Oz Magazine - January / February 2019

film. tv. entertainment.

A.R.E.U. Studios Atlanta’s Revolutionary Entertainment Universe Ozzie Areu, former president of Tyler Perry Studios, and his brother, Will Areu, are building A.R.E.U. Studios - a multi-faceted media campus encompassing music, tech, motion pictures, television and short form content, with a commitment to build upon the content industry in Georgia.

Ozzie and Will Areu are first generation Cuban-Americans. They are the first Latinos to run and own a major film and television studio in the United States.

Before it gets here...It starts with us!

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Large makeup, wardrobe and common areas over 40,000 sf backlot with a suburban neighborhood, 11 homes & includes a city street.

Executive offices - 40,000 sq ft Production Office & Bull Pen area - 12,000 sq ft Post production Facilities - 5,000 sq ft Theatre - 7,150 sq ft Dressing Area - 18,000 sq ft

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MAGAZINE

JANUARY / FEBRUARY 2019

STAFF Publishers:

CONTRIBUTORS Michael Fugoso

Tia Powell (Group Publisher) Gary Powell

Cover Artist

Michael Fugoso (Fugstrator on Instagram, Fugs to his family and friends) is a San Diego, California based illustrator and designer. He started sharing his work not too long ago on Instagram and received amazing feedback from followers and visitors alike, and landed some awesome features from institutions like Adobe, Dribbblers, and The Design Tip. www.fugstrator.com

Editor-in-Chief: Gary Powell

Sales:

Kris Thimmesch Martha Ronske

Contributors:

Rick Limpert

Rick Limpert Christine Bunish Christopher Campbell Neal Howard

Feature Story: Thumbs & Toggles, p.30 Rick Limpert is an Atlanta-based writer covering the intersection of sports and technology. He is a best-selling author, freelance writer and broadcaster. Some of Rick’s outlets include Yahoo News and Sports, GA Followers, Atlanta Journal-Constitution and the CBS Interactive family of websites. He appears regularly on CBS 46 and NBC 11 Alive in Atlanta, GA and CBS 13 WMAZ in Macon, GA. He has also shot tech segments for FOX News, and his syndicated weekend sports tech and travel segment on iHeartRadio airs on stations all over the world with Atlanta radio personality, “Sully.” Rick is also the host of the “Tech of Sports” podcast and you can check out his WirelessWednesday.live gadget and tech site that is updated daily. Rick and his wife Lindsay live in Woodstock, GA with their 5 year old Dachshund, Pearl.

Creative Director: Michael R Eilers

Production and Design: Ted Fabella (Oz Logo Design) Madeeha Ahmad

Cover Image: Michael Fugoso

Christine Bunish

Feature Story: By The Truckload Part II, p.36

Christine Bunish has been a writer and editor covering the professional film, video, broadcast and advertising industries for more than 25 years.

She was a writer at Broadcast Management/Engineering and World Broadcast News and an editor at Millimeter before going freelance.

Christopher Campbell

Feature Story: Above The Line, p.46

January / February 2018

Christopher Campbell is a writer specializing in nonfiction film and television. He is the creator of the documentary review website Nonfics and an editor for Film School Rejects and Movies.com. He has also contributed to Indiewire, MTV News, Paste, New York magazine and Documentary Magazine. He has a Master’s degree in Cinema Studies from NYU and now resides in Georgia with his wife and children. www.nonfics.com

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www.ozmagazine.com www.facebook.com/ozmagazine www.twitter.com/ozpublishing www.instagram.com/ozmagazine (404) 633-1779 Oz Magazine is published bi-monthly by Oz Publishing, Inc. 2566 Shallowford Road Suite 104, #302 Atlanta, GA 30345 Copyright © 2019 Oz Publishing Incorporated, all rights reserved.

Reproductions in whole or in part without express written permission of the publisher is strictly prohibited. This magazine is printed on recyclable paper.

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Neal Howard

Talent Q & A: Mike Pniewski, p.52 Neal Howard is a veteran feature writer, editor and interviewer whose credit list includes sit-downs with A-list entertainers such as Zac Brown and Chloe Grace Moretz; popular sports figures like Mark Richt and Will Muschamp; and prominent politicians from the Georgia State House to the halls of Congress in D.C. He first arrived in Atlanta as a student at Georgia Tech, where he studied for three years at the School of Public Policy before succumbing to his love of journalism and transferring to the College of Charleston. In 2005, Howard created V3 Magazine in Rome, Ga., where he served as editor-in-chief until 2014. He now covers the Georgia entertainment industry for several Atlanta-based publications.

JANUARY / FEBRUARY 2019

CONTENTS

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Ozcetera

Talent

A compilation of recent news and hot projects, from and about industry leaders.

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Thumbs & Toggles It is Georgia’s other production boom. Video game growth is in serious growth mode.

56 Dekalb Entertainment Expo 2018

Cover Story

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Oz Scene

56 Sarah Jones Field Day

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By The Truckload Pt. II Life is good for Georgia’s lighting and grip companies. From small operators to major players, the gear is moving by the truckload.

60 People Store Celebrates 35 Years 61 SAG-AFTRA Celebrates 2018

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62 GPP Hosts Top Casting Directors

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Feature Story Above the Line: Myeshia Mizuno The showrunner for two Emmy-nominated programs talks about the evolution of her career and her love for Georgia’s production community.

57 GPP Hot Holiday Industry Party 58 GPP Hot Industry Party

Feature Story

The Shot List: Q & A with Mike Pniewski 52

Let Me Give You My Card

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January / February 2019

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OZCETERA

Southern Exchange Ready for More

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outhern Exchange Ballrooms is wrapping up an incredible 2018 including movie and television productions, major sporting event receptions, to elegant launch and wrap parties.

The venue earned several awards this year including Best Ballroom Venue at the second annual Diamond Awards Gala by Modern

Luxury Weddings Atlanta, and Historic Wedding Venue of the Year from international magazine Luxury Travel Guide. Not only is the venue winning awards, but the marketing & social media manager, Tamara Comstock, earned Best Social Media Presence from Unique Venues which represents the US and Canada.

Jesse Liret te, direc tor of business development, notes that the addition of The Cellar and The 155 Room will bring over 40,000 sq. ft. of new distinct event space to Southern Exchange Ballrooms making it one of the largest event venues in Atlanta.

Three Luke Smith, Keith B. Plummer and Lentrell McEachern have opened Cinesound Studios near Athens, Georgia

Cinesound Studios Opens

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inesound Studios has opened its 7,500 sq. ft. film production studio in Watkinsville, Georgia, just a stones throw from Athens and 68 miles northeast of Atlanta. The all-inclusive studio is owned and operated by partners Luke Smith, Keith B. Plummer and Lentrell McEachern. The three met in 2016 while working on an unscripted show.

The handcraf ted studio provides preproduc tion through screening ser v ices, gear rentals, music production, commercial

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photography and 3,000 acres of f ilming space. The core focus of Cinesound Studios is to provide high-end production and post production support to various projects while also developing and producing original content.

“We are very indie friendly and are capable of producing and crewing feature films, TV series, documentaries and commercials,” says Plummer. “When you say Cinesound Studios, we hope you look at us in three separate ways, a production company, a post house and a

rental facility, all geared to help you create your vision.” The facility itself is stacked with two Cycloramas (a 180 degree and 90 degree), two edit suites, a color grading room, a full audio and recording studio, theater room, eat-in kitchen, dressing room, office space and “The Shack,” a luxurious lounge and conference room located in a house within the complex.

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January / February 2019

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OZCETERA Photo by Jan Zikán on Unsplash

Knight Fight and Iron Door

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+E Networks’ History has bolstered its non-fiction programming slate of new series. One is Matador Content’s competition series Knight Fight, in which six f ighters customize era-specific armor and weaponry to engage in a series of full-contact battles.

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Matador’s Jay Peterson and Todd Lubin are executive producers, with Vincent Cariati serving as showrunner and exec producer.

History’s Jim Pasquarella and Mary E. Donahue are the EPs for History.

The show is co-hosted by John Clements

of Iron Door Studios. Clements studies and instructs the fencing and sword combat skills from the Renaissance f ight masters from his “Schoole of Defence” in Dallas, Georgia.

Knight Fight debuted in November.

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January / February 2019

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OZCETERA Christopher Young, Angela Brown and Tay Smith, BYSB Talent Agents

Partners form BYSB Talent

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alent agents, Christopher Young and Tay Smith, have joined forces with a new partner and launched BYSB Talent Agency.

Teamed with talent agent Angela Brown, who cements their foundation in her Los Angeles headquarters, the agency is celebrating their first year in business.

BYBS’ current roster includes some of the hottest cutting-edge entertainers in the business. Spanning ac tors to producers, directors and social media stars, the BYSB

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roster includes notables such as veteran actor T.C. Carson (Last Call ); daughter of Lil’ Wayne and Toya Wright, Reginae Carter (Lifetime’s Pride and Prejudice: Atlanta); David Busby (BET’s The Bobby Brown Story); A m e l i a Yo u n g ( M a r ve l ’s Ve n o m) ; t w i n s Tristan Timmons and Tyler Timmons (Black Panther); child actor, Trayce Malachi (Fox’s STAR) and social media influencer/actor Desi Banks. Shows booked include Atlanta, Black Lightning, Ozark, The Resident, and Homeland.

Brown, an entertainment industry veteran with 25 years of experience, founded Next Up Entertainment. Brown has worked with Abby Lee Miller, Lifetime TV and the star dancers for Dance Moms. Previously she served as the director of talent at Jack Turnbull’s Actorsite where many Disney and Nickelodeon stars found their star t. Brown has also worked directly with MTV, producing runway shows for the top-rated shows on the network, including Laguna Beach and The Hills.

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Will Packer Project: In Atlanta, On OWN

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prah Winfrey Network (OWN) has started production in Atlanta for the new series, Ambitions, produced by Will Packer Media in association with Lionsgate and Lionsgateowned distributor Debmar-Mercury. The series stars Robin Givens (Riverdale, The Fix, The Bold and the Beautiful), Essence Atkins (Marlon, Half and Half ), Brian White (Ray Donovan, Scandal), Kendrick Cross (Acrimony, Tales from the Hood 2), Brely Evans (Turnt, Being Mary Jane) and Erica Page (Ozark, Bad Dad Rehab). Multiple award-winning writer/EP Kevin Arkadie (The Quad, New York Undercover) has joined as showrunner. Created by executive producer/ writer Jamey Giddens (The Rich and The Ruthless) from an original idea by Packer, the pilot episode is directed by Benny Boom (All Eyez on Me, Black Lightning). Ambitions is a multigenerational family saga centered around one woman who, having recently relocated and intent on revitalizing her marriage, finds herself going head to head with some of the most powerful and deceitful players in the city.

Givens stars as Stephanie Carlisle, the wife of Atlanta Mayor Evan Lancaster. Givens is represented by PANTHEON. Atkins plays the role of Amara, a lawyer in U.S. Attorney’s Office who has newly arrived in Atlanta with her husband, Titus. Atkins is represented by Buchwald and Kathy McComb Management.

White has been cast as Evan Lancaster, the Mayor of Atlanta. White is represented

by Paradigm Talent Agency, Zero Gravity Management and attorney Eric Feig. Cross stars as Titus. Cross is represented by Houghton Talent. Evans plays the role of Rondell, Atlanta Mayor Evan Lancas ter ’s sis ter. Evans is represented by J Pervis Talent. Page plays the role of Bella, a fashion designer in Atlanta. Page is represented by Houghton Talent.

Arkadie is the co-creator of the series New York Undercover. L a s t sea so n , he co-executive produced season two of The Quad. Previously, he was a producer on Chicago Hope; supervising producer on NYPD Blue; co-executive producer on The Shield; and executive producer on Soul Food: The Series and Rescue 77. Arkadie scripted the Emmy-winning miniseries The Temptations, and is the recipient of the Golden Globe Award, Writers Guild Award, Image Award and the Christopher Award as well as a nominee for multiple Emmy and Humanitas Prizes. He is the writer/producer/director of the documentary FESPACO. He began his writing career on the much-acclaimed series I’ll Fly Away as a story editor.

Giddens is an award - winning writer, producer, entertainment journalist, publicist, and podcast personality. He is the co-owner of the wildly popular soap opera-themed website DaytimeConfidential.com. Giddens co-wrote the first season of Urban Movie Channel’s breakout summer hit dramedy The Rich and The Ruthless. Giddens worked for 10 years as a communications specialist for the Centers For Disease Control and Protection (CDC), helping to create social media messages alerting the public to such major health events as the H1N1, Zika Virus and Ebola outbreaks.

Situated in Atlanta, the award-winning writing staff includes Giddens (The Rich and The Ruthless), Susan Dansby (As The World Turns, The Young and The Restless), Michele Val Jean (General Hospital, The Bold and the Beautiful), Trey Anthony (da Kink in my Hair, How Black Mothers Say I Love You) and Jazmen Darnell Brown (The Citizen, Saints & Sinners).

Atlanta ImageArts Adds Allison Majors

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tlanta ImageArts welcomes Allison Majors as their newest associate producer.

Majors graduated from the University of Georgia’s Grady College of Journalism and Mass Communication with a degree in Entertainment and Media Studies. She works in a variety of capacities on projects throughout all stages of production. She has been involved in corporate video and liveevent production for clients such as Delta Air Lines, Delta Community Credit Union, Delta Tau Delta Fraternity, Grady College of Journalism and Mass Communication, and Presbyterian Homes of Georgia.

In her new position, Majors especially enjoys her time spent on sets, surrounded by experts in their field who love what they do and prove it. Her enthusiasm for people and passion for showcasing their talents, stories, and the human condition in a creative and compelling way melds perfectly together in her role within Atlanta ImageArts.

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January / February 2019

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OZCETERA A screen grab from Nine Mile Circle’s work for Jay Rock on his music video, Win

Nine Mile Revs Up Jay Rock

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ine Mile Circle provided the visual effects firepower for Win, the new music video from Jay Rock. Nine Mile’s creative director, Les Umberger, served as visual effects supervisor on the project, which was directed by Dave Meyers and Dave Free. Win is the first single from Redemption, Jay Rock’s new album for Top Dawg Entertainment.

Th e v i d e o p rese n t s h i m , a n d g u e s t Kendrick Lamar, in a series of surreal scenarios, with all the action cast in muted tones and woven together seamlessly. The arresting

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visuals evoke the rapper’s struggles growing up in Watts and determination to win at any cost.

Umberger worked closely with the director in designing and executing the video’s many other-worldly effects. He was on-set during two days of production in Los Angeles, and supervised post production visual effects work at Nine Miles’ Atlanta facility. “Dave Meyer’s creative is always on point,” Umberger says.

“This was an excellent opportunity to do very creative and artistic work…it was awesome.”

Umberger shot a variety of effects elements during production, including pyrotechnics shot in super slow motion with a Phantom camera.

They were later composited into a battlefield environment where they appear to be tracer missiles streaking through the sky. They also shot slow motion of stunt talent performing back flips and other acrobatic feats. Umberger’s team also produced a 3D matte painting of a Watts neighborhood with thick clouds and lighting, for a scene where Jay Rock pushes a man, riddled with arrows, off a rooftop.

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January / February 2019

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OZCETERA Atlanta editorial house, Beast, has brought editor Joaquin Machado on board

Beast Atlanta Signs Editor Joaquin Machado

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WELCOME TO WHERE HOSPITALITY MEETS AMERICA’S PASTIME

he award-winning editorial house Beast, a Deluxe company, has signed Joaquin Machado to its roster in Atlanta. Machado spent most of his 16-year career working out of Los Angeles, starting at Nomad and working his way up to assistant editor where he focused primarily on productions for Apple. He worked between Los Angeles and New York as a freelancer for Nomad and Los Angelesbased HutchCo, then began travelling extensively across markets; San Francisco, New York, Austin and Minneapolis; cutting spots for Gatorade, Toyota, Skippy, Hormel, Comcast, Subaru, EA and other global brands.

Over the years Machado has brought his talent for humor to quirky spots for Harrah’s featuring David Hasselhoff, a long-form spoof featuring ‘plastique’ see-through clothing for Fruit of the Loom, and Trolli candy spots featuring James Harden. He left a staff editor role at HutchCo to move to the Southeast in 2017. “I had been looking for a place to call home in this market and as soon as I met the team at Beast and toured the facility I knew it was where I wanted to be.

They produce high-end, high-quality national work and the team is really great and professional. I’m really excited to join the roster here,” Machado said.

Jen Sienkwicz, executive producer at Beast Atlanta, said, “We were familiar with Joaquin’s work and always thought it was exciting and different. He’s a unique creative voice in the market and we’re looking forward to bringing it to Beast clients.”

Jolokia Partners with Three Squared DELTA SKY 360˚ CLUB

HANK AARON TERRACE

INFINITI CLUB

KONICA MINOLTA CONFERENCE CENTER

For more information regarding holiday events, please call 404-614-2363 or visit

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hree Squared and Jolokia have formed a strategic partnership to help organizations take more control over their corporate communications and employee training. The partnership brings together a leading-edge corporate video solution with a state-of-theart content creation company.

“We’re thrilled to partner with Jolokia and combine their industryleading streaming platform with our content creation expertise,” said Shane King, CEO and co-founder of three squared. “By leveraging the strategic feature set that Jolokia brings to the table with the awardwinning content creation that three squared can deliver, enterprises will get a full end to end solution that will be best of breed”.

“By leveraging the Inferno plat form, our customers can implement simple interactive features with just click, as well as take full advantage of the cognitive features that are built in to provide a superior experience,” said Dan Seoane, co-founder and head of customer experience of Jolokia. “Our experience with live events and live production of training materials dovetails very nicely with what three squared brings to the table with their turn-key production services.”

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January / February 2019

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OZCETERA Co-founder and executive director LaRonda Sutton

Yancey Brothers Launches Entertainment Division

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ancey Rents has launched a new division, Yancey Entertainment, with a dedicated focus on serving the equipment rental needs for the film and television industry across Georgia. Yancey Rents has been providing equipment rentals to Georgia businesses for over 16 years and is a Georgia-based, locally owned rental equipment provider operating 13 locations across the state. Yancey Rents is a division of Yancey Brothers Co., the nation’s oldest Caterpillar dealer. “Yancey Brothers celebrated its 100 year anniversary in 2014 by following a simple mission to serve, solve, and succeed”, says Mike Byrd, director of sales for Yancey Entertainment. “We see the creation of this division as the next chapter in the story by following this same formula in serving the entertainment industry in Georgia.”

Yancey Enter tainment has ambitious plans to be a one stop shop for all equipment rentals needed on and off set, from new blackboom lifts and telehandlers to utility vehicles, scissor lifts, and light towers. Yancey has a specialized staff with entertainment industry experience that understands the unique demands and pressures of the production world.

We Show Up Launched

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e Show Up launched it s f ir s t pilot entertainment workforce and business development program in Clay ton County, Georgia. We Show Up is designed to provide jobs and business opportunities in the multibillion dollar enter tainment industries of f ilm, TV, music, and digital entertainment.

The program provides resources, training, and development to high growth-potential businesses and agencies to help them secure entertainment industry contracts, accelerate their annual revenues, and expand and create jobs. Following the implementation in Clayton, the program is expected to expand to other counties around the state.

“One of the most important things we can do as an entertainment center in the U.S. to ensure we have trained talent to fill the workforce needs of our film and television infrastructure,” said We Show Up co-founder and executive direc tor LaRonda Sut ton.

“Clayton County was among the first cameraready counties in Georgia, so it is only fitting that we pilot this program to their unemployed and underemployed residents who want to be a part of this thriving industry.” “ We are excited to pilot this new work force training program with Clay ton County Community Services Authority,” said Georgia Stand-Up founder and We Show Up co-founder Deborah Scott. “The goal of We

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Show Up is to provide a pipeline of workers that have a understanding of the culture and work environment of the industry and provide vendors the opportunity to grow their businesses by tapping into a workforce that sees this as an opportunity to learn and grow in an emerging industry and economy.” Scott continued, “It’s an added benef it that the Georgia Department of Labor and Work Source invested in work experience funds to be able to support the trainee ‘Show Stoppers’ in this endeavor.”

“With the continued growth of Clayton C o u n t y ’s o n - l o c a t i o n f i l m i n g p o r t f o l i o t h a t i n clu d es B aby D ri ver, Spider- man: Homecoming, The Walking Dead and Stranger Things among 50 other productions in 2017,” said Clayton County Film Office director of film and digital entertainment Tamara Patridge, “I look forward to the members of our community having the opportunity to obtain the skills they need to be a part of the robust film industry in Georgia.”

“The focus of the Clay ton Count y Community Services Authority is to get people introduced into the world of entertainment,” said CSA director of operations Sharon Myles.

“We know the opportunity to work in this industry offers a lifetime of benefits for county residents and their families.”

OZCETERA Blood Stripe - A Spouse’s Story theatrical performance and video

Curtis Bryant Completes Documentary Score

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omposer for film and TV, Curtis Bryant, has completed the score for a post-war documentary. Bryant’s four-movement suite of music for string instruments was commissioned by Hearts of Patriots, a non-profit organization dedicated to helping spouses of returning veterans afflicted with traumatic brain injury (TBI) and post-traumatic stress disorder (PTSD). Choreographed by Hearts of Patriots co-founder Denise Gula-Weller, Bryant was commissioned to compose music for selected dance movements in the documentary film Blood Stripe - A Spouse’s Story, which depicts the struggles and challenges faced by families of veterans who suffer from invisible wounds of war.

The original work was entitled Blood Stripe and created by GulaWeller as a multimedia, theatre and dance stage production for Ohio Dance Theatre. The documentary tells the spouse’s story of a combat veteran who served with the 3/25 Marine Battalion in Iraq during the War on Terror. He survived, but lost dozens of comrades and now suffers from PTSD and TBI, the result of three IED land explosions.

Bryant’s choice of composition in neoclassical metal style for the unusual string quartet combo of two violins and two cellos was both a practical decision and an artistic one. The extended range serves to magnify the intensity of Gula-Weller’s bold choreography depicting the struggles of these veteran’s families. The small ensemble also will facilitate future live performances of the ballet. The four dances represent the progression through the stages in the effort to recover and cope with the lifelong effects of TBI and PTSD.

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OZCETERA UNHEARD/OF welcomes new director, J. Austin Wilson

Director J. Austin Wilson Signs with UNHEARD/OF

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r o d u c t i o n co m p a n y, U N H E A R D/O F, added award-winning, docu-style director J. Austin Wilson to its roster. Born in a small town south of Atlanta and driven by the work of Gus Van Sant and Harmony Korine, directors who blur the line between real-life and fiction, Wilson focused on documentary filmmaking and cinematography at the New York Film Academy before moving to LA to attend the USC School of Cinematic Arts.

Wilson jumped into commercial work immediately after USC, frequently collaborating with San Francisco ad agency Heat to helm spots for clients including Bank of the West, EA Sports and Fantex. In 2005, he moved to Seattle and began directing short music

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docs for KEXP, a local college radio station, where he worked with bands like Fleet Foxes, Edward Sharpe & the Magnetic Zeros, and Jonsi. Inspired by his work at KEXP, Wilson directed, shot and edited his first short film Frank Fairfield, which premiered at SXSW 2011.

Since then, Wilson has directed dozens of commercials, among them are credits for Home Depot, Facebook, Nissan, and Intel, along with many music videos and documentary shorts.

His organic aesthetic has struck a chord with audiences, leading to a Bronze Lion for his Nissan spot “What’s in the Giant Box?” and two American Advertising Awards for his “Visit Seattle” tourism campaign.

Get Connected Launches Filmmaker Giveaway

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et Connected Atlanta is a new brand created by Autumn Bailey-Ford. Get Connected Atlanta will be a 30,000 sq. ft. facility featuring two screening rooms, a writer’s room, café lounge and event space, camera rental facility, and more. The new, membership driven space also offers day passes and will provide unlimited networking, training and educational programming.

T h e l a u n c h o f t h e $1 0 K f i l m m a ke r giveaway is the f irst for Get Connec ted Atlanta. The goal is to give back to filmmakers and help with the content creation. With over 400 submissions, the team of industry judges was able to narrow it down to the top ten then to one winner. Charlotte Stauffer walked away with $10,000 and was funded for five film festival entries. Columbia Pictures (Sony) sponsored an amazing dinner for the top ten finalists at Chama Gaucha Brazilian Steakhouse. Kate Atwood with ChooseAtl and Thea Network also sponsored the award mixer.

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January / February 2019

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OZCETERA A huge selection of cameras and control gear from TV’s golden age is available at RJR props

RJR’s Golden Age

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COME SEE WHAT EVERYONE IS TALKING ABOUT Server Racks Laboratory Security Paperwork Cases/Crates

Nautical Industrial Electronics Automotive Wire/Hose

(470) 428-3185

Prison/Jail Tanks Antiques Graphics Lighting

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ich Rappaport and his RJR Props have acquired the largest vintage, working studio camera collection in the country. With over 125 ENG, studio show and news cameras in the collection, some are the iconic cameras that were used on the biggest shows in television history, including: NBC/Burbank Studio 6b, The Tonight Show with Johnny Carson; Sesame Street; Saturday Night Live; American Bandstand; The Newlywed Game; The Dating Game; The Lawrence Welk Show; and from other NBC, CBS, and ABC studios. Original cameras from the opening of CNN and ESPN are also included.

One very rare item: a tripod from the very first television station in the world that was the home of the Howdy Doody Show in 1947.

Says Rappaport, “We restored them beautifully, and we upgraded them to HD to work with today’s standards!” “Everything works: tally lights, cameras and viewfinders!”

Nissan’s Heisman House Calls on Tube

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isitors to Nissan’s Heisman House, the touring fan experience present at college games throughout the season will get a chance to see some of Tube’s work at play throughout their experience.

The Heisman House features 10 former Heisman Trophy Winners.

Through GoLo Productions, helmed by producer David Goldstein, Tube worked to develop a series of trivia and welcome videos for the fan experience. While in the house of Heisman, fans also get to pose with a Heisman trophy, fraternize with former players and take part in different games and activities. Tube and GoLo have been working together on different variations of this project since 2014.

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January / February 2019

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OZCETERA Re:Imagine ATL doing there thing

A Career in Film for Re:Imagine Atlanta

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e:imagine/ATL’s event, the Career in Film Summit, allowed teens and young adults to learn about careers in the motion picture industry. The Summit was put on in association with The Academy of Motion Pic ture A r t s & S ciences and hos ted by SCADshow. Other presenters were DeKalb Enter tainment Commission, African-

American Film Critics Association (AAFCA) and Saunders Lockliear Entertainment (SLE).

Participants were allowed to discover the skills, education and hard work needed to achieve their production dreams working with Academy members and film professionals.

In a series of panels, Academy members and filmmakers discussed their professions,

shared advice and addressed the skills that a career in film requires. Their areas of expertise span songwriting and composing, sound, editing, visual effects, costume design, production design, and animation. Sessions also incorporated film clips and Q&As with students.

Jordan McMonagle, DP, and Marivee Cade, gaffer, on the set with the Atlanta Hawks. Photo courtesy of Brad Crosby

Synergy on the Golf Course

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ynergy Films worked with Turner Sports to produce several custom content pieces for The Match, sponsored by Capital One, at the awe-inspiring Shadow Creek Golf Club.

Working with Samuel L. Jackson and Charles Barkley made it all the better. In the Rough with

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Sam and Chuck was directed by Chris Perkins with Jordan McMonagle as DP. F o r t h e 20 1 8 At l a n t a H aw k s P l aye r Intro/Hype Video, Synergy captured every player on the Atlanta Hawks over two days at PC&E with a killer set design, anamorphic

lenses, and spot on CG post ef fec ts provided by Able VF X . McMonagle was the DP, with Joe Abercrombie direc ting.

OZCETERA Steve Rowe is the new president/ CEO of the Blairsville-Union County Chamber of Commerce

Dawn Saraney moved into the role of director of tourism

Blairsville and Union County are Camera Ready

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ew and exciting changes are happening in Union County, Georgia. Steve Rowe has been named as the new president/CEO of the Blairsville-Union County Chamber of Commerce. As the former owner of a successful accounting firm, Rowe is very familiar with what is required to operate a business in Union County. He’s been active in serving in various roles in the community for over two decades.

Rowe is looking forward to working with film industry professionals in Camera Ready Union

County. “We want to continue to promote the area’s natural beauty as well as promoting our local businesses and destinations.”

Addi t ionall y, Daw n S araney moves up to the role of director of tourism from membership director. “I want to let industry location scouts know about the numerous opportunities for filming in Blairsville-Union County,” shared Saraney. “We’d love to help industry professionals discover small town America at its finest! We have so much beauty

and charm; from breathtaking views from the state’s highest peak, lakes, valleys, and waterfalls, to shopping and dining in our quaint downtown district. We are ready and waiting to extend small town Southern hospitality.” Union County’s recently expanded airport makes it easily accessible via a 20-minute flight from Atlanta. And for crews traveling by vehicle, it’s a leisurely two-hour drive.

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OZCETERA

Moonshine Horror

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oonshine Post Produc tion f inished 2018 strong. Recent credits include the SXSW film hit Summer 03, theatrically distributed St. Agatha as well as television and commercial projec ts for Netf lix, AMC, Sony, Red Bull, FX, BMW and more.

Directed by Darren Lynn Bousman (Saw), St. Agatha is currently touring the horror genre film festival circuit. Set in the 1950s in small-town Georgia, a pregnant young woman named Mary seeks refuge in a convent. What starts out as the perfect place to have a child turns dark as she learns the sick and twisted truth of the convent and the odd people lurking within its halls. During this year’s Frightfest in London, several members of the cast and crew descended on London to share the film with horror audiences. Moonshine’s team was there as well to celebrate their role in the post production of the film, which received a theatrical release. Moonshine Post did total

editorial, full color finishing, and sound design.

Directed by Matt Chastain, Small Group The Movie is a feature film centered around documentar y f ilmmaker R. Scot t Cooper (played by Sterling Hurst) as he moves across the country to make a documentary about the diminishing impact of Christianity. After learning his producer’s true intention to create a hit piece rather than an objective documentary, Cooper starts to back away from the project ... but due to financial hardship, is forced to take the job. The undercover f ilmmaker infiltrates a “small group” full of skepticism, curiosity and tragedy that challenge his own beliefs. His journey is one audiences will find intriguing and relatable. The film was mostly shot in Athens, Georgia, and Moonshine Post did the full color finishing, sound design and mixing for the feature. Small Group The Movie premiered in Atlanta in late 2018.

Known for their twisted and macabre web series highlighting the eeriest f ilms found around the world, horror anthology, Fear Haus, has recently launched the longawaited release of their newest episodes online. The release comes just months after their self proclaimed “Fear Week” — where selected “Fear Makers” gathered at Fear Haus’ headquarters (Moonshine in Atlanta) to create 30 new episodes over the course of one week.

Fear Haus first caught the attention of horror fanatics across the globe when they released their first episode to YouTube. The channel quickly gained traction as creator Blair Bathory and Moonshine founder Drew Sawyer worked together to produce a platform for indie horror short films to fall under one name. Moonshine did all of the post production on the series. A new episode is released each Wednesday on YouTube.

Klique with SurgeTV

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larque Garrison’s SurgeTV produced a webseries entitled Klique, a 12-part story featuring 12 amazing Atlanta photographers.

The featured photographers are a combination of rising stars and seasoned vets. Klique attempts to uncover Atlanta’s flavor when it comes to photographers. It premiered at Landmark Theatre, and it was accepted into its first film festival in New Orleans.

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OZCETERA

JCW Studios Seeks Southern Comfort

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Y producer and director, Jacob Williams, is looking for a little southern comfort.

“I’ve had the pleasure of working on several Atlanta-based productions, and developed some great relationships here.” Says Williams.

“I like the crews, the facilities, the people, and the locations. With the amazing growth of the industry in Georgia, I’m happy to be a part of the boom. Besides, I’d like to avoid the snow and stay on this coast.”

The now Atlanta-based director is an Emerson College graduate with over 20 years

in the spot and content creation industry.

Williams got his chops working for and with ad agencies, production companies, corporations, and net work s . H e’s b es t k now n for hi s script-to-screen work with an evenhanded approach to stor y telling that includes both real people and on - camera talent .

Williams’ clients include: The Marines, AT&T, American Express, McDonald’s and Procter & Gamble. JCW Studios is represented

by Dan Reichard.

Jacob Williams knows what’s good! The director and producer has moved to Atlanta.

PC&E Welcomes Sarah Herren

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C&E, Atlanta’s “one stop shop” for camera, lighting and grip, sound stages, and sales and expendables, has added Sarah Herren to the team as lighting and grip rental agent.

Herren comes to PC&E from Day-1 Production Services. Day-1 sold its assets to PC&E and is ceasing operations.

“Sarah is a well-respected member of the Atlanta motion picture industry and we are incredibly excited to have her join our team at PC&E,” says Mark Wofford, PC&E general manager. “We’ve always liked dealing with Sarah when we had the opportunity and I think she’ll bring a great perspective with her. Her

professionalism and dedication to customer service is spot on and we can’t wait for her to start.”

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OZCETERA Alex Brownley, Sim Atlanta’s GM of post services, with Andres Lugo, recipient of the Sarah Jones Opportunity

Sim Atlanta Grants Opportunity

I

n 2014, Sim, Warner Brothers, IATSE 600 and the Mayor’s off ice of Atlanta joined together to create the Sarah Jones O p p o r t u n i t y, n a m e d a f t e r t h e b r i g h t , vivacious camera assistant who was tragically killed on set earlier that year. The Sarah Jones Opportunity offers just that: a first step through an open door. Targeting those with a passion for camera work who would not otherwise have direct access to the production industry, the project begins with a 14 week paid internship program at Sim Atlanta followed by a position on a Local 600 production in the camera department.

Once completed, the recipient receives an invitation to become a member of Local 600.

This year’s Opportunity winner: Andres Lugo, a charismatic and warm individual with a true passion for filmmaking, specifically cinematography, who in addition to working alongside a Sim Atlanta camera crew, will also gain valuable technical experience working on the set of CW’s Legacies.

Chef Kash is Who’s Got Soul

C

hef Keith Kash is a multi-award winning chef w ho has ap p eare d on sever al television networks including Bravo, CBS, UPN, Destination America and Fox. He opened and founded his first restaurant, Who’s Got Soul Southern Cafe, at age 27. After 18 years, he owns and operates three locations. He also is the President of Henlil Food Service Group, Inc., which operates Cafe 55 inside City Hall Atlanta.

His new inspiration: the ever growing film market in the Atlanta area. Chef Kash has partnered on Who’s Got Soul Mobile Gourmet.

Their mobile catering unit specializes in catering to f ilm, television and corporate industr y clients, and equipped to service guests from 100 to 1500+. Chef Kash and his team have created delicious menus from several food genres creating flexible offerings that best fit client production need and vision. Through this investment in their state-of-the-art mobile kitchen and refrigeration, combined with their existing business infrastructure, Chef Kash and Mobile Gourmet partner Manson Jones have answered the call of the entertainment industry for great catering.

Chef Kash & Who’s Got Soul Mobile Gourmet is ready for food on the set

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Tel (770) 455-0440 Fax (770) 458-9541 www.ofexpo.com

OZCETERA

SUMMIT 2019 І MARCH 89

Connect with writers, producers, & film industry influencers!

A 2 day event held in March to connect, prepare & preserve the voice of African American women through lm and educational programs.

FILM SCREENINGS, BOOK FESTIVAL, AND CLASSES AVAILABLE!

Register at www.bwfnsummit2019.eventbrite.com Early Bird Rate: $50 until 12/31

A Cultural Celebration of Black Women in Arts and Entertainment

Check out our website for more event details and deadlines:

January / February 2019

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n November 2018, that same Georgia World Congress Center hosted DreamHack 2018 as Atlanta joined Valencia, Marseilles and Stockholm as past host cities of this major three-day festival that brings gamers together for competitions, networking and more.

DreamHack turns its venues into small cities with a popular 24-hour Local Area Network (LAN) area, Bring Your Own Computer (BYOC) section with catering and sleeping amenities, and a number of eSports tournaments.

It may surprise some, but the video game industry made more than twice as much as the global box office for films in 2017, reaping $70.4 billion versus cinema's $35.9 billion. Video gaming grew by 18%, while the world box office fell $1 billion short when it came to projections.

With college scholarships now being awarded for playing video games, it's no wonder universities are scrambling to field competitive eSports teams, just as they would a varsity basketball or football squad. Hollace Bain is President of Panther Gaming at Georgia State University, which is home to all of the club-eSports teams at GSU. Panther Gaming currently has teams for CS:GO, LoL, Overwatch, Rocket League, Super Smash Bros Melee, Super Smash Bros 4, Dragon Ball FighterZ, and Realm Royale, with more possibly on the way. Bain says that eSports can be a lightning rod and

attract top tech talent to the university.

“In the past couple of years, the university has given funding to the Creative Media Industries Institute (CMII) to upkeep and maintain varsity and junior varsity eSports teams,” explains Bain. “We are extremely lucky to have the university want to get behind eSports, especially since the central reason for doing so is to help students further their careers in the eSports industry. After the eSports Program was introduced, we have seen a huge increase in people wanting to get involved in any way they can. It has been truly inspiring to see so many students actively trying to strengthen the eSports and gaming scene here at GSU.”

Nobody may have a bigger stake in gaming and its future than Todd Harris. Harris is the COO and co-founder of Alpharetta’s Hi-Rez Studios, an independent, privately held video game developer based in Alpharetta. Founded in 2005, Harris and his team have been producing quality games like Global Agenda, the critically acclaimed Tribes: Ascend, the third-person MOBA Smite, card game Hand of the Gods: Smite Tactics and the hero shooter Paladins.

In the last 13 years, Harris said he’s had a ringside seat watching his industry grow in Georgia. “Back in 2005, there were eight small game companies in Georgia, and there are now over 130 game companies here. That growth has

benefited the state since gaming creates permanent high paying, high tech jobs. In 2017 the video game industry had a $750 million economic impact on the Georgia economy, and it keeps many of our STEM graduates working here vs. leaving for the West Coast.”

Harris also organized the Hi-Rez Expo at DreamHack, bringing competition to the forefront. “(Just like sports) eSports is the idea of multiplayer online games being played at a competitive level, often in front of spectators. It can sound a bit strange, but of course, we watch other people play golf instead of playing golf and watch people drive cars with competitions like NASCAR. There are already over 300 million eSports fans - with more people watching video games each month than watching CNN.” Those hawking video games say it’s the interactive nature of playing games against another real person or community of players that proves to be the secret sauce.

Sales figures show that video games beating movies is nothing new. Grand Theft Auto 5, released on November 17, 2013, amassed sales numbers that were mind-blowing, and it made many realize one thing: movies can’t keep up with video games. Grand Theft 5 sold 11.21 million units within the first 24 hours of its release and managed to make $815.7 million in the first day... numbers

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virtually and realistically impossible for the motion picture or television industries. It currently holds seven Guinness World Records including the fastest game to hit $1 billion. As of 2018, it has almost 100 million copies sold and has generated $6 billion in profits. It has been hailed as the "most profitable entertainment product ever” and the envy of Hollywood investors.

The new game, ARK: Survival Evolved is now available worldwide on the Nintendo Switch and offers something in terms of critical mass that movies can’t bring to the table. The award-winning dinosaur survival adventure brings Nintendo Switch players the same openworld experience millions already enjoytaming over 80 dinosaurs, conquering enemies, and creating enormous structures anywhere- at home and on the go! As many as 64 players can form a team together online or enjoy a solo offline Jurassic experience.

It’s this movement, Harris says, that is bigger than just an individual sitting in his basement playing video games. “(This) is really a celebration of community,” smiles Harris. “Attendees travel from around the world to reconnect with old

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friends and make new ones around their shared passion for gaming. The vibe of an event like this is really one of a festival, with competition, but also casual play, and cosplay, and EDM concerts and more.

People who attend events like DreamHack understand how social gaming can be.”

Video game debuts have replaced Hollywood premieres as “must attend” events for not only professional gamers, but also celebrities and those in the tech industry. Microsoft just threw a real-life festival at Britain's iconic Goodwood Estate, in Chichester, UK, to debut its new Forza Horizon 4 rally and motorsports game. The weekend festival featured hot air balloon rides, off-roading experiences and basically the ability to see your favorite video game come to life.

The festival gave Microsoft a chance to showcase their Team Adventure mode. This mode gives the experience of chatting with your friends as you play.

When playing on LAN with a full team, Team Adventure mode in Forza Horizon 4 gives players the ability to look at the people on your team as they crash into you, or as you leave them in the dust.

Richard Devine of the Windows Central blog attended the event and is on board

with the community aspect that is making video games so popular. “One thing was immediately clear and remains so to this day (is that) it's definitely best played with friends.”

Atlanta has even become a hub and testing ground for companies producing hardware and accessories for gamers.

For 10 years, KontrolFreek has remained under the radar in Atlanta producing gaming accessories that enhance the gaming experience and give gamers of all skill levels a competitive edge.

KontrolFreek’s R&D includes studying of ergonomics for each product, so it also helps to reduce gamer fatigue, improving overall gaming comfort and preventing injury.

“We are proudly headquartered in Atlanta,” offers Ashish Mistry, CEO of KontrolFreek. “That allows us to have a deep involvement with professional gamers, YouTubers, and our large FreekNation community allows us to collaborate on new ideas and create products gamers actually want and need.”

To celebrate 10 years, KontrolFreek is undergoing a rebranding, which means a new logo, visual mark and updated color palette to go along with new products.

Incredible Cosplay by Tyler Hawk

This creates a visual representation of the strong and growing community of gaming enthusiasts and KontrolFreek evangelists in Atlanta and beyond.

“Our new branding puts a face to FreekNation, allowing us to better connect with our active and passionate community and, more importantly, help them better identify with one another,” adds Mistry. “By incorporating our legacy controller shape into the new logo design, we maintain continuity while advancing the company beyond our core thumbstick product. This upcoming 10-year milestone is exciting and further bolsters our dedication to creating great products and experiences for gamers.”

Mistry said it’s important to get startups in Georgia educated and as partners in the eSports universe. “We support the continued growth of eSports through professional sponsorships and partner programs, and have longstanding relationships with some of the world’s top pro players and eSports organizations.

Fittingly, all of our products are 100% tournament legal.”

Another local collegiate eSports athlete, Thomas Ronan, says the leaps in getting others to recognize the scope of eSports is happening as fast as the local gaming community is growing.

“I’ve seen an incredible jump in the growth of the gaming community, and the overall emergence of eSports as a

global phenomenon heavily within the last (few) years. From seeing universities offer scholarships to players for varsity eSports program to DreamHack coming to Atlanta, the city has an eruptive growth in its gaming scene.” With eSports being the “new kid on the block” and only a small sample size available for analyzing, Ronan, who attended a smaller DreamHack event in Atlanta during the summer of 2017, says the change from one year to the next has resulted in “cooler booths” and an improved layout.

Hi-Rez’s Harris thinks the film industry and other sectors can get on board and partner with eSports events.

“There will start to be more crossover events. Both Dragon*Con and MomoCon added gaming competition and content a few years back, and you will start to see some more at traditional sporting events as well.”

Having students and educators get on board at this early stage with school administrators can also start paying dividends in ways current club and varsity sports do throughout the school year. “The biggest outreach will happen at the high school and college level with structured play,” stated Harris. “Many high school and college kids already play video games, of course, but sometimes it is done in isolation with risk of not being integrated into the school community. eSports provides a more structured way to enjoy video games and play on behalf of your school. It involves cooperation and competition, and when done well, it develops the whole person in ways

similar to traditional sports.” In Georgia, structured high school eSports will begin in many schools this February, with teams competing toward a state championship just like other varsity activities.

Another sign that gaming has arrived in Georgia is the formation of a local Overwatch League. In the fall, the city of Atlanta joined the Overwatch Ashish Mistry from KontrolFreek Courtesy KontrolFreek

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Attendees cheer on the contestants

League, a global city-based eSports league. In the eSports universe, this is akin to a new professional sports franchise setting up shop in a city.

A partnership between Atlantabased Cox Enterprises and Province, Inc., has yielded Atlanta Esports Ventures, and it will operate in the Overwatch League for its new season in 2019. Each participating city or franchise will battle it out in Overwatch, a team-based multiplayer first-person shooter video game. The strength of this league is worth a mention and something to watch with a company like Cox getting involved.

Cox is one of the largest companies in the Atlanta metro area with over 60,000 employees. It owns the likes of Cox Communications, Cox Media Group, Kelly Blue Book, Autotrader.com, the Atlanta Journal-Constitution and some smaller emerging tech companies.

"The popularity of Overwatch and eSports in general has created a diverse fan base that we in Atlanta are excited to engage,” said Paul Hamilton, president and CEO of Atlanta Esports Ventures. “With the creativity of Blizzard

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Entertainment and the determination of Atlanta Esports Ventures, we are poised to create the pre-eminent eSports team in the heart of the Southeast.”

Those looking to create content in Georgia are getting help as well.

PowerSpike is an Atlanta startup geared to help content creators on Twitch.tv connect with advertisers and sponsors.

The company recently acquired $500,000 in funding from notable investors including Techstars Atlanta. There are currently 2.2 million content creators using Twitch.tv, and the best content is getting millions and millions of views each day.

“PowerSpike takes famous content creators on platforms like Twitch.tv, which is a platform centered on video game live streaming, and we help connect them with brands and advertisers for sponsorship opportunities,” CEO and founder AJ Damiano. Damiano, and his team of nine are located in Atlanta’s Ponce City Market and work with midsize businesses in Georgia and around the country in an effort to connect enterprise companies with live-streaming

advertising in an industry that is showing immediate results.

Is the motion picture industry keeping a close eye on the growth of video games and its loyal community?

“We are very excited about the growth of both these industries in Georgia,” stated Asante Bradford, Project Manager in the Digital Entertainment and Emerging Technology division at the Georgia Department of Economic Development.

“We see a lot of the same variables which helped our film industry grow: pro-business infrastructure, access to a talented workforce and of course, ease of access to the rest of the world through Hartsfield-Jackson Atlanta International Airport. The creative industries in Georgia employ nearly 200,000 people and contribute more than $37 billion in annual revenue. We see no signs of this momentum slowing down.”

Bradford also said that DreamHack was a big win for the film industry in terms of networking. “Not only did DreamHack Atlanta give us the opportunity to connect with gaming companies who already have a presence

Cosplay at DreamHack

by Tyler Hawk

here in Georgia, but we were able to introduce ourselves to new digital entertainment companies. One of the biggest challenges facing companies today is workforce. This event put a spotlight on the next generation. We saw participation from local colleges, high schools and even elementary schools increase. In addition, we had the opportunity to offer free access to 50 kids to participate in the DreamHack event.”

Harris and DreamHack organizers say that Atlanta and the State of Georgia are in a great position to benefit from this growth, like Dennis Hayes was with the first consumer modem decades ago. “We have many of the necessary elements publishers like Hi-Rez Studios and Blue Mammoth; league operators like ELeague and Skillshot, events like DreamHack and Dragon*Con, and professional teams as well. One missing piece would be more infrastructure like an eSports arena and team practice facilities - these are the type of venues being built in the other eSports centers like Los Angeles, Las Vegas, and a few cities in Texas.”

Let the games begin!

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“I’ve always had an affinity for equipment.”

Marc Dobiecki

COMMANDER masters atlanta production scene A full-service motion picture equipment rental company, COMMANDER provides camera, lighting, grip, motion control and underwater equipment to a wide array of customers. Marc Dobiecki, an IATSE Local 600 DP and self-confessed gear head, opened the company four years ago.

“I’ve always had an affinity for equipment,” he says. “I had a lot of gear when I was shooting commercials. I finally came to the point when I said I’d have to stop buying it or formalize a rental company.” So he purchased a building and launched COMMANDER, which has enjoyed “steady, non-stop growth.”

The company owns “the freshest fleet in town,” according to Dobiecki.

COMMANDER offers 1-ton, 3-ton and 5-ton lighting and grip packages for commercials, episodics and features.

“Our 2018 Isuzu is a crew cab which is ideal for shooting as far afield as North Georgia, Tennessee, Alabama and the Carolinas. You can load four people into the vehicle,” Dobiecki notes. “It’s the only G&E crew cab 3-ton in Atlanta.” A 5-ton lighting and grip package fills a premium

Kenworth truck.

“I’ve customized the packages through my experience as a DP,” he says.

“They are competitively priced but very crew-centric; the packages are beefed up with quantities of equipment that meet crew needs, which minimizes additional labor. I’m ex-military, so precision, uniformity and cleanliness of the COMMANDER gear is important to me.”

COMMANDER offers a generous assortment of American and Modern grip gear and rigging. It has conventional fixtures plus the newest versions of K5600 Jokers, LiteMat, Litepanel and ARRI Sky Panel 30 and 60 LEDs. “We never have enough Sky Panels,” says Dobiecki of the popular fixture.

He’s been waiting for advances in LED RGB technology before he makes additional fresnel LED purchases, however. “A big shift in LED lighting is just around the corner so we’ve been subrenting some fixtures in the meantime,” he explains. “We like to stay current with equipment. If I’m not purchasing equipment weekly, I’m not doing my job.”

COMMANDER also boasts “a great camera department,” which includes the new Sony VENICE camera systems, Angenieux and Zeiss full-frame lenses

and Cooke anamorphic full-frames.

“We jumped on the Sony Venice,” says Dobiecki. “It shoots Raw 6K, is compact and gorgeous.” He believes the company’s underwater inventory and knowledge is unrivaled outside LA.

This year COMMANDER has filled the lighting and grip needs of high-end corporate cinema, music videos, episodic TV and indie films. Projects include the features Hour of Lead, Levitation and Greener Grass and TV’s Saints & Sinners for Bounce and Pride and Prejudice: Atlanta for Lifetime.

“We’re growing every month,” Dobiecki reports. “We purchased our building to withstand the rigors of whatever might come our way. We’re the full-service camera and lighting and grip company that’s closest to the airport, and a lot of business comes to us because of that proximity.”

Customers have also come to rely on COMMANDER as “solution providers,” he notes. “We don’t just fulfill an order; we look 360 degrees at every job. Production happens at such a fast pace that clients need an extra set of eyes and ears to help them out. We look in all directions as far as clients are concerned.”

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An employee owned company 38

Oz Magazine - film. tv. entertainment.

Dan Philipp and Danny Boy Services provided lighting and grip for a recent shoot for Delta Air Lines

danny boy is music to customers' ears Danny Boy Services, LLC offers lighting and grip support to corporate TV, broadcast sports, commercials, and producers needing EPKs for shows on AMC and OWN. It boasts a 3-ton Isuzu truck and a new Mercedes Sprinter van.

“The 3-ton truck fits larger shows and accommodates a crew of four or five grips and electricians. The Sprinter fits me and another crew member and is great for jobs that don’t require a 26-foot truck like interview shoots or downtown productions,” explains owner/operator and lighting director Dan Philipp. “The two trucks are busy every week.”

The 3-ton truck is “generously equipped,” he notes. “I like to have more equipment than I need so we offer a way fatter package than most companies. I’d rather bring a complete platform and use only what we need.”

The 3-ton package went out on a Delta image piece for a California agency, which shot for five days at the carrier’s airport facilities. “We do a lot of work with Delta and have used the Sprinter package for shoots in the mock-up plane at their training center,” Philipp explains. “This image piece is something that passengers see when they take off from Atlanta. The 3-ton package included ARRI Sky Panels and NILA’s Arina daylight LEDs. We’re hoping that HMIs will take a back seat to LEDs. With their lower impact and lower amperage LEDs have been a sea change for this industry.”

He points out that the Arina LEDs impressed the California-based DP on the Delta shoot; the fixture is also popular with broadcast sports. “For Delta we

“You need to give the cameraman a smooth movement option - it helps sell the truck."

could plug it into an on-board circuit and get a screaming bright interior,” he says. “The Arina draws only 800 watts but has the footcandle roughly equivalent of a 2500 watt HMI.”

Philipp sub-rented some gear for Delta as well. “PC&E was very helpful on this project,” he says. “The DP wanted a 1200 watt lamp for a daylight source pointing at the lens of his ARRI ALEXA, so we got an ARRI M18 HMI PAR. We also got a heavy-duty Fisher 10 dolly with a big slider.”

A national commercial from Atlanta agency DVI for Doosan trucks and heavy equipment, which aired during the playoffs and World Series, also used the 3-ton package. The spot shot at four locations in Atlanta, including Piedmont Park and spent one day each in Arizona and Jacksonville, Florida. Philipp used his 3-ton truck in Atlanta while he and his crew rented a 5-ton packages locally in the other states. “It was a very conventional Atlanta shoot with a lot of exteriors so we provided old school grip gear,” he reports.

The Sprinter typically goes out with Gray Saunders, “our best boy and my right

Lighting and grip provided for a recent shoot for Delta Air Lines

arm for more than 15 years,” Philipp says.

The 1-ton package has been deployed on Hooters and Edwards Pies commercials, Delta industrials, EPKs for The Walking Dead, and projects for Elevation’s Cartoon Network client.

“If a job requires the Arco camera dolly or needs a generator then we have to use the 3-ton truck so there’s still room for lights,” he explains. “Every successful owner-operator has to consider having a real professional camera dolly on the truck. You need to give the cameraman a smooth movement option – it helps to sell the truck. The Dana elevated speed rail dolly system is available on the Sprinter.”

Danny Boy offers a “huge buffet” of Fotodiox FlapJack bi-color LED edge lights and Jupiter circular battery-driven portable LEDs. “The industry is barreling headlong into LEDs, and these are the best for color rendering, brightness and softness,” says Philipp. “I want to avoid buying more HMIs. We’ve invested heavily in ARRI LEDs and plan to add to our complement in 2019, including the likely purchase of a C120 ARRI Sky Panel and perhaps more second-generation ARRI L series LED fresnels.”

Philipp looks forward to a continuing steady pace of business. “When an owner-operator has a full calendar that says something,” he notes. “We’ve made some good choices, and I think our contemporaries would agree.”

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Mark Henderson of Atlanta Films and Get-a-Grip, on the set of a recent shoot for Hertz

versatile get-a-grip atlanta meets myriad need A full-service lighting and grip equipment rental house, Get-A-Grip Atlanta offers 1- and 3-ton van packages as well as audio gear, cameras, and gaffer and grip services. The company has moved into a new facility on the north side of town designed to provide more space for its inventory and a more convenient location for clients.

Although each customer has different needs, it’s often the case that “a producer and DP get off the plane, maybe with a camera, and I supply the camera support and everything else that’s not easy for them to bring,” says Mark Henderson, owner of Get-A-Grip Atlanta and co-owner of the Atlanta Filmworks Studio and Stages.

The 1-ton package is typically used for corporate projects and continuing jobs for WebMD, such as physician roundtables. Music videos, for artists like Janelle Monae and the Migos, often use the 5-ton van outfitted with bigger lights and generators.

The company’s grip inventory includes the Dana dolly and Matthews doorway dolly and track, while lighting fixtures include LEDs, HMIs, fresnels, Kino Flos, open face, Chimeras, Spacelights, Soft Lights, 1x1 bi-color Litepanels and 3x6-inch camera panels.

“Ninety percent of our jobs are like the corporate Hertz project we recently did for a Florida agency,” Henderson says. “I supplied all the lighting and grip gear and gaffer services; it was a 1-ton packageplus. They shot on location at the airport car rental center, which offers facial recognition for customers. For the twoday shoot we provided a 1-ton grip van plus 1x1 Litepanels, 4x4 Kino Flos, Diva 200s and a Dana dolly.”

Henderson served as DP for a corporate Allstate insurance project for which he shot interviews with the Panasonic Lumix GH4 camera, 1x1 Litepanels, a Diva light and a Zoom H6 mic.

“I supply the camera support and everything else that's not easy for them to bring."

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Get-A-Grip Atlanta does a lot of work for FOX Sports, Henderson notes.

In November the company supported a three-day shoot at Fort Benning where the FOX NFL Sunday show broadcast live on Veterans Day to celebrate the military installation’s 100th anniversary. To shoot B-roll footage of troops training and Abrams tanks on the move, Get-A-Grip provided a 1-ton van and 1-ton package featuring Kino Flos, Litepanels, fresnels plus gaffer and grip services.

Interviews for a biography of rapper T.I. required lighting and grip support, including cyc lights, Litepanels, Kino Flos and 6K Spacelights.

The company recently furnished gaffer services for a promo for the Wild ’N Out TV series shooting at Tyler Perry Studios. Get-A-Grip Atlanta also partners with still photographers. For award-winning pet photographer Mark Rogers from San Francisco, the company provided “tons of continuous lights, like stage lighting, which wouldn’t scare the animals,” says Henderson. He also provided 4x4 Kino Flos, Diva 400s, MoleRichardson 10K fresnels, 6K Spacelights and cyc lights.

“The lighting and grip business has been steady,” reports Henderson. “The industry has changed quite a bit, but our ability to be versatile and service a lot of different-size jobs really helps us. In addition, AMC’s Lodge 49, starring Wyatt Russell, has been with our studio since we built it four years ago.”

new deal is a good deal for features and tv

From its Atlanta location, New Deal Motion Picture Grips offers grip packages and trucks to features and television. Its parent company, New Deal Production Services, LLC, is a lighting and grip provider in Virginia Beach, Virginia.

“Since we opened in Atlanta in 2009 we’ve tripled our business and grip inventory, so we’ve found Atlanta to be a very comfortable place for us,” says President and CEO Ray Brown. “Our niche is grip equipment and grip rigging, and that’s proved to be a good recipe for us.”

New Deal has three 5-ton grip trucks in Atlanta along with three 48-foot production trailers with 10-ton grip

Mark Henderson of Atlanta Films and Get-a-Grip on set at Fort Benning

packages. Among the equipment on tap are a range of Triangle jibs, from Junior to Super Plus models, which extend up to 40 feet; Aero 3-9-foot camera jibs; and Fisher 10 and 11 dollies. Typically, the trucks go out with Brown or one of his partners working as the key grip.

And the fleet has had a busy year.

New Deal completed season three of the acclaimed Netflix series, Stranger Things, which as been a customer since its debut.

“They used our 48-foot and our 5-ton, and we supplied equipment for the 2nd unit,” says Brown who served as key grip with partner Wes Bailey, who was one

Ray Brown, New Deal Production Services, Grip Truck

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of the best boys. “It’s a very demanding production; the quality and caliber of the director and producer attached to the series are very high. And they’re not afraid to move the camera.”

New Deal returned for season two of the YouTube Premium series Cobra Kai, which used a 5-ton truck and 48-foot trailer. Partner Benny Smyth served as key grip. Reshoots for the movie Tag requested a similar truck-and-trailer package.

Brown is currently working as key grip on the 2nd unit of Steven Spielberg’s Amazing Stories reboot for Apple, which uses the 48-foot trailer package.

“Streaming content is trending big time,” says Brown. “Series for the streaming platforms fall squarely between big TV shows and big features: Their budgets support high production values.”

Although 2018 started “very slow by our standards” and Brown cites uncertainty about IATSE contract negotiations as a possible reason, he notes that New Deal finished the year “50 percent busier” than the prior year. “We’re confident that the Atlanta production business looks solid for the long term.

We’re about to assess the market and its needs as we look ahead. But right now we’re in a good place.”

tpt atlanta fills unique role

Alex Shaddix, regional manager at TPT Atlanta (The Production Truck), calls the company “unique in the back

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house of production” with rentals to all the various departments involved in a production. Although TPT Atlanta does not carry lighting fixtures it offers lighting expendables and fills most grip equipment needs. “If we don’t have it in stock we can get it for you in a timely manner,” Shaddix says.

TPT Atlanta opened three years ago; its parent company as been in business in Los Angeles since 1997. Atlanta customers are primarily episodics and features; the lion’s share of clients hail from reality television, including Iron Chef Gauntlet for Food Network, Wild ‘N Out for MTV, Forged in Fire: Knife or Death for History Channel, Mama June: From Not to Hot for WE tv, Love & Hip Hop for VH1, House Hunters Next Generation for HGTV, Iyanla: Fix My Life for OWN and The BET Hip Hop Awards Miami.

Feature films serviced this year included Between Worlds and Mary.

TPT Atlanta also works with still photographers from across the country and with SCAD film students.

The company also supplied Now Screaming, Netflix’s Halloween promotion for its slate of scary movies.

Shaddix notes that in the three years that TPT Atlanta has been open he’s seen a boom in content for streaming platforms.

“We’ve seen customers with shows on Hulu, Netflix and YouTube,” he says.

“We have so much entertainment at our fingertips now, and producers have found that it’s not feasible nor cost effective to shoot everything in one location in the

Terry Bright, Alex Shaddix and Corey Boyd

country. Atlanta has such great diversity with our studio infrastructure and production support capacity. We don’t foresee the industry going anywhere but up.”

An indication of that, he points out, is that two years ago TPT Atlanta ramped down for the Christmas holidays, last year it slowed a little but this year it ramped up for a busy first quarter 2019. “Super Bowl LIII at Mercedes-Benz Stadium in Atlanta helps,” says Shaddix. “It will be an opportunity to roll out the red carpet for [industry professionals] who have never been here. We want them to see how cost effective Atlanta is and how we can take care of them. No matter what their needs, they won’t be scrambling for gear.”

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The showrunner for two Emmy-nominated programs talks about the evolution of her career and her love for Georgia’s production community.

By: Christopher Campbell he day I interviewed Myeshia Mizuno, she was in the process of buying a house. “I actually have my home inspection later this afternoon,” she told me as we discussed her relocation to Atlanta. Mizuno is one of the many film and television transplants who are either settling in or purchasing a second residence in Georgia due to the growth of production and job opportunities in the area. “I will always be a Cali girl at heart,” she admits, “but I enjoy it here.”

In her case, Mizuno has constant

gigs in Atlanta working as an executive producer on two hit series. Both are arbitration-based court shows. Lauren Lake’s Paternity Court is the one that brought her to Georgia. Since being here, she also helped launch Couples Court with the Cutlers. During our late-November conversation, we discussed the two Emmynominated programs, the evolution of her career, and her love of the local industry.

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Oz: How did you get started in television production?

MM: I grew up in Los Angeles, Ventura County, and went to Cal State Northridge initially as an engineering major. When I realized I was going to be in study hall for the entire four-year duration, I figured quickly I had to change my major. So, I ended up taking speech and communications, and at the time I didn't realize what I was going to do with that, but I enjoyed the courses.

From there, I got a job at a boutique ad agency in Santa Monica called Donat/ Wald. I worked my way up from being a part-time kind of office assistant to being their account executive and did everything from print to radio and television commercials. That's where I kind of got the bug and the thought of, ooh, maybe I want to be in TV. I left there and got my first gig at MTV. Can you explain more about the “bug”?

The excitement of it. Starting off at an ad

agency working on commercials, it was the feeling of being on a set, the feeling of so many different elements having to be pulled together to make something happen. There's nothing like that feeling, especially what I do, starting with nothing at the top of a week, with an idea perhaps, and then by the end of the week, you’ve shot it and are cutting and putting it together. There's something about that process that appealed to me and excited me.

What are some of the early jobs you did at MTV and for other shows, and what kind of experience did they provide?

My first foray into television production, I went in as a rights and clearance person, which is very interesting, learning and understanding that everything you see can't necessarily go on television. That was a good education. And I worked on a show called Fanatic, which was a big show for MTV back in the '90s. I did that for a few seasons.

From there, I got my entry into court.

I was with Judge Judy's season five, six, and part of seven. She's now in what, season 23? So, it was the early days. That was an education, to say the least. Working with real people and starting to appreciate how to book real people and talk to real people and get people to trust you with their stories just via telephone. I always tell people it's a great skill to be able to get people to divulge and tell their stories and trust you from a cold call. That's kind of where I would say I cut my teeth in learning how to produce.

From there, it's just been a trajectory and you know, that's when you start to learn the freelance hustle, going from gig to gig, show to show, building relationships, which is huge in this business. And I've been very blessed to be in television well over 20 years now.

Does the job still excite you as it did then?

Everyone isn't blessed to build a career in television. And to be a woman . . . to be an African American woman . . . to have done as much as I have has been a blessing, and I have to remind myself of that at times. But I think the excitement of putting something together and seeing it come alive and then watching it play back for you on television, I still get a kick out of that.

I've been blessed to do everything from talk shows to game shows to reality shows to being involved in scripted programming, and having been a development executive. The ultimate is still the process and the final product being aired on television, because it's all the same in that regard. Seeing that finished product air; not just that it comes to life for you, but it comes alive for the general public; that’s very unique about what I do. Having the opportunity to have done a number of different things has been exciting and a pleasure. And yet

there's still a lot more I haven't done that I want to do.

You have primarily worked on unscripted content. Is that your preference?

You know, I've done a lot of daytime, and I think within television you can get kind of pigeon-holed, or you find your niche.

Daytime television has been very good to me, from the talk to the game to the court. I’ve built a reputation of being able to do that. And I think a big part of that is because I'm able to work with real people and get them to tell their stories or express themselves, and from that, to be able to make a compelling piece of entertainment.

So, it's been my niche, and it's kind of the way I've gone. But there's a lot more I’d like to do. I’m not opposed to one day going more scripted or primetime or something very different, and I think having the skill set of being able to be a multi-faceted producer, which is what I consider myself, I'm excited about what could happen later on down the line in my career.

What is so appealing about the court show format?

What I like about the format, and why I think people relate to it, is you get an immediate resolution. Generally within your 30-minute court case, you get some sort of resolution, be it a small claims or be it the type of two shows that I do.

Paternity Court and Couples Court with the Cutlers has a resolution to a personal issue, to a relationship type issue. People see themselves in these litigants. “I've been in that situation…,” or “I remember some time when somebody ran over my fence….”

People can relate very easily.

This is why you've got devotees who are avid court watchers. It's funny for us, we produce so many episodes a year and then if we have an episode repeat,

The Honorable Cutlers on set of Couples Court

immediately our fans will tell us, "I saw that one already!" or "I already know what happened to that!" They're addicted. With Judge Judy, people tune in for her every day. I have a girlfriend who is an executive in New York in television and she DVRs Judge Judy. There's something about the court format as well as the personality, the judges themselves, that people tune in for.

What makes your shows distinct from the rest?

The difference from a Judge Judy or a Judge Mathis or a People's Court, those deal with small claims issues, generally. We deal with a relationship issue. For Paternity Court, we're dealing with a paternity issue. Couples Court, we're dealing with a relationship issue between a couple. Those stories are so prevalent throughout the world.

Paternity Court is so unique in that it's handled differently than any other show that does paternity. I think we handle it in a very careful manner, because it's set in a courtroom and Lauren [Lake], being who she is, gives such wise words of wisdom, and it's very compassionate and sympathetic and empathetic to the litigant.

Paternity Court is a much more emotional show because you're actually dealing with a result that can and does affect someone's life, their paternity.

Having that question answered for someone is pivotal. It's huge. Whether they're a little baby and don't even realize the situation is going on right now or they’re a 30-, 40-, 50-year-old person, which happens all the time, entering our courtroom and saying, "I don't know who my father is," or, "this secret just came out at a family function two years ago that the man I thought was my dad isn't."

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Those stories are just so compelling. I tell people all the time, reality is stranger than fiction. Some of the stories that we've heard . . . and we've now shot, in our six years, over 750 episodes . . . you can't make them up, and you can't believe what people go through and the strength of the human spirit of these people. So, we take great care to allow our litigants to tell their story. We know that we're doing them a service by helping them get an answer.

Sometimes it goes the way they want.

Sometimes it doesn't. But ultimately they leave here with the knowledge that they didn't have beforehand.

And what about Couple’s Court?

Couples Court with Cutlers is slightly different. It's a relationship show.

People are coming because they believe one partner is cheating on the other.

The Cutlers are fantastic and there's nothing like them out there. They have been together almost 35 years. They're practicing attorneys together and they're married and they've raised three adult sons. So they really come from a place of love and compassion and wanting people to succeed in their relationships. We just finished season two for Couples Court, and this time we saw so many people coming specifically to hear from The Cutlers: "I want to know what you think." "I want to know how to fix my relationship." "How do we become people like you?"

So Couples Court can be a little lighter at times, a little funnier, as people are expressing their relationships and their intimate issues and problems. But ultimately, I think the majority of our couples leave with a sense of, you know, "I got to express myself. I was heard, and I got some words of wisdom from the Cutlers, whether or not my mate was cheating or isn't cheating. I've gotten some more information that I needed, and I can now make a decision going forward either to stay or to let this relationship go.�

With both of our shows, I feel we do a service for people, and I feel that we honor and respect people where they are and the questions that they're seeking to have answered.

Both of your shows do have a certain sincerity and respect as opposed to the exploitative tabloid tone you might expect.

I think a big part of that is because it's set in a courtroom. There are other shows that have done paternity, and there are other shows that talk about relationships, but they generally, some of them, poke fun, and then it turns into a bit of a circus.

The court format garners a respect for the process because it's set in a court and you're in front of people in robes, so we can handle some salacious, outlandish, wild situations, but they're done tastefully and with care and a bit of decorum.

You were promoted to the role of executive producer for Paternity Court with the latest season of Paternity Court after having been executive producer of Couples Court. What does that mean for you?

The job title of being an executive producer on both is a lot of responsibility.

Between the two shows, we produce 240 episodes. We have a tight turnaround schedule for both. We're seeing hundreds of people come through our doors. For me, it's working with a production staff, up to about seven different producing teams: social media staff, graphics, post. We do it all here in house.

My objective and a big part of my job is working with my producing team, finding the right stories, laying the stories out. You know, people have a great story, but then how do we make it compelling for a viewer? How do we put that twist and turn in based on what they're telling us, not adding anything to it? How do we come up with a graphic? How do we explain the story? How do we add some movement to the courtroom? So that's a big part of my job is managing this entire staff, helping to develop the stories, dayof-show briefing of our judge on how this show should lay out, giving them a bit of a road map. Their biggest job is to listen and to ask the right questions and to elicit answers that help explain the case.

So day-to-day, I've got a ton of stuff

Myeshia Mizuno

to do. When I'm with Paternity Court, I'm dealing with DNA and dealing with the DNA diagnostics. Couples Court, we use a lot of different experts, from polygraph examiners to an FBI interrogator, working with them in regards to how we lay out the show. So each and every day can be something different. But my biggest job is managing all that we do in order to get quality programming on the screen.

Can you talk more about your experience that has gotten you to this position in your career?

All that I've done has gotten me to this point. I've always managed people, I've always been creative. For instance, I worked with Paul Buccieri, who is now CEO of A&E Entertainment. I go way back with Paul. We did a bunch of different reality shows, competition shows and so forth. Then he went to 20th Television and became president there and I became a development executive with him. One of the biggest things we did was we took Spanish novelas and turned them into English novelas for primetime.

At the same time we launched MyNetworkTV. I was an active part of that as well as overseeing, at the time, the digital component for each of those novelas. We had one called Table for Three, which dealt with cooking and a

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love triangle, so I would produce cooking segments in conjunction with that online.

And then we had Fashion House, which starred Bo Derek, and I would produce fashion segments online to coincide.

It was one of the most exciting experiences I ever had. It was a lot of work.

We worked around the clock. I remember we pretty much turned our offices in Culver City into a post house because we were outputting so much. It was shortlived. I think we did six telenovelas, but the experience was phenomenal and it was another opportunity to stretch my muscles in a producing executive-capacity type of way.

Doing things like The Bachelor. I did The Bachelor in Paris, and this was in the beginning when they were reconfiguring the whole Bachelor franchise to where it has become now. At that time, Lisa Levinson, who is now executive vice president of Wilshire Studios, was the driving force of The Bachelor, and learning from her how to produce and talk to people and how to get people to open up was tremendous. One of my longest production days was insane. It was a multitude of hours in Paris going from one location to the next, setting things

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up. But I wouldn't trade it for anything. I learned so much.

I think all of my experiences of creating, of working, of producing, being everything from associate producer to a producer to a segment producer to a supervising producer to a co-EP has brought me to this point to be able to be an executive producer wearing multiple hats during the day for two very successful, multi-Emmy-nominated syndicated television shows.

Why did Paternity Court relocate production to Atlanta? Did you make the move with the show when it came to Georgia?

Initially, Paternity Court was started in Los Angeles for season one. I didn't join the show until season three, and they were already in Atlanta. It came for season two. I know the move initially was for the wonderful incentives that Georgia does provide. Looking for a place that you can actually grow and develop and do other things was the initial attraction, I believe.

What brought you down here?

David Armour and I had known each other. He is the creator of both Paternity Court and Couple's Court. David was already here and was looking for a number two to come in. He had hired people who had worked with me previously at other shows.

I had just wrapped a project for NBC/ Universal up in Stamford, Connecticut, and I told him sure, yeah, I'll come down. I didn't know that I would love it as much as I do. I thought maybe I'd come down for a season or two. But I've been here now four years and looking to continue. It is my new second home.

What do you love about Atlanta?

I enjoy the seasons without it getting too cold and having to shovel snow like I did back in New York and Connecticut.

I enjoy the people and the lifestyle. And I see opportunity in Atlanta. There's a multitude of opportunities to be had for people, especially a woman of color and being in this industry excited about the additional things we can create and produce here.

Have you found there’s greater diversity in the people working in production in Georgia compared to Hollywood?

I would say yes. This is probably the first time I've ever had a production staff that is probably almost 75 percent African American, and I'm very proud of that.

My years being in Hollywood and other places, it wasn't odd for me to be either the one or one of three African Americans

they ready? Do they want to come in? Do they see this as a life path and a career for themselves? And if they say yes, then that's the type of team player I'm looking for.

This should be something that we are cultivating more and more because there are very talented people here in the city. And now that this is considered the Hollywood of the South, it would make sense to be able to have great people -crew, producers, lighting, camera, sound, everything -- here in Atlanta.

What have you seen changed since setting up shop in Atlanta?

on a staff on a show. So to be able to have more diversity and to have more people of color on two nationally syndicated television shows is huge.

I'm very proud that something I set out to do is hire people of color, women, everything, you know. My ultimate, when I'm looking to hire somebody, is can they do the job. Are they hungry? Are

Since being here, for me, with Paternity Court almost four years and in the two years I've been with Couples Court, the growth and acceptance of what we do here in Atlanta has been phenomenal.

Atlanta is known for movies and a lot of reality television, but what I see as the next chapter are the studio shows. We're a studio-based show. So, like other studiobased shows, be it a talk, be it a court, be it some type of game show, I think that's the next wave that can be happening

here. And I know more and more studio shows are coming down here. One of our competitor court shows is now here in Atlanta.

And just the amenities that are here, you know. I've been able to develop a wonderful producing staff. When the show first came, there wasn't a large pool of people who had produced court or talk shows. It's very different than producing a reality show and extremely different from working on a movie set. Initially, we had to bring in a lot of people who knew the format and the genre, but I'm happy to say now that a majority of my staff is living here in Atlanta. They are Atlanta residents.

That's something I'm proud of, that we’re not bringing in everybody anymore.

People are here. I'm training up new staff that are Atlanta residents, Georgia residents, and I think that's something big moving forward. It's not just projects coming in with their full staff, their full crew, doing a project here and maybe only hiring a few locals and then leaving. We intend to be here, and we're growing local talent.

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TALENT

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Now in his fifth season as Secretary of Defense Gordon Becker on the hit CBS drama, Madam Secretary, veteran actor and tireless champion for the Georgia film industry, Mike Pniewski, is feeling more purposed than ever in real life.

By Neal Howard

OZ: Amidst the political fallout from the 2018 Georgia governor’s race, there has been a call from several actors; Bradley Whitford, Ron Perlman, et al.; to boycott filming in the state. Do you think their crowing will lead to any quantifiable blowback?

MP: No, I think it’s way overblown. First of all, I would argue that it’s not a growing movement; it’s really the same five people.

Everybody keeps writing about it in the same several publications, about how all these people in Hollywood are saying we shouldn’t shoot in Georgia anymore. But they always cite Alyssa Milano, Bradley Whitford, Ron Perlman and Frank Rich, and that’s it. There’s nobody else who has come up and said, yes, we should do that.

I have personally responded to all of them, and I’ve talked to a lot of people about the fact that, no, that’s absolutely the wrong thing to do. Because Georgia now, as Stacey Abrams said, is officially a purple state and we’ve made incredible progress. I mean, she almost won.

Not to mention, my district, the 6th District in Cobb County, elected a Democrat for the first time in 60 years.

Stacey Abrams won Cobb County. She won Gwinnett County, I believe. She made huge strides, and what they’re missing is the fact that, arguably, a large portion of the voters in Georgia are people who are moving to the state for work. And not just in our industry, but in many other industries. They’re transplants, and

they’re people who don’t have that old thinking about the South that is such a problem.

So, we’re making great progress, and if businesses were to pull out now, they’d be throwing up a white flag. No, no, no. Now is the time to stay and keep fighting. A lot of the people who are at the foundation of that fight are people who are now living in Georgia, working in our industry, and making a huge difference for the state.

Sticking with politics for a moment: You’re longest recurring TV role has been on CBS’ Madam Secretary, as Department of Defense Secretary Gordon Becker. How would you define that character?

He’s a man of principle, a career serviceman who believes firmly in this country and protecting this country. And I believe he has a decent heart. In the end, he’s a good human. He’s not a warmonger.

His job is to oversee the military and military operations, and he takes great pride in that.

I also think he has tremendous respect for President Dalton and everybody in the administration. He’s a team player, not a rogue; a fiercely dedicated American servant.

Is there any way in which today’s political climate influences your portrayal of Becker?

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TALENT Honestly, in the moment, on the day, I don’t really think about that much. I think that holds true for all of us [on the cast], in the sense that we’re creating a world that is very different, and an administration that is very different. The reason the show works so well is that it’s not a show that blatantly tries to take a political stance.

It doesn’t stand for or against whatever is going on. In the stories that we tell, in the world that we’ve created, we try to put together a bunch of people who are just trying to do the best they can for the country.

So, I focus less on the world that we’re in and more on the world that we’re creating. I think the writers, the staff, and everyone on the show has done a great job of staying politically neutral.

Revisiting the notion of service, you currently serve as vice president of Atlanta Local SAG-AFTRA. What compels you to do this?

I’ve always had the personal belief that it’s our duty, especially as artists and craftspeople, to learn, to do, and to give back. And that’s sort of a repetitive cycle for me. I’m always learning, and I’m fortunate enough that I’m able to work and apply my craft, but at the same time, I believe very strongly in giving back to the people who need it, and in the organizations that serve and protect our contracts and allow us to make a living.

I feel very strongly about service.

All of us on [the SAG-AFTRA board] have worked really hard to raise the profile of our market, to protect the working conditions in our market, and to raise opportunities in our market, and it’s been really effective. I really enjoy being a part of that and making a difference beyond myself. I’m fortunate enough to work and to have agents who represent me, protect me, and take care of me, but I know there are people who don’t have that, people who are members that need that protection, and that’s what the union is for. I want to use whatever leverage I have to make a difference for the greater community.

I don’t know if you still qualify as an Atlanta transplant, given that you’ve been living and working here since the early ’90s, but you actually grew up in Southern California and started your 54

Oz Magazine - film. tv. entertainment.

formal training at UCLA. What was life like as a kid in L.A.?

It was a different time to grow up out there, and I grew up in Orange County, which truly was a suburb back then. There were still orange fields and strawberry fields in Orange County at that time. We lived seven miles from the beach, and I could ride my bike to the beach and nobody would think anything of it.

In fact, I liken it a lot to the suburbs of Atlanta, where we were able to raise our kids. When we decided to move here, it was very much like the suburbs where I grew up. I had a great childhood, a great family, and a great support system.

I went to high school in Orange County and college at UCLA, and I was there at a time when there were some really, really talented people who are now doing some great things in our industry.

I got some great training there, a great appreciation for the craft of acting, and I treasure that experience. I bleed Bruins blue and gold to my core.

What was the impetus behind your move to Atlanta in ’94? Was it just a quality of life decision?

It was purely quality of life, not a business decision. First of all, I married an incredible Southern girl . . . you know the power they have . . . and her family is from Atlanta. So, I spent a lot of time going back and forth, and I always hated leaving Atlanta and going back to L.A.

We just enjoyed the quality of life, and when we started having children, we just realized we didn’t want to raise kids in L.A. Now, this is no offense to my friends out there who have; they have all done a fabulous job. But for us, we saw another way.

At that point in my life, I decided to act on priorities, and my number one priority has always been my family. I really felt like, if we can do our best to set up our family to have the life we want for them, I’ll figure out a way to work. At the time, there was some decent business in Georgia with movies of the week and a couple of TV series. Of course, now, over the last 10 years it has been fabulous.

So it was somewhat serendipitous the way things came together for you

here. You didn’t move here for work, technically, but the Georgia film boom brought the work to your doorstep all the same.

Yeah, it was pretty incredible. Obviously it was due to a lot of hard work by a lot of really good people, but it just turned out that Atlanta’s got a lot going for it in terms of shooting a location. There is, and there always was, a terrific crew base. Plus, it’s a hub for Delta, so you can get nonstop flights from L.A. or New York or almost anywhere in the country, so it’s an easy in and out.

Yeah, Atlanta has had a lot going for it as a production center for a long time coming.

I was talking to a friend of mine at Atlanta Models & Talent the other day, owner Sarah Carpenter, and she mentioned that they’re now representing your daughter, Hannah Pniewski.

Yes, my daughter, Hannah! This is one of the coolest things that’s ever happened in the industry for me. I’ve done a couple of episodes for The Resident, which is shooting in Atlanta, and in the last one that I shot last week, they also hired Hannah in the same episode.

Did you two get to shoot a scene together?

No, we were not in a scene together. But the work she did in her scene contributed to the demise of my character. [Laughs]

It was really cool. I was so excited about that. More excited than anything else that has happened to me.

The children are here to replace us, after all.

Yes, they are. And I’m fine with that, believe me. She’s doing great. All of my kids are doing wonderfully.

What is your advice to her as she comes up in the business?

I give her the same advice that I give to everybody. The bottom line is that you’ve got to do what you love. If this is her calling, if this is her path, if she feels in

her core that this is where she’s got to be, then you do it and you don’t let anybody stand in your way.

But I also say, if it’s not [acting], there is no shame in saying, ‘You know what, I don’t have the fire that you need.’

Then you can move on to whatever that thing is that does give you the fire, to propel you into whatever your calling is.

But so far, it seems like she’s got it. She’s a tenacious worker, and she’s fiercely committed to having a long-term career in this business.

"I’ve always had the personal belief that it’s our duty, especially as artists and craftspeople, to learn, to do, and to give back."

I’ve read that you’re a big believer in actors receiving formal training. After 30-plus years in the business, how do you keep your own skill set sharpened?

Mike Pniewski

Well, I’m fortunate to stay sharp because I’m working a lot.

What I always do, though, and what I always have done . . . any good actor does the same thing . . . is you watch what everybody else is doing. You watch what the new, young actors are doing. You steal from each other. We always do. No shame in that. Because if I do what Sam Jackson is doing, it’s going to come out differently from me than it did from him. No one is going to say, ‘Hey, you stole that from Sam Jackson!’

But I’m always trying to keep up on trends. A lot of our industry on the casting side has all gone digital, electronic.

I try to stay on top of that, too. But as far as my work, I think one of the cool things about getting older and being in this as long as I’ve been in this, is that you try not to think about it so much. It’s not so much a thought process as it’s really about finding an emotional core and what the character’s fighting for. Keep it simple.

I think what happens over time is, and this comes with being more comfortable in your own skin, the process becomes simpler. It’s not easier, it just becomes simpler . . . we’re in the emotion business, so our job is to move an audience. What moves an audience is characters who are fighting for things that matter and who are trying to elicit an emotional response. So, when I get [a new role], I pay really close attention to how I’m emotionally responding to it as it’s coming off the page.

What was the last performance you saw that really moved you?

I know a lot of people have talked about this, but A Star Is Born. I’m a big fan of Lady Gaga, and I always have been, but I thought she was brilliant in this.

I also really liked what Bradley Cooper did in that movie, because it was transformative in many ways for him: how he changed his voice, how the behavior was so unique, and just the way he did his work. I saw interviews with him about the way he directed it, what his process was there. I thought it was really, really powerful stuff. I’d like to work with him someday.

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Women in Film and TV panel, with (left to right) Sara Tremblay; Angi Bones; Tina Rodriquez; LaRonda Sutton; Jen Farris; Jennifer Fox-Thigpen; Mir Harris

December 5th

Hundreds Join DeKalb Entertainment Commission for 2018 Entertainment Expo

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he More than 300 people attended the DeKalb Entertainment Commission’s second Entertainment Expo in November.

The event featured resources and information for residents, companies, and professionals seeking to build their presence in the entertainment industry.

The Expo featured panel sessions, handson workshops, pitch opportunities, one-onone meetings with industry professionals and industry related vendors. It went

in-depth on the latest industry trends, and provided opportunities for attendees to walk away with tangible items to enhance their portfolios.

Industry experts gave guidance on how to get into the entertainment business in Georgia. From seasoned professionals to those just starting out in the industry to Atlantans looking to make a career change, everyone left with a wealth of knowledge.

“This year’s Entertainment Expo gave

attendees the opportunity to connect with industry experts, learn how to build collaborations, and gain the skills they need to create their open content and opportunities,” said Shelbia Jackson, director of the DeKalb Entertainment Commission. “The DeKalb Entertainment Commission works throughout the year to build economic development opportunities for residents and companies.”

11Alive Entertainment Anchor and Host of The A-Scene, Francesca Amiker, moderated a panel that included Atlanta actress Kai Ture.

Jen Farris; Mir Harris; Angi Bones; Lisa Cunningham; LaRonda Sutton; Tina Rodrique; Sara Tremblay; Jennifer Fox-Thigpen

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Music industry expert Melissa Love talks with Expo attendee and Atlanta musician Mark Universe.

DeKalb Entertainment Commission Director, Shelbia Jackson; Taharka Sankara, Director of the Cinema Program at Georgia State University; DeKalb Entertainment Commission Production Manager Dee Dee Murray.

11Alive Entertainment Reporter and Host of “The A Scene,” Francesca Amiker.

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Mr. Richard Jones gathers the crowd for updates and a moment of reflection

Organizer Katie Wilson and Graham Parker

October 14

Sarah Jones Field Day

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Mugging with a pooch

ctober 14, 2018 marked the 5th consecutive event celebrating the life and energy of friend, colleague, and filmmaker, Sarah Jones.

Since Sarah’s life was taken due to negligence on set, her family and some of those she touched have taken the opportunity to raise awareness of safety protocols in the fast paced production world. With initiatives like the Sarah Jones Film Foundation awarding safety based grants to university students in film making programs at UGA and Columbia amongst others, there has been a grassroots movement with the simple mission

statement #neverforget #neveragain.

Around 250 members of the Atlanta Film and TV community came together at Bessie Branham Park in Kirkwood for a few rounds of Badminton, Tug-of-War, Drive the Spike, Spike-ball and Cornhole all while enjoying complementary food trucks, coffee and T-shirts to help spread the message. The event was sponsored

by Cinelease, a national Film/TV Lighting Rental Company and staffed by volunteers from Productions currently in Atlanta such as Dynasty, Stranger Things, Legacies, Star, The Gifted, and The Resident.

Another gorgeous day for community and rememberance

The Jones Family and Friends (L to R) Trevor Stott, Eric Henson, Colin Duran, Gannon Murphy, Eric Jones, Richard Jones Tug O' War- Show versus Show

Drive the Spike Competition

Amanda Etheridge and Eric Henson

SpikeBall Tournament

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Guests enjoying Booth Bomb

December 9th

Cold Weather – Hot Holiday Industry Party

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he weather outside was frightful but Georgia Production Partnership’s 2019 Holiday Industry Party and Fundraiser was definitely delightful. Hosted by event venue Le Fais do-do, the celebration brought together all parts of the film and entertainment industry to toast to 2018 successes! DJ Topheer Taylor Radial Entertainment kept the party hopping while Handy Entertainment brought Zoltar the Fortune Teller and a face painting artist

along with fabulous party photo booth Booth Bomb added sparkle to the evening.

Members and guests alike munched on delectable from Southern Spoon, Who’s Got Soul, Le Fais do-do and Food with Purpose. Along with having a wonderful evening, the proceeds from the evening go to support GPP’s mission to protect the production tax incentive and support the continuing success of the industry.

GPP Photographer Hannah Pniewski with her mother and director, Jaye Pniewski

Radial Entertainment’s Topher Taylor

Zoltar the Fortune Teller shares insights into the future

Thom Abbott snaps a pic of Ray Benitez and Gabriela Aguilar

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GPP Social Media Director Tammi Tanaka Jones and husband Michael

Guests play with props before

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December 6th Brad James

Shante Bacon, Larry Cooper, Saptosa Foster, Reece Odum & Sean Baker 2

BWFN Holiday Party Brings Out Atlanta's Black Film & TV Community

I

n December, the Black Women Film Network (BWFN) held its annual holiday party at The Gathering Spot in Atlanta. Over 500 film and television professionals convened to toast a year of excellence in Georgia’s production industry. The event recognized the work of several industry talents who were involved in hit movies and TV shows filmed in Georgia. Guests of honor included talent, crew, casting directors, directors and producers.

Photos courtesy of: Chris Mitchell

November 2nd - 3rd

Attendees

2018 BWFN Holiday Guests of Honor

Roger Bobb

Step Up And Pitch It Summit 1.0

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tep Up And Pitch It Summit 1.0 serves as an intermediary whose sole objective is to provide screenwriters an opportunity to present written projects to industry professionals. We have had several success stories already. One of our participants signed with a network for a docu-series, and several have already had follow-up meetings and are in development with key producers. Our goal is to make a difference and see our participants work in TV and Film.�

Wayne Overstreet, Kathleen Bertrand, Audrey Daniels, Roger Bobb, Matthew Goings, Kalena Boller, Yvonne Hollis

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Ben Davis & Lowrey Brown

Anisa Nyell Johnson, Alexa Rachelle, Cree Davis, Raj Kala

Pam Smith & Will J. Melton

December 5th

People Store Celebrates 35 Years

Rick Estimond

T

he gala event honored People Store founder Rebecca Shrager. To celebrate the talent agency’s 35 years in the business, People Store talent and industry leaders from television, film and commercial productions partied at Atlanta’s Stave Room.

Rebecca Shrager, John Curran, Brenda Pauley Clay Neal

Barkley Harper & Greer Barkley

Jason Williams & Pilot Bunch Terri James & Steve Keck

Brian Beegle & Anasofia Trujillo

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Wendy Wynne, Lace Larrabee, Beth Keener, Anna Enger, Sara Antonio, Greer Howard

Julian Pouncy & Carla Fisher

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Tim McCabe, Ric Reitz, Clayton Landey, Jon Haydn, Melissa Goodman, Janet Wells and Sarah Carpenter lead the room in the happy birthday song for Martha Byrd

December

SAG-AFTRA Atlanta Celebrates 2018

A

tlanta’s professional actors, talent agents and casting directors toasted another successful year at the union’s annual holiday festivities hosted by The Shakespeare Tavern in Midtown. Singing, mingling, laughing and dining kept the evening lively and joyous.

Atlanta Local President Ric Reitz even led the chorus to celebrate still-working-member Martha Byrd’s 95th birthday!

Tim McCabe, Janet Wells, Jon Haydn performing on stage

SAGAFTRA staff, members and guests

Atlanta Local President Ric Reitz and Local Staff – Ruth Paul, Melissa Goodman, Susan Moss, Alison Wise and Briana Franklin

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December

GPP Hosts Top Casting Directors

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PP’s December meeting featured a packed house as talent and agents came out to hear a powerful panel of casting directors. Olubajo Sonubi, Tara Feldstein Bennett, Chase Paris and George Pierre have cast many of the best and most popular productions. They offered

compelling advice and behind-the-scene stories for those who work in casting or on the talent side. Host John Wilkins lead them through insights on topics ranging from networking, marketing, auditioning – and of course all the Do’s and Don’t’s that get their attention in good and bad

ways. Elections were also held with Melissa Goodman returning as the organization’s Internal Governance position and Peter Stathopoulus taking over as chair of Government Relations.

L-r: John Wilkins, Chase Paris, Tara Feldstein Bennett, Olubajo Sonubi, George Pierre

GPP Co-President Lisa Ferrell welcomes everyone

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Nominating Committee Chair Rebecca Shrager runs the 2018 election process

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