Best-case scenario: Kathryn Hempel, Cutters Studios

Generally speaking, on the best days, my job breaks down to a careful balance of art and craft. I’m hoping that this art/craft angle will be an interesting way to talk about some others I admire, and what we’re achieving together. Due to the uncommon success of our joint efforts, I’m choosing Kathryn Hempel and all her colleagues at Cutters Studios as the perfect subjects to explore a new variation on the classic case study, which I’m calling a “Best-Case Scenario.”

With love to director Brad Tucker for putting us all in contact, a lot went into making Cutters Studios a solid fit for me when we joined forces last year. The very first “Cutters” commercial editorial facility had opened in Chicago 34 years earlier, but by January 2014, the parent Cutters Studios group was also operating studios in Detroit, Los Angeles, New York City and Tokyo… spanning all aspects of commercial production, post-production and creative development. Relatively soon after partnering up, I learned about the Always #likeagirl campaign that Kathryn was editing for Leo Burnett and Chelsea Pictures director Lauren Greenfield, and I had a chance to counsel everyone on all the ways we might use PR to promote the work and everyone behind it.

By then, I already had a very good sense of what sets Cutters apart: Read more



Stacy Peralta: Thanks for the documentary

I have expressed my appreciation in the past for LJ Jeneski of Nonfiction Unlimited, the NYC and LA-based commercial production company that since 1995 has been built upon the idea of exclusively representing the planet’s best documentary filmmakers for commercial and creative assignments. We worked together over the period that launched us all into a very busy 2007, and I feel we accomplished a lot together. At that time, the company’s elite roster included directors Rob Bindler, Paul Crowder, Steve James, Robby Kenner, Barbara Kopple, David McNamara, Stacy Peralta, Earle Sebastian, Ondi Timoner and Jessica Yu. It was my introduction to most of these incredible talents, and through the process of updating bios and promoting their newest projects, I got to know many of them pretty well.

Among my early assignments was touching-up an already stellar bio for Mr. Peralta. Here’s a snip from that writing amalgam I can only take a little credit for.

So far, the life of award-winning documentary filmmaker, accomplished television producer/director and Nonfiction Spots commercial director Stacy Peralta is literally a Hollywood movie – or more precisely, several of them. Read more



Sharing secrets: Movie trailers

Writers Jason Kehe and Katie M. Palmer recently traced the history of movie trailers for Wired Magazine, and the results are extremely fascinating, probably even for non-film-school graduates. You can read the full story here along with all of the amazing sidebar articles – The Art of the Trailer – and I’m also sharing an excerpt below. Wondering why I’m embedding the trailer for Martin Scorsese’s upcoming film “The Wolf of Wall Street” above? According to Adweek, this project just won the 2013 Grand Key Art Award from the Hollywood Reporter’s Key Art Awards. As confirmed by The Inspiration Room, the award-winning trailer was created by Industry Creative with Paramount Pictures chief marketing officer Josh Greenstein, Read more



Case Study: a52

Last updated on Jan. 15, 2010: a52 Earns Continuous Coverage in Target Market and Industry Trade Media, Extends Key Vendor and Client Relationships

“Strategic Public Relations Campaign Keeps a52 Atop Industry Radar”

a52, an award-winning LA-based visual effects boutique serving the international commercial, music video and premium-television industries.

Executive Summary
During DWA’s 10-year tenure as the PR agency of record for a52 (2000-2010), projects touched by the immense talents at the LA-based visual effects boutique earned top honors from Adweek, Advertising Age, ‘Boards, Creative Review, Creativity, SHOOT and Shots, top Automotive Advertising, BDA, British Design and Art Direction, Clio, Emmy (Best Main Title and Best Commercial), International Andy, London International Advertising and PROMAX Awards, among many others… and screened at the Museum of Modern Art in the prestigious annual AICP Show each and every year.
Read more


Feature, Update

Heroes of heroes: Damion Clayton

My formal studies into the amazing artform of the music video began in 1981, when MTV first appeared. I was 15. Soon, I’d watched so many that I was dreaming them… and since then, hearing great music has always triggered MTV-inspired cinematic visions. Today, my studies continue, and I consider myself very lucky to have crossed paths with many masters in this field, each of whom is a hero to a director who has made something I’ve seen on television and loved, for one reason or another. Damion Clayton, editor at Rock Paper Scissors, is one of those heroes. Read more



Case Study: PostWorks

Last updated on Jan. 30, 2009: PostWorks Expands Services, Marketshare and Markets as Leading One-Stop U.S. Post Production Resource

“Strategic Public Relations Campaign Focused Sales and Marketing Efforts, Positioned Unmatched Resources and Commitment to Quality Customer Service”

PostWorks is one of the film and television industry’s most advanced and comprehensive digital motion picture and HD post-production companies. In 2007, PostWorks expanded into Los Angeles, launching the first post-production company designed from the ground up to leverage data-centric and future-looking technologies. PostWorks and its global mobile post-production systems provider Orbit Digital were acquired in 2009 by H.I.G. Capital, a leading Miami-based private equity firm, as an addition to its Telecorps Holdings family of companies, which includes Wexler Video and Coffey Sound.

Executive Summary
During DWA’s five-year tenure as the PR agency of record for PostWorks (2004-2009), a results-oriented public relations campaign was orchestrated with other elements of a proactive marketing plan (authored by DWA), as its industry-leading post-production facilities, talents and capabilities expanded exponentially. Strengthening the company’s presence across the U.S. and internationally within the television and motion picture communities, the campaign also supported the 2005 acquisition of PostWorks: The Lab, the 2006 merger with international mobile post-production services leader Orbit Digital, and its very successful 2007 expansion into Los Angeles. Read more


Get Adobe Flash player