SHOOT has long embraced industry trade associations and organizations, with reportage chronicling in many cases their birth and most assuredly their evolution, their concerns, issues, setbacks and accomplishments. Our opinion pieces and coverage have also at times provided advocacy and momentum for landmark developments, such as inclusion of commercials in the DGA Awards competition, the establishment of a primetime commercial Emmy Award, and the crafting of economic filming incentives specifically designed for commercials and branded content like those in the State of New York lobbied for successfully by the AICP.
We have provided support–both editorially and in terms of sponsorship–for the very first AICP Show, AICE Awards and HPA Awards, and that commitment is ongoing, also encompassing most recently the ICG’s Emerging Cinematographer Awards.
SHOOT reported on industry bid forms when they were in the planning stages for such groups as the AICP and AICE. We even took an advocacy position in support of the formation of organizations such as AMP. SHOOT has provided a forum for and lent a voice to the industry and specifically to associations as they have championed myriad causes and tackled varied issues.
We’ve enjoyed cooperative relationships designed for the betterment of the industry, including SHOOT’s annual New Directors Showcase which benefits from being hosted and supported by the DGA and is held at the Guild’s Theatre in NYC.
Thus for our 50th Anniversary Issue, it’s most appropriate that we look back on industry organizations, their achievements, and their agendas for the future. While we work with many more industry organizations than listed here, we are pleased to include a great cross-section in this article. We posed the following questions to heads of select trade associations and unions:
1. Looking back, what are among the prime accomplishments of your organization in terms of contributing to the betterment of your membership and the industry at large?
2. Share with us your current agenda. What are your association’s/organization’s priorities today?
3. Looking to the future, what are the most pressing questions for which you are still seeking answers as you push for your association/organization and its members to continue to progress?
4. Who has been your industry mentor and why? (Optional question)
5. Would you like to say something about your and/or your Association’s relationship with SHOOT? (also optional)
Here’s a sampling of the feedback we received:
Michael Becker, North America managing director, Mobile Marketing Association (MMA)
1. The MMA exists to serve its members and all the constituencies of the mobile marketing industry. In the past year the MMA and its members have accomplished quite a bit. The MMA and its members have:
• Created leading industry events, education and networking opportunities, MMA events, like the MMA Forums in New York, Los Angeles, London, Singapore and Sao Paulo, have brought together thousands of marketers, mobile marketing professionals, and providers to share their insights and expertise in order to further the growth of the mobile marketing marketplace, and to show marketers how they can deliver value to consumers “through” and “with” the eight mobile media paths, i.e. directly through SMS, MMS, Email, Voice, Mobile Internet, Content, Applications and proximity channels and with mobile-enhanced traditional media
• Produced and delivered leading industry research and insights, the MMA has produced over 50 original research studies and briefs within 5+ counties in the last year. This research provides evidence of the shift of marketing spending and investments towards mobile, the effectiveness of mobile marketing practices — including mobile advertising and mobile commerce — the applicability of the media channels to directly engage consumers, and consumer insights and mobile consumer adoption trends. The results of these studies provide the industry with actionable insights to effectively engage consumers and generate an ROI through the use of mobile marketing practices. In addition, the MMA has promoted its members and the industry in over 300 events, briefings, and articles throughout the world.
• Refined and delivered updated standards and regulations, the MMA, through its Consumer Best Practices, Advertising Guidelines and numerous through-leather ship whitepapers (e.g. mobile commerce and rich media whitepapers), and through alignment with other organizations like the Internet Advertising Bureau, Direct Marketing Association, GS1, GSMA, and others, has and continues to guide the industry and provide the industry with self-regulatory guidelines and principles to ensure that as an industry we protect the consumer while supporting the growth of a sustainable industry.
2. The MMA and the leadership derived from its membership has been a cornerstone in the Mobile Marketing Industry for years. This will not only continue, but accelerate as the use and the diversity of mobile marketing solutions accelerate. The MMA and its membership will continue to support the industry in embracing and understanding the value generating engagements that can be had for both the consumer and the marketer through the proper use of mobile marketing and the practices of mobile advertising and mobile commerce, both of which fall within the general constructs of mobile marketing. The MMA is aligning its focus to the needs of consumers and marketers. To this end it will be focusing on:
• Industry standards and best practices: including advertising guidelines, its Consumer Best Practices (not just for messaging but all media paths), and best practices that demonstrate the effective use of mobile marketing strategies and tactics
• Measurement: measurement of consumer acceptance and adoption, total industry spend as a proxy measure of industry health and growth, and the “effectiveness metrics” of mobile marketing as the consumer engagement medium both through direct mobile media as well as the influencing engagement affect mobile has on traditional media
• Education: the enhancement and regionalization of its mobile marketing certification program, as well as the addition of MMA Member and Educational Committees, mobile marketing training and certification courses (both in-person and virtual)
• Promotion: both the promotion of the industry and all we learn from the three activities above, as well as the members of the MMA
• Protection: to work alongside our members and the other leading players in the industry to ensure we continue to enhance our consumer and commercial self-regulatory principles, guidelines, standards and best practices so that they stay locked-in-step with the growth of the industry, and the mass consumer adoption and use of mobile marketing practices.
3. The MMA, along with its members, is perfectly positioned to help the industry grow and co-create value with consumers and the rest of the players in the market. The biggest questions that the MMA faces, as will all organizations in the next few years, are: where to focus? How to reduce the complexity and fragmentation in the industry, and how to make it easier for marketing and consumers alike to engage each other in value-generating activities through and with the mobile medium?
The value-generating capacity of mobile for the purposes of marketing and consumer engagement is unquestioned; however, there are many moving parts to the process, and it is quite easy to get distracted by the vast number of new and existing “shiny balls” that crosses one’s path. In other words, the key is to focus on three fronts: 1) the needs of the consumer and the convenience of information and activities they’re looking to derive through the use of the eight mobile media paths, 2) the marketer and their unique needs as they look to integrate mobile and related marketing efforts into their marketing repertoire in order to service their customers, and 3) the specific mobile marketing strategies, tactics and capabilities that will service the needs of both the consumer and marketer. The MMA and its members will continue to strive to answer these questions and step up to the challenge of synthesizing everyone’s needs within the industry and show how cross-sector alignment can be achieved in order to efficiently deliver value to the market.
Going into 2011 the MMA sees a number of opportunities. The industry entered 2010 with a weak economy and the question on many marketers’ minds was “is it time to invest in mobile?” In 2011 we are leaving the weak economy behind us and the question of mobile marketing relevance. The economy has righted itself and the value of mobile has been proven time and time again. Moreover, In 2010, in North America specifically, we finally hit the critical point of 20+ penetration of smartphone use in the market, the tablet computing class of devices has firmly taken hold as a new and unique channel, and the market has developed a healthy respect for all the mobile media paths (SMS, MMS, Email, Voice, Mobile Internet, Voice, Applications, Content, Proximity Channels) and sees value in each–value not just in terms of direct engagement but also value in the influenced engagement that mobile has on traditional media and channel engagement. In 2011 we’ll see continued growth adoption and use of mass and niche-market applications of mobile marketing solutions; moreover, we’ll see growth in a wide range of location, commerce and personal data management and preferences solutions. 2011 is going to be really fun!
4. I live and breathe, on a daily basis, from the input of hundreds of people around the world, both MMA members and non-members alike. This last year, however, I’ve been fortunate enough to spend a significant amount of time with individuals like Louis Gump, VP of Mobile for CNN and recent winner of the MMA Lifetime Achievement Award; Federico Massamormile, CEO of Hanzo and MMA chairperson; Herve Le Jouan, CEO of Privowny and MMA vice chairperson; Carol Basile, CFO for the MMA; Matt Harris, CEO of iLoop Mobile. Each of these people, and so many more, have shared with me their insights; what is required to help develop a common understanding amongst numerous continuances in the face of apparent competing requirements and resources. I have learned from them that a sense of service, self-sacrifice, and through personal and diligent teamwork an industry can be formed, grown and developed into a sustainable value creating force.
5. It does not matter if one is a veteran in mobile marketing like CNN and Louis Gump (winner of the MMA 2010 Lifetime Achievement Award) or a student just getting into the game, the MMA can be of service. The MMA and its membership have global reach as well as regional relevance. Through the MMA one can obtain a global picture of the mobile marketing industry, but also learn how to adapt this picture locally to one’s own needs. Moreover, through the MMA one can find insightful knowledge, develop new and maintain existing relationships and partnerships, contribute to the industry and establish oneself and one’s company as a leader, and obtain the tools and talent one needs to succeed in this exciting, fast paced, value-creating and growing industry. Moreover, the MMA is global. However, the MMA cannot support the industry without valued partnerships with organizations like SHOOT. As the saying goes, “it takes a village,” and the MMA respects and supports the contributions of key players like SHOOT.
Michael Goi, ASC, president, American Society of Cinematographers (ASC)1. The ASC, the oldest artistic organization in the motion picture industry, invites great cinematographers from around the world to join its ranks. Its primary mission is to increase awareness of how the artistry of cinematography enhances a motion picture, to investigate and explore the technologies used in the creation of motion images, and to educate the next generation of image makers. In recent years, the ASC has expanded the methods of its outreach to include electronic media, characterized by the release of the Toland Digital Assistant iPhone app, which is based on the information contained in the American Cinematographer Manual, the acknowledged industry standard reference book. The ASC and its Members are regularly consulted by the major studios, manufacturers and other organizations for their expertise. The ASC Technology Committee has been and continues to be a key figure in the industry’s efforts to establish and maintain a capture and post production workflow that allows for the fullest potential of many media to be utilized.
2. The Society is partnering with other industry organizations, such as the PGA, the Art Director’s Guild and the Visual Effects Society, to determine best practices on subjects such as digital cameras, post production workflows, virtual production, and film and digital archiving and preservation. The ASC is also hosting an International Cinematography Summit Conference (ICSC) in May 2011, to which every cinematography society in the world has been invited for the purpose of opening communication on these and other subjects of importance, and to bring us together on issues of evolving technology. In addition, our new subscription benefit, Friends Of The ASC, is proving to be a valuable learning tool for young cinematographers because it gives them more direct access to our members, and it provides them with technical tips, instructional videos and interviews that they cannot see anywhere else. It has become the means by which other cinematography societies have learned about our organization and our members as well.
3. Questions regarding how the traditional craft of cinematography fits within the virtual production world has certainly been a hot topic since the release of Avatar (photographed by Mauro Fiore, ASC). Members of the ASC are first and foremost visual artists of the highest caliber. The tools may change, but their vision remains unique and indispensable, whether it be accomplished with a tungsten lighting kit or a super computer. Our members have always led the way toward the most effective methods of harnessing new technologies and utilizing them to their fullest artistic potential, and will continue to do so. Also, the digital world has opened a Pandora’s Box of unanswered questions regarding the longevity and stability of digital files. If the work we produce today is still to be seen by an audience one hundred years from now, these questions will need to be answered.
4. George Spiro Dibie, ASC, invited me to become an active part of shaping the future of our craft, first by having me participate in seminars for Local 600, then by sponsoring me for Membership in the ASC. He demonstrated to me that in order to keep doing what we love to do, we must be willing to fight for the power to influence the decisions critical to our craft. I did not get into the business with the intention of becoming president of the ASC; it was the natural progression of my desire to make the industry better.
5. In the highly specialized field of commercial advertising, SHOOT Magazine has established itself as an important resource for what is happening now, and who is doing it. My congratulations on your 50th Anniversary Issue.
Nancy Hill, president/CEO, American Association of Advertising Agencies (4A’s)
1. There are numerous examples of 4A’s contributions to our industry. Our goal has always been to improve the advertising/marketing industry in terms of standardization of business practices, keeping abreast of technological developments and maintaining sound ethics.
The 4A’s Standard of Practice, which takes a firm stand on truth in advertising is a document that our members are committed to follow. Another example is the 4A’s continued commitment to self regulation; we were among the founding organizations of the National Advertising Review Council (NARC) and the Children’s Advertising Review Unit (CARU), both of which are strong entities today.
Throughout our existence we have faced diverse industry issues, from our recently released position paper on compensation to our more than 30-year involvement in talent union negotiations. In the area of technology, we took an early stand on the monitoring of commercials, as well as our involvement in helping to create Ad-ID, an asset management system. Another important area is Production and every year since 1962, we have produced the Television Production Cost Survey. I believe that the stability in production costs demonstrated by the survey in recent years, particularly during this period of economic downturn, is a reflection of how well production companies and 4A’s members partner to manage advertisers budgets.
2. Our world is constantly changing and our members have to make sure that advertiser’s messages disseminated in whatever variant is the messaging vehicle of the second. The 4A’s must always be aware of the current trends, as well as anticipate the future. In doing this, you’ll note that our core mission is still ethics, technology and forming the foundation that allow our members to maintain the highest level of business standards and growth.
This past March, the 4A’s took a major industry lead when we introduced our first Transformation Conference, which will be held again in 2011. For the first time, the various advertising and marketing players got together in the same room at the same time discussing the common issues. This spirit of community is vital to our industry’s growth and success.
3. First, (the late) Charles Edwards who when our company shuttered its consumer division in the early 80’s told me “that (I’d) probably love the agency business.” And, pointed me in the right direction.
Second, Laurie Coots at TBWAChiatDay who has always given me sage advice, introduced me to people I should know and technology I should be using. And third, Bonnie Lunt or “she who must be obeyed” as she is known by anyone who knows her. Even when she didn’t agree with my choices, she always had my back.
4. As the premiere source of information about the production aspect of our industry, whether commercials, long-form or digital, SHOOT has been an industry force for more than half of the 4A’s life. Certainly, in recent years we have jointly faced our rapidly changing technological world. The 4A’s and our members have relied on SHOOT‘s excellent reportage for 50 years.
Russell Hollander, Eastern executive director, Directors Guild of America (DGA)1. Our job is to protect the economic and creative rights of our members — in this case, our members who work in commercials. Along those lines, we’ve negotiated agreements to protect our members’ economic and creative rights, and we’ve established superior healthcare and pension benefits as well.
Additionally, we recently developed the Code of Preferred Practices, which is a set of guidelines for directors, advertising agencies and production companies that address things like giving commercial directors the opportunity to deliver a first cut to reflect their vision for the job, while taking into account agency and client needs and advertising/marketing strategies. This was very important to our members.
We also look to the future to make sure our members remain competitive no matter how the business evolves. For instance, we expanded our agreement in 2001 so that we have jurisdiction over commercials in all media, whether made for broadcast television, the Internet, mobile phones or future devices still to come.
Aside from the economic accomplishments, we’ve developed a community so our members who work in commercials can discuss the art and craft of their work. And I also think it’s important that we’ve built a strong relationship with producers, in particular the Association of Independent Commercial Producers.
2. We are always working to protect and extend the benefits that we’ve established over many years for our members. One key element includes maintaining the strength and sustainability of our pension and health plans.
From a creative rights perspective, it’s important to keep working to increase our members’ creative rights. We’re also working to increase the director’s role as one of the key creators in commercials. We are continuously working to make sure our agreements remain flexible enough to deal with emerging media and low-budget areas, so our directors can remain competitive even as the environment changes.
3. In an ever-changing business environment like this, it’s very important to keep up to date on new technologies and try to figure out which technologies will last and which might not, making sure we’re making projections based on real data and careful and professional examination of the trends and numbers. We’re always doing research and analysis and trying to figure out where things are going. By the way, even with all the emphasis out there on new technologies, we certainly don’t believe television is dead — it’s still the primary form of advertising in this country and will be for many years to come. But it’s important in any case to pay close attention to how commercials are changing.
Dawn Hudson, executive director, Film Independent1. Most proud of: Fostering community among independent filmmakers, promoting diversity in the film industry, refining the craft and nurturing the careers of many talented artists. The Film Independent Spirit Awards (now in our 26th year) have helped to define and solidify a community dedicated to the art of filmmaking, and have helped build the audience for these artist-driven films. The Los Angeles Film Festival (also produced by Film Independent) has proven that there’s a huge appetite for original films in LA. It’s an event that brings together artists with a passionate public, while creating civic pride in our fantastic city. Our advocacy work on behalf of independent film–reversing the MPAA-imposed screener ban being the most visible of these accomplishments–has been critical for our community as well. On a micro level, our Filmmaker Labs (dedicated to improving the craft of outstanding writers, directors, producers, and documentarians) have helped launch talented filmmakers such as Cherien Dabis (Amreeka) and Javier Fuentes-León (Undertow/Contracorriente). Personally, most proud of: Project:Involve, our lab dedicated to identifying and developing the talent of filmmakers from backgrounds typically underrepresented in the film industry. Project:Involve is now in its 17th year, and has nurtured over 650 filmmakers.
2. Creating forums in which filmmakers can share best practices with other filmmakers; expanding the reach of the Los Angeles Film Festival so that every citizen of Los Angeles feels a part of it; creating clear pathways between filmmakers and their potential audiences online; increasing diversity in the film industry.
3. How to connect independent films with their widest possible audience; how to maximize online presence of high quality, original films in a crowded marketplace; how to continuously build community, excitement, and passion around films that are not primarily market-driven, but films that move us in new ways.
4. Barbara Boyle, now chair of the UCLA Department of Film, Television and Digital Media, and former president of our Board of Directors, from 1994-1998. Barbara has been a producer, executive producer, or financier of dozens of incredible films, including My Left Foot, The Commitments, Bottle Rocket and Phenomenon. Many of the things she taught me–“hire a second who’s better than you” and “set up a ‘yes’ before the meeting”–have continued to influence me every single day. I’ve never worked with anyone who had more focus, more passion, more energy, more humor, or more wisdom. Lucky me.
5. I have long appreciated SHOOT‘s coverage around and support of independent film and Film Independent. Independent films, and the artists who make them, gain momentum only because of people like you who are passionate about this kind of work, and continue to spread the word. Thank you.
John Johnston, executive director, New York Production Alliance (NYPA)1. I’m lucky. I got a sequel. Robert Frost wrote about two roads diverging in a yellow wood. When I retired from venerable Kodak yellow, I travelled a new and different path as Executive Director of the New York Production Alliance. So– first, Kodak. Then, NYPA. I spent my first 23 years at Kodak avoiding being sent to NYC. Two times in Hollywood, Once in Dallas and Atlanta and five times in Rochester, where I worked on some worldwide assignments. All in the motion picture realm. In hindsight, the 10 years I spent here in NYC, the last third of my time at Kodak were the best part of my career. Why? Maybe it’s a New York thing, but I found I could get involved on a one to one basis with customers, organizations and the industry like nowhere else. I was given the assignment of developing a business model for the advertising industry and relating the total ad spend to Kodak motion picture film sales. While I thought it might have been a better idea to develop a business case for total Kodak sales from the entire advertising world, I was told just to keep it in the business unit that paid my salary. With that I forged relationships with the AICP, the Advertising Club of NY, SHOOT and any marketing opportunities these relationships presented. These relationships were real. They lasted.
Just this last week, I had a meeting with Gina Grillo to introduce a principal on a very large out of home project. I once was granted a meeting with Bob Scarpelli in Chicago for Kodak Digital Cinema the day before he was leaving for Rome for a DDB worldwide strategy meeting– and then, there is Matt Miller and the AICP bunch. That in itself is a book. I had lunch with Matt yesterday. I think we were both amazed that the 20th anniversary of AICP is next year.
The point is, I saw an opportunity to get involved. I worked to deliver what my employer asked. In the process, I found the best time I ever had working and made some lifelong contacts, business relationships and most important, friendships. But it all revolved around the advertising industry. We spent ad money with SHOOT. But we forged relationships with SHOOT to develop ways to market beyond print ads. We simply wanted to get a message to our direct customers. And they read SHOOT. I just didn’t do anything without considering SHOOT as a marketing partner.
OK. Summary statement. At Kodak, I was able to create and execute a personal relationship strategy in the advertising business that benefitted our product marketing strategy and brought value to the customer relationship at the transaction level.
Then I moved on to NYPA. I just became the executive director on a part time basis to continue to work for common ground objectives. We worked together for tax credits. Other production alliance organizations around the country asked how we could do what we do in NY. My answer? To borrow from Harley Davidson, ” If you gotta ask, then you really wouldn’t understand”. While the commercial segment was left out of the tax credit program, a decision which I advocated against, the AICP still stayed a part of NYPA. While they pursued their own program, and got it, it seemed a shame to me that it had to happen that way. My worldwide marketing travels, experience and analysis had proven to me how important the commercial production segment is to industry infrastructure. Especially where there is no solid base of feature and television programming. Japan in the early 90’s for instance, had 75% of film origination coming from television commercials. Think about that. That entire infrastructure to make a country competitive for film or TC programming came for commercials. Same true for Taiwan, Poland, Indonesia etc..and most of the 50 US states.
I could write a book. Maybe I will. So I became the lead person for NYPA. I learned how to get things done in state government. I found out more about other constituents and understood their point of view, especially labor. I got the overall picture. The objective is job creation. We worked, developed our alliances with the industry and the government agencies and did our part to make the NY tax credits a reality.
2. Keep the tax credits in place. Hopefully do some studies to determine where similar credits could bring similar benefits to production jobs for New Yorkers. Grow the business. Keep New Yorkers working in all parts of this industry.
3. As my dear uncle Bill used to say, “Holy Mackerel”
Look, we need to keep people working. On commercials, TV shows, in films. If it takes tax credits and it does to bring that business to NY, we will work for it. It’s a constant battle. But the bottom line is jobs for New Yorkers, working on programs that bring true economic development and seeing the industry thrive. I think I was quoted saying ” the film business began in NYC. Our job is to bring it back again”. Truth is, that’s a good mission statement. And not only did the film business begin here…. So did the television business– and the advertising business…
4. Wow. I’ve had more mentors than Spitzer had trysts. There are a few, top of list. Jon Kamen. Matt Miller. Morty Dubin and Phil Dixson. Al Califano. Stephen Poster. Jon Fauer. Bob Fisher– the CCS guy, although that Bob Fisher from Celsius is on the list too. Tom Mooney. And more. Lori Erdos. Rick Boyko, Bob Scarpelli, Jim Ferguson.
Oh, Lord– there are one’s I’ve left out. Everyone gave something to me. So they are all mentors. They gave. They inspired me to give. That’s why they are on the list.
But the big guy– one I never met in person– is George Eastman. He is my role model. That is a separate interview.
And– then, there is John Lakotas. The best mentor I ever had — even though I knew him such a short time. He taught me to think technically, be honest and upfront with everyone, understand where the other person is coming from– and most of all, have a goddamn sense of humor about it. John was killed on the DC 10 crash in Chicago returning to Los Angeles from a Kodak meeting in Rochester.
5. Holy Crap, where would we be without you? Not kissing up. SHOOT has been the bible of commercial production , post production. You have been the mirror of the industry where we could all look at ourselves and judge our progress, success, screw ups. You have been there, everywhere. With us. WTF, where would any of us be without SHOOT? You have always been our social media.
Bob Liodice, president/CEO, Association of National Advertisers (ANA)1. The ANA has been at the forefront of the marketing industry for the past 100 years. Our biggest accomplishments have been the insights that we have amassed, the industry collaboration that we have fostered and advocating on behalf of our members. We have a vast library of knowledge gleaned from our members that serves as a repository of marketing thoughts, attitudes and actions throughout the past century. We have brought together the best and brightest minds of the industry at events that have delved into the most pressing facets of our industry. And our advocacy efforts have helped keep our members free of ad taxes, and thriving in a self-regulatory environment that fosters best practices. The ANA leads the marketing community, and does so with the help of more than 400 member companies.
2. It is an exciting time for marketing! Our strategic agenda is set to fulfill two core priorities:
The first is to ensure that we connect our members to knowledge, insights and the brightest people in the business. This will collectively help marketers make the very best decisions for building their brands and their overall businesses. This is a unique and special challenge because our membership is so broad and diverse — and the marketing environment is evolving so rapidly. We tackle this challenge by capturing the universe of marketing insights among our members and giving them easy, convenient access to them. To do so we have constructed our business system to convene our membership regularly around the country and also to connect them virtually and digitally.
Our second area of focus is to ensure that the industry is “healthy”. As an industry association, it is imperative that we provide leadership across several core platforms. As we look at the year ahead, our priorities in the legislative realm focus on fighting ad taxes and continuing down our path of self-regulation (particularly in advertising to children and privacy). We are also focused on social responsibility, diversity, education, public service and sustainability. But it is also imperative that we provide the thought leadership necessary for our industry to grow and thrive. Next year, we will be looking to advance our industry via cross-platform measurement, interactive and addressable television, brand valuation, commercial ratings, and improvements in procurement management. Additionally, we need to overhaul the way commercial talent is paid, to streamline the supply chain via a uniform digital asset coding system and to change the entertainment environment to become more family-friendly for our consumers and our advertisers.
3. There is no easy answer to this. However, I believe that the industry must do the following:
First, we must move much more forcefully to answer fundamental measurement questions. Right now, there is too much variability in our measurement systems, leading to inefficiency and marketing management that is less than effective. Think about how much better the art of marketing would be if the science of measurement could provide us more definitive insights and perspectives!
The second area is to better understand integrated marketing. Specifically, we need to learn how to better harness the rapidly evolving media landscape. As mobile, social and all forms of digital media consume larger chunks of marketers’ budgets, the marketing industry is flailing at integrated marketing and marketing mix strategies that would optimize brand management.
Finally, we need to become more collaborative with legislators and regulators. The industry operates best in an unencumbered environment. As such, we need to strike the right balance with those in public policy management that seek to have greater industry oversight. We recognize the needs for consumer protections, but it must be done with balance and care to insure that we do no harm to the marketing ecosystem.
4. I did not have one mentor but have had many important people that have had great influence in my professional life. Peter Dolan, the former CEO of Bristol Myers Squibb made sure I did not make marketing complicated. He emphasized that staying focused on a few core, but superb, ideas were critical to optimizing probability for success. The General Foods Company, now part of Kraft, taught me how important it was to be a complete business person and not just a marketer. David Bell, former IPG Chair, made me acutely sensitive to what leadership was about–and to how it can be done with great dignity and honor.
5. SHOOT has been a great friend to ANA , especially to our Production Management Committee. The committee meets with SHOOT and its editors on a regular basis to stay up to speed on new issues and technologies that are impacting the world of production that are relevant to clients. Over recent years this has included HDTV, production decoupling, and 3D.
Matt Miller, president/CEO, Association of Independent Commercial Producers (AICP) 1. Since its inception almost 40 years ago, the AICP has worked tirelessly to advise and provide tools to its members so that they can make the best possible decisions for their individual businesses, and to improve business opportunities for its members. This has included working with Advertising Agencies and Clients to stabilize business practices and to negotiate with all related Labor Unions to set hiring standards.
Last year, the AICP launched AICP Digital, which explores and offers solutions to companies producing content digitally–in many of the same respects that we have dealt with for live action producers. And, of course the AICP Show (entering its 20th year) annually showcases the creative ingenuity of advertising in the motion image–and has been for many years the largest advertising event in the United States. Five years ago, the Next Awards were launched, which explore advertising that moves beyond the traditional. This year we created the AICP Conference, the ultimate platform for discussing the issues of the day.
The members of AICP look to the organization to provide community–which means many different things to different entities. At its core, what it means is they are looking to know that there is an entity that is looking out for the greater good, and the best interests of their business and is constantly providing support through a single voice–keeping one eye on the issues of today, and the other on the issues of tomorrow.
2. It’s an incredibly exciting time to be involved in production. With the changing ad landscape, there are more opportunities than ever. Our priorities as an Association remain similar to what they were when we first launched — to ensure that we provide our members with tools and advice to make the best decisions possible for their businesses.
We have recently undergone one of our first major overhauls to our structure for management of the organization, and the engagement of our membership. This allows us to continuously update our agenda to meet the rapidly evolving industry. This has included a huge movement from the roots of the organization being regionally based to one that is National and issues based. This opens up more opportunity to access more of our members to meet our multidimensional objectives.
3. What will the new business model be? That is perhaps the most pressing question for our members. We are living in changing times, and while advertisers need more content in the moving image than ever before, there has definitely been a shift in how that content is procured. As new models emerge, we will be there to advise our members on how to navigate the landscape and provide forums for them to be positioned to succeed.
4. George S. Patton. Not only because he always wore a well-pressed suit and nicely polished shoes, but because he said, “Never tell people how to do things. Tell them what to do and they will surprise you with their ingenuity” –clearly he must have worked in production and in associations.
5. The AICP and SHOOT have a long, productive history, obviously with quite a lot of overlap in the content of the pages and the activities of the organization. One thing is clear and that is if SHOOT wasn’t around when we were founded–we would have had to invent it! Thank you SHOOT for doing that heavy lifting.
Burke Moody, executive director, Association of Independent Creative Editors (AICE)1. AICE’s most recent accomplishments include industry-wide educational and awareness outreach efforts aimed at its members, production companies, advertisers and agencies on the challenges of file-based production, its effect on the editorial and post production process and ultimately on the quality of the creative product. Ongoing partnerships with ANA, 4A’s, AICP, ACA and ICA have proved particularly valuable in driving the conversation forward. This year, AICE expanded its membership eligibility requirements to include design, motion graphics and visual effects companies, to better align the membership and its goals with trends in the industry and the marketplace. AICE has led the industry discussion on the CALM Act and its implications for audio finishing and the establishment of broadcast standards. The annual AICE Awards Show, which will celebrate its 10th Anniversary in 2011, is the only awards show which solely honors creative editorial and design. The Camp Kuleshov trailer editing competitions for assistant editors continue to be highly regarded and challenging events which offer extraordinary opportunities to recognize the skills, craft and artistry of the next generation. Most importantly, AICE works consistently to raise awareness of the importance of the editorial and design contribution in the production of advertising communications.
2. AICE’s current agenda is sharply focused on the continually changing technology landscape and how it impacts the post production process in the advertising communications production space. New cameras, new file formats, new codecs continue to roll out at an astounding rate, and the lion’s share of the burden to efficiently manage the process falls on editorial and post production companies. The ramifications are both creative and financial, and AICE will continue to keep its members and its production company, agency and advertiser partners informed about the implications of these often disruptive changes. AICE is also working with its members and industry organizations to address issues of client procurement policies and the use of approved vendor lists for the purchase of editorial and post production services.
3. The single most pressing question for AICE’s members, common to all businesses in this challenging economic environment, is how to continue to create great work, in less time, for less money. To some it is a frightening prospect, to others the opportunity of a lifetime. How will the ways we work change? How will the work process change? How will relationships between clients and vendors, even among vendors, change?
5. SHOOT has been an invaluable partner in the growth and development of the editorial and post production industry in a multitude of ways. From serving as the de facto publication of record, reporting on changes in everything from company rosters to new creative and technical trends in editorial and post production work, SHOOT has been the authoritative source that our members have consistently turned to for insight and intelligence. All of the key industry organizations owe the publication a debt of gratitude and appreciation for its leadership role as the voice of our industry, for championing the work of advertising’s greatest editors, designers, directors, artisans and creative and for helping build careers and reputations through its coverage of the brightest people and best work our industry has to offer.
Liz Myers, president, Association of Music Producers (AMP), co-founder, Trivers/Myers Music1. The Association of Music Producers was founded in 1997 to face issues arising from the fact that the biggest Performing Rights Organization in the world ASCAP was basically ignoring the value of advertising music and refusing to fairly pay for its use on the air. We wrestled that adversary to the ground and succeeded in electing a sympathetic ASCAP Board Member who continues to represent the interests of commercial composers.
Since this early success, AMP has gone on to address issues and hopefully correct several problems within the advertising music industry. A brief list of our efforts would include:
1) Limiting the amount of exposure that music companies and composers are required to shoulder concerning musical copyright infringement, and providing reasonable E&O insurance for our members
2) Helping to establish Music Production Guidelines for the industry, to assure fair business practices and help standardize the bidding process (not unlike the AICP Commercial Production Guidelines).
3) Bringing awareness to the risks of a long-standing agency process of using temp track placeholders, and then asking composers to “borrow” the sound and style, “without getting us sued.”
4) Giving much needed attention to the top post-production mixers in the country with our AMP Awards–these are the people that take the music and sound provided by our members and mix it with voice-over for broadcast use
5) Raising hundreds of thousands of dollars at charity events at halls like Brewster Hall and recording studios like Village Recorder for worthy organizations like Mr. Holland’s Opus Foundation, Doctors Without Borders and, yes, even the city of New York post 9/11!
6) Co-hosting the Advertising Week in New York music concert event held at the Nokia Theater, even producing a Millenium Project Film that chronicled the first decade of the 21st Century, scored by AMP member composers
7) Seminars in Los Angeles, presence at South by Southwest, meet-n-greets in Chi-town, lots going on.
2. We are facing the beautiful merger of advertising and entertainment. More and more of our work is for the internet. Branded content is becoming refined and creative. And social media is the preferred method of communication by the next generation. Our agenda remains the same: educate the masses about the power and beauty of original music and sound as a tool for branding, especially when created by a professional!
3. Intellectual property and who controls it is our Topic Number One. A great melody or a great logo sound is earth shattering: its value cannot really be quantified.
4. I’ve always enjoyed working with anyone who started out at ChiatDay. Everyone knows it was called ChiatDay and Night, because of the long work hours. But somehow there is an attention to the detail of creativity that allows for great work. They seem to really want to do something different. That’s a healthy environment for originality.
5. SHOOT magazine is the only industry magazine that really gets our business–that takes a deeper interest in understanding and reporting on the complexities of the craft, the pitfalls of careless practices and the importance of music/sound as a component of the creative end product. Roberta Griefer and Bob Goldrich have always had the door open when we at AMP wanted to float an idea, promote an event, or discuss the changing business environment. Not only are they wonderful people and fine journalists, but they are also good friends. At the end of the day, that’s really what matters.
Steven Poster, ASC, national president, International Cinematographers Guild (ICG) IATSE Local 6001. When our agreement with the AICP was formalized that allowed our members who work in the world of commercials to finally receive their health care and pension benefits while working for production companies who are signatories.
2. To recognize all of the technology trends and train our members so that they will be the best available crews when the producers need them. Our training has advanced continually over the years to allow us to stay ahead of the curve at all times. For instance, we’ve now trained over 350 technicians and artists who are ready and able to create great 3D images.
3. We need to promote the art and craft of cinematography so that our members will always be the best in the business and can deliver the best images, quickly and efficiently to our clients. We need to help our members and the people they work with be safe and healthy and have the quality of life they deserve.
4. Most of us in the Guild have great cinematographers who have inspired us over the years. Two of my favorite artists were Jordan Cronenweth and Conrad Hall. Who could dispute the amazing gifts they both gave to the art of storytelling with their legacy of unforgettable images.
5. SHOOT has participated with us in promoting our Emerging Cinematography Awards. These awards are for our members who are not yet classified as Cinematographers. These members have shot shorts over the previous year. They all shine as new talent. We are the only organization in the industry that honors our newest talent.
John Shaffner, chairman/CEO, Academy of Television Arts and Sciences (ATAS)1. The strength of the Academy of Television Arts and Sciences has always been with its member base. With over 15,000 members divided into 28 peer groups, the Television Academy represents television professionals from every field and provides a forum for them to interact, share knowledge and network. A prime accomplishment within our membership is recognizing and encouraging excellence with the annual Primetime Emmy Awards, but also giving back through the Television Academy’s Foundation. The Foundation is dedicated to preserving and celebrating the history and continuing story of television as it unfolds, and our Archive of American Television is a rich resource of interviews with the best and brightest across all professional career paths in television. In addition, the Foundation also provides education, access and unparalleled opportunity to promising, diverse young people from across the country who want to work in television, shape its future and take it to the next level.
2. The Academy’s mission has always been to promote creativity, diversity, innovation and excellence in the telecommunications arts and sciences and to foster creative leadership in that industry. Our priorities remain the same!
3. How can we continue to diversify our membership and the industry?
How can we bring more voices to the table?
4. As much as I would like to identify one mentor, I have discovered we have different mentors for different areas of our work lives. The great production designer Edward Stephenson was a profound influence, as he had worked in both variety and multi-camera comedy, but producers Bob Banner and Sam Riddle and executive Al Masini gave me the chance to truly engage in all aspects of television production. Dick Clark taught me about efficient organization and Kevin Bright, David Copperfield and Chuck Lorre have taught me to think big. My volunteerism with the Television Academy was inspired by my interest in community and the example of past leadership, Meryl Marshall and Dick Askin and Leo Chalokian, and Tom Sarnoff. They selflessly contributed to our organization for the betterment of all of us in this crazy television business.
5. Congratulations to SHOOT on its 50th Anniversary and on behalf of the Academy of Television Arts and Sciences, we look forward to working with you for 50 more!
Leon Silverman, president, Hollywood Post Alliance (HPA); general manager, Digital Studio, Walt Disney Studios1. The HPA, through its focus on the art, science and business of post production is proud of a number of accomplishments we feel have had a beneficial impact on our membership and the industry. The HPA® Awards, now in its 6th year, has filled a gap and serves as an important celebration of the too often underappreciated and under recognized work of the creative artists of post. This event has grown dramatically and now is an important celebration of the role post plays in our industry. Our HPA Tech Retreat® has become one of the most widely respected industry conferences in the world and serves as a focal point for the introduction of the industry’s latest and most innovative technology and tools. It regularly attracts 500 of the most senior technologists, engineers and geeky post heads from around the world who trek to Palm Springs each year and do not play golf but rather religiously attend our sessions starting with roundtable breakfasts which begin at 7:30 AM. The camaraderie and networking at this event demonstrates how our Hollywood-based organization benefits, influences and in fact has led the worldwide community’s discussion of the impact of tools and technology on our industry. HPA, through its predecessor organization has had a profound impact and benefit on the challenging business climate for post production. Through our efforts, the tax laws of the state of California were changed to allow for an exception on state sales tax for the purchase of qualified post production equipment. This has enabled our industry to better meet one of the most profound challenges of our industry, which is the need to constantly re-tool to satisfy the demands to continue to raise the creative and technical bar as our customers, industry and audiences consume increasingly technically and creative complex media experiences.
2. Our current agenda is to persistently examine how we can continue to be relevant and provide benefits to an industry in deep transition impacted by the other profound changes sweeping the media and entertainment industry. We want to address the need for industry education and to identify the skill sets, attributes, tools and direction in which we can help to guide and lead. We want to continue to celebrate the artistry. We want to continue to find ways to demonstrate the value of post production. Our industry certainly understands and accepts the complexity of production, marketing, distribution and other aspects of our business. But the vital importance of post production is too often overlooked as our contributions are literally created out of the limelight in darkened rooms. The real fact is that pre-visualization, production and post production are merging in new file based workflows. The tightening of delivery windows at the same time our product is becoming increasingly complicated and sophisticated makes the finishing of our industry’s product even more challenging than it already was. Our current agenda is to find ways to create an industry environment in which post production professionals are seen as vital and important contributors. Our number one priority is to focus on how our post production community can be prepared to meet today’s and tomorrow’s dynamic challenges and opportunities and how the HPA uses the strength of our members, sponsors and our platform as a voice to speak up and to speak for post
3. With uncertainly around business and distribution models as well as the redefinition of media types, forms and channels at the same time that post production is being asked to meet the challenges of new file based workflows, 3D, motion capture, increasingly complex visual effects and finished product in general, there are certainly a number of pressing questions for which answers are still being sought. The demand for an increasingly talented and prepared workforce, the need for technology that is constantly changing and the downward economic pressures on media budgets represent some challenging issues for which there will need to be solutions. We want to be able to work to find ways we can help our members understand how to create new models and new ways that can maximize the talent, resourcefulness and innovation that has been the hallmark of our post production community. We are hopeful that the HPA and the post production community working in partnership with the rest of the industry can not only find this new way, but lead the way.
Joana Vicente, executive director, Independent Filmmaker Project (IFP)1. With 10,000 members and partnerships that reach 200,000 film fans worldwide, Independent Filmmaker Project (IFP) is the nation’s oldest and largest non-profit advocacy organization for independent filmmakers.IFP proudly fosters the development of over 300 feature and documentary films a year, through its signature programs including Independent Film Week, Independent Filmmaker Labs, International Programs and Fiscal Sponsorship. Our Script to Screen and Independent Filmmaker Conferences provide both aspiring and working film and media professionals with the resources, community and education necessary to complete their latest projects and sustain long-term careers. At the heart of all our programs, IFP serves filmmakers and film lovers by providing them access to the innovators and icons of our business, as well as the latest trends in the art, business and technology of today’s marketplace.
2. We are expanding the notion of ‘filmmakers’ to include all artists working in digital media in addition to film. We are proactively figuring out how to best support filmmakers in this changing landscape. IFP’s priority is to be at the forefront of what is happening. Our role is to help educate and provide opportunities to filmmakers so they can respond to the challenges of sustaining their careers
3. To further engage and expand our membership and continue to push forward with our digital strategy. We are seeking ways to use the web in all its facets to effectively follow our mission, serve our members and help filmmakers reach new audiences.
4. Personally, as a producer at Open City Films and now Executive Director of IFP, my colleagues have been my mentors. From Anthony Bregman, John Penotti, Christine Vachon, and Ted Hope, I had the great experience of collaborating with the most prolific and talented producers in N.Y.
Mary Warlick, CEO, The One Club, executive producer of Art & Copy1. The One Club created an award-winning documentary Art & Copy which really explores the core of our business in terms of creativity, inspiration and excellence. The film has expanded the mission of The One Club beyond the advertising industry to talk to people about creativity and ideas. When we established the education department in 1995, we made a commitment to educate the next generation of advertising professionals, and we have continued that outreach with active diversity initiatives across the country. The strength of our membership is based on the concept of people giving back to the industry, either through participating in our Portfolio Reviews, writing for our publications or speaking to our members. With the four major award shows, the One Show, One Show Interactive, One Show Design and One Show Entertainment, The One Club is seen as the leader in recognizing new forms of media and sophisticated visual communication.
2. The One Club is currently holding Creative Boot Camps at campuses in New York and Atlanta, with plans to launch in Chicago and Los Angeles to attract students from diverse backgrounds to choose advertising as a career. One Show China was established to create an education outlet for creative students to learn the basics of art and copy and design to enter the advertising job market there.
Beyond education, our mission remains establishing standards for creative excellence for professionals in traditional advertising, digital media, design and the new emerging arena of branded content. The One Club and its award shows remain focused on the concept, the core idea that communicates the value of the advertising message.
3. As we move into the 21st century, the main relevance for advertising clubs, or organizations is to create a sense of community for its members. Creative people need to feel the value of their work in an industry that is notoriously anonymous. The importance of award shows remains setting standards for creative excellence, when it is often more convenience to take the path of least resistance. Better ideas create better communication. The One Club’s mantra remains “Good creative is good for business.” As an educational organization, our goal will be to diversify the advertising industry, and help agencies establish creative departments that look more like American culture, in terms of age, gender and multicultural backgrounds.
4. The late Andrew Jaffe was my mentor in many ways. I knew Andrew when he was editorial director at ADWEEK the first year I started as director of The One Club. He had an intellectual curiosity about the business that I have always valued. We later worked as friendly competitors when he was heading the Clio Awards, and we shared information about judges, locations and headaches. Andrew shared his infinite wisdom with me on many different occasions, and it was his suggestion that The One Club launch One Show Entertainment in Los Angeles in 2008. I miss him dearly.
5. Back Stage/SHOOT was the first publication to announce my appointment to The One Club as the new director in 1988. SHOOT has continued to support our endeavors by closely following the award shows, educational programs. We are now closely involved with SHOOT as The One Club launches Creative Week 2011, a full week of creative activities hosted by like-minded organizations throughout New York.
