How To Be A Loved And Respected Game Company President (Like Satoru Iwata)

For most developers, the thought of being the president of a video game company never really crosses our minds. Instead we’re thinking about how we’ll make the next Mario, Minecraft, or other massive hit that will bring joy to gamers all over the world. But for the few of us who can see ourselves as the leader of a video game studio or multi-billion dollar company one day, you can’t go wrong with trying to be more like the late Mr. Iwata.

Like any man or woman who has had a positive impact on people around the world, Nintendo’s recently-passed president had the most influence on those he worked closely with. In the handful of people who spent decades with Mr. Iwata, few know just how great he was as both a boss and friend as Masahiro Sakurai did. The two collaborated on many classics such as Kirby’s Dream Land and Super Smash Bros. before founding a company together called Sora Ltd.

In his latest Famitsu column, translated by Toshi Nakamura of Kotaku UK, Masahiro Sakurai reveals five impressions of what made Satoru Iwata the perfect president for Nintendo. Perhaps by looking at what Sakurai had to say, we too can serve as a beloved and influential leader should we ever find ourselves in such a role…

“He was a man of virtue…”

Where a normal person would get annoyed or angry, he would never show such emotions and would instead analyze, organize, and offer ideas. He was someone who could bow his head and apologize for things that weren’t his fault. I often worried about his stress levels, but he always talked with a smile.”

If there’s one thing aspiring developers never realize until they’re actually making games, it’s how stressful making games can be. From technical problems and strict schedules to limited budgets and gameplay ideas that simply don’t work, there are plenty of obstacles to overcome while making a game that could very well drive one mad. Even more intense, is when you’re in a leadership position, which more often than not involves everyone on the team coming to you with the problems they are facing.

Instead of losing his cool and tossing blame around, however, Sakurai reveals how calm and collected Mr. Iwata proved to be even amidst pressure. Even more incredible is his ability to take blame and accept his errors, even when they weren’t his fault. Perhaps this is why Sakurai wasn’t surprised when Iwata took several pay cuts when Nintendo started doing poorly around 2011.

“He had a brilliant mind…”

Even when people would talk at length or without focus he was able to quickly say, “so, what you’re trying to say is…” and quickly summarize their point. He was able to see to the heart of people and things and was a master of simplifying them so that anyone could understand their point. He could immediately make a call on changes to improve. I have no doubt that many people were saved by this quality.”

It certainly takes a level of skill and intelligence to run a company, especially one as big as Nintendo. Even if you’re only leading a handful of people, it’s important to always make sure you remain focused and willing to understand what others are trying to say. This can become difficult when development reaches its hectic stages and there’s a lot going on.

Like Iwata, any leader must do their best to not only understand what others are sharing but also be able to simplify your own ideas so others can understand. As a brilliant mind himself, it is powerful to hear Sakurai talk about Iwata this way. He never let his position get to his head and instead wanted everyone to be on the same page.

“He was a man of effort.”

“Even though he didn’t start out in the managing field, he read numerous management books, he would ask for advice from the necessary people that he would take to heart, and managed to become the president of Nintendo. What he gained from his years as a programmer allowed him to take many long-term projects to successful fruition.”

It’s not every day that a programmer works his way up to be the president of a company, much less Nintendo. We say this because Nintendo’s previous president, Yamauchi, was said to be very picky about who he chose as leaders. But as a hard worker, Iwata impressed him to become the first Nintendo president not to be directly related to the Yamauchi family.

Having worked with Iwata in his early days as a programmer, Sakurai knows what it took for the late president to rise to the top. Like he mentions, Iwata was reading management books well before he was in the field. If you ever find yourself as the leader of a game company, it will most likely be because you had been preparing for it long before the opportunity was presented.

“He was open and generous.”

“Things like his Iwata Asks, and Nintendo Direct weren’t things that necessarily required the president of Nintendo to stand at the front and do. There was always the risk of frivolous criticism. And yet, by being the spokesperson, I believe he showed the importance of properly conveying a message to his audience.”

It’s easy to believe that Iwata was a busy man. Even so, this didn’t stop him from taking the time to serve in roles that let him show his personality and genuine passion for the products Nintendo developed. Suffice to say, Nintendo Direct will not be the same without him.

Like Mr. Iwata, any president and/or leader should never let their position get to their head. Iwata wore suits and attended shareholder meetings, but he also did things few (if any) other presidents do and that included engaging his audience.

Nintendo fans will always remember the fun moments they shared with their favorite developer’s president, whether it involved him holding bananas, asking you to “Please Understand,” or taking on Reggie in a Smash Bros.-esque fight.

“He was empathetic.”

“After he became the president of Nintendo, he would write emails to all employees to communicate and as hard as it was, took a stance to try to treat everyone as equals. He would often ask third parties to see how people were doing. As an individual, he had no self-righteous qualities.”

Much more with a large company like Nintendo, it is no easy task to make every employee in the company feel like you, the president, genuinely appreciates them.

Most CEOs have others write their letters to employees because they are too busy with meetings and such, but not Iwata. As Sakurai points out, he took great effort in treating every employee as an important part of the company.

As a leader in the future, you’d be wise to do the same. There’s just something about having the top guy (or gal) in the company taking their time to communicate with you and make you feel important, even amidst hundreds or thousands of employees.

Lose the complacent attitude many leaders have, and perhaps you too will become a loved and respected president.

[su_note]Learn more about the School of Game Design at the New York Film Academy by clicking here.[/su_note]

Don’t Dread It, Write It: A Guide To Acting Resumes

How to Write an Acting Resume

Headshots get the bulk of the attention because they are the visual cue that immediately informs casting directors and agents of an actor’s type and range. However, for every headshot there is an acting resume that should be uniformly stapled to the back.

An acting resume should simply list an actor’s credits and contact information in a highly organized structure that provides readers with background information about the face in the corresponding headshot. A good resume makes an actor appear more professional and prevents agents and casting from quickly labeling you a novice.

Staples…You Should Use Them

Since it has already been mentioned, let this be the first rule of resume writing: use staples.

This will guarantee that your headshot and resume do not become separated in the chaotic piles of resumes that industry folk weed through every day. Paper clips are out. Tape is no good. Glue is messy and warps the pages. If you are really cool you can print your resume directly on the back of your headshots. If you are not really cool, just use staples.

Screenplays are Structure…And so Are Resumes

Oscar-winning screenwriter William Goldman said, “Screenplays are structure, and that’s all they are.” His words apply equally to acting resumes which all follow the same basic format.

Basic Resume Guide

  1. Name: At the top, centered, write your full name.
  2. Agent: On the line below, list your agency and their contact information (phone number and e-mail address).
    • If you are unrepresented, list your personal contact information.
  3. Union: The line below that should list your union status. If you are not in a union, leave this line blank and skip to the next step.
  4. Statistics: Immediately underneath union or contact info, list your basic stats: hair, eyes, height, and weight. Then move onto the meat of the resume.
  5. Credits: These are grouped into Film/Television and Theatre. Start with whichever is your primary emphasis as an actor. Under each subheading, create three columns:
    • Left Column – Title
    • Middle Column – Role
    • Right Column – Production Company
  6. Special Credits (Optional): If you have any credits you would like to list that do not fall under Film/TV or Theatre list them here in the same three-column format. Special credits might include Web Content, Dance, Opera, or Improv.
  7. Training: Underneath credits, list any formal training that you have. Only two columns are needed, one for the specific focus (dance, voice, Shakespeare, etc.) and one for the teacher or school.
  8. Special Skills: Finally, at the bottom of the resume, list your special skills. Think of things that are unique and specific that might be of interest to casting. Common skills are singing, instruments, sports, and accents but anything can be listed here.

Once the basic tenants of an acting resume have been applied, there are a few simple steps actors can follow to ramp up the professionalism.

Quick Resume Tips

  • Choose a clean, standard font and font size that is easy to read.
  • Name, agent, and all subheadings should be bold and larger font than the body-text.
  • Trim the resume to fit precisely on the back of an 8”x10” headshot
  • When listing your role for a Film/TV credit, note whether the role was leading, supporting or guest star. Casting directors probably won’t know the role unless…
  • If someone or something famous is associated with a credit, make sure you list it at the top. A noted director, producer, production company, or actor is a marketing point to that immediately signals “professional experience.”

Thou Shall Not Lie

If staples are the first “yes” rule, lying is the first “no-no.” Not only is lying on a resume unprofessional, but actors who lie are bound to be caught. When an actor is caught with a false credit, there is little to be done to save his or career. Simply put, if you haven’t worked with Steven Spielberg, do not list him on your resume because someone will find out.

Be proud of your past work and list it accurately on a well-formatted acting resume that is nicely stapled to your headshot.

Following these simple steps will immediately signal to a casting director or agent that you are ready to work. Be honest, be stapled, and be cast.

[su_note]Gain hands-on acting experience through our variety of Acting for Film programs taught by industry-leading actors, writers, directors, and producers. Visit our Acting for Film School page to learn more about our degree programs, workshops, and courses.[/su_note]

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The CEO With The Heart Of A Gamer: Remembering Satoru Iwata

Perhaps by the time you’re reading this it has finally started to sink in that Satoru Iwata, one of the most beloved figures in the gaming industry, has passed. It is also possible that you’ve already seen the following quote a thousand times recently:

“On my business card, I am a corporate president. In my mind, I am a game developer. In my heart I am a gamer.”

This was said by Mr. Iwata in front of thousands in 2005 at the Game Developers Conference held annually in San Francisco, California.

A loud applause echoed throughout the room upon hearing these powerful words that might have sounded empty if said by any other CEO in the industry. To everyone who knew of Mr. Iwata, whether you worked with him closely or simply enjoyed his presence in Nintendo Direct streams, it was obvious that although he led a multi-billion dollar company, he still genuinely cared about only one thing: making great games.

This passion already showed at a young age when Mr. Iwata was still a student at the Tokyo Institute of Technology. Here, he worked on several Commodore Japan titles as an unpaid intern before being hired by HAL as a programmer. There he played a large role in the creation of titles still considered classics today, including Kirby’s Adventure and Earthbound, before becoming president of HAL Laboratories. In this role he saw many more great titles released, including the first entry in the very successful Super Smash Bros. series.

When Nintendo’s long-time president, Yamauchi, retired in 2002, Mr. Iwata was handpicked by him to lead the company his family had worked hard to build up since 1889. Although a great honor to be the first CEO that wasn’t directly related to the Yamauchi family, the new president knew the difficulties that were ahead. The most recent console release, the GameCube, was being pummeled in terms of sales by its competition.

However, if there was one man that had enough vision to see Nintendo pull itself out of its poor situation and rise back to the top, it was Mr. Iwata. In the next few years he succeeded by guiding the release of two of the most successful video game devices ever created: the Nintendo DS and Nintendo Wii. And like most innovative ideas, Iwata and Nintendo would receive plenty of criticism upon the unveiling of both these products.

For the Nintendo DS, having two screens working in tandem while playing a game sounded confusing and tedious. Who wants to look up and down between two screens to enjoy their game?

The Wii was also predicted to be a failure simply because it lacked the specs of its competitors and did away with classic controls in favor of motion. But as both devices continued leaving others in the dust, the industry began to respect the visionary mind of Nintendo’s young new president.

Even when Nintendo began falling behind in 2011 and onward, Iwata continued showing us that he wasn’t in it for the money or position. He voluntarily cut his salary on more than one occasion to avoid having to fire other employees. His frequent presence in the Nintendo Direct series and Iwata Asks interviews gave people the ability to see a very busy president take the time to show his personality, sense of humor, and genuine adoration for the things he and his company develop for us to enjoy.

It was also in these hard times that Iwata gave an inspiring speech at the 2011 Game Developers Conference:

“Trust your passion, believe in your dream… For 25 years, game developers have made the impossible possible. So I ask you, why would we stop now?”

Although Iwata would live to see Nintendo finally turn a profit in 2015, no one can deny that Iwata still had much more to give. Satoru Iwata will always be remembered as the perfect example of just how far patience, dedication, and the courage to innovate can take you in our industry.

Apples And Angels: Acting In New York VS Acting In Los Angeles

Acting in New York vs Los Angeles

New York City and Los Angeles couldn’t be more different in terms of location and culture, but one thing they have is a thriving entertainment industry. Every year, thousands upon thousands of wannabe actors flock to the Big Apple and the City of Angels with dreams of fame and fortune. But too often actors move to a new market and find that they do not fit. So, how does an actor decide where to pursue their dreams? With a little planning and research the two major American entertainment hubs can be better understood and aspiring actors can make the right choice for them.

The City That Never Sleeps

Broadway is the one thing that comes to mind when actor’s think of New York City, and the pursuit of a theater career is the number one reason that an actor should move to New York. There are currently 40 theaters operating on Broadway alone, with hundreds more off Broadway and in neighboring boroughs.

Beyond the plentiful opportunities in theater, NYC has grown into a substantial TV market with 20+ TV shows filmed in the city. One important note about the shows filming in New York is that they tend to be dramas, think Boardwalk Empire or Law and Order: SVU. This is where knowing your type before a move is important. If you are a sitcom actor, maybe New York is not the best place to move.

Climate and culture is equally as important to consider as acting opportunities because to be successful, an actor must be comfortable with their surroundings. New York has a climate that varies widely from hot and humid summers to frigid cold winters. Besides the drastic climate, rent prices in the city should be considered. According to Rent Jungle, a one bedroom apartment in New York averages over $3,000 per month.

On the plus side, New York has some of the finest training for actors such as The New York Film Academy, The Actor’s Studio, and New York University. In addition, the compact nature of the city means that actors can walk or ride public transport to most auditions and meetings.

Why New York:

  • Incredible Theater
  • TV Dramas
  • Awesome Schools like New York Film Academy
  • No Car required
  • East coast vibe
  • Cooler climate

Hollywoodland

On one hand you have beaches and sunshine, on the other you have smog and traffic. Undoubtedly, Los Angles is the epicenter of the world for television and film production. All the major studios and networks (Universal, Disney, Paramount, Fox, etc.) are located in the sprawling city. Which brings up a major cultural difference, in LA a working actor has to own a car.

Personal transportation is also important when it comes to audition because, in contrast to New York, LA has dozens of casting directors scattered all over the hills and valleys. Of course, outside of film and television, LA does have a large theater community as well. Los Angles theater is respected and innovative, but understandably will always operate in the shadow of Hollywood.

For practical consideration, Rent Jungle lists the average monthly rent for a one bedroom apartment in LA at $2,000, significantly cheaper than New York. Also, the difference in climate is obvious. Los Angles has a relatively stable, Mediterranean climate with temperatures in the 70’s year-round.

Finally, although LA has a more laid back atmosphere, it still offers plenty of fine training grounds.

Why Los Angeles:

  • Unrivaled Film and Television
  • Film training and NYFA Campus
  • Warm weather
  • More relaxed lifestyle
  • Sitcoms!

The New Guys

Outside of the traditional two entertainment giants, smaller cities around the country are making a name for themselves in film and theater. Atlanta, Austin, Portland, Miami, and New Orleans all offer film incentive programs that are drawing large Hollywood productions. Recent films and TV shows that have shot in these cities include BallersWild, 21 Jump Street, and The Walking Dead.

Impressively, smaller markets offer advantages of their own. For instance, SAG-AFTRA cards are easier to earn, there is less competition for roles, and the cost of living is much lower. If New York and LA aren’t right for you at the moment, consider the other locales that might be more feasible.

New York City and Los Angeles, California will always reign supreme as the dream destinations for actors. However, acting opportunities exist all around the country, so all actors can pursue their careers with gusto no matter where they live. Perhaps someday, after careful consideration and planning, your Hollywood or Broadway dreams will become reality.

Develop your acting skills with our variety of acting for film classes taught by actors, writers, directors, and producers from film and television. Visit our Acting for Film School page to learn more and get started.

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The Art of Acting Alone

One of the most iconic scenes, from one of the most iconic trilogies of all-time, features an actor who is acting alone.

Gollum

Yes, precious, false! They will cheat you, hurt you, lie!

Smeagol

Master is our friend!

Of course, the scene, which is equal parts hilarious and spine-chilling, is from Peter Jackson’s The Lord of the Rings: The Two Towers.

Most people consider talking to one’s self to be a symptom of a severe mental problem, but for an actor, the ability to converse while alone is a sign of a strong and vibrant imagination. Although acting classes in a studio setting, like those offered by New York Film Academy, are the best way to practice, actors can perform solo exercises to improve their craft. Monologues, imagination exercises, vocal exercises, and the simple act of reading scripts are all effective ways for actors to progress.

Watch Yourself

Johnny Depp famously refuses to watch himself on film claiming, “Actually, my kids have seen more of my films than I have.” Conveniently for Depp, he is big enough to stand by such eccentricities, but for the rest of us circumstances are different.

More and more, it is becoming commonplace for actors to watch the playback of their scenes for directional purposes. So, being comfortable watching yourself on camera and understanding the technicalities of film acting are both important skills that can be practiced.

Film A Monologue:

  1. Set-up a camera, cell phone, or webcam to capture your performance
  2. Prepare as you would for an audition
  3. Choose a point in the room to talk to, a chair, a speck on the wall, whatever
  4. Picture the other character in the room with you and play to them, observing their reactions as you act
  5. Press Record, perform the monologue
  6. Watch the playback and observe yourself. What worked? What didn’t?

This exercise will help you become more comfortable on camera and also help with the technical side of film acting. Do your eyes drift? Are you “over acting”? Experiment with your motivations and technique until you find what works for you. This simple and solitary exercise builds comfort and confidence in front of the camera that directly translates to the film set.

Remember that acting is an internal process that leads to an external performance. Do not focus on external results like your facial expressions or posture. Focus on the thoughts that led to them.

Watch Others

Technically, this exercise is not a solo exercise because it requires other people, but those people do not have to be willing participants. People watching is an excellent way to hone character building skills by stretching your observational skills and imagination.

Spy on Strangers:

  1. Go to a public place – coffee shop, mall, park, or anywhere else with foot traffic
  2. Pick a person and observe them. Look at the way they walk, talk, laugh, wear their clothes, etc.
  3. Allow natural questions to arise. What job do they have? Where do they live? What are their dreams and desires?
  4. Answer these questions as honestly as you can, taking into consideration all that you have observed.
  5. Repeat the process over and over for different people around you.

With this exercise, an actor works on their imagination, taking their surface observations and using them to fill in the details that make a person unique. These skills of observation and imagination directly translate to script analysis. The next time you break down a character, your decisions will be more specific – rooted in observation – and the result will be a well-rounded and unique performance. And to think, this was all accomplished by practicing alone.

Acting alone is a powerful way for an actor to strengthen their imagination and build confidence in a risk-free environment. However, acting alone is only worthwhile if it leads to better public performances in the future. Take these exercises and learn from them, but continue to pursue auditions and classes to further your acting career.

Live, breathe, and eat acting with our intensive 1-Week Acting for Film workshop designed to teach students to the fundamentals of acting for the screen through hands-on experience. Visit our 1-Week Acting for Film Workshop page to learn more.

How To Implement An Alluring Color Design Scheme

Color is a seemingly magical tool, and a hugely important asset in the cinematographer’s toolbox for conveying a particular mood and eliciting the desired emotions in a movie’s audience.

Of course, it isn’t really magic—the science behind which colors work well together on film and the effects they create are taught at cinematography school 101, and the theory behind color design is well established at this point in the history of cinema.

That said, it’s always good to refresh that knowledge from time to time, especially since it’s an integral part of effective filmmaking. Today, we’ll be looking at:

Color Design in Film: 5 Important Things to Consider

color wheel cinematography

1. Know This Well

The color wheel above is an iconic representation of the red, yellow, blue—or subtractive—color model, and is an essential concept in pretty much any field of the visual arts and cinematography is no exception.

Learn this like the back of your hand, though there’s no harm in keeping a reference card in your field kit bag. Or pinned up in the edit room. Or superglued to the back of the assistant DP’s head. Everywhere, really.

But equally important is knowing what to do with it. Moving on to:

2. Color Temperature

Looking back to the color wheel, you’ll see that colors running clockwise 90 to 270 degrees—i.e. the right-hand side—are predominantly warmer than those on the left-hand side. The upshot of this is that scenes which feature warmer colors are more lively and energetic, while the ‘cooler’ colors give the impression of stillness, and calm and somberness when applied to film.

It’s a fairly basic principle, but the results of applying warm and cold colors effectively really do speak for themselves. Check out this scene from The Dark Knight, which features a heavy amount of graytones and cobalt blue and the effect it has on the overall mood:

Notice also in the above scene that the cold colors play very well against the fire and blood. Given that you won’t want to just use either warm and cold palettes all the time, let’s explore…

3. Creating Contrast With Opposing Colors

Any two colors that lie opposite each other on the color wheel can be used together to create a real vibrancy to a scene, particularly when it comes to pairing a warm and a cool color. A good demonstration of this can be found in Ang Lee’s Life of Pi—really, any Ang Lee movie viewed with a cinematographer’s eye will teach you volumes about effective color design:

You’ll likely have to carefully balance saturation and contrast in the editing suite when putting together two very vibrant and opposite colors, but the payoff can be more than worth the time it takes to get it right. That all said…

4. Know When to Dial It Back

Just because two or more colors work well together doesn’t mean you necessarily have to push them to the limit and oversaturate them. In fact, sometimes the best color design can be found in moderation.

If you think back on any of Tim Burton’s movies, you’ll notice they have the strange knack of giving the impression of both vivid color as well as a macabre, washed-out look… all at the same time.

It’s an exceptionally clever trick, mainly achieved by keeping most of the key characters and majority of the scenery on a grayscale but applying bright color design to secondary elements (almost the reverse of common convention.) Here’s a clip from the iconic Edward Scissorhands:

And finally…

5. Mix & Match

While all of the above can be considered conventional wisdom, that doesn’t mean you shouldn’t feel free to experiment with color combinations. A lot of great cinematography has been born out of experimentation, so bend the rules and see what happens—using colder colors for a romantic scene to create a contrasting and jarring effect, for instance, or mixing two colors that don’t typically work in order to make the cinematography feel alien and unsettling.

Your experimentation won’t always work, but there’s certainly no harm in trying (and the more you discover what doesn’t work, the more you’ll intuitively get a handle on what does.)

9 Must-Watch Illustration And Graphic Design Documentaries

Documentaries about design, typography, and illustration don’t usually rise to the forefront of public conscience, but that doesn’t mean there isn’t some superb viewing out there for those who are interested in – or practicing – in those fields.

In fact, we’ve found ten such titles that serve to inspire, educate, and entertain… and sometimes all three simultaneously.

Essential Documentaries for Graphic Designers

Let’s start off with our top five picks in the field of graphic design. From individual portraits of highly celebrated luminaries in the industry, to documentaries that provoke deep thought on the conventions behind graphic design, all of the titles here will be of great worth to those who love great design.

Helvetica

An indie-produced graphic design documentary which stands at an impressive 88% on Rotten Tomatoes, a film examining typography – and one font in particular – has no right to be this engaging, but Helvetica is just that.

Examining the ubiquitous font itself, as well as wider themes underpinning the principles of typography, it’s an essential watch for anyone working with text or simply curious about the craft. As director Gary Hustwit, himself, puts it: “Fonts don’t just appear out of Microsoft Word – there are human beings and huge stories behind them.”

Also see Objectified and Urbanized, the two followup documentaries which make up Hustwit’s design ‘trilogy’.

Bauhaus: The Face of the 20th Century

Operating between 1919 and 1993, in only a short spate of time the Bauhaus art school (spread between three different cities) deeply influenced the world of design in a profoundly fundamental way, and those changes still echo on through the teaching of top modern graphic design schools today.

Design is One: Lella and Massimo Vignelli

“If you can design one thing, you can design everything.”

Charming and eccentric, Design is One charts the giddying successes of Lella and Massimo Vignelli, possibly most famous for designing the New York City subway map. The married couple worked together and brought their unique Modernist style to a number of high-profile projects over the decades, before Massimo’s passing last year. This documentary stands as a poignant tribute to two great design characters.

Milton Glaser: To Inform and Delight

Milton Glaser is a name that most graphic designers will recognize and revere, and was also covered recently in our post on the most famous designers in the world.

To Inform on Delight – available on Netflix – is a terrific portrait of the man who created the world famous I Heart New York logo, and a documentary that every graphic designer should treat themselves to.

Essential Documentaries for Illustrators

Moving on to those who work in more traditional media, the following five documentaries make for must-watch viewing for not just illustrators, but for anyone who appreciates great art (and the minds from which it springs forth). We’ll start off with a title that has generated a huge amount of discussion since its release:

Exit Through the Gift Shop

Banksy has long been a divisive artist, and Exit Through the Gift Shop is his magnum opus.

The documentary in itself is a very meta work of art, and could quite possibly be one of the most elaborately crafted hoaxes ever conceived… but that’s a debate that continues to rage on, five years later.

While not strictly related to illustration, it’s one which every artist of any discipline (and even non-artists) should put high up on their to-watch list. And if you saw it when it first came out in 2010, it’s definitely time to dust it off and give it another watch.

Making It

Made by three highly talented illustrators, Making It covers the all-too-real topic of how to balance a love of illustration and the ongoing necessity to pay the rent at the end of the month… ideally, from the proceeds of one’s art.

While never pulling its punches as to the reality of life as an illustrator, Making It will also reaffirm, like never before, why you went to illustration school in the first place.

A128

From Toronto comes this indie documentary which examines the lives and work of those who are trying to find their feet as the next generation of talented young illustrators.

A128 is a great watch, because it successfully conveys the dreams of these bright individuals, as well as the challenges that stand in the way. In addition, it’s inspirational to see how the art of illustration shapes and fulfils the lives of both the creator and the audience who gets to enjoy the work.

Sign Painters

A long-standing American tradition turned underground and niche trade, Sign Painters is essential viewing for those who find themselves awkwardly sandwiched between art and business.

Directed by Faythe Levine and Sam Macon – both artists in their own right – the documentary is as much an examination of the craft of sign painting as it is a celebration of the community which strives to keep the art form alive.

Drew: The Man Behind the Poster

Drew Struzan is the name to know when it comes to movie poster history, and this documentary is his amazing story.

Having illustrated the iconic posters used to promote Indiana Jones, Back to the Future, and the original Star Wars trilogy as well as numerous books and album covers, The Man Behind the Poster features interviews from both Struzan’s family and those he worked with (including George Lucas, Steven Spielberg and Guillermo del Toro, with whom he had a particularly fond working relationship).

A truly impressive career and a documentary worth watching in its own right, but particularly if you’re a filmmaker who’s ever been interested in creating your own movie posters.


So there we have it, 10 excellent documentaries covering the fields of graphic design and illustration, all of which come highly recommended to anyone working in related fields or even those who simply have an interest in what goes on in the minds of some of the world’s most gifted artists.

Seen any other documentaries which should be listed here, or learned anything great from the titles above? We want to hear from you – leave your thoughts and suggestions in the comments below!

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Trends in Ad Spending Affect Broadcast Journalists

Ad Spending

Recent estimates of current U.S. ad spending by Strategy Analytics show that while digital marketing continues to grow, it’s still almost $30 billion behind TV ad dollars. The report estimates total ad spending will be close to $187 billion for 2015, with the digital space at around 28%, or 52.8 billion. While this makes digital the fastest growing category, TV still has the largest share of ad spend, with almost $79 billion, or about 42%.

Why TV is Tops Even in the Digital Age

TV advertising still offers significant advantages to many advertisers. While video and news clips on social media now carry advertising, this space is much more limited. Most video clips only have thirty seconds or less of ad space before the video rolls, generally limiting each clip to only one advertiser. During a thirty minute newscast, on the other hand, each ad break is several minutes long and includes room for multiple advertisers. Because ad space is at less of a premium, advertising on local TV sometimes offers a lower cost per thousand, depending on factors like market size and time slot.

TV advertising is also still more pervasive than digital advertising. If you put down your phone and walk into the kitchen to get a drink while an ad rolls, you probably won’t hear any of the commercial. If you’re watching television and leave the room during an ad break, you’ll probably still hear the commercials booming out of your TV’s powerful speakers.

TV Consumption Still High Among Most Adults

Most importantly, despite the rise in digital consumption of news and entertainment, consumers are still watching TV at a high rate. According to a Fiercecable report, the average U.S. adult spent 5 hours and 10 minutes watching TV daily in the first quarter of 2014. While that was attributed to mostly older viewers, even younger viewers (in the coveted 18-24 demographic) logged a weekly average of 18.5 hours of traditional TV viewing time in a report on the latest Nielsen study.

TV Ad Spending Especially Important for Some Target Markets

While TV advertising is still important for products aimed at younger viewers, it’s especially critical for advertisers who wish to reach Baby Boomers. A recent Pew Research Center report shows that Boomers and Millennials are opposite each other in news consumption: Roughly 61% of Millennials rely on Facebook for political news, with only 37% depending on local television. On the other hand, Baby Boomers rely on local TV for their political news, with 60% seeking news from local television vs. 39% searching for news on Facebook. Gen Xers fall in the middle, with 51% citing Facebook as a source of political and government news, and 46% relying on local TV. For marketers whose target market includes adults 35 and older, TV ad spending is critical.

How TV Stations Can Protect Ad Revenue in a Digital World

This TechCrunch article predicts that TV’s share of ad revenue will fall to around 40% by 2018, with digital revenue increasing to 35%. But that’s not necessarily bad news for broadcast journalists. The author goes on to point out that TV’s ad share decline will mostly reflect a shift from TV ads to online video, and many broadcasters will continue to profit from both formats.

To keep both digital and traditional ad revenues flowing, journalists should produce unique, compelling content for both online and broadcast channels, and use both formats to promote each other. Posting shortened clips of longer packages on social media can encourage readers to view the full package on the evening news. Contests and promotions can be devised to engage viewers on both fronts. Meanwhile, advertisers should be advised to purchase spots in both digital and traditional spaces so they can expand both reach and frequency. Click here for more on How to Maintain and Improve TV Ad Revenue in the Digital Age.

[su_note]Pursue a future in broadcast journalism. Learn more about the School of Broadcast Journalism at the New York Film Academy. [/su_note]

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Finding a Balance Between Traditional and Digital Advertising

Balance between digital and traditional broadcast advertising

According to a recent Tubefilter article, the U.S. Media Industry Forecast predicts digital ad spending will reach almost $42 billion in 2015. The study suggests digital spending might exceed TV spending for the year, although other reports predict television will remain in the lead for a few more years. Either way, broadcasters should focus on retaining – and even gaining – ad dollars for television, as TV ad revenue remains the primary source of income for most broadcasters.

Tout the Benefits of Television Ad Spending

Both digital and TV ad spending are good sources of revenue for broadcasters, and there are advantages of both for advertisers. In an increasingly digital world, however, some advertisers are eager to put more, or even all, of their eggs in the digital marketing basket. While TV stations can still earn revenue selling thirty-second pre-roll spots for video on their websites, retaining television revenue is important.

It’s essential to remind advertisers that they benefit from continuing to spend in the television market as well. With new updates for business Facebook feeds, business content appears less often in the feeds of consumers who like a company—such as a TV station. Broadcasters can combat this problem by doing their own ad spending on Facebook, but even so, not every fan will see every video link a station posts. Other social media feeds, like Twitter, are often even more crowded than Facebook. Consumers can easily scroll right past that video and never see its pre-roll ad.

There are other concerns for advertisers. Even if high numbers of consumers see a broadcaster’s content and click the link, the advertiser could still be missing people who don’t see or take the time to watch the content. Remind businesses that including television spending in their media plan enables a larger reach. In some cases—depending on the market size and time slot of the ads—TV spending may be cheaper per impression than digital advertising, so including both allows greater reach and frequency without additional cost.

Pay Special Attention to Advertisers Who Benefit the Most

While most advertisers benefit from including at least some TV spending in their media plan, certain products will find broadcast dollars offer a particularly good ROI. A 2014 Fiercecable report shows that TV viewing has been declining among teenagers, but remains steady among adults 35 and older. A Pew Research report indicates that while Millennials get 61% of their political news from Facebook, Baby Boomers get 60% from local TV.

Do any of your advertisers offer products aimed at Baby Boomers? If so, remind them that while their target market is increasingly branching out into social media, their media plan will still benefit from heavy TV spending. Baby Boomers might be joining Facebook in growing numbers, but they still get most of their news from television. If you’re looking for new business, spend the most time on companies whose products are of interest to those 35 and older.

Special Promotions Tie Broadcast and Digital Advertising Together

Spending on both digital and TV ads opens up new possibilities for all advertisers. One common trend for local TV stations is to run contests or special promotions that engage viewers on both fronts. For example, many stations ask a question on social media that can only be answered by people who saw the latest newscast. Then they randomly select a winner from the correct answers. Advertisers can sponsor these contests, giving away branded merchandise to the winner. Whether they win or not, viewers are exposed to the advertiser’s message at least twice—once during the newscast and once on social media. These promotions can be local, national, or a combination of both.

These types of promotions are great for products with a younger target market. Millennials are more likely to get their news online, but a contest can encourage them to watch a local news broadcast so they have a chance to win on social media.

But don’t forget the 35 and older demographic. Even though this age group is more likely to get news from television, 79% of adults 30-49 use Facebook, and 60% of those in the 50-64 demographic use the site. Combined social media/news promotions encourage older adults to interact with your feed.

Follower Engagement is Key

Interaction is the key to social media success with any demographic. With the new Facebook feed rules, most people who like a TV station’s page will see few, if any, of its posts unless they specifically visit its page. There are two ways around that problem: The broadcaster can pay Facebook to put its posts in more feeds, or it can build a high level of engagement with fans. When “likers” interact with a page, by liking a post, sharing it, or commenting on it, they’re more likely to see future posts—at no cost to the page owner.

Combined promotions and contests that utilize both traditional TV and digital ad spending not only help advertisers improve reach and frequency, they also grow a station’s social media following and encourage interaction, ensuring more future posts will be seen by fans. To capitalize on this opportunity, you can offer additional chances to win or special prizes to followers who share content or tag friends.

[su_note]Pursue a future in broadcast journalism. Learn more about the School of Broadcast Journalism at the New York Film Academy. [/su_note]

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