oz magazine march april 2009

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BBDO Atlanta recently welcomed Bobby Pearce, a nationally recognized and award-winning talent, as an executive creative director. In this role, he oversees creative direction and oversight on several of the agency’s accounts.

Pearce brings to BBDO an impressive resume with a broad array of blue-chip clients, like Budweiser, Saturn, Citibank, Holiday Inn, Goodyear, Lee Jeans, BMW, and Monday Night Football, as well as with highly creative agencies such as Carmichael Lynch, Fallon, and Goodby, Silverstein & Partners. Most recently, he served as co-founder of the creative shop Damman Pearce, which he started with long-time friend and partner Dave Damman in 2006. During his career, Pearce has been recognized by several major industry awards shows, including the One Show, Cannes, Communication Arts, D&AD, Radio Mercury, and the EFFIEs.

BBDO teamed with Italian body painter Daniel Guido to demonstrate client AT&T’s vast international phone coverage. Travelers passing through Atlanta’s Hartsfield Airport in recent months probably noticed some unusual “artwork” throughout the terminals: a brightly-colored tropical fish swimming past coral, leopards moving through long leaves of grass, stoic Buckingham Palace guards standing at attention. Using hands as a living canvas was the perfect comple-ment to Guido’s incredibly detailed painting style, making for a visually capti-vating campaign that simultaneously entertains audiences and conveys AT&T’s international superiority.

The New York Festivals’ Midas Awards is the only advertising and marketing competition celebrating work created for the financial services communications industry. Entrants from every sector in the financial industry, representing 40 countries around the globe, participate in this prestigious annual competition. BBDO was the only Atlanta agency to be recognized at the 2008 awards show, winning a Finalists’ Certificate for Atlanta-based ING U.S. Financial Services’ “ Numbers” campaign.

The ING “Numbers” campaign was designed to help simplify the process of retirement planning by encouraging consumers to calculate the total amount

of money they need to have saved in order to live the lifestyle they desire upon retirement. To drive awareness of ING’s retirement products, the campaign launched a fully loaded microsite, developed using the latest in HD AS3 tech-nology and featuring streaming video utilizing avatars as site guides to enable consumers to actually calculate their number.

BP is ECD at BBDO

Bobby Pearce joins BBDO Atlanta as executive creative director.

“Living is Winning,” a compelling and inspirational sports documentary about Iron-man triathlete and leukemia survivor Andrew “Drew” Johnston, is now available on DVD. Directed by Atlanta-based producer Linda Burns and produced by Burns and writer/producer Jeff Keating, the film has been recommended in Triathlete Magazine and Competitor Southeast, and is supported by Ironman Triathlon, The Leukemia & Lymphoma Society, and Team in Training.

Johnston, a retired professional cyclist and personal trainer, surprised himself by falling in love with the sport of

triathlon. He quickly rose to elite status, but season after season, injuries seemed to plague him. In 2004, at Ironman Lake Placid, a recurring leg injury forced his withdrawal from the race. Nev-er one to quit, he was devastat-ed, but realized his nightmare had only just begun. During a routine exam, doctors dis-covered something unimagi-nable; Johnston had leukemia. Caught early, the drug Geevec helped put his disease into re-mission, and Drew fought his way back to the sport, qualify-ing for and competing in the famous Ford Ironman World Championship. But Johnston had unfinished business: Iron-man Lake Placid. In 2007, he

returned to the starting line to find he still carried the emotional weight of all the battles he thought were behind him.

Johnston and writer/producer Keating have known each other since the 5th grade and were best friends all through high school. “I saw his rise to elite status in the sport of triathlon,” says Keating, “but when leukemia struck and I saw how Andrew made

the choice not let the disease stop him, I was inspired.”The crew followed Johnston and his family to triathlons in Georgia, Florida, New

York, and to the famous Ford Ironman World Championship in Kailua-Kona, Hawaii where Johnston beat professional triathletes to the finish line. They shot Johnston’s bone marrow biopsy in Houston, Texas at the MD Anderson Cancer Center, and his check ups in Atlanta at Atlanta Cancer Care.

With over 175 hours of footage and thousands of photographs, Richard Williams of Post 22 and director Linda Burns edited the film in less than seven months. The shooting crew was very small, shooting in-home interviews generally with a crew of two to three, and shooting on stage interviews and traveling to triathlons with a crew of no more than eight people. Jeremiah Prescott sound designed the film and Tim DeLaney composed and engineered the high-energy jazz/funk soundtrack.

With fiscal sponsorship from IMAGE Film & Video Center, the project initially was funded entirely by donations. The project was crafted over two years with donations of equipment from PC&E, Toybox Productions, Media vs. Media, Edgefox Produc-tions, Psychopia Pictures, Eyekiss Films, Plexus Pictures, Abstract Pictures, 7th Wave Pictures, Post 22 and Photos by Jason. Crew members donated their time as well, many coming from the indie film group DAILIES in addition to commercial film crew members.

Living is Winning

Writer / Producer Jeff Keating and his best friend Andrew Johnston, former pro-cy-clist, Ironman Triathlete and leukemia survivor, have know each other since grade school.

Producer / Director Linda Burns interviews Andrew Johnston in an emotional moment before the start of Ironman Lake Placid. Photo credit: Jason O’Donnell.

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Atlanta editorial veterans Guillotine Post recently added two new employees, editor Matt Brodersen and client services coordinator Nicole Kemper. Both of the full-time staffers bring creativity and a fresh attitude to help maintain the consistency and support that clients have come to expect from the Midtown-based media shop.

Brodersen, a Florida native and a graduate of the Art Institute of Atlanta, has been freelancing in virtually every facet of film and video over the last few years. Editing TV shows, corporate video and shooting for a variety of networks and production companies has given him a wide range of post and production capabili-ties. Deciding to focus primarily on editorial, Brodersen landed at Guillotine where his cutting experience, knowledge of compression and other technical skills have immediately been put to good use. Brodersen has already contributed editing to the short indie film “Wheels” for Tracy Martin and Medallion Pictures, sales videos for GO! Productions and InterContinental Hotels Group, “The American Presidents” HD video for the White House Historical Association, in addition to After Effects graphic support for Cartoon Network Latin America.

Kemper recently returned to her hometown of Atlanta after spending three years in Chicago pursuing an MFA in film and video at Columbia College. In her time there, she wrote, directed, and edited several short films that are making the film festival rounds. In addition to handling client services at Guillotine, she contributes to graphic design and helps with marketing efforts develop-ing the roster of clients posting at Guillotine. Her animation and design skills have already come in handy, designing opening titles for the indie film “Wheels” as well as a graphics package for an Oakhurst Community Garden video. Kemper will also be coordinating and planning art and film events at Guillotine Post; her next project being the Atlanta Film Festival Closing Party at Guillotine on Saturday, April 25.

BrODErsEn anD KEmPEr sharPEn guiLLOtinE

New Guillotiners Nicole Kemper and Matt Brodersen.

NeboWeb, an Atlanta-based interactive marketing agency, experienced re-cord growth in 2008, ending the year with a nearly 30% increase in revenue as compared to 2007. The uptick in revenue was driven primarily from growth in three core areas: Web design, search engine marketing, and web applica-tion development services. NeboWeb’s revenue growth was met with other 2008 milestones, including relocating to a larger, two-floor office space, being awarded fourteen web design and development awards, and being recognized as a Top Ten SEO Firm by Promotion World.

In addition to the accolades, NeboWeb launched signature interactive proj-ects and added several key clients such as the Not on Tobacco site sponsored by the CDC and American Lung Association, the Scanstation 2 microsite for Leica Geosystems, RevaleSkin Spain, and many others.

rECOrD grOWth fOr nEBOWEB

Georgia was on the mind of the Academy of Motion Picture Arts and Sci-ences Saturday, February 7. Steve Hylén, creator of SmARTlens Corporation’s Hylén System, accepted an Academy Award for Technical Achievement at the 81st annual Scientific and Technical Academy Awards dinner and show.

“We are honored to have such an outstanding, innovative company here in Georgia,” said Ken Stewart, commis-

sioner of the Georgia Department of Economic Development (GDEcD). “SmARTlens is the type of

company we work hard to bring to the state, and its strong connections to the entertain-

ment industry tie in well with our mis-sion.”

Hylén’s award cited the groundbreaking nature of the Hylén System, a device that af-fixes to film and digital cameras to allow directors and cinema-

tographers to produce visual effects within the camera instead of in post-pro-duction.

Randall Abney, SmARTlens Corporation’s president and CEO, noted that the Hylén System is, to the best of his knowledge, the first Technical Achievement Academy Award involving a Georgia-based company. The company is inves-tigating opening an office/assembly facility in the Athens area and is work-ing with GDEcD Small Business & Innovation Regional Project Manager Ryan Thornton.

“Georgia has been the backdrop for more than 33 nominated films and 25 Academy Award-winning films since 1972,” said Bill Thompson, Deputy Com-missioner of the Film, Music & Digital Entertainment Division of GDEcD. “The first known film to be produced in Georgia was in 1912, in the days before Hol-lywood. And now, for a Georgia-based company to receive a Technical Achieve-ment Award from the Academy brings everything full circle. Congratulations to Steve Hylén and his team for such an outstanding achievement. The nine feature films currently shooting in Georgia salute you! We look forward to pro-moting the SmARTlens product to our customers.”

anD thE WinnEr is...stEvE hyLén

Creator of the SmARTlens Hylén System, Steve Hylén.

OzOnLinE.tvaLL thErE is tO sEE...

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WaveGuide Studios completed post-production work on “Faded Glory,” a feature documentary by director Richard Cohen for Endorphin Entertain-ment. “Faded Glory” tells the story of one man’s quest to recapture the glory of his youth by gathering together National Network, his long-separated am-ateur baseball team, and make a run for the 2007 National Amateur Baseball Association World Series.

On the equipment front, WaveGuide is updating its camera arsenal with the addition of the RED ONE 4k ultra high definition camera package and the Panasonic HPX170 1080p HD P2 camera. WaveGuide is now “officially all-HD, all the time.”

Amplified Games, a California-based designer of several popular games for Apple’s iPhone and other wireless portable devices, including Sponge-bob Squarepants, Trophy Fishing, School of Rock and Corvette Racing USA, turned to WaveGuide to design and produce the audio components of its latest title, Fat-Free Poker. WaveGuide built the headphone experience first, then evaluated each segment using small speakers, making adjustments as needed.

WavEguiDE: aLL hD, aLL thE timEECG Productions recently

completed post-production on this year’s Atlanta Film Festival trailer. Max2o once again provided the design elements, with ECG executing the concept, providing both motion graphics and sound design. Cinema Concepts is currently in the process of cre-

ating eight 35mm prints of the trailer as well as a D-Cinema package to screen on the Fox Theatre’s digital cinema server. The trailer will begin running in local theaters in February, with a shortened version airing regionally on Comcast.

ECG also recently completed post on “The Last Bullet,” a short Vietnam War film by local director Jason Winn (Tin Roof Films), providing editorial, motion graphics and sound design. On-set support was also provided by ECG staff-ers Jason Marraccini (audio mixer), Jason Sirotin (special effects makeup) and Josh McGill (boom operator).

ECg COmPLEtEs fiLm fEst traiLEr

The Jones Group has moved back into its original office space, which has been re-designed from top to bottom with sustainable materials, recycled wood, custom lighting and furniture and more.

The Jones Group was selected by the Shepherd Center of Atlanta to refresh its brand identity in support of its new tagline, “The Comeback of Your Life.” The Shepherd Center is a catastrophic care hospital ranked by “U.S. News & World Report” as one of the top 10 best rehabilita-

tion hospitals in the nation. Working with the existing logo, The Jones Group will develop a system of communication, and redesign the look and feel of all materials, including the website, brochures and direct mail executions.

Vicky Jones, president and founder of The Jones Group, has picked up her latest national honor by being named as one of “Graphic Design USA’s” People to Watch in 2009.

thE OLD hOmE PLaCE

The management team of St Ives US, one of America’s leading digital, sheet-fed and web offset printing companies, completed the acquisition of the U.S. division from its parent, St Ives plc in London, England. “The U.S. facilities are now owned by the Angstrom Group,” says Wayne Angstrom, St Ives US chairman and CEO. “We have purchased the entire company in-cluding St Ives Florida, St Ives Cleveland, St Ives Creative and St Ives Market Direct.” Angstrom says the company will continue operations in Hollywood and Cleveland. The company plans to re-brand the creative, graphic and ful-fillment operations with new names within the next 12 months as well as enhance the St Ives On-Line™ suite of application systems.

The total price of the acquisition was $39 million. Carl Grassi of McDon-ald Hopkins LLC of Cleveland served as the lead attorney for the transaction. Brown Gibbons Lang & Company is the investment banker.

st ivEs aCquisitiOn COmPLEtE

The Woman’s Angle is helping women climb into the director’s chair. Six locally produced short films had their Atlanta premiere at The Plaza Theater, in March, all directed by women.

“We kept seeing women interested in directing their own film, then fade away,” explains Tracy Martin, volunteer executive director, co-founder of The Woman’s Angle, and a film director herself. The Woman’s Angle aims to men-tor women by encouraging their directing talent, and guiding them at every critical stage of their film’s development to take it to the finish line.

A panel of local experts selected film concepts, and most films are first-time directing efforts. The 2009 Woman’s Angle shorts are “A Peacock Feath-ered Blue” by Jenna Milly; “Playgirl” by Melanie Mascioli; “Wheels” by Tracy Martin; “Love Happens” by Dellis Caden Noble; “Flights of Angels” by Kim-berly Jurgen; and “Happy Hour” by Angela Barnes Gomes.

All films were shot in Atlanta in 2008, and all were self-financed. Many directors served as volunteer crew members for each other’s films, taking on various roles to learn from each other and strengthen their networks for future projects.

The Woman’s Angle relies on the support and guidance of highly re-spected film industry professionals to lead intensive workshops for Atlanta filmmakers, men and women, and directors are encouraged to mentor other first-time women directors.

The premiere event was made possible through generous donations from sponsors and partners including the Fulton County Arts Council, Women in Film & Television, YourACT, Atlanta Film Festival, Oz Publications and Film Fin-ish – a new feature post facility in West Atlanta.

six WOmEn’s angLEVicky Jones is one to watch.

Jason Marraccini checks audio levels during the pro-duction of “The Last Bullet.”

The entire crew of “The Last Bullet.”

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An explosion of red, white and blue fire-works served as the backdrop for Ford’s Presidents’ Day spot. The :30 spot was pro-duced by Artistic Im-age and was designed to help promote Ford’s Presidents’ Day sale event through the hol-iday weekend.

Artistic Image creative director Edward Dye was asked to steer clear of using obvious images of U.S. Presidents or the American flag. As he and his team of designers started, they found the most challenging part of the spot was to showcase all five of Ford’s top selling models in a very tight time frame.

In order to do so, fireworks were created where each firework ember would transform into a car and cascade down for a ride on a roadway un-derneath. The fireworks particles were done in 3D using Maya along with precise lighting, animation and compositing in order to make the image look realistic. The spot concludes with the Ford logo emblazoned in the night sky using fireworks.

When J. Walter Thompson came to Atlanta’s Artistic Image for HD broad-cast design and production ideas, co-owner and executive creative director Ed Dye spoke up. “The Ford SYNC unites, activates and integrates the latest computer technologies with the car much more fully. This is a whole new genre for a whole new generation of car buyer. So we couldn’t just produce a ‘normal’ spot to promote and address this intersection. The spot had to be out-of-this-world visually; it had to represent a certain activated surrealism. And it had to speak directly to younger demographics, gamers and techies, in their own visual language.

“Originally, the idea was for Ai to create a Dali-like world to represent ‘sur-real,’ ‘super-real.’ The problem was, how many buyers under 32 actually know anything about Dali or his work? He’s now an antique. We needed something new, the future of surreal.” Dye worked with his artists to fully design and model three anime characters in Maya, in lieu of models. “These were our sexy avatar drivers,” Dye said. “Then three unique CGI environments were de-signed and created for each of the three cars and avatars to interact with as SYNC features were accessed by the characters. I moved the design template towards three artfully wild and colorful CGI gamer environments, and it just really worked. We intended the spots to look and feel like a unique cross the target audiences would get.”

firEWOrKs at artistiC imagE

Ai revs up Ford’s Sync campaign with some anime.

Ai’s work for Ford was a blast.


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What’s Up Interactive announced its 2009 Board of Advisors, a highly re-spected group of local experts in technology, marketing and finance whose counsel will be aimed at helping the company continue its aggressive growth strategy.

The What’s Up Interactive 2009 Advisory Board includes: Ken Bernhardt, Regents Professor of Marketing and Special Assistant to the Dean, Robinson College of Business, Georgia State University; Michael Potts, Former CEO, AirDefense, Executive Advisor to Motorola; William Pate, President & CEO, Atlanta Convention and Visitors Bureau; Don L. Chapman, Entrepreneur, In-vestor; Dr. Pete Eisemann, H. Talmadge Dobbs, Jr. Professor of Teaching Excel-lence and Professor of Finance, Robinson College of Business, GSU; and Bill Nussey, CEO, Silverpop.

What’s Up Interactive also established a new practice to develop web sites and mobile applications for iPhones, Blackberries and other wireless phones. Among the first clients for What’s Up Interactive’s mobile platform develop-ment is WAGA TV Fox5 Atlanta. The application, now in development, is part of a project to develop a hyper-local platform for user generated content and advertising. The new platform for Fox5 will launch later in the year.

What’s Up Interactive added Matt Fazio as project manager with the At-lanta-based interactive marketing agency. In his new role he will supervise support, maintenance and updates for existing Fox TV online dating sites, as well as managing the design/development process on an upcoming hyper-local directory project for Fox stations, starting with FOX5 Atlanta.

asK thE BOarD aBOut What’s uP

Sojo, an award-winning single-source provider of brand strategy, mar-keting, creative design and web services and solutions, is growing. The firm is now offering management consulting to help companies adapt to their ever-changing and ever-expanding organization needs and sustainability solutions to integrate and optimize their environmental systems, business processes and information technology.

To celebrate this growth, Sojo has launched a vibrant new website, in-cluding Sojo, Inc.: Perspectives, fully equipped with insightful articles to help companies grow even during the most difficult financial times. Another as-pect to the website is the interactive Sojo, Inc.: Going Green, a section dedi-cated to the sustainability services Sojo offers.

sOjO sustainaBiLity

Kino International hit several top 10 lists for DVDs released in 2008. With Crawford’s senior colorist DC Cardinali and DVD authors Doug Powell and Richard Rivera, Kino enhances classic movies for a modern audience. The restored “Way Down East” (1920, D.W. Griffith) made The New York Times’ Notable DVDs and the Salon.com list, while EW.com (Entertainment Weekly) declared “The Last Laugh” as one of the 10 Best Movie DVDs. “Houdini – The Movie Star,” a three-disc set of Harry Houdini films was also among the DVDs of 2008 by Sight & Sound, a British Film Institute publication. Services per-formed by Crawford include film-to-tape color correction, forensic audio, 5.1 surround sound and DVD authoring.

Crawford Satellite Services division kicked off the 2008 football season with NFL Network. Chosen by the Network, Crawford offered a robust line-up of high definition and standard definition origination, playout and moni-toring services in addition to on-site satellite uplink truck support for game coverage. Crawford has been working closely with NFL Network to identify, organize, integrate and store nearly 5,000 hours of program material for broadcast. On-location, Crawford’s transportable fleet provided transmission and HD encoding for eight Thursday night NFL games, several college bowls and the Scouting Combine in February.

In 2008, NFL Network televised nearly 200 football games including eight regular season prime time NFL games, 54 preseason games, 96 game re-airs, the Super Bowl and “NFL Classic Games,” plus the Insight Bowl, Texas Bowl and Senior Bowl along with many more award-winning shows. The Network is available on more than 240 cable systems, DirecTV, Dish Network and tele-phone company video providers AT&T U-verse and Verizon FiOS.

CraWfOrD hELPs KinO hit thE tOP 10

SKS Creative added September Chapman to the team. Chapman is serv-ing a variety of functions for SKS Creative. In addition to her administrative responsibilities, Chapman is graphic designer. She brings seven years design experience both as a freelancer designer and most recently as a staff design-er for Image Masters.

In other news, SKS creative director and founder Susan Solomon has been tapped by Buckhead Center for Wellness to take their health care or-ganization to the next level. A 20-year veteran of alternative health care as a chiropractor, applied kinesiologist and center founder, Dr. Tim Kelly wants more people to know about the natural path to disease prevention. Current-ly Solomon and Chapman are working on a monthly newsletter for Dr. Kelly. Solomon is also writing a DVD about the benefits of enzymes to keep the body disease free. In addition, Solomon is serving as a consultant for media interviews for Dr. Kelly.

ChaPman jOins sKs

Hayslett received a silver Service Industry Advertising Award for its work with Gwinnett Medical Center’s Open Heart campaign website. Hayslett Group designed, developed and has maintained the site. The competition included 1,200 submissions from across the country, falling under twelve groups and twenty-seven categories. SIAAs are the only advertising awards specifically rec-ognizing service industry achievements.

Hayslett earned four Phoenix Awards from the Georgia Chapter of the Public Relations Society of America (PRSA) for its work on behalf of Sumter Regional Hospital, the Georgia Department of Transportation and Surgery Center at Mt. Zion.

Hayslett Group received two Phoenix Awards for work on Sumter Regional Hospital’s “Healthcare Heroes” campaign. The awards recognized a speech and an advertorial created for their local chamber of commerce following an EF-3 tornado that devastated the hospital on March 1, 2007. Two certificates of excellence for integrated communications and marketing consumer services were also awarded to Hayslett Group for the “I’m Going to Sumter” campaign.

In the integrated communications category, Hayslett Group, the Georgia Department of Transportation and partner agency McRae garnered a Phoe-nix Award for the Department’s Georgia 511 travel information service. The campaign helped Georgia 511 reach the one million call milestone in just ten months and over 1.5 million calls to date.

Hayslett Group accepted their fourth Phoenix Award for work on the Sur-gery Center at Mt. Zion’s “Set Our Dreams Aflight” butterfly release and ground-breaking event. The commemorative event marked the beginning of construc-tion on the future Spivey Station location, a 25,000 square foot facility with telesurgery capability in operating rooms, a completely wired patient waiting area with business office tools and internet café.

In the writing category, Hayslett Group was awarded a certificate of ex-cellence for a bylined article written by Charlie Hayslett for Atlanta Hospital News.

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Eddie Horst Music added Sarah Duckett as project manager to de-velop new clients and provide client support. Duckett comes from Free-man Melancon Bryant Advertising in Knoxville, Tennessee where she gained extensive experience in cli-ent service and account manage-ment.

Bruce Springsteen released his 24th album, “Working on a Dream.” It includes five songs with Horst’s arrangements: “Tomorrow Never

Knows” (strings), “Queen of the Su-permarket” (strings), “Surprise, Surprise” (strings), “Kingdom of Days” (strings), and “Outlaw Pete” (strings & horns). The new album was recorded and mixed at Southern Tracks in Atlanta, with additional recording in New York City, Los Angeles, and New Jersey.

Singer/songwriter Kevin Spencer’s original song “All Made of Skin” fea-tures a string arrangement by Horst. Spencer starred as Roger in The Collins Tour of “RENT” and is currently living in Atlanta and working on his first solo album. An extension of the “Keep music alive in schools” program, “All Made of Skin” was selected by the Ontario school board in Canada to be repre-sented in this year’s Rev. Dr. Martin Luther King, Jr. Day celebration. The song was selected for this honor as it lyrically deals with the idea of racial harmony as a possibility. 150 children, ages 7-12, performed the song and were ac-companied by drums, bass, guitar, piano and a five-piece string section.

arrangEr arrangEs managEmEnt

Sarah Duckett joins Eddie Horst Music as project manager.

Felicia Joy Browder, APR, principal of Ms. CEO Media and a member of the Georgia Chapter of the Public Relations Society of America (PRSA|GA), was awarded her APR (Accredited in Public Relations) certifica-tion at the Chapter’s monthly luncheon today.

Ms. CEO Media produces a radio talk show, “The Ms. CEO Talk Show with Felicia Joy” in Atlanta, directed at women entre-preneurs. Prior to establishing Ms. CEO Media, Browder was the director of exter-nal communications at Mirant Corpora-tion for two years and the public relations manager and chief spokesperson for Hartsfield-Jackson Atlanta International Airport for three years. Browder earned dual degrees in journalism and political science from the University of Georgia’s Grady College of Journalism and Mass Communications and the Franklin College of Arts and Sciences.

Created in 1964, APR is the voluntary certification program for public rela-tions professionals and was established to unify and advance the profession by identifying those who have demonstrated mastery of a body of knowl-edge as well as recognition of experience and professional judgment in the field. The process is governed by the Universal Accreditation Board, of which PRSA is a lead participant.

ms. CEO maKEs aPr graDE

Felicia Joy Browder, principal, Ms. CEO Media.


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Soapbox Studios received a gold medal from the 2009 New York Festivals for its audio work with Cartoon Network on The Grim Adventures of Billy & Mandy’s “Suicide” promo. Soapbox also garnered a 2009 MM&M (Medical Marketing & Media) gold award for it’s work with Adair Greene-McCann / Artistic Image for Best Over-the-Counter Product Advertisement/Campaign. Audio engineer Nikos Mavrommatis worked on sweetening both pieces.

nEW harDWarE fOr sOaPBOx

Along with being listed among the top minority-owned agencies by “Advertising Age,” “Black Enterprise” and the “Atlanta Business Chronicle,” IMAGES USA received several awards this past year.

The Adrian Awards, presented by the Hospitality Sales & Marketing As-sociation International, honor the best in travel and hospitality marketing. IMAGES won a gold and a platinum award for the Amtrak Pullman Porter Tributes, which honor the African-American men who worked onboard trains post-Civil War through the 1970’s.

The Association of Marketing and Communications Professionals pres-ents the MarCom Awards. Of more than 5,000 entries, the Pullman Porter Tributes were among the 15% of entries that won gold awards. The Pullman Porter Tribute program will continue in 2009.

Additionally, IMAGES won two AVA Awards, which are also presented by the Association of Marketing Communication Professionals. The Jack Daniel’s Art, Beats + Lyrics Charlotte Event Recap Video placed at the gold level, while IMAGES USA won a platinum award for its capabilities video.

imagEs usa raCKs uP

Ground Floor Video recently opened a new high definition video facility complete with editing suites, sound studio, audio facilities and DVD duplication. “We are entering our 4th year and this new commercial space helps us better meet our clients’ needs script-to-screen,” said owner Luke Livingston. The new space is located just off of I-575 in Woodstock.

“The Fresh Prince of Bel Air” star Daphne Maxwell Reid hosted a 150-minute parenting program at the new Ground Floor Video Studios recently for Ac-tive Parenting Publishers. Under Luke Livingston’s direction, Reid, along with

an ensemble cast of 18 and a talented crew, shot 60 dramatic vignettes portray-ing sensitive topics important to fami-lies parenting teens. The two-DVD set includes a parent’s guide and a leader’s guide written and narrated by leading parent education expert Dr. Michael Popkin.

grOunD fLOOr mOvEs uP

Ground Floor Video owner Luke Livingston in front of the new studio.

Inside Ground Floor Studios.

“The Signal” has been nominated for the 2009 Inde-pendent Spirit Award for Best Feature Under $500,000 (John Cassavetes Award). LAB 601 was executive produc-er and post facility on the 2007 Sundance Film Festival hit. “The Signal” was written and directed by POPfilms’ David Bruckner, Dan Bush and Jacob Gentry.

LaB 601 uP fOr inDiE sPirit

DP Porter Versfelt and audio technician Chris Mills documented celebrity arrivals on the BET Awards red car-pet and client producer Jorge Carreon from Phase One Productions in Los Angeles interviewed “Notorious” cast members and other performing artists. The team also cov-ered an exclusive post-awards party for the cast and film and conducted additional one-on-one interviews with the cast.

This material was used to promote “Notorious” prior to its theatrical release in January. “Notorious” is the dramat-ic telling of the life of famed, late hip-hop artist Notorious B.I.G. (“Biggie” Smalls).

vErsfELt On thE rED CarPEt

Object 9 was named agency of record for Exaserv, a human capital management (HCM) solutions provider focused on helping companies implement and stream-line SAP processes. Tapped for their expert marketing strategies and ability to grow businesses, Object 9 will work with Exaserv on brand development and sales and marketing communications. Exaserv is headquartered in Alpharetta, Georgia, and has offices in North America, Eu-rope and Asia.

OBjECt 9 marKEts human CaPitaL

Ryan Hostetler and Michelle Melton joined the Biscardi Creative Media family. Hostetler came to Biscardi via In-diana and is taking over the JungleLand suite as the new editor. Melton takes over as the new production assistant. Already with a degree in business, Melton has plans to pursue a graduate degree in production. Melton is taking over the mammoth task of documenting all footage for Cielo Productions and The Carter Center.

Biscardi added 24TB of shared media to their post production facility. This additional storage will allow all three HD suites to work together off one media pool enhancing efficiency for both episodic TV and documentary work-flows. “All three suites will be able to work with the same HD material at the same time which will be really critical in the finishing stages of color grading and final graphics design,” notes BCM Principal Walter Biscardi, Jr. “Since all three rooms are equipped with all the same tools, all the artists will be able to perform any task from any room off the same media pool.”

The system is the brainchild of engineer Bob Zelin who previously re-engineered BCM’s entire audio/video infra-structure. All media is shared via gig-ethernet allowing full high definition playback for multiple systems, including the Producer workstations. Biscardi is also retaining the 16TB of high-speed storage that was installed last year giv-ing them a total of 40TB of available media storage.

BisCarDi taKEs On tWO

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Chris Dixon [email protected]

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The staff from RIOT Atlanta has come up a unique way to call attention to pollution along the upper Chattahoochee River and Atlanta’s on-going water crisis. The group has created a large scale mosaic made entirely out of recycled refuse and trash collected while they were volunteering for a river clean-up project.

“About 20 of us dragged 2,200 pounds of trash out of the river bed in just four hours,” recalls Jeff Doud, RIOT’s executive creative director. “It was everything from spare tires and washing machines to thousands and thousands of clear water bottles. It was truly amazing.” RIOT plans to use its recycled artwork to raise money and awareness for the Upper Chattahoochee Riverkeeper (UCR), a non-profit organization dedicated to the protection of the river and its watershed.

The finished artwork consists of 200 individual, 6-inch square panels adorned with bits of styro-foam, magazines, cans, bottle caps and other debris. Many of the panels contain environmental messages about the problem of trash and the importance of clean water. The artists assembled the panels using biodegradable glues and paints. Even the hangers on the backs of the panels are recycled pop-tops from aluminum cans.

Although the panels are meant to stand on their own, when they are displayed together, they form a mosaic that spells out the phrase “Water is life.” RIOT will be giving most of the panels to friends and associates as both an interesting keepsake and as a reminder of just how vital Atlanta’s only water source truly is. The ultimate reveal will be an animation showing how the individual panels fit into the larger mosaic. RIOT plans to auction off 20 of the panels with the all of the proceeds going to UCR.

riOt On thE rivEr

Doppler Studios has hosted several ADR sessions lately for major motion pictures. The upcoming Sony Pictures film “Obsessed” stars Idris Elba, Beyonce Knowles, and Ali Larter. Elba, who came in for several hours of ADR, is best known for his work on the crime drama series “The Wire.”

Doppler engineers John St. Denis and Jonathan Jory hooked up with Sony mixing engineer Brian Smith in Los Angeles via an EDnet bridge. Doppler used an APT ISDN codec for the connection and ran the session in Pro Tools 7.4. Producer William Parker came to Doppler to help conduct the session with Elba, who synced his dialogue to video using Avid Mojo video interface and Doppler’s 50 inch flat screen Panasonic television.

Jodi Benson, the original voice of The Little Mermaid, Ariel, came to Doppler to conduct the ADR for Pixar’s “Toy Story 3.” The film is due out in June of 2010 and boasts the same all-star cast as the previous two, including Tom Hanks as Woody, Joan Cusack, Michael Keaton, and Tim Allen. Rochelle Hirsch and CommExpress International, Inc. provided a video teleconference between the producers in L.A. and voice talent Jodi Benson here in Atlanta, while Doppler engineers Shawn Coleman and Fay Salvaras provided the time code and audio feed via ISDN. Coleman and Salvaras used a U-87 and a TLM 170 to mic Benson.

Atlanta hip hop star Bow Wow came in for an ADR session for Patriot Productions’ latest, “Hurricane Season.” Engineers Jonathan Jory and Josh Coleman re-corded the session in Pro Tools 7.4 and patched in producer Todd AO and director Tim Story from Los Angeles via Doppler’s APT codec.

ADR sessions also held at Doppler recently include those for “The Curious Case of Benjamin Button,” “Tyler Perry’s Madea Goes to Jail,” “American Summer,” and “Surrogates,” a Walt Disney Motion Pictures production with Bruce Willis.

atL’s aDr CEntraL

Plan B Productions’ Clay Walker will participate in the 8th annual AIDS/LifeCycle 545 mile bicycle ride from San Francisco to Los Angeles in seven days to raise funds for the San Francisco AIDS Foundation. All funds raised from the May event will directly help someone living with HIV/AIDS live a more healthy and digni-fied life.

On the work front, Walker worked as assistant editor and editor on episodes 9 & 10 of the TBS mini-series “My Manny” which aired on TBS during “House Of Payne” and “Meet the Browns.” Finally, the restored and re-mastered version of Clay Walker’s 1996 documentary “Musical Candy” about the Squirrel Nut Zippers screened at the 2009 Park City Film & Music Festival.

LOng miLEs fOr gOOD WOrKs

Compliments of RIOT: 2,200 pounds of refuse removed from the Chattahoochee River.


circus-12.08.pdf 12/22/08 3:37:17 PM


OZ ceteRA


Many companies have created an extensive licensing and merchandising department, devoted exclusively to the exploitation of a company’s trademarks.

The trademark licensing business has really blossomed over the last 10 to 15 years. Before that, the trademarks of a company were pretty much used exclusively by the company as branding to identify its products or services. Little thought was given to putting a trademark on a product identified with the branded product sold by the trademark owner. Then came heavy luxury marketing which created a consumer fascination with logos, particularly on clothing. The haute couture designers, quick to pick up on the value of their names and logos, began expanding their business and sales by putting their distinctive trademarks on garments and accessories which they did not manufacture. Even though they often had a hand in designing these items, they frequently licensed the use of their trademarks and exercised much less control than previously. Then colleges, universities and professional sports teams also got the message and discovered the value of their trademarks. The business has exploded to the point where people have almost become walking billboards for designers, universities and sports teams.

In the traditional relationship between an agency and a client, the creative products of the agency, once paid for by the client,

become the exclusive property of the client and the agency loses any opportunity to reap benefits, which might

accrue from additional marketing of a character trademark. To be sure, the agency is usually well paid for its creation

of a successful advertising icon, and frequently reaps additional benefits through awards and the

knowledge of its contribution to the successful campaign. This inevitably leads to additional

business, but it does not include any residual value in the character.

So if an agency were to want to participate in this marketing opportunity, how would it go about

setting it up? What would any agreement for participation cover? Here are some thoughts and

considerations on how to set up an arrangement for an agency to participate with a client in a trademark

exploitation program.

First, the arrangement would only work with characters, and not with more traditional logo trademarks. And second,

the arrangement would be limited to participation in

the revenue derived from licensing opportunities, not the use of the character by the company itself. That said, this type of a program might be well suited to a situation where a client has difficulty paying the full price for the creation of an advertising campaign. Here the client would essentially “trade” some of the upside potential for a portion of its costs to develop the character and the advertising campaign. However, the client might be quite capable of funding its advertising expenses but willing to allow the agency to have a piece of the action. In this situation the agency should be ready for the client to negotiate fees down a bit.

Ownership of the character is also an issue. Generally, the client would own the character, but it is possible that the agency could license the character to the client. Responsibility for registration and registration maintenance of the character as a trademark for the client’s products or services (and for secondary licensing products) must also be assigned. Also, part of an arrangement will be the issue of enforcement of infringement situations.

Once the character is created, the agency should bargain for a commitment from the client to devote a certain amount of financial resources to the identification and marketing of the character. If the character does not become relatively well known, its licensing value is minimal. In addition, issues of products acceptable to the client and products, which the client would not permit, must also be determined and agreed upon, or at least a system for approval must be set up. Quality control and other typical licensing issues must be covered and settled upon.

Finally, the money. Profit participation levels, allocations, contributions towards licensing expenses, basic accounting, and the usual steps of verification of income, expenses and profits must be established.

All of these issues are important and each arrangement will vary with the parties, their circumstances, wishes and desires. But for an agency that wishes to reach for the brass ring, a program of this sort could pay big dividends.

Put another way:

The character mark was both bold and brashWith piercing blue eyes and a bushy moustacheA brand icon for cigarsWhen attached to fast carsIs how the agency got in on the cash.

cOLUMN OZ

© February 2009, Jon Lee Andersen. All Rights Reserved.

Although not the norm, many characters created by ad agencies have become famous trademarks for their clients. Many of these trademarks have developed a life of their own, providing their owners with a handsome revenue stream from licensing activities. In some instances, these character marks virtually become a product themselves, sometimes with what seems to be a marginal association with the owner’s products or services.

CHARACTERS,AGENCIES

AND $$$$By Jon Lee Anderson, Esq.

MOREMAKING

OUT OF

LESS

By BOBBy L. HIcKMAN


SUrE, yOU’rE AS TIrEd OF rEAdING ABOUT HOw BAd THIS rEcESSION IS AS MOST jOUrNALISTS ArE SIcK OF wrITING ABOUT IT. LAyOFFS, BUdGET cUTS, crEdIT crUNcH, TArP, SLOwdOwN – THE dAILy LITANy OF BAd NEwS BrEEdS ITS OwN FOrM OF dEPrESSION.

The creative industry is not immune. Yet several Atlanta companies are finding innovative ways to survive and, dare we say it . . . even thrive during tough times. From new agency models to M&A to more employee opportunities, the creative community is taking the energy normally farmed out to paying clients and applying it on its own behalf, finding ways to survive the downturn and position themselves for future growth.

Guy Tucker of Ask Guy Tucker, who does recruiting for advertising, interactive media and television, said he knows several companies that have converted former employees to freelancers. “The intention is to bring them back as employees when things are better,” he said.

Tucker, whose company also consults on mergers and acquisitions, said some companies are looking to acquire weaker practices. Some firms may not be doing well financially but they still have strong talent. Others “may have weathered the storm on their own,” but still find value in partnering with a larger firm.

“There is a lot of busywork going on,” Tucker said. Agencies are responding to numerous RFPs, following up with existing clients, making pitches, revising their own web sites and generally being proactive. “But they really want to be sending out RFBs – requests for billing.”

FLETcHEr MArTIN GOES PErFOrMANcE-BASEd

About two years ago, Fletcher Martin, totally retooled how it does business, according to Andy Fletcher, CEO and president of the integrated marketing communications agency. Their answers: move to performance-based compensation and take a larger voice in their clients’ marketing strategy.

“I can’t say we did it with full knowledge that the economy would be in the condition it is today,” he said. “But we did it knowing the economy runs in cycles, and that a down economy was on its way. “

Fletcher said that when the change began, he joked the company had determined “there are only three things wrong with our industry: how companies find us, what they ask us to do, and how we’re compen-sated.”

One factor is that agencies “continue to be hired and fired far more rapidly than they used to be,” Fletcher said. “The average tenure of an agency relationship has dropped from more than seven years to less than three.” The advent of agency search firms “didn’t seem to be having a positive effect on the client-agency relationship or the length

of the tenure,” he added. His firm disagrees with “giving the search responsibility to someone other than the executives of the marketer. So, if a search firm is engaged to find a new agency, we skip on that.”

Fletcher also said the agency decided to no longer take new clients “who did not allow us, at the very least, to challenge the marketing strategy they operate under.” The agency prefers to generate a new strategy. “We were no longer going to be yet another in a series of agencies who tried to find yet another way of saying something funny or different for a client’s existing and, unfortunately, failing strategy.”

Fletcher Martin’s watchwords are now, “It just doesn’t matter how well you say the wrong thing.” He said agencies “are asked every day to say the wrong things for their clients. We want our clients to give us a clean slate to look at the overall strategy.”

Another shift: clients pay for strategy. “We have become an industry that no longer charged for that, or charged far too infrequently,” Fletcher said. “We would give away our thinking and then try to get paid for executing.” He said the agency “took a long, hard look at ourselves, and realized many of the best recommendations we made to our clients were never acted upon. And the reason they weren’t, in our humble view, is that they weren’t valued. And they weren’t valued because they weren’t paid for. We believe people don’t value free.”Once clients pay Fletcher Martin to craft a strategy, the client can give it to any agency they want to execute the strategy. But the agency does make sure its recommendations can actually be executed. “Many consulting companies will never be faced with executing their recommendations, and they frequently make recommendations that cannot be executed. We make sure ours can be.”

Differences continue if the client hires Fletcher Martin for execution, he continued. “If we execute the strategy that you paid us to develop and it is not more successful than the strategy you were executing prior to that, you owe us no more money. If the work is moderately more successful, you should pay us moderately more money. And if we knock it out of the park, and our client makes an untold fortune, we would make more money.”

Fletcher said one of the problems with the traditional agency model is that “clients pay the same for success as they do for failure. That makes them a little angry . . . particularly when they fail. We want to be paid more for success. And we don’t think we should be paid at all if we fail.” Fletcher does not know of any other agency in the Atlanta area doing

“wE HAvE BEcOME AN INdUSTry THAT NO LONGEr cHArGEd FOr [STrATEGy] Or cHArGEd FAr TOO INFrEqUENTLy...wE wOULd GIvE AwAy OUr THINKING ANd THEN Try TO GET PAId FOr ExEcUTING.”

-ANdy FLETcHEr,FLETcHEr MArTIN


performance-based compensation. Perhaps two dozen across the country are following that model, he added, and most are startups.

For existing clients, Fletcher Martin still provides services under traditional agreements. Most have incentives in the model, but not necessarily pay for performance. Fletcher Martin has five clients where pay is based on performance.

But how do companies measure improved performance? Every client is different, Fletcher said, but “there is not a company in America that doesn’t know whether they are more successful today than they were a year ago. However they gauge it – sales, market share, margin improvement -- that’s fine with us. We only get paid for the growth we help them achieve.”

The new approach is also exciting for Fletcher Martin’s staff. For years, creatives found themselves “tackling assignments for clients and wondering whether it would work. That’s demoralizing. This way, we’re doing work that we 100% believe is in the client’s best interest.”

With the economy in tatters, “the world has changed,” Fletcher said. “I used to think that all research done prior to 9/11 is moot – you could throw it all out. Now, I’m not so sure that all information we have on consumer behavior may also now be moot due to this economic situation. I think we’re undergoing a fundamental change in behavior in this country, and marketers are really going to have to get their arms around that. Old strategies are not likely to work much longer.”

THE TITAN AGENcy TrIES “qUASI-PErFOrMANcE”

While Fletcher Martin has migrated to performance-based compensation, The Titan Agency is trying a “quasi-performance based” project, according to Tony DeMartino, CEO and president of the advertising agency. Titan has teamed up with a wholesale travel company on three projects for hotel properties in Miami. Because of the economic downturn, hotels do not have cash for a marketing program to drive people traffic. “What they do have is rooms and rela-tionships with wholesalers,” he said. In this project, the wholesale travel company sells hotel rooms and pays Titan based on how many are sold. The deal includes a guaranteed level of income based on current business levels.

“You’ve got to think that way in this environment,” DeMartino said, “We’re actually hiring people because of this project – we’re bucking the trend.”

DeMartino also said Titan is changing its focus to add an online component. “We want to be the one agency that starts the strategy and coordinates both the offline and online world, so you’re delivering the right message at the right time to the right people. We’re teeing ourselves up for when things start to turn around.” He added the current economic climate “changes the conversation between clients and agencies. Clients will take a harder look at their expenses with an

agency and what kind of return they get. If you’re a smaller agency who can do the work of a bigger agency, it provides you an op-portunity to talk to clients, especially with traditional and online converging.”

THE PArTNErSHIP ExPANdS vIA M&A

One firm turning to M&A is The Partnership, according to David Arnold, president of the advertising, interactive and design agency. He said, “We’re expanding, trying to diversify ourselves into as many markets as possible.” The Partnership has acquired some interactive companies and new vertical markets specialists, and is talking with other potential targets.

Arnold said there are a number of verticals that are under considerable stress at the moment, while other sectors are faring well. The company is seeking additional vertical companies in technology and interactive. For example, The Partnership recently “acquired a company out of San Francisco that does a lot of Silicon Valley work, including health and beauty work with Este Lauder.”

The agency is “pushing really hard” into interactive, launching Partnership Interactive a year ago, Arnold noted. “Clients are looking for alternative ways to spend their marketing budgets outside of traditional media. They are seeing that the Internet is growing, and that there might be efficiencies and cost savings in those areas.”

Arnold used what he calls a “Yellow Brick road” philosophy: “You’ve got to have heart, brains and courage to get through these times.” For The Partnership, “the brains part is diversification, and finding new opportunities and ways to adapt to the market,” he said. “Heart” refers to “being really sensitive to your employees. We spend a lot of time training them, and we’re like one big happy family here. You want to keep them and you want to keep them happy.” He said “courage” simply means “not to panic. Every market has turned around, and this one will turn around as well.”

He added, “If you’re patient, you’re smart, you’re careful with your dollars and careful with your business, then I think you can survive this.”

rEALM AdvErTISING MOvES UPSTrEAM

When ad spending began turning down in late 2008, Realm Advertising decided to implement a new strategy – tackle larger companies. As a result, the company has grown by 8% and added four new employees over the past six months.

“During a downturn, the knee-jerk reaction is to go after smaller accounts,” said Eric Berrios, Realm’s director of strategic development. “Historically, when times get tough, agencies look downstream for easy wins. Instead, we started to go upstream, targeting the larger companies that would have been out of our reach before.”

“HISTOrIcALLy, wHEN TIMES GET TOUGH, AGENcIES LOOK dOwN-STrEAM FOr EASy wINS. INSTEAd, wE STArTEd TO GO UPSTrEAM, TArGETING THE LArGEr cOMPANIES THAT wOULd HAvE BEEN OUT OF OUr rEAcH...”

-ErIc BErrIOSrEALM AdvErTISING

Even compared to downturns in the 90s and the dot-com bust, “this has a fundamentally different mood,” said Berrios. “We can’t just dig our heels in and try to survive. Contractions will hurt our agency, our staff and our clients.”

He said Realm realized that when times get tough, “don’t think small and lock down. During difficult economic times, large corporations are looking to maximize their budgets, and are open to working with smaller agencies that can offer creative ways to do so.”

GEOrGIA FILM/Tv PrOdUcTION rISING

Despite the recession, the film and television business in Georgia has rebounded over the last several months -- thanks largely to a new state 30% tax incentive. Ric Reitz, a writer, actor and past president of the Georgia Production Partnership, said the package allows companies to create entertainment on smaller budgets. “That’s one of the ways the incentives work in a down economy.”

Reitz said, “We’re actually seeing growth in Georgia for this kind of business as a result. That’s not to say that people are getting a huge volume of work or making a lot more money. But people are finding creative ways to survive.”

He said Georgia’s media industry has enjoyed beneficial timing since the new state incentives were signed into law last May. Georgia had been getting 10 or less projects a year versus as many as 30-40 during the industry’s heyday a decade ago. “We got more than 20 for 2008,” he said. “We hope that in 2009, we grow at least 50% -- maybe even double that.” The industry expects to reach 40 to 50 projects per year by 2010.

As of mid-February, there were 13 projects “on the ground” in Georgia in various stages of development and production. Those range from small, independent features to one with a budget that could reach $67 million, Reitz said.

Growth in major film and TV productions “opens up a lot of possibilities,” Reitz said. “A lot of crew members and actors matriculate up to do the larger projects. That creates the vacuum for other people to move into the commercial and industrial markets, the stuff that generally keeps us alive. With growth in major film and television episodes also comes opportunity in small screen productions.” Entertainment is not necessarily recession proof, Reitz said, but demand remains steady. “The bottom line is that production costs will shrink and new business is created.”

EdELMAN SEE KEy OPPOrTUNITIES

Ed Patterson, senior vice president of Edelman’s Atlanta corporate practice, says that the difficult economy opens up several opportunities for the public relations firm and its employees.

Ironically, Patterson said, when companies look at cutting marketing costs, that trend “gives us more attention at a higher level – particu-larly the C-level. Those executives might not otherwise be as engaged as the CMO or vice president of marketing. So they learn a bit more about the benefits of marketing in a down economy. We are getting more attention from the C-suite. We can show existing clients and new prospects that public relations gives a good ROI.”

Patterson also said the agency is changing its long-range positioning from public relations to public engagement. “People have more sources

where they find information other than traditional media, such as television and print. We need to talk more about public engage-ment, how we can connect with them one-on-one as opposed to hoping they read the article or see the ad.” Online and social media are playing a significant role in that transition for consumer and B2B clients alike.

Some clients are trimming budgets, and his agency is no more immune to the impact of a tough economy than are his clients. Patterson has turned to an “old school” corporate approach from earlier downturns: cross-training employees. “It’s always important for people to wear more than one hat,” he said. For example, his area is corporate and B2B, but he also draws on people from the consumer team for talents his clients need.

“wE’rE AcTUALLy SEEING GrOwTH IN GEOrGIA FOr THIS KINd OF BUSINESS AS A rESULT. THAT’S NOT TO SAy THAT PEOPLE ArE GETTING A HUGE vOLUME OF wOrK Or MAKING A LOT MOrE MONEy. BUT PEOPLE ArE FINdING crEATIvE wAyS TO SUrvIvE.”

-rIc rEITzGEOrGIA PrOdUcTION

PArTNErSHIP

“wE ArE GETTING MOrE ATTENTION FrOM THE c-SUITE. wE cAN SHOw ExISTING cLIENTS ANd NEw PrOSPEcTS THAT PUBLIc rELATIONS GIvES A GOOd rOI.”

-Ed PATTErSONEdELMAN ATLANTA

“Tough economic times allow some the opportunity to work on different pieces of business,” he said. “I’d advise anyone, not just those in a PR firm, to use this opportunity to do something dif-ferent. It’s going to make you much more valuable, and you’ll gain some experience that you otherwise would not.” Patterson added, “We can’t control economy and we can’t control every client’s marketing budget. But for an individual, you can control how you approach it.”


OZ cOLUMN

Ten years ago an automotive company asked me to write a summary of IT training products that were being pitched to it. I gathered the vendors’ marcom, spread it out before the techs, accountants, and motorheads, and listened while they began to make a $600k decision.

Advertising 101 teaches that a headline has one job: Pull Prospect Into Copy. Well, by that honest metric, all the headlines were equally useless — because these prospects were diving into the copy regardless.

On that day, in that room, Hey Buddy was as strong as the most creative, compelling, engaging headline ever written.

Why? Were they just big readers?

* * *

David Ogilvy was an acknowledged past master, one of the most creative copywriters ever. But just as “everybody talking about heaven ain’t going there,” everybody praising DO ain’t getting him.

No, he didn’t coin If it doesn’t sell, it isn’t creative. Benton & Bowles did that. But Ogilvy said Amen. And he said something else that flows from that principle, especially in B2b marketing:

Some copywriters, assuming that the reader will find the product as boring as they do, try to inveigle him into their ads with pictures of babies, beagles, and bosoms.

This is a mistake. A buyer of flexible pipe for offshore oil rigs is more interested in pipe than anything else in the world. So play it straight.

Whoa — more than anything else in the world?! What about the kids? But in fact it’s precisely the buyer’s success with flexible pipe that keeps a roof over the kids. And to lead this pipe buyer, man or woman, into copy about this “boring” subject, a picture of or headline about pipe at work performs better than Baby Cute.Ogilvy rejected “the cult of creativity.” And B2b

marketers ignore him at their peril, especially now when customer fists are tightening. Hard truth: The R-word is about to become a D-word, and deeper cuts are coming in our industry.

But some marketers continue to “educate” clients with a hat trick. Great creative, they say, is that which sells! But to prove how great their own creative is, they show not sales results, but ad awards — which, as everyone knows, are about creativity.

See the trick? Clients do. They didn’t just step off the turnip truck. And they already suspected the dirty secret: Ad awards are completely unrelated to ad effectiveness.

Some clients even know about Taco Bell’s talking Chihuahua. Dinky was huge! Trinkets, t-shirts, talk of a movie. But even though Dinky won a Grand EFFIE, he couldn’t sell a taco. The Bell fired him, along with its CEO and its agency, in one of Advertising’s Great Failures.

(Memo to Taco Bell marketers: Ignore the focus groups, but tail ’em home. If they stop at Burger King — rethink!)

Yet back and forth these creative cultists hop, like hares in a dreamscape. Taco Bell’s former agency still shows Dinky’s EFFIE to its dimmer prospects, and Emory fronts a brain-wave lab to “tie it all together.”

What arrant nonsense.

* * *

Do awards ever honor ads that move product? Of course. But they also honor ads that don’t — the Clio was notorious for rewarding losers — and if the spotlight shines everywhere, what good is it? Clients know.

Awards value shock over relevance. Sometimes it has a place, as when the Marlboro Man told his partner he had emphysema. That stopped some eyeballs.

But more often — in marketing, art, politics, or other endeavors — epater le bourgeoisie is a sad substitute for effective work.

* * *

I love awards shows — many of the winners are truly inspired. And I tell prospects about my own modest awards, because they obviously mean something.

But what, exactly? Are the award-winning ads really the same ads that “sell more stuff”? Prove it — and those who make the claim bear the burden. Show real numbers. As a pesky client might say, Yo quiero evidence.

Industry vets with bigger chops than mine disagree. Well, let’s discuss it. What better place than the pages of Oz? And what better time than now? After all, some of us won’t be here next year.

VOICESLESSONS FROM DETROIT AND DO by Steve Marshall

Steve Marshall’s Strong Language provides written excellence to help companies transfer knowledge and drive action in marketing, corporate, and technical communications. www.StrongLanguage.biz


TEMPORARY

BLISSBy Kate Siegel

The economy. It’s a dark cloud

looming in the news, at dinner tables,

and around the water cooler. A rainy day has

arrived. It’s happened before, it will

happen again. Veterans of Atlanta’s

creative staffing firms know how to navigate

the pitfalls . . . and the opportunities . . .

for those back in the job market, and for

clients who still have branding, marketing

and advertising messages to get out

even though the full-time creative

staff may have been cut.

THE TEMPTREND

As you might expect, “We have definitely seen a decrease in permanent placements versus temp placements,” says Cindy Caldwell, a creative and technical recruiter at a national staffing firm, and “unfortunately, we have also seen a decrease in the number of positions available. The types of positions available have decreased as well, and demand for different skill sets has changed even in just the last three months.”

Nancy Pineda, president of Hire Profile, Inc., concurs. “People you thought would be at their companies forever are now looking to us for help. People who were clients are now looking for work.”

The talent pool is robust and skill levels are higher notes Amy Ingram, area manager at Aquent in Atlanta. “Agencies have a shifting talent base, with more creative directors, art directors and senior writers available. There’s also less demand for photography.”

While Caldwell agrees that the size of the talent pool has increased, “the quality has not necessarily improved. I am seeing less ‘fresh’ and ‘new’ talent as far as designers go.”

Guy Tucker, a headhunter for advertising agencies nationally, says business has changed dramatically. He primarily recruits for permanent positions but has had more requests for temporary/freelance positions because companies don’t want to take on the cost of providing benefits to full-time employees. More clients want RFPs, too. “There’s more tire-kicking going on than in the past,” he says.

He expects demand to continue to diminish with perhaps an up-tick occurring for freelancers this summer if the stimulus package takes hold. But since Atlanta had taken an earlier hit, it may take longer to recover than the rest of the country. “It’s a waiting game,” says Tucker. Everyone is waiting for the cash to start flowing again.

As a local firm, Hire Profile feels very connected and loyal to the Atlanta market. “We don’t want to see our talent going to other markets, and we don’t want to see other talent coming here and taking jobs,” Pineda says. Her staff is often affected personally by news of job losses. “Our biggest challenge is overcoming sadness — the initial disbelief and sadness, the thoughts of ‘We love you, and you’ve always stuck with us.’”

But it’s not all grey skies, doom and gloom.

A firm may not be able to hire outright, Ingram points out, but it still needs the deliverables so it will contract freelancers instead. “People who would never have intended to be freelance are now out there,” says Pineda, “and that’s the best news for clients, because now they have access to them.” With the higher level of ex-pertise available, employers can get more

bang for their buck. “It’s cost-effective and a great value,” she explains. “They pay talent for a single project, and then use the results for a year.”

It’s a smart way to try new people, too. Before committing to a permanent hire (or making a change to existing personnel), an employer can “test drive” freelancers. Then, when the workload increases or funding becomes available, there’s a ready short list of candidates who could easily step in and get up to speed.

THE UPSIDE TO THE E-SIDE

“Some multi-media companies are doing quite well,” Caldwell says. “Companies who can get creative with their offerings and business partnerships will succeed in riding out the recession better than their competitors and more traditional businesses.” Says Caldwell, “Web design and graphic design positions comprised 75% of my positions before. Now the positions are more web development and technical-based.”

“During a downturn, companies often rethink what they do and how they do it,” says Tucker. “It’s not such a bad thing to be reminded to review your business practices and make changes.”

Ingram has seen a “big, big push” for anyone with web experience, in any area from marketing to development including Flash/HTML coding, information architecture, social media, global marketing, and mobile technology. Social marketing, in particular, has shifted how big companies look at their budget.

In the ad industry, Tucker is also seeing a trend toward new media positions, with agencies tending to hire

personnel from the digital company they used to go to for occasional projects.

SELf-HeLP and SkIll SETS

Creative professionals looking for work must seriously focus their efforts. Experience is key, and employers want to see it. “Send fewer, choice samples,” says Tucker.

Hiring managers will probably spend mere minutes looking at each resume, so you have to “brand yourself, market yourself, define what differentiates you,” Ingram says. “It’s no longer OK to have a resume and a cover letter. Punch up and tweak your resume for what they’re looking for so that experience jumps out.”

In fact, Aquent will develop a marketing plan for high-skill individuals, and then approach their contacts in the corporate world with a snap-this-person-up-while-

“during a down-turn, companies often rethink what they do and how they do it. It’s not such a bad thing to be reminded to review your business practices and make changes.”

-Guy Tucker

“Agencies have

a shifting talent

base, with more

creative directors,

art directors and

senior writers

available. There’s

also less demand

for photography.”

-Amy Ingram


you-can pitch. In some cases, Hire Profile will take people who have never freelanced and coach them. “We’ll actively profile talent to clients,” says Pineda. “People we’ve known for years and have been friends with will get preferential treatment.”

“Network, network, network,” says Caldwell.

Hire Profile’s Pineda is adamant about using sites like LinkedIn, Facebook and Plaxo. “You need to be in social media, even if you think it’s for kids. Get over it. You’re walking away from opportunities to connect. You never know who’s going to be the one to be your advocate,” she says. “The idea that you don’t mix business and pleasure is sort of a myth. I grew up in a small town, and in the ’50s and ’60s, business got done on weekends, in back yards, at barbecues. Then in the ’70s and ’80s, we got so politically correct we stopped talking about life,” she continued. “We like to connect real people and real personalities to projects.” The status updates of a writer she is friends with on Facebook are so funny that Pineda said she would definitely recommend her for a humor writing job, something that wouldn’t have occurred to her based on the woman’s resume or portfolio alone.

While nurturing your network is important, it’s equally important to make a good first impression. “Give yourself a presence online so that if a future employer does a search on you, the first thing they come across isn’t your MySpace page,” Caldwell recommends. (Try doing a Google search for “Cindy Caldwell” to see her QAlias page, for example.)

“Don’t pigeon-hole yourself by restricting your search to just one industry or geographic location,” says Pineda. Consider a wider range of salaries, too. “The candidates who are willing to accept a variety of hourly

rates get placed much more frequently than those who insist on a specific minimum rate for every job.”

Flexibility is good, but Tucker cautions, “Don’t overreach.” Follow the established path of your career trajectory, and resist the temptation to try to morph into whatever position is available, especially when it’s a long stretch. “Instead of

applying for 15 jobs that sort of match, go after the three that fit really well and do it with a passion,” he says. “Tell the truth. Be prepared.”

fIRM STRATEGIES

By the same token, employers should make it easy for creative talent to identify suitable positions. “Information is king,” Ingram says, and job descriptions should include a specific deliverable or skill expertise at a minimum.

And even though it’s a buyer’s market out there, Caldwell says employers should still try to be competitive with salary and benefits. She recommends advertising a position on the company’s web site and on job sites more specific to the industry, like AIGA, DICE and Computer Jobs, to reduce the likelihood of being bombarded by irrelevant resumes. “Of course, utilizing a staffing service may not be a bad idea either,” she says.

Indeed. Employers do have more choices, but finding the right people can be difficult and quickly over-whelming. A staffing agency helps navigate the process and efficiently deliver vetted talent. Pineda says using her company can turn what could be a weeks-long search into placing a working expert in as little as 24 hours if needed.

Many corporate and agency clients have had their budgets slashed, so business, not surprisingly, is less than anticipated

for creative staffing services. In response, recruiters are getting more savvy themselves, working longer, harder, leaner and more targeted.

Instead of reviewing five portfolios a day, Tucker is looking at 15 to 20 and then refining his recommendations down to about three well-suited candidates in an effort to make it easier for his clients to make decisions.

Ingram has stopped using major job boards to advertise positions, although she will occasionally post on niche sites. She reach-es out to companies announcing layoffs, such as Macy’s in its recent downsizing. And she turns to her “tried and true talent” for referrals.

“I am continuing to leverage my networking relationships,” says Caldwell, as well as educating her clients on their options: contract, temp-to-perm, permanent placement. “We are continually calling on our clients to remind them that we are still here and ready to help them when they are ready to hire again.”

“Where others are retreating, we’re moving forward,” Pineda says. One of their key competitors has left the market, and Hire Profile is launching a new marketing campaign with a referral element. It rewards anybody who recommends a talent who is placed, or a client who fills a position.

Freelancing as a work style will continue to grow. And that could be the silver lining for those who are prepared and adapt. Anybody “long in the tooth” in this industry has adapted to change and probably will adapt again. And anyone who wants to be considered a veteran of this industry will do the same.

“Companies who can get creative with their offer-ings and business partnerships will succeed in riding out the recession better than their competitors and more traditional businesses.”

-Cindy Caldwell

“The candidates who are willing to accept a variety of hourly rates get placed much more frequently than those who insist on a specific minimum rate for every job.”

-Nancy Pineda


Michelle Clark Fry, a relatively low-tech gal who is director of creative services for the Hayslett Group, a local communications firm, says “LogMeIn is heaven-sent.” Several years ago, she began taking projects home to work on in the evenings, and needed a way to connect to her computer and servers back at the office. “That’s when I discovered LogMeIn. Now, gone are the late nights and early mornings by myself in the office, the countless burned CDs, the confusion over which files are the most recent, multiple trips back to the office, etc.” In their place, Michelle claims convenience, instant gratification and the comfort of working in her PJs while drinking a beer on a Saturday evening. And, with a three-month maternity leave looming, Michelle is looking forward to working from home with baby . . . and beer . . . at her side.

Walt Wooden is anything but low-tech. Running his own graphic design firm, Wooden Ewe, out of his home, he has come up with some pretty nifty solutions to his problems. One is his hidden of-fice, which is accessed through a secret passageway in his bedroom. Another is his heated bathroom floor, which, like almost everything else in his house, he designed and installed himself. But the object he says he cannot live without is not one of his creations: it’s his TiVo DVR. Wooden says TiVo has changed the way

he watches television. Now he can search for shows he likes, program them to record all season long, pause live TV on the commercials (ouch!), and do other things that he believes make his life better. How many hours a week does he watch television? He said about twenty, but he as-sures us that he’s not addicted. And the shows he watches? He wouldn’t say, but we’re guessing all the home improvement shows are on his radar . . . er, TiVo.

Just as TiVo has changed the way we watch television, the Internet has changed the way we communicate. Lyn Albers, a designer with BAD Graphics, is addicted to the Internet. As a matter of fact, she gets the shakes whenever she cannot surf the net. “If someone were to whisk me away to a remote island without Internet access, I’d be in need of a fix after a few days . . . depending on the com-

pany. Don’t get me wrong, I’m all for the splendor of nature, tranquil-ity and relaxation. But, come on. Can’t I have that and see another cat that looks like Hitler?” She told me about a camping trip she went on with her son’s Scout troop, and how helpless she felt when she couldn’t go to Google to prove to the boys there were no such things as vampire frogs. Back in civilization, Albers uses the Internet to access the New York Times op-ed section, have a conversation with her brother in Japan, check her bank statement, make a logo bigger, find the font with the perfect lowercase “g,” and see if her Amazon shipment has arrived. Like all addicts, Albers adapts and multi-tasks to meet her cravings.


Michelle Clark

Walt Wooden

Lyn Albers

TENbits

So, juSt how dependent are we upon technology?

Oz recently asked a group of

creatives what they use every

day that they could not live

without – anything from gizmo

to gadget, software to

hardwire, teapot to TiVo.

Here is what they said.

By Waitsel Smith


The Internet has many tools for both hunting and gathering information, depending upon your personality. Paul Van Winkle, senior VP of business development at Ai Digital, is a hunter, and Google is his choice of weapons. He says Google and its servers have made his life search-friendly and faster in a multi-dimensional way. “I love ‘em for that. As a seeker of knowledge, experience, ideas, connections, information, music, film, literature, visions, places, people and things, without Google at the fore of my door to the web, such activities would remain plodding, two-dimensional, limited and less organized. Hail, Google! I am made more whole, integrated and happier with thee. I grow, they grow, we grow.” Weni, widi, wiki. It’s amaz-ing how these testimonials turn, sometimes into well-written ads, and sometimes into coronations.

Bill Higgins, on the other hand, is a gatherer. As senior visual designer with Yahoo, Higgins’ tool for gathering information is an RSS feed reader. A lot of people have heard of RSS feeds, but many don’t know what they do. In a nutshell, you subscribe to the information providers you want (e.g., blogs), and that information is brought to you on a regular basis through your RSS feed reader and in a format you have some control over. Bill calls his read-er “the consummate browser.” He goes to it half a dozen times a day to gather trivia

and content, mostly about design and art, and for inspiration. Whom does Higgins identify as the main users of RSS feeds? Is it an age thing, or what? He said he thought most users were probably techies, like himself, because it is fascinating technology.

Tracy Martin works in the magical film industry as director-producer for Medallion Pictures. She just recently landed a job on the Lifetime film “The Wronged Man,” and she said part of the reason she got it was due to her BlackBerry. Being on the go as she is, Martin is not always in front of her computer when an email arrives with a job opportunity. She would have missed this one if her BlackBerry hadn’t notified her. And now that she has the job, she’ll be on the go even more, and her BlackBerry will help her keep up. “In the film industry, you have to react quickly. And when you’re looking to hire, you just cannot depend on email. That’s why I love my BlackBerry.” What color is her BlackBerry? She said, “Red, like my car.” Sounds like love.

Greg Crawford, senior sound designer for Crawford Post, is also in love. The object of his attraction? His recording console. “After thirty years in the business, it’s like my security blanket. These days, many recording engineers are mixing with mouse

and computer screen. I like having knobs, fader and buttons in front of me. Maybe it’s an old guy thing, I’m not sure. Also, a console generates a lot of warmth, which can be a very comforting thing.” We’re with you, Greg. Comfort is a beautiful thing – especially in times like these.

Paul Burton, Illustrator and Web Designer with 16toads Design, knows how to get comfortable. He just puts his favorite gadget, a teapot, on the stove, and pretty soon he’s wide awake and ready to work. He said it also helps his digestion. Inquiring tea drinkers must know: What is Burton’s favorite brew? “Mighty Leaf.” And the flavors he currently sips? “Green Tea with Mango and Black Vanilla Bean.” Not everyone will understand how

someone could not live without a teapot. But if you’re a tea-drinker, there’s no question. It’s a lot like Greg Crawford’s soundboard: warm and comforting.

Mark Adent, executive VP of sales for Bennett Printing, is comforted by his iPhone. He likes it because it allows him to have everything together in one place: music, emails and phone. That would be a formula for distrac-tion for some, but evidently it works for Adent since Bennett is one of the premier printing companies in Atlanta. We asked Adent what makes an iPhone different from a regular cell phone or even a BlackBerry. He said one of the biggest things is its ability to read PDF’s, Word documents, slide presentations, etc. (In the past, BlackBerry has needed a third-party source to do that.) As a side note, one of the best sales pitches ever has to be an iPhone owner demonstrating his new toy at a cocktail party. Boys and girls love to show off their toys.

With a slightly different mindset, Jamey Guy, a photographer and blue-grass picker, told me plastic, as opposed to some other material, was his favorite thing. He said it wasn’t full-blown love, though. It’s actually love-hate. Guy has a problem with his relationship ecologically. “What will eventually happen to all the plastic in the world?” Perhaps “WALL-E” answered that for us: It will take over the planet and we’ll all end up on spaceships cruising the galaxy as bloated couch potatoes, addicted to our technological

gadgets of choice.

Before that happens, perhaps there will be a backlash of anti-technology sentiment. We’ll all become earthtones, maybe more like hippies and back-to-nature people. In which case, Paul Burton’s gadget, the teapot, will become the most useful of the lot. And some were laughing at it!

Writer’s note: My gadget of choice is a pencil. There’s nothing more comforting than rich graphite on good quality art paper. It makes me all warm and fuzzy inside. Seriously.

Lyn Albers

Bill Higgins

Paul Van Winkle

Paul Burton

Tracy Martin

Greg Crawford

Jamey Guy

Mark Adent

TENbits


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