Film | TV | Commercial | Interactive
Magazine | Directory
Oregon crew, talent, production companies, and resources P. 33
Why Oregon was, is, and will always be a mecca for indie filmmakers REBEL MORE Cut the permitting red-tape P. 14
Fun & games are big business in Oregon P. 29
Viva la post-production revolution P. 23
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From the Governor
2013 SourceOregon COMMERCIAL + FILM + TV MAGAZINE | DIRECTORY
Managing Editor Lynn Torrance Redlin Correspondents Russ Eaton Doug and McKenzie Freeman Anita Gomez David Poulshock Proofreader David Freedman Sarah Lombardi Web Developer Greg Jorgensen Data Processor John Reinhold Advertising Assistant Zora Dickerson Print Production Richer Design
Oregon Media Production Association Tom McFadden, Executive Director Jessica Beer, Administrative Manager 901 SE Oak St, Ste 104 Portland, OR 97214 email@example.com www.ompa.org
o Photography rtesy of Frank DiMarc
Advertising and Circulation 503.228.8822
Greetings from Oregon
Welcome to this year’s issue of the SourceOregon Magazine and Directory. Inside you’ll discover why Oregon has become a haven for creative professionals and the ultimate destination for savvy media producers from around the globe. In addition, you’ll find a comprehensive list of companies, crews, equipment and support services, all with the talent and experience you need to make your projects a success.
More and more, Oregon is being called home by this shining industry, and we will do all we can to help you to continue your work here and utilize our extensive film, television, commercial, and new media production resources. I encourage you to visit “The Confluence” blog at oregonconfluence.com as a place to share news and events about Oregon’s thriving industry throughout the year.
Oregon Media Production Association www.ompa.org
I’m proud of the production industry’s celebrated achievements in our state, you are truly bright spot for Oregon’s economy and for Oregon jobs.
Governor’s Office of Film and Television www.oregonfilm.org IATSE Local 488 www.iatse488.com Mid-Oregon Production Arts Network www.mopan.com
Portland Mayor’s Office of Film and Video www.pdc.us/film SAG-AFTRA www.sagaftra.org/portland Southern Oregon Film and Television www.filmsouthernoregon.org
Thank you for joining us. Together we can make 2013 bigger and better.
Make the Governor’s Office of Film & Television your first call www.oregonfilm.org 503.229.5832 John Kitzhaber Governor, State of Oregon
6 SourceOregon 2013
Oregon Media Production Association assumes no liability for content, errors, or omissions of any listing or advertisement beyond the cost of said listing or advertisement, whether the result of accident, negligence, or any other cause. Product and company names mentioned herein may be the trademarks of their respective owners. No part of this publication may be reproduced by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without the express written permission of the publisher. Printed with vegetable based inks on recyclable paper. Copyright ©2013 by Oregon Media Production Association. All rights reserved.
Made in USA. Produced in Oregon.
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SourceOregon COMMERCIAL + FILM + TV MAGAZINE | DIRECTORY
Directory Reference 41 Stages & Studio Services 47 Writers, Directors, Producers & Production Companies 61 Crew 85 Talent 97 Equipment 111 Props and Set Dressing 115 Sound and Music 121 Post Production 129 Web & Interactive 133 Support Services 143 Liaisons 151 Index
Photo Courtesy of Bruce Lawson
The Vista House on Crown Point in the Columbia River Gorge makes a stunning backdrop for a car shoot.
COVER: Jesse Eisenberg (The Social Network) and Alia Shawkat (Arrested Development) on the set of Kelly Reichardt’s Night Moves in Southern Oregon.
Made in Oregon
12 | A Celebration of Oregon Festivals Come see for yourself why
23 | Post Disruption How Oregon post
Oregon is so fantastic!
companies thrive in a changing industry. 29 | Pushing the Right Button The
video game business is clicking. Commercial success continues in Oregon. 31 | Extreme Production Get wild with all the “Rage” in action sports films. 14 | Why Oregon Seven reasons why filming here has never been so good. 13 | Tour d’Oregon Advertising
was, is, and will always be a mecca for indie filmmakers. 22 | Learning Film Where to start and grow knowledge and skills.
Crew 25 | More for your budget Count
on people with experience and skills.
Equipment 28 | Get the Shot Gear up for faster, better, more efficient production.
10 SourceOregon 2013
Talent and Industry
36 | Industry Standards & Practices
Oregon’s process for predictable, consistent production. 38 | Children’s Employment Guidelines
Basics of hiring minors in Oregon. 39 | Employee vs Independent Contractor Review of federal and state
employment guidelines. Photo Top: On the field with Chris Coleman, Special Effects Technician on NBC’s GRIMM. Photo Bottom: A fairy tale setting at Roslyn Lake in Sandy, Oregon for NBC’s GRIMM.
Photos courtesy of Bruce Lawson (2)
17 | The Maverick State Why Oregon
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February 7-23: Portland International Film Festival
June 16-30: Portland Jewish Film Festival
Sep 5-9: Musicfest NW, Portland
April 4-8: Ashland Independent Film Festival
July 12: OMPA Golf Classic Scholarship Fundraising Event, Welches
April 26-28: DisOrient Asian American Film Festival, Eugene
A Celebration of
July 19-21: Da Vinci Film Festival, Corvallis
August Aug 2-4: Willamette Writers Conference, Portland
May 7-11: The Archaeology Channel Aug 2-4: 48 Hour Film Project, International Film and Portland Video Festival, Eugene May 22-24: WebVisions Portland
Aug 23-25: Eugene Celebration Film Festival
October Oct 10-13: BendFilm Festival Oct 18-20: Astoria International Film Festival
November Nov: Eugene International Film Festival Nov 8-17: Northwest Filmmaker’s Festival, Portland
Photo Courtesy of Bruce Lawson
April 17-21: Cinema Pacific, Eugene
Sep 16-23: Oregon Independent Film Festival, Eugene and Portland
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Made in Oregon
Optic Nerve Productions recent project for Oregon Dept. of Transportation (ODOT).
“Holiday Card,” Inkwell Creative.
Icon Motorsports ad from Rage Productions.
A Prophecy Fulfilled, Northshore Productions
dvertising creators enjoying commercial success is nothing new in Oregon. Back in the day, we had our own original “Mad Men” setting the pace -- and the men and women of today’s industry follow their lead, connecting companies and their products with the market in powerful ways.
For a list of commercial production companies in Oregon see page 52. Oregon Historical Society, Lawrence Johnson
Made in Oregon OREGON FILM
magine producing with no permitting hassles… friendly, accessible contacts at all levels of city and state government… financial incentives that support your bottom line. You’re not dreaming – you’re in Oregon!
Oregon has a well-deserved reputation as a center for creative business and technology where talent and producers serve up engaging entertainment and enlightening business solutions. From film and television production to world-renowned animation, VFX, digital media and post production, Oregon has all the resources and talent that you need to make your next project a success.
20% CASH Rebate on Goods & Services and UP TO 16.2% REBATE ON LABOR
offered through the Oregon Production Investment Fund and the Greenlight Oregon Labor Rebate. Enjoy a no per-production cap cash rebate on any cost related to production that is paid to an Oregon-based company. Labor rebate applies to production payrolls for work done in Oregon. It covers all employees for any film, television or television commercial production company spending $1 million plus over a calendar year (subject to availability). Call the Governor’s Office of Film & Television for the latest incentive information: 503.229.5832
2 Local CAST & CREW
Behind the Scenes of NBC’s GRIMM -- “The Hour of Death” Episode 210 Pictured: (left to right) Russell Hornsby as Hank Griffin, David Giuntoli as Nick Burkhardt, Schakal -- (Photo by: Scott Green/NBC)
14 SourceOregon 2013
Oregon is proud of our strong, professional and growing number of talented cast and crew who work year-round on feature films, TV and commercial production. Oregon is also home to a number of local talent agencies ready to provide a full range of talent services.
Made in Oregon
Lodging tax waiver
With 27 cities and 3 counties around the state of Oregon charging no permitting fees, Oregon takes “film-friendly” to a whole new level.
Oregon lodging taxes are waived for rooms held longer than 30 days.
No Sales Tax
Closer than You Think
No waivers to fill out. No paperwork. Oregon simply has no sales tax on anything! That means no up-front costs for your production, no additional records to keep and no administrative hassle trying to get a sales tax refund.
We’re conveniently located close to LA, with three Oregon cities (Eugene, Medford and Portland) providing direct service to the LA area. We’re a mere two-hour flight away.
LOCATION. LOCATION. LOCATION.
Oregon offers the diverse locations other regions can only dream about. We have the mountains, beaches, ghost towns, deserts, lakes, rivers, streams, small towns, modern cities and lava flows to prove it. Check out our extensive online location database to see how we can help make your vision a reality. Check out more locations online at www.oregonfilm.org/locations
A Greener World in Oregon Want to know how to start?
Our comprehensive production best practices information can be found in our online “Guide to Greening Production.” www.oregonfilm.org/green
For more green production news, check out the green section of our blog: www.oregonconfluence.com/ author/green-production
The Oregon Governor’s Office of Film & Television aims to connect productions with green and sustainable resources already available in the state. With our Green Resource page, oregonfilm.org/green, we work to encourage everything from recycling to composting, reusing to donating props, locating biodiesel outlets to EV charging stations. We aim to make it easy for productions to have as many sustainable vendors and resources on hand as possible, benefitting not only the local community but the environment overall. In partnership with PGA Green, www.pgagreen.org, we now have a searchable database for green vendors and services on our website. We don’t want to stop at only providing informational resources, we endeavor to identify ways that production can be greener. We aim to bring recognition to those vendors, services and productions that strive for this common goal. Currently, we are collaborating with Oregon businesses and productions to try and find ways to bring renewable energy resources to set. Do you want to get in on the conversation? Contact Jane@oregofilm.org
top ten films of all time.
Name your Independent ALL TIME TOP 10 INDIE FILMS
One Flew Over the Cuckoo’s Nest is a good launch pad for a conversation about Independent film in Oregon. Only the second film to win all five major Academy Awards, Cuckoo’s Nest was shot in Oregon. It was based on the novel by Oregon’s almost-native son, the maverick author Ken Kesey.
1. David Fincher’s Se7en (2000) 2. Darren Aronofsky’s Requiem for a Dream (2000) 3. Michel Gondry’s Eternal Sunshine of the Spotless Mind (2004) 4. Sam Mendes’ American Beauty (1999) 5. Francis Coppola’s Apocalypse Now (1979) 6. Alfred Hitchcock’s Psycho (1960) 7. Quentin Tarantino’s Reservoir Dogs (1992) 8. Christopher Nolan’s Memento (2000) 9. Milos Forman’s One Flew Over the Cuckoo’s Nest (1975) And in 2012, it was probably Benh Zeitlin’s Oscar-nominated (winning) Beasts of the Southern Wild. The list goes on …
That top-ten list is quite a list, isn’t it? Diverse genres. Some with star power, some with none. First-time directors, long-time directors. Big budgets, low budgets. So what is an Indie film, really? Let’s narrow the focus: According to Wikipedia, an independent film is a narrative feature “professionally produced mostly or completely outside the major studio system.” Wikipedia also lists “personal artistic vision,” “lower budgets” and “festival release” as “often but not always” typical of Indie films. That all sounds good, especially the low budget thing, right? We all know Indies are usually made on micro or no-low budgets, and that Robert Rodriguez sold his body to medical trials to finance El Mariachi, which cost $7,000. Then again, 2012’s Cloud Atlas was financed outside the studio system – but with its $100 million budget, it’s said to be the most expensive ‘independent film’ ever made. Not to mention, you’re also probably wondering why One Flew Over the Cuckoo’s Nest is on our top-ten list. Can the second film to win all five major Academy Awards with a Hollywood megastar be classified as an Indie? Well, yes. Here’s the story:
What is an Indie Film?
Cuckoo’s Nest, an Indie? Really? Kirk Douglas, who starred in the Broadway play based on the novel, bought the film rights and tried unsuccessfully for twelve years to get it made in Hollywood (now doesn’t that sound familiar?). He finally turned it over to his son Michael, who secured private financing and co-produced it with Saul Zaentz of Fantasy Records. So, not only was Cuckoo’s Nest made outside the studio system, it predated Hollywood’s 1990s rush into the Indies via the mini-majors. It was also directed by maverick director Milos Foreman (whose Oscar-nominated Fireman’s Ball was banned by communist authorities in his home country). It was based on an unconventional novel by Oregon’s almost-native son, the maverick author Ken Kesey. Even its story was about a maverick bucking the system. And it was shot in Oregon, the maverick state.
Indie films are maverick feature films made by maverick filmmakers working outside the studio system. 16 SourceOregon 2013
Photos courtesy of Richard Blakeslee (7), Randomwalkthroughfilm.com, Katherine Wilson, David Godlis
For a list of feature, entertainment and independent production companies see pages 55 and 56.
The Maverick State Why Oregon is a Mecca for Indie filmmakers By David Poulshock
Photo courtesy of Scott Green
OREGON TOP 10 INDIE FILMS Gus Van Sant’s: 1. Drugstore Cowboy (1989) 2. My Own Private Idaho (1991) 3. Elephant (2003) 4. Paranoid Park (2007) 5. Restless (2011) Kelly Reichardt’s: 6. Old Joy (2006) 7. Wendy and Lucy (2008) 8. Meek’s Cutoff (2010) Aaron Katz’s: 9. Cold Weather (2010) In early 2013, we were talking about: Kyle Patrick Alvarez’s C.O.G. (adapted from David Sedaris’s short story) and Kelly Reichardt’s 2013 eco-drama Night Moves. By the time you read this, you’ll know how these filmmaking stories ended. The list goes on…
QUICK. name your top ten Indie films born in Oregon.
Mavericks in a Maverick state
Indie films are maverick feature films made by maverick filmmakers working outside the studio system. And that puts Oregon in an ideal position. We are, after all, a thousand miles north of Hollywood and populated by mavericks who, like Cuckoo’s McMurphy, are naturally inclined to buck the system. In fact, Oregon’s maverick tradition dates back to territorial times, when some weird-minded settlers chose the ‘Oregon Country’ over California’s gold rush. We’ve had our maverick governors – over a century after the gold rush, Tom McCall told those Californians, “Come visit us again and again … but for heaven’s sake, don’t come here to live.” We’ve had our maverick Senators – both Wayne Morse and Mark Hatfield bucked their parties. We’re the only Right to Die state in the union. The first to have a Bottle Bill. No sales tax! We’re the state that says, “We love Dreamers.” And, like our politicians and Dr. Kevorkians, Oregon filmmakers are mavericks to the core.
A Maverick Tradition Begins
Oregon’s first successful Indie was probably Penny Allen’s Property – a satirical look at urban renewal in Portland, 1977. Independently financed, Property won positive reviews, like this one from Village Voice: “Penny Allen has successfully broken down the barriers between fact and fiction.” Property has the unique distinction of screening at the very first Sundance Film Festival, and true to our point, also screened at the American Mavericks Festival in New York, 1979. 18 SourceOregon 2013
Heady Times for Oregon’s Maverick Filmmakers
Things really began to break in the 80s. Penny Allen went on to make Paydirt in 1981. Don Gronquist’s 1982 horror slasher, Unhinged, was shot in the Pittock Mansion and had the tagline, “The nightmare begins when you wake up.” Unhinged was gruesome enough to be banned in the U.K., but would it be today? In 1985, Gus Van Sant made his debut feature, Mala Noche. Adapted from the book by Portland poet Walt Curtis, Van Sant’s gritty and lyrical ode to life on the fringe was named the year’s Best Independent Film by the Los Angeles Times. Next came Susan Shadburne’s Shadow Play (1986), with actors Dee Wallace-Stone and Cloris Leachman, and Claymation’s Will Vinton producing. Both Curtis and Van Sant worked on Property, Van Sant as sound-recordist and Curtis in the cast. So had cinematographer Eric Alan Edwards, who later shot Van Sant’s My Own Private Idaho and To Die For. Meanwhile, a slew of Indie B-movies were coming fast and furious out of Southern Oregon, including: Dream Chaser with Harold Gould; Sacred Ground with Jack Elam; and Mystery Mansion starring Oregon’s own Dallas McKennon. All three films featured Hollywood character actors and were produced and financed in the early 80s by Arthur R. Dubs. The mysterious Dubs might be called Oregon’s own Roger Corman. But it wasn’t until 1989 that Van Sant’s Drugstore Cowboy became Oregon’s true breakout Indie – and launched the career that has inspired a generation of aspiring filmmakers.
Gus Van Sant
Named “an American auteur” by the New York Times, the prolific Van Sant has directed at least thirteen features since Drugstore Cowboy, six of which were produced in Oregon. Twice nominated for the Oscars (Goodwill Hunting, Milk) and winner of the Cannes Palme d’Or (Elephant), Van Sant has a narrative style that has been called ‘unorthodox’ and ‘visually elegant’ (Restless, Gerry, Paranoid Park). Yet he also has the ability to cross over to the mainstream, most notably with To Die For, Psycho and Goodwill Hunting. The true sign of a maverick.
The next breakout decade for Oregon Indies might well be the 2010s. We’re seeing a resurgence of that wild maverick energy that fueled the 80s. Just look at the latest batch of Oregon-born films, and you’ll find a new network of local producers, directors, writers, actors, crew and craftspeople – often working on each other’s projects, and often mentored by members of the old school. Producers Neil Kopp and David Cress are great examples: you’ll find their credits on the films of several of Oregon’s most promising directors, old and new. Top of the list? Kelly Reichardt. Many people would argue that Reichardt inherited the artistic mantle that Van Sant inspired. Just listen to what Indiewire says about her Meek’s Cutoff (which was produced by Kopp): “Upgrading her production values without compromising her minimalist style, Kelly Reichardt has nonetheless made her most accessible movie… a spare, defiantly unconventional western that traffics in atmosphere and the subversion of expectations rather than any kind of easy resolution.” But wait, there’s more. If any Oregon filmmakers are on the same wave that Van Sant rode in 1989, they’re James Westby and Matt McCormick. Westby has made a national, if not cult, name for himself with Film Geek (2005), The Auteur (2008) and
Rid of Me (2011) – the last of which, the Huffington Post called “cheerfully obscene, hip, and wickedly funny!” Best known for his experimental films, Matt McCormick made his first feature, Some Days Are Better Than Others in 2011, starring Carrie Brownstein of the TV series Portlandia. In the San Francisco Chronicle review of the movie, they wrote, “McCormick shows a lot of promise as a feature director. His work deserves to be seen.” And yet, we’ve just cracked the surface. The 2010s have seen an explosion of Oregon Indie filmmaking, beginning with the Kyle Patrick Alvarez’s C.O.G. Cel White, Portland’s highly respected experimental filmmaker, ventured into features with Bucksville (2011). New on the scene is Mischa Webley, whose war vet action drama The Kill Hole was shot entirely in Portland, won Best Feature at the 2012 New Jersey International Film Festival and was labeled “stylish, atmospheric and anchored by gripping performances’ ” by Indiewire. And Southern Oregon is rising again. Filmed in Ashland, Gary Lundgren’s 2012 locally financed Redwood Highway features several wonderful Hollywood-familiar actors, (see “More for your budget” on page 25). Finally, any discussion of current Oregon Indies can’t go without mentioning fist-time director Sam Hull’s Not Dead Yet, winner of the Baltimore Women’s and Rhode Island International film festivals. Nor can we ignore prolific filmmakers Nick Peterson and Mary Defreese’s Field Guide to November Day, called “an almost wordless
Oregon Indie Aesthetic
If there is an ‘Oregon Indie aesthetic’, Gus Van Sant may have been first to express it in Drugstore Cowboy. For Producer David Cress, “The themes in Portlandmade films are sometimes connected to the weather,” he says. “There is a kind of natural grayness or moodiness that can come naturally shooting here.” Of the current Oregon films that may share this vision, Cress includes Some Days Are Better Than Others, Old Joy, and Cold Weather. For Vince Porter, Executive Director of the Governor’s Office of Film & Television, the aesthetic is all about the individual artists. “It’s hard not to relate much of it back to Gus,” he says. “But like him, the new crop of Oregon filmmakers all have unique stories to tell and unique ways of telling them.”
Oregon’s DSLR Specialist Store and Rental 1112 NW 19th Ave, Portland Oregon | www.prophotosupply.com SourceOregon 2013
Behind the Scenes
Much of Oregon’s filmmaking energy occurs behind the scenes. Gus Van Sant has executiveproduced numerous films to help young filmmakers, and his friend Todd Haynes (Poison, Far From Heaven) is also a guiding presence for emerging filmmakers. Screenwriters Randall Jahnson (The Mask of Zorro, The Doors) and Cynthia Whitecomb (Body of Evidence, Buffalo Girls, Emma’s Wish) now make their homes in Portland, where they write and mentor other writers. Whitcomb also heads Willamette Writers, host to an annual conference that brings a score of Hollywood producers and agents to Portland every summer.
20 SourceOregon 2013
study of social isolation and sexual identity.” Then there are the Brothers Freeman, Oregon’s inexhaustible thriller/ sci-fi/horror team, churning out film after film, including: The Astonished Man (2008), Wake Before I Die (2011), and Cell Count (2012). Arnold and Jacob Pander, brothers, graphic novelists, and offspring of the legendary Dutchborn, Portland-based painter, Henk Pander also entered the game in 2008 with their thriller, Selfless. Who will be Oregon’s next breakout filmmaker? Will it be Reichardt, Westby, McCormick, Hull, Lundgren, White, Webley, Peterson and Defreese, the Freemans or the Panders? Or is there some yet-to-be-recognized Oregon maverick poised to unleash his or her mind-blowing, universe-shifting creation upon us?
Maybe it’s a question OF ‘HOW’ not a question of ‘what’ or ‘who’.
Everybody knows that it’s nearly impossible to find the money for independent films these days. According to the Governor’s Office of Film & Television Vince Porter, there’s a big gaping hole where independent films used to thrive – that budgetary space between $1 million and $30 million. That’s because Hollywood is desperately thrashing about
its colossal dinosaur’s tail, destroying everything small in its path, intent on producing only teen blockbusters. Out of luck and with barely a dime in their pockets, today’s Indie filmmakers have to scrape and scramble just for a few bucks to make movies that can somehow be heard above the giant reptile’s roar. Two ways Oregon helps Indie filmmakers find money is from the Indigenous Oregon Production Investment Fund (i-OPIF) program, for projects less than $750,000 and the OPIF rebate program for projects over $750,000. So, like they were in the 80s, the mavericks are once again forced out into the fringe. But that might very well be their secret weapon! Oregon film artists are telling new kinds of stories in new kinds of ways on new kinds of platforms: video games, apps, webisodes, even pop-up push messaging. They’re shooting films on SLRs, iPhones and GoCams. Necessity being the “mother of invention,” this new generation of Oregon Mavericks may be redefining the very nature of Independent film. To see it coming, look no further than the Portland Incubator Experiment, a new ‘digital storytelling incubator’ that would bring together independent filmmakers, creative marketing agencies, video game developers and hi-tech start-ups, created by advertising giant Wieden and Kennedy and the Governor’s Office of Film and
INDIE HISTORY Television. In early 2013, the state’s Oregon Innovation Council earmarked $900,000 for this program in its funding request. By the time you read this, it may – or may not – be a reality. What’s clear is that a viable ‘business model’ for making independent film has yet to be invented. For Porter, his new incubator may be the answer. “The one thing Oregon is always going to have is independent voices that tell independent stories.” As far as Porter is concerned, there are more ways to tell stories today than ever before, and Oregon is the perfect place to tell them.
So maybe we are crazy, like McMurphy
A maverick and a dreamer, Cuckoo’s McMurphy had it right – even if it did end badly for him. He knew that if you have any grit at all, you have to buck the system. So what if he was lobotomized? His message escaped into the world with Chief Bromden, slipping away into the night. And that’s the hope isn’t it? Oregon’s maverick filmmakers, bucking the system so their stories can get out into the world. ______ David Poulshock is an award-winning filmmaker, whose production company Red Door Films is based in Portland, Oregon.
Oregon Indies: Features and Beyond
We know, by limiting our definition of Indie Film to narrative features, we left out some of Oregon’s greatest mavericks – our thriving community of documentary, animation and videogame producers – who deserve of an article all their own, including: motion features: Coraline and ParaNorman, entirely made and financed in Oregon.
DOCUMENTARIES ANIMATION Oregon’s first Oscar winners, Will Vinton and Bob Gardiner (Closed Mondays); Jim Blashfield (Talking Heads’ and She Was); Joan Gratz (Mona Lisa Descending a Staircase) – all true mavericks, breaking barriers and working outside the box. And led by CEO and gifted animator Travis Knight, LAIKA is pure Oregon – producing two Oscar-nominated stop-
Peter D. Richard’s emotionally charged How to Die in Oregon (2011) won the Grand Jury Prize at Sundance – bringing to Oregon one of the world’s most prestigious non-fiction film awards; and Portlandbased Irene Taylor Brodksy’s Hear and Now (2007) won Sundance’s Audience Award.
VIDEO GAMES SuperGenius uses real cinematography to make award-winning games (The Walking Dead and Forge); Bend Studio produces video games for Sony Computer Entertainment (Syphon Filter);
and Zynga Eugene (formerly Buzz Monkey) makes games for Facebook, consoles (Tomb Raider) and smartphones (Rinith Island).
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Some of the things we offer: • Local & national distribution • Studio rental • Underwater videography • Sound recording & editing • Stock footage Call 503.977.7757 or visit opb.org
Education Complementing Oregon’s filmmaking boom, a host of exciting educational opportunities have emerged throughout the state, promising to hone the talents of media professionals.
Southern Oregon University offers coursework through the Center for Emerging Media & Digital Arts, “a place for campus and community to come together to develop, produce, and evaluate original projects in digital media.” emda.sou.edu
22 SourceOregon 2013
The Art Institute of Portland Media Arts curriculums include: BFAs in Digital Film & Video, Game Art & Design, Media Arts & Animation, and Visual Effects & Motion Graphics; and a BS in Visual & Game Programming. artinstitutes.edu/portland Oregon State University has its School of Writing,
Literature and Film for screenwriters, and a Computer Science dept that has spawned video game programmers who now work at Oregon game development firms like Zynga Eugene and Pipeworks. oregonstate.edu
Portland State University Department of Theater & Film “strives to ensure a learning environment that instills the highest artistic standards required to commence careers in professional or educational theatre and film.” pdx.edu/theater
University of Oregon offers a Certificate in Film Studies, and its Computer and Information Science program launched many video game careers. uoregon.edu
George Fox University cinema and media communications major “combines the liberal arts emphasis of communication arts with hands-on experience in video, film, and digital media production.” georgefox.edu
Eastern Oregon University Media Arts and Communication department offers a major in Film Production. eoumac.com NW Film Center School of Film offers a broad curriculum “where access, aesthetics, and action combine to help people realize their aspirations and where new films and filmmakers are launched into the community.” nwfilm.org
Willamette University Film Studies Program “is designed to connect students with multiple critical and methodological approaches and to encourage theoretical inquiry as well as creative engagement with the practical problems of visual representation.” willamette.edu/cla/film
For education institutions and courses see page 135.
Photo Courtesy of Bruce Lawson
Marylhurst University offers a BA in Media and Film Studies, “dedicated to interdisciplinary inquiry about the content, form, production, history, social effects and political implications of media in all its various expressions–from print to film, television, radio and the internet.” marylhurst.edu
Illustration by Moser Graphics
Change has… changed. Post-production is experiencing what’s called disruptive change. With major shifts occurring in the underlying forces driving the industry, post-production in Oregon is reinventing itself. SourceOregon 2013
There’s plenty of evidence that the world of post is changing. Inexpensive technology allows more people to do it themselves, from anywhere in the world. Budgets for post continue to fall, pressuring full-service companies’ staffing, production strategies, and facility requirements. As commercial, TV and film projects grow increasingly complex, so do the demands on creative talent and adaptability to quickly changing production technologies. And marketing post services has never been more challenging.
Discovering New Ways Indie Film Niche With DIY Film Finishing Services, Oregon is set for an explosion in post production.
Audio Post With today’s blazingly fast Internet, audio post has become a non-location dependent industry.
Animation Crossing over stereoscopic 3-D from film projects to commercials helps Oregon’s creative professionals lead the industry.
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with big production towns like L.A. and Vancouver, B.C. For example, Bent Image Lab has positioned itself to be a go-to firm in the hot area of stereoscopic 3-D for commercials, TV and film. “Portland has attracted many talented and experienced people from the industry,” says Ray Di Carlo, executive producer. “We were already employing many professionals who had come from stereoscopic film projects.” He says that having the right creative talent is the key driver in producing outstanding work and becoming a magnet for new clients.
Oregon’s post houses are in a strong position to compete with anyone, anywhere. Instead of a doomsday scenario, Mike Quinn, co-founder of Mission Control, sees many of Oregon’s post houses reacting successfully to these conditions and thriving. “The biggest trend in post is the ability to be nimble, while creating great work,” he says. Quinn cites proof: “There’s local visual effects work on TV series such as NBC’s Grimm, animation firms up and down the Willamette Valley are breaking new ground for national commercials, and small specialized post shops are turning out award-winning work on small budgets.” Adaptability and marketing acumen especially applies in the world of audio post. Due to increasingly inexpensive technology and Internet bandwidth, audio post has become one of the most non-location dependent segments of the industry. “A director of a TV series doesn’t have to stop into the post theater for the first dub anymore,” says Michael Bard, owner of Studio Bard. An editor can be based anywhere, with great equipment. “That means it often comes down to marketing your talent and creative vibe,” he adds. “Oregon’s post houses have both, so we’re in a strong position to compete with anyone, anywhere.” The state’s animation and visual effects companies likely have the highest profile nationally. They’ve leveraged talent and creativity to successfully compete for projects
Timothy Whitcomb, founder of Indent Studios, is riding the trends in independent film post-production to serve producers’ current needs. But he’s also embracing a “build it and they will come” business model to position his firm for the future by specializing in film finishing services. “We provide the calibrated monitors, vectorscopes, highspeed storage and a consistent color pipeline for people to affordably ‘online’ edit and finish their projects.” says Whitcomb. He’s confident that the demand for real-time finishing of films, already big, is set to explode. Whitcomb anticipates that his and other post houses in Oregon will see tremendous growth opportunities ahead. So disruptive change may not be such a downer scenario. Post-production companies that will thrive in this environment must have talent, technology, dynamic business model and portfolios of outstanding work. Michael Bard points out that all things being equal in these areas, success will come from personal relationships. He says, “Oregon’s post companies really nail it when it comes to building fantastic, long-term relationships with clients. That’s a huge advantage we have that won’t change.” See a complete list of post production facilities on page 123.
More for your budget Southern Oregon
“We have very supportive communities around here for filmmaking, which is great because most independent filmmaking happens in public,” says Gary Kout. The Executive Director of Southern Oregon Film and Television (SOFaT) and head of Elsewhere Films sees Southern Oregon as growing into a hub for quality media production. In addition to state production incentives and having no state sales tax, Kout offers evidence of the very tangible benefits of film-friendly Southern Oregon communities: “A perfect example is the Mayor of Jacksonville asking local shopkeepers to keep their Christmas decorations up longer than usual to accommodate filming of the upcoming movie, By God’s Grace.” 2012 saw a mini boom in Southern Oregon film production. There were two full features (Night Moves and Redwood Highway) to release in 2013. Night Moves, written and directed by acclaimed
filmmaker Kelly Reichardt (Wendy and Lucy and Meek’s Cutoff), has set her latest tale of eco-terrorism in the small communities of Southern Oregon. Night Moves stars Jesse Eisenberg (The Social Network), Dakota Fanning (The Twilight Saga), Alia Shawkat (Arrested Development), and Peter Sarsgaard (Green Lantern). Ashland-based production companies Jump Time Pictures, JOMA Films (Calvin Marshall, 2009) and Elsewhere Films are producing Redwood Highway. A 20-day filming schedule took them throughout the Rogue and Illinois Valleys. In Redwood Highway, Marie, played by two-time Emmy Awardwinning actor Shirley Knight, 76, takes a journey along the wellknown road from Grants Pass to the coast. The film also stars Tom Skerritt (Alien, Top Gun). The crew included half dozen interns from SOU to help behind the scenes.
The Mayor of Jacksonville, Oregon asked local shopkeepers to keep their Christmas decorations up to accommodate filming of the movie, By God’s Grace, a faith-based Christmas movie produced by Susan Bernhardt. Debbie Preston, Applegate Valley resident will see her first screenplay come to life. Cameron Deane Stewart (Pitch Perfect) plays the lead role of Chris. Savannah McReynolds (Private Practice) has been cast in the title role of Grace. Brennan Bailey (My Sister’s Keeper) is set as Joshua, and playing his brother in the movie is his real-life brother, Preston Bailey (Dexter) as Jacob. Also joining the cast is Jillian Clare (Days of Our Lives). Many local hires include players from the Oregon Shakespeare Festival and several IMD (Medford) clients.
“This region is becoming known as a premier spot for filming independent movies,” says Producer James Twyman. James Twyman of Jump Time Pictures has slated his next film for the summer of 2013 with plans for all pre and post production to be done in Ashland. Gary and Anne Lundgren (JOMA Films) were a Producer/ Director team on Redwood Highway and are planning their second indie feature for 2013. The film, Black Road will star Sam Daly (Red Tails). All filming
will be in the Brookings area. In addition, the Lundgrens are attached to the recently shot pilot/teaser for a new reality series titled, The Life Authentic. Susan Saladoff, first-time Producer/Director of the notable documentary, Hot Coffee, which is now available on HBOGO, Netflix, iTunes, Amazon and xBox; lives in Southern Oregon. She is currently working on a new project–a narrative feature film–and hopes to be in production in 2013. Area resident Luis Rodriguez intends to produce a short Docu-
mentary called, ROAD II ROYALTY. Combining his two passions of film and dance, Rodriguez hopes to capture the excitement of a big city style B-boy battle (break-dancing competition), by bringing it to the Rogue Valley. Southern Oregon awardwinning filmmaker Ray Robinson is making a short film of interest to pet lovers. Described by Indiegogo, Cemetery Visit relates a sentimental story of a woman who serendipitously finds herself visiting the grave of the dog she lost as a child over 60 years
before. The film will star veteran Hollywood actress Marlyn Mason. Kout sums up the advantages by saying, “The particular economics of making a film in Southern Oregon (means) a filmmaker gets so much more out of his or her budget than in some of the larger city centers.” And the people aren’t half bad themselves.
Ready to produce your own Oregon film? Find talented crew on page 61.
12th ASHLAND I N D E P E N D E NT F I L M F E S T I VA L April 4 - 8, 2013
Varsity Theatre • Historic Ashland Armory 80+ documentary, short & feature films with filmmakers from around the world FREE Locals only and filmmaker TALKback forums
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Imagine the shot… A camera tracks along with a hiker on the rim of the Columbia River Gorge. Suddenly the P.O.V. rockets past the hiker and over the edge of the cliff to reveal the river glittering 700 feet below… The camera move continues accelerating upward, rising over 100 feet in just two seconds and punching thru the clouds to reveal a gorgeous sunrise. Impossible shot? Not with Aerobot’s Cinestar Octocopter (aerobot.com.au), a multi-rotor radio controlled miniature helicopter! Originally the purview of hobbyists, these little wonders have benefited from the latest advances in motor and battery technology and feature computer designed carbon fiber airframes, increasing their payload to the point that they can now carry the latest HDSLR cameras. These birds now fly with GPS positioning systems that can automatically send them back to a “home” position. Add camera support technology like a radio controlled remote pan/tilt/roll head, gyroscopic stabilization as well as live transmission of the video signal from your camera, and you have the ultimate shot-making tool. Whether its following the action of cars, bikers or runners, creating sweeping establishing shots, or descending down a narrow canyon to the waterfall below, aerial robot technology allows Directors and Cinematographers to now get the “impossible” shots.
Photo courtesy of aerobot.com.au
Get the Shot
A directory of production equipment starts on page 97
…like the new Canon EOS-1D C HDSLR, capable of shooting at ISO speed range of 200-25600 ASA, means you can shoot anywhere under almost any lighting conditions. Canon has also rolled out an exciting line of Cinema Cameras (C100, C300, and the latest C500) with similar low-light capabilities and professional cinema production features.
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Glass (and more of it) Several manufacturers have rolled out a range of lensing options. Legacy manufacturers such as the Angenieux have updated the Optimo line with the new 45-120mm T2.8. And you can finally put a Zeiss, zoom on the front of any camera. The legendary lens manufacturer introduced the 15.5-45mm Light Weight Zoom, available in multiple lens mounts. Canon has introduced a new line of 4k resolution lenses for Cinema Shooters, adding the 30-105mm to the Cine Zoom Line and the CN-E Prime Lenses. Fujinon has entered the cinema market with an ENG style 19-90mm (compatible with any PL mount camera) allowing for a news gathering style of shooting on any PL camera system like the Arri Alexa, the Sony F-series cameras, as well as the Canon Cinema Cameras.
More powerful options requiring less power have changed the way we light. Arri Lighting offers the M-Series daylight lighting instruments with the patented MAX reflector system. The M18 runs off a standard 120v house power and delivers as much punch as a 2500w par, while the M40/25 can also run off 220v house power. New LED technology including the Aadyntech ECO Punch Plus uses less than 5 amps of power but provides as much light as a 2500w HMI fresnel. The MACTech LED line system (based on the creation of LEDs in a flourescent tube housing) introduces a soft punchy key light… or add the Lite Panel 1x1 Series for a bit of soft fill.
Pushing the Right Button Art created by SuperGenius for Forge (published in partnership with Dark Vale Games and Digital Confectioners.)
Game On…Oregon Spending on fun in the U.S. means big bucks, but did you know that more money is spent on computer and video games than on all other forms of entertainment? In fact, Oregon’s emerging game related industry scored $106 million in revenue back in 2009, according to the Entertainment Software Association’s 2010 report. And the state is poised to win a far bigger piece of the game development prize. “We have a deep pool of both technical and creative talent,” says Skip Newberry, President of the Technology Association of Oregon. He touts that the state has the game developers, animation companies, visual effects creators and storytellers necessary to make this a huge industry here. Part of the equation, he says, is “…to make this ecosystem more visible to companies who are in search of top talent.” In other words, he thinks Oregon firms deserve even more contract work from large game producers. Expanding opportunities could help the state achieve critical mass where game companies would open local studios, enabling more native start-ups to arise. There is a lot of experienced game industry talent in Oregon. Stefan Henry-Biskup, Creative Director at Liquid Development, says that a recent study identified over 30 game related companies in the state. “This certainly could reach a point where local production companies serve as focal points to marshal worldwide talent and resources for projects,” he says. Ed Kuehnel, designer-writer at EGK Interactive, suggests “…it wouldn’t be bad a idea for a publisher like Electronic Arts or someone to start a small shop here to take advantage of local talent to help them push out games. From there, anything can happen.” There are plenty of opportunities for organic industry growth in trending sectors of the game development industry. “We see a lot of the income shifting to the social and mobile space,” says Luciano Alioto, artist at Quantum Squid Interactive. “What this does is open the doors to smaller companies and the birth of more indie efforts. The more people working in Oregon on games, the stronger the overall creative culture of the state will become.” Alioto adds that Portland is an especially good place for artists to build their portfolios due to local game production companies being geared towards creating game assets as opposed to full-blown development studios.
“I think Oregon has the potential to stand toe-to-toe with other interactive/game production centers.” – Skip Newberry, President, Technology Association of Oregon
Another promising application of Oregon’s production talent is in what’s called serious gaming, estimated in 2011 to be a $1.5 billion worldwide industry and skyrocketing, according to the Serious Game University. Serious gaming includes educational and training games as well as interactive simulations for the private sector, government, and education markets. A handful of e-learning companies in the state already develop a wide variety of these productions for clients nationwide. With serious gaming driven by animators, designers, visual effects editors, technical writers and creative producers, Henry-Biskup sees a winning crosssection of talent already working across Oregon to expand the industry in new ways. “Oregon attracts that unique blend of eclectic people so eloquently depicted on the TV show Portlandia,” says Alioto. “That’s the best thing going for Oregon and the people in the games industry here are no exception to the wacky generalizations of hipsters and art types. We are certainly not lacking in creativity.” So with media production industry leaders and creatives clicking the right buttons, Oregon looks to become an even bigger player in the gaming game.
Oregon Video Animator Highlight SuperGenius Studio SuperGenius, based in Oregon City, makes video games with real-time and pre-rendered cinematics that rely on real cinematography, believable acting, and a compelling story. SuperGenius Studio animated much of Tell Tale Games’ The Walking Dead. The game has won over 80 “Game of the Year” awards, including awards from USA Today, Wired, GamesRadar, Official Xbox Magazine, and the prestigious 2012 Spike Video Game Awards. SuperGenius also developed all visuals, including art direction and level design, for the acclaimed PC multiplayer fantasy game, Forge, created in partnership with Dark Vale Games and Digital Confectioners.
For a list of game developers see page 130.
Differentiate Solid and established, yet progressive enough to be bold. Scene Stealing Law.
aterwynne.com 30 SourceOregon 2013
The Walking Dead published by Telltale Games with character animation created by SuperGenius.
Photos courtesy of SuperGenius Studio (2)
Photos courtesy of Rage Productions (5)
Extreme Production All the Rage in Action/Sports Films
Hoodoo Mountain Resort in Sisters is said to be, “Cheaper, Deeper, and Steeper.” The summit of Santiam Pass is Oregon’s most centrally located destination for winter sports enthusiasts. Film makers take advantage of Hoodoo ski slopes’ big, rounded butte, with lots of wide-open terrain.
To the south, Mt. Ashland boasts stunning views during its Twilight Skiing. Average Annual Snowfall is a healthy 285 inches, providing crews with plenty of fresh powder. Mt. Bachelor’s nearly 3,700 acres of lift-accessible terrain, 71 runs, and close proximity to Rage Films makes for an accessible film location.
Anthony Lakes in eastern Oregon offers phenomenal cat trips. There is no better way for filming untracked, champion powder than to book a seat on a snow cat with camera in hand.
Winter is certainly not the only season in which to capture amazing sports action footage in Oregon. Beautiful forests and the dazzling Pacific Ocean are the backdrops to some of the world’s largest and most beautiful dunes, located on the Central Oregon Coast. Pinnick has been there to film the vast hills of shifting sun-bleached sand that scream, “Dune buggy!”
Pinnick also explains, “The rolling forests of Tillamook county give us a chance to show off our specialty, which is a range of action. For example, we’ve filmed Icon Motor Sports there and all over the state, including Alvord Desert.”
Alvord Desert, located in southeastern Oregon, is a large dry lakebed flat enough to drive across, or even land a small aircraft. The Oregon Field Guide calls it the best place in the world for land sailers. Steens Mountain with 428,156 acres of public land offering deep glacier-carved gorges, wilderness and wild rivers create extraordinary recreation shots including biking or moto-crossing on rugged mountain roads.
“The coolest thing about living in Oregon is that the state has everything – mountains, rivers, lakes, coastline, desert, sand dunes and forest,” enthuses Sky Pinnick, owner of Rage Films. Rage Productions has been in business in Bend, Oregon since 1994. Rage Films is its action/sports arm blending business with pleasure since 2002. Rage Films has provided extraordinary action footage for clients from all over the country. Although the core of their video production work is capturing original footage for advertising agencies, they’ve also compiled an extensive library, resulting in footage from Rage Films licensed to all the major broadcast television networks. Says Pinnick, “We are known for getting that extreme shot, whether it’s on a helicopter or snowboard.” The company’s deep collection of gear allows them to really showcase sports equipment. Pinnick quips that they show manufacturers’ products in their natural environment. To do that, Rage Films has a Red EPIC, multiple GoPros®, DSLRs, and a 3-axis gyrostabilizer mount for use on boats, trucks or helicopters. They also use various dollies, cranes and jibs, as needed, and have a green screen studio for visual effects. With a recently acquired Phantom camera, enabling extreme slow motion, their equipment package can capture it all. Pinnick says, “We thrive on a challenge.” Recent winter challenges have taken them on ski journeys across Oregon. Mt. Hood is home to numerous maintained trails with spectacular views. Snowmobiling, snowshoeing, cross-country skiing, and snowboarding have been highlighted by Rage Films alongside the skiing. Whenever special use permits or safety equipment is needed, all details are handled by Rage Films. They have a 100% safety record and use local stunt talent from around Oregon. “We have a lot of fun doing this, and we get the shots. It’s a win-win for us and our clients,” states Pinnick. “It’s what I love. I feel lucky to work where my passion is.” For a list of commercial production companies see page 52. SourceOregon 2013
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