Category Archives: Featured Articles

Bobby Hougham gives direction to The Walking Dead star Norman Reedus.

Killer Instinct

Seattle Production Company Shoots International Promos for The Walking Dead

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

That’s Bobby Hougham, co-creative director of Seattle-based production company thenewBlank, discussing his time on the set of The Walking Dead, the zombie-centric AMC series that is now in its third season. Earlier this fall, thenewBlank traveled to Atlanta to shoot international promo spots for the series, and Hougham and his team were able to see firsthand what it’s like to live during a zombie apocalypse.

Bobby Hougham gives direction to The Walking Dead star Norman Reedus.

This series of promos is part of a package for Fox International. thenewBlank has also recently shot promos for Glee, New Girl, Ben and Kate, and American Horror Story, among others.

“Fox had just rebranded but didn’t know how to develop it for promotions and social media, etc.,” explained Hougham. “We were contacted and we did a full blown pitch—we developed a bunch of different ideas on how the rebrand could be used in multiple circumstances.”

Since this was an international project, a big challenge was the communication barrier.

“The Fox U.S. tagline is ‘So Fox.’ which doesn’t translate well into many other languages,” said Hougham. “We worked on developing different tags and different promos that would work on a wider scale.”

thenewBlank won the bid and got to work.

The team traveled to Hollywood Center Studios in L.A. to shoot promos for Fox comedies like Glee and New Girl.

“We shot on the stage—the actual stage—that Lucille Ball’s show was shot on,” said Hougham. “Right next door to that stage was the George Burns stage, where he did his show. From that Hollywood history point of view, it was a very cool experience.”

But it was nothing compared to what the team would encounter in the woods outside Atlanta.

“We were on The Walking Dead’s set, sharing their studio space,” said Hougham. “All of their stages were jam-packed full of stuff, so we were tucked into interior sets for our shoot.”

As enormous fans of the show and the comic book on which it’s based, the team at thenewBlank was enthused to not only be on set, but to walk around in between shoots and explore the Walking Dead world, from the prison yard to the various interiors. Working closely with the cast of a production is a part of regular life for thenewBlank, however this production was a particularly unique experience. It wasn’t merely that the production offices were set up in The Governor’s office or that you would find dead bodies lying around just outside their set, it was more about how the close-knit cast and crew accepted them as part of their team.

“During the shoot we were welcomed in,” said Hougham. “We definitely got an amazing sense of camaraderie. They’ve been working together for nine months in the middle of nowhere and we had the distinct feeling we were a part of that family.

“For the Hollywood shoot, all of these actors are hustled in on their off days, and they’re told, basically, ‘you gotta stand up and act pretty for these random people.’ But on Walking Dead, they were coming from rehearsal. They came in between takes. It wasn’t so much of an inconvenience or a hassle for them, but more of a ‘welcome to our home.’”

That’s not to say Hougham and crew were always completely at ease. He described working with the zombies—referred to as “walkers” in the show—as “remarkably creepy.”

“The walkers don’t see, but they hear and smell really well,” said Hougham. “So you have these people milling about, and then you cue them that they hear or smell something. Looking right into the lens, it looked and felt as though they were looking at and hunting me.

“After that, I needed to go ‘shake it off.’ It was really creepy; really cool.”

And the creepiness factor didn’t wane in between takes.

“I came out of lunch, and down the hall I see three walkers having a smoke and BS-ing. Saying to myself, ‘Oh sure, I’ll bite,’ I headed over and started talking with them,” recalled Hougham. “They were in full makeup—I mean, full on dead and rotting—but they’re talking and behaving like normal, living human beings, of course, and I still caught myself getting the chills. Even in real life they are just bizarre, just creepy. And when they’d snap back into their ‘zombie’ mode, you just wanted to run.”

Hougham co-wrote and directed the spots, which were shot over five days in September at an undisclosed studio in Atlanta.

“Kammie Mcarthur wrote initial drafts of the scripts, and I worked with her and finessed the final scripts,” he said. “My partner Sevrin Daniels has been handling the creative direction and post-production side of things.”

The final promos are delivered as After Effects templates that can be easily altered to fit the needs of the various countries it will be shown in. Said Hougham, “We’re creating these promos that are pretty boiled down but certain things like iconography and text can be altered without headache.”

Upon completion of the Walking Dead promos, thenewBlank team was back at it, traveling to Wales for Da Vinci’s Demons, a Starz and BBC production that Fox is distributing nationwide. The team will also soon be shooting another promo for a different show, but Hougham wasn’t at liberty to say which one.

“The Fox promos are an ongoing project,” he said. “It’s a big project and we are thrilled to be a part of it.”

No rest for the weary, apparently. Especially during a zombie apocalypse.

Tom Skerritt and Shirley Knight with director Gary Lundgren on the set of Redwood Highway.

Independent Feature Filmmaking Roars Back into Southern Oregon

Tom Skerritt and Shirley Knight with director Gary Lundgren on the set of Redwood Highway.

By Gary Kout, Founder & Executive Director, SOFaT
Photos by Gary Kout and Gary Lundgren

Southern Oregon has been the backdrop for many feature films, starting all the way back in 1914 with Grace’s Visit to the Rogue Valley. Though generally an uncommon event, a strong flurry of filming began in 2000 with at least one independent film being shot every year in the area. Then in 2010, filmmaking came to a screeching halt with no films being made, and in 2011 there were only two micro-indies with budgets in the $100,000 range or less.

Those keeping tabs on the industry know that private equity, the usual source of funding for indie production, had become incredibly difficult to procure. The distribution models for independent films had also been going through a fundamental shift, with fewer and fewer theatrical opportunities, skewing everything towards the less lucrative digital markets. Finding money and making money had dropped through the floor.

Redwood Highway films at It's a Burl.

But late 2012 saw a dramatic change in the production landscape as not just one, but two good-sized independent films, both with strong creative talents and recognizable casts, filmed in Southern Oregon. Eager to shake off the dust from their long break, the local industry rose up to meet the challenge.

Night Moves, the latest film from critically-acclaimed director Kelly Reichardt, was the first film to roll cameras. Reichardt’s last two films, Wendy and Lucy and Meek’s Cutoff, were both multiple award nominees and winners at major festivals. Continuing her preference for filming in Oregon thanks to its wide range of locations, film-friendly environment, experienced crews, and competitive incentives, Reichardt and longtime screenwriting partner Jonathan Raymond set their latest story of eco-terrorism in the small communities and beautiful landscapes of Southern Oregon. The movie stars Jesse Eisenberg (The Social Network), Dakota Fanning (the Twilight series) and Peter Sarsgaard (An Education).

The second film was Redwood Highway, the follow-up feature from the creative team behind Calvin Marshall, starring Steve Zahn, which also filmed in Southern Oregon in winter 2007. Redwood Highway tells the story of Marie, a resident at a retirement community who decides to walk 80 miles down the Redwood Highway to see the coast of Oregon for the first time in 45 years. The movie stars award-winning veteran actress Shirley Knight (As Good as It Gets), with strong supporting roles by Tom Skerritt (A River Runs Through It) and James LeGros (Point Break).

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

Thanks to our familiarity with the local industry, director Gary Lundgren, my fellow producer James Twyman, and I cast several local actors, many of whom perform with the acclaimed Oregon Shakespeare Festival and have strong Hollywood film and TV credits.

Living up to its name, Redwood Highway filmed primarily along the actual Hwy 199, Southern Oregon’s main route to the coast. As travelers along the fabled highway know, many interesting and incredible sites await them. The filmmakers wanted to recreate that experience, making the movie a sort of greatest hits of the Redwood Highway. Their filming locations included Lake Selmac, Eight Dollar Mountain, It’s A Burl, Cave Junction, Great Cats, Rough and Ready Bridge, Jedidiah Smith State Park (in California), and the beautiful coast in Brookings, Oregon. Other locations filled out the production schedule, covering a large swath of Southern Oregon: Mountain Meadows Retirement Community in Ashland, Talent Club in Talent, the Applegate River Lodge, and downtown Grants Pass.

Night Moves also filmed all over the region, from as far north as Roseburg, east to Lake of the Woods, west to the Applegate Valley, and the main population centers of Medford and Ashland. All told, there wasn’t much of Southern Oregon that didn’t see cameras roll, nor feel the economic impact of feature filmmaking.

Southern Oregon Film and Television (or SOFaT for short), the membership-based local professional association and de-facto film commission for the region, assisted both productions. SOFaT provided strong recommendations about the filmmakers to local public agencies and private businesses, which helped to acquire locations, smooth the various permit processes, and perpetuate the already pro-filming attitude in Southern Oregon.

Director Gary Lundgren with actresses Michelle Lombardo and Shirley Knight on the set of Redwood Highway.

When both productions inquired about local crewmembers and services, SOFaT directed them to its online directory where many professionals in the local industry list their contact info, credits, and links to samples of their work. As a result, many SOFaT members were hired to work on both productions. Such employment not only contributes to the local economy, but it builds the resumes and raises the overall experience level of the local industry, making those members and the region more attractive to future productions.

SOFaT and the Southern Oregon industry hope that 2012 is merely the start of another busy decade of filmmaking, and is already working hard to springboard the results and ramifications of Night Moves and Redwood Highway into future filmmaking activity.

For more information about making your next project in Southern Oregon, visit SOFaT at or contact us at

Gary Kout is the founder and executive director of Southern Oregon Film and Television and a producer on Redwood Highway, as well as having worked on four other feature films in Southern Oregon. He was the production supervisor on the 2011 Academy Award-winning animated feature Rango, starring Johnny Depp, and has line-produced over 100 national commercials.


On the Record: Bad Animals

Media Inc.’s interview series, in which we discuss the latest and greatest with a different Northwest company each issue, continues with Bad Animals.

An Emmy Award-winning audio post-production facility, Bad Animals provides sound design/editing, original music, ADR, Foley, and mixing for projects ranging from episodic TV and feature films to video games, corporate and commercial. The Seattle-based studio is led by partners Dave Howe, Tom McGurk, Mike McAuliffe, and Charlie Nordstrom.

Here is Howe, on the record.

Bad Animals has a long and storied history. What is the biggest change you have seen over the years?
Our biggest change has been the diversification of our clientele. When we took over as owners in 1999, we were primarily a commercial house. Now we probably don’t have more than 20 percent in any one genre (TV/film, corporate, commercial, etc.).

What do you like best about your job?
I love the fact that it’s different every day with new challenges that keep me growing. I also truly enjoy the people that I get to interact with; co-workers, clients, celebrities, politicians, corporate execs, you name it, they all walk through our doors. I joke about what it would cost to have received the education I’ve gotten over the years from being around these people.

What is one recent project you are particularly proud of?
I know it sounds hokey, but there really isn’t one I can place above another. I still get passionately involved with whatever I’m working on at the moment. My goal is to always keep setting the bar higher and make my next project better than the last. I can say I’m proud of many projects for various reasons. Sometimes it’s because of the nature of the work, but many times it has to do with the subject matter and the people that I’m working with.

Who or what inspires you, either personally or professionally?
I have been fortunate to have been mentored by some great people. My old high school baseball coach, Ron Davini, was a huge inspiration. He instilled a work ethic and discipline that pushed me to be far better than I knew I could be. This related not only to baseball, but translated to life as well. A post-supervisor/editor at Universal, John Elias, taught me it’s not about the gear or tools, it’s about relationships and always bringing your best effort to anything you do. And lastly, I want to mention Palmer Pattison. Palmer was probably the best audio engineer I’ve ever been around and more than willing to pass on his knowledge and experience to me when I was still pretty green in the business.

How important is it for your company to connect and engage with your surrounding community?
This is where we live and work, so it’s vital to be involved. It’s important to try to help continue the development of this market because if the market as a whole grows, we all reap the benefits. We try very hard to give back and support local causes and artists. We do this through various outreach activities such as seminars, tours, discounted rates, sponsorships, etc.

(l to r) Dave Howe, Mike McAuliffe and Tom McGurk at the Emmys.

Bad Animals has earned many prestigious awards over the years. What are some of your most gratifying professional accomplishments?
I’m very proud of the national Emmy Awards for Bill Nye the Science Guy and also the Emmy nominations for BizKids. The fact that these are voted on by industry peers means a great deal. I also had a Dolby rep from New York tell me a film I mixed was one of the best mixes he’d ever heard. That was an awesome moment.

If you were not in the recording/audio industry, what would be your dream job?
It’s easy. Jet fighter pilot. I grew up an Air Force brat and was around flight lines a lot as a kid. It was a really tough decision to not follow my dad’s footsteps into the Air Force.

If you could be anywhere in the world right now, where would you be?
I’ve lived all over and the one place I always look forward to returning to is right here in the Seattle area. We are fortunate to live in a place of incredible beauty and opportunity.

One Square Mile director Charles-Olivier Michaud speaks with Rainier Beach residents about production. Photo by Chris Swenson

Washington Warms Up with Summer Production

By Jessie Wilson, Programs and Communications Coordinator (Interim), Washington Filmworks

Washington was buzzing with activity during the busy summer shooting season. From production resources to funding assistance, Washington Filmworks (WF) was busy assisting both incentive and non-incentive productions around the state. The WF Board of Directors approved funding for several projects, among them a national commercial that included a number of aerial shots featuring Mount Rainier. Not only did the commercial capture the beauty of one of our state’s natural treasures, it put more than 40 Washington-based cast and crew to work.

In the Seattle area, the Washington incentive feature One Square Mile found a home in the neighborhoods collectively known as Rainier Beach. The film, starring Kim Basinger, Richard Jenkins, and local Auburn High School graduate Cam Gigandet, shot a total of 10 days at 3 different residences.

Line producer Mel Eslyn was pleased with the welcome that the film received. “Rainier Beach literally opened their doors to our production,” said Eslyn. “Neighbors offered up their homes as locations, and visited our set with baked goods for the hardworking crew.”

One Square Mile director Charles-Olivier Michaud speaks with Rainier Beach residents about production. Photo by Chris Swenson

Deborah Moore, One Square Mile producer, felt as if the look of the area was perfect for their production. “The juxtaposition of the working class neighborhood set against the beautiful backdrop of the Seattle skyline with views of the water on two sides added a striking visual layer to our film,” she explained. “It said a lot about our characters and literally was a made-to-order location for us.”

Not only did the area offer amazing visuals, but the relationship between Rainier Beach and the production was mutually beneficial.

“Several neighbors let us use their backyards and other areas for staging equipment and personnel,” said Dave Drummond, One Square Mile location manager. “On warm evenings many of them came out to watch the action from across the street.”

Production brought business to the area as well. Added Drummond, “The Rainier Beach Merchants’ Association provided us with information on local restaurants and businesses, which we took full advantage of.”

On the eastern side of Washington, incentive feature film Admissions, starring Andy Garcia and Vera Farmiga, returned production to the Spokane and Pullman areas.

Admissions writer and producer Glenn German discussed their decision to partner with North by Northwest Productions (NXNW) in Spokane to make the feature film. “I had never been to the Pacific Northwest and didn’t know what to expect when we came to scout,” said German. He acknowledges that while the film wouldn’t have happened without Washington’s film incentive, he discovered a hardworking group of extremely talented crew at NXNW who made the experience of creating Admissions extraordinary.

“What began as a financial incentive became a collaboration that I and my fellow producers are tremendously grateful for,” said German. “The services and the caliber of the crew in Eastern Washington were wonderful. Across the board, from costume designers to production designers to editorial, all of the departments were first-rate. There isn’t a better group of people in the film industry. These are really special, hardworking craftsmen.”

Admissions scouted nearly 40 colleges in 6 states to find the particular look they wanted, finally selecting the campuses of Gonzaga University and Washington State University (WSU). “Both campuses had the locations we wanted, but they were gracious hosts, too,” said German.  “We felt completely welcome. The students were excited to participate and all of our needs were handled warmly by the campus staff.”

Both German and director Adam Rodgers were met with such hospitality that they intend to revisit the campuses once Admissions is released. “Our time there was so inviting that we want to return to WSU and Gonzaga,” said German. “We’d like to screen the film, answer questions about production, and share our knowledge on the business of film with students and staff who are interested in filmmaking.”

German and Rodgers see a return trip as a small way of giving back for a fantastic overall experience. “This was a really exceptional partnership,” said German of his time shooting in the state. “One that included NXNW, Washington Filmworks, the campuses of Gonzaga and WSU, and Washington cast and crew. We hope that the quality of the relationship will be reflected in the caliber of the final product.”

With the renewal of the film incentive this past spring, Washington Filmworks couldn’t be more proud to bring an influx of film business back to Washington. If the collective experiences of this summer’s incentive productions are a sign of things to come, locations, cast, crew and vendors in both Eastern and Western Washington are enthusiastically welcoming back production, too.

Scotty Iseri (right) and one of The Digits’ characters, Pavi, discuss a scene.

‘The Digits’ Blasts Off

Portland Filmmaker’s New Web Series Makes Learning a Digital Adventure

The school year has barely begun for millions of American children, but what bothers Portland-based Web series producer Scotty Iseri is that this means there’s also millions of homework questions floating around unanswered, especially about math.

Scotty Iseri

So Iseri conceived a new Web series designed for children 7-to-11 who are struggling with math comprehension. His series, The Digits, strives to make math learning cool through interactive storytelling. Now with a number of episodes already on YouTube for Schools, The Digits ( is also available as a new app (or “appisode”) that launched to iTunes and Android Market in mid-September.

The characters of The Digits began asking kids and parents to submit their brain-stumping questions in episode four about right triangles. Want Pavi to answer about parallelograms? No problem. Want Gorgolax to field your long division quandaries? No worries. You can even ask the recycled robot Ray Ray or the airheaded The Galaxy Twins, Chad and Becky, their thoughts. Fire away in the YouTube comments section, and by subscribing to the channel, parents and kids are notified of a new episode each Wednesday.

Scotty Iseri (right) and one of The Digits’ characters, Pavi, discuss a scene.

Unlike the majority of educational apps and Web series, The Digits was created under the guidance of a curriculum designer and implemented by a 20-year veteran schoolteacher. Iseri strives to address a slightly older age group than most educational apps, aimed at later elementary students (third through fifth grade), which is a critical time in a child’s development. This is the age when kids are making affinity choices and they’re deciding who they are, what they like, and what they’re good at. It’s also when math and science start to get more difficult; math moves from simple arithmetic and into more abstract concepts like fractions, or geometry.

This non-traditional media product is also using a non-traditional funding model. The Digits is a start-up and is working with Angel Investors to create it. Iseri plans a suite of shows and toys focused on a STEM (Science, Technology, Engineering and Math) curriculum.

“Television viewership is down and kids are more likely to have access to a smartphone than a desktop computer,” says Iseri. “Instead of fighting for limited broadcast bandwidth, we want to go where the audience is: on phones, tablets and YouTube.”

The Digits plays on mobile devices as well as on the web.

He continues, “Most children’s content (from TV shows to games) is funded by advertising, and the reality is that ad-funded programming does not have children’s interests at heart. This is a new business model for launching an entertainment product. We’re a company that wants to do well by doing good.”

The Digits began as a fellowship with the Center for Asian American Media (CAAM). Iseri set the Web workaday world on fire with Web series Scotty Got an Office Job in 2009, and before that led The Paper Hat project in Chicago. His long-touring comedy rock act “The Big Rock Show” also landed him on the Dr. Demento show.


On the Record: Blue Plate Digital

Media Inc.’s interview series, in which we discuss the latest and greatest with a different Northwest company each issue, continues with Blue Plate Digital.

The Seattle-based production and post-production company maintains an innovative, creative, and customer-oriented approach to their work, which has earned them a loyal, growing client base. According to the team at Blue Plate, “We specialize in productions that our clients can afford, and have developed a long list of raving fans that keep coming back.”

Here is Brian Pelzel (producer/director/owner) and Doug Cooper (director of marketing strategies), on the record:

How has the post-production industry changed throughout the years, and how has Blue Plate Digital been able to adapt?

Blue Plate Digital's edit suite.

Good question. The biggest change in post-production in the last 10 years has been in workflow. The old days of overnight or multi-day rendering projects are no longer an issue, along with digitizing tape. Today’s workflow takes advantage of faster processors and HD cameras recording to flash media instead of tape. This makes the post process more efficient, so we can pass that savings on to our clients.

What do you like best about your job?
Every day is different, and we get to bring visions to life, so our clients can reach their goals.

What is one recent project you are particularly proud of?
We recently won the Wild Waves account, and have been able to raise the bar on their television and radio production significantly.

Who or what inspires you, either personally or professionally?
How we approach creative, and how we execute the creative. It’s how we do it that sets us apart.

How important is it for your company to connect and engage with your surrounding community?
Very. We are very connected to the West Seattle community, as well as the rest of Seattle. We are active in the Seattle Chamber of Commerce, Downtown Seattle Association, and the Seattle chapter of The Better Business Bureau.

What are some of your most gratifying professional accomplishments?
The fact that our clients keep coming back time after time, project after project.

If you were not in the production industry, what would be your dream job?
Being an innovator.

If you could be anywhere in the world right now, where would you be?
Right here.

If a genie granted you 3 wishes, what would you wish for?
More office space, more hard drive space, and world peace.

The Benefits of Working With an Ad Agency

By Malania Calugas Guest Columnist

There is a method to the madness, a psychology, a formula, a science! A good agency is going to understand your product, target audience, demographics, and what type of advertising will give you the most success. We add the sizzle to your steak; create a plan, and execute it. Everyone knows advertising your business is important, but many don’t understand the true value. It is no secret how many millions are spent per minute during the Super Bowl in advertising. The real question is, what is the worth of a new customer? An agency will know the best strategy.

You can have the best products or services, but what if no one knows about them?

We “technically” work as an ad agency. You may have a consultation for a Web site, but you may need to crawl before you can walk. For Web design and development, we may have to begin at the branding or marketing plan before even getting to the technical infrastructure of the site. The four main components to any good Web site or ad campaign are: Business, Creative, Technical and Marketing.

Let’s build a Web site!

My favorite analogy to give clients is this: You wouldn’t have a decorator build your house, do the plumbing and electrical, and then sell it, too. Think of the business side as the blueprints and objectives. Do you have a business/marketing plan? Is this an addition, new location, service or product? The creative side is your branding: logos, marketing materials, writers and design.  Technical is the development, programming and functionality. This is where you benefit from having an agency involved; it takes a team to build a great site or ad campaign, and an agency acts as the project manager.

To market your Web site, the big trends right now are in social media and search engine optimization (SEO). Customers always want to know how to be in the top results of the search engines. This is a combination of things, starting with the coding of the site and searchable content; try to avoid sites fully developed in a video format. The more links you have coming in and out of your site, the better. And most importantly, keep your site up to date. Social media can be customized and integrated, feeding content to your site, which is also great for keeping things current. Imagine every time a change is made to your site, you get back to the front of the line.

So whatever your objective may be, a diversified agency will help you develop and execute your project!

Malania Calugas is president and CEO of Realite Networks in Seattle. Visit

Photographers/Photography Studios

Please view digital edition of Media Inc. magazine for full contact information and list of services provided. This list can be found on page 68 of the digital edition.

If you would like to be added to the Photographers/Photography Studios list please email Katie Sauro at for a survey.

Photographers/Photography Studios

Listed Alphabetically



Appeal Studios/Linna Photo

Adam Bacher Photography

Kate Baldwin Photography, Inc.

Gary Benson Photography

Bernstein Productions

Blackstone Edge Studios

Brofsky Productions, LLC

Bob Byrd Photography

Melanie Conner Photography

Conrad & Company Photography

Michael Craft Photography

Jared Cruce Studio

Rick Dahms, Photographer

G S DeBré Imaging

DeGabriele Photography

Flying Trolley Cars

Harper Studios, Inc.

Ben Kerns Photography

Lance Koudele Photography

KRAYS Productions Inc.

LensSmith Photography

Lommasson Pictures LLC

Don Mason Photography, LLC

McGowan Photography

Jeff Miller Photography

Rosanne Olson Photography

Timothy J. Park Photography

Parks Creative, Inc.

Pixel Light Studio

David Putnam Photography, Inc.

Redstone Pictures

Kenneth Benjamin Reed Photography

Jeff Romeo Photography

Smith/Walker Design and Photography

Straub Collaborative, Inc.

Studio 3, Inc.

Voda Brands

Wattsmedia, Inc.

Dean Zulich Photography LLC