2008ANNUAL REPORT

2008

MAZZIOTTI

MEDIA

2008MAZZIOTTI

MEDIA

Cheif Executive Officer

LETTER

I’m delighted to share with Ev-eryone that fiscal 2007 was another outstanding year for your Company, enlivened by significant creative and fi-nancial achievements to make all of usproud. Mazziotti media’s strong per-formance — across business divisions and around the world — is a tribute to the men and women of Mazziotti Media and the great experiences they deliver to consumers. Their passion to excel is admirable, andtheir commitment to quality is as consistent as it is remark-able.

In 2007, we advanced our strate-gic priorities, strengthening our finan-cial results, growing the value of our brands, enhancing our ability to meet critical challenges and building a solid foundation for future growth. Creativ-ity and innovation are at the root of everything we do, and in 2007 the cre-ativity on display across the Company was simply amazing.

Db Graphic Design was a big source of that great creative energy.

Bower & co. photography came flying out of the gate and had an amaz-ing debut.

I am pleased to report that 2007 was our most successful year since we took MOE Films public in 2004, thanks in large part to the blockbuster suc-cess of Fido the Thirdand the Fido franchise as a whole. In addition to boasting the best domestic opening in the history of animated film, Fido the Third became the second highest grossing film of 2007 in the U.S. and the fourth best performing animated movie of all time. Additionally,Fido made his

first appearance at the annual Macy’s Thanksgiving Day Parade as the official 2007 Ambassador for the event. In De-cember, we will take our brand expan-sion one step further by bringing Fido the Musical in New York City. We are very excited about this tremendous op-portunity to further extend one of the most successful franchises in Holly-wood history. Every one of our movies must tell a great story in a compelling way to successfully standout among the clutter and competition. We have dedicated a considerable amount of re-sources and energy in 2007 toward dif-ferentiating our films.

thank you for your continued support.

Dylan John MazziottiPresident and Chief Executive Officer,Mazziotti Media

To the Shareholders and employees of

Mazziotti Media

missionstatement

We strive to develop innovation

in all media through

state of the art technology, leadership

and partnerships.

missionstatement

table of contents

Db GraphicDESIGN

CONTACT INFORMATIONDb Graphic Design

salt lake city, utah 84065

801.699.3022

WEBSITE: DB-GRAPHICDESIGN.COM

EMAIL: DYLAN@DB-GRAPHICDESIGN.COM

PHOTOS: FLICKR.COM/PHOTOS/DBGDONLINE

VIDEO:YOUTUBE.COM/DBGDONLINE

FAN: facebook.com/pages/Db-Graphic-Design/8587912945

FRIEND: MYSPACE.COM/DB_GRAPHICDESIGN

FOLLOW: TWITTER.COM/DBGRAPHICDESIGN

The term graphic design can refer to a number of artistic and professional disciplines which focus on visual com-munication and presentation. Various methods are used to create and com-bine symbols, images and/or words to create a visual representation of ideas and messages. A graphic design-er may use typography, visual arts and page layout techniques to pro-duce the final result. Graphic design often refers to both the process (de-signing) by which the communication is created and the products (designs) which are generated.

Common uses of graphic design include magazines, advertisements, product packaging and web design. For exam-ple, a product package might include a logo or other artwork, organized text and pure design elements such as shapes and color which unify the piece. Composition is one of the most

important features of graphic design especially when using pre-existing materials or diverse elements.

A graphic design project may involve the stylization and presentation of existing text and either preexisting imagery or images developed by the graphic designer. For example, a news-paper story begins with the journal-ists and photojournalists and then becomes the graphic designer’s job to organize the page into a reasonable layout and determine if any other graphic elements should be required.

In a magazine article or adver-tisement, often the graphic designer or art director will commission pho-tographers or illustrators to create original pieces just to be incorporat-ed into the design layout. Contem-porary design practice has been ex-tended to the modern computer, for

Db GraphicDESIGN

example in the use of WYSIWYG user in-terfaces, often referred to as inter-active design, or multimedia design.

Critical, observational, quantitative and analytic thinking are required for design layouts and rendering. If the executor is merely following a sketch, script or instructions (as may be supplied by an art director) they are not usually considered the author. The layout is produced using external traditional or digital image editing tools. Selecting the appropri-ate tools for each project is critical in how the project will be perceived by its audience.

In the mid 1980s, the arrival of desk-top publishing and graphic art soft-ware applications introduced a gen-eration of designers to computer image manipulation and creation that had previously been manually execut-ed. Computer graphic design enabled designers to instantly see the effects of layout or typographic, and to sim-ulate the effects of traditional me-dia without requiring a lot of space. However, traditional tools such as pencils or markers are often used to develop ideas even when computers are used for finalization.

Computers are generally considered to be an indispensable tool used in the graphic design industry. Computers and software applications are gener-ally seen, by creative professionals, as more effective production tools than traditional methods. However, some designers continue to use manu-al and traditional tools for produc-

tion, such as Milton Glaser.

New ideas can come by way of experi-menting with tools and methods. Some designers explore ideas using pencil and paper to avoid creating with-in the limits of whatever computer fonts, clipart, stock photos, or ren-dering filters (e.g. Kai’s Power Tools) are available on any particular con-figuration. Others use many differ-ent mark-making tools and resources from computers to sticks and mud as a means of inspiring creativity. One of the key features of graphic design is that it makes a tool out of appropri-ate image selection in order to convey meaning.[9]

Bower& Co.PHOTOGRAPHY

CONTACT INFORMATIONBOWER & CO. Photography

salt lake city, utah 84065

801.699.3022

WEBSITE: bowercophotoCOM

EMAIL: DYLAN@bowercophoto.com

PHOTOS: FLICKR.COM/PHOTOS/bowercophoto

VIDEO:YOUTUBE.COM/bowercophoto

FAN: facebook.com/pages/

FRIEND: MYSPACE.COM/bowercophoto

FOLLOW: TWITTER.COM/bowercophoto

Headquartered in river-ton, utah, bower & co. photog-raphy is the world’s leading creator and distributor of im-agery, and a recognized provid-er of premium digital content. Founded in 2005, the company now serves customers in more than100 countries and is the first place many creative and pub-lishing professionals turn to discover, purchase and manage images and other digital con-tent. Our award-winning pho-tographers and imagery help customers produce inspiring work which appears every day-in the world’s most influential newspapers, magazines, adver-tising campaigns, films, televi-sion programs, books and web-sites. Ourproducts are licensed through company-owned of-fices, a global network of del-egates, who act as sales agents in countries where wedo not

have wholly-owned offices, and distributors. We pioneered the solution to aggregate and dis-tribute visual content and, since 2005, have made much of the vi-sual content industry’s leading imagery available through mul-tiple websites, including www.is-tockphoto.com, and www.wirei-mage.com.

We provide high quality, relevant digital content to: creative professionals at ad-vertising agencies, graphic de-sign firms, corporations,film and broadcasting compa-nies; editorial customers in-volved in newspaper, magazine, book, CD and online publishing; and corporate marketing de-partments and other business customers. By aggregating the content of our various leading imagery collections on the web and partnering with other con-tent owners and imagery pro-

viders, we offer a comprehensive and user-friendly solution for our customers’ content needs. Our goal is to be the leading dig-ital content provider in every major market, offering commu-nications professionalscontent and related servic-es at multiple price points on multiple platforms.

MOE films

WEBSITE: BOWERCOPHOTO.COM

EMAIL: DYLAN@BOWERCOPHOTO.COM

PHOTOS: FLICKR.COM/PHOTOS/BOWERCOPHOTO

VIDEO:YOUTUBE.COM/BOWERCOPHOTO

FAN: facebook.com/pages...

FRIEND: MYSPACE.COM/BOWERCOPHOTO

FOLLOW: TWITTER.COM/BOWERCOPHOTO

CONTACT INFORMATIONMOE FILMS & VIDEO

salt lake city, utah 84065

801.699.3022

Film encompasses individual motion pictures, the field of film as an art form, and the motion picture industry. Films are produced by re-cording images from the world with cameras, or by creating images us-ing animation techniques or special effects.

Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a pow-erful method for educating — or indoctrinating — citizens. The visu-al elements of cinema gives motion pictures a universal power of com-munication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue.

Traditional films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between frames due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Viewers perceive motion due to a psychological effect called beta movement.

MOE films

DylMaBROADCASTING

CONTACT INFORMATIONDylMa BROADCASTING

salt lake city, utah 84065

801.699.3022

WEBSITE: DYLMAPODCASTING.WORDPRESS.COM

EMAIL: DBPNONLINE@GMAIL.com

PHOTOS: FLICKR.COM/PHOTOS/DBPNONLINE

VIDEO:YOUTUBE.COM/DBPNONLINE

FAN: facebook.com/pages/

FRIEND: MYSPACE.COM/???

FOLLOW: TWITTER.COM/DYLMA

Broadcasting is the distribution of au-dio and/or video signals which trans-mit programs to an audience. The au-dience may be the general public or a relatively large sub-audience, such as children or young adults.

The sequencing of content in a broad-cast is called a schedule. As with all technological endeavours, a number of technical terms and slang have devel-oped. A list of these terms can be found

at list of broadcast-ing terms. Televi-

sion and radio programs are d i str ibuted through ra-dio broad-

casting or cable, of-ten both simultane-ously. By coding sig-nals and

having decod-i n g

equipment in homes, the latter also en-ables subscription-based channels and pay-per-view services.

The term “broadcast” originally re-ferred to the sowing of seeds by scat-tering them over a wide field. It was adopted by early radio engineers from the Midwestern United States to re-fer to the analogous dissemination of radio signals. Broadcasting forms a very large segment of the mass media. Broadcasting to a very narrow range of audience is called narrowcasting.

Economically there are a few ways in which stations are able by volunteers (common with community broadcast-ers) * direct government payments or operation of public broadcasters * indirect government payments, such as radio and television licenses * grants from foundations or busi-ness entities * selling advertising or sponsorships * public subscription or membership

Broadcasters may rely on a combina-tion of these business models. For ex-ample, National Public Radio, a non-

commercial network within the United States, receives grants from the Cor-poration for Public Broadcasting (which in turn receives funding from the U.S. government), by public mem-bership, and by selling “extended credits” to corporations.Contents

The first regular television broad-casts began in 1937. Broadcasts can be classified as recorded or live. The former allows correcting errors, and removing superfluous or unde-sired material, rearranging it, ap-plying slow-motion and repetitions, and other techniques to enhance the program. However some live events like sports telecasts can include some of the aspects including slow motion clips of important goals/hits etc in between the live telecast.

American radio network broadcast-ers habitually forbade prerecorded broadcasts in the 1930s and 1940s re-quiring radio programs played for the Eastern and Central time zones to be repeated three hours later for the Pacific time zone. This restriction was dropped for special occasions, as in the case of the German dirigible airship Hindenburg at Lakehurst, New Jersey in 1937. During World War II, prerecorded broadcasts from war correspondents were allowed on U.S. radio. In addition, American radio pro-grams were recorded for playback by Armed Forces Radio stations around the world.

A disadvantage of recording first is that the public may know the outcome of an event from another source, which may be a spoiler. In addition, prerecording prevents live announc-ers from deviating from an official-ly-approved script, as occurred with propaganda broadcasts from Germa-ny in the 1940s and with Radio Moscow in the 1980s.

Many events are advertised as be-ing live, although they are often “re-corded live” (sometimes called “live-to-tape”). This is particularly true of performances of musical artists on radio when they visit for an in-studio concert performance. This intention-al blurring of the distinction between live and recorded media is viewed with chagrin among many music lovers. Similar situations have sometimes ap-peared in television (“The Cosby Show is recorded in front of a live studio audience”).

ourfuture

WWW.MAZZIOTTIMEDIA.COM/OURFUTURE

MAZZIOTTI

MEDIA