bays). Great tal-ent, great facilities, great work! It all starts with an idea, bring yours to us and let’s make it happen.

metcom studiosSusan Molumby p 801.994.6143 f 801.322.3221352 South 500 East Salt Lake City, UT 84102e smolumby@metcomstudios.com w www.metcomstudios.com

Media Production Company with expe-rienced directors, producers, editors and audio engineers. Sound stage, spacious edit suites, ProTools editing and recording studios.

stilson productions llcEric Stilson p 801.571.6277 f 801.571.625611475 South 2875 East Sandy, UT 84092e estilson@stilson-stilson.com w www.stilson-stilson.com

Nationally recognized full-service production company in Video, HD and film production for local, regional and national-quality television spots and direct response infomercials. 30-plus years experience..

vineyard productionsJeff T. Miller p 801.263.3443 f 801.263.3191 5183 South 300 West Murray, UT 84107e redmon@vineyardfilmproductions.com w www.vineyardfilmproductions.com

Full-service production company spe-cializing in feature-length films, com-mercials, television and large format. Having successfully managed over $250,000,000 in production funds, Vineyard has the experience and reputation for on-time and on-budget results.

wildwood productions, inc. Bruce Aoki, Director/Cameraman p 801.533.0355 972 South 300 West Salt Lake City, Utah 84101e aokiflex@wildwoodproductions.net w www.wildwoodproductions.net

We’ve travelled the world capturing images for a ton of clients. We like good people, great concepts and would love a chance to work on a project with you. Give us a shout.

media grabbers inc. Joshua Eaton, President p 801.951.1382 f 801.951.1387 toll free 888.225.8879383 North 700 West, Unit B North Salt Lake, UT 84054e josh@mediagrabbers.com w www.mediagrabbers.com

One of the largest double walled-rentable green-screen coves in the Wasatch front. Two stories tall, incred-ible sound, large enough for a car and houses an industrial turntable that can hold 800lbs. Flip the switch and walls are lit! Find us on Facebook!

warner/chappell production musicMike Hicks p 801.531.0060 f 801.531.0346915 West 100 South Salt Lake City, UT 84104e mike.hicks@warnerchappellpm.com w www.warnerchappellpm.com

With over 35 years of experience, Warner/Chappell Production Music brings you the largest and most diverse music library in the market today.

production music libraries

production studio/stages

metcom studiosSusan Molumby p 801.994.6143 f 801.322.3221352 South 500 East Salt Lake City, UT 84102e smolumby@metcomstudios.com w www.metcomstudios.comFull-service studio or location shooting, HD and SD cameras, 44’ x 36’ sound stage with lighting grid, 2 coved wall, large drive in entry, kitchen and dress-ing room.

production studio/stages

moving pictures ltd.Troy Parkinson, p 801.973.0632 f 801.973.0380 toll free 800.867.0632812 West Layton Avenue Salt Lake City, UT 84104e mail@movingpics.net w www.movingpics.net

Grip / Lighting / Dollies / Expendables Production Services —The way you want them. Delivery and pickup available.

producers /production companies

Your�one-stop-shop�Utah�Printing�Company801.923.4800

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1Q�2013�|�adnews 43

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In� mid-November� 2012,� Comcast’s� Salt� Lake� City� business� divisions� invited�more� than� 400� media� buyers,� corporate� marketers� and� advertising� agency�executives� to� view� and� sample� Comcast’s� latest� innovations,� products� and�services.� “Having�all� the�Comcast�business�units� in�Salt� Lake�come� together�for�an�event�like�this�has�helped�our�clients�and�customers�understand�what�we�mean�by,� ‘The�Future�of�Awesome,’� commented�Kyle�McSlarrow,�Comcast�Mountain�Region�Vice�President.Major�participants� in� the� event� included�Comcast�Spotlight,� Xfinity,�Business�Class,� NBCU� Cable� Networks� and� new� strategic� partner� Verizon�Wireless.� To�highlight� the�affiliation�with�NBCU�and�underscore�NBC’s�commitment� to� the�Olympic�Games�through�2020,�Comcast�called�on�Gold�Medal�winning�speed-skater,�Dan� Jansen�to�remind�the�audience�of� the�Olympics’�ability� to� inspire�and�engage�a�global�audience�through�the�dedication,�heroic�athletic�feats�and�inspiring�personal�journeys�of�the�participants.�Stories� like� Jansen’s� triumph�after� overcoming�personal� tragedy� are� the� stuff�Olympic� dreams,� and� television� ratings� success,� are� made� of.� In� a� recent�interview�with�Fortune�magazine,�Comcast�CEO�Brian�Roberts�outlined�some�of�the�ways�Comcast�pioneered�new�ways�of�sharing�these�stories�with�viewers.��“Social�media�was�something�the�NBC�team�embraced.�We�also�used�all�our�networks�[NBC,�CNBC,�MSNBC,�Telemundo,�Bravo,�USA,�and�many�others].�The�number�of�hours�of�television�was�unprecedented.�We�put�every�single�event�

live�online�and�had�mobile�apps.� The� cable� side� of�the� company,� Xfinity,� had�on-demand� information�on� every� American� ath-lete�on�laptops,�on�mobile�phones.�We�had�40�million�to� 50� million� on-demand�sessions�in�17�days.”Comcast’s� success� pro-viding� coverage� of� the�Olympics� on� several� plat-forms�and�to�the�gamut�of�viewing�devices�is�a�recipe�

Comcast�intends�to�replicate�at�future�events.�“This�company�is�in�a�position�to�take�an�event,�news�happening�or�a�movie�and�expose�it�as�widely�as�possible�in�a�very�fragmented�world,�different�from�almost�any�other�media�or�telecom-munications�company�out�there,”�says�Brian�Roberts.Between�the�capabilities/capacity�for�wireless,�broadband�and�cable,�Comcast�is�looking�to�take�advantage�of�this�moment�in�technology�that�is�both�disruptive�

to�traditional�models�and�innovative�in�the�way�it�delivers�media�to�consumers.�“Digital�entertainment�and�technology�has�exploded�over�the� last� few�years,”�said� Steve� Lindsley,� Mountain� Region� Vice� President� of� Comcast� Spotlight.”�Current�technology�includes�I+�where�advertising�can�be�placed�through�multiple�cable�systems�with�laser-like�precision�into�select�homes�through�geo�targeting�and�the�Xfinity�X1�box�that�combines�the�best�of�traditional�cable�television�with�social�sharing�and�DVR�recording.�Brent�Peterson,�Field�Marketing�Manager�with�Comcast�says,�“Xfinity.com�has�the�potential�to�become�a�great�portal.�You�come�there�to�check�your�email,�your�security�cameras�or�your�voicemail.�It�is�another�way�to�reach�a�consumer�where�they�may�be�difficult�to�reach�via�programming.”For� the� future,� Comcast� is�looking�beyond� the� home.�The� event� featured� prod-uct� demonstrations� from�Best� Buy,� RC� Willey� and�the�Larry�H.�Miller�automo-tive� dealerships� of� Utah�to�demonstrate�how�digital�entertainment� and� tech-nology� has� reached� every�aspect� of� life,� from� new�mobile� devices� that� act�as� the� remote� control� to�internet-connected�cars.�Although�these�uses�are�not�yet�widespread�we’ve�all�experienced�how� technologies� can�spread�quickly�and�become�a�natural�part�of� our� daily� routines.� Comcast’s� roadmap� for� integrating� entertainment� and�information�services� into�every�aspect�of� their�customer’s� lives�certainly�does�qualify�as�an�awesome�future.�

Comcast UpfrontComcast�Demonstrates�Its�“Future�of�Awesome”�at�Upfront�Event

technology

44�adnews�|�1Q�2013

ksl 5 television (nbc) Broadcast�House�55�North�300�West�Salt�Lake�City,�UT�84180�web�www.ksl.com

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kstu fox 13 continued Mark Ito,�Marketing,�Research�Director�p�801.536.1382��f�801.536.1334�email�mark.ito@fox13now.com�

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ktvx (abc) 4/cw 302175�West�1700�South�Salt�Lake�City,�UT�84104�p�801.975.4444��f�801-975.4442�web�www.abc4.com��Matt Jaquint,�VP/General�Mgr�p�801.975.4560���email�matt.jaquint@abc4.com���Dianne Downey,�Director�of�Sales�p�801.975.4555 email�dianne.downey@abc4.com���Valerie Elgart,�Local�Sales�Mgr�p�801.975.4564�email�valerie.elgart@abc4.com���Terry McFarlane,��Creative�Services�Director�p�801.975.4544�email�terry.mcfarlane@abc4.com��Scott Hums,�Web�Channel�Director�p�801.975.4405�email�scott.hums@abc4.com��

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kued channel 7 (pbs) 101�Wasatch�Drive�Salt�Lake�City,�UT�84112�web�www.kued.org�p�801.581.7777��f�801.585.5096��Michael A. Dunn,�General�Mgr�p�801.581.3330��f�801.585.5096�email�mdunn@kued.org���Alice Webber,�Development�Director�p�801.585.1855��f�801.585.5096�email�awebber@kued.org��Susie Flandro,�Corporate�Support�p�801.581.5694��f�801.585.5096�email�sflandro@kued.org��Mary Dickson,�Creative�Director�p�801.581.3263��f�801.585.6105�email�mdickson@kued.org

James Davie,�Programming�Director�p�801.581.5506��f�801.581.5620�email�jdavie@kued.org��Ken Verdoia,�Production�Director�p�801.581.3250��f�801.581.5620�email�kverdoia@kued.org�

Jacqui Voland,�Community�Outreach�p�801.585.3523��f�801.585.6105�email�jvoland@kued.org�

kutv 2 (cbs) 299�S.�Main�Street,�#150��Salt�Lake�City,�Utah�84111��web�www.kutv.com��p�801.839.1234���Kent Crawford,�General�Mgr�p�801.839.1111��f�801.839.1144�email�kcrawford@kutv2.com��Doug Beck,�Director�of�Sales�p�801.839.1117��f�801.839.1101�email�dbeck@kutv2.com��Mark Crowther,�Local�Sales�Mgr�p�801.839.1120��f�801.839.1101�email�mcrowther@kutv2.com��Shannon Eaker,��National�Sales�Mgr�p�801.839.1284��f�801.839.1101�email�seaker@sbgnet.com��Jodelle Bailey,�Director�of�Digital�Media�&�Marketing�p�801.839.1180��f�801.839.1101�email�jlbailey@kutv2.com��Jennifer Dahl,�News�Director�p�801.839.1300��f�801.839.1235�email�jdahl@kutv2.com��Stephen Spencer,�Director�of�Research�Programming�p�801.839.1154��f�801.839.1101�email�sjspencer@kutv2.com��Donovan Reese,�Chief�Engineer�p�801.839.1344��f�801.839.1144�email�dreese@kutv2.com�

��

park city television pctv outside television network uhf45 / cable 17 or 1021776�Park�Avenue,�#201 P.O.�Box�2877�Park�City,�UT�84060�web�www.parkcity.tv�p�435.649.0045��f�435.655.9860 �Stanton D. Jones,�GM�/�Owner�p 435-640-5555�email�Stanton@ParkCity.tv��Terry Burden,�News�Director�p�801.835.8297�email�Terry@ParkCity.tv

�

KULX- HD SALT LAKE CITY 10.1�Telemundo�Utah�HD�Channel�10,�50,�51�Comcast�18�&�645�10.2�Home�Shopping�Network�10.3�LATV�Network�Comcast�112� 5180�South�300�West�Unit�I�Murray,�Utah�84107 web www.telemundoutah.net�p�801.313.9500��f�801.281.4847��John C. Terrill,�President�email�john@telemundoutah.net��Azucena Covarrubias,�Sales�Mgr�email azu@telemundoutah.net��Walter Peñate,�News�Director�email walter@telemundoutah.net��Enrique Corona,�Sports�Director�email enrique@telemundoutah.net��Ramiro Lopez,�Chief�Operator�email ramiro@telemundoutah.net��Leslie Urry,�Traffic�Mgr�email traffic@telemundoutah.net��

television directory

1Q�2013�|�adnews 45

comcast spotlight

1165�E.�Wilmington�Avenue,�Third�Floor

Salt�Lake�City,�UT�84106

p�801.488.5650��f�801.488.5670

Service Area: Salt Lake City, Heber, Weber, Davis, Orem, Provo, Park City, Tooele, Logan, Brigham City, St. George, Cedar City, Vernal, Rock Springs

Ad Insertion: Yes

Insertion Stations: A&E, AMC, Animal Planet, BBCA, Bravo, Cartoon, CBS College Sports, CNBC, CMT, CNN, Comedy Central, Discovery, DIY, DXDisney, E, ESPN, ESPN2, ESPND, ESPNU, Family, Food, Fox News, FX, G4, Galavision, Game Show Network, Golf, Hallmark, Headline, HGTV, History, History 2, Lifetime, Lifetime Movie Network, MSNBC, MTN, MTV, National Geographic, NBC Sports, NFL Network, Nickelodeon, OWN, Oxygen, Speed, Spike, SyFy, TBS, TLC, TNT, Travel, TruTV, TV Land, USA, VH1, WE, Weather

Steve Lindsley,�VP/GM�Mountain�Region

p�801.488.5658��m�801.201.4261

email�steve_lindsley@cable.comcast.com

Angie M. Williams,�Senior�Mgr�

Business�Operations

p�801.488.5652��m�801.557.1707

email�angie_williams@cable.comcast.com

M’Kay McGrath,�General�Sales�Mgr

p�801.401.6030��m�801.750.5207

email�mkay_mcgrath@cable.comcast.com

Paul Garner,�Area�Sales�Mgr

p�801.488.5665��m�801.455.8838

email�paul_garner@cable.comcast.com

Brent Petersen,�Field�Marketing�Mgrp 801.401.6021 m 801.243.8216

email brent_petersen@cable.comcast.com

Sherri London,�Marketing�Mgr

p�801.488.5653��m�801.550.4192

email�sherri_london@cable.comcast.com

Dan Bramall,�Research�Mgr

p�801.488.5661��m�801.694.2830

email�dan_bramall@cable.comcast.com

Matt Elggren,�Creative�Services

p�801.488.5678

email�matt_elggren@cable.comcast.com�

cable directorybonneville salt lake radio group Broadcast�House�55�North�300�West�Salt�Lake�City,�UT��84180�

KSL 102.7 FM, 1160 AM, KSL NEWSRADIO News,�Traffic,�Weather,�Talk�web�www.ksl.com

KSFI 100.3 FM, FM100 Soft�AC�web�www.fm100.com��

KRSP 103.5 FM, 103.5 THE ARROW Classic�Hits�web�www.1035thearrow.com��Jeff Simpson, President/CEO p�801.575.5875��f�801.575.7521�email�jsimpson@ksl.com��Tami Ostmark, VP/Marketing,��Research,�Promotions�p�801.575.7235��f�801.575.5830�email�tostmark@ksl.com��Mark Wiest, Group,�VP/Sales p�801.575.7232��f�801.575.5864�email mark.wiest@ksl.com� Stephanie Palmer, Group,�GSM p�801.575.5811��f 801.525.7329�email�spalmer@ksl.com��Kevin LaRue, KSL�Newsradio,��Program�Director�p�801.575.7681��f�801.526.7074�email�klarue@ksl.com�

Kelly Hammer, KRSP/KSFI Brand�Product�Director p�801.325.3133��f�801.526.7074�email�khammer@bonneville.com��John Dehnel,�Chief�Engineer�p�801.575.7630��f�801.575.7605�email�jhehnel@ksl.com

radio directorycapital broadcasting 257�East�200�South,�#400�Salt�Lake�City,�UT�84111�p�801.364.9836��f�801.364.8068 KBZN 97.9, NOW 97.9�Adult�Contemporary�web�www.now979.com��

KLO RADIO 103.1 FM/1430 AM�Talk/News�web�www.kloradio.com��John Webb,�General�Mgr�p�801.364.9836��f�801.364.8068�email�john@kbzn.com Matt Webb,�General�Sales�Mgr�p�801.364.9836��f�801.364.8068�email�mattwebb@kbzn.com��Rob Riesen,�Operations�Mgr�p�801.364.9836��f�801.364.8068�email�rob@kbzn.com

�Gary Stanger,�Promotions/�Marketing�Director�p�801.364.9836��f�801.364.8068�email�gary@kbzn.com��Sheri Jensen,�Traffic�Mgr�p�801.364.9836��f�801.364.8068�email�sheri@kbzn.com��Jan Bagley,�VP/Promotions�&�Sales�p�801.364.9836��f�801.364.8068�email�jan@kbzn.com

cumulus media 434�Bearcat�Drive�Salt�Lake�City,�UT�84115�p�801.485.6700��f�801.487.5369�����

KUBL 93.3 FM, K-BULL 93 Country�web�www.kbull93.com�����

KBEE 98.7 FM, B98.7 Hot�AC�web�www.b987.com�����

KENZ 101.9 FM, 101.9 THE END Alternative�web�www.1019theend.com�����

KBER 101.1 FM, K-BEAR 101 Heritage�Rock�web�www.kber.com�

���

KHTB 94.9 FM, 94.9 ZROCK Active�Rock�web�www.949zrock.com����

�KKAT 860 AM, UTAH’S BIG TALKER Talk�web�www.860utahsbigtalker.com����

�KFAN 1320 AM All�Sports�web�www.1320kfan.com

�

KJQS 1230 AM�Sports�Talk�web�www.foxsports.com��Todd Larsen,�General�Mgr�email�todd.larsen@cumulus.com�

Program Directors:�Sue�Kelley�-�KBER�FM,�KHTB�AM��Dan�Craig�-�KBEE�FM�Shawn�Stevens�-�KUBL�FM�Aaron�Rosen�-�KKAT�FM�Kevin�Graham�-�KFAN�FM�

General Sales Managers:�Lutisha�Merrill�-�KBER�FM,�KHTB�FM�Paulette�Cary�-�KUBL�FM,�KKAT�FM�Todd�Larsen�-�KENZ�FM,�KBEE�FM�

Lose 3-7 pounds of fat a week while re-establishing pancreatic function (insulin).

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Say Hello to Your last diet!

46�adnews�|�1Q�2013

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

KSOP 1370 AM CLASSIC COUNTRY�web�www.cc1370.com�

�KSOP-FM 104.3 FM COUNTRY web www.z104country.com� Don Hilton,�President�and�GM�email�donksop@gmail.com��Ladd Hadlock,�Local�and�National��Sales�Manager�email�laddh@ksopcountry.com��Mike Peterson,�Sales�Rep�email�mikep@ksopcountry.com��Deb Turpin,�Program/Music�Director�email�deb.turpin@ksopcountry.com��Sarah Hilton,�Traffic�Manager�email�sarah@ksopcountry.com��Dick Jacobson,�News�email�dickjacobson@ksopcountry.com�

kuer 90.1 Eccles�Broadcast�Center�101�South�Wasatch�Drive,��Salt�Lake�City,�UT�84112�p�801.581.6625���web�www.kuer.org

NPR,�BBC,�local�news,�nighttime�jazz�music.�KUER�broadcasts�two�additional�channels�on�HD�radio,�K2�(rock)�and�K3�(classical�music)�stream�at�kuer.org.�

John Greene,�General�Manager�p 801-581-6625��email�jgreene@kuer.org��

Gayle Ewer,�Marketing�&�Community�Engagement�Manager�p 801.587.9331��email�gewer@kuer.org�

Susan Kropf,�Development�Director�p 801.581.6742��email�skropf@kuer.org�

Tristin Tabish,�Content�Director�p 801.581.7549��email�ttabish@kuer.org�

Ja’Naye Payne,��Corporate�Support�Manager�p 801.581.3227��email�jpayne@kuer.org�

Elaine Clark,�RadioWest�Producer�p 801.581.5015��email�eclark@kuer.org

radio directory continued

���

simmons media group 515�South�700�East,�#1C�Salt�Lake�City,�UT�84102�p�801.524.2600��f�801.364.1811��Craig Hanson,�President/�Market�Manager�email�chanson@simmonsmedia.com�p�801.325.3114��f�801.524.6002��Steve Johnson,�VP/DOS�email�sjohnson@simmonsmedia.com�p�801.325.3113��f�801.519.6113��Jana Tuttle,�NSM/Group��Sales�Coordinator�email�jtuttle@simmonsmedia.com�p�801.325.3150��f�801.519.6150

KXRK 96.3 - X96 Alternative�web�www.x96.com

Mike Lund,�GSM�p�801.325.3161��f�801.364.1811 email�mikel@x96.com�

���

KEGA 101.5 & 105.1 - THE EAGLE COUNTRY web�www.1015theeagle.com

Jacquie Louie,�GSM�p�801.596.4124��f�801.519.6124 email�jlouie@simmonsmedia.com�

KYMV 100.7 web�www.rewind1007.com

Steve Johnson,�GSM�p�801.325.3113��f�801.519.6113 email�sjohnson@simmonsmedia.com�����

KUUU 92.5 - U92 web�www.u92online.com

Erik Goddard,�GSM�p�801.596.4176��f�801.519.6176 email�egoddard@simmonsmedia.com

�

KUDD 107.9 - MIX CHR web�www.mix1.079fm.com

Erik Goddard,�GSM�p�801.596.4176��f�801.519.6176 email�egoddard@simmonsmedia.com

Untitled-4 1 5/18/12 1:00 PM

Untitled-4 1 5/18/12 1:00 PM