Media inc june july

CONTENTS

VOLUME 26 • JUNE/JULY 2014

Scott Patrick Green PUBLISHER

James R. Baker EDITOR

George Riddell ASSOCIATE EDITORS

Susan Haley Katie Sauro STAFF PHOTOGRAPHER

Regan MacStravic SALES MANAGER

Katie Higgins SALES

Steve Joseph PRODUCTION MANAGER

John Rusnak PRODUCTION ASSISTANT

Kelly Baker DESIGNERS

Dawn Carlson Beth Harrison Sonija Kells

FEATURES 9 13 17 21 6 23 27 29

THE LIBRARIANS: AROUND THE WORLD IN OREGON Z NATION INVADES WASHINGTON THE FILMWORKS INNOVATION LAB IS BACK! OREGON STORY BOARD: THE STATE’S NEW DIGITAL STORYTELLING ECOSYSTEM SIFF SHINES AT OPENING NIGHT GALA MEET KATE BECKER PORT TOWNSEND: PENINSULA CITY LURES FILMMAKERS NEAR AND FAR SIFF 40TH ANNIVERSARY OPENS WITH SEATTLE SURPRISES

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MEET TODD LOOBY

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NFFTY INSPIRES NEW GENERATIONS OF YOUNG TALENT

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EAGLE LANDS NEW COMMERCIAL CLIENT

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ANOTHER SUCCESSFUL ASHLAND FILM FESTIVAL

WIFPDX ADDS FUEL TO THE CREATIVE FIRE

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WEBMASTER

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INDIE WORST LAID PLANS SHOOTS IN SEATTLE

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SOMETHING WICKED FINALLY COMES THIS WAY

Jon Hines OFFICE MANAGER

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THE WINDING STREAM PREMIERES IN PORTLAND MEET TARA JOELLE HOLLYWOOD THEATRE STUDIO EXPANDS TO OPEN MEADOW MIDDLE SCHOOL

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TRANSCULTURATION, RECONCEPTUALIZATION AND TRANSCREATION . . . OH MY!

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SERVING THE LATINO COMMUNITY’S GROWING PRODUCTION INDUSTRY

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AN UPDATE FROM SAG-AFTRA

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FOCUS ON: NW TALENT AGENCIES

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TOOLS, TECH & GEAR

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SOUNDSTAGE SPOTLIGHT ROLL THE CREDITS: NIGHT MOVES

MEDIA INC. INDUSTRY LISTS 56 70

PRODUCTION COMPANIES SOUNDSTAGES

Audra Higgins INFORMATION SERVICES MANAGER

Lois Sanborn COVER

The Librarians lead actor and executive producer Noah Wyle with executive producer Dean Devlin on location in Oregon. Photo By Scott Patrick Green

Media Index Publishing Group 14240 Interurban Ave. S. Suite 190 Tukwila, WA 98168 (206) 382-9220 (800) 332-1736 Fax (206) 382-9437 Email: media@media-inc.com www.media-inc.com 1219 SE Lafayette Suite 201 Portland, OR 97202 Display Advertising. Call Media Index Publishing Group for a current rate card. Discounts for frequency advertising. Advertising confirmation deadline is the 30th of the month prior to issue publication. Advertising mechanicals are due the 5th of the month of issue. All submitted materials become the property of Media Index Publishing Inc. and will not be returned.

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SIFF Shines at Opening Night Gala Photos by Regan MacStravic

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he 40th annual Seattle International Film Festival (SIFF) opened in style on May 15 with a red carpet gala, reception, and screening of the Jimi Hendrix biopic, Jimi: All Is

By My Side. Media Inc. was on the scene at McCaw Hall to mix and mingle with film-lovers, filmmakers, and other local luminaries.

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FILM FESTIVALS

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Around the World in Oregon

By George Riddell Editor Photos by Scott Patrick Green

rincipal photography for new TNT series The Librarians began in Oregon on April 10, and is expected to continue through July. TNT has ordered 10 episodes of the series from executive producer Dean Devlin and Electric Entertainment, which previously produced MGM’s Flyboys and Emmy-winning mini-series The Triangle for Syfy Channel.

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The Librarians Executive Producer Dean Devlin (left) works on set with actors Christian Kane and Lindy Booth

The Librarians centers on “After Dean Devlin produced an ancient organization hidden the show Leverage, he fell in beneath the Metropolitan love with the state and its Public Library dedicated to talented crewmembers,” she protecting an unknowing world said. “We worked with Vince from the secret, magical reality Porter and his office, as well as hidden all around. This group the Oregon legislature, to make solves impossible mysteries, it possible for Librarians to fights supernatural threats and come to Oregon.” recovers powerful artifacts The Librarians is being shot from around the world. The over 73 production days on series is based on The Librarlocation in several counties ian films starring Noah Wyle, around Portland, as well as on which previously aired on TNT. the Electric Entertainment Emmy Winning actor John Larroquette (left) and Executive Producer Dean Devlin on the set of TNT series The Librarians.

The series stars Rebecca soundstages in Clackamas.

Romijn and Wyle, who will Electric created the facility by reprise his film character in a recurring role. Other cast members converting over 60,000 square feet of warehouse space into stateinclude Christian Kane, Lindy Booth and John Kim. Emmy of-the-art soundstages. Stage shooting includes work on the winners John Larroquette and Bob Newhart are cast to appear in studio’s blue screen stage—the largest in the Northwest. recurring roles.

Olschan said the shoots so far have been successful.

The series’ storyline, which features globe-trotting adventure “Production is going fantastic,” she said. “While the show is in every episode, requires that the production team take full more complex than Leverage, our cast and crew are doing a great advantage of the wide range of available locations in Oregon. The job. We couldn’t be happier.”

Electric Entertainment team is already familiar with the many According to Olschan, about 97 percent of the cast is comprised things Oregon offers to filmmakers. In fact, Electric shot seasons of Oregon talent. two through five of TNT series Leverage in Portland from 2009“One of the best things about shooting here is the talent pool— 2012. both the crew and the local actors,” she said.

Series producer Rachel Olschan said it’s no accident they came The Librarians is set to wrap production in July and premiere back. later this year on TNT. 10

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Z Nation Invades Washington

By George Riddell Editor Photos by Oliver Irwin

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he zombie horde has overtaken Spokane and the Washington film production community is elated. On Thursday, May 15, production began for the first season of the new Syfy series Z Nation, an action-horror series that depicts the epic struggle to save humanity after a zombie apocalypse.

With a 13-episode commitment from Syfy, production is slated to continue in Spokane all summer. The five-month production will employ 200 actors, the great majority of them from Washington State, plus as many as 1,300 Washington extras. In addition, the 100-person production crew is largely made up of Washington residents, as well.

Series producer Rich Cowan stresses that it’s all by design.

“That’s the goal,” says Cowan. “The whole idea is to have this be a Washington State production through and through.”

Nike Imoru is the lead casting director for Z Nation, and she is so enthused about the production that she has moved from Portland to Spokane.

Imoru jumped at the chance to cast the series as soon as she learned that about 50 percent of the roles would be given to regional actors.

“This is unprecedented for the Northwest, not just for Washington State,” says Imoru.

At press time, the series’ lead regulars had not been announced, but Imoru confirms that three of the eight principal roles went to Washington actors.

The casting process for Z Nation generated “staggering numbers,” she says. “We JUNE/JULY 2014 MEDIA INC.

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received 1,100 submissions for the lead roles.”

On May 3, more than 600 people showed up for Zombie School Day in Spokane to apply for roles as zombies in the series. In all, there are 200 speaking parts throughout the 13 episodes, and Imoru expects to fill many of those with Northwest actors.

“This is my ultimate goal being realized,” she says.

Cowan agrees that Z Nation will boost the state’s stable of acting talent, saying, “Having a very high proportion of Washington actors will help build up the talent pool here.”

The decision by Syfy and series producers to shoot in Washington was greatly influenced by the approval of funding assistance through the Washington State Film Incentive program, which is administered

by Washington Filmworks (WF).

Said Don Jensen, Filmworks Board chair, in a statement, “Securing an episodic series has always been a priority for WF, as it represents good paying jobs and consistent work.”

Crew jobs for the production have attracted workers from throughout the state. Cowan, who is the founder of Spokane production company North By Northwest, stresses that even with actors and production crew migrating to Spokane from all over Washington, there has been no need for a “settling-in period” for the new arrivals.

“Many have been on our crews before,” he says. “Everybody knows each other.”

Second AD Tony Becerra is a Seattle-based crewmember who has joined the Z Nation production for the summer.

“I’m happy to be side by side with some of the most experienced film crews we have in Washington State,” says Becerra. In addition to crewmembers from the Spokane area, Becerra says there is a mix of Seattle film people, as well.

“Everyone’s been very welcoming,” he says. “The production is fast-paced like any TV show, but not anything new for Washington

State crew.”

Indeed, shooting got off to a fast start.

“The first day was a main unit day,” says Cowan. “They shot 6 to 7 script pages with about 30 different set-ups.”

And how do the large number of zombies affect the production?

Becerra says it’s mainly a scheduling issue, for “wardrobe distressing, prosthetics, and FX blood, to get people ready on set.”

He adds, “Thankfully our costume designer, Lisa Caryl-Vukas, is always prepared for the additions and changes we go through during production.”

For Cowan, Z Nation marks the beginning of something really important for the state.

“This is a foundation for the future in Washington,” he says. “I firmly believe scripted television is the future in Washington.”

And it’s not just shooting. Cowan confirms Z Nation will be delivered in its entirety from Washington to the network, “including all post, sound, everything. Nobody in L.A. touches it. It leaves the state fully done and deliverable.”

At press time, VFX and sound providers had not yet been announced for Z Nation, but announcements are expected soon, since principal photography for episode one is schedule to be completed in June.

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The Filmworks Innovation Lab is Back!

Previous Innovation Lab funding assistance recipient The Maury Island Incident.

MICHAEL BRUNK / NWLENS.COM

ashington Filmworks (WF) is excited to announce the return of the Filmworks Innovation Lab! The first funding assistance program of its kind in the nation, the Lab is designed to support Washington-based filmmakers and those using emerging technologies.

WF believes supporting the development of our local filmmakers is one of the most important things that we can do to create a long-term, sustainable film industry. Already, completed projects are celebrating success at film festivals, online, in their local communities, and across the globe!

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The Filmworks Innovation Lab is designed to invest in our local creative community and to encourage the development of original storytelling that capitalizes on new forms of production and technology. In the first two cycles of the program, WF allocated funding assistance to a diverse slate of projects, from short films to features, web series to app-based projects. The wealth of creativity and ingenuity from applicants and funding assistance recipients alike was truly inspiring.

During the first two funding cycles, an overwhelming majority of applicants saw participating in the program as an invaluable process that helped filmmakers better develop their ideas and their business proposal. Applicant JD Davis of Tacoma told WF, “This process forced me to take a different look at my project and focus on areas I hadn’t thought of. At the end of the day, I believe the project has a better chance of success because of it.”

The Filmworks Innovation Lab offers funding assistance as a

return on qualified in-state expenditures on the production of motion picture content (including labor and talent who are Washington State residents). Projects must spend between $25,000 and $499,999 in Washington and it is important to note that this is not a grant, rather a reimbursement on a project’s investment in utilizing Washington State workers, vendors and goods. The level of funding assistance is determined per project and varies according to each approved project’s merit and requirements.

“The reimbursement allows us to market our project and get people to actually see it,” said Alycia Delmore, Filmworks Innovation Lab funding assistance recipient. “That kind of funding for a low-budget, independent project is crucial and very rare.”

Program Highlights and Significant Changes • We’ve merged the funding cycles. Previously, WF accepted applications for narrative film projects and those designed for multiple delivery platforms separately. No more! We now consider applications two times a year, regardless of the distribution platform.

• From the application deadline to notification of outcome, the turnaround for applicants is significantly reduced. The first application window is slated to open in August 2014! Look to the Innovation Lab and Guidelines for dates and deadlines.

• Projects must spend between $25,000 - $499,999 in Washington State.

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secured at the time of application and be able to show proof of financing.

• At least 75% of the motion picture content production budget must be spent in Washington State.

• At least 75% of all production days must take place in Washington State.

• At least 85% of the workforce for the physical production of motion picture content must be Washington residents and projects must use a majority of Washington residents in Key Creative positions.

• A mandatory applicant meeting is now required prior to applying.

Check WF website for dates and details.

We can’t wait to hear what Washington is working on! Have questions or want to know if your project is a good fit for the Filmworks Innovation Lab? Contact Washington Filmworks staff at Lab@WashingtonFilmworks.org or 206-264-0667. Full guidelines and criteria available here: www.WashingtonFilmworks.org.

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Washington Film and Series Demand Empties Coffers ashington Filmworks announced at the end of April that the state’s film incentive program has approved funding assistance for one episodic TV series and one feature film production. Filmworks also announced that this assistance has essentially exhausted the program’s available funds for such projects for the remainder of 2014.

Washington’s film incentive program is capped at $3.5 million per year.

The TV series is Z Nation, which began production in May in Eastern Washington, with episodes scheduled to air starting this fall on Syfy. The feature film is Captain Fantastic, scheduled for production in Seattle this summer. Both major productions will provide a boost to the Washington film production industry, representing hundreds of cast and crew jobs. And both are filming in Washington at least in part due to financial incentives provided through Washington Filmworks, which administers the state’s film incentive program.

However, according to Amy Lillard, executive director of Washington Filmworks, the lack of additional incentive funds in 2014 means other projects that might have considered shooting in Washington this year will choose to work in other states that can provide funding assistance.

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“There were a number of film projects interested in shooting in Washington,” said Lillard.

“But, although they still see Washington as a desirable filming location, they will now shoot in the states that can provide financial assistance.”

Washington’s controversial cap is widely believed to prevent the state’s film industry from being competitive with other states that have larger incentive funds to entice motion picture and television projects to film in their states.

Writer/director Douglas Horn believes the current situation illustrates the problem well.

“Perhaps it was necessary to reach this point where Filmworks has to turn away all new film productions until 2015 so that it is clear to everyone how our capacity and the economic opportunities for the state have outpaced the incentive cap,” said Horn.

“Filmworks has done a good job in the past of doling out projects throughout the year, but there’s no longer any way to hide how far the economic potential for film in the state has exceeded the current incentive.”

Washington Filmworks also allocates a portion of the state’s incentive funds to its Innovation Lab, which also comprises a portion of the state’s $3.5 million cap. The third cycle of the program begins in August.

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Oregon Story Board: The State’s New Digital Storytelling Ecosystem

By Susan Haley Associate Editor

n December 2013, Nicholas de Wolff was recruited to serve as inaugural executive director of a new digital innovation lab, Oregon Story Board (OSB), a non-profit organization that “develops opportunities for job creation, talent attraction, and the establishment of a collaborative community of digital storytelling innovators.”

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de Wolff has been deeply involved in new media business ventures, including Internet, social media, M&E technologies, IP, and mobile communications. He served for several years as a chief marketing officer at Technicolor, one of the world’s largest media and entertainment technology providers. de Wolff is a co-founder of the Producers Guild of America’s New Media Council, and is a member of the Academy of Television Arts & Sciences, where he has served several times on the jury for the Primetime Emmy Awards.

Oregon Story Board actively promotes the growth of digital media production in Oregon through investments in Incubation, Research & Education, and Ecosystem Development.

Plans for OSB include Incubation: Investing in startups that support a statewide digital media ecosystem; Research & Education: Helping Oregonians become leaders in the new wave of digital production; and Ecosystem Development: Catalyzing growth by creating and enriching the connections between new business opportunities and talented digital media professionals.

Beginning in Portland with plans to expand statewide, OSB is designed to further the burgeoning digital storytelling cluster—a broad spectrum encompassing everything from filmmakers to video game development to news and advertising organizations to the technology that enables those industries—in Oregon by focusing on education, research, community building, incubation, and promotion of both startups and established organizations that are making the state a compelling location for creative and technological exploration.

Oregon Story Board has already teamed with TrackTown USA for their first official project, the “Hack at Hayward.” In July 2014, Oregon will host more than 2,500 international athletes, team officials and journalists for the 15th IAAF World Junior Track and Field Championships. In anticipation of this exciting event, OSB and TrackTown USA invited a select group of Oregon’s best technologists, creatives, and athletes to re-invent the way that the sport of track and field is presented to a global audience.

“Innovation has been the cornerstone of the TrackTown community since Bill Bowerman arrived at the University of Oregon in 1948, and we were thrilled to partner with Oregon Story Board in shaping the sport for the 21st century,” said TrackTown USA president Vin Lananna. The Hack was focused on conceptualizing a genuinely innovative platform that shines a light on the

Inside the Oregon Story Board.

robust stories of competition and triumph that begin well before the athletes step on the track, and continue well after the event is over.

More recently, Oregon Story Board produced and hosted an event at OMSI called “Play/Interact,” aggregating 12 of the state’s leading video game and digital media companies in one large demonstration event, attended by nearly 1,000 people.

Nicholas de Wolff Less public, but possibly of most importance to their mission, the organization has already begun supporting and incubating startup companies, providing collaborative office space and business development resources to eight Oregon startups since May 1. Oregon Story Board will be opening up the application process in June for their fall accelerator program.

For more information, go to www.oregonstoryboard.org and sign up for updates or follow @orstoryboard on Twitter.

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Meet Kate Becker

early five months have passed since Kate Becker was introduced as the new director of the Seattle Office of Film + Music, following the sudden departure of longtime director James Keblas. The unexpected change in leadership prompted immediate reactions within Seattle’s normally quiet film community, including a short-lived “Save James Keblas” petition and an effective organization of leaders and concerned members of the city’s production industry. The tumultuous change of leadership in the Office of Film + Music led to a meeting on May 6 between Seattle Mayor Ed Murray and the city’s film industry leaders, organized by Becker (see sidebar).

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Kate Becker’s background in film extends back to her days as a college student at Hampshire College in Amherst, Massachusetts. Her film degree was the start of a career in the arts that has included fundraising, event production, non-profit startups and management. She has been a major arts advocate in the Puget Sound region for over 20 years, and was founder of Redmond’s youth music program The Old Firehouse in 1992. In 2001, she was the co-founder of The Vera Project, another youth music program, this time in Seattle. And her partners included her good friend James Keblas. Together with their third co-founder, Shannon Stewart, and with the help of hundreds of volunteers, they built The Vera Project into a ground-breaking, innovative all-ages music and arts program that has served as an inspiration for similar organizations throughout the U.S. Just before her appointment to lead the Office of Film + Music, Becker was working for the City of Seattle as a strategic advisor, focusing on nightlife, marijuana and I-502 implementation policy.

Media Inc. was pleased to connect with Becker to talk about her first months in her new position, and thoughts about the future.

Media Inc.: It has now been a few months since you assumed your new role. In that time, what have you learned about the Seattle film industry and community that you didn’t know before?

Kate Becker: I have been super excited to see how well the film community has joined together to bring a clear and united message forward to the City. I continue to meet amazing people who are doing really extraordinary work. I am super psyched to be working with these folks and I’m really excited to see what we can achieve together.

MI: Do you have an agenda for your office that addresses film production in Seattle for the coming year? What can you tell us about it?

KB: Well, I know that we need to remain keenly focused on fortifying the film production industry. In this incredibly competitive market, it is essential that Seattle competes strongly. The Office of Film + Music is strategically working on a multi-pronged approach that includes adding permitting capacity to the office, design-

ing a new technological system that will simplify the permit application process—we are aiming for an online permitting system to be in place by 2015—and doing everything possible to bolster film production incentives. Another big ongoing effort is our Commercialize Seattle campaign, which promotes filming commercials in Seattle to the commercial makers. And of course, as the one-stop shop for Seattle film permits, we work with all departments directly so the filmmaker doesn’t have to, and we’re always improving how we do business and serve our clients.

MI: What do you hope to accomplish in the Seattle film production arena long-term?

KB: My hope is that we can continue to stimulate a creative economy that provides year-round work for the highly skilled film production professionals that live here. We want them to stay here and make their films here. It’s my job to make sure that this is a feasible reality for film professionals.

MI: You were the driving force within City Hall in organizing the May 6 meeting between Mayor Murray and Seattle’s film community leaders. Please tell us what you thought of the meeting, and how it went from the City of Seattle’s perspective.

Seattle film leaders gathered to meet with Mayor Ed Murray. (l to r) Kate Becker, Alan Nay, Donna James, Don Jensen, Lynn Shelton, Bob Riggs, Doug du Mas, Mary Bacarella, Chris Swenson, Lacey Leavitt, Buzzy Cancilla, Ron Leamon, Peter Barnes, Tony Doupé, Megan Griffiths, Tracy Rector, Amy Lillard, and Douglas Horn.

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KB: I think the meeting was super successful, I’m happy to say. The Mayor and the film community had a great conversation and I am very hopeful about the future of film production in Seattle. It was clear that the Mayor understands the issues at hand and has a long history of supporting film, and the arts overall, at the State level.

MI: One account of the meeting stated that Mayor Murray has a desire “to be ‘the arts mayor’ and to him film falls squarely within that mission.” One can assume that music also falls within that mission. So your position is pretty key to Mayor Murray’s agenda in that regard.

What does that mean to you?

KB: It means I’m damn lucky, I think. The Mayor has said several times that we need to learn to “collaborate or perish.” A key part of his vision is making sure Seattleites understand that a vibrant arts sector is essential to a healthy economy. Film and music are at the epicenter of the convergence of these two worlds. In addition to growing these unique sectors, I am excited about finding ways the arts and business communities can collaborate more effectively.

MI: A couple weeks have passed since this meeting. Has the concept of City film incentives gained any traction?

KB: I do believe that this idea is gaining traction.

Certainly, there is much discussion happening around City film incentives. This can’t get done in a flash, but I’d say that City film incentives are being seriously considered right now. It won’t happen overnight, but the conversation is moving forward, which is exciting.

MI: What are the next steps following this meeting? Is there a plan for follow-up and follow-through on the items that were discussed?

KB: Yes, there is. A letter to the Mayor from film community leadership arrived this week and we have been working with the Mayor’s Office on a plan to figure out how to fund some of these proposals, and assessing which ones make the most sense for the City to invest in. So, yes. We have the Mayor’s attention and he and his team are working with us to find some good solutions to the issues and requests brought forward by the film community.

Kate Becker maintains accessibility to the film and music communities by attending the monthly Film + Music + Interactive happy hour and guest speaker series held in partnership with Washington Filmworks and the PNW Chapter of the Recording Academy at Seattle’s Spitfire Grill.

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SEATTLE FILM LEADERS MEET WITH MAYOR n May 6, more than a dozen leaders from the Seattle film production industry met with Seattle Mayor Ed Murray to discuss a wide range of issues that affect their industry and livelihood. That evening, Seattle writer/director Douglas Horn, one of the attendees of the meeting, published this report, which is re-printed in Media Inc. with his permission:

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I want to thank everyone for the support that our film community has given toward initiating more meaningful contact with Mayor Murray regarding the film, television, and commercial production industry here in Seattle… And thanks, too, for your patience. It takes a while to get on the mayor’s schedule but today we met with Mayor Murray for nearly an hour helping him to understand the ways that we can work together to build the industry and community here.

Attending the meeting in addition to Mayor Murray and his policy advisors Amanda Scott and Maggie Thompson were Mary Bacarella, Peter Barnes, Kate Becker, Buzzy Cancilla, Tony Doupé, Doug du Mas, Megan Griffiths, Douglas Horn, Donna James, Don Jensen, Ron Leamon, Lacey Leavitt, Amy Lillard, Alan Nay, Tracy Rector, Bob Riggs, Lynn Shelton and Chris Swensen.

Kate Becker opened our presentation by framing the industry in Seattle and introducing other speakers.

Don Jensen thanked Mayor Murray for his two decades of support for our industry from Olympia and asking for his continued support in advancing the industry in Seattle. Mayor Murray noted that he is eager to continue his support and looking to us to suggest ways to do that.

Doug du Mas presented the need to expand the capacity of the film permitting office and to make it clear that Mayor Murray sees film production as a priority for the city, a declaration which will help streamline working with various city agencies and help keep film production in the city nimble and responsive. Mayor Murray was highly responsive to this message.

Amy Lillard presented the importance of the film incentives for our industry in both the state and city and informed Mayor Murray of the present situation where no new projects may receive incentive fund until 2015. Lynn Shelton, Lacey Leavitt, and Megan Griffiths gave stories of film projects that are likely to film in other areas due to insufficient funding. We asked Mayor Murray to support us in our coming campaign to raise the cap on the film incentive. Mayor Murray agreed and informed us that he was working to coordinate city and state legislators around the city’s slate of priorities and that this would be one of his leading priorities.

Alan Nay provided an overview of the Commercialize Seattle program and asked Mayor Murray for his continued support. He included a story of a recent commercial project won through the program.

Douglas Horn presented the case for a City of Seattle film incentive to help create an even stronger reason for producers to bring projects to Washington State and to make the City of Seattle the preferred destination for producers who do so. The Mayor was very interested in this issue and agreed to have his staff look into it right away with an eye toward creating a meaningful incentive.

Bob Riggs presented a request to elevate the Office of Film and Music to a position where it would be present at cabinet meetings, as it has in the past. Mayor Murray seemed disinclined to do this but largely because, as he pointed out, there are already numerous people at cabinet meetings and adding one more is not likely to give us the additional influence and access we seek. However, he assured us that he would keep film a priority. Mayor Murray told us he wants to be “the arts mayor” and that film falls squarely within that mission.

Mayor Murray followed up with questions and responses and Don Jensen closed out our presentation.

As an observer and participant, I feel that the meeting went extremely well. Of course, follow through is crucial on all sides, but Mayor Murray seemed genuinely engaged in our agenda. Thank you again for your support and patience as we advance our cause. I want us to remain engaged ourselves and I hope this update helps in that regard. - Douglas Horn

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Port Townsend:

A Person Known to Me films on the streets of Port Townsend.

icturesque Port Townsend, Washington, located on the peninsula between the Cascades and the Olympics, has been home to many productions over the last several years. Indeed, everything from Hollywood features (Snow Falling on Cedars, The Ring) to commercials (Washington State Lottery) to indie films (A Person Known to Me, You Can’t Win) have utilized Port Townsend as a backdrop for their productions.

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Christina Pivarnik, marketing director for the City of Port Townsend and the city’s film liaison, says this is because of the wide diversity of filming locations that the town has to offer.

“We have authentic Victorian architecture with restored and unrestored exteriors and interiors, including a variety of buildings and homes built between the mid-1850s through early 1900s,” she says. “Point Hudson, home of September’s Wooden Boat Festival, has buildings erected by the Coast Guard in the 1920s, as well as a marina, RV park and expansive views of the Cascade Mountains.

The area also contains nearby salt marshes, uninhabited lakefronts and wild scenic rivers.”

Pivarnik also mentions the vast filming locations within Fort Worden State Park, a military fort built in 1902, where An Officer and a Gentleman was filmed. “(Fort Worden) offers numerous sets, from Victorian officer’s quarters to three-story barracks, dark tunnels, gun emplacements, an abandoned labyrinth of concrete bunkers and classic, redroofed lighthouse with volcanic Mt. Baker in the background,” she adds.

Several memorable scenes from the 1982 film were shot here, including Richard Gere’s famous line, “I got nowhere else to go!”, which was filmed on the southwest corner of the upper level of

Battery Kinzie. Other Fort Worden locations included the interior of the USO building (used for the reception scene near the beginning of the film), Building 204 (used as the dormitory and its porch was used for the film’s closing ‘silver dollar’ scene), and the blimp hangar (used for the famous fight scene between Gere and Louis Gossett Jr.).

In addition to a vast array of unique filming locations, Pivarnik says the town is extremely film-friendly and accommodating of film production.

“The City makes the film permitting process easy, helpful and supportive,” she says. “I’m happy to work with location scouts to find just the right venue for their shoot. We are also home to the Port Townsend Film Institute, which hosts our annual film festival every September. Janette Force, executive director, provides connections for crew to assist productions. Key City Public Theatre offers casting talent. And Port Townsend has exceptional caterers, offering great options for craft services, often using locally produced/grown food.”

For more information about filming in Port Townsend, visit www.EnjoyPT.com.

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FILM FESTIVALS

SIFF 40th Anniversary

OPENS WITH SEATTLE SURPRISES n May 15, the Seattle International Film Festival (SIFF) began its Opening Night gala with two exciting announcements.

Prior to the opening night feature presentation of Jimi: All Is

By My Side, SIFF announced that it has purchased the SIFF Cinema Uptown (with the “Angels of the Uptown”) and has also signed a lease for the Egyptian Theatre, securing these two neighborhood landmarks as year-round SIFF Cinema and festival venues. Managing director Mary Bacarella and artistic director Carl Spence took to the stage to make the announcement, which signals a tremendous future of growth for the organization that’s now celebrating its 40th anniversary.

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The Egyptian Theatre

“The opportunity to secure the future of both the Uptown and the Egyptian theatres at the same time fulfills our hopes beyond all expectations,” said Spence. “Collectively, these two venues have been showcasing essential and award-winning cinema for more than 100 years. The films presented have been more than just entertainment; they’ve been a chance to see the world from a different perspective with the possibility to transform our collective consciousness. We look forward to continuing their legacy of showing extraordinary films from around the world 365 days a year.”

To read this article in its entirety, visit www.media-inc.com.

Northwest Connections at SIFF 40 his year’s festival screenings include 272 features and 180 short films. Of those, 17 features and 41 short films have a Northwest or Washington State connection.

“When I started in 2003, there were 7 feature films and 8 short films as part of SIFF, and it was called Spawned in Seattle,” said Beth Barrett, SIFF director of programming, in a Washington 4 Minute Mile Filmworks blog post. “SIFF has always made a point to look for great locally produced film, but in the first 25 years of the festival, there just simply wasn’t the quantity we see today. Over the decade that I have been in programming, the NW Connections program has really exploded into Desert Cathedral the premiere section that it is now, spanning many of our other programs, notably Face the Music and Documentary Films.”

Four Washington incentive films are screening at the festival, including 4 Minute Mile, Lucky Them, Box Walk and The Maury Island Incident. Other Northwest connections include:

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• BFE (Shawn Telford) • Big in Japan (John Jeffcoat) • The Breach (Mark Titus) • Burkholder (Taylor Guterson) • DamNation (Ben Knight, Travis Rummel) • Desert Cathedral (Travis Gutiér- The Maury Island Incident rez Senger) • Fly Colt Fly: The Legend of The Barefoot Bandit (Adam Gray, Andrew Gray) • My Last Year With the Nuns (Bret Fetzer) • Obama Mama (Vivian Norris) • Oil & Water (Laurel Spellman Smith, Francine Strickwerda) • Razing the Bar (Ryan Worsley) • Song of the New Earth (Ward Serrill) • Two Raging Grannies (Håvard Bustnes)

SIFF Honors Local Legend Quincy Jones uincy Delight Jones, Jr., onetime Seattleite and legendary artist, musician, producer, conductor, arranger and composer, was honored with SIFF’s Lifetime Achievement Award on June 4.

Over the course of three Quincy Jones evenings, SIFF presented three events in honor of Jones. On June 3, SIFF presented an archival presentation of Sidney Lumet’s searing 1964 drama The Pawnbroker, featuring a famous score by Jones. Then, on June 4, SIFF presented An Evening with Quincy Jones, with the Lifetime Achievement Award Tribute presentation, conversation with Jones, and screening of the SIFF 2014 Official Selection documentary Keep On Keepin’ On, a candidly emotional look at jazz trumpeter Clark Terry (one of Jones’ mentors) and Terry’s latest protegé, Justin Kauflin. On June 5, SIFF invited guests to experience a thrilling evening of music at the Triple Door, featuring the Justin Kauflin Trio.

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Todd Looby t e e M

BENDFILM NAMES NEW EXECUTIVE DIRECTOR

odd Looby recently became the executive director of BendFilm Festival. Looby spent eight years as construction manager for Chicago’s biggest firm, teaching himself filmmaking on the side and eventually making the leap to full-time filmmaking in 2008. Looby’s second narrative feature, LEFTY, screened at festivals across the country and was named in “The Top 10 Movies of 2009...” by theChicago Tribune’s Metromix. His followup, Son of None – a narrative short shot in Liberia – won the Special Jury Award at Slamdance 2011 and won Best Short at the Boston Film Festival.

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His latest narrative feature, Be Good, stars indie-favorites Amy Seimetz and Joe Swanberg and was called “well acted, crafted and observed” by Variety. In addition to his filmmaking, Looby has helped program Slamdance since 2011. Prior to working at BendFilm, Looby was the executive director of a successful non-profit that runs a boarding school in Liberia.

When asked, Looby explained that he did not see his new role as challenging.

“It’s hard for me to talk in terms of challenges,” he said. “For instance, many people don’t like fundraising because you have to talk about ‘money,’ but I’ve always seen fundraising as a way of connecting people to a passion. And so far, the fundraising I’ve done has allowed me to meet some amazing people who are really supportive and enthusiastic about the fest. Having them in my corner gives me a lot of confidence that we’ll put on one of our best fests yet come October.”

Looby feels that he and the board are charged with finding the best films that fit their mission – solidly independent and some-

thing that speaks to people in the region. He finds programming really exciting because “there was a time when big festivals ate up all the good films. But now those festivals have to reject a lot of really excellent films and those films – and the filmmakers – receive their just dues at BendFilm. It’s also an opportunity for our audience to see incredible stories they might not otherwise be able to see in theaters.”

He pointed out, “There are so many moving parts to a film festival and there is a high probability for error for a multi-day, multi-venue, multi-media, multi-activity event. However, I have met several of our volunteers and they are all extremely knowledgeable about how the fest works and they take their jobs seriously. We all want to show people an incredible time within the theaters, at the parties, and the incredible setting of Bend, Oregon. I can’t wait to celebrate with our audience.

“My head is filled with ideas and excitement for how to make BendFilm stand out even further and how to celebrate such an amazing place as Bend, Oregon!”

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FILM FESTIVALS

Another Successful Ashland Film Festival he Ashland Independent Film Festival (AIFF) recently wrapped yet another successful edition, with 97 films screened over 5 days, a record 18,000 tickets distributed, and entertaining parties featuring local food, wine and beer.

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The 2014 Lifetime Achievement Award was presented to twotime Academy Award-winning director Barbara Kopple. She received an Oscar in 1977 for Harlan County USA (which screened at the AIFF) and again in 1991 for American Dream.

Kopple’s latest documentary, Running from Crazy, also played at the festival to a sold-out house.

The AIFF presented a 2014 Rogue Award to hometown boy, Ty Burrell. The Emmy Award-winning performer grew up in the Rogue Valley. The festival audience had a chance to get to know the man behind the funniest dad on television, Phil Dunphy of Modern Family, during “A Conversation with Ty Burrell.” Burrell has appeared in blockbuster hits such as Black Hawk Down (2001), Dawn of the Dead (2004), and The Incredible Hulk (2008), and is the voice of Mr. Peabody in the recently released Mr. Peabody & Sherman.

Putting the spotlight on a filmmaker making a unique contribution to independent film, the AIFF presented Mark Monroe with

Ty Burrell, recipient of the Rogue Award.

ASHLAND NAMED #2 BEST TOWN TO LIVE AND WORK AS A MOVIEMAKER

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ovieMaker Magazine recently named Ashland the number two town on their annual list of the best places to live and work as a moviemaker.

Unlike previous years where locations were pitted against each other in a single pool, this year MovieMaker separated the list into three distinct categories based on population size: Big Cities, Small Cities, and Towns. All locations were rated according to six criteria: Film Production in 2013, Film Community and Culture, Access to Equipment and Facilities, Tax Incentives, Cost of Living, and a General category that included lifestyle, weather, and transportation.

MovieMaker name-checked the Ashland Independent Film Festival as one of the town’s major sources of film culture, in addition to the Southern Oregon University’s Digital Media Center, which serves both the university and the larger community in Southern Oregon. Also covered in the article were the major movie productions that shot in Ashland throughout 2013. These included Wild, starring Reese Witherspoon; Night Moves, starring Jesse Eisenberg; and the independent feature Redwood Highway.

For more information about filming in Ashland, visit Southern Oregon Film and Television (www.filmsouthernoregon.org) and the Ashland Chamber of Commerce (www.ashlandchamber.com).

a 2014 Rogue Award. Monroe is the writing talent behind the Academy Award-winning film The Cove, the eye-opening Chasing Ice (AIFF12), and his most recent film, Mission Blue, which screened during the festival. Monroe was also featured on the filmmaker TalkBack panel, “Not the Same Old Story,” examining the critical role of screenwriting for non-fiction films.

The festival’s opening night film, The Case Against 8, directed by Ben Cotner and Ryan White, took home the Les Blank Award for Best Feature Length Documentary, bestowed by the festival’s jurors, as well as the Rogue Creamery Audience Award for Best Documentary.

Obvious Child, directed by Gillian Robespierre and featuring Jenny Slate, won the Varsity Audience Award for Best Feature. Hank and Asha, directed by James E. Duff, received the festival’s jury award for Best Narrative Feature film. New for AIFF14, the jury award for Best Editing in a Feature Length Documentary went to Marmato, directed by Mark Grieco. Bluebird won the jury prize for Best Acting Ensemble and Before I Disappear, directed by Shawn Christensen, received the Gerald Hirschfeld A.S.C. Award for Best Cinematography.

Save the date! The 14th Annual Ashland Independent Film Festival will take place April 9-13, 2015, in Ashland, Oregon.

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FILM FESTIVALS NFFTY INSPIRES NEW GENERATIONS OF YOUNG TALENT

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(Above) Johan Liedgren (left), founder of Tale & Company and NFFTY board member, with Kyle Seago, NFFTY co-founder, on the red carpet.

(Right) NFFTY’s red carpet opening night at the Cinerama.

PHOTOS BY DYLAN DRAKE

he National Film Festival for Talented Youth (NFFTY), the world’s largest youth film festival, kicked off its eighth annual event in style, with a red carpet opening night gala in downtown Seattle.

Held each spring, the festival showcases films by directors 22 and under, covering all topics and genres, from compelling and provocative, to hilarious and uplifting. NFFTY serves to inspire the next generation of filmmakers and storytellers.

Dylan Drake Eleven-year-old Dylan Drake, son of Media Inc.’s Steve Joseph, was on the scene opening night and had this to say about the festivities: “Don’t let the fact that this is a youth film festival trick you.

There was some amazing storytelling. NFFTY, in its eighth year, brought amazing young artists from all over the world to showcase their talent.

“One of my favorite parts of the opening night gala was when they interviewed the young directors. I was surprised at how funny and unique they were. The highlight for me was by far a music video directed by Tim Hendrix, age 21, by a band named Dresses performing a song called ‘Painting Roses.’

“NFFTY is a jaw-dropping, inspiring experience that everyone should enjoy.”

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Eagle Lands Commercial Client

By George Riddell Editor

eattle, the Puget Sound and a bald eagle with impeccable timing have combined to create new Washington production fans out of an Austin advertising agency.

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Seattle’s World Famous was pitching for the creation of several dozen commercial/web videos for Samsung Smart TVs. And, according to World Famous co-founder Alan Nay, the production company was a finalist, along with an L.A. production company that had a previous track record with the agency.

“The agency was skeptical about shooting in Seattle,” said Nay. “They weren’t sure they would have enough wardrobe, furniture and art direction options here compared to L.A., where they were more comfortable.”

Nay approached Washington Filmworks executive director Amy Lillard to see whether the project could qualify for the Washington Film Incentive under the Commercialize Seattle program. Within a few days, Lillard had consulted with the Filmworks board and confirmed that the project would indeed qualify. So World Famous was able to include the state incentive rebate in their final bid.

“It allowed us to add a third day of shooting, which won the bid for us,” said Nay. According to Nay, when production started the agency team was blown away. The crew— led by Nay as director, DP Ryan Purcell and line producer Craig Stevens—gave the agency team everything they wanted.

The three-day shoot took place in a Ballard home provided by the location management team of Peter Allen and Cat Macek.

“We were up on the bluff overlooking Puget Sound on 32nd Avenue, so the view was amazing,” said Nay. “On the second day we went outside for our one exterior shot. The sun was shining, and this bald eagle flies over us and lands in a tree 25 feet directly above the client.

They were impressed. We’ll probably get them back next year.”

Following the memorable shoot in Seattle, World Famous performed all video editing, special effects and other post-production on a total of 45 videos for the Samsung Smart TVs. JUNE/JULY 2014 MEDIA INC.

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WIFPDX Adds Fuel to the Creative Fire

By Susan Haley Associate Editor

n a recent interview, Liz Vice, Women In Film Portland’s 2013 Women’s Vision Grant recipient, stated, “Getting the Women’s Vision Grant changed my career in a way that just said ‘Keep going.’ It was that extra oil or that extra gasoline that kept fueling this engine that has been created within me to tell stories.”

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As independent filmmakers, we can totally relate to Liz’s comments. No matter where we are in our careers—beginning novice to seasoned producer—we all need “fuel” to keep alive the vision and passion we hold for our projects. Each project brings with it its own set of challenges, some of which can sorely test our stamina, making it easy to think about just putting it down and walking away.

To remain sane and keep the creativity fires burning, connecting with others in the field is essential. But, because media is such a broad mixture of incredible creativity, good business practices, and astute planning that remains flexible at the drop of a hat, it’s not always easy to do. That’s why an organization like Women In Film Portland (WIFPDX) plays such a vital role in Oregon’s film and media industry. It’s a place to go to ‘refuel’; to meet others, discover new opportunities for collaboration, celebrate triumphs, swap war stories and generally relax with people who understand the specific challenges you might be facing.

WIFPDX was founded in 2009 by four local women filmmakers and, in its first five years, has grown into a 100-plus-member organization offering monthly networking meet-ups, special speaker events featuring prominent women directors, producers and other industry professionals, and a holiday gathering held every November to further engage both members and the broader local film/media community.

In 2013, the board focused on strengthening the organization through the development of a clear mission statement: To elevate women in film, communications and media through education, outreach and professional development. To meet this mission, WIFPDX added to its established programs a film funding workshop, a special meet-up for industry employers to connect with their members, and Doc Camp, a four-day intensive retreat for established documentary filmmakers to hone their skills in vari-

Liz Vice accepts WIFPDX’s Women’s Vision Grant.

ous aspects of documentary filmmaking and distribution. The 2013 inaugural retreat drew participants from both the local community and as far away as Pennsylvania.

In addition, each year WIFPDX facilitates the Women’s Vision Grant, formerly The Faerie Godmother Production Grant.

Founded in 2005 by local film supporter and philanthropist Vikki Mee, the grant provides financial support aiding in the production or completion of a media project while helping to advance the artist’s vision and professional growth. Projects have covered a great diversity of subjects, both in documentary and narrative formats. Many have gone on to win significant accolades at domestic and international screenings, while the directors continue to work in all aspects of the industry and broadcasting platforms.

Entries for the 2014 Women’s Vision Grant are now being accepted. Visit www.wifpdx.org/grants for submittal guidelines and application. And please visit www.wifpdx.org for a calendar of networking meet-ups to connect with others in the local media community and for details about how you can join WIFPDX.

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Stories that connect, engage, and inspire.

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Indie Worst Laid Plans Shoots in Seattle Photos by Regan MacStravic

former tattoo parlor in North Seattle served as the principal location for two weeks of production in May for independent feature film Worst Laid Plans. The film is a dark comedy written by Mark Jones, with story help

by CB Shamah. The two co-writers also collaborated as the film’s directors. Worst Laid Plans is a sharply hilarious story about four friends who find themselves in dire straits when they get behind in rent.

The cast features Jones, Nicholas Anderson, Tim Gouran and James Grixoni. Director Shamah said the casting experience was like a chemistry experiment.

“In doing auditions for the four friends, we kept an eye out for actors who developed an immediate rapport with Mark (Jones),” he said. “It’s been amazing seeing that relationship develop through pre-production and now in living those characters on set.”

And the production experience with their Seattle-based crew was excellent.

“Best crew ever,” added Shamah. “Making a film is a collaborative process and I’m enjoying every second of it.”

Worst Laid Plans is scheduled for fall 2014 release.

Worst Laid Plans Credits:

Sebastien Scandiuzzi • “B” Camera Operator Coburn Erskine • 1st AC

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CAST Mark Jones • Max Nicholas Anderson • Vic James Grixoni • Nick Brian Alvarez • Tom Richard Carmen • Parker Tim Gouran • Ernie Trin Miller • Liz Scott Brown • Norm

PRODUCTION CB (Nesib) Shamah • Producer/Director/Writer Mark Jones • Director/Actor/Writer Dan Thornton • Associate Producer Elizabeth Heile • Line Producer Jennessa West • Unit Production Manager Sarah Crowe • 1st Asst. Director Sean Patrick Burke • 2nd Asst. Director Jennifer Orrestad • Set PA Catherine Ozols • Script Supervisor Erika Seward • Production Accountant Valerie Needham • DIT/PA CAMERA Sam Graydon • Director of Photography

GRIP & ELECTRIC Rory Emmons • Gaffer Jacob Waluconis • Best Boy Grip SOUND Vinny Smith • Sound Mix/Boom Matthew Sheldon • Sound Mix/Boom - Day Hire ART DEPARTMENT Million - Kristina Brown • Production Designer Jon Helgren • Set Dec/Props Jeremy Solo Minard • Set Dec. Day Player WARDROBE John Linde • Lead Wardrobe LOCATIONS/SET OPERATIONS Will Lummus • Location Scout Jennifer Asmundson • Craft Service Rose Hall - Tabella Di Amore • Caterer POST PRODUCTION Mark Jones • Editor Vinny Smith • Post Sound Mix JUNE/JULY 2014 MEDIA INC.

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Something Wicked Finally Comes This Way ive years after crew completed production, Something Wicked—featuring the late Brittany Murphy’s final performance—finally hit theaters this past spring. The film premiered April 4 in Eugene, then released throughout Oregon, Washington, Idaho and the rest of the Northwest later that month. Plans are currently underway for Los Angeles screenings.

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Shot at nearly 30 locations in and around Eugene and Lane County, Something Wicked completed production in late 2009 but was delayed in post-production due to the tragic and sudden passing of Murphy. The psychological thriller, directed by Darin Scott, follows a young woman who is tormented after a tragic accident that led to the death of her parents. The film was produced by Merchant Films, an Oregon-based company that produces major motion pictures filmed in Oregon, using Pacific Northwest crews, actors, and locations.

Stacie Overman, who served as assistant extras casting director on the film, provided these photos from the shoot and had this to say about working on the production: “Working on Something Wicked was such an honor. As well as one intense month! Many times we would not receive a call sheet till 10 p.m., requesting 30 extras to be on set by 8 a.m. the next morning.

We would call feverishly till the wee hours to make sure we had everyone coached and ready to be on set. This was like getting to play in the big leagues for Lane County! It was all the talk and everyone in the entertainment industry was trying to get in on the action. At the time, our company name was Moonlight Talent and, boy, we worked the Moonlight! Many times we were on set as crew to help wrangle extras and stand-ins, or escorting the youngest stand-in to her actor’s trailer for makeup and rest, which was a blast!

“Watching young Brittany Murphy, Shantel VanSanten, and John Robinson in action with a few of our actors that landed principal roles was definitely a great memory, which fueled my inspiration to continue to help the up-and-coming actors get their big break in the industry.”

Need Talent? Seeking Representation?

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- Stacie Overman

541-870-7474 • www.take2pro.com

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The Winding Stream Premieres in Portland

By Susan Haley Associate Editor

regon filmmaker Beth Harrington recently completed her documentary, The Winding Stream, which had a successful premiere at SXSW in March. The film has continued its success with sold-out screenings at film festivals throughout the U.S., and in May the Oregon premiere quickly sold out for a screening at the Hollywood Theatre.

O Winding Stream editor Greg Snider and Portland filmmaker Dawn Smallman.

Beth Harrington and film fan Tom Anderson.

Counterfeit Cash performed at the premiere party.

Portland premiere party at Velo Cult.

The Winding Stream tells the story of A.P., Sara and Maybelle Carter, one of America’s first commercial rural country music groups. The film traces the ebb and flow of their influence, the transformation of that act into the Carter Sisters and Mother Maybelle, the marital alliance between June Carter and music legend Johnny Cash, and the efforts of the present-day family to keep this legacy alive. The story is told by family members, including Johnny Cash, Rosanne Cash and Janette Carter, as well as the musicians they influenced. And their musical contribution is vividly illustrated in performances by roots music practitioners like John Prine, George Jones, Sheryl Crow, Kris Kristofferson and many others.

Harrington is able to bring the viewer along on this story as if you actually were following a winding stream, culminating in a poignant rendition of the title song by Rosanne Cash. The significance of this particular ballad makes the culmination of this sweet film that much sweeter.

Beth Harrington is an award-winning independent producer, director and writer, born in Boston and transplanted to the Pacific Northwest. She has been making media professionally since 1977. She most often focuses on work that explores American history, music and culture. Her film work includes: Kam Wah Chung (2009), Searching for York (2008), Beervana (2007), History Detectives (2006), ZigZag: Real Stories, New Angles (2004) and Welcome to the Club – The Women of Rockabilly (2001).

The Oregon premiere was followed by a happy celebration at Velo Cult in Portland with outstanding music provided by Counterfeit Cash.

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Tara Joelle t e Me

OREGON-BORN ACTRESS-TURNED-SINGER TAKES CENTER STAGE

By Robert Talman Guest Columnist

n the magic world of cinematic suspension of disbelief, it sometimes happens that an actor will be discovered as a talented musician or singer. Once in a while, a gifted vocalist turns out to be an actor who holds the screen with a riveting presence, like Frank Sinatra did for several decades. Now, young actress Tara Joelle is about to make her break out as a vocalist after being discovered by the former vice president, co-founder and managing director of Casablanca Records, Larry Harris.

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“She can sing like an angel and she’s got great vocal range,” Harris said while reviewing his promotional push to make his new find a top hit-making singer by 2015.

“She’s beautiful and sexy, and she carries herself with tremendous poise on stage. We will have her making her first public appearance sometime in early winter of next year. Right now I have her in the studio with her writer/arranger preparing new material that will be presented to my major label contacts when it is completed.”

Harris will be co-managing Joelle with award-winning songwriter/arranger/producer Oliver W. Tuthill Jr. Tuthill is an award-winning film composer and a member of The Recording Academy. He also writes and produces songs for Native American Music Award-winning American Indian rap artist Shadowyze.

“I first heard Tara when she was just singing along with a song on the radio about five years ago,” said Tuthill. “I was floored by her range and her vocal intonations. I urged her right then and there to let me write and produce songs for her. Now it is finally happening. After Larry decided to team up with us, we knew it was a go. I expect great things to happen in Tara’s singing and performing career.”

“I am very excited to be starting my professional singing career now,” Joelle said while taking a break from recording her new song “Club Jazz Blues End.” “I feel very fortunate to be working with Larry and Oliver.”

Tuthill, who contended for a Grammy Award for Song of the Year

PHOTO BY MARIAN LANE

in 2013 with Shadowyze, has performed and recorded with some of the biggest names in the recording industry, including Steppenwolf, John Mayall and Styx. He was a studio songwriter for Prophonic Studios outside of Detroit in 1967 while still in school, and was offered a recording contract by D-Town Records, which was Motown’s big competitor in the ‘60s. His soul song, “I Don’t Like to Lose,” as recorded by Cecil Washington and The Group, has been a huge hit in Europe and has been released on over 18 CD compilations over the last 20 years.

Harris, who has worked with KISS, Donna Summer, Cher, Curtis Mayfield, Giorgio Moroder and Parliament, has written a book about his experiences running Casablanca Records titled And Party Every Day: The Inside Story of Casablanca Records with Curt Gooch and Jeff Suhs. There is also a biopic in the works of 1970s record producer Neil Bogart, co-founder of Casablanca Records along with Harris, which will star Justin Timberlake. The film is titled Spinning Gold, and is due to go into production in the winter of 2015. Bogart was Harris’ cousin and they worked side by side at Casablanca for many years. The film will be directed by Spike Lee. Timothy Scott Bogart wrote the screenplay and will also produce along with Evan Bogart, Gary Randall and Timberlake. Harris does not know to date what actor will portray him, but stated, “Right now my focus is on getting a major label behind Tara Joelle.”

Stay tuned!

“I first heard Tara when she was just singing along with a song on the radio about five years ago. I was floored by her range and her vocal intonations.” - Oliver W. Tuthill Jr.

Pat Barber

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Editing

Hollywood Theatre Studio Expands to Open Meadow Middle School ollywood Theatre Studio, the non-profit Hollywood Theatre’s educational arm that currently serves 1,500 young people annually, will continue to grow and thrive thanks to a series of grants from the Oregon Community Foundation, the Oregon Arts Commission, and the Mt. Hood Cable Regulatory Commission.

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The grants, totaling $391,500, will be awarded over the course of the next five years. The majority of these funds will allow for the expansion of Hollywood Theatre Studio to Open Meadow Middle School, an alternative school located in North Portland serving some of Portland’s most underserved youth.

Hollywood Theatre Studio at Open Meadow will utilize evidence-based best practices, gained over the course of nearly a decade of working with underserved, middle school-age youth, with the long-term goal of cultivating a sustainable, community-powered, school-based media arts program.

Hollywood Theatre Studio’s intent is to share and replicate their work across the region, ultimately facilitating the creation of a vibrant, state-wide network of media arts educators and young media makers. This expansion will enable the Hollywood to provide in-depth arts learning opportunities for over 300 students who will create an equal number of short films over the course of a 5-year period.

Michele Taylor, Open Meadow program coordinator, sums up the school and community-wide excitement: “Open Meadow Middle School students are creative, imaginative and starved for ways to express themselves. These classes will greatly increase engagement, focus, self-esteem and creativity!”

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Transculturation, Reconceptualization and Transcreation… Oh My!

By Ernie Pino, Producciones Pino

e’re a Spanish language creative agency, in business since 1989 in the Puget Sound area. Our long-term clients know that our work involves more than just translating their message from English to Spanish, and yet it’s always fun to share our process when new business comes our way.

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Here’s what, how, and why we do what we do.

Transcreation and localization from the English language into Spanish is an exacting science. And, when it takes the form of media, it’s an art.

First, our creative team studies the content of the English language campaign and the format into which the final Spanish language elements will be applied.

We decide if the base English language material can be effectively conveyed in Spanish, and study the adaptability and practical essence of the existing English language message.

For written and spoken mediums, the originating source (ad copy, scripted text, graphics) of the English language grows by about 20 percent when adapted into Spanish. Most English language concepts work well in Spanish, yet there are absolutes that have to be addressed, including “fit.” Examples of fit include

the 15-, 30- and 60-second length of TV or radio spots, or the amount of space required in a print campaign and the overall practical layout of the end product.

While the accuracy of the delivered Spanish language is always our priority, we also have to consider that the final Spanish language format may need to be curbed in order to accommodate space and time restrictions. This doesn’t mean that the tenets of correct Spanish language uniformity are sacrificed. Instead, some controlled liberties and creative restructuring may be applied in order to deliver a workable product.

Lastly, as in all creative writing, when the originating English language material is rewritten in Spanish, there are many ways to say it. Any number of authors will convey the words differently when asked to reproduce an English message in Spanish. Even when each of the writers’ proposed Spanish adaptations prove to be correct in their content, there’s still the need to find a creative design that fits the repurposed format.

Bottom line, the goal is to creatively deliver correct and creative content, in Spanish, while also delivering awesome media.

Feel free to check us out at www.produccionespino.com.

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Bilingual Video Production In Spanish And English With Passion And Cultural Understanding

Our services include: Educational & Corporate Videos Promotional & Commercial Spots Documentaries & Special Programs News Coverage with Talent in Spanish Casting Services Translation Voiceover in Spanish or English

P.O. Box 17287, Seattle, WA 98127

(206) 706-1255 www.latinonorthwest.com info@latinorthwest.com

Serving the Latino Community’s Growing Production Industry As in most markets, Latino producers in o-founded in 1997 by Mario Zavaleta and Washington are mainly using digital media Martha Isabel Sånchez, Latino Northto show their work and serve their audience. west Communications was created in Although there is a significant market in the response to the rapidly growing Latino production of TV commercials for the six stations that broadcast in Spanish in this community and their need for video producstate (Univision Seattle, V-me TV, Azteca tion that properly portrayed Latinos in the America, Hispanavision in Yakima, Univision Northwest.

Yakima, and Univision Tri Cities), As the Latino community continevery day there are more people interested in producing documenues to grow, so too does the need for As the Latino community taries, corporate, educational, music proper production of television videos, etc., that are using digital continues to grow, so too does programs, feature stories, documenmedia as their main forum. the need for proper production of taries, and educational, corporate and To date, our company, Latino Northwest Communications, is the promotional videos. Media Inc. asked television programs, feature stories, only one in this region that produces Zavaleta to answer a few questions special programs in Spanish, and documentaries, and educational, about the Latino community’s expanddoes news coverage for Univision, ing production needs. the largest Spanish television corporate and promotional videos.

C

Is there a rapidly growing Latino production industry?

Certainly the Latino production industry in this area is rapidly growing, considering that just in the state of Washington, the Latino community tripled since the year 2000.

What do those numbers look like?

As far as I have knowledge, in this state there are at least a dozen professional video production companies serving the Latino market, which have capability to produce on a high level. However, there are many others that are engaged in producing all kinds of projects, including documenting family events.

Tell us about the Latino production trends. Is most of the production work in television? Documentaries? Movies?

Commercial?

network in the United States, which is extensively seen throughout Latin America, Canada and parts of Europe.

How is the Latino production industry different from the rest of the industry? Does the Latino community have different consumer demands?

It does. The Latino community is very diverse and complex because what works for first generation immigrants does not necessarily work for the second or third generations. What may work for Mexicans, may not work for Puerto Ricans, Argentineans or Peruvians. According to the 2010 Census, the Latino community has reached a buying power that surpasses $1.3 trillion a year. In order to successfully reach this desirable market, all types of corporations, government agencies and non-profit organizations need to rely on the knowledge and cultural understanding of Latino production companies.

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CHILDREN MODELS & ACTORS

www.puddletowntalent.com

EXTRAS AND REAL PEOPLE CASTING

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An Update from SAG-AFTRA

By Brad Anderson Executive Director, SAG-AFTRA Seattle Local

he SAG-AFTRA Seattle Local has been working very hard since the merger of SAG and AFTRA to generate more work for its members. Recently, working in conjunction with the SAG-AFTRA Portland Local, the Union has been crafting a local alternative to the national collective bargaining agreement for non-broadcast/corporate educational productions. Although that alternative has not yet been finally approved for use in the Locals’ jurisdictions of Washington, Alaska, Idaho, Montana and Oregon, the expectation is that it should be ready in a few months.

T

To prepare this contract, the Locals conducted extensive research into how the national collective bargaining agreement had been used locally, including identification of problem areas or obstacles that producers saw in the agreement. There were lengthy interviews with agents, casting directors and production houses to go over all relevant materials thoroughly. When that was finished, the Locals spent many months collating the information and drafting language that would address many of these concerns, while continuing to protect SAG-AFTRA members. The result is a far simpler contract that should be easy for producers to sign onto and use, which will then allow them to access the higher quality professional performers represented by SAG-AFTRA. This effort is just one piece of the SAG-AFTRA Seattle Local’s program to enhance the working lives of its members. For example,

the SAG-AFTRA Seattle Local continues to improve its ability to serve members with the recent purchase of a ClearSonic IsoPac G Sound Isolation Booth. The booth is designed by the manufacturer to eliminate up to 70 percent of extraneous noise, creating a quiet, low-reflection chamber ideal for vocal recording. In addition, the booth is completely portable, and can be easily stored in order to allow for maximum flexibility of the Local’s Member Resource Center (MRC).

ClearSonic IsoPac G Sound Isolation Booth The MRC is available free for use by all members in good standing on a reservation basis, and provides a wide range of audio and video recording, editing, playback, and digital conversion capabilities. This latest acquisition increases the range of activities that can be performed by and for members needing access to a space to record auditions, review previously recorded materials, conduct workshops, update demos and much, much more! The MRC is part of the offices of the SAGAFTRA Seattle Local, at 123 Boylston Ave E in Seattle.

Visit www.sagaftra.org/seattle for more information.

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Focus On: NW Talent Agencies ooking for talent for your next production? Whether you need a voiceover actor for a commercial, a model for a print campaign, or a lead actress for a feature film, these Oregon and Washington agencies have you covered.

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In Both Ears www.inbothears.com We specialize in giving our customers what we feel are the finest voiceover products around. Radio, television, games, promos, web—we have the talent to take projects where they need to be. Our casting is always complimentary and the talent always hand-selected; no cattle calls at In Both Ears. We can even assist with booking studios and coordinating production, if clients need help with that as well. We consider ourselves part of the creative team.

We’re pretty fun that way.

TCM Models & Talent www.tcmmodels.com TCM, now celebrating over 35 years in business, is a full-service model and talent agency located in the heart of downtown Seattle. TCM has consistently enjoyed the reputation as one of the largest, most successful and respected agencies on the West Coast, and provides a comprehensive list of services, representing men, women and children for on camera, voice-over, fashion and commercial print work.

TCM offers on-site casting space at no charge in order to assist you in finding the talent best suited for your project. Whatever your next project is, we will put our team of professionals to work at making it your easiest and most productive ever. We love what we get to do!

Topo Swope Talent www.toposwopetalent.com After 20 years, Topo Swope Talent is considered one of Seattle’s most prestigious agencies, providing one-stopshopping for the Northwest’s best talent. The agency has grown exponentially over the years while still possessing a boutique feel. The scene at the agency is always lively with three strong team members running things as smoothly as possible while maintaining a sense of humor and fun. TST prides itself on specialized attention to each actor and producer/casting director to meet the needs of each job. This agency represents a myriad of talent for film, TV, voice-overs, interactive games, multimedia, audiobooks, live events, print and much more.

Offering clients the full gamut of experienced actors with integrity and professionalism, you can be sure all casting needs will be satisfied!

Option Model and Media www.optionmodelandmedia.com Option Model and Media is a fullservice talent and modeling agency located in the heart of Portland, Oregon. We proudly offer prompt and professional service to all clients. Whether your need be actors or models, please contact us and let us know how we may assist your next project.

The Actors Group www.theactorsgroup.com With a 28-year history in the Northwest, The Actors Group is well-known for representing top talent in television, film, broadcast, online, game and live event productions. Unlike talent agencies boasting extensive rosters, The Actors Group represents a select group of expertly talented creative individuals, and has longstanding relationships with some of the region’s most recognizable personalities. We offer a hands-on approach to brands and talent seekers, and our focused efforts allow us to recommend the best fit for each project. As experts in creative matchmaking, we are good at connecting the right brands with the right talent, helping raise awareness, drive sales, and deliver results.

Puddletown Talent www.puddletowntalent.com Puddletown Talent is a specialized talent agency focusing on the kids market.

We represent talent for all areas of the industry. Our kids talent have modeled and acted for such companies as Target, Fred Meyer, Nike, Nintendo, OshKosh, Hanna Andersson, Chrysler, NBC’s Grimm and TNT’s Leverage, to name a few. Puddletown Talent’s attention to detail and devotion to clients and talent will make any casting experience a smooth and memorable one.

Big Fish NW Talent www.bigfishnw.com In 1996, Becky Reilly brought talent agency know-how, the will to survive and a bit of a gambling spirit to Spokane. She bet on this unbelievable ‘little city that can,’ and that gamble has paid off!

As Spokane plays host to the Z Nation television series for Syfy, Big Fish finds itself deep in the mix of every aspect of the casting process.

A Big Fish talent has the great fortune to have been cast into one of the series regular roles. Thousands of interested locals have made their way to Big Fish to toss hats, ears, legs, lobes, JUNE/JULY 2014 MEDIA INC.

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digits, etc., into the ring for consideration as human and zombie extras. And, Big Fish talent throughout the Pacific Northwest have auditioned for what will wind up being the many principal character roles to be cast throughout the first season’s production.

With Spokane hoppin’ with zombies and other projects, Seattle always kickin’ with a variety of production, and Portland continuing to slam out projects, Big Fish’s Spokane and Seattle offices, with more than 3,000 actors and extras, are pleased to be a big part of it all.

Foreground Background LLC www.foregroundbackground.com Foreground Background LLC, run by casting director Denise Gibbs, specializes in background extras casting, real people casting and smaller/lower-budget principal casting projects in Seattle and local Western Washington communities. We reach out to over 4,600 local people when casting for films, television, new media, corporate and commercial projects. Our database consists of actors, talent agents, background extras, real people, community theaters, universities and numerous local resources, including the local filmmaking community.

Experienced in “real people/mobile casting” at local businesses, factories, schools, churches, community organizations and even people’s homes. We will go to a client’s chosen filming location to interview “real people” on camera (not to be confused with street casting). Some recent 2014 notable projects include Duracell’s “Trust Your Power,” featuring the Seattle Seahawks, and feature films Laggies, directed by Lynn Shelton, and Lucky Them, directed by Megan Griffiths.

TAKE2 Talent Agency www.take2pro.com Stacie Overman, owner and president of TAKE2 Talent Agency, is looking for talent of all ages that would like to be a part of TAKE2 and bring all you have. Over the past six years Stacie has helped many up-and-coming talent get started in the entertainment industry. She has placed numerous talented film crew behind the camera, as well as cast in front of the camera. She cast 85 actors in the movie Something

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Wicked as the Assistant Extras Casting Director, as well as submitted actors that nailed their auditions for principal roles on NBC’s Grimm, Wild, The Librarians and many more. She believes in coaching people to success. Her integrity and work ethic sets her apart from most. She puts all her heart and soul into everything she does. Visit the website and submit your request for consideration.

The View Talent Agency www.theviewtalent.com We are a full-service agency prepared to offer our clients professional talent resources. TVTA provides clients with individual care, quick communication and excellent service. We take time to develop our talent and only send the ones qualified to meet the needs of the project.

We represent actors, models, and voiceover talent of all ages in the areas of feature film, network television, local and national commercials, commercial print, fashion print, runway, trade shows, and promotions. Our manner is friendly, timely and professional.

TVTA will do everything possible to ensure that your booking goes smoothly and that all talent are on time, professional and as represented in their photos.

Tiffany Talent www.tiffanytalent.com Tiffany Talent is a full scale booking talent agency for acting, modeling, and voice over talent in the Northwest. Tiffany Talent agency represents highly skilled SAG-AFTRA union talent, as well as non-union talent, in the Seattle, Portland, and Spokane markets. We are fully involved in the casting of all the SAG films and AFTRA television shows produced in the NW, including NBC’s Grimm, TNT’s The Librarians, and numerous features filmed each year. There are also a tremendous number of union commercial jobs produced in the NW, including Ford, Chevy, SPAM, USPS, WA State Lottery, and many more.

The Party Doesn’t Start Until Our Actors Walk Into The Room!

Tiffany Talent More Than Just A Talent Agency

6OICE /VER /N #AMERA ,IVE %VENTS 6IDEO 'AMES !UDIO "OOKS

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20 Years & Still Kicking!

• Individual care • Quick Communication • Excellent Service.

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Actors • Models • Voice Tiffany Talent Is A Full Scale Booking Talent Agency For Both Union & Non-Union Acting, Modeling & Voice Over Talent 6535 5th Place South • Suite 200 • Seattle, WA

N a n c y G a s p e r - Ta l e n t A g e n t / O w n e r www.theviewtalent.com • 509.230.2799

tiffanytalent.com • 206-264-8433 JUNE/JULY 2014 MEDIA INC.

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NW

@Large Films, Inc.; Portland, OR 503-287-5387; fax 503-287-5387 info@largefilms.com www.atlargefilms.com

Juliana Lukasik, principal/director

Adams Creative & Production Services; Des Moines, WA Dan Adams, president/CD 206-824-6970; fax 206-824-7036 adamscreative@isomedia.com www.adamscreative.net Allied Video Productions; Salem, OR 503-363-7301; fax 503-363-6477 jeff@alliedvideo.com www.alliedvideo.com

Scott Hossner, CEO Dan Walker, CFO Jeff Hart, COO

B47 Studios; Seattle, WA 206-501-3054 info@b47studios.com www.b47studios.com

Kevin Maude, CEO; Norma Jean Straw, director content dev.; Bennie Soto, director business dev.

Bennett-Watt HD Productions, Inc.; Issaquah, WA 425-392-3935 info@bennett-watt.com www.bennett-watt.com

Jim Watt, president Kelly Watt, VP

BLARE Productions; Seattle, WA 206-438-9788; fax 559-209-7463 info@blaremedia.net www.blareproductions.com

Blake Barnett Justin McAleece

Blu Room Advertising, LLC; Steilacoom, WA 253-241-8912 charles@bluroomadvertising.com www.bluroomadvertising.com

Charles Davis, owner Russell Silva, co-owner

Blue Plate Digital; Seattle, WA 206-388-0174; fax 206-299-3376 brian@blueplatedigital.com www.blueplatedigital.com

Brian Pelzel, producer/ director/owner Doug Cooper, creative strategist/producer/director

Cesari Direct; Seattle, WA 206-282-1492; fax 206-284-1281 tobrien@cesaridirect.com www.cesaridirect.com

Rick Cesari, president Tim O’Brien, VP

Cinemagic Studios; Portland, OR 503-233-2141; fax 503-233-0076 joe@cinemagicstudios.com www.cinemagicstudios.com

Joe Walsh, president/EP Debbie Mann, office manager

CineMonster, Inc.; Poulsbo, WA 206-953-1946/206-780-3907 dale@cinemonster.com www.cinemonster.com

Dale Fay, owner

Cinesaurus; Lynnwood, WA 425-830-3545 info@cinesaurus.com www.cinesaurus.com

David Hudson, EP Steven Hudson, CD

Clatter&Din, Inc.; Seattle, WA 206-464-0520; fax 206-464-0702 tickle@clatterdin.com www.clatterdin.com

Peter Barnes, president Leigh Eckert, EP Vince Werner, CD

CMD; Portland, OR & Seattle, WA 503-223-6794; fax 503-223-2430 info@cmdagency.com www.cmdagency.com

Phil Reilly, president Mike Cobb, VP sales Mike Pool, managing director

Creative Media Alliance; Seattle, WA 206-709-1667; fax 206-838-1801 info@creativemediaalliance.com www.creativemediaalliance.com

Jai Suh, principal Beth Farnham, producer

Dawson Media Group; Portland, OR 503-477-7462; fax 866-716-6087 info@dawsonmediagroup.com www.dawsonmediagroup.com

Meighan Maloney, EP

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CO MM ER CI AL CO RP OR AT E DI GI TA L

Company City, State Phone; Fax E-mail Web site

T EX OP L EC OC UT A IVE L S

PRODUCTION COMPANIES

Corporate communications specialists.

Deep experience throughout the Northwest.

• Digital Cinema/Crews • Studio/Greenscreen • Post, Animation, EFX

sierra-media.com

425-259-4429

Everett, WA JUNE/JULY 2014 MEDIA INC.

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NW

The Edge Creative; Seattle, WA 206-448-2222 sayhello@theedgecreative.com www.theedgecreative.com

Peter Howland

EMA Video Productions, Inc.; Portland, OR 503-241-8663 emellnik@emavideo.com www.emavideo.com

Ed Mellnik

golightlyfilms, inc.; Portland, OR 503-381-1243 golightlyfilms@comcast.net www.golightlyfilms.com

Kenneth Luba, president/CEO Kaja Zaloudek, EP

GoodSide Studio; Seattle, WA 206-322-1576 studio@goodsidestudio.com www.goodsidestudio.com

Matt Krzycki, CD

KTVA Productions; Portland, OR 503-659-4417 mail@ktvavideo.com www.ktvavideo.com

Rick Phillips

LAIKA/house; Portland, OR 503-225-1130; fax 503-226-3746 ask_house@laika.com www.laika.com/house

Lourri Hammack, president/EP

Limbo Films; Portland, OR 503-228-0844; fax 503-228-0857 kelly@limbofilms.com www.limbofilms.com

Gary Nolton, owner/ director

Media Agents Inc.; Seattle, WA 206-932-2030; fax 206-381-9600 andrew@mediaagentsinc.com www.mediaagentsinc.com

Andrew Bradner Michael Sunseri

Media Arts, Inc.; Redmond, WA 206-281-8811 scott@mediarts.com www.mediarts.com

Scott P. Munro, president

n/fek/tious; Seattle, WA 206-956-0902; fax 206-624-3854 contact@nfektious.com www.nfektious.com

Charles Core Scott Douwes Troy Murison

Pal Productions, Inc.; Seattle, WA 206-361-9366 lazpal123@gmail.com www.paladventurevideos.com

Laszlo Pal, president

Persistent Image, Inc.; Langley, WA 360-321-8252; fax 360-321-8262 persistent.image@gmail.com www.persistentimage.com

Bruce Towne, president

Pilot Rock Productions; Medford, OR 541-776-5802 info@pilotrockproductions.com www.pilotrockproductions.com

Roger Harris, GM

Playfish Media; Seattle, WA 206-455-5783 info@playfishmedia.com www.playfishmedia.com

Jillian Suleski, owner/producer

Production Partners; Seattle, WA 206-441-3773; fax 206-443-5402 john@productionpartners.cc www.productionpartners.cc

John Douthwaite, president

ProMotion Arts; Seattle, WA 206-938-0348; fax 206-493-2987 info@promotionarts.com www.promotionarts.com

Steve Crandall, managing director Drew Witt, managing producer

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CO MM ER CI AL CO RP OR AT E DI GI TA L

Company City, State Phone; Fax E-mail Web site

T EX OP L EC OC UT A IVE L S

PRODUCTION COMPANIES

Galaxy Sailor Productions is a creative, dynamic, award winning film and commercial production company.

This is our art, our science, our passion.

Talk It Up Productions is a full service Transmedia production company, specializing in small business and entertainment. We work with our clients from concept to execution to deliver compelling and engaging multi-media projects for multiple platforms.

6635 N. Baltimore St., Ste 112 • Portland, Oregon 503-206-6058 • galaxysailor.com

&RUSRUDWH %UDQG &(2 3URÀ OHV 6L]]OH 5HHO 3LWFK (PSOR\HH 3URÀ OHV 5HFUXLWPHQW Marketing Instructional Camera Rentals Industrial

talkitupproductions.com • 360-815-3916

McDONALD INSURANCE GROUP, INC. SPECIALIZED INDUSTRIES Special Effects Wa r d r o b e

Sets

Tr a n s p o r t a t i o n

Lighting and Grip Rentals

Po s t P r o d u c t i o n

Props

Co m m e r c i a l s

Stages

Music Videos

V i d e o D u p l i c a t i o n B r o a d c a s t i n g A u d i o, S o u n d, V i d e o Fe a t u r e F i l m s S h o r t Te r m P r o d u c t i o n s D o c u m e n t a r y I n f o m e r c i a l V i d e o g r a p h y OFFERING COVERAGE FOR ALL YOUR INSURANCE NEEDS.

Call John R. Gunn ACCOUNT EXECUTIVE TOLL FREE: 1.888.827.7400 DIRECT: 425.897.5956 D I R E C T FA X : 4 2 5 . 8 9 7 . 5 9 5 7 johng@mcdonaldins.com 6 2 0

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NW

The Ranch Studios; Seattle, WA 425-780-5897 danny@theranchstudios.com www.theranchstudios.com Red Door Films; Portland, OR 503-872-9280 reel@reddoorfilms.com www.reddoorfilms.com

Danny Lund, owner/DP

red jet films; Seattle, WA 206-282-4534; fax 206-812-0768 sue@redjetfilms.com www.redjetfilms.com

Jeff Erwin

Redstone Pictures; Seattle, WA 206-999-0490; fax 206-783-1535 info@redstonepictures.com www.redstonepictures.com

Cass Redstone, principal Jessie Redstone, principal

Rocket Pictures; Seattle, WA 206-623-7678 les@rocket-pictures.com www.rocket-pictures.com

Les Fitzpatrick

Spin Creative; Seattle, WA 206-686-1090; fax 206-686-1091 contact@spincreativegroup.com www.spincreativegroup.com

Matthew Billings, president/CD

Spirit Media; Clackamas, OR 503-698-5540; fax 503-698-8408 info@spiritmedia.com www.spiritmedia.com

Bill Dolan, president Anne DeRock, creative services director

Starfire Animation and VFX; Seattle, WA 206-225-8369 coleman@starfireanimation.com www.starfireanimation.com

Coleman Smith

Studio216 Inc.; Seattle, WA 206-718-9798 info@studio216.com www.studio216.com

Jamie Fleming, CEO Charles Choo, CMO Boaz Ashkenazy, CMO

Talk It Up Production; Seattle, WA 360-815-3916 anny@talkituptv.com www.talkitupproductions.com www.talkituptv.com

Anny Havland, EP/ president/CEO Rick Walters, director/producer

unclebob.tv; Seattle, WA 206-383-8222 branson@unclebob.tv www.unclebob.tv

Branson Veal, owner/ director

Urban Legend Productions; Seattle, WA 206-767-4735 info@urbanlegendproductions.com www.urbanlegendproductions.com

Jack Barrett, director

Victory Studios; Seattle, WA 206-282-1776; fax 206-282-3535 info@victorystudios.com www.victorystudios.com

Conrad Denke, CEO

VODA Studios; Seattle, WA 206-441-8158; fax 866-626-8973 info@vodastudios.com www.vodastudios.com

Josh Courtney, chairman/CCO

Wattsmedia, Inc.; Seattle, WA 206-456-6553 david@wattsmedia.us www.wattsmedia.us

David Mangone, EP/ director

White Rain Films; Seattle, WA 206-682-5417; fax 206-682-3038 bill@whiterainfilms.com www.whiterainfilms.com

Brad Bolling Bill Phillips

Zupa Films LLC; Portland, OR 503-860-0921; fax 503-501-4849 zupafilms@mac.com www.zupafilms.com

Adele Amos, EP

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David Poulshock, writer/director

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CO MM ER CI AL CO RP OR AT E DI GI TA L

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425-891-8575 Duffel@akteleprompt.com www.akteleprompt.com

Tools, Tech & Gear M

edia Inc. asked a few Northwest equipment vendors to share with us one piece of equipment they’re most excited about right now. Read on to find out what they said, and what you should be using on your next shoot.

CAMERAS The Sony F-55 is stunning in what it sees. S-Log 3 holds a full 14 stops of latitude, making what once was impossible a walk in the park when it comes to holding exposure. Our workflow is simple. We shoot 4K XAVC and XAVC HD at the same time.

Sony F-55 There are no real dailies as we edit with the native footage. Not shooting RAW means no conversion pre-edit. What this really means is all of the edit time goes to being creative. red jet will use this camera on everything from small projects to feature-length documentaries. We are excited.

Jeff Erwin, red jet films The Canon Cinema EOS C100, with a Super 35mm sensor and integrated professional audio, is an ideal run-and-gun filmmaking tool. The EF mount provides many options for lenses, from tilt-shift to fisheye to super telephoto. With its small form factor, ergonomical grip, and its incredible low-light performance, this camera is a “go-to choice” for DPs and documentarian filmmakers. Leasing options and Canon Cinema rentals are available at Glazer’s Camera.

EOS C100 Debbie Porter, Glazer’s Camera The latest cameras from Arri, Canon, RED and Sony are all my favorites in different ways. Digital cameras have come so far since we first got into them in the early 2000s. They are all my “favorite” because they all come with advantages and disadvantages, but they all open our horizons in new and amazing ways. It is hard to pick just one, because they each answer the questions differently. Remember that in the film days, the big differential was what filmstock you used, but today the camera is the filmstock, so choice of what camera to use becomes a rather crucial choice. But they all expand your possibilities.

Marty Oppenheimer, Oppenheimer Cine Rental The MoVI M10 is a 3-axis digital stabilized camera gimbal made by Freefly Systems. This technology has redefined the possibilities for camera movement. The gimbal design uses

Freefly’s custom high performance IMU and brushless direct drive system. Key features include translation compensation, live wireless tuning and graphing, remote firmware update, drift free horizon, silent drive, shot recorder, custom direct drive motors and user adjustable shakey cam.

Sari Loveridge, Picture This Production Services The MoVI gimbal is 100% custom designed in-house by Freefly’s engiMoVI M10 neering team. Creating the gimbal from scratch allowed Freefly to precisely execute a vision for the next generation of hand held stabilized camera gimbals. MoVI is now empowering a new era of stabilized cinematography and Professional Video of Portland is bringing it to you.

Eric Petrie, Professional Video & Tape Arri Amira

The latest release from camera giant Arriflex is the versatile, documentary-style camera, Amira. Featuring the same quality 35mm sensor as Arri’s successful Alexa, Amira shoots in either 1080 HD or 2K, Log C or Rec 709 and shoots ProRes up to 4444.

One new feature is the recording media; CFast 2.0 cards. It shoots up to 200 fps and comes preloaded with 3D LUT’s and features in-camera grading. With a dynamic range of 14+ stops, Amira is the perfect “go anywhere” camera for the single operator.

Koerner Camera is expecting four Amiras from Arri any day now.

Michael Koerner, Koerner Camera

LIGHTING The Celeb® 400 DMX LED is one of the largest LED soft lights available in the market today measuring 45” x 14” (114.5cm x 36cm). Similar in size to the award-winning 4ft 4Bank, the Celeb produces a soft, broad wraparound light quality (CRI 95) and produces color faithfully, beautifully on HD or film, in the studio or on location.

Celeb The Celeb boasts technical innovations: dial400 DMX LED in white light from 2700 to 5500 Kelvin and JUNE/JULY 2014 MEDIA INC.

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presets with programmable settings; full range dimming without flicker or color shift. Light levels do not change when selecting Kelvin settings.

The Celeb 400 DMX operates at universal input from 100VAC240VAC. The slim profile fixture produces more lumens than a 1K tungsten soft light, yet uses only 1.8A (120VAC) compared to a tungsten softlight at 8.3A. The Celeb 400 can also be powered by 24VDC battery.

Doug Boss, Pacific Grip & Lighting

COMMUNICATION Motorola CP200Digital… New for the production, video, film industry! Have you been frustrated by not having a full digital radio available with a 2 pin accessory connector for your earpiece? Not anymore! The Motorola CP200 digital is now available for rent at Event Communications in Portland, Oregon. This is a full digital radio with all the features of the Motorola XPR 6350 but with a 2 pin connector. Higher quality audio, high capacity lithium Ion battery (50% more talk time), ultra quick charging capability and extremely durable for those unexpected moments on your shoot.

Jay Pomeroy, Event Communications

Motorola CP200 Digital

CRANES The award winning 30’ SuperTechnocrane from Northwest Camera Support sets the standard for both telescopic and fixed length SuperTechnocrane cranes. The SuperTechno is the most sought after crane because of its telescopic range and incredible versatility. It is considered by many the ‘Swiss Army Knife’ of camera platforms because it can be used for dolly shots, pseudo steadicam shots, and crane shots in areas where conventional fixed length crane arms will not fit. With a 30-foot reach, you can place the camera anywhere within a 60-foot radius without moving the dolly. When the crane is fully extended and tilted all the way up, you can reach a maximum lens height of 30 feet in less than half the space of any conventional crane. The SuperTechnocrane’s maximum telescopic speed is five feet per second. Maneuver in the tightest spaces. Go precisely to the most inaccessible corner. Noiseless.

Smooth starts and stops. Fast.

Bryan Fletchall, Northwest Camera Support

HEAVY EQUIPMENT This Winnebago Adventurer is 38’ long and comes equipped with everything that is needed for special clients or staff to relax,

The west coast's most experienced communications company, Emmy award winning Event Communications has more than 25 years of experience.

24-hour support and thousands of radios ready when you are.

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including 2 slide outs maximizing living room and bedroom space, an electric leather sofa, recliner with ottoman, air conditioning, electric fireplace, two large flat panel TVs, an extra large kitchen with a 4 door refrigerator and ice maker, spacious pass through bathroom that includes a wash sink, toilet, and large shower, a deluxe Winnebago Adventurer master bedroom includes queen walk around bed across from a makeup vanity, and much more.

This RV offers ample space and is perfect for media and production needs. Delivery and additional equipment can be arranged.

Kristina Evans, Five Star RV Air Systems’ 12-ton units

Air Systems Sales & Rentals is the primary Pacific Northwest provider of portable and temporary location and set air conditioning, heating and power generation. Our service extends from simple fans and small heaters to 80-ton air conditioning and heating arrangements. We also offer two 12-ton air conditioning units, pictured here cooling a large event tent. The 12-ton

portable A/C unit has a cooling capacity of 80/67F (BTU) 149,700 12.48 ton, and the 12-ton portable 480V/3 phase A/C unit has a cooling capacity of 80/67F (BTU) 140,000 12 ton. Both are available on location for a few days, or on stages for extended periods of time.

Cathy Rowland, Air Systems Sales & Rentals Water Buffalo’s six-truck fleet carries a whopping 4,000 gallons of water each, cutting down on re-loading time, saving you money. Our trucks have six-way spray heads, hose reel, nozzles and the ability to hook up to your rain making plumbing. The pump systems have plenty of power to reach far out and to efficiently run multiple spray heads at a time. Trucks are also equipped with C.B. radios. We are ready to go anywhere, anytime to accommodate those beautiful Northwest shots, from street wetting to rain effects.

Phyllis Brown, Water Buffalo’s truck Water Buffalo sprays down a crowd.

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Soundstage Spotlight Zarr Studios www.zarrstudios.com Zarr Studios offers a 6,500 sq. ft. production stage that features a 50’ x 30’ cyclorama wall and 50’ ceilings. This space is ideal for small productions, commercials, music videos, still photo shoots, etc. There is ample daylight or it can be fully blacked out. Our large roll-up door allows straight access to the stage. In addition, included with the stage is a 600 sq. ft. production office, green room, make-up and wardrobe facilities and a full gourmet kitchen. There is a luxurious client lounge with fresh coffee and tea throughout the day, and bathrooms and showers. Please contact us for a tour!

Cine Rent West www.cinerentwest.com Portland’s premier soundstage facility, 35’ x 46’ x 17’ two-wall hard cove cyc. Complete tungsten lighting and grip package. Fisher 10 dolly plus accessories. Production office (DSL, phone lines, fax, copier), green room, conference room, professional kitchen and 18’ x 20’ load-in dock area. Centrally located to downtown and freeways. Ideal facility for both corporate/commercial productions and still photography shoots.

Fremont Studios www.fremontstudios.com Washington’s largest studio facilities for film, video, live music and television productions. Located minutes east of downtown Seattle in Fremont. The 50,000 sq. ft. facility has 3 studios with a multi-camera video control room, multi-track audio recording, edit suite, kitchen, production offices and wardrobe/makeup rooms. Studio A is 15,000 sq. ft. with a 60’ x 40’ x 42’ performance stage, 20’ grid and 60’ x 100’ hard cyc. It is audience rated with silent A/C.

Intersect Video www.intersectvideo.com Intersect Video specializes in professional video production, audio production and motion graphics, as well as multimedia localization and professional post production for corporate, business, and industrial customers. Intersect Video maintains a 3,500 sq. ft. soundstage with a 16’ x 32’ two wall curved white screen to 16’ tall and a 24.5’ x 45’ three wall curved green screen to 23’ tall. Available with the soundstage are studio grip and lighting rentals, with additional grip packages between 2-4 tons available through our partners at OMPA.

Island Station Media Lab www.islandstationmedialab.com Island Station Media Lab is a modest sized multimedia studio facility located 5 miles south of Portland on Hwy 99e. Stage dimensions – 24’ wide by 10’ tall and 14’ deep. Our space accommodates everyone from the largest entertainment company to the smallest podcaster or freelance creative. Our indie creator rates are ridiculously low, and even our highest commercial rate can’t be beat.

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Pacific Grip & Lighting www.pacific-grip.com Pacific Grip & Lighting extends beyond equipment rental. Our Seattle location offers a 4,400 sq. ft. stage with a 2,500 sq. ft. camera prep area, production offices, lunch room for the crew and a pre-cabled, 19½’ grid stocked with lights for illuminating our three wall cyc. In Portland, we are in the midst of building production offices so that your organization can be close to the action.

Picture This Production Services & Stage www.pixthis.com The Picture This soundstage is 3,000 sq. ft. with a 40’ x 50’ corner hard cyc with full lighting grid at 18’, dimmer package, 600 amps cam lock and in-house distro, high-lift, large roll-up door for 5-ton drive on, custom air exchange, kitchen and craft services area, green room, lunch room, wardrobe and makeup room, bathrooms and shower, WiFi, telephones, black, bone and blue draping.

Fisher 10 dolly system, grip, lighting and video rentals in-house. Live streaming services available.

Other available features and services are 6K space lights, 4K cyc strips, assorted grid lights, 24’ x 40’ fiber roll out green screen, 8’ round heavy duty turntable with variable speed, Fisher 10 or western dolly with FILMAIR track, various green screen and painted backdrops, and HD monitors.

The stage distro package rental includes 1-600 amp TPD, 3-100 amp lunchbox, 3-100 amp whips, 1-60 amp whip, 1-100 amp to 60 amp Y splitter.

Ackerman Films/Stage 13 www.stage13.net Located in Portland’s Pearl district, versatile, creative and comfortable shooting space – perfect for music videos, web, model, product photography.

Main shooting area 46’ x 36’ with 20’ ceiling and a 14’ x 26’ x 13’ high corner green cyc that can be any color. Full lighting grid 13’ height adjustable 8’ to 18’ with overhead and floor electric distro. The stage is equipped with in-house grip package, lighting (a la carte), 360 amp service and controllable air flow.

Total working space 3,000 sq. ft. Adjoining meeting rooms and green room.

Floating cat-walk. Kitchenette. Five bathrooms. Separate table top stage plus many extras: Tool shop, motion control, prop and model rigging, dedicated photo sweep, post solutions, edit/composite, ready for web. Portland’s best restaurants, coffee shops, accommodations, bars and nightlife a block away.

Rex Post www.rexpost.com Rex has one of the best quiet, medium-sized soundstages in the Northwest, and it is great for audio-sensitive projects. 21’ green screen plus other backdrops (white, gray, brown, mottled) are available. Teleprompter and cameras available too. We can even support you with full crewing. Come visit. RexPost.com.

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NW Company City, State Phone; Fax E-mail Web site

T EX OP EC LO UT CA IV L ES N ST U AG MB E E ST S/S R O AG OU F ES ND

SOUNDSTAGES STAGE DIMENSIONS

DESCRIPTION OF FACILITY

AMENITIES

109 Salmon; Portland, OR 503-913-0123 contact@109salmon.com www.109salmon.com

1 Payam Sadri, owner Kevin Hasenkopf, stage manager

24’ x 16’ corner cyc with 16ft ceilings. Lighting grid at 12ft.

On the eastside waterfront, our 2500 square foot studio offers a cyc wall, options for natural lighting, funky art walls and rooftop views of downtown.

Production office, wireless internet, freight elevator, rooftop views, equipment rental, green screen, photography backdrops and flashes and creative services.

@Large Films, Inc.; Portland, OR 503-287-5387; fax 503-287-5886 info@largefilms.com www.atlargefilms.com

Juliana Lukasik, owner/director

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4500 Square Feet, 73’ deep x 62’ wide and 16’4” to rafters. Two-wall hard cove Cyc measures 30’ x 40’ and 16’ high. Roll-up door, 12’ x 10.5’, with direct street access.

Sound sealed, WiFi, elevated client area. Permanent craft station with access to full kitchen. Make-up and wardrobe room with full shower. Full heating and air conditioning.

Full sound sealed studio including 16’ sound doors. Twenty clean 20 amp outlets and a 50 amp drop from our breaker. Additional production room available.

Ackerman Films/Stage13; Portland, OR 503-504-4499 dan@ackermanfilms.com www.stage13.net

Dan Ackerman, owner

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1600sf (36’x45’) - 26’x26’ corner cyc - 20’ ceilings - 13’ lighting grid - adjoining 12’x16’ table-top studio.

Perfect for smaller productions, Ready to shoot Green screen. Client friendly. Great location in Portland’s Pearl District next to Whole Foods.

Green room, 5 bathrooms, lobby, kitchenette, production offices, Wifi, onsite parking available, full grip & lighting packages.

B47 Studios; Seattle, WA 206-501-3054 info@b47studios.com www.b47studios.com

Kevin Maude, CEO

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950 sq. ft. sound stage.

Sound stage is rigged with a full lighting grid with DMX control and dedicated studio cameras, and can be staged with a multi-purpose, anchor-style broadcast set. The control room includes a full switching package, live satellite up- and downlink capabilities, Chyron, teleprompter, CCU, ProTools, IFB, and comm system.

Private parking, reception area, 2 conference rooms with 48” networked HD monitors, stocked coffee bar, full working kitchen (including refrigerator, microwave, range and oven), private bar with taps, prop room, loading dock.

Cine Rent West; Portland, OR 503-228-2048 production@cinerentwest.com www.cinerentwest.com

Chris Crever

1

Studio measures 71’ deep x 72’ wide x 17’ to light grid. (85 ft. diagonal distance). Stage cyclorama walls and floor are supplied painted white and ready to shoot, with two-wall hard cove measuring 35’ x 46’ x 17’.

We have 1800 amps of total power, a full overhead TV light grid with forty-five 20 amp bates outlets (600 amps total) and 1200 amps of stage floor distribution available. The Loading Bay area is 18’ x 20’. Trucks do require a lift gate for unloading large equipment.

Rental price includes the stage, stage manager, the

CRW grip package, the production office, 5 work stations, 2 high speed DSL connections, fax, copier, make-up room, greenroom, bathrooms with showers and the lunchroom and our on-set client lounge, private conference room and parking.

Cinemagic Studios; Portland, OR

503-233-2141; fax 503-233-0076 joe@cinemagicstudios.com www.cinemagicstudios.com

president/EP Debbie Mann, office manager

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N/A

Cinemagic Studios features a full service production studio to meet all of your shooting needs.

Professional and talented crews available. A wide range of lighting solutions and packages. A large variety of grip gear and production equipment.

Cinesaurus; Lynnwood, WA 425-830-3545 info@cinesaurus.com www.cinesaurus.com

David Hudson, EP Steven Hudson, CD

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21’ x 21’ greenscreen corner cyclorama with 16’ wall. Production space with 836 square feet and 18’ ceilings.

The Cinesaurus Studio is a floor-to-ceiling green screen studio with a hard chroma green corner cyclorama. Studio rental includes lighting for the green screen, but additional subject lighting is not provided. There is direct outside access to the studio through a roll-up garage door.

Rental includes access to a fully-furnished lounge, bathroom/dressing room with vanity lights for hair/costume/makeup, and a loft space that overlooks the studio for high-angle filming. Also available: Audio recording booth (recording equipment not included).

Fremont Studios; Seattle, WA 206-838-9080 sjonas@fremontstudios.com www.fremontstudios.com

Scott Jonas

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Stage A is 15,000 sq. ft. with a 60x40x42 performance stage, 20’ grid and 60x100 hard cyc. Stage B is approximately 6500 sq. ft., cyclorama approximately 40’ x 40’ x 18’.

Soundstage A is the largest and only audience rated, acoustically designed, environmentally controlled, production studio north of Los Angeles in the United States. The studio’s overall design is custom tailored for commercial film/television cinematography and high end special events.

Support rooms and facilities include post production edit suite, voice over/announcer booth, screening theater, restrooms, back stage warehouse, green room/makeup, semi loading dock.

HD Loft Studios; Portland, OR 503-880-6889 info@hdloftstudios.com www.hdloftstudios.com

Heather Harrison, owner

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3,800 square-ft clear span building with 13-ft, old growth Doug fir ceilings.

Fiberglass, waterproof Cyc measures 24-ft (width) x 12-ft (height); available in custom colors. Wet stage capability for shoots requiring rain or liquid effects via industrial GFCI outlets. 46,080 watts lighting grid power divided by 16 Commercial GFCI power outlets.

Light-industrial shop space with 220v and 110v power for sets, props and costumes you may wish to fabricate; warming kitchen and food prep area; dressing room with bathroom and double-headed shower; conference area; WiFi network with music on demand; client lounge; full bar.

Intersect Video; Wilsonville, OR 971-224-4808 carey@intersectvideo.com www.intersectvideo.com

Carey Fiock

2

Our 3500 sq. ft sound stage features a 32’ long x 16’ wide x 16’ tall two-wall white cyclorama, and a larger 45’ long x 24.5’ deep x 23’ tall three-wall green screen cyclorama, both with 30 radius corners for seamless lighting and a full schedule 40 steel lighting grid at 23’ high that can be lowered to ground level.

Available with the sound stage are studio grip and lighting rentals, with additional grip packages between 2-4 tons available through our partners at OMPA. A designated 850 AMPs of power is available with any soundstage rental. The soundstage is directly accessible by a large roll-up door that can accommodate up to a 5-ton truck, and includes 2 additional semi docks that can accommodate full sized deliveries.

Sound Stage rentals include the use of our kitchen & craft services area, hair & make-up room, wardrobe & changing room, conference room, and separate men & women bathrooms. Intersect Video offers 24 hour availability and requires Production Insurance for all Sound Stage rentals.

Island Station Media Lab; Milwaukie, OR 503-901-4202 info@isml.info www.islandstationmedialab.com

Roger Hancock, manager

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Stage Dimensions - 24’ wide by 10’ tall and 14’ deep.

Medium sized studio. Five diffused overhead panels equipped with 30 KinoFlo T8-32K55 bulbs. Four 6 fresnels upstage. Two 4x4 KinoFlo T-1275K55 fixtures downstage. Additional fills and softboxes avail.

ADR booth, multiple DAWs, changing room, hair and make-up station, record lounge, production office, garage door, on-site storage.

Pacific Grip & Lighting; Seattle, WA 206-622-8540 info@pacific-grip.com www.pacific-grip.com

Doug Boss

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4,400 square foot stage with a 2,500 square foot camera prep area.

From green screen work to large product shots, our stages are used by some of the leading companies in the region. In Portland, we are in the midst of building production offices so that your organization can be close to the action.

Complete grip and lighting packages available. Production offices, lunch room for the crew and a pre-cabled, 19 ½’ grid stocked with lights for illuminating our three wall cyc.

Joe Walsh,

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NW Company City, State Phone; Fax E-mail Web site

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SOUNDSTAGES STAGE DIMENSIONS

Picture This Production Services; Portland, OR 503-235-3456 info@pixthis.com www.pixthis.com

Perry Loveridge, co-owner Sari Loveridge, co-owner

2

Pilot Rock Productions; Medford, OR 541-776-5802 info@pilotrockproductions.com www.pilotrockproductions.com

Roger Harris, GM

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Stage A is a 3000 square foot clean and accommodating sound stage, Stage B is a 1100 square foot stage perfect for product and screen tests.

8,000sf sound stage.

Rex Post; Portland, OR 503-238-4525; fax 503-236-8347 info@rexpost.com www.rexpost.com

Russ Gorsline, GM Tara Krick, business manager

1

Seattle Grip & Lighting; Seattle, WA 206-285-0840; fax 206-285-9503 mlane@seattlegrip.com, jknapp@seattlegrip.com, info@seattlegrip.com www.seattlegrip.com

Mick Lane, managing member Jeremy Knapp, managing member

Victory Studios; Seattle, WA 206-282-1776; fax 206-282-3535 rentals@victorystudios.com www.victorystudios.com

DESCRIPTION OF FACILITY

AMENITIES

Both stages have well maintained coved hard cyc walls, clean and accommodating, with great customer service. See website for photos and virtual tour.

So much to list. Go to pixthis.com.

With state-of-the-art HD shooting and editing equipment, a sound stage, production warehouse, a solid network of local resources, cast and crew, Pilot Rock Productions turns production dollars in to production value.

40,000 sf production warehouse, production offices and facilities, extensive local network of industry keys, crew and cast.

21’ x 25’

Our stage is nice and quiet. It was originally designed as a large audio studio with high ceilings. Green screen, white screen or sets.

We have several spaces for green room, meetings, makeup, and a kitchen.

2

Large Stage 75’x65’ 2 Wall Cyclorama. Small Stage 45’x40’ Single Wall Cyclorama. Both Stages 18’ 6” to Grid.

Seattle Grip & Lighting has the largest film studio in Seattle with a 2-wall-corner-coved cyclorama and grid and an additional 2,000 sq. ft. insert studio under one roof.

Amenities include: parking, kitchens, dressing rooms, production offices, green room, staging areas and picture car access to both studios, High Speed Internet.

Conrad Denke, owner

2

One: 2400 sq. feet with two cyc walls of 60’ and 30’ and a coved corner. Two: 400 sq. feet with a 20’ cyc wall.

Two sound stages, kitchen, control room and make-up rooms available for rent. Grip/lighting, camera, audio and support gear available for rent on site.

Victory Studios is a full service production facility with soundstages, equipment rentals, edit suites and audio recording suites all on location available for rent.

VMG/studio520; Bellevue, WA 425-457-7100; fax 425-457-7104 info@vmgstudio520.com www.vmgstudio520.com

Kelly Sparks, CEO Mark Sparks, president

1

40’ x 32’

Our studio features a 40’ x 32’ two wall, hard cyclorama with corner cove and a roll up door for easy load and unload.

All studio rentals come with lighting grid background lights, green room with lounge, dressing room, makeup station, complimentary WI-FI, and ample parking.

Voda Studios; Seattle, WA 206-441-8158 info@vodastudios.com www.vodastudios.com

Josh Courtney, chairman/CCO

N/A

With 18,000sqft of working space, studios and sound stages ranging from 1,500-5,500sqft, we can accommodate all your needs under one roof.

Amenities include cafe & espresso bar, production offices, tungsten, daylight hair & makeup, gallery, WiFi, ping pong, parking.

Zarr Studios; Portland, OR 503-477-7050 zarrstudios@gmail.com www.zarrstudios.com

Sophia Bilyk

1

6,500 sq. ft. production stage that features a 50 x 30 foot cyclorama wall and 50 foot ceilings.

We’ve built this place to exacting standards, leaving nothing out. Studio features 22ft ceilings, drive-in access, built in cyc (1 & 2 corner), camlock power, 4 loading docks, equipment rentals, editing suites, retouching.

Zarr Studios is ideal for small productions, commercials, music videos, still photo shoots, etc. There is ample daylight or it can be fully blacked out. Our large roll-up door allows straight access to the stage.

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Included with the stage is a 600 sq. ft. production office, green room, make-up and wardrobe facilities and a full gourmet kitchen. There is a luxurious client lounge with fresh coffee and tea throughout the day, and bathrooms and showers.

ACKERMAN FILMS/STAGE 13 • 1600 s.f. Main Stage • Adjoining Table-Top Studio • Pre-Lit Green-Screen Corner Cyc • 20’ Ceiling • 13 ft Lighting Grid • Lighting, Distro & Grip Packages • Green Room • Kitchenette • Client Friendly

503-504-4499 www.stage13.net dan@ackermanfilms.com

Located In Portland’s Pearl District 13 NW 13th Ave Portland, OR 97209

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Roll the Credits: Night Moves elly Reichardt’s Night Moves, about three environmentalists who plot to blow up a dam, hit theaters on May 30. The film was shot exclusively in Southern Oregon and featured a great number of Oregon-based cast and crew.

Chris Maybach ... producer Roxane Mesquida ... associate producer Lourenço Sant’Anna ... executive producer Vincent Savino ... co-producer Anish Savjani ... producer Rodrigo Teixeira ... producer

CAST

Music by Jeff Grace

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Jesse Eisenberg ... Josh Dakota Fanning ... Dena Peter Sarsgaard ... Harmon Alia Shawkat ... Surprise Logan Miller ... Dylan Kai Lennox ... Sean Katherine Waterston ... Anne James Le Gros ... Feed Factory Clerk Traber Burns ... Felix Autumn Nidalmia ... Mable Barry Del Sherman ... Corser Jason Rojas ... Activist 1 Clara Mamet ... Activist Filmmaker Mikey Kampmann ... Activist 2 Matt Malloy ... Boat Owner Paddric Fitzgerald ... Busboy Jeff Rowles ... Feed Store Employee Scott Patrick Green ... Feed Store Customer Joel Polinsky ... Goose Bart McCarthy ... Farmer 1 Ernie Ephraim ... Farmer 2 Gavin MacCartney ... Kid at Campground Jonah Goergen ... Kid at the Lake Oliver Goergen ... Kid at the Lake Lew Temple ... Wandering Camper Nate Mooney ... Driver with Flat Tire Jennifer Snook ... Cop Jackie Apodaca ... Woman at Spa Christopher Liam Moore ... Librarian Kaiti Zemet ... Sports Store Employee Griffin Newman ... Middle Manager Matthew Joel Flood ... Good Looking Guy on a Date (uncredited) Luis Rodriguez ... Hip-Hop Guy (uncredited) Spencer Scofield ... Camper / Boater (uncredited) Wayne Sweat ... Landscaper 1 (uncredited)

CREW Directed by Kelly Reichardt Writing Credits Jonathan Raymond, Kelly Reichardt Produced by Brett Cranford ... line producer Alejandro De Leon ... executive producer Larry Fessenden ... executive producer Todd Haynes ... executive producer Saemi Kim ... producer Saerom Kim ... executive producer Neil Kopp ... producer

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Cinematography by Christopher Blauvelt Film Editing by Kelly Reichardt Casting By Mark Bennett, Laura Rosenthal Production Design by Elliott Hostetter Art Direction by Almitra Corey Set Decoration by Virginia Yount Costume Design by Victoria Farrell Makeup Department David Kennedy ... key hair stylist Sheila Trujillo ... key makeup artist Production Management George Adams ... production supervisor Josh Rappaport ... post-production supervisor Second Unit Director or Assistant Director Chris Carroll ... first assistant director D.K. Johnston ... second second assistant director Eric LaFranchi ... second assistant director Art Department Jesse Cain ... property master James Emrich ... carpenter Tom Obed ... leadman Schuyler Telleen ... graphic designer Sound Department Dann Fink ... ADR voice casting Ryan J. Frias ... assistant dialogue editor/ digital editorial support Andrea Gard ... foley artist and editor Heather Gross ... sound effects editor Morgan Hobart ... boom operator Glenn Micallef ... production sound mixer Frank Rinella ... foley artist and editor Julia Shirar ... re-recording mixer/ supervising sound editor Kent Sparling ... re-recording mixer/

sound designer Doug Winningham ... foley editor Visual Effects by Craig Waxman Stunts Brian Duffy Camera and Electrical Department Shaun Bowlby ... best boy grip Garrett Cantrell ... key grip Brady Fitzgerald ... swing: grip/electric Scott Forte ... second assistant camera Scotty Frazer ... best boy electric Tim Jankowski ... jib operator Stephen MacDougall ... first assistant camera Jeremy Mackie ... gaffer Cedric Martin ... steadicam operator Michael Cusack O’Connell ... additional cinematography Nathaniel Peirson ... electrician Matthew Riggieri ... digital imaging technician Norman Tumolva ... grip Casting Department Nick Cotton ... casting assistant Judy Plapinger ... extras casting assistant Costume and Wardrobe Department Angelina Blandino ... costumer Tanya Smith ... costume supervisor Editorial Department Alex Bickel ... digital intermediate colorist Patrick DeVine ... digital intermediate assistant Cary Kehayan ... assistant editor Brian Reali ... digital intermediate producer Music Department Grant Manship ... music supervision counsel Chris Swanson ... music supervisor Other crew Don Baldwin ... locations scout Felix Berrios ... production assistant Roger D. Faires ... location scout Sam Gaty ... production assistant Michael Hall ... production accountant Carl Hickerson ... office production assistant Doug Hobart ... locations scout Mikey Kampmann ... production assistant Emily Pontecorvo ... assistant to producers Justin Reichman ... script supervisor Lance Rosen ... legal services Jeff Rowles ... production assistant Charlie Skinner ... location scout Aidan Sleeper ... location manager Ciaran Sleeper ... location assistant Lissi Sogn ... set intern *Information courtesy IMDb

Location Scout & Manager For Over 25 Years

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503.975.1936 • rogerfaires@me.com • rogerfaires.com

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