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SOURCEOREGON 2017 Film and Media Magazine and Directory

A PUBLICATION OF THE OREGON MEDIA PRODUC TION ASSOCIATION


Content

IN THIS ISSUE

12 Oregon Has It All

The Watchman’s Canoe (newcomer Kiri Goodson) teaches a story about bullying and self-discovery.

Oregon Locations are On Top of MovieMaker’s Must List 8 Letter from the Governor 10 It’s All Oregon 37 Welcome from OMPA 38 Oregon Industry Standards & Practices 40 Employee vs. Independent Contractor 41 Children’s Employment Guidelines 115 Liaisons See Insert for Upcoming Festivals

CREWS IN THE FIELD

18 Advertising 20 Shorts 22 Interactive Media 24 Game Development 26 Television 28 Animation 30 Cinema 35 Documentaries

Photo: Mike Stanislawski

2017 Directory Find the people, companies, and equipment you need for your next shoot in Oregon. 42 Production Companies 48 Stages and Studio Services 52 Producers, Directors, Writers 57 Crew 79 Equipment 89 Props and Set Dressing 91 Sound and Music 94 Post Production 99 Interactive Media 101 Talent 108 Support Services 115 Liaisons 119 Phone and Page Index

ON THE COVER

DP Larkin Seiple and director Macon Blair shooting in Oregon for I Don’t Feel at Home in This World Anymore. Photo courtesy of Allyson Riggs

SOURCEOREGON 6  SourceOregon 2017 | A Publication of the OMPA


SOUND PROOFED 2 WALL CYC PRODUCTION SUPPORT AND CREWING STILL SHOOTS IN-HOUSE LIGHTING & GRIP PACKAGES PRIVATE EVENTS COMMERCIAL CAMPAIGNS

MAKE THIS YOUR STUDIO LOCATED IN THE HEART OF NW PORTLAND SINCE 1995 OREGON’S PREMIER SOUND STAGE FACILITY

WWW.CINERENTWEST.COM

FACEBOOK.COM/CINERENTWEST @CINERENTWEST


From the Governor

WELCOME TO OREGON Welcome to this year’s SourceOregon Magazine and Directory. Inside you will discover why Oregon is a destination dream for creative professionals around the globe. Furthermore, in these pages you will find a comprehensive list of companies, crews, equipment, and support services, all with the talent and experience to make your project a success. From Ashland to Astoria, Bend to Burns, and Lincoln City to La Grande the vast landscapes of Oregon inspire creatives to capture our unparalleled beauty through the commitment of our talented film, TV, and media makers. This past year our industry’s growth continued with three television series, numerous feature films, Oregon’s world-class animation community, and our rapidly expanding interactive workforce. To ensure this momentum continues, our incentive program was increased by 40% in 2016, so we are certain this industry will be a bright spot for Oregon in years to come. I encourage you to visit “The Confluence” blog at OregonConfluence.com to share news and events from around the state’s thriving industry. Also, be a part of the industry by being involved with Oregon Media Production Assn, the statewide community for the film, TV, and interactive media industry. Thank you for joining us. Together we can make 2017 even brighter for all of us.

KATE BROWN

Governor

Make the Governor’s Office of Film & Television your first call

971.254.4020

www.oregonfilm.org

Contributing Organizations GOVERNOR’S OFFICE OF FILM & TELEVISION oregonfilm.org 2828 SE 14th Street Portland, Oregon 97202 info@ompa.org • ompa.org 503.228.8822 MEMBERSHIP ompa.org/join LISTING sourceoregon.com/getlisted ADVERTISING 503.228.8822 PRINTING Bridgetown Printing

8  SourceOregon 2017 | A Publication of the OMPA

PORTLAND FILM OFFICE pdc.us/film CITY OF EUGENE MUNICIPAL FILM PERMIT ASSISTANCE eugene-or.gov

OMPA 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 without the written permission of the publisher. Copyright © 2016 by OMPA. All rights reserved.

CLACKAMAS COUNTY BUSINESS AND ECONOMIC DEVELOPMENT clackamas.us/business/film.html IATSE LOCAL 488 iatse488.com SAG-AFTRA sagaftra.org/portland SOUTHERN OREGON FILM AND MEDIA filmsouthernoregon.org

Printed with soy-based inks on 10% post-consumer (recycled) paper.

MADE IN USA PRODUCED IN OREGON


C E L E B R AT I N G the

ART & LEGACY of

FILMS & FILM-MAKERS IN THE STATE OF OREGON 5 0 3 - 3 2 5 - 2 2 0 3 | w w w.O R E G O N F I L M M U S E U M .o rg 73 2 D u a n e S t re e t , A s t o r i a , O R 97 1 0 3


20% CASH REBATE ON GOODS & SERVICES AND UP TO 16.2% REBATE ON LABOR

It’s All Oregon

offered through the Oregon Production Investment Fund and the Greenlight Oregon Labor Rebate. Enjoy a cash rebate on any cost related to production that is paid to an Oregon-based company.

O

regon is an incredibly varied state. From an 800-mile coastline which is a State Park from end-to-end, to the Painted Hills in the beautiful southeast corner of the state; from iconic Mt. Hood less an hour from Portland International Airport, to Crater Lake which is a short drive from Medford Airport; from the true western town of Pendleton to the historic fairgrounds of Burns; Oregon has played host to a 100+ year history of storytelling and creativity. These days, our growing interactive game development community combines with our world-class animation talent to make our community, and our state, one the best creative destinations in the country.

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: 971.254.4020

Not only do we have a deep pool of diverse cities, towns, and, well, locations that are easy to access and utilize, but we are also within a two-hour flight to Los Angeles. We have the talent, the crews, and the local liaisons throughout the state, not to mentioned the connections within the state, county, city and federal agencies to help with all of your creative production needs.

2 NEW REGIONAL INCENTIVES New “regional” incentives will provide extra cash for projects utilizing locations across the state. This gives projects of all sizes an even better reason to explore the entire state of Oregon.

Behind the Scenes of LEAN ON PETE in Harney County, Oregon. Photo credit: Scott Green

Oregon Benefits

1

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OREGON MADE

WORLD-CLASS CREATIVITY

Oregon is home to a deep and rich pool of cast and crew that have years of experience for any size project, ready to deliver a quality that’s #OregonMade.

Oregon hosts award-winning animation houses and a nationally ranked interactive game development community, add in the state’s post-production and visual effects experience and all things are possible here.

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6

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 four Oregon cities (Eugene, Medford, Redmond/Bend and Portland) providing direct service to the LA area. We’re a mere two-hour flight away.

7

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

Got Green? In Oregon we like green, and you will too! At the Governor’s Office of Film & Television, we strive to make it easy for you to green your production, pre through post, with our Best Practices and Green Resources - or just ask us for a consultation.

WANT TO KNOW HOW TO START? Our comprehensive production Best Practices information can be found in our online “Guide to Greening Production.”

   Through www.pgagreen.org you can: •  sustainably source everything needed from pre-production through wrap, from purchasing to recycling •  locate biodiesel fueling pumps and EV charging stations •  find energy efficient equipment rentals

www.oregonfilm.org/green

For more green production news, check out the green section of our blog: www.oregonconfluence.com/ author/green-production

We invite you to visit our Green Resource page at www.oregonfilm.org/green to learn how our Oregon Guide To Greening Production can help green your show. Have green production goals? Talk to us! We want to help. Contact: jane@oregonfilm.org SourceOregon 2017 | A Publication of the OMPA  11

Oregon Benefits

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3


Feature

Oregon Locations are On Top of MovieMaker’s Must List

only in STORY BY: BYRON BECK (PAGE 56)

“Filmmakers can find any landscape or weather pattern they need to help them tell their story in a real and authentic way.” — Linea Gagliano Global Communications Director, Travel Oregon

The location where a movie is made is a major concern to everyone associated with a film: producers, actors, and, yes, even authors. “It was really important to me that Wild was filmed in Oregon,” said acclaimed Portland-based author Cheryl Strayed, who was involved with the cinematic adaptation of her bestseller from the beginning, and worked hard to make sure that particular film production happened in this Northwest state. “Early on, we discussed Oregon as a great place to make the movie. Financial incentives helped, but the beauty of the state sold itself.” Texting from a salon appointment in the middle of Midtown Manhattan—it was opening night in NYC for a new play adaption of her Tiny Beautiful Things—Strayed shared what it meant to see her book filmed in her home state as the “hair lady” yanked away at her signature blonde tresses.

Crooked River Gorge, Karl Delandsheere

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“I walked the state from end to end on the Pacific Crest Trail,” said Strayed who has lived in Oregon since 1995. “I wanted Wild to reveal the natural beauty of the American West and the Pacific Northwest. But in a deeper level I wanted it to be shot [in Oregon] because the story is so personal to me and Oregon is my home now. Something about having the movie shot in so many places I know well— downtown Portland, Mount Hood, the woods in Clackamas County, the Bridge of the Gods in the Columbia Gorge—made the filmmaking process more emotional to me and I think that influenced director Jean-Marc Vallée, Reese Witherspoon, Laura Dern, and the rest of the cast and crew.” Industry people—from producers to location scouts—all agree there is something special about this state. For decades that appeal has attracted productions—as well as travelers—to the farthest reaches of our region. Today, Oregon is at the top of the “must list” for film, TV, and commercial projects

Willamette River Valley, Travel Oregon


Feature The Painted Hills have fascinating patterns and gradients that fade into the surface of the hills. Photo courtesy of Zach Frank/BBC Wallowa Mountains and Hells Canyon region of northeast Oregon. Photo courtesy of Joe Whittle/Travel Oregon

due in large part to accessibility (just a short flight from Los Angeles); economic rebates; a strong bench of local talent; and highly coveted, camera-ready, onlyin-Oregon locations. The Oregon Film Office is currently tracking 24 distinct projects and numerous locally produced commercial production projects through its incentive program this fiscal year. But, according to the film office, that number may not be accurate, because there are always many projects that don’t check in with the office for various reasons. Tim Williams, who worked on Wild and was an executive and independent producer for more than 25 years before becoming the executive director of Oregon Film, said the mission of his organization is to “promote the develop-

View from Mt. Hood, Travel Oregon

ment of the film, television, commercial, and interactive industry in Oregon and to enhance the industry’s revenues, profile, and reputation within Oregon and among the industry internationally.” But in a nutshell he said the goal is to “further the growth of the creative content industry across the state.” And, according to Williams, it’s growing. “We’ve seen consistent growth in the film and television sector over the last 10 years,” said Williams. “The tracked in-state spending for projects coming through our modest incentive programs has grown from just over $5 million in 2005 to almost $200 million this current fiscal year.” Williams adds, “that has also been born out in the data from the Department of Employment, which shows a 69-percent

John Day Fossil Bed, Eastern Oregon, Travel Oregon

Columbia River Gorge at Crowne Point, Travel Oregon

Willamette Valley Vineyards Pacific Crest Trail at McKenzie Pass

SourceOregon 2017 | A Publication of the OMPA  13


Feature

Portland, Oregon, Travel Oregon

increase in reported employment in the Motion Picture and Video Production sector from 2005 to 2015.” While bringing films to Oregon is the task of Oregon Film, “showcasing our strong, connected crew members and advocating for film incenPeter Iredale Shipwreck, Warrendale, Travel Oregon tives is Oregon Media Production Association’s mission,” said OMPA Executive Director Janice Shokrian. A valued partner of Oregon Film and OMPA is Travel Oregon. “Our Oregon landscape is oftentimes a supporting character in any production or at times a leading role,” said Shokrian, citing popular films and television like Wild, Grimm and Portlandia. “Once the production is released then the residual benefits of tourism continues for decades, much like Brownsville’s Stand by Me or Astoria’s Goonies.

“…showcasing our strong, connected crew members and advocating for film incentives is Oregon Media Production Association’s mission.”

— Janice Shokrian Executive Director OMPA

“Oregon’s climate and terrain are a story in themselves,” said Linea Gagliano, global communications director of Travel Oregon. “Filmmakers can find any landscape or weather pattern they need to help them tell their story in a real and authentic way.” And that authenticity translates to more visitors. “When Oregon is given its ‘close-up’ in film, moviegoers clamor for more. This land is something that feels different than any other place. It feels dramatic and cinematic. Its beauty is so unique and piercing, it seems unreal and yet completely genuine…audiences want to be a part of the scenery: to see it, to touch it, to photograph it, and tell their friends that it is, indeed, real.”

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An early adopter of basing his productions in Oregon, award-winning director Gus Van Sant made his first film, a high-school senior project called “The Happy Organ,” in Portland in 1971 alongside Eric Edwards, now director of photography for many of Van Sant’s films. Since then he has made a number of films, often with Edwards, that were originally set in and written about life in Oregon, including Mala Noche, Drugstore Cowboy, and My Own Private Idaho. “The biggest attraction,” said Van Sant, “is that I’ve lived and was accustomed to making things here…I didn’t need to relocate to make a film, and I could make the work a pleasure in that I could work all the time, because wherever I went I was potentially scouting people or places, or even stories. I originally thought it was imperative I hold on to the ‘real’ location of the story. I’ve since loosened up and have thought almost the opposite is possible, and in a way preferable. You could make Portlandia in Austin.” But Van Sant added, “I just love it here, and I want to always shoot when I can in Portland; that’s the advantage.” Film producer and OMPA board member Neil Kopp understands the Oregon “advantage” and works with it, albeit, only when it works for the film. Kopp is the producer of independent hits such as Kelly Reichardt’s Old Joy, Wendy and Lucy, Meek’s Cutoff, and Certain Women, as well as Van Sant’s Paranoid Park and Macon Blair’s Green Room and the much-buzzed about I Don’t Feel at Home in This World Anymore, many of which were filmed in Oregon. “I live here, so I try to work here as much as possible,” said Kopp (he and his spouse, Amanda Needham, an Emmy award-winning costume designer on Portlandia, are raising their family here). “I’ve also been fortunate in


Oregon offers other unique advantages from LA, New York, and Vancouver for Kopp too. “One of the ways that it’s different is there is a lot of camaraderie here among the cast and crew when making a film. In addition to having really skilled technicians, Portland is a town of creatives and artists and that side of filmmaking isn’t lost here.” Oregon is also where it’s at for longtime location scout Donald Baldwin, who recently worked on Andrew Haigh’s film Lean on Pete. Set largely in Portland, Baldwin said Oregon’s largest city also stood in for some urban scenes set in Denver, and the balance of the film was shot in Burns and Harney County. Baldwin said it would have been hard to make the film elsewhere: “Portland Meadows, where a good chunk of the film is set, is pretty distinct. We would have been hard pressed to find that look elsewhere. Also, the vastness of the landscape in southeast Oregon is hard to describe in words, and would be harder to duplicate. It’s amazing.” Soon film companies won’t have to work so hard to locate their productions in the farthest reaches of Oregon. Starting in the summer of 2017 the state will have a dedicated fund to help encourage production outside the Portland region. “This [new

fund] should help encourage projects to produce more of their work in other parts of the state,” said Williams. “That has never been hard, but there is an added expense to productions moving everything outside of the Portland Metro area. This program tries to offset that expense, and therefore that excuse, some.” As for keeping Oregon’s reputation for being weird with all this new-found attention both onscreen and off, Williams said: “It’s all that and more. I think people come here not really knowing what to expect and are, without fail, more than pleasantly surprised. Yes, the weirdness is a brand now, and, yes, people are attracted to it—especially when the food, beer, wine, and coffee make that weirdness so delicious.” Strayed says she hopes her next dream project, a TV version of Tiny Beautiful Things, is filmed in Oregon. “Brian Lindstorm [Strayed’s spouse and producing partner] and I have a development deal with HBO,” said Strayed. “We’re working on the pilot now. You never know what’ll actually make it to the screen, but if the stars align we’d love to make the show in Oregon. Reese Witherspoon, Laura Dern, Bruna Papandrea, and Jayme Lemons are producing it with us, so it’d be Team Wild, Part Two.”

Feature

that a lot of the directors I work with are connected to the region in one way or another. Oregon is rich with diverse locations, and the state film incentives are a big factor too, which are becoming more and more of a requirement in financing packages.”

“Financial incentives helped, but the beauty of the state sold itself.” — Cheryl Strayed Wild

Pacific Crest Trail Sign at Timberline Lodge. Photo courtesy of Travel Oregon

Now wouldn’t that be wild, too? 

Winter at Crater Lake National Park. Photo courtesy of Travel Oregon SourceOregon 2017 | A Publication of the OMPA  15


Oregon Industry

“We would have been hard pressed to find the look we needed elsewhere. The vastness of the landscape in Oregon is hard to describe in words, and would be harder to duplicate. It’s amazing.”

—Donald Baldwin Location Scout, Lean on Pete

Smith Rock, Central Oregon Photo courtesy of Mark Fristad/Mt. Hood Photo Locations (page 70)

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Oregon Industry

IN THE FIELD

Crew and Production Company Highlights SourceOregon 2017 | A Publication of the OMPA  17


Oregon Industry

ADVERTISING

STORY BY: CATHY LEWIS-DOUGHERTY (PAGE 56)

Photos courtesy of Tyler Maddox, Maddox Visual

“We shot at the C2 Ranch in southern Oregon, which was an awesome location that had everything.” — Tyler Maddox, 2nd Unit DP, John Deere “Working”

The availability of creative talent and a variety of easy-to-reach locations in Oregon make for a costeffective environment to create great advertising.

Mirth Provisions: “Legal” The innovative team at Sockeye (page 45) chose local indie-filmmaker and songwriter, James Westby (page 52), to direct the first-ever commercial for Mirth Provisions cannabis product, Legal. The frothy humor of the backyard BBQ scene is the perfect quirky vehicle to promote the cannabis-infused tonic, even suggesting various “highs” the different flavors may produce. Westby also performs in the spot, which was locally cast and shot in northeast Portland. He said that over the years he’s developed a community of local actors that he depends on.

John Deere: “Working“ Southern Oregon wasn’t always part of the plan when Gary Kout (page 73) decided where to shoot “Working,” but it was the perfect solution. The first spot the Oregon-based producer made for Deere had been shot in Lake Tahoe. But, two years later the effects of the California drought, which made the landscape dusty and brown, made shooting in the state difficult. Kout turned to C2 Ranch in southern Oregon and found everything: barns, lakes, and acres of green pastures. Kout, a member of Southern Oregon Film and Media (page 51), knows the advantages of shooting in the area: fresh locations, available talent, experienced local crew, and easy access to additional crew and gear from Portland.

Nike: “Goodbye Someday” James Westy captured Legal’s four Cannabisinfused tonic flavors in the Mirth Provisions spot.

Wieden+Kennedy created this sweet tribute for Nike to Cubs fans.

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For 108 years, Cubs fans held true to their unwavering belief that someday their team would become champions. When that day finally came, the winning team of Nike and Wieden+Kennedy was ready. Their sweet tribute aired right after Game 7 ended. It tells the story of a young baseball player living out his dream of a Cubs World Series win at a local ballpark. His win is a tribute to the positive spirit that carried the Cubs to victory at last. 


FULL SPECTRUM MARKETING & MULTIMEDIA

PROSPECTPDX.COM


Oregon Industry

SHORTS

BY: DOUG BALDWIN (PAGE 56)

“This project is a Desire’s Masquerade was created to showcase the budding talents of the Pacific NW. massive canvas, Photo Courtesy of Bridget Baker/92 Bridges created with the intention By their very nature, short films thrive on economy: Gearhead Grip (page 83), 9iFX (page 98), and of showcasing every line of dialogue counts, as does every shot Digital One (page 5), who all sponsored the film.” and every penny spent on the line budget. OMPA the budding, members helped a diverse slate of made-in-Oregon Sista in the Brotherhood world-class Portland’s Sellwood Bridge is the setting for this talents of Pacific short films reach their artistic goals. 21-minute film in which a black tradeswoman NW writers, Desire’s Masquerade experiences discrimination and must choose designers, and Ambitious director Jesse Vinton (page 45) drafted between taking a stand or keeping her job. visual storytellers over 70 top crew members and raised $33,000 in With the help of Kickstarter and a Regional Arts donations to make this allegorical film that explores and Culture Council grant, the production used in a cinema the “cult of the self” in modern society. “We’re blown 18 talented crew members, including mixer and quality, shortaway,” said Vinton, “by the generosity of not just indi- OMPA member Russ Gorsline of REX (page 93). film format.” — Jesse Vinton, Director Desire’s Masquerade

viduals, but also local companies such as Simon Max Hill Casting (page 102), Koerner Camera (page 79),

Official selection for the Pan African Film Festival and the NW Filmmakers’ Festival, Modern Dark, reveals a man’s struggle to see the stars in a light-polluted city. Linea, when you maybe shouldn’t have fallen in love. 20  SourceOregon 2017 | A Publication of the OMPA

Modern Dark Prompted by a short-film competition by NASA, director and writer Josh Lunden (page 56)


YOU’RE When you become part of Southern Oregon University, you become part of our home. You are home. Our inclusive, supportive campus environment will provide you with limitless opportunities to reach your highest potential as you pursue your passions in stunningly beautiful Ashland, Oregon. With 33 majors, exceptional faculty with the highest degrees in their fields, and a vibrant campus setting—as a student, associate, or alumni, once you’re a Southern Oregon Raider: you’re home.

created an unusual six-minute film. The film parameters were specific: be less than 10 minutes, have at least 10% NASA archival footage, and tell a story about the benefits of NASA or space exploration.

Linea It began as a therapeutic writing exercise to mend a broken heart. “When the words turned to images far more entertaining than we imagined,” said director and co-writer Will Cuddy, “we decided it was time to grab the camera.” He and his 10-member crew took that camera to Cannon Beach, Milwaukie, and a variety of north Portland locations. Cuddy reported that “over a year later, we can confidently say creating this twisted love story has expedited the grieving process.”

Dear Future Self

university of oregon

With more than 300 majors, Cinema Studies at Oregon offers a diverse array of courses in history, criticism, aesthetics, and digital production that span the College of Arts and Sciences, the School of Architecture and Allied Arts, and the School of Journalism and Communication. Cinema Studies provides opportunities for students and the community to get involved–from campus-wide speaker events with industry professionals and international scholars, to workshops with visiting filmmakers, to internships, film clubs, competitions, and a study-abroad program in Ireland. Learn more about the program at cinema.uoregon.edu. WHERE

CRITICAL THINKING

MEETS

A woman (played by veteran TV and film actress Marlyn Mason) finds the time capsule she buried 50 years earlier and suddenly must come to grips with her racist past. That’s the basis for Medford writer and director Ray Nomoto Robison’s (page 53) nine-minute passion project, Dear Future Self. Robison, who raised the budget on Kickstarter, drew a dozen crew members from Jackson, Josephine, and Klamath Counties, and describes the film as an ode to self-growth. 

cinema studies

CREATIVE PRACTICE FOR MORE INFORMATION, VISIT CINEMA.UOREGON.EDU

University of Oregon Cinema Studies Program 201 McKenzie Hall Eugene, OR 97403 541-346-8104 EO/AA/ADA institution committed to cultural diversity. 

SourceOregon 2017 | A Publication of the OMPA  21


Oregon Industry

PUMA launches into the VR arena with their new evoTOUCH boot.

INTERACTIVE MEDIA

BY: DOUG BALDWIN (PAGE 56)

“Virtual reality makes an interactive showroom a reality. A product’s every curve can be experienced in a living breathing world. Not only is it empowering, it also becomes profoundly personal. You feel it.” — Jared Hobbs, Co-Founder, Giant Astronaut

When a bastion of traditional journalism such as The New York Times embraces VR, as it recently did, you know a technology has gone mainstream. It’s easy to see why folks are looking around: The virtual and mixed reality markets are projected to be worth $150 billion by 2020. This fact has not been lost on Oregon production companies. Oregon’s virtual and mixed reality development scene is attracting a lot of attention.

video player “Echo 360” which allows for Hollywood movie-quality story building.

Giant Astronaut: “VR Universe”

Puma evoTOUCH Boot: “Create Gravity”

Jared Hobbs and Seth Chaffee are the brains behind Giant Astronaut (page 99), a Portlandbased interactive studio. Breaking new ground in education and VR storytelling, Hobbs reported that upcoming projects include a VR tool to help teach complex scientific concepts related to renewable energy and a narrative project using their custom

Company co-founders Michael and Tracey Miller have come a long way since 2013, when they launched 9iFX (page 98) at their kitchen table in Portland. The latest example of their ingenuity can be seen in an immersive VR

Digital One sound designer Reed Harvey crafting 3D audio with Fred Ruff. Photo courtesy of Terry Schneider

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Grimm VR Experience Sound Digital One (page 5) has crafted award-winning immersive audio since the last century, and it was an easy jump from sound design for games and film to spatial audio for VR. Recent creations include the Grimm VR Experience with Refuge Visual FX.

Giant Astronaut built Tesla a VR showroom, allowing you to build a car, change its color, and add upgrades, then walk around and interact with the smallest detail.


“We’re at the brink of the newest tech gold rush, and companies from video games to healthcare to the automotive industry are looking for the best places to develop for platforms like the Oculus Rift and Microsoft’s HoloLens.”

— Peter Lund CEO, SuperGenius and Chair, Oregon Games Organization

experience they created for Puma’s evoTOUCH boot. With the help of 11 freelancers, it took about five weeks to create this two-and-a-half minutes of 360-degree action that included rendering over 4,500 4K CG frames. Put on your VR headset, launch the film, and you’ll see animated, swirling nebulas happening on all sides – you must turn your head to see everything. The piece also features flying asteroids, tractor beams, and projections of liveaction players in the sky.  


Oregon Industry

GAME DEVELOPMENT

STORY BY: PETER LUND

Oculus teamed with SuperGenius to create one of their latest projects, Farlands.

Developing in Oregon is, on average, at least 20% less than building the same product in Seattle or San Francisco.

Day after day Oregon’s developers expertly transmute ideas into digital reality, from AAA video games to life-saving training simulations. Most Oregon studios are independent and work with large studios on multiple projects a year, which means that our talent must deliver quality that matches or beats our clients’ internal teams. Developing in Oregon is, on average, at least 20 percent less than the same product in Seattle or San Francisco. Labor incentives mean we can compete with heavily subsidized markets in places like Montreal and Texas. Quite simply, Oregon is the best development deal on the West Coast. Our workforce pipeline is unique. For years producers such as Portland-area SuperGenius (page 99) and

Pipeworks (page 99) have worked with educators to make sure that Oregon students can pursue careers in games and digital media. Last year, with a HoloLens research and development grant awarded to a team from Clackamas Community College, Oregon Story Board, and Intel, Oregon became the only place in the world where you can learn to develop mixed reality applications without being accepted to a Tier 1 research institution.

Farlands: VR Project SuperGenius and Oculus teamed up on several projects; notable is Farlands. SuperGenius helped to create the launch title for the Oculus Rift, PC. SuperGenius created, rigged and animated the flora and fauna for this fantasy world.

ReLogic: Terraria Taking over Terraria development, Pipeworks Studio brought development for both mobile and console under one roof and rebuilt the entire experience from the ground up. With Terraria, the world is at your fingertips as you fight for survival, fortune, and glory. Delve deep into cavernous expanses, seek out ever-greater foes to test your combat, or construct your own city. In the world of Terraria, the choice is yours! 

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Introducing

Open Signal is the first media arts center of its kind in the Pacific Northwest. With a commitment to creativity, technology and social change, we make media production possible for everyone. We’re building upon the 35-year legacy of Portland Community Media with a new vision for media arts. At Open Signal, you can: + + + + + +

Make a TV show Learn new skills Borrow film and video equipment Hire us to shoot your event Create and collaborate Bring media arts to your classroom

Learn more at opensignalpdx.org


Oregon Industry

TELEVISION

BY: BRIAUNA SKYE-MCKIZZIE

Preparing for a shot on the banks where the Columbia and Willamette rivers meet. Photo courtesy of Augusta Quirk/IFC

Oregon’s television productions rarely have the comfort of shooting in backlots or sound stages. Therefore, you might see crews working hard in all kinds of conditions: city streets and neighborhood, to hiking trails and beaches. Just look around.

Portlandia IFC’s Portlandia has stolen the satirical hearts of comedy lovers across the nation, and many of us have grown to view Lance and Nina, and Candace and Toni, as some of our closest friends. Perhaps one of the best characters in the show is Portland itself. While the show features some of the “weirder” tendencies of Portland’s culture, there is no doubt that the cast and crew have a genuine love for the city. The Portlandia crew is primarily

For Portlandia, Oregon has an abundance of production settings. Photo courtesy of Augusta Quirk/IFC

The Excalibur, one of the Deadliest Catch: Dungeon Cove Ships. Photo courtesy of The Discovery Channel 26  SourceOregon 2017 | A Publication of the OMPA

made up of Pacific Northwest natives who are proud to call this rainy, strange city home. For fans from Portland, a strong bond has developed between us and the cast and crew. We’ve grown accustomed to seeing Fred and Carrie improvising lines in our neighborhoods and watching as the crew moves props in and out of our favorite local businesses and restaurants. Portlandia is our family, and we’ve been thrilled to share our vibrant, beard-filled city with such a friendly, unique production.

The Librarians Whether viewers find the Librarians traveling to a London soup kitchen in search of Santa Claus or making their way to an Oklahoma oil pipeline to stop a conniving, shape-shifting entity, the hit TNT series The Librarians holds its audience captive with its humor, nonstop action, and creativity. The storylines take the Librarians all over the world, so it may come as a surprise that the show films right here in Oregon. Thanks to the series, our economy thrives by employing over 600 Oregon vendors and a 95% Pacific Northwest crew. In fact, the series has brought almost $145 million to the Portland economy and hires between 100 to 150 extras for each episode.


— Clark James, Partner, Hive-FX

NBC chose HIVE-FX over other companies during a creature test competition, beating out other top competitors from Los Angeles and Portland. Photos courtesy of Hive-FX

The locations crew has tapped into Oregon’s wellspring of beautiful locations. Whether the plot calls for an urban area, a sandy beach, a forest, mountains, or even the desert, Oregon has a spot for wherever they travel. As it airs its third season, The Librarians offers glimpses of favorite landmarks such as OMSI and the familiar USS Blueback floating on the Willamette.

Since 2015 the production has spent over $250 million in Oregon. Writers/producers David Greenwalt and Jim Kouf have said, “Rain or shine, Portland has been the ideal setting for fairy tales with its enchanting layout. It is its own character in our show with the perfect mix of urban and rural settings.” 

Grimm

Deadliest Catch: Dungeon Cove

Beginning in 2011, NBC’s popular series Grimm gave viewers across the nation an irresistible mix of crime and fantasy. NBC’s Grimm might not be the same if it weren’t for Hive-FX’s (page 94) creation of a myriad of virtual creatures, CG elements, and effects that keep the audience members wide-eyed and fixated. The Portland-based, one-stop animation studio employs over 30 artists and producers.

A spinoff of, Deadliest Catch, The Discovery Channel’s Deadliest Catch: Dungeon Cove portrays the dangerous, real life of crab fishermen who work out of Newport. During the pilot, the series introduced viewers to fishermen Jonny Law, Marc Sehlbach, Gary and Kenny Ripka (father and son), and brothers, Chris Retherford and Mikey Retherford, Jr.

For Grimm, Portland isn’t merely the location where engaging stories unfold; it’s home for much of the crew and extras. Between 2010 and 2015, employment in the film and TV industry increased by 70 percent, largely due to the Oregon Production Investment Fund rebate. As Gretchen Miller of Hive-FX explained, “We couldn’t have had the series [Grimm] here without the tax incentive.”

Dungeon Cove focuses on the experiences of fishermen whose lives involve sailing underneath daunting silver skies through Oregon’s winter storms. This reality TV show offers its audience a picture of Oregon in its most raw and stunning form by creating a narrative around both the daily lives of fishermen and unscripted nature. From Coos Bay to Yaquina Bay, the new series reveals how rewarding and unusual life on the Oregon Coast can be. 

SourceOregon 2017 | A Publication of the OMPA  27

Oregon Industry

“Our talented team works simultaneously on tracking, animation, modeling, surfacing, lighting, rendering and compositing to deliver complex creatures for Grimm in less than 4 weeks.”


Oregon Industry

ANIMATION

BY: BRIAUNA SKYE-MCKIZZIE

“We received the award for this process that’s changing how stop-motion animation films are produced.” — Brian McLean, Rapid Prototyping Department, Laika

Laika’s giant skeleton on the Hall of Bones set for Kubo and the Two Strings has a wingspan of 20 feet. Photo courtesy of Laika/Focus Features/Universal Home Entertainment

Oregon has a history of creative pioneers, including Mad Magazine cartoonist Basil Wolverton, Mel Blanc (the voice of the characters of the Looney Tunes, Flintstones, and The Jetsons), Will Vinton (page 42) studios who put stop-motion animation on the map with ground-breaking shorts of the California Raisins, and Matt Groening the creator of The Simpsons. Today, HouseSpecial (page 42) continues pioneering with creating the M&M chocolate candies into CG-animated celebrities. Speaking about the recent boom in animation activity, HouseSpecial’s chief creative officer said “all the ingredients for Portland being an animation community are here. It’s like a garden. You put all the compost in. You care for it and then suddenly it explodes to life.”

Mr. Peanut

HouseSpecial continues Oregon’s creative pioneering while protecting original brands we know and love. Photos courtesy of HouseSpecial

28  SourceOregon 2017 | A Publication of the OMPA

HouseSpecial makes its home in Portland due in part to the hotbed of animation resources. And now it’s home to Mr. Peanut, the 100-year-old advertising icon. HouseSpecial has evolved Mr. Peanut from his original 2D self to a fully realized 3D character complete with his own miniature world. The campaign

is now in its seventh year, as Mr. Peanut continues to battle his nemesis, the dangerous Richard the Nutcracker. All the sets and puppets were built in house and animated frame-by-frame.

Kubo and the Two Strings Oregon-based animation studio Laika (page 50) released a beautiful love letter to Japanese tradition and culture—a cutting-edge stop-motion technology film, Kubo and the Two Strings. The film depicts the life of Kubo, a boy who solves the mystery of his past and fulfills his destiny. In addition to the new film, Laika was honored with an Academy Achievement Award for changing the stop-motion animation industry by creating character facial expressions using 3D printers. Its latest film draws on this achievement with the jawdropping design of the Sisters, villainesses who wear capes made of 861 individual laser-etched feathers. Perhaps even more impressive for the film is the giant skeleton, the largest stop-motion puppet ever built, standing at over 16 feet tall. For comparison, puppets usually stand between 6 and 15 inches tall. Laika visual effects supervisor Steve Emerson said, “The skeleton could have been CG, but when you’re in a room surrounded by enthusiastic artists that you


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Toonami For a year and a half, award-winning, Portland-based Hinge Digital (page 42), has worked as the animation production studio for Adult Swim’s Toonami. When Adult Swim initially approached Hinge, they asked the creative team to produce teasers, bumpers, and episodes for the sci-fi series. Last year, Hinge produced the third installment of the Toonami Total Immersion Event (T.I.E.): Intruder III. Although Intruder III doesn’t feature the same villain as in previous installments, it entices the imagination and curiosity of viewers through Hinge’s vivid effects and attention-grabbing creatures. Adult Swim and Hinge will soon move the content to virtual reality.  

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Oregon Industry

stories start here.


Oregon Industry

CINEMA

BY: DOUG BALDWIN (PAGE 56)

Filmed in Coos Bay, The Watchman’s Canoe tells the spiritual journey of a 10-year-old girl. Photo courtesy of Watchman - Mike Stanislawski

If you live in Portland, you’re accustomed to spotting actors and production personnel all over town. The presence of episodic series like Grimm, The Librarians, and Portlandia all but guarantees that sooner or later you’re going to cross paths with lead-role talent or PAs (page 74) lugging heavy equipment across some Portland side street. But if the past year proves anything, it’s that production is teeming well outside the big city borders. Lean on Pete, filmed in rural Harney County, used production supplies from Portland. Photo courtesy of Jason Dinges

Portland may be the epicenter of Oregon’s production industry, but opportunities also abound in more far-flung areas of the state. Much has to do with the increase in the indigenous film incentives (rOPIF), see sidebar, but even as remarkable are films that didn’t qualify for the incentives that found filming in small towns equally beneficial and rewarding.

30  SourceOregon 2017 | A Publication of the OMPA

Lean on Pete Filmed entirely in Oregon and created with mostly Oregon-based cast and crew, this movie about a boy and his racehorse named Lean on Pete, is derived from the acclaimed novel by Oregon-based writer, Willy Vlautin. The $8 million production drew Hollywood talent Chloë Sevigny and Steve Buscemi. Part of the eight-week shooting schedule was spent in the Portland area, but the small, center-of-the-state town of Burns (page 116) also hosted the film for three weeks. While sometimes a challenge to wrangle supplies in rural outposts, Gearhead Grip (page 83), Koerner Camera (page 81), and others brought in supplies and the city was “highly accommodating,” said line producer Darren Demetre. The production was able to return the favor by boosting the local economy and providing employment opportunities, hiring extras, an extras coordinator, two production assistants, and multiple security personnel.

The Watchman’s Canoe Feature director and OMPA member Barri Chase used Coos Bay as the home base for The Watchman’s Canoe, a tale about a 10-year-old girl’s spiritual journey on a Native American reservation.


— Barri Chase, Director, The Watchman’s Canoe

MORE REGIONAL SHOOTING One of OMPAs major 2016 victories was their advocacy for an increase in film incentives. The Oregon legislature increased film incentives in 2016 by 40%. That figure includes 2.5% in the “indigenous” fund (for specifics go to oregonfilm.org/incentives), plus an important new incentive called the Regional Oregon Production Incentive Fund, or rOPIF, to spur activity outside of Portland. While Lean on Pete filmed in the Portland area for 25 days of its eight-week schedule, it also shot in rural Burns for 21 days. According to line producer Darren Demetre, the film was able to offer gigs to a number of local residents. Another example: the incentives enabled producerdirector Barri Chase to shoot entirely in coastal settings such as Coos Bay and Florence for The Watchman’s Canoe. Consider becoming an OMPA member. OMPA can be a valuable advocacy resource to members, wherever the shooting schedule may take you. ompa.org/join

Chase penned the semi-autobiographical screenplay and raised the $500,000 budget locally, selling shares to area residents. Additionally, the rural setting of Coos Bay (page 115), located four hours south of Portland, helped Chase qualify for the rOPIF incentives. She said the experience of filming here has been “intense, but beautiful.” The majority of the crew and several actors were local, including newcomer Kiri Goodson, who plays the leading role. “Our cast and crew work well together,” said Goodson. “It is definitely a family. We made all of our days, which means we got all of our shots.”

Bad Samaritan It’s hardly a secret that producer and director Dean Devlin of Electric Entertainment has been instrumental in drawing television production to Oregon. After all, he and his production company have shot dozens of episodes of Leverage and The Librarians here, employing local crew members and actors. Now he is returning to the big screen with the thriller Bad Samaritan. Written by Brandon Boyce, the story originally took place in LA, but Devlin, having spent over eight years in the Rose City,

convinced Boyce to rewrite the film for Oregon. “He’d [Boyce] never been to Portland before, and like everybody, he fell in love with Oregon.” Devlin added, “[Portland] provides opportunities for a creepier, more interesting, more scary film.” Portland’s talent pool is part of the reason Devlin likes filming here. “In Portland, there are so many trained artists and technicians, there’s an enormous talent base,” he said. “And it’s not like secondstringers. The person painting your set, or picking your costumes, they’re all top people. And there are so many great actors living in Portland now.” Along­ side the Portland talent, Devlin lined up British actor and Doctor Who star David Tennant to head the cast.

The Competition Writer-producer Kelsey Tucker worked overtime on her romantic comedy The Competition, turning her Lake Oswego home into a film set and production office and even convincing a neighbor to transform their porch into an Italian restaurant. Most shooting was done in the greater Portland area including scenes in Molalla, Milwaukie, Oregon City, and Lake Oswego.

“Portland has all the accoutrements of a big city, but the heart and soul of it is a small town, so that creates an intimacy in a large environment.” — Dean Devlin Producer/Director Bad Samaritan

SourceOregon 2017 | A Publication of the OMPA  31

Oregon Industry

“The hardest thing was selecting a location because there are so many beautiful ones on the southern Oregon coast.”


Oregon Industry

Director Harvey Lowry on set of The Competition. Photo courtesy of Michael Adler/Kelsey Tucker Director Macon Blair prepares for a shot for I Don’t Feel at Home in This World Anymore. The film was a Day One selection of the 2017 Sundance Film Festival. Photo courtesy of Allyson Riggs

“My art department just knocked it out of the park with every set.” — Kelsey Tucker Writer/Producer, The Competition

In the comedy, after one too many bad-behaving boyfriends, Lauren (Thora Birch) launches a blog promoting “The PIG Theory” to thousands of followers. She encourages women to break up with their men after six months to avoid heartache. After lining up Hollywood director Harvey Lowry, Tucker went local and fulfilled her vision. “I wanted this to be a Portland movie, with a Portland cast and crew,” she told the Portland Tribune. “And for the most part, I succeeded in doing that.”

I Don’t Feel at Home in This World Anymore

Besetment Things are hopping for Bend-based Barbed Wire Films. In 2016, the company wrapped Besetment, a horror-thriller set in a small Oregon town. Filmed in 25 days under a SAG-AFTRA Ultra Low-Budget contract (read: a budget under $200,000), director and Barbed Wire principal Brad Douglas filmed in Prineville, Ashland, and teeny Mitchell, hiring crews along the way. The film was snapped up by Uncork’d Entertainment, which bodes well for Barbed Wire’s next two films: Mountain Man and Greg James and Hannah Bad Fish (working titles). Barefoot on Besetment. Put these films together, Photo courtesy of Greg James/ Option Model and Media and it looks like Barbed Wire may have hatched a trio of small-town thrillers. 

Director and screenwriter Macon Blair and producer Neil Kopp’s crime drama, I Don’t Feel at Home in This World Anymore, was chosen by the 2017 Sundance Film Festival as a Grand Jury Prize Winner. Kopp, an OMPA board member, was ecstatic when he first heard of the movie for Day 1 John Day, Oregon, part of Besetment. Photo courtesy of Chuck Greenwood, screening. “It’s the best news ever,” he said.

DP, Zenhouse Films

The thriller is about a depressed woman who is burglarized and finds a new sense of purpose by tracking down the thieves alongside her obnoxious neighbor. But they soon find themselves dangerously out of their element against a bunch of degenerate criminals. Kopp credits a major role to the Oregon incentives, putting the film’s $2 million budget to good use and employing about 400 local crew members, actors, and extras along the way. 32  SourceOregon 2017 | A Publication of the OMPA


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Oregon Industry

DOCUMENTARIES

BY: DOUG BALDWIN (PAGE 56)

Shaking the seed! On location with SEED: The Untold Story.

Long before the 1922 Nanook of the North, you could come to fisticuffs trying to reach an agreement over what a documentary actually is. But there’s no argument that Oregon’s documentarians create both informational and provocative films.

Beth Rodden: A Complete Life (working title) Yosemite National Park provided the backdrop for this six-and-a-half minute documentary about Beth Rodden, a noted American rock climber. Central Oregon residents and co-directors Graham Zimmerman and Jim Aikman of Bedrock Film Works (page 43) chronicle the success of Rodden’s climbing career, her experiences of kidnapping and injury, and ultimately her arrival at a life defined by love rather than fear.

Upcoming movie of climbing expert Beth Rodden. Director Sean Marc Nipper takes you on a journey of how one horse can be transformed through chiropractic care. Photo courtesy of Penny Barreras/Reel House Films.

Seed: The Untold Story In the last century, 94 percent of the world’s seed varieties have disappeared. Seed: The Untold Story follows the farmers, scientists, lawyers, and indigenous communities who aim to protect our 12,000-year-old food legacy. With assistance from the audio gurus at Digital One (page 91), Portland directors Jon Betz and Taggart Siegel of Collective Eye Films have fashioned a 94-minute documentary in the form of a David-and-Goliath battle against the large chemical companies that now control the majority of our food.

Life, Adjusted Ashland director and Southern Oregon Film and Media member Sean Marc Nipper of Reel House Films tackled the topic of chiropractic medicine, creating a profile of Dr. Jay Komarek, described as “one of the most gifted chiropractors of our time.” For over 30 years, Dr. Jay has been adjusting not only people but also horses. The 65-minute film gives a visual and sentimental portrayal of how the lives of both a human and a severely traumatized horse are transformed through chiropractic care.  SourceOregon 2017 | A Publication of the OMPA  35


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SOURCEOREGON Welcome to Oregon Media Production Association’s SourceOregon 2017. We invite you to be inspired by the beautiful locations, assured that Oregon’s capable crews have navigated the perfect shot in these remote vistas and the comforted by knowing that the depth of our support services has risen to meet to any productions’ needs. Oregon Media Production Association (OMPA) is the hub that brings together Oregon’s best. OMPA champions for the film, television and interactive media industry through the pillars of advocacy, being the resource for the industry and by promoting our members’ work.

OMPA

YOUR VOICE • YOUR RESOURCE YOUR COMMUNITY

Our members represent every facet of the media industry and have won national and international awards, have been hailed as the best of the best and still choose to live in Oregon. Why? The answer is simple. From mountains & valleys, beaches & playas, bogs & backroads, desserts & plateaus, Oregon has it all. Oregon has it all when it comes to productions as well. Look no further than the pages of the SourceOregon directory for all of your production needs, reach out to the Governor’s Office of Film and Television for answers regarding our robust incentive program and utilize the collaborative community of OMPA to put together your talented crew. As the Executive Director of OMPA I am pleased that our legislators supported the increase of the film incentive by 40% which will spur more productions from outside of the state as well as indigenous productions. Oregon’s media production landscape, like our home state’s topography, is multifaceted, creative and inspiring. Like Oregon, OMPA has it all.

Isaac Dowell, 2nd Asst Camera

“IT’S WHY I’M A MEMBER.” #OMPAMember ompa.com/join

Membership Matters,

JANICE SHOKRIAN

Executive Director, OMPA

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攀û攀挀挀瘀攀Ⰰ 椀渀琀攀最爀愀琀攀搀 椀渀琀攀爀愀挀挀瘀攀 挀漀洀洀甀渀椀挀愀愀漀渀猀 䌀漀 洀 洀 甀 渀 椀 挀 愀愀 漀 渀 猀   䔀渀 愀 戀 氀 攀 搀

SourceOregon 2017 | A Publication of the OMPA  37


OREGON INDUSTRY STANDARDS & PRAC TICES

Standards and Practices

T

he guidelines presented here are for the purpose of providing predictability and consistency to the production process. While adherence to the guidelines is voluntary, they shall, in the absence of any negotiations which result in alternative guidelines, be presumed to be in effect on productions carried by Oregon industry members. It is the responsibility of the parties involved to come to an agreement prior to the commencement of production concerning situations not covered in these guidelines. Any alternative guidelines must not fall below the standards set by state and federal statutes. These guidelines were endorsed in 1991 by Oregon Media Production Association (OMPA) and Southern Oregon Film and Media (SOFaM). It is incumbent upon all parties involved to be aware of the fact that there are federal and state wage and hour statutes that cover situations not directly addressed in these guidelines. Statutes of importance cover the definitions of: minimum hourly wage, minimum weekly wage, rest periods, “work” time and meal periods.

PRODUCER AND TECHNICIAN

1. Employer/Employee It is assumed throughout the body of this section that an employer/employee relationship exists between the producer and the technician. If it is believed that this is not the case, there is appended at the end of this document both state and the federal guidelines to aid in determining whether an employer/­employee or an independent subcontractor relationship exists.

2. Rates Rates are based on a 10-hour day and set by the technician. “Work time,” that part of the day in which the technician may charge for his or her time, shall begin at the call time (or under conditions discussed in Section 3) and shall end when the technician has discharged all duties for the day. Minimum call, 5 hours or less of work time, shall be billed at 60% of the day rate. Hourly straight-time rates are determined by dividing the technician’s daily rate by 10. Overtime rates should be calculated by the following: • Monday-Saturday: 10-12 hours is hourly rate x 1.5; 12-18 hours is hourly rate x 2.0; over 18 hours is hourly rate x 3.0; • Sunday and Holidays: Monday-Saturday rate x 1.5. Holidays are: New Years Day, Washington’s Birthday, Memorial Day, Independence Day, Labor Day, Thanksgiving Day, Day after Thanksgiving and Christmas. If the workday commences between the hours of 2pm and midnight and extends beyond midnight, or if it commences between midnight and 5am, the technician shall be paid an additional 15% of his or her gross wages. Those required to work a split shift shall be paid straight hourly time for the period between those shifts; however, only those hours actually spent in production shall be counted toward overtime. “Prevailing rate” shall be defined as the technician’s applicable daily rate with the addition of any penalties for overtime.

3. Scheduling Postponement of Confirmed Days. Postponements will not be charged providing the technician is given notice of such postponement at least 12 hours prior to the intended call time and the project is rescheduled within 10 calendar days. If insufficient notice is given or rescheduling does not take place, cancellation policy will apply. Cancellation of Confirmed Days. Cancellations made less than 48 hours before shoot time will be charged a minimum call for labor and 50% of the day rate for equipment for all confirmed days, not to exceed 10 confirmed days. Additionally, the technician shall be reimbursed for all out-of-pocket expenses. Weather/Contingency. Work held up due to weather, illness, absence of irreplaceable production members or other conditions beyond the control of the production company shall be billed as follows: a. Minimum call if technician is released for day (or night). b. Time spent shall be considered as work time by technician, if required to wait for weather/contingency situations to change and be billed at full rates. c. All direct and out-of-pocket expenses shall be reimbursed. d. Equipment held under such conditions shall be billed at full rates. e. If work is not resumed at the end of the contingent situation, postponement and/ or cancellation conditions apply.

4. Travel Time Travel to and from work in the area within a 25-mile radius of City Hall shall not be considered as work time. Travel outside the 25-mile radius on a day when no production occurs: shall be billed at the straight hourly rate set by the contractor, shall begin upon commencement of travel, and shall not constitute less than a minimum call (see Section 1). Travel time outside the 25-mile radius on a day in which production does occur shall be considered as work time. Such work time will commence at the 25-mile point and cease upon re-entering the 25-mile zone. The prevailing rate shall be applicable until the 25-mile zone is re-entered. Personnel required to drive production vehicles, regardless of what that vehicle is or who is the owner, shall have their work day begin at the commencement of travel in said vehicles and end when all duties have been discharged for the day.

5. Distant Locations At a distant location (one outside the 25-mile zone and where the technician is lodged for the night), lodging shall be provided to the technician by the producer. When available, single room accommodations shall be required. The producer shall provide meals or a per diem commensurate with the standard of living in the area.

6. Meals The first meal break shall commence no sooner than 4 hours and no later than 6 hours from the beginning of the workday. There shall be no less than 4 nor more than 6 hours from the end of the preceding meal break and each subsequent meal break. A meal break shall be no less than 30 minutes, nor more than one hour in length. If more than one meal occurs in a work day, then all additional meals shall be hot meals. If the meal break occurs in less than 4 hours. The whole meal period shall be considered as work time. No employee shall be required to work during a meal break. If restaurant facilities are not reasonably available when on location, the producer agrees to provide a well-balanced meal at no charge. The meal period shall not be considered as work time. A grace period of 15 minutes to complete the shot in progress shall be allowed so long as all department heads are notified in advance. If no meal break occurs after this grace period. Penalties shall continue to accrue from the point at which the 6 hour period was exceeded. The producer will be assessed a penalty according to the following schedule for each 30-minute period (or fraction thereof) of work exceeding the 6 hours between meals: first half hour is $7.50; second half hour is $10.00; third & subsequent half hours are $12.50.

38  SourceOregon 2017 | A Publication of the OMPA


7. Turnaround

4. Bid Forms

There shall be no less than 10 hours between the completion of the work time on one day and the commencement of work time on the next day, for the same project. Commencement of work time in less that 10 hours shall result in a penalty, in addition to the prevailing rate, according to the following schedule: 0–5 hours is $50 per hour; 5–10 hours is $25 per hour.

The nationally accepted AICP bid form should be used in all competitive bid situations.

Invoices submitted within 5 working days of completion of technician’s work will be paid within 10 days of invoice. A penalty of 1.5% per month (or maximum allowable by law) will be assessed against all overdue balances. Minimum penalty is $1.00 (notice must be printed on invoice for this to apply). A cash draw is requested for technician’s out-of-pocket expenses within 24 hours of expenditure. Because of the variety of accounting procedures, alternative arrangements may frequently be negotiated. It is strongly recommended that an agreement be reached prior to the commencement of production.

Travel to and from work in the area within a 25-mile radius of City Hall shall not be considered as work time. Travel outside the 25-mile radius on a day when no production occurs shall be billed at the straight hourly rate set by the contractor, shall begin upon commencement of travel, and shall not constitute less than a minimum call (see Section 1). Travel time outside the 25-mile radius on a day in which production does occur shall be considered as work time. Such work time will commence at the 25-mile point and cease upon re-entering the 25-mile zone. The prevailing rate shall be applicable until the 25-mile zone is re-entered. Personnel required to drive production vehicles, regardless of what that vehicle is or who is the owner, shall have their work day begin at the commencement of travel in said vehicles and end when all duties have been discharged for the day.

6. Production Insurance PRODUCER AND CLIENT

1. Billing 50–50 Plan. The following is based on the National Association of Independent Commercial Producers Guidelines. a. First billing: 50% of the contract price will be billed by the production company within 10 days of job confirmation. Since job confirmation has almost always been a verbal order, this first billing will be issued whether or not the production company is in receipt of a written contract, purchase order or letter of agreement. (Note: This provision reaffirms the verbal order to commence production and signifies that all proper agency and client authorizations have been attained and the production company is to begin spending time and money on the job). b. The remaining 50% will be billed upon approval of film or tape dailies (this applies only when contract does not include editorial completion), or upon approval of final edit. ⁄3-1⁄3-1⁄3 Plan. a. The first 1/3 will be billed by the production company upon verbal confirmation to proceed. b. The second 1/3 will be billed upon completion of principal photography. c. The final 1/3 will be billed upon approval of final edited program (this would be the cut work print in film, the offline edit in tape or the final assembly in multiimage production). 1

2. Payment First payment is due and payable within 10 days of receipt of invoice. All subsequent payments will be due and payable within 30 days of receipt of subsequent invoices. A penalty of 1.5% per month (or maximum allowable by law) will be assessed against all overdue balances.

3. Scheduling Postponement of Confirmed Days. Postponements will not be charged providing the project is rescheduled within 10 calendar days. If not rescheduled, cancellation policy will apply. Any out-of-pocket or non-recoupable expenses due to postponement shall be billed in addition to quoted job costs (e.g., equipment rentals, shipping costs, etc.). Cancellation of Confirmed Days. Cancellations made less than 48 hours before shoot time will be charged all out-of-pocket expenses plus mark-up plus all appropriate in-house expenses incurred by the production company. Cancellations made less than 48 hours before shoot time will be charged all out-of-pocket expenses plus a minimum call for all scheduled crew for all confirmed days, not to exceed 10 confirmed days, 1.5 day rate for equipment, plus all appropriate in-house expenses and markup. Weather/Contingency. Work held up due to weather, illness, absence of irreplaceable production members or other conditions beyond the control of the production company shall be billed as follows: a. Minimum call if contractor is released for day (or night). b. Time spent waiting for weather/contingency situations to change shall be considered as work time and be billed at full rates. c. All direct and out-of-pocket expenses shall be reimbursed. d. Equipment held under such conditions shall be billed at full rates. e. If work is not resumed at the end of the contingent situation, postponement and/ or cancellation conditions apply.

OMPA recommends that viable production insurance coverage be obtained by both the producer and the client and that the cost be openly discussed and confronted in the bidding of new work. We also recommend that the agency and/or client should share the liability equally with the producer. A waiver of liability should be obtained by the producer if the client is not willing to assume fair responsibility. This insurance can provide coverage on faulty film and/or tape stock, lab failures or damage, equipment failures, loss or damage of exposed original, weather days, etc.

PERFORMER AND AGENCY The following standards reflect common practices among talent agents and performers in the professional industry. They have been developed based on both California and New York state law and endorsed by a community of Talent Agents, Performers, Producers and the OMPA.

1. Definition A Talent Agent works to procure employment for performers.

2. Payment Professional Talent Agencies shall only be paid when their performers are booked to work. These payments take the form of a commission, and are detailed in a performer’s contract with their Agent. They take the form of a percentage of gross earnings, and only once the work has been performed and paid for by the client.

3. Fees A Talent Agent may advise performers about opportunities that will better their career. Professional services such as headshots, workshops, lessons, show reels, online casting support sites, etc. may be required by a Talent Agent. However, fees for such services either to the Agent or specific vendors must not be mandatory in exchange for representation or procurement of employment. A Talent Agency website has certain maintenance costs that may be passed on to performers in order to be included online, however website fees must not be required in exchange for representation or procurement of employment.

4. Casting It is considered standard that a Talent Agency does not direct casting in their usual course of operations.

5. Employment Opportunities Professional performers should never pay for the opportunity to work. In other words, genuine work opportunities come with an offer of fair pay for fair work. Whether solicited by an agency, producer, or anyone else, professional employment does not come with requirements to pay in advance for the opportunity to work.

SourceOregon 2017 | A Publication of the OMPA  39

Standards and Practices

8. Payment

5. Travel Time


Standards and Practices

EMPLOYEE VS. INDEPENDENT CONTRAC TOR FEDERAL

STATE

Under common law, every individual who performs services that are subject to the will and control of an employer, as to both what must be done and how it must be done, is an employee. It does not matter that the employer allows the employee discretion and freedom of action, so long as the employer has the legal right to control both the method and the result of the services. An employer must generally withhold income taxes, withhold and pay social security taxes, and pay unemployment taxes on wages paid to an employee. An employer does not generally have to withhold or pay any taxes on payments to independent contractors. The 20 factors listed below have been identified to help indicate whether sufficient control is present to establish an employer/ employee relationship. The degree of importance of each factor varies depending on the occupation and the context in which the services are performed.

Section 1. As used in various provisions of ORS chapters 316, 656, 657 and 701, an individual or business entity that performs labor or services for remuneration shall be considered to perform the labor or services as an “independent contractor” if the standards of this section are met.

1. Instructions. An employee is required to comply with instructions about when, where and how to work. Even if no instructions are given, the control factor is present if the employer has the right to give instructions. 2. Training. An employee is trained to perform services in a particular manner. Independent contractors ordinarily use their own methods and receive no training from the purchasers of their services. 3. Integration. An employee’s services are integrated into the business operations because the services are important to the success or continuation of the business. This shows that the employee is subject to direction and control. 4. Services rendered personally. An employee renders services personally. This shows that the employer is interested in the methods as well as the results. 5. Hiring assistants. An employee works for an employer that hires, supervises and pays assistants. An independent contractor hires, supervises and pays assistants under a contract that requires him or her to provide materials and labor and to be responsible only for the result. 6. C ontinuing relationship. An employee has a continuing relationship with an employer. This indicates that an employer/employee relationship exists. A continuing relationship may exist where work is performed at frequently recurring although irregular intervals. 7. Set hours of work. An employee has set hours of work established by an employer. An independent contractor is the master of his or her own time. 8. Full-time work. An employee normally works full time for an employer. An independent contractor can work when and for whom he or she chooses. 9. Work done on premises. An employee works on the premises of an employer, works on a route or at a location the employer designates. 10. Order or sequence set. An employee must perform services in the order or sequence set by an employer. 11. Reports. An employee submits reports to an employer. This shows that the employee must account to the employer for his or her actions. 12. Payments. An employee is paid by the hour, week or month. An independent contractor is paid by the job or on a straight commission. 13. Expenses. An employee’s business and travel expenses are paid by an employer. This shows the employee is subject to regulation and control. 14. Tools and materials. An employee is furnished significant tools, materials and other equipment by an employer. 15. Investment. An independent contractor has significant investment in the facilities he or she uses in performing services for someone. 16. Profit or loss. An independent contractor can make a profit or suffer a loss. 17. Works for more than one person or firm. An independent contractor gives his or her services to a multiple of unrelated persons or firms at the same time. 18. Offers services to the general public. An independent contractor makes his or her services available to the general public. 19. Right to fire. An employee can be fired by an employer. An independent contractor cannot be fired so long as he or she produces a result that meets their contract specifications. 20. Right to quit. An employee can quit his or her job at anytime without incurring liability. An independent contractor agrees to complete a specific job and is responsible for its satisfactory completion, or is legally obligated to make good for failure to complete the job.

40  SourceOregon 2017 | A Publication of the OMPA

1. The individual or business entity providing the labor or services is free from direction and control over the means and manner of providing the labor or services, subject only to the right of the person for whom the labor or services are provided to specify the desired results. 2. The individual or business entity providing labor or services is responsible for obtaining all assumed business registrations or professional occupation licenses required by state law or local government ordinance for the individual or business entity to conduct the business. 3. The individual or business entity providing labor or services furnishes the tools or equipment necessary for performance of the contracted labor or services. 4. The individual or business entity providing labor or services has the authority to hire and fire employees to perform the labor or services. 5. Payment for the labor or services is made upon completion of the performance of specific portions of the project or is made on the basis of an annual or periodic retainer. 6. The individual or business entity providing labor or services is registered under ORS chapter 701, if the individual or business entity provides labor or services for which such registration is required. 7. Federal and state income tax returns in the name of the business or a business Schedule C or Farm Schedule F as part of the personal income tax return were filed for the previous year if the individual or business entity performed labor or services as an independent contractor in the previous year. 8. The individual or business entity represents to the public that the labor or services are to be provided by an independently established business. An individual or business entity is considered to be engaged in an independently established business when four or more of the following circumstances exist: 9. The labor or services are primarily carried out at a location that is separate from the residence of an individual who performs the labor or services, or are primarily carried out in a specific portion of the residence, which portion is set aside as the location of the business. 10. Commercial advertising or business cards as is customary in operating similar businesses are purchased for the business, or the individual or business entity has a trade association membership. 11. Telephone listing and service are used for the business that is separate from the personal residence listing and service used by an individual who performs the labor or services. 12. Labor or services are performed only pursuant to written contracts 13. Labor or services are performed for two or more different persons within a period of one year. 14. The individual or business entity assumes financial responsibility for defective workmanship or for service not provided as evidenced by the ownership of performance bonds, warranties, errors and omissions insurance or liability insurance relating to the labor or ser vices to be provided.


CHILDREN’S EMPLOYMENT GUIDELINES 2. Working Hours for Minors in Entertainment Ages 14–17:

11 hours a day including rest and meal breaks.

Ages 10–13:

10 hours a day including rest and meal breaks.

Ages 6–9:

9 hours a day including rest and meal breaks.

Ages 4–5:

7 hours a day including rest and meal breaks. Up to 8 hours a day if the minor is transported.

Ages 2–3:

6 hours a day including 3 hours of rest and meal breaks.

Ages 1–2:

5 hours a day including 21⁄2 hours of rest and meal breaks.

Brad Avakian, Oregon Labor Commissioner P 971‑673‑0761

mailb@boli.state.or.us | www.boli.state.or.us

DEFINITIONS Minor: Anyone under the age of 18. Minors under the age of 15 days (babies/newborns) shall not be employed. Workday: Fixed period of 24 consecutive hours.

6 mo-1 year: 4 hours a day including 2 hours of rest and meal breaks. 15 days-6 mo: 2 hours a day, no more than 20 mins of which shall be spent as work time. <15 days:

Cannot be employed.

Workweek: Fixed and regularly recurring period of seven consecutive workdays.

3. Wages

Long-term Employment: Employment lasting or contemplated to last more than five working days.

State minimum wage for minors is the same as that required for adults and will automatically be raised when the adult rate is raised. The present rate is $9.75 per hour and $11.25 starting in July 2017. A three-tiered system for increases will be implemented to account for regional differences in cost of living in the coming years, please see the boli website for more info, www.boli.state.or.us.

Short-term Employment: Employment lasting or contemplated to last five working days or less.

GENERAL PERMIT INFORMATION Five days or more. Entertainment industry employers who plan to hire non-union minors (14 to 17 years of age) for long-term employment must obtain and file an employment certificate form. (For union rules, consult the specific union contract.) Minors 14 to 17 no longer need a work permit; minors under 14 need a special under-14 permit. Necessary forms are available at all Bureau of Labor and Industries offices and State Employment Division offices. Five days or less. In the case where an employer is hiring 10 or more minors for temporary short-term employment, a short-duration permit can be obtained through the the Bureau of Labor and Industries. More than one film a year. In circumstances involving the employment of minors in short-term employment, and when the employer plans to film more than once a year, application may be made for a registration certificate. All registration certificates expire on June 30th, at which time application to renew the certificate should be submitted. Registered employers are then required to notify the Wage and Hour Division no less than 24 hours prior to the employment of minors for short duration. It should be noted that as soon as a production company makes the decision to film in Oregon and wishes to hire minors, the wage and hour division should be contacted. Necessary paperwork could cause delays if this is not taken care of early in the production schedule.

WORKING CONDITIONS

1. Hours No employer shall employ minors to work more than the maximum hours listed below or more than six consecutive days, including days when the minor attends school. Exceptions may be made if a special hours variance is applied for by addressing a letter of application to the Portland BOLI office. Work (production) hours are defined as hours when a minor is directed by any member of the production company to travel, makeup, wardrobe, rehearse, light, stand-in, etc.

4. Safety and Comfort The work area provided must be sanitary and safe with room for both rest and play. It must have adequate lighting, ventilation, washrooms and toilet facilities. Other safety considerations include worker’s compensation insurance coverage in accordance with laws of the state, transportation available to the nearest medical facility providing emergency services, and on-location return transportation must be provided promptly upon dismissal. The employer must also provide appropriate care and supervision of each minor at all times during the minor’s employment. As a general rule, one supervisor for each nine minors employed is considered adequate.

5. Meal Periods and Rest Periods Except where otherwise indicated in state regulations, an appropriate meal period consists of not less than 30 minutes; an appropriate rest period means a period of rest of not less than 15 minutes for every 4 hours worked.

6. Education When school is in session and the minor is in first grade or above, an average of 3 hours of instruction must be provided. The employer must obtain a release from the Superintendent, or designee, of the school district in which the minor’s school is located when the employment requires the minor’s absence from school for more than five days. The employer must provide minors under 16 years of age with no less than three hours of instruction per day, excluding Saturday and Sunday. The instruction must be provided by a teacher certified to teach in Oregon. Since neither the Wage and Hour Division nor the Bureau of Labor and Industries has authority to certify persons to teach minors, interested persons should contact the Oregon Teacher Standards and Practices Commission, 465 Commercial St. NE, Salem, OR 97301; (503) 378-3586. Requests for waiver of stated regulations should be addressed in writing to the administrator of the wage and hour division, setting forth the reasons for the waiver request.

SourceOregon 2017 | A Publication of the OMPA  41

Standards and Practices

T

he following is a brief interpretation of the Oregon Administrative Rules regarding the employment of minors. The Governor’s Office of Film & Television recommends contacting the Oregon Bureau of Labor and Industries, Wage and Hour Division, for a packet containing complete information. Write to or call the Oregon Bureau of Labor and Industries office.


THE OMPA ANNUAL PUBLICATION FOR FILM, T V, COMMERCIAL, AND INTERACTIVE

SOURCEOREGON


FESTIVALS

OMPA and SourceOregon welcome all festivals to list in this section. For more on this in-kind sponsorship, please contact info@ompa.org.

WINTER 2017 January 13-February 5 Reel Music Film Festival explores the lively interplay between sound and image, music and culture. Portland

February 9-26 Portland International Film Festival explores not only the art of film but also the world around us—for all ages and from matinee to midnight—invite exploration and discovery. Portland

March 2-5 Portland Oregon Women’s Film Festival (POWFest) features the work of top women directors, honoring true pioneers while providing support and recognition for the next generation of women filmmakers. Portland

SPRING April 6-10 and April 12-16 Ashland Independent Film Festival is five days and nights of the highest quality documentaries, features and shorts. Filmmakers engage with audiences during post-film Q&A sessions, panel discussions, live performances and nightly festivities. Ashland

April 21-23 The DisOrient Asian American Film Festival is dedicated to deconstructing stereotypes of Asians and Asian Americans as “Orientals”. We believe in the power of film-as-art to educate, heal and improve the lives of people by giving voice to our experiences. Eugene

May 3-7 The Archaeology Channel International Film and Video Festival features the world’s best films relating to archaeology, ancient and indigenous cultures, and their world. Eugene

May 5-7 Filmed by Bike, captures an audience that understands their passion for bike-themed films with hosting a Street Party, Brewery Tour Bike Rides and filmmaker Q+A, dance parties, workshops, and awards ceremonies. Portland - Hollywood Theatre

May 10-14

September 22-25

NW Animation Fest is an annual extravaganza that celebrates the best new films from animators around the globe. Portland

Columbia Gorge International Film Festival encourages filmmakers to connect both locally and globally with outdoor screenings, live music, white water rafting, kayaking, paddle boarding, hiking and other incredible activities in the Pacific Northwest! Various Locations

May 22 and May 24 International Youth Silent Film Festival is a competition where young filmmakers can create their own silent movies. Silent films are the most classic form of movie entertainment and the easiest to create using modern technology. Portland

SUMMER June Portland Jewish Film Festival celebrates the diversity of Jewish history, culture, and identity, and resonates beyond their settings and speaks to universal experiences and issues that confront our common humanity. Portland

July 13 - August 24 Top Down: Rooftop Cinema is an annual outdoor film series held atop the panoramic parking rooftop of the Hotel deLuxe. Classic, campy, and always entertaining, films screen on Thursday nights. Portland

August 17-20 We Like ‘em Short celebrates the art of animated and comedic short films. We provide a platform for independent filmmakers from around the world, seasoned and emerging, to share their talent. Baker City

August 19 Eugene Children’s Film Festival encourage growth among K-12 students in the areas of the arts, technology, and academics. Eugene

FALL August 28 - September 4 Portland Film Fest is a week-long event jampacked with networking, workshops, speakers, premieres, financing talks, and director Q&As. Come be a part of what MovieMaker Magazine calls, “one of the coolest film festivals in the world.” Portland

September 23 Drexel Foundation Children’s Film Festival are films for kids, by kids, and with kids in mind. Rex Theatre – Vale

September Klamath International Film Festival features and shorts from Oregon and California Counties on the Oregon border which make up our local region. Klamath Falls

October 12-15 BendFilm Festival has a relaxed festival atmosphere where the next venue is a block from the last and the words “velvet rope” only apply to fashion choices. Bend

October 21-22 McMinnville Short Film Festival provides a venue for aspiring filmmakers to be seen and heard; expose them to technological and artistic aspects; and provide educational and networking opportunities. McMinnville

October Eastern Oregon Film Festival promotes entertainment and education through the mediums of independent film and music and aim to enrich and expand the cultural experience within our community. La Grande

November Northwest Filmmaker’s Festival works to represent the quality, range and vitality of NW filmmaking and bring filmmakers and audiences together in celebration. Portland

November 12 Fresh Film NW recognizes individual talent, showcases model examples of how film arts can be taught in schools, and engages all in helping build the youth media community in Alaska, British Columbia, Idaho, Montana, Oregon, and Washington. Portland


NWFILM.ORG

JAN 13 â&#x20AC;&#x201C; FEB 5, 2017


40TH PORTLAND INTERNATIONAL FILM FESTIVAL / FEBRUARY 9-26, 2017 PRODUCED BY THE NORTHWEST FILM CENTER / PORTLAND ART MUSEUM


APRIL 6–10, 2017 • APRIL 12–16, 2018

“The best films, the best people, the best times imaginable...” —LUCY WALKER, OSCAR-NOMINATED DIRECTOR, THE CRASH REEL

ashlandfilm.org 2017 Art by Claire Burbridge

Radio Medford • SOPTV • Ashland Food Co-op • Noble Coffee Roasting • Studio A.B • Newswatch 12 • LocalsGuide


April 21-23, 2017 BIJOU ART CINEMAS The E x

perien

ce Eve

ryone

DISORIENTFILM.ORG

Is Talk

ing Ab

out


Join our international, non-profit film festival Ages 20 and under, 3 minute silent film for full details, go to www.makesilentfilm.com


25TH PORTLAND JEWISH FILM FESTIVAL JUNE 2017

NWFILM.ORG A Tale of Love and Darkness


NWFILM.ORG

TOP DOWN Rooftop Cinema Thursday Nights, July â&#x20AC;&#x201C; August 2017


Giving Future Film Makers A Voice www.aacfoundation.org Free to Enter Open to all Students K-12 Prizes & Scholarships Categories & More

August 19th

2017

Wildish Community Theater


501(c)3 Non-Profit For Filmmakers by Filmmakers

LAST YEARS HIGHLIGHTS: Over 51% of films screened directed by women. Over 1247 filmmakers in attendance representing 140 selected films from around the world. More indie films screened than most theaters do in a year. Over 35 workshops, classes panels and networking events. Largest attendance of film industry at any Oregon film event. Parties and networking events with local and visiting professionals. Support from SAG AFTRA, OREGON FILM, OMPA, IATSE, WILLAMETTE WRITERS, PORTLAND ART INSTITUTE & MORE.

AUG 28 - SEP 4, 2017 PORTLANDFILM.ORG

We support emerging and underrepresented storytellers who are challenging the dominant narrative.


KIFF2017

JULY 1 2017 FALL 2017 VISIT klamathfilm.org/festival FOR MORE INFO, OR CONTACT info@klamathfilm.org


bendfilm.org

Mountains, Rivers, Biking, Climbing and... FILM!

October 12-15, 2017 Join the party in Oregonâ&#x20AC;&#x2122;s premiere playground and cultural destination!

Regular Submission Due Date is May 1, 2017


McMinnville Short Film Festival This festival is open to amateur and professional filmmakers alike. Films, including music videos, must be 20 minutes or less. Three screenings across two days including educational and networking opportunities. Awards include cash prizes!

Festival Dates October 21â&#x20AC;&#x201C;22, 2017 Entry Deadline: August 1, 2017

mcminnvillefilmfest.org


The 44th

November 2017

SUBMIT A FILM â&#x20AC;¢ NO ENTRY FEE ENTRY DEADLINE: AUGUST 1 CONTACT: BEN@NWFILM.ORG


NWFILM.ORG

FRESH FILM NW CALLING ALL TEEN FILMMAKERS AGES 13-19 NOVEMBER 2017

SourceOregon 2017  
SourceOregon 2017  

Enjoy OMPA's annual publication exclusively highlighting the award winning work of Oregon Media Production Association members. 2017 theme...

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