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ENVIRONMENTAL MEDIA ASSOCIATION
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STAFF Publishers: Tia Powell (Group Publisher) Gary Powell Michael Garland (Assistant to the Publisher)
Editorial: Gary Powell
CONTRIBUTORS ANDREW DUNCAN He is known in the motion picture industry as “Drewprops,” has been writing about the craft of filmmaking from the inside out since the mid-1990’s. His confusing and often embarrassing stories from behind the scenes provide a unique insight into the craft of filmmaking from the perspective of the shooting crew, artists, and designers who bring your favorite films to life on the big screen. (p.60, 64, 66, 70, 75 / www.drewprops.com)
Sales: Monique McGlockton Kris Thimmesch Martha Ronske
TIM McCABE Tim McCabe of Neverland Film Services is an accountant and paymaster for productions of all types and the co-president of the Georgia Production Partnership. (Sign Here p.69)
Contributors: Linda Burns Andrew Duncan Tim McCabe Allen Rabinowitz Lorna Wilson Lisa Wright
Creative Director: Kelvin Lee
Production and Design:
Kelsey Waugh Ted Fabella (Oz Logo Design)
Cover Image: Huainan Li Eye Glass Photo Stills: The 12 Lives of Sissy Carlyle - Fran Burst-Terranella: Director/Producer
www.ozmagazine.com www.facebook.com/ozpublishing www.twitter.com/ozpublishing (404) 633-1779 Oz Magazine is published bi-monthly by Oz Publishing, Inc. 2566 Shallowford Road Suite 104, #302 Atlanta, GA 30345 Copyright © 2015 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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ALLEN RABINOWITZ A contributor to Oz since 1993, covering advertising, cinematography, graphic design and photography. One of the first chroniclers of the Punk Rock scene in his native New York, Allen’s work has appeared in local, national and international media including Communication Arts, How, Photo District News, Shoot, Folio, Agence France-Presse and Georgia Trend. (What I Dig About “The Biz” p. 26)
LORNA WILSON Stephanie Hotchkiss is a senior at the University of Georgia and will receive a degree in Mass Media Arts in May 2015. She has a passion for commercial editing, trailers & unscripted television. After graduating, she will further her career as a film editor. (Voices p.22)
LISA WRIGHT Lisa A. Wright CPA who offers accounting, tax and business advisory services to individuals and businesses. Specializations include entertainment, non-profits and small businesses. She also provides production accounting services for film. Currently she serves as the GPP Treasurer and on the Black Women Film Network Guild. (Lights! Camera! Action! p. 44 / www.lawrightonline.com)
OZCETERA ATLANTA FILM FESTIVAL
WHAT I DIG ABOUT
BLACK WOMEN FILM SUMMIT COVER STORY
06 OZCETERA 22 VOICES: The Production Network 24 HOW I GOT INTO THE BUSINESS 26 COVER STORY: What I Dig About “The Biz” 38 OZ SCENE:
38 Atlanta Film Festival 40 Black Women Film Summit
43 CREW SPECIAL
86 LET ME GIVE YOU MY CARD 88 NEXT GEN
MAY / JUNE 2015
UNDER CONSTRUCTION: THIRD RAIL STUDIOS
he Integral Group has teamed with Capstone South Properties to begin development on Georgia’s newest film and television production studio at the site of the former GM plant in Doraville. The first phase of construction will be an adaptive reuse of an existing 130,000 sq. ft. building to accommodate 60,000 sq. ft. of sound stages, 20,000 sq. ft. of production support plus mill shops, related vendor spaces and administrative offices. At full build out, the media complex will be a 270,000-squarefoot facility, becoming the first film studio of its magnitude north of Atlanta and inside the I-285 Perimeter. The production studio will be known as Third Rail Studios, a reference to the three rail lines that previously served the General Motors Doraville assembly plant, as well as the creative energy the media production community will bring to the development. The now defunct rail lines will be preserved and integrated within the landscape, akin to New York City’s High Line. The studios will anchor the Yards District portion of the site, a one-of-a-kind destination for dining, entertainment, parks, art, retail, makers, and other businesses. “The studios are just the beginning. We expect this initial phase to be a catalyst for the formation of a broader community of innovation,” said Christopher Martorella, Integral’s president of commercial real estate. The former GM site will hereinafter be referred to as ASSEMBLY, Doraville, USA, an acknowledgment of the site’s history as an automobile manufacturing plant, as well as its future as a place of community and common
purpose. It also reflects the potential of this important project to knit together this part of the region as an economic node. “Urban transformation is at Integral’s core,” Martorella said. “The emergence of ASSEMBLY, the Yards District and Third Rail Studios is another example of Integral marrying high-design with high-density and connectivity. With an expected build out of over 10 million square feet of mixed-use development over the next decade and an estimated economic impact upwards of $3 billion, we expect ASSEMBLY to be a game changer for Atlanta.” “This will be unlike anything we’ve seen in Georgia,” said developer Michael Hahn, president of Capstone South Properties, who brings his expertise in previous studio development and business operation to the venture. “The site’s transportation history and rail yards are symbolic, as Third Rail Studios and the Yards will continue to transport creativity and content to and from the region. This is a story of remarkable transformation as the Yards District establishes itself as a true creative community for artists, film and television production companies, musicians, chefs, and others.” ASSEMBLY is in a designated Opportunity Zone, an added benefit to businesses located on site as those businesses will receive a $3,500 per year tax credit for five years for each new job created. “We could not have asked for better partners than the City of Doraville, their Mayor Donna Pittman and DeKalb County who have actively provided the support necessary to promote an environment at the site to attract
jobs and businesses that will begin to transform the area,” added Integral project executive Eric Pinckney. The design for Third Rail Studios is led by Janson Tsai, a division of award-winning architectural powerhouse Perkins Eastman. Previous work includes design of Kaufman/ Astoria Film Studios and Steiner Film Studios in New York, as well as projects with Imagine Films, CBS Television, NBC Universal, ESPN, Disney, and Sony – among others. “We’re excited to bring our expertise to the design table and participate in this impor tant projec t,” said Dennis Janson, managing principal at Janson Tsai. “Atlanta is quickly becoming a mecca for filmmaking, and I am excited to add Third Rail Studios to our portfolio.” Third Rail’s location inside the perimeter boasts direct access to multiple forms of public transportation and major interstates as well as amenities such as food and entertainment. The studio is located just two miles from PeachtreeDeKalb Airport and 25 miles from HartsfieldJackson Atlanta International Airport, Buckhead (7 miles) and Midtown (12 miles). “With the Doraville MARTA station across the street and the Chamblee station down the block, Third Rail Studios is close to everything. A prime Peachtree Road location will make it convenient for production company workers and vendors to get to and from the studios.” Hahn added. Third Rail Studios is slated to open for business during the fourth quarter of 2015.
MY PICTURE GOES HERE
ealize your photography at the country’s largest, annual, communit y-oriented photography festival. At the annual Atlanta Celebrates Photography (ACP), you’re only limited by your imagination. Now’s the time to start preparing your exhibition, artist’s talk, photo-walk, book release, or whatever photographic event you can dream-up! ACP is
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open for listings for the ACP Festival Guide, the official listing of more than one hundred events and exhibitions across the Atlanta-metro area dedicated to the photographic experience. Already planning events for the fall is the Atlanta Photography Group Gallery at TULA arts center, including public art exhibitions, inspiring lectures, photobook fair, portfolio
review and more. From a display of your prints at your local coffee shop to the finest galleries in town, your ideas are the “secret sauce” that makes October such transformative time for ACP.
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MAY / JUNE 2015
HONORS ABOUND FOR MOUNTAIN VIEW
ountain View Group, Ltd. and its client partners were recently honored for their creative communications work at several awards competitions including the MarCom, LACP, and Telly Awards. The award-winning entries exemplified the breath of Mountain View’s capabilities, with winners including designdriven digital content, internal communication videos, and strategic brand manifestos. T h e C o c a - C ola Fre e s t y l e L a u n c h Campaign, a short music video that showcases Coke’s new app for their revolutionary Freestyle Machine, won numerous awards, including a Gold LACP Spotlight Award and a Platinum MarCom award. Mountain View also received a Platinum LACP Spotlight Award and an Honorable Mention by MarCom for their work on a PowerAde Social Media campaign. These inspirational teasers, created for the FIFA World Cup in Brazil, showcase real life stories of professional soccer players and how they overcame personal struggles through the power of purpose. GE, a longstanding client partner of Mountain View, was awarded a Platinum MarCom for the Power Conversion Leadership Meeting Open, while GE Power & Water won a Gold MarCom Award for the KOSPO Customer Sketch Video, a time-lapsed whiteboard sketch illustrating a KOSPO customer profile and their place in the energy landscape. The High Museum of Atlanta won a Gold MarCom Award for the Dream Cars Exhibit Video and a Silver LACP Spotlight for The Tuileries Exhibit Web Video. Both videos served to promote temporary exhibits in a playful and humorous tone. Mountain View’s work with interviewbased videos also received numerous awards, including a Silver LACP Spotlight and Platinum MarCom Award for Alcon’s Patient Testimonial Video, as well as and a Bronze Telly Award for Interval International’s Member Testimonial
Video. The ARDA Booth Video 2014, which introduces a new digital application for Interval International sales associates, won both a Gold MarCom and a Bronze LACP Spotlight Award. Lastly, Manheim received a Gold LACP Spotlight and a Gold MarCom Award for the action-themed All Employee Meeting Gathering Video. The look and feel of the piece uses the trope of a heist movie in which an ace team of crack professionals is assembled to perform their specialties to reach a common goal. Four new hires for MVG Atlanta. Before joining the MVG team as production manager, Chasity Evans graduated with a B.A. in Mass Communication and a concentration in Television. She has extensive experience doing both pre, pro and post production work on everything including feature films, television shoots, music videos, documentaries, and commercials. Chloé Demeunynck is the new associate producer at Mountain View’s Atlanta office. After graduating with a B.A. in Psychology, she gained experience working in marketing and communications before joining the MVG team. Renée Whiten is the new office manager in our Atlanta office. After graduating from Syracuse University with a degree in TV, Radio, and Film Production, Whiten worked on numerous shows including a TV travel show called Escape, Ed McMahon’s national show, Next Big Star, and the PBS series Real Moms, Real Stories, Real Savvy. Hilary Harmon is Mountain View’s digital marketing specialist. After receiving a B.S. in Communications, she went on to work in public relations and as a wedding planner before joining the MVG team.
New to Mountain View Group: Chasity Evans, production manager; Chloé Demeunynck, associate producer; Renée Whiten, office manager; and Hilary Harmon, digital marketing specialist.
BILLY GABOR TAPPED AS MANAGING DIRECTOR OF DELUXE
Billy Gabor, Managing Director, Deluxe Creative Services, Atlanta Studio.
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eluxe Creative Services has promoted Billy Gabor from senior colorist to managing director of its Atlanta studio, which currently is home to local outposts of Company 3, Method, Encore and Beast. The new position serves to further unify the post production services of each company under the creative services umbrella. “Billy and I have worked side by side for more than 15 years as he has grown through our ranks. I value his insight and work ethic, and have every confidence that he will be an excellent leader as we expand our business locally in Atlanta and globally through our Creative Services network,” said Stefan Sonnenfeld, CEO, Deluxe Creative Services. As one of the first colorists at Company 3 in Santa Monica, Gabor has been a key presence
within the company since 1998. He helped establish Company 3’s east coast operations in 2001 by opening and subsequently leading the New York office. In 2011, Gabor relocated to Company 3’s Atlanta outpost to serve as a senior colorist and advise on business development opportunities. Over the years, his passion and creativity for the craft have earned him the loyalty of top directors, DPs and creatives. Furthermore, his impressive body of work across feature films and television has been recognized with awards from Sundance Jury, Clios, Monitors, AICP and Cannes Lions, among others. In this expanded role, Gabor will provide clients with a streamlined post production experience by applying his industry expertise across services offered by Company 3, Method, Encore and Beast in Atlanta.
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THE TRAVEL BUG
Jodie Edwards heads up the Atlanta office of The Appointment Group Global Film and Media division.
ravel agency The Appointment Group has opened an Atlanta office. The new company is a fully owned subsidiary of The Appointment Group London. This new venture will join TAG’s other operations in New York, Los Angeles and Australia in addition to its UK base. The office will primarily concentrate on corporate business and Georgia-based feature films and television productions. A new division, The Appointment Group Global Film and Media (TAG Global Film and Media), focuses on its rapidly increasing media client-base. The division will be present in all of the TAG offices worldwide, with an emphasis on London, New York, Los Angeles and Atlanta. TAG’s move into the world of film and media has come about almost exclusively due to the reputation it has built up working for over 25 years with the music touring industry. By managing the travel and accommodation
logistics of some of the highest profile artists in the world and the complexities involved, TAG has become a natural home for media and film business. To drive the new division forward TAG has created a management team which brings with it a wealth of knowledge and experience in managing travel for this unique industry. Jodie Edwards-Locke (managing director) who in her nine years with the company has risen from junior travel Consultant to board director will head up the division. Michael Dovey and Rhys Thomas will support her. Dovey, who has been involved in the travel requirements for a variety of large and small-scale productions for the last 20 years, will be responsible for operations. Thomas (an award-winning film producer himself) will manage the business development and client relations aspect of the brand.
FOR YOUR POLYGON PLEASURE
olygon, a dedicated space where all web, tech and creative groups can hold events without having to worry about cost, parking, etc. is now open in Atlantic Station. Available to customize events of any kind, Polygon offers several layouts to suit multiple styles of events: a classroom setup for up to 80 people, theater-
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style seating for 150, or a casual social setting with standing room for up to 250. Polygon is the brainchild of J Cornelius, president of Nine Labs and also AWDG. Rental rate for Polygon is $100 per hour, with a 2-hr minimum, and includes a stage, two projectors/ screens, microphones, chairs and tables already
set for your event. AV is so simple, you just plug in and play. The space is open to all tech, web, and creative events. Anything from meet ups, lectures, workshops, small conferences, training sessions, hack-a-thons, breakfast series, lunchn-learns, photo shoots, film screenings, or art shows.
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MAY / JUNE 2015
90 MINUTES IN HEAVEN WRAPS
t’s a wrap for 90 Minutes in Heaven, filmed in Atlanta, starring Hayden Christensen (Star Wars, Jumper) and Kate Bosworth (Blue Crush, Superman Returns), and written and directed by Michael Polish (The Astronaut Farmer, Twin Falls). 90 Minutes in Heaven also is the first movie from Giving Films, which uses its profits to help widows and orphans. 90 Minutes in Heaven, scheduled for a fall 2015 release, is the true story of Don Piper’s death in a crushing auto accident, his experience of heaven and, spurred by the prayers of a pastor on the scene, his return to life and many months of grueling rehab. “The book sold six and a half million copies in 46 languages because it brings hope to the hardships and challenges of our lives now,” Rick Jackson, founder of Giving Films, said. “If you loved Don’s book, you’ll love how this film widens his story to also show the people around him. If you haven’t read the book, you’re in for a great evening at the movies.”
Michael W. Smith (Second Chance), GR AMMY and Dove-award winning singer and songwriter, appears in a leading role in 90 Minutes in Heaven as family friend Cliff McArdle--Eva’s rock when the accident news reaches her. 21-time nominated and multiple GR AMMY Award-winning ar tist, Dwight Yoakam (Sling Blade, Panic Room), makes a comedic cameo as Lawyer Beaumont, Don’s attorney. Veteran actor Fred Dalton Thompson (Secretariat, Die Hard 2) is straight-talking Jay B. Perkins, who convinced Don to accept help. Don’s best friend, David Gentiles, is played by Jason Kennedy, correspondent for E! News, now host of Beyond A.D., a digital talk show companion to the upcoming network series, A.D. The Bible Continues. 90 Minutes in Heaven is produced by Jackson, Randall Emmett, Dawn Olmstead,
(L to R:) Hudson Meek (Chris Piper), Bobby Baston (Joe Piper), Elizabeth Hunter (Nicole Piper), David Clyde Carr (Eva’s Dad), Kate Bosworth (Eva Piper), Hayden Christensen (Don Piper) and Catherine Carlen (Eva’s Mom), welcome Don home from his 13-month hospital stay in a scene from 90 Minutes in Heaven, from Giving Films, LLC. (Photo credit: Quantrell Colbert)
Michael Polish, and George Furla; executive producers are Wayne Marc Godfrey, Ted Fox, Trevor Drinkwater, and Jason Netter. Giving Films began operations in 2015 to address the need for more high-quality faith and family films—entertainment that also can open doors to wider audiences. All movie profits earned by Giving Films go to charity.
LARRY ROBERTSON JOINS LOCAL SERIES
ocal independent TV series The Grand Prince of Moscow is now raising funds on Indiegogo. Four time Emmy-award winner and 30 year film veteran Larry Robertson directs the series. Edward Reid is the creator, writer and producer, and, Kevin Cole is the co-producer
and business partner. The show features a lowlife “wannabe” mobster/screenwriter who ends up in Moscow, Idaho after a hazy night of drugs, parties and a botched execution plan. Now he must lay low as he works at a rehab center helping others overcome their addictions while
also facing his own demons from his past. They have one teaser out on YouTube and a trailer on the Indiegogo site. There is a full cast and vast following with a Facebook site that has 22,000+ likes and 21,000 Twitter followers.
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MAY / JUNE 2015
MAKEUP ON DEMAND
ne of the biggest struggles for a professional makeup ar tist in the Southeast US was finding industry standard products and having direct access to them,” says Jessie Harris, local makeup artist and educator, “and as a result, I gathered support from likeminded local artists & filmmakers and created Makeup On Demand, Inc. for beauty and special makeup effects supply.” Makeup On Demand opened its first location within the Pinewood Atlanta Studios Production Centre and is making its mark as a convenient access point for local productions that would otherwise continue
Makeup artist Jessie Harris, seen here working on set, has opened Makeup On Demand in the Pinewood Atlanta studio complex.
FREE MONEY, FAKE DRUGS
JR Props continues to bulk up its prop offerings. They just added 100 new working computer sets to make any office set or bull pen look great. They all work and they’re perfect for playback. They also added eight new wall-style ATM’s that
light up, complete with new prop money. Recently, they fabricated lots of fake drugs for a feature in New York City. And Atlanta Magazine recently featured RJR Props in their cover story, “Secrets of the City: Hidden Gems of Atlanta.”
spending exuberant amounts of time and money on shipping and handling. Along with establishing itself as a reliable product supplier, MOD is also preparing to announce dates for their upcoming makeup workshops. Each module, be it beauty, fantasy or gore, will be taught by experienced artists who specialize in that particular facet. Makeup On Demand announced its official opening earlier this year at the Chik-fil-A 2015 Charity Gala, where the attendees got an interactive experience of what exactly goes on behind the scenes of a movie production.
Rich Rappaport of RJR Props, hitchhiking in front of a server rack built to dress a recent set.
NORTH CREATIVE ROUNDUP
orth Creative senior 2D/3D designer & VFX artist, Jenna DeLorenzo, and sound designer, Juan Baez, teamed up with Cartoon Network Latin America to work on the
commercial spot graphics for DreamWorks’s upcoming release, HOME. Out on the plains, senior editor/compositor, Rob Lederman, provided color and finishing for Golden Corral’s
current promotion Sticker Shock while sound designer, Jason Shablik, provided audio mix and sound design.
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NOT A ONE TRICK PONY
Horse Sanctuary is an animal sanctuary and holistic wellness center that also offers unique services and locations for cast and crew inclusive of yoga with horses, walking meditation, physical rehabilitation, relaxation and mindfulness, equine mental health sessions and professionally certified horseback riding instruction to name a few. They offer offices for production, locations including granite outcroppings in excess of 300 million years old, acres of pastoral settings, and wooded sites. These settings have been backdrop for several recent videos as well as album cover shots for GroundLift music.
Their horses are unique animal actors, and they are celebrating the arrival of new Native American horses that are visually diverse and rare. This new crew joins their herd of trained horses, Snickers the snake, land and water turtles, birds, and various lizards. Not just a “one trick pony,” C Horse Sanctuary rescues horses, trains them to be equine therapy horses, and gives them the chance to rescue kids and teens at risk, adults struggling with addic tion, abuses, PTSD and trauma, and those in need of physical rehabilitation or therapies. Endless Ribbon Foundation, Inc., supports the sanctuary as a 501(c)(3) charity.
One of the happy herd at C Horse Sanctuary.
ARRI ATLANTA OPENS
Arri Camera has opened its Atlanta facility.
elcome to Atlanta, Arri! Arri’s new stateof-the-art Atlanta facility is open for business and features a spacious checkout floor with four bays, an espresso coffee corner as well as a feature room dedicated to long-form projects. And the people are pretty savvy as well. The team includes office assistant/receptionist Kee Haspel, rental floor coordinator Todd
Marshall and camera rental technician Miguel Ramos who will support crews checking out. A special welcome back to VP/general manager Ed Stamm. Many will remember Stamm from his days running Atlanta operations for camera company Victor Duncan, Inc., which became part of Panavision.
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Film & Television Credits Tyler Perry – The Have and The Have Nots, Vampire Diaries, Captain America, The Hunger Games, Fast and Furious 7, A Joyful Noise, The Intern, Drum Line, Identity Theft, Ride Along, Finding Carter, Survivors Remorse, The Originals, Single Ladies, Being Mary Jane, Hindsight, Complications, Cordon, The Walking Dead, Devious Minds, The Avengers
MAY / JUNE 2015
he Federal Aviation Administration (FAA) has granted Cartersville, GA-based Phoenix Air authority to operate commercial Unmanned Aircraft Systems (UAS) in U.S. airspace. Phoenix Air created a drone department named Phoenix Air UNMANNED for this purpose. Phoenix Air is the first airline in the nation to receive this authority. To date, over 750 companies and organizations have applied to the FAA for approval to operate unmanned aircraft, only 66 approvals have been granted including Phoenix Air UNMANNED. Phoenix Air has leased 10-acres of land from Bartow County located approximately five miles east of the Cartersville-Bartow County Airport, where it is building a UAS training and demonstration facility to train its pilots and staff
and demonstrate its capabilities to potential clients. The company is approved by the FAA initially to operate two types of unmanned aircraft: the Pulse Vapor 35 and Vulcan Octo. Each aircraft can carry various cameras and sensor packages. The FAA authorization allows Phoenix Air UNMANNED aircraft to conduct aerial inspection, patrolling, filmmaking and precision agriculture. William Lovett, Phoenix Air’s managing director of unmanned services points out that the Vulcan Octo’s pivot supports make it particularly appropriate for cinematography. “It’s a platform that has a gimbaled camera and has a very stable platform for video work.” Lovett adds, “Our UAS operators will be held to the highest standards of aircraft
operations and will ensure that we meet and exceed all airmanship responsibilities when we are flying our unmanned aircraft within the National Airspace System.” This includes UAS pilots holding a regular FAA pilot license and medical certificate as required for all private pilots. Currently all commercial UAS aircraft flown in the U.S. must weigh less than 55 lbs, not exceed 100 mph in flight, remain below 400-feet above the ground, and be within sight of the pilot at all times. Also, they cannot be flown at night or during inclement weather. Each UAS will be flown by a team consisting of a pilot and an observer to insure they are never in conflict with other aircraft, buildings, power lines, antennas, etc.
CLAYTON STATE DEBUTS FILM STUDIO
ongrats to Clayton State University; Janet Winkler, executive director of Continuing Education; and Barton Bond, director of the
Film and Digital Media Center on the opening of the Clayton State University Film Studio. The new studio supports Clayton State’s
mission to educate and prepare a workforce ready to rock on any stage or set in Georgia’s production industry.
Banding together for Blurred Lines: Pierre-Richard Guiteau, Gabriela Rowland, Alex Askew and Marie Burke.
BANDING TOGETHER FOR BLURRED LINES
lurred Lines was born by a dream, a call to make a difference. It started when PierreRichard Guiteau, co-writer and actor, wrote an original monologue for an Atlanta actors workshop. After sharing it with best friend Alex Askew, director, producer and co-writer, they decided to turn the half-page monologue into a feature. The feature is now an engaging and heartfelt short film that allows the audience to
follow two families whose lives collide when an innocent man is sentenced to death for murder. Blurred Lines is neither for nor against capital punishment; rather, it’s a film that examines some of the effects that a flawed judicial system and capital punishment can have on families, victims, and all other parties involved. Guiteau’s and Askew’s momentum and success with Burred Lines was enhanced by the aide of supporters, fans and donors, including
Gabriela Rowland, executive producer and production coordinator, along with their newest addition to the team Marie L. Burke, associate producer. Cast includes Elyse Levesque, Yusuf Gatewood, Yasmine Al-Bustami, and Amy Parrish from the well recognized TV Show The Originals from the CW. Also casted: Burke, Rowland, Guiteau and Lindsey Blackwell.
GROUND FLOOR WELCOMES MICHAEL MARINELLI
round Floor Video welcomes Michael Marinelli. Marinelli is a recent graduate of the Ar t Institute of Atlanta where he was recognized for outstanding academic
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excellence. While Marinelli’s official title at GFV is producer/editor, he is multi-skilled in all areas of video production from shooting and editing to writing and directing.
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MAY / JUNE 2015
Rhonda Barrymore poses with former President Jimmy Carter and First Lady Rosalyn Carter in 2009.
A 1982 shot of Rhonda Barrymore with Atlanta Hawks legend Dominique Wilkins.
35 YEARS OF GORGEOUS AND VIVACIOUS
appy 35th Anniversary of working in “The Biz” to Rhonda Barrymore of Help Me Rhonda, Inc., serving the Atlanta area with true southern hospitality since 1980. Her Help Me Rhonda brand of appearance services and products is well known in all facets of film, television and live performance companies and individuals worldwide. Her accomplishments include key hair and makeup for CNN for seven
years in the 80s and 90s, department head of hair and makeup for seven NBC and CBS/ Turner Olympic Games from the mid 90s to present day. She will be key wardrobe at the upcoming NBC coverage of the Olympics in Rio de Janeiro, as she was in the most recent NBC Olympics coverage in Sochi, Russia. Barrymore’s resume includes working with three American Presidents and their First Ladies,
as well as a plethora of A-list celebrities and dignitaries. Working in the film, television and live performance industry gives Barrymore the opportunity to share her talents as a makeup artist, hair stylist, wardrobe stylist and prop stylist, as well as an instructor in these talents. Her agency of appearance services associates helps her to provide services for all sizes of productions.
OZ ON THE AIRWAVES
Oz was welcomed into the studios of 87.9 The Globe for weekly program Hablemos Negocio with hosts (l to r) Lance Robertson, Lily Ortiz, Gary Powell of Oz Publishing, & Bin Carter.
any thanks to Atlanta radio station 87.9 The Globe, their weekly program Hablemos Negocio and hosts Lance Robertson, Lily Ortiz and Bin Carter for hosting Oz Publishing’s Gary Powell for a welcoming and lively discussion about Georgia’s film and television production industry.
PANASONIC STARTS AT GROUND FLOOR
uke Livingston of Ground Floor Video presented at the Panasonic Broadcast System booth on the floor of the NAB convention in Las Vegas. The panel was on Panasonic’s new AJ-PX270 handheld camcorder. Speaking during an interactive panel, Livingston shared his user experience with the AVC-ULTRA broadcast camera and described how its state-of-the-art live streaming capabilities have enhanced his business by providing top quality HD video for his clients. Wowing the crowd
people thanking him for his insights. It went really well.” Late night talk made an appearance at the Ground Floor studios in the early mornings and afternoons. Training for investment and insurance resources called for a huge late night talk show set complete with the host and his hilarious sidekick set the scene for this four day shoot. Using the studio “guests” as the uniformed investors, the host and his comic partner relayed all the pertinent information to
A late night at Ground Floor Video’s studio.
with footage shot by Ground Floor using the new camera and explaining its many functions earned Livingston accolades from the folks at Panasonic. Bernie Mitchell says, “I had lots of comments from both customers and Panasonic
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the viewer. The set was custom designed and installed in Ground Floor’s studio in Woodstock, GA. The show was switched “live” to capture the Late Night Show look and feel, complete with studio audience laugh tracks.
Luke Livingston presenting at the Panasonic Broadcast System booth on the floor of NAB in Las Vegas.
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MAY / JUNE 2015
My It is important to clarify the difference between people you
know, and people in your network.
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first paid job in production came about because of networking. The guy I was seeing had a good friend who worked in the industry and he introduced us, even though he implied that I needed to get a real life. I had come to Atlanta just after receiving my master’s degree in film & video, so I wasn’t quite sure why working in the industry was acceptable for his friend, but not for me. Well, we no longer talk but his friend is now one of my best production connections and a very good friend of mine 15 years later. Because of that first connection, I met others in a circle of individuals who worked together on a pretty regular basis. I eventually became a go-to production assistant and later a production coordinator for one of the women who was a corporate video producer. I learned early on in my career that in the entertainment business it’s not
just about what you know, but who you know. Soon after I got to Atlanta I became involved in the production community by joining IMAGE Film & Video Center (aka The Atlanta Film Festival), Women in Film & Television Atlanta, and ITVA— now known as Media Communications Association – International. Through participation in the events of these organizations and volunteering for various activities, I began to meet people who would become longtime industry contacts. It is important to clarify the difference between people you know, and people in your network. My network consists of people that I have become familiar with over time and our acquaintance developed into a friendship. The people in my network are those I can rely on to share information and introduce me to good people, while steering me clear of others. In turn I do the same for them. Building a great network takes time. It requires some forethought and effort, but it is well worth the time invested.
By: Lorna Wilson
Here are a few things to keep in mind for building professional relationships: Be mindful of how the connection can be mutually beneficial.
While asking for things or information is a given in any relationship, you don’t want to be the person who is in need without ever having anything to offer. Show interest in what others have going on even when it seems that nothing is going on.
It’s nice to check in periodically to say, “hello”. Many times I have found that a casual call or email also led to an opportunity. Ask for introductions.
If someone in your circle has a contact that you would like to meet, request to be introduced. This is one of the best ways to grow your network, but an option not to be abused. Don’t befriend someone just because of who they know.
I remember for years telling the students I taught, and people in general, to get out and network. It wasn’t until I mentored a young lady through Women in Film’s mentor program that I realized not everybody knows what that means. This young lady was almost paralyzed at the thought of walking up to someone she didn’t know at an event and striking up a conversation. I made a point to meet her at a Women in Film function and introduce her to some key people; it made no sense for her to join the organization and only meet me. I also knew that she wouldn’t get very far in her desired career as a producer if she didn’t learn to socialize. If talking to strangers is not your thing find someone to work a room with you so you don’t have to go it alone.
of who you want to meet, you can hold your conversations with intent by having specific topics to discuss. When you find yourself talking with someone at length, it’s likely to be a person you should stay in touch with. Having a network is beneficial in most lines of work, but I think it’s especially crucial in the entertainment business. The degrees of separation are more like 2 or 3—versus 6. If you want to get ahead and stay ahead, a strong network is one of the best resources you can develop. So formulate your plan, go meet and greet, make some calls, and before you know it your network will grow without much effort at all.
When going to networking events, or any place where connections can be made, a little preparation can also go a long way in breaking the ice. Decide how many people, and what kind of people you would like to meet. And if you know in advance who some of the attendees will be, do some research on their background. With a goal in mind
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HOW I GOT INTO THE BUSINESS How did you get into the business? I was on vacation from Bell South Mobility, when a friend called and asked me to help her for the day. I went out and worked with her on an insurance commercial. She introduced me to the PC, Stephanie Reeves, and told her I was available to cover her obligations in the future. That weekend I helped Renee pack and bought her kit. I never saw Renne’ C. ever again after her move and lost contact with her shortly after. You know the saying “God puts people in your life for a reason,” I believe both of these woman were put in my life to guide me to a career that I love as much today as that first day. Renee’ and Stephanie, both gave me a solid foundation to build on.
STEPHANIE BEMAN KEY CRAFT SERVICES Marvelous Munchies firstname.lastname@example.org
Best advice to young people in your profession? Listen and learn, always keep your eyes and ears wide open. Take the time to build relationships with other departments.
How did you get into the business? I started out as an extra/background actor. I have always wanted to be in this business since I was a child but didn’t have much hope because everything was based in “Hollywood.” I never dreamed that all the “action“ would make it to Georgia so I didn’t pursue anything in this field so I went to nursing school to make a living. Then after several years “Hollywood“ came to Atlanta. I started from the bottom, working my way up by following the rules and conducting myself in a professional way until people took me seriously. Then the doors were opened. I am now a personal assistant to actors.
How did you get into the business? I’ve always had a passion for film and art and combined the two in Junior High. It developed into an interest in make-up effects so I began to work on student films in college. Once I graduated, I got into the Dick Smith Advanced Professional Make Up course and started working on low budget horror films in the later 80’s. Best advice to young people in your profession? Be willing to work hard and don’t expect things to be handed to you. Always try to improve your art skills and never consider yourself “too good” to learn from everyone. Have a great attitude, be passionate about your art, and always try to be respectful of others.
OWNER, SPECIAL EFFECTS MAKE-UP ARTIST
Lone Wolf Effects www.lonewolffx.com email@example.com
Do you like how the business has changed? I remember when I got started, it was a lot more of the film family attitude, not so much of the every man for themselves attitude. What makes your job cool or fun for you? To be able to have someone say I miss my mom’s special sandwich, be able to talk to them and then make it for the entire crew. Sharing a snack and a memory.
What are the highlights and low points of your career trek? Be prepared for LONG hours. If you love this business as much as I do, the hours doesn’t matter. We all work together to make it a great project! What have you worked on recently? The Vampire Diaries & 90 Minutes In Heaven.
Best advice to young people in your profession? Do not ever, I repeat NEVER give up on your dreams. You must conduct yourself with a mature, professional attitude. Set etiquette is a MUST! Be humble and be thankful for your talent. Use it wisely.
PERSONAL ASSISTANT, ACTOR, NURSE
What do you love about your job? Being a part of a huge team working towards the same goal. Being able to put a smile on someone’s face with something as small as a cup of coffee or something that reminds them of something special.
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How did you end up as a make up effects artist? I was originally going to try to be a medical illustrator and I attended one of the most difficult graphic arts
schools in the nation. I came to realize, after many long hours, that I was not going to be happy doing that kind of work. The funny thing is that I am doing a form of medical illustration, when you think about it. What makes your job cool or fun for you? Designing and creating crazy characters and effects is a blast for me. It’s even more fun with the people that I have working with me. We are a goofy bunch of artists with a love for what we do. A light environment is much more conducive to a happy workshop and creative juices. Life is too short to be stressed all the time. I feel that people like being around upbeat, positive folks and that’s the way I try to be and like my representatives to be as well.
CAMERA OPERATOR, GRIP, AUDIO RECORDING Adam Klein Productions adamkleinproductions.com
How did you get into the business? I bounced around different colleges unsure of what I wanted to do. Eventually, I realized my passion and made the jump to Film & Video production. I applied for an internship to get hands on experience and it was there that I began learning all aspects from preproduction, studio and location production to postproduction. Quickly, I knew being on set was where I should be. I did it all from craft service, coffee runs and picking up lunch, to cleaning, painting and lugging gear. Doing it with a positive attitude helped me gain the respect of my colleagues and allowed me to learn the technical aspects of my craft. Slowly, I began learning how to light a set, how to block a shot and how to communicate that vision in a collaborative environment. After a few years, those same contacts began to trust my skills and eventually gave me the opportunity to move up the ladder. Networking and building relationships never stopped and I still have a long way to go before reaching all of my goals.
Best advice to young people in your profession? There are three simple things I tell every young kid getting into this profession: Be early. If you’re not early, you’re late. Be fun to work with. All things being equal, I want to work with someone I genuinely like being around. Bust your butt. If you don’t, they’ll find someone who will. These three things won’t make you a success, but they certainly won’t prevent you from being one.
How did you get into the business? My first PA job was in Savannah in 2012. My background experience prior to that oppor tunity was stage management and theater, which I extended to working with dance troupes, orchestras, and many other shows. I was on break from working with theater when I heard of all these new film and TV projects coming into the state. Georgia was booming, everyone seemed to be coming and setting up shop around Savannah and Atlanta, and since I already had relative experience, I thought ‘Why not give this a shot?’
they’re supposed to be doing. Get familiarized with all sides of the project that you can, and listen when people are talking.
What are the highlights and low points of your career trek? Being a freelancer can be like a rollercoaster. One month can be incredibly busy while the next you wish you had a 9-5. Save your money.
PRODUCTION ASSISTANT Stalwart Productions
Best advice to young people in your profession? Be diligent. Be flexible. Make connections with the crew when you are working on a set, and pay attention to what’s going on around you. Even if it’s not your department, somewhere along the way, it’s going to pay off for you to know about your coworkers and what
What do you love about your job? Every single day is different. I never deal with the same situation twice because of daily changes in location, type of scene, supplies needed, and changes in the actors’ and crew’s health and moods. The constant mutation keeps it all interesting, for the most part. Like any job, there are lulls, but working in the film and TV industry means that they’re either short-lived, or pretty rare to begin with. I meet lots of different people every day and I get to pick their brains, learn from them, and help them make something really cool. It’s a lot of work, and every day demands a lot of effort, but I truly love it.
How did you get into the business? I come from a family of actors and writers. So I was sent to study at an early age when I expressed an interest in the art. I went to professional training programs and my first job in the business was working for an aunt on a sit-com. I started coaching actors while doing other work in the industry, then started a class when I moved to Atlanta, then opened a school. Actors began hiring me to be their personal coach on sets, and soon after that was offered my first on set coaching job for a film.
Do you like how the business has changed? In some ways yes. Change is good. It keeps us sharp and thinking and exploring, keeps us thinking creatively. Still, I think keeping up with the pace of a TV schedule can really sometimes reduce the amount of time for actor exploration and rehearsal. Rehearsal is where magic can be born and its hard to function without it. However, shows that hire someone who does what I am hired to do, give their actors that rehearsal outlet which fills that need and ultimately enhances their performance.
What do you love about your job? Every story, character and actor is new to you. I get to work new material all the time and get involved in different stories and help make them work.
What are your 3 most recent projects? The Vampire Diaries, The Originals, & Red Band Society.
The Company Acting Studio www.lisina-stoneburner.com
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OZ MAGAZINE: CREW SPECIAL ISSUE
WHAT I DIG ABOUT
“The Biz” By Allen Rabinowitz
As the Irving Berlin anthem proclaims, “There’s no business like Show Business.”
rom an outsider’s point of view, the business is all glamour and glitz, beautiful women in sparkling gowns and handsome men in tuxedoes on the red carpet at awards shows. To the public, show business is what they see on the big screen or on their televisions— a romantic getaway from an everyday job. To those who help create the spectacle, “The Biz” is an entirely different undertaking. To begin with, it’s a very competitive industry where every position has a ton of qualified applicants not to mention an untold number of wannabes. The hours are long and the work is hard. A number of other obstacles –ranging from the weather to a balky script to a temperamental diva --can get in the way of a project coming to a successful and hassle-free conclusion. Now that Georgia is ranked among the top production centers in the country, there’s been a pilgrimage of both extremely skilled crew people and raw recruits to the Peach State, all eager to enjoy the fruits of this constantly expanding situation. We’ve asked a number of folks involved in “The Biz” a series of questions to get their impression of the reality of show business. From the high (and low) lights of their careers to breaking into The Biz to their quibbles about life on a set to their favorite treats at the craft service truck, we’ve assembled an inside look at the daily life in an occupation that others can only dream about. One more glimpse at the fantasy before our plunge into real life: There’s an old cartoon showing circus elephants on parade followed by a man in a uniform pushing a wheelbarrow and holding a broom and shovel. The man turns to face the audience and proclaims: “Hey, at least I’m in show business.”
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If you had to work in any other department, which one and why? The camera department because I love the gear. Your biggest pet peeves on set? The “inexperienced professional” and the “screamer.” The first guy is the one that usually walks in with a big ego and a bad attitude. It usually becomes pretty clear that they have no idea what they are doing. The screamers include anyone who is yelling for no good reason, especially into a walkie-talkie. They’re the worst. What would you go back and change about your career path? I can’t say I would change much, but people don’t realize how much goes on behind the scenes in this business. Everybody knows the “lights, camera, action!” side of things, but what they don’t realize is there is a whole lot going on in the background: creative, budgets, marketing, branding. That’s what makes it all happen! So, I guess I would just have to say I’d pay a little bit more attention in school. How do you like to be approached by newbies, people just starting out? Persistence helps, I get a lot of emails on any given day, so if you expect me to respond to a single email: nope. You’re lucky if I even saw it. And I appreciate someone who can stand out from a crowd. If you can skydive from a helicopter and land on my set, I promise I will hire you! When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like trueblue crew? It had to be my first day on set: it was a long day, and the crew was beat. Everyone was getting their things together to go home, and I just acted worn out to fit in: I could’ve worked another 20 hours! But it was at the end of that first day, when every person had a job to do and they did it well and the whole thing just clicked: I realized how important every single person on that set was. Even me: running errands and my 15 trips to Starbucks.
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Funniest moment on set? About 10 years ago on a hot day in July, we were shooting a band scene in a garage. We had to rent a portable [air conditioning] unit cause of the heat but also because we were recording sound. We assigned a PA to stand behind the garage to cut the unit off between takes so he had to stand behind the house most of the day. He decided to pass the time by smoking some weed. Little did he realize that the smoke from the joint was bellowing into the intake of the air conditioning unit and directly into the garage, everyone could smell it. Another PA and I looked at each other and immediately knew what was going on. As we hurled ourselves behind the garage sure enough, there he was all red eyed with a smirk. The look on his face when we told him what happened was absolutely priceless. Can you tell us about a time when things went bad on a set, a low point, a story that resonates with the saying: “if you’re not falling and scraping your knees, you’re not trying?” Not too long ago, I was in north Georgia shooting Beacon Point, a movie for which everyone was really just pouring their heart and soul out. We didn’t have room in the budget for this and that, so we were doing our best. This one scene was being shot high up in the woods, and we were hauling all this equipment up the side of a mountain. It was heavy stuff, expensive gear and lights and props and microphones and we started up this dirt road. We were tired and wet from the rain and there were mosquitos everywhere. Two of our cast were from L.A., and they weren’t used to anything like this, so they were having a harder time of it than we were. But at one point, I just looked around, with gear and cables everywhere, up to our knees in mud and an ATV stuck halfway up the mountain and I just had to laugh. It was really, really tough, but we got it done. Favorite thing on the craft service table? Trader Joe’s Chocolate Covered Almonds. I could slam through a whole container. Are you doing anything to keep your skills updated? I keep up with the latest gear that is out. Know the specs of the cameras, knowing what lighting is the latest. Companies like Arri are consistently coming out with new toys, and it’s important to know what’s out there.
Give a shout-out to the hardest one or two Georgia-based crew people you know. Helen Urriola (production manager, line producer) and Evan McIntosh (digital imaging technician). I’m convinced they bill more days and sleep less than any other freelancer. In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” Does it get any better than Georgia? We’ve got a world class airport, the beach in one direction, mountains in the other and some of the best film people in the business all right here. If the city stays behind us, and their tax incentives gives people a reason to look at Georgia for filming, I’d say they are doing their job. It’s our job to show them why to come back for their next gig.
Dara Dearborn (Locations)
If you had to work in any other department, which one and why? I’d probably go into catering—and if there was a food tester position, I’d probably go into that. There’s an immediate gratification in getting people in, feeding them and then going. Your biggest pet peeves on set? You really don’t want disorganization, unclear directions and lack of selfmotivation on a set. How do you like to be approached by newbies, people just starting out? With a humble interest that has a lot of room for growth and constructive criticism. When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like trueblue crew? It was probably when I had clients at major networks contacting me for casting. Through the journey in this business you do so many different things because you want to keep doing what you love, I did a short stint as a regional reality casting director. Can you tell us about a time when things went bad on a set, a low point, a story that resonates with the saying:
“if you’re not falling and scraping your knees, you’re not trying?” There was a location we represented for a very large long-term client; they were going to use a home for a commercial shoot that happened to be in the neighborhood The Walking Dead enclosed in walls. The afternoon before the shoot, the homeowner called to say her neighborhood was being enclosed and they couldn’t do the shoot. We had to scramble . . . but we always have to scramble for something. However, this was really a big one because we had done so much work prior to the home being set. There was no other option and we had to go back the next day. Favorite thing on the craft service table? I usually tend to go for any treats like desserts or anything with sugar. If there’s any baked goods that’s where I am. The prettiness of baked goods gets me there quickly. In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” Primarily confidence and consistency in the level of professionalism we provide and the understanding of what our roles are. I think those get mixed up pretty often because people have their eye on the prize and don’t really pay attention to detail. In order to keep Georgia a key player at this level, there needs to be a consistent attention to detail and mutual respect for every person on the crew.
Nicholas deKay (Stunt Performer)
If you had to work in any other department, which one and why? I am not under the impression I would be particularly good at it, as I don’t have any real experience but I think the steadicam operator position is one of the coolest jobs on set. Watching how those guys run around with the cameras to make the shot is pretty incredible.
Your biggest pet peeves on set? My biggest pet peeve is people that aren’t happy to be working on set. I feel like we are getting paid to make movies, which next to being an astronaut, is one of the coolest fields to be in, so there is no reason not to be pumped about it. Plus, there is nothing more fun than working with a crew that is excited to be there!
Vampire Diaries who recently got to direct an episode). Andy Martin (stunt coordinator).
What would you go back and change about your career path? I would have started in the business earlier! How do you like to be approached by newbies, people just starting out? I work in the stunt department. My favorite place to meet newbie stunt people is at the gym training hard. It takes years of hard training to become a professional stunt person and the place that starts is in the gym, on the motocross track, and at the race track. Long story short, if I don’t see them training 5+ days per week 2+ hours a day, I know they aren’t serious about making a career in stunts. When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like trueblue crew? The first time I got a job that I didn’t submit my stuff for. Favorite thing on the craft service table? Coffee and Swedish Fish. Describe the toughest part of working in “The Biz.” As stunt people we spend the vast majority of our career day playing. Not knowing when the next job is coming is the most difficult aspect of the career. It makes budgeting difficult, planning trips nearly impossible, and can be quite stressful at times. Are you doing anything to keep your skills updated? I still train in Thai boxing, boxing, Brazilian jiu-jitsu about 14 hours per week, train sliding cars and jumping motorcycles 1-2 days per week, and train falls/burns/etc. regularly out at the stunt farm. Additionally, I take acting classes (despite popular opinion to the contrary stunt people are actors, we just act with our bodies rather than our mouths), I also study cinematography, and regularly film my own action shorts. Give a shout-out to the hardest one or two Georgia-based crew people you know. Geoff Shotz (camera on
Diego Diaz (Stunt Driver)
If you had to work in any other department, which one and why? I would enjoy rigging special effects for cars. Your biggest pet peeves on set? Seeing drivers on set who have no training. Agencies hire them as background drivers, and then they turn around and do things they’re not trained to do. How do you like to be approached by newbies, people just starting out? I try to be honest with them and find out about their training and background. Sometimes we’ll get retired police officers who have a training background for driving. Yesterday, I had a 19-year-old who is interested getting into the business call me. As long as they have a passion for driving and for being on film, I don’t mind helping them train and helping them start up. Funniest moment on set? I worked on Dumb and Dumber To and I thought it was very funny to see Jim Carrey do his facial expressions over and over about 30 times to get it right. It was nice seeing him in action and that it took him 30 takes to get that special facial expression that lasted on the screen for seconds. Favorite thing on the craft service table? That’s easy . . . COFFEE! Black coffee with sugar keeps me going. When you wrap it after a 15-hour shoot, you’ve pretty much lived on coffee the whole day. Are you doing anything to keep your skills updated? We work with the Fast Stunts School in Cumming. We train there once a month doing all kinds of
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maneuvers with our cars. We also bring in people who want to understand what precision driving is, and do a class there as well.
(Location Scout) If you had to work in any other department, which one and why? I love the art department because I am a truly creative individual. As I was getting my foot into the locations department, I had a brief opportunity to work on set with production designer, Elliott Boswell. I was absolutely enamored by his vivid imagination and ability to create with simple tools. That left a serious impression on me. Your biggest pet peeves on set? My biggest pet peeve on set is the lack of respect for our locations. Examples: Leaving large amounts of trash behind, being careless when removing our crew items - thus damaging our locations. On occasion, the cast of extras leave much to be desired in the area of cleanliness. What would you go back and change about your career path? I am not a person that ever questions the path that I have chosen. I have absolutely enjoyed my transition back into film and television after being on a different side of the entertainment business for more than a decade. (I started in film/ TV in the 90’s but chose music as my path at the time). I would, however, love to learn more on the executive producing end of the business. How do you like to be approached by newbies, people just starting out? I like to be approached by people who have done their homework on the locations department. I hail from the school of hard knocks (the music business) where we were not taught to “ask with a hand out,” but instead were taught to “do it, show it and get it.” I, personally, like to see that a newbie is serious about what they want and is 30
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not opposed to going that extra mile to get their feet wet and shoes dirty to get what they want. I am often times very honest with them, as I am learning daily as well. I am usually only inclined by go getters. When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like true-blue crew? I consider myself extremely assertive but have always claimed myself as a part of the crew since day one (even if I was not officially a part of anything, LOL). I push hard on obtaining results from my colleagues but I honestly felt the “stick” was soon around the corner when production executives and UPM’s started reaching out to me on my cell to give my work compliments; this happened about a year after I began scouting. Favorite thing on the craft service table? Fresh fruit smoothies, salted almonds and fruit! I must keep it real too. I love those doggone Reese’s peanut butter cups! Overall, health is my priority. For 20+ years I have been a hard-core veggie and fruit consumer and love when the craft service tables fulfills my lifestyle. Are you doing anything to keep your skills updated? First, I always listen to location managers and executives who have been doing this longer than me. I learned from good examples. I am always open to sharpening my saw. I also try to make time to take a class or attend conferences. Locally, I have enjoyed year long programming and classes developed by The Atlanta Film Festival. Give a shout-out to the hardest one or two Georgia-based crew people you know. Shout-outs are tough because I hate to ever leave out the many people who have been God-sent to me on this film/TV journey, but I must say that I am impressed by the kick-ass work of location coordinator Haley Billue. In a nutshell -- she f*%kin rocks! In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” Education about our industry. I cannot tell you how often I cold-scout untapped communities, and neighbors still say things to me such as: “Oh yes. I hear that film is coming here!” I tell them, film has not only come here but billions of dollars have already positively impacted our community.
I cannot believe how little they know about what is going on around them.
Reeva Forrester (Teacher & Tutor)
If you had to work in any other department, which one and why? I’ve always loved fashion, so I would choose wardrobe. Your biggest pet peeves on set? My biggest pet peeve would be to find time for school. The production makes time for school, but sometimes, it’s so difficult and it has to be split into segments. There’s so much I love about this job, that it’s difficult to even say it’s a pet peeve. How do you like to be approached by newbies, people just starting out? I don’t really mind giving information, but there is a point where you can give out too much information to another teacher—because it’s still a competitive business. There are only so many teachers needed, and I don’t want to jeopardize my own job prospects. Funniest moment on set? It’s always funny to see how many people will fit in the transportation van. They try to get as many in as possible, and on one set, I had an adult actress sitting in my lap and it was funny at the time. We always laugh when we see how many come out; it’s kind of like a clown car in the circus. Favorite thing on the craft service table? I like spicy chips and I love the Clif bars. Describe the toughest part of working in “The Biz.” The toughest part for me is when my students leave; they’re mostly out of state. It’s hard to work with people on an everyday basis . . . some times for months . . . and at the end, know you’ll probably never see that person again. Are you doing anything to keep your skills updated? I’m always getting more certifications. I’m working for certifications in California right now.
Give a shout-out to the hardest one or two Georgia-based crew people you know. Dean Dyer in wardrobe, Justen Tyler (APOC) Justin Campbell (production coordinator) and Katie Troebs (production manager).
Give a shout-out to the hardest one or two Georgia-based crew people you know. Aron Siegel (electronic field production soundman and mixer/ location sound) and Robert Ballentine (assistant director). You guys rock!
In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” We need to keep the tax credits and we need to remind Georgia how much the industry is bringing in dollar wise. I think the industry has brought in more revenue than it’s taken away. We need to keep it on the track it’s on.
In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” We need to train people for all aspects of production, both below and above the line. Below the line, the demand for crew is skyrocketing, so finding good quality crew people is hard to come by since the best and the brightest are working on the biggest jobs. We need to find a way to train newcomers so they can be an asset to the set and contribute to the project. Above the line so that local Georgia producers, writers and directors can generate home grown projects.
Scott Lansing Ken Feinberg
(Casting Director & Acting Instructor) Your biggest pet peeves on set? People who show up late. What would you go back and change about your career path? I would have gotten more training and mentors prior to working. I would gather more information about what being a professional means. How do you like to be approached by newbies, people just starting out? Email is the best way. If they tell me they are new and want to learn that helps. If they tell me what department they want to work in, that is helpful. If they are willing to volunteer in exchange for credit, training and experience, that helps. We produce original films every year, and every year we give newbies opportunities to work alongside seasoned professionals. Once people get on set, we can tell who is eager to learn, who is willing to jump in and help. Some people stand around and wait for someone to tell them what to do. Others are constantly finishing tasks and looking for news tasks to do. Inevitably, some newbies stand out because of their work ethic and they get invited onto other sets to work, while others, who prove to be unhelpful, don’t.
If you had to work in any other department, which one and why? When you’re “indie,” you end up doing a little of everything more than you like. If there are any more departments I haven’t encountered, I prefer not to know about them. I would rather fulfill the limitations of a single job description just once. That would be awesome! Your biggest pet peeves on set? My biggest pet peeve would have to be watching a production person showing disinterest in the work at hand. Fake it! We’re in entertainment. Light it, throw some makeup on it, practice your lines– acting is what we should do best! Another no-no for me is hiring a PA for a gig and within three days they are openly wondering why they don’t run the joint. Believe it or not, paying dues teaches everything about the biz. Ambition is a beautiful thing, but ego sometimes gets in the way of doing the job at hand. Sometimes where you’re at is exactly where you’re supposed to be. Opportunity might be right around the corner to those that tie their shoes before they run.
What would you go back and change about your career path? I think dropping a few PE classes for business classes might have been a good move. I also wouldn’t have worried so much in my early years about landing great pay over experience. Production takes sacrifice, you know quickly if you got what it takes to make it. When you’re young, you can live on pasta easier than when you’re older. How do you like to be approached by newbies, people just starting out? I like young people telling me their journey to the present, why they’re here, what they want out of working for Sabotage Film Group. I want to hear they will work where they are needed… and mean it. If they work hard I teach where I can. People did that for me. I do it for others. When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like trueblue crew? When I started directing and editing I failed a lot, but I failed a little less every day I was doing it. I got comfortable with trying stuff without worrying about its success. Once you’re comfortable with experimentation and willing to risk failure you start to succeed. When I started to get feedback about my commercials, I thought wow, here’s a format that doesn’t normally get feedback- so I thought, maybe I was starting to do something right. With indie cinema, it’s a longer work process. You learn to live on your second and third wind a little more. Then when people come up to you, moved by a character or scene, for me, it reminds me of the power the visual format and why I went into it in the first place. Funniest moment on set? In one shoot, our smoke machines set off the buildings fire alarms. We weren’t shooting for sound at the time, so I kept shooting and let my AD take care of it. We were on a tight schedule and I was honed in on the moment. I went to yell action, and as I turned around, this huge fireman was just standing there looking at me. Like five-feet away. I came out of director mode and thought: “Oh cool, there’s a fireman. What’s he doing here?” Then it kind of rushed in on me. Oh wait we set off the fire alarms 20 minutes ago. I smiled and said, “Hey how is it going?” He let out this big grin. Luckily they weren’t mad. At this point they were just checking out the set.
MAY / JUNE 2015
Can you tell us about a time when things went bad on a set, a low point, a story that resonates with the saying: “if you’re not falling and scraping your knees, you’re not trying?” My first short movie in college, we were shooting at this real exclusive country club in Chapel Hill, NC. My electrician overdrew the breaker box because, as often happens with older boxes, it was mismarked. A small fire started and we all flipped out. The electrician put it out pretty quickly but the damage had been done. We had to pay an additional $2,000 to get it fixed for the next day’s shoot. I became an instant fan of renting generators. I still avoid drawing power from a location. Favorite thing on the craft service table? I like 5-hour Energy the most. It makes my synapses fire. Describe the toughest part of working in “The Biz.” You can literally work all the time, but this can dull your artistic edge. I try to mix up my work, a little advertising, a little documentary, a little narrative. It keeps me on my toes. But then I need time to decompress, be with the family, wife, sleep, eat, repeat. It’s hard to do it all . . . but you get better at it. Are you doing anything to keep your skills updated? Lately we are doing film festivals because we are getting into them with some of our work. I love watching other indie productions. I see what works and what doesn’t. I don’t bash what I don’t like. I treasure the effort, the success of completion. Living the process humbles me. I’m amazed at how much work succeeds by simply experimenting. Give a shout-out to the hardest one or two Georgia-based crew people you know. My wife Jen (art director) is the hardest crew person I know because she puts up with me. She’s an amazing designer with a strong sense of style and look. We’ve combined our talents to get where we are. But she also has to deal with loose ends during shoots, and there are always a few. She has to become an expert real quick and that is a tough gig. In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” I’ve lived here for 20-plus years, and what I see as a blaring need is home grown film financing. We need money from the state, private enterprise and industry 32
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to invest in cinema and TV and a central place to find potential financiers. I think the Governor’s support of the tax incentive has been historically beneficial and incredibly valuable to this state’s workforce. There is a talented group of industry people here. And many more are moving here because of the availability of work. Improvement starts with attitude. Georgia needs to not worry about how cool it is, but support and develop an avant-garde Atlanta. The city values commerce and status first, but, in my opinion, Atlanta should be the state’s freak show, full of rail, parks and art. It’s getting there slowly. Let the rest of the state be safe and move slowly toward change. But for us, let’s lead the state in innovation. The more it supports the arts in its design, daily living and personal expression, the more the state benefits as a whole. Austin, Texas is a perfect example. Keep Austin weird, right? Let Atlanta breathe! Innovation comes from a willingness to experiment and fail. We need to think like innovators and relish in our differences.
Matthew Kilburn (Editor, VFX Director & Supervisor)
What would you go back and change about your career path? I got off to an early start. I found my first love, making films, when I was 11 years old. However, not having access or support, I headed off into some other directions: professional musician, degree in education, etc. It wasn’t until after I graduated from college that I really returned to my first love. I began to work full time in corporate communications, learning camera, lighting, scripting and post production. But I wish I had gotten more involved in small film productions, built those relationships and my skill set earlier on. It would have been so much better than waiting until many years later. So, my admonition is to find groups with whom you connect philosophically and make movies. Whatever tells a good story and connects to your audience. Develop competence in a breadth of
departments, but focus on your one most desired. Most of all, be good to the people with whom you work. Do use them. Don’t step on them. Lift them up. And you will reap what you sow. How do you like to be approached by newbies, people just starting out? When looking for new crew, I will put out a general crew call. However, during the times when we are not crewing up, I do get periodic submissions for crew jobs. Frankly, I don’t have a lot of time to look them over, let alone interview. I find it best if I meet folks where I am already going to be, like an industry event or mixer; or referred by someone I know and trust. First do your research and make sure you know the style/genre of the show, producer or production contact. Don’t submit for a RomCom when you want to do Horror. Then make sure that what you send in is professional and truly unique. What makes you stand out from the rest? Why should we consider you, especially over someone we have worked with? That is the challenge before you. Funniest moment on set? Years ago, I was directing Gary Busey in a lead role for a Sci-fi indie film on the West coast. We were about to shoot the last scene before we wrapped, when suddenly Busey jumped up and insisted he needed a hand drawn star chart scroll to use as a prop. Although we were not exactly surprised at this point, the crew stood shocked for a moment, gears turning, before springing to action: rolls of paper spilling out here; magic markers scribbling there, edges burning, coffee and grounds stains being strategically placed. Within 10 minutes an aged, torn and rolled star-chart was placed in Gary’s hands. He looked it over, looked up at me and said “OK!” At the time it didn’t seem all that funny . . . but looking back, the mad scurrying that took place was freakin’ hilarious! Favorite thing on the craft service table? Red Vines, definitely. Are you doing anything to keep your skills updated? In order to keep my skill set up to date and to grow further in my career, I read industry blogs and trade magazines regularly. I attend industry conferences like NAB and filmmaker groups. I mentor newer filmmakers and learn in the process. And to advance my career to a new level, I am completing a Master’s Degree in Advanced Digital Storytelling. The competition out there
is fierce and talented. You can ill afford to stand still. Give a shout-out to the hardest one or two Georgia-based crew people you know. First, let me send a great big “flashing!” to Richard Cantu, cameraman extraordinaire. RC, you rock! Also, let me send a strong “circle that one” to the best script supervisor in “The Biz,” Dea Cantu. Both are talented and great to work with. They are both so talented and in demand that we barely get to see each other. We best work on the same show all together sometime soon! In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” Does it get any better than Georgia? We’ve got a world class airport, the beach in one direction, mountains in the other and some of the best film people in the business all right here. If the city stays behind us, and their tax incentives gives people a reason to look at Georgia for filming, I’d say they are doing their job. It’s our job to show them why to come back for their next gig.
Trent Mayo (Driver)
If you had to work in any other department, which one and why? From a creative standpoint, I’d love to work with the camera department. I have so much respect for the DP’s and camera guys. Setting up the shots takes great vision, and understanding how the story needs to be told through the lens is very intriguing. They have a great ability to look at the shots from a 10,000 foot view and see where it needs to go while capturing the moments to get us there at the 500 foot view. It’s like being able to see the scene from an engineer’s exploded view and capture the key focal moments to sell the story. Your biggest pet peeves on set? The most frustrating thing is when there’s a breakdown in communication, and the higher up in the chain the worst the outcome. By the time each department knows what is happening in the shot, prepares or adjusts for it,
and is focused and ready to execute, there’s a change. Then production is in a holding pattern again until everyone’s ready with the changes, which often times will change again. It’s part of the hurry-up-and-wait, which happens in all of entertainment, but frustration in all departments can build quickly when communication is poor. What would you go back and change about your career path? I think everyone in this industry is continually trying to better themselves to offer greater value in their position. I don’t know of any direct changes because when I started I wasn’t sure what I wanted to do or even if I’d like working on productions. I’ve been fortunate to see and gain a great appreciation for each department. Looking back, I wish I would’ve worked more with the camera department to understand “playing through the lens” earlier and more. It’s a very connected industry, so I also wish I would’ve networked more with the stunt community to learn more skills and from others’ experiences. I’m still working at both today, however, so it’s a constant change/improvement. How do you like to be approached by newbies, people just starting out? I’m a people person, so I don’t mind questions, just not as the shot is happening or about to happen. I’m happy to talk with others, especially with similar interests. There are some, in all departments, that seem standoffish at times. Some are guarded about sharing info because they don’t want you taking their next job, but most are fairly open. Funniest moment on set? The funniest moments tend to happen while we’re waiting or in a holding pattern. If your stuff is ready, then it’s a time to hang with the people you’re working with, and the later in the shot the goofier it can be. Shooting several scenes in a day means there are times when as drivers we’re not needed for the shot. I always have my guitar with me, so we usually end up sitting on tailgates or trunks of cars singing along and joking as long as we’re far enough away from cameras and sound. Don’t get me wrong, I love being busy and working the shots, but some of my favorite memories are these times when personalities come out and you can let out a little steam. Can you tell us about a time when things went bad on a set, a low point,
a story that resonates with the saying: “if you’re not falling and scraping your knees, you’re not trying?” There was one set where production didn’t have enough radios for our driving team. On top of that, the 20 or so of us were stretched out over two miles so radio signal wasn’t getting from the director/ stunt coordinator to the cars at the front of the group. We needed to all take off at the same time, reach, and maintain a certain speed and gaps for the stunt cars and camera car to come racing through. The loss in radio signal meant communication broke down from the back to the front and production kept missing the shot. We finally were able to fix it by doubling up radios at the driver midway so he could tell the front drivers on a different channel all the actions calls. Favorite thing on the craft service table? Oreos and Perrier. Both are perfect bursts of tasty energy to keep going. Describe the toughest part of working in “The Biz.” It’s a constant hustle. We’re all mini-entrepreneurs constantly having to pitch and sell ourselves. Generally, we’re working as independent contractors as well so the security of healthcare, retirement, etc. relies on our own actions and input. Staying connected with everyone, without over doing it, is key to staying busy. Are you doing anything to keep your skills updated? I continue to train when I’m not on set. I participate and compete in SCCA RallyCross competitions in the Atlanta and Middle Georgia regions for fun and to stay sharp on maneuvering cars through multiple terrains and conditions at speed. I also work with Grady Bishop and his Extreme Stunt & Driving Team in his training clinics improving skills, timing, and cohesion driving as a group. Working with his various camera cars and his award winning Russian Arm system has been invaluable in learning how to “play through the lens.” Give a shout-out to the hardest one or two Georgia-based crew people you know. My first day ever on set was as an extra on The Blind Side. One of the first guys I met was David “Champ” Champion, doing a great job as a PA of wrangling all of us extras. He was down to earth, very nice, and just a great guy to work with. I’m so happy to see him climb the ladder in the industry and working as an assistant director now MAY / JUNE 2015
with the same good natured personality and ability to lead others. In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” The most important thing is to continue to grow the training opportunities for people to learn the proper skills, and thankfully the Governor is taking great initiative with introducing industry related courses in community colleges and technical schools. We also need to keep our tax incentives in place, and potentially grow them further with more incentives for music and post production work. We need to let our representatives in the state and local communities know our appreciation for the work their doing in continuing to grow this industry. We can’t become like Florida or North Carolina on the political front where the insecurity of tax incentives and infrastructure has driven the work here to Georgia.
Cheryl Louden-Kubin (Casting Director)
What would you go back and change about your career path? I’ve been in the casting business for 30 years. I’ve worked on top shows and films. I studied acting all of my life, through college. I started in the biz in Miami as a production assistant and got a job answering phones in a busy casting office. Now I own my own company. I did take time off to raise a child. In hindsight, I should have stayed with it in a limited capacity because the technology changed and I am still catching up. But, I was able to be “room mom” and “team mom” and I’d never trade that time. No regrets. Describe the toughest part of working in “The Biz.” The toughest part is hearing that you did not get the job, the rejection. I believe it crosses all aspects of this business. You have to have a belief in yourself, your talent and understand (especially for actors) that the reason you did not get the job may have nothing to do with you. Start at the bottom and work your way up. Get on a set; see what goes on and how it varies from big budget to indie or commercial. Be a sponge; pay attention and have a good attitude. 34
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Are you doing anything to keep your skills updated? Yes, as a casting director I am always looking for great new talent. I attend local theatre productions and workshops. There are many great acting coaches in the area; sometimes they hold showcases. Next week I’m going to UGA’s Graduate Acting Showcase. Also I am active in the Casting Society of America, and they are constantly in contact with their members as to things that are going on. I am also in touch with agents and managers in L.A. and New York so I have an idea of what is relevant.
(Art Department Coordinator, Prop Stylist)
When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like trueblue crew? When I met Paul Newman on the set of Mr. and Mrs. Bridge for Merchant -Ivory in 1990. He admired a little flashing pin I had on my jacket and I knew at that moment that I was crew-for-life. Funniest moment on set? On a summer night scene in a haymow on Sarah, Plain and Tall for Hallmark Hall of Fame in 1991, a 10k lighting up the barnyard as moonlight was attracting giant clouds of moths and June bugs to the point where it was hampering the shot. Glenn Jordan, the director, finally shouted, “Can’t we do something about these bugs?” Michael Stubbs, our location manager and an old high school friend of mine, was quick with a very practical reply: “Turn out the light!!!” Describe the toughest part of working in “The Biz.” To me, the long hours are still the toughest part of all. Give a shout-out to the hardest one or two Georgia-based crew people you know. My shout-out has to be to my husband, John Findley (location manager and location scout), and to my long-time friend, Teresa Yarbrough (production coordinator); certainly two of the hardest-working and most talented native Georgia crew members I know.
In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” In addition to providing craft-based union training for up-and-comers, we need to encourage more local vendors to become film friendly.
Logan Patton (Location Sound) Your biggest pet peeves on set? Cheap, or no food, and no coffee! What would you go back and change about your career path? Nothing! I love going to work every day, and have for 30-plus years! How do you like to be approached by newbies, people just starting out? I like to be approached by a new person that wants to be a part of the success of the show, someone that can see the big picture and understands that it takes the whole crew to make a show run at the highest quality. I also like people that think ahead of the game and are prepared for, and not rattled by the “oh, by the way” things that occur. When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like trueblue crew? When I first worked for Dolly Parton back in the late eighties. Funniest moment on set? Working with Steve Harvey on Family Feud is hilarious; sometimes the funniest stuff does not make it to air, for obvious reasons! Kirk Franklin goofing around on BET’s Sunday Best is also pretty funny. Favorite thing on the craft service table? Morning: Chocolate covered, cream filled donuts, yogurt, and good coffee. Noon: smoked almonds, carrots, celery, and good coffee. Evening: bite sized gyro wraps, fresh fruit, and good coffee! Describe the toughest part of working in “The Biz.” Last minute scheduling and contract negotiations.
Are you doing anything to keep your skills updated? I am constantly studying new digital audio technology, there is always something new on the horizon. Give a shout-out to the hardest one or two Georgia-based crew people you know. I have to give it up for Eric Hultgren (stage audio mixer), and Steven “Gyro” Garrard (the ultimate 2nd AD). These two guys are the absolute best at what they do, and I know that when they are on a show with me that everything will be of the highest quality possible. They really care about every aspect of the show at hand, and the importance of good coffee! Gyro brings an assortment of exotic beans to insure the quality in that regard.
Regina Lester (Craft Services)
If you had to work in any other department, which one and why? I chose at 62 years old to start my career in “The Biz.” I love to cook and feed people. Baking pies and owning my own bakery (Dranmama’s House of Pies) has always been my passion. I was introduced to the Film world through my niece, Monda Webb, as she was directing her movie Zoo (Volkerschau). She asked if I would be interested in working in craft services and baking some of my pies for the actors and crew during the shoot. I realized I could do this. And to be a part of the making of a film . . . TOTALLY AWESOME. When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like trueblue crew? When I was requested to be a part of a media panel at Georgia State University. I was given the opportunity to speak to approximately 130 students, future writers, directors, producers, and actors. Through craft services you never know who you might meet that can impact your future. Funniest moment on set? My funniest moment on set was the gaffer who tried to eat all of my sweet potato pies. Are you doing anything to keep your skills updated? I do a lot of volunteering at film festivals and church and
community events, donating baked pies to be given to families in need.
(Producer, Line Producer, Production Manager) If you had to work in any other department, which one and why? I would probably work in the camera department because one can produce all kinds of projects without various departments, but you always need a camera. And in my opinion, the camera department usually has the latest and greatest toys. Your biggest pet peeves on set? People who are late…. HATE that. Yes, I get that you are a “creative type,” but you still have an alarm clock. Learn how to use it. What would you go back and change about your career path? While in college, I wish I had done an internship with a commercial production company. How do you like to be approached by newbies, people just starting out? We are here to help people trying to start their careers in “The Biz”. When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like trueblue crew? A big step in my career was when I was hired by Bill Thompson to manage the stages at Crawford. Another milestone came a few years later when I started working at Turner. Learned a lot at those two companies . . . lessons in my career I’m still using today. Funniest moment on set? I don’t know if I can think of a specific moment, but do know I have laughed a lot on set . . . thanks to the crew I work with. Usually, the art department is involved with some sort of joke. Favorite thing on the craft service table? Anything Kim McMinn makes . . . I’m a fan. That woman knows how to feed a crew. Fed crew = happy crew. Describe the toughest part of working in “The Biz.” Every year there seems to be a couple of slow times when the phone
doesn’t ring for a couple weeks. Hate those times. Give a shout-out to the hardest one or two Georgia-based crew people you know. I won’t mention any specific crew member, but will give a shoutout to Annette Stilwell Casting, PC&E (camera, l/g, and studios), and Mellen Productions (locations). These three vendors make my life a lot easier . . . plus, they are just down to earth good folks. In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” Atlanta needs more gaffers, more production coordinators and more caterers willing to make a solid breakfast.
(Producer, Assistant Director) If you had to work in any other department, which one and why? My desire would be in locations. Many locations are like another character in a movie. Logistically nailing down all the elements can be an interesting challenge. Your biggest pet peeves on set? My biggest pet peeve is crew members not picking up their personal trash and acting as if leaving all their crap for someone else to clean up is not their responsibility. Also breaking things and not taking responsibility for it. What would you go back and change about your career path? I had many opportunities that I passed on, like working on the David Letterman show, or being taken under the wing of a major Hollywood producer, or taking some AD positions on TV shows. I would have been more strategic about what direction I wanted to go in. How do you like to be approached by newbies, people just starting out? I must get half a dozen emails a month asking to meet and network. I always respond and most the time we will grab a coffee. I listen to what they want to do and give them my best advice and try to be encouraging and positive of what MAY / JUNE 2015
their next steps should be. You never know, they could be hiring you for your next job! Give a shout-out to the hardest one or two Georgia-based crew people you know. Hands down, Caleb Hinshaw and Tiffany Barnes in locations, assistant director Jen Willis and the best Southern caterer, Eric Forth.
Butch Seibert (VFX Director & Supervisor)
If you had to work in any other department, which one and why? If I had to work in any other department, I’d like to work in the props department. I think I would enjoy the creativity of searching for or building the perfect prop, especially high tech gadgets. How do you like to be approached by newbies, people just starting out? I always try to make time for someone who’s just starting in the industry. If they’re polite and eager to learn, I’m willing to share everything I’ve learned over the past 20 years working in visual effects. Describe the toughest part of working in “The Biz.” I find the toughest thing of being in “The Biz” is the schedule. Things change quickly and unfortunately the visual effects shots tend to be last ones handled in any scene that’s shot. That usually leaves very little time to get things done because they’re ready to move on to the next setup. You need to be prepared to hustle and not let anything slip through the cracks. In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” One thing I’d love to see in the industry is more directors and DPs that have visual effects experience. I’ve been fortunate to have worked with some that know a bit about visual effects. It really helps things not only on set but especially when the shot gets back to the visual effects artists in post. 36
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Michael Shortt (Producer, Stunts, Locations)
If you had to work in any other department, which one and why? I have worked in almost every department; choosing one has always been impossible for me. I find it odd that West Coast people act astounded that many of us in Georgia have multiple skill sets. Now that I have graduated to showrunner, I think I miss casting. Your biggest pet peeves on set? Lateness, slow moving, and leaving an area empty handed at strike [breaking down the set]. What would you go back and change about your career path? I would have been less rigid in my selection of opportunities and taken more chances. How do you like to be approached by newbies, people just starting out? LOSE the attitude, you are one of tens of thousands of those interested in our business, never forget that you are being hired for what you can do for me, not what I can do for you. Be polite, respectful, thorough and always truthful. When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like true-blue crew? While working on a national TV commercial that had a long schedule, the producer found out it was my birthday and surprised me by serving a huge birthday cake at lunch. It was very touching; 20 years later that still makes me smile. Funniest moment on set? So many, mostly casting related and without spilling the torrid details on the one that stands out most, it was shared with the late Dennis Hopper and was rather bawdy. Can you tell us about a time when things went bad on a set, a low point, a story that resonates with the saying: “if you’re not falling and scraping your knees, you’re not trying?” I discovered that a craft services person was making
five-gallon batches of lemonade for the extras in a large cooler and stirring the mixture with their bare arm. I promptly moved them aside and poured it onto the ground. As you can imagine, chaos ensued with this person that resulted in several grips pulling us apart. I was summarily summoned to address my method of handling the situation. I still think it was disgusting behavior, but I could have handled it better. Favorite thing on the craft service table? Clif bars. Describe the toughest part of working in “The Biz.” Funding and distribution will always be the tallest hurdles. Are you doing anything to keep your skills updated? Constantly reviewing new technology and equipment, our new series is being shot in 4k for example. Give a shout-out to the hardest one or two Georgia-based crew people you know. Jennifer Spell (director of photography, camera operator). In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” To develop a serious coalition of those Georgians who will invest in film and television projects. We need to educate those with means that this is show BUSINESS, not show hobby. Money can be made; Hollywood has understood this for 100 years.
Laura B. Skelton
(Teleprompter Operator) If you had to work in any other department, which one and why? Probably in audio because I had some experience there several years prior. Your biggest pet peeves on set? It’s frustrating when people aren’t paying attention and miss cues and not being there for the rest of the production. What would you go back and change about your career path? I would change nothing because it’s all been magical!
When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like trueblue crew? I felt that I had arrived when my husband told me to get a real job. Funniest moment on set? There have been many funny moments on a set including things like wardrobe malfunctions, everyone sitting around waiting for a meal and then everyone bringing out their own snacks and sharing them because we’re starving. Can you tell us about a time when things went bad on a set, a low point, a story that resonates with the saying: “if you’re not falling and scraping your knees, you’re not trying?” We were working on a PSA with Joanne Woodward in the middle of April in the botanical gardens. That morning, the temperature had dropped 22 degrees and everything looked dreadful. I pulled out my teleprompter gear, and it was so cold and the wind was blowing so hard, my computers froze and wouldn’t scroll. The wind kept blowing Joanne Woodward’s hair straight up and they had to bring her into the hair and makeup trailer again and again. Two light poles fell on my head raising bumps. Then they put me in the back of a van, and one of the crew came over and blamed me for everything bad happening on the set. So, I was fired off the set and replaced by another teleprompter owner who pretty much fared the same. It was just a bad day on the set. Describe the toughest part of working in “The Biz.” It’s the dry times when no one is calling and, on the other side of the coin, those times when everybody is calling and you have to turn work down. Are you doing anything to keep your skills updated? I’m constantly researching new equipment, who is using teleprompters and new ways to use them. Give a shout-out to the hardest one or two Georgia-based crew people you know. Tim Averitt (producer, camera operator). With the jobs he’s had, he’s always trying to get people into the business that he liked. I got many phone calls where people said “Tim referred you to me.” In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a
force in “The Biz?” There needs to be a better communication system between crews so that people can find each other. I feel it’s still very proprietary from project to project. There are still audio people who don’t know other audio people, camera people who don’t know other camera people and producers who don’t know anybody!
Give a shout-out to the hardest one or two Georgia-based crew people you know. Stephanie Morales, craft service. In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” Education and infrastructure within the community to grow and become more competitive.
(Production Designer, Set Designer, Art Director)
Meg B. White (Hair Stylist)
If you had to work in any other department, which one and why? If I could be in any other department it would be makeup, because I would love to unknowingly give actors or actresses angry eyebrows. Your biggest pet peeves on set? My biggest pet peeve on set is when the talent’s hair smells like the rave they went to last night; or even better, someone’s regurgitated drinks. How do you like to be approached by newbies, people just starting out? The way I like to be approached by newbies is slowly like a tiger, with simple questions one at a time, never speaking over me with excitement. When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like trueblue crew? The moment I felt like a “true-blue” crew was when I styled the actress’s hair larger than life against her liking because I knew it would balance her on film. When the results came back she looked flawless. She and the team thanked me for my foresight.
Your biggest pet peeves on set? When another crew decides their equipment must go in the exact spot where you are obviously working. What would you go back and change about your career path? Schmooze more. How do you like to be approached by newbies, people just starting out? They should send email. I’ll save resumes for referrals. Bad grammar and typos are sent to recycle bin. When did you feel like you were going to “stick?” When did you feel like you’d gone from wannabe to feeling like true-blue crew? I found a solution to a difficult shot on location during a tech scout and the production designer credited me for the idea. Describe the toughest part of working in “The Biz.” Taking time for yourself and family. Are you doing anything to keep your skills updated? Learning additional CAD/design software apps for versatility. Give a shout-out to the hardest one or two Georgia-based crew people you know. Guy Tuttle (production designer, art director) and Dwight BenjaminCreel (prop master).
Cynthia Stillwell (Casting Director)
Your biggest pet peeves on set? Lateness and unprofessional attitudes. Favorite thing on the craft service table? Red Tootsie Roll Pops!
In terms of infrastructure and manpower, what do you think Georgia needs more than anything to remain a force in “The Biz?” We need more skilled local department heads and larger studios with 40-foot grid and clear spans of 30,000 square feet or more. MAY / JUNE 2015
OZ SCENE: ATLANTA FILM FESTIVAL
The 2015 Atlanta Film Festival kicked off on Thursday, March 19th with WonderRoot’s Local Film Series.
Atlanta Film Festival T
he 39th annual Atlanta Film Festival took place from March 20-29th, 2015, primarily taking place at the Plaza Theatre, 7 Stages Theatre, Woodruff Arts Center, the High Museum and the Rialto Center for the Arts, with special events at the Goat Farm Arts Center and the Fabulous Fox Theatre. Nearly 150 unique events took place over the 10-day festival, showcasing over 180 film screenings, television presentations and live performances. Actor, director and producer James Franco taught a masterclass at the Plaza Theatre, in addition to walking the red carpet and participating in a Q&A following the world
premiere of “The Heyday of the Insensitive Bastards,” a film both starring and produced by Franco, as well as being directed by some of his students. Franco was joined at the premiere by actress Abigail Spencer (TV’s “Rectify,” “Mad Men,” “True Detective”), who also was on hand for opening night and the world premiere of her film “Winter Light” at the Serenbe Inn Pavilion. Other special guests included Pras Michel (The Fugees) for “Sweet Micky for President,” actresses Georgie Henley (“The Chronicles of Narnia”) and Kara Hayward (“Moonrise Kingdom”) for “The Sisterhood of Night,” and “The Red Road” stars Julianne Nicholson, Martin Henderson and Tamara Tunie. Photo Credit: Doobious.org
ATLFF Shorts Programmer Christina Humphrey and ATLFF Creative Director pose with a white walker at the “Game of Thrones” after-party at the Fox Theatre.
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Filmmaker Robert Machoian (“God Bless the Child”) accepts the jury prize for Best Narrative Feature at the awards ceremony.
Filmmakers Alexis Boling & Bodine Boling.
Actors and producers Josh Pence & Abigail Spencer with Shelton Stanfill, Julian Higgins & Scott Teems.
Winning Filmmakers & Guest Jurors Reel Georgia take the stage for WonderRoot’s Award Ceremony.
James Franco during a Masterclass at the Plaza Theatre.
Filmmaker & actor Kentucker Audley.
The stars of “Survivor’s Remorse” walk the red carpet. L-R: Teyonah Parris, Jessie T Usher, Erica Ash & RonReaco Lee.
“The Sisterhood of Night” cast & crew L-R: Director Caryn Waechter, Christopher Escobar, Georgie Henley, Elizabeth Cuthrell, Willa Cuthrell, Kara Hayward, & Walker Anderson.
ATLFF Award-winning filmmakers Vania Leturcq (“Next Year”) & Meryem Benm’Barek (“Jennah”) at the awards ceremony.
The cast of SundanceTV show “The Red Road.” L-R: Julianne Nicholson, Martin Henderson, & Tamara Tunie.
The cast and crew of “Pepper’s Place.” L-R: Actress Rachelle Lynn, Molly Coffee, Hannah Fierman.
MAY / JUNE 2015
OZ SCENE: BLACK WOMEN FILM SUMMIT
Black Women Film Summit T
he inaugural Black Women Film Summit kicked off March 5 with Actor Lamman Rucker and Staci Jae hosting “Single Ladies” at Spelman College. March 6 featured “The Untold Stories Awards” luncheon where “Empire’s” V. Bozeman performed. Untold Stories Award winners were Shante Bacon, 135th Street Agency; the Georgia Production Partnership (GPP); Will Packer, Producer; Tia Powell, Georgia Film Sourcebook and “Oz”
March 5th magazine; Tomika DePriest, Black Women Film Network Chair Emeritus; Logan Browning, “Hit the Floor” VH1; Robi Reed, BET VP and Lamman Rucker, Actor. March 7, the final day of the Summit, featured films by artists all over the country who told “the untold stories” at the screening and panels at Spelman College. V. Bozeman performed at the Closing Awards Ceremony at TIME restaurant in Midtown.
V. Bozeman sings.
BWFN board & more.
Beautii Joseph & Maja Sly.
BWFN Chair Donald Woodard makes remarks.
Atlanta city council president Ceasar Mitchell. Will Packer.
OZ MAGAZINE: CREW SPECIAL ISSUE
Scholarship winner Tawanna Easley accepts her award.
Robi Reed accepts her award with Jonathan Slocumb.
Ric Reitz & Fran Burst representing GPP.
BETâ&#x20AC;&#x2122;s Connie Orlando with Shante Bacon.
Jeff Gripper, Sheryl Gripper.
Jaunice Sills, Heather Hawes, Tomika DePriest, Saptosa Foster.
Priyanka Banks, April Mcrae, Adrene Ashford, Stacii Jae, Metoya Monroe.
MAY / JUNE 2015
OZ MAGAZINE: CREW SPECIAL ISSUE
Lights! Camera! Action!
Where Do I Fit In?
10 Differences Between “9 to 5” and The Move Industry
The Movie Business Résumé
You Got The Job
Six Easy Ways to Get Fired
Word On the Set
Unions & Guilds
MAY / JUNE 2015
OZ MAGAZINE: CREW SPECIAL ISSUE
2 3 4
By Lisa Wright
hat really has to happen before these words can be uttered? A lot of people with a lot of different talents have to work together for a common goal. You might be surprised to learn that you have a talent that is sought after by the exciting and ever-expanding Georgia film and television production industry. This article describes the various jobs and the requisite talents that are involved in creating a film, TV show, or commercial production from pre-production through production and post production.
MAY / JUNE 2015
The first step is pre-production. The goal at this stage is to bring together the team so that they will be ready to shoot the film. During this phase, the finances are put in place, the cast and crew are hired and locations are chosen. During the production phase, these people work together to actually create the settings and film the scenes that will become the movie, TV show, or commercial production.
The executive producer is responsible for finding the money, and often the talent, that makes the movie possible. It could be the lead actor who is lending his or her talent to the film, or it could be the owner of the production company that is producing the film. The producers are involved in various aspects of the project. They might be working with the screenwriter, casting agents, or editors. They report to the production company or studio and are tasked with budget management. They are the intermediaries between the studio, the production company and the director. They also oversee the line producer.
My simple advice for becoming a producer would be…. Don’t expect to start as a producer. Start as a PA and work your way up through different departments (camera, light/grip, art,….). Don’t rush it… and enjoy the journey. What you learn by going through this process will serve you extremely well when you start working as a production manager… and eventually as a producer.
The line producer is the person who maintains the budget for the film. His or her sole responsibilities are to keep track of how the money is spent, to determine whether departments are over or under budget, and to know why. In other words, when someone says, “Show me the money!” the line producer must always be ready to answer that question. A line producer can work for the studio, or a director may choose a line producer for the project. The line producer credits are usually included with the head credits and paid advertising.
The next position on the production team is the associate producer. This person plays a supporting role. He or she must have the ability and willingness to fill in the gaps. This credit can be given to someone in recognition of his or her extra effort. Alternately, it could be negotiated as part of the deal. This credit also appears in the heading and paid advertising.
“Show me the money!” 46
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Chart your own path. There are many avenues you can take to become a producer, but the more varied the experience, the more you’ll learn along the way and be able to apply as you grow in your career. If you choose to go to film school, which is not a necessity, make sure you take business and entertainment law classes.
Producer/Line Producer/ Production Manager
First Assistant Director
Director of Stereography
The next key element is the director. The director is the person who interprets the written screenplay and translates it to the sights and sounds of the movie. All directors, whether they work in film, video, television, or commercial productions, take a concept and make it a reality. The director guides the entire cast and crew during preproduction, production and post production, making most of the artistic judgments during the entire process. One type of director that is rarely discussed: the director of stereography. This director oversees the visual effects that create 3D images in film, television, or commercials. The director relies greatly on the first assistant director. The 1st AD has many important duties, such as collaborating with the unit production manager to plan the best shooting schedule and then implementing the schedule on set. Calls sheets, which inform the cast and crew
Third Assistant Director
Second Assistant Director
Second Unit Director
where and when they must report for shooting, are prepared by the 1st AD and approved by the unit production manager. The 1st AD may also help the director to manage aspects of the film like extras, crowd scenes and special effects. He or she also administers all production paperwork as well as the call sheets.
continuity and for recording the production unit’s daily progress. This person must be very detail oriented.
The second assistant director is the right hand of 1st AD. The 2nd AD handles the logistics of the set, ensuring that the cast and crew arrive on time at the right location. He or she may help to distribute the production paperwork, and may also handle the background talent and help prepare the call sheets.
There may also be a need to hire researchers or historical advisors. These individuals can make recommendations about the style, set arrangements, or character behavior for period pieces to ensure historical accuracy.
A third assistant director may be employed to help the 1st and 2nd ADs with such things as managing crowds and managing the production assistants (PAs). A script supervisor (also called continuity supervisor) is responsible for maintaining the motion picture’s internal, visual
Some films require the presence of a dialogue director on set to review lines with the actor and coach them in areas involving accent or dialect.
A second unit director is the last part of the directing team. This director controls certain shots, like a car drive-by for example, that don’t require the use of the principal actors, or for synchronized sound. It may be less expensive to employ a small unit to cover these shots. The second unit director provides detailed instructions to this “second unit.”
*visit ozmagazine.com for more words from the wise!
MAY / JUNE 2015
Line Producer/ UnitProduction Manager
I would not necessarily recommend a film education. I’ve come across more misguided kids out of film school who thought they knew it all and were immediately ready to direct than I have receptive, curious grads. Although a degree in theatre gave me a basic knowledge of acting, directing, lighting and “show business,” what it really afforded me was the opportunity to work with creative folks my age, as well as form several lifelong friendships. Much more important than an education is a deep love of movies, a strong, unfaltering work ethic and the creative ability to make your first inside connection. Once you get that first job or internship, your promised success is as good as your performance on your last show.
The unit production manager (UPM) is another critical person on the set. The UPM prepares the budget along with the producer and hires the crew on behalf of the producer. The UPM must be an excellent negotiator. He or she must fully understand every aspect of a production in order to serve as middleman between the crew and the producers. The UPM must consider the costs when resolving issues on the set with the crew while at the same time serving as the advocate for the crew in communicating and resolving their concerns. He or she has to know what’s happening on the set and in the production office. Excellent people skills are required for communicating with all levels of crew on the set. The production coordinator is responsible for organizing and managing what happens in the production office. He or she takes care of such things as shipping film, receiving dailies (raw, unedited footage) and arranging transportation and lodging for the actors and crew. The production coordinator also manages the office production assistants, and may also have to handle special requests of cast and crew. This person has to have 48
OZ MAGAZINE: CREW SPECIAL ISSUE
the ability to multitask effectively, troubleshoot situations, be energetic and also have good interpersonal skills. He or she must also work well under pressure and be willing to be a team player. The production coordinator must be willing to do whatever is necessary to keep the office running smoothly. Many times that means working excessive hours to ensure that the day’s needs have been met and the next day’s needs prepared for. On larger productions many of the duties of the production coordinator are delegated to others. For instance, think about the travel needs for the cast for the movie The Hunger Games: Catching Fire. On that set, there may have been a travel coordinator to organize all travel plans. A production secretary may be hired to support the production coordinator with administrative duties. Larger productions may require a shipping coordinator to oversee all packaging and shipping of products during production. Items for production may be ordered by different departments such as wardrobe, props, art and camera among others.
Another department in the production office is production accounting. The production accountant maintains, manages and records all of the accounting and financial records during production. That involves such things as petty cash disbursements, per diems, purchase orders, credit card transactions and processing invoices for payment. The accountant may also maintain a hot cost sheet that is updated frequently during production. This helps the UPM, producers and directors know in real time how close to budget the production is running. On a larger production, a production accountant may have staff members to help with these responsibilities. An accounting clerk may receive invoices and other paperwork from the crew. A first accountant may review coding, and then a second accountant may complete that work. The size of the budget and the length of the production determines the size of the production accounting department.
Ross Sebek If I were to give a general statement of advice to industry outsiders trying to get in, I would say “Don’t wait for it, just start doing it.” Who cares if it’s a student film, just start doing it. It’s the best way to begin the process of learning. In the meantime, you might have to work as a PA, or an AC, or at McDonalds, but no matter what you are doing make sure you are also always studying, growing and working towards your desired position and goals.
Director of Photography
Sue-Ellen Chitunya If one isn’t sure about what position they want in film, working as a production assistant is great way to learn about different departments. There are various ways to gain experience such as volunteering on the various independent projects in town. It’s a great way to meet people and build camaraderie with potential future collaborators. Seek training workshops like the PA Academy.
Another potential person in the accounting department is the production auditor. This person works closely with other departments to ensure that the crew follows local and federal laws and union requirements. The auditor may review financial data to assess compliance. A production comptroller may work directly for the production company or studio. This person is responsible for the accuracy and quality of the accounting and finance throughout production. Another person who works in the production office is the payroll accountant. This person receives the timesheets from the 1st AD for the on-set crew and the other department heads. These timesheets must first be approved by the UPM. The payroll accountant may process the time sheets and send them to an outside payroll company for processing. He or she also processes payroll for the producers. This person must know how to handle payroll for union as well as non-union crew. The payroll accountant must know how to process payroll for crew and cast who are members of the International Alliance of Theatrical Stage Employees (IATSE), the Teamsters, the Directors Guild of America (DGA) as well as the Screen Actors Guild (SAG). He or she must know the payroll laws with regard to meal penalties and kit or box rental (money paid for personal
Production Assistant Casting Director
belongings used during production) among other things. In addition, this person must be able to work under tight deadlines. Hired early in pre-production is the casting director. He or she is contracted to help find and recommend the best actors for the speaking roles. Some casting directors are local to the production site, and some, who usually are contracted for the principle cast, are national. Casting directors do not belong to any unions that establish their wages, but many do belong to a national organization called the Casting Society of America. There is an annual directory titled Casting By that lists all members of this society alphabetically with their credits; they are also listed geographically by state. Many times the casting director negotiates on behalf of the producer with agents regarding actors’ contracts, salaries and screen credits. He or she can make recommendations but does not make any final decisions on who is hired. Experienced casting directors usually have a wealth of knowledge about up-and-coming actors, the general price ranges of actors being considered for a role, and even what types of roles actors are currently seeking. Getting a well-known principle actor can make a big difference in helping to finance a project.
We don’t want to forget production assistants (PAs). The primordial stew of beginning crew members making their way into the world of production. Many people working on set, in fact most people working on a set, began as PAs. PAs work in all departments of a production. A PA could be assigned to the office, the set, the props department, the art department or production design. PAs are anywhere and everywhere, on set and off. Many times this position can be the launching pad for new opportunities as the PA improves and proves his or her skills and builds relationships with more established crew that could lead to more opportunities. The PA may do mundane things such as make coffee, run errands, or make copies; every role, no matter how small it seems, is needed. PAs should not despise small beginnings. They should go with the flow and take what they do seriously. The PA position provides a chance to gain insight into what the cast and crew members do from day to day. This may help the PA discover where he or she would really like to work on a set or in production.
MAY / JUNE 2015
Assistant Location Manager
Herb Kossover Director of Photography
Camera Operator Second Camera Assistant
Look at and analyze every image you can find on the talent that you will be photographing to see what angles work best for them and what they have approved to be released in the past on previous shows they were involved with. While there are no real programs in academics for a still photographer’s position, a solid foundation in photography, as it has been affected by digital advances, is a must.
A vital part of the camera department is the camera operator. This individual operates the camera and preserves the camera settings and arrangements as instructed by the DP and director. The camera crew may also include a first camera assistant
OZ MAGAZINE: CREW SPECIAL ISSUE
First Camera Assistant
Jib Operator Steadicam Operator
Another department that is staffed early is the location department. The location manager has the task of finding locations to be used in the film, TV production, or commercial and to obtain the necessary permits and clearances. An additional duty is to find parking for crew and production vehicles. The location manager must have a good temperament, good negotiation skills and the ability to work well with all kinds of people. Other people in the department may include the location scout and assistant location manager, both of whom help fulfill these duties. This department works closely with the directors and producers. A crucial hire on any production is the director of photography (DP), also referred to as the cinematographer. He or she works intimately with the director to determine the photographic approach to the film – how lighting and the camera will be used to get the desired effects to enhance the script. The director of photography chooses the camera and lighting equipment and supervises the camera and lighting crews.
I think it’s important to know the buzz words and equipment used to actually craft a feature film. I would suggest at least a year at a rental house, there you will be able to touch and feel and probably even fix all kinds of equipment to get you ready to become a second camera assistant.
Aerial Photographer Lighting Director
Underwater Photography Data Management Tech
Digital Imaging Technician
(focus puller, 1st AC) whose responsibilities are to set up the lenses and filters for each shot, maintain the focus for each shot and set the lens stop. The first camera assistant is also responsible for the upkeep of the equipment. A second camera assistant (loader, 2nd AC) loads and unloads film, sets up the camera, cleans all parts of the camera package and operates the iconic and world-famous clapper slate. Additional tasks include managing the paperwork for the camera department, preparing the slate for each take and helping the 1st AC. A jib operator operates the jib, a camera mounted on the end of a boom that is used to capture the vertical and horizontal shots. A Steadicam operator handles the Steadicam, a camera usually attached to the operator’s body and equipped with a stabilizer that creates a smooth shoot even though the operator is moving. Some productions may also require an aerial photographer who specializes in taking photographs from aircraft. A still photographer may be employed to capture non-moving images. If there are any underwater scenes in the production, an underwater photographer must be hired to capture those images. On bigger production a data management tech may be necessary to manage
the digital film footage during production and workflow during the post production process. The camera department may also include a digital imaging technician who collaborates with the DP to provide highquality images. The lighting department, or electrical department, works closely with the camera department. The lighting director is the person who designs the lighting used during production. A key member of the lighting department is the gaffer – the chief electrician. This person manages the lighting patterns and placement according to the DP’s instructions. He or she will seek out the power source and decide how much power is available, how much cable will be needed, the best route to string the cable and whether additional generators will be required. The gaffer’s best boy is the first assistant electrician who is responsible for the daily operation of the lighting department. An electrician is responsible for rigging and operating the lighting and electrical equipment. A dimmer operator may be employed to turn lights on or off or dim the lights in a scene. A generator operator (genny operator) is responsible for the safe and optimal operation of the generators on the set.
You need to really observe what’s happening on a shoot and learn to anticipate what is needed. Don’t just wait to be asked to do something.
Co-Owner of Atlanta Filmworks/ Owner Get-A-Grip Atlanta
Do not think you know everything. If you know everything, you can’t learn. Tell yourself you do not know anything and your brain will be a sponge for knowledge.
Get a copy of the Matthews catalogue and study it. Learn the names of the equipment and what they are used for. You’ll have a head start on a lot of other newcomers. Ask questions. Put the phone away. Be a grip, not a gofer.
Dolly Grip Jib Operator
Music Video Soundmen
Production Sound Mixer
Another department that works closely with the lighting and camera departments is the grip department. The head of this department is the best boy or key grip. This person is responsible for the daily operations of the department. The best boy is in charge of solving problems of rigging in each location, taking into consideration such things as access to upper-story windows, width of hallways and the best ways to move camera dollies in different situations. The grip crew assists the gaffer during lighting procedures and maneuvers the camera during moving shots. They also build platforms, rig picture vehicles and black out windows for night interior shots that are filmed during the day. The grip crew also lay out the dolly track. A dolly grip is the person who operates the camera dolly. The dolly track is moved in various directions, and this person must push or pull the camera dolly, which holds the camera operator. The dolly grip must also maintain all dolly and crane equipment. A crane operator handles the camera on a crane; a similar position is the jib operator. Other grips perform various grip department responsibilities assigned by the key grip.
Character Generator Operator
On a film set, a production sound mixer chooses the sound equipment and records the dialog and sounds during production. He or she operates the mixer, balancing the levels and equalizing the sounds from the microphones, taking into consideration the effects of background noises such as traffic, air conditioners and airplanes. The production sound mixer works out solutions for such problems with the director. The production sound mixer also maintains the sound reports. During a music video production, the music video soundmen are responsible for all sound engineering. A production sound mixer decides the placement of the microphones, which are then put in place by the boom operator who holds the microphone boom and properly positions the microphone during the take to ensure optimum recording quality. Sound specialists must be mindful not to interfere with the lighting equipment, camera equipment and actors’ movements. They must make sure that they do not create any shadows in the shot. They also record sound effects during the take, including wild sound effects, which include the sounds of such things as footsteps,
Video Assist Operator
dog barks, body hits, shattering glass, gunshots and tire squeals. It is more effective and less expensive to record these sounds during production. Wild lines are short words or phrases such as “Halt” or “Good morning” that are recorded off camera because the sound quality is uncertain. Later they are synched during post production. A sound assistant may also be employed to assist the boom operation or production sound mixer. A cable person is responsible for stringing and connecting the cables related to the sound recording equipment and for handling the cables during a shot. On a television set, a technical director supervises all of the technical operations throughout the production. The technical director collaborates with the engineering, technical and creative departments to create media content. He or she may also direct staff. The video assist operator handles the video assist, which is the system used to watch a video version of what was just filmed. He or she controls the video playback, loads video inserts and handles the tape machines. A character generator operator is the technician who uses charactergenerator (CG) software.
*visit ozmagazine.com for more words from the wise!
MAY / JUNE 2015
Respect your crew. Everyone has something to contribute in knowledge and experience. Production Designers and Set Designers come from various backgrounds. Training and experience in Architecture, Interior Design and Theatre are common paths for Production Designers in lieu of film schools.
Production Designer Mechanical Effects
Special Effects Technician
Special Effects Coordinator
We are all familiar with the teleprompter operator. He or she manages the teleprompter, which displays the lines that should be spoken by the person on camera. The special effects department is headed up by the special effects coordinator or key special effects person. This specialist plans and executes all special effects during the production and is especially responsible for safety of crew and sets. Effects may include rain, snow, wind, breakaway furniture for fight scenes, fire and, smoke. A mechanical effects animatronics and robotics person handles the special effects that require that robots or mechanically engineered props actually look like humans or animals. A pyrotechnician specializes in pyrotechnics. This person manages all fireworks; chemical explosives that cause heat, sound and light; as well as other explosives. A special effects technician is responsible for creating individual special effects directly on screen using visual effects (VFX), pyrotechnics, or physical effects. The stunt coordinator (a/k/a stunt foreman) casts stunt performers for the film, choreographs stunts, and is responsible to the director for safety. Most specialize in certain 52
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Assistant Art Director
A hand drawing ability is necessary to quickly convey ideas for the conceptual and design phase. It is important to learn how to draw and use the digital formats as these provide a quick accurate way to interchange finishes, make design changes and create construction documents.
types of stunts. A stunt performer performs the dangerous stunts in a scene, because every actor is not like Tom Cruise, who performs his own. Most stunt coordinators and stuntpersons belong to the Screen Actors Guild (SAG) and are covered under the guild contract. If a SAG picture requires stunts, then only guild members may be hired to perform the stunts. Animal specialists are required for some films. The animal trainer is responsible to the director for overseeing the care, handling, transporting and directing of domestic and wild animals such as birds, dogs, snakes and lions. Animal wranglers report to the trainer. They directly care for, handle, transport and direct animal performers. An insect wrangler handles the insects. Sets – beautiful, creepy, scary, historically accurate and more – are such an important aspect of any production. Sets are the responsibility of the production design / art department. The production designer works intimately with the director and DP to create a “look” for the picture. This person conceptualizes the entire visual design for the film and supervises its creation. This includes coordinating color schemes, constructing sets and assisting in choosing locations. He or she also has the awesome
task of ensuring that such areas as props, set construction, special visual effects and costumes are on the same page so that there is a consistent visual style throughout the production. The design elements should help to tell the story. It is important that the production designer understands when it is more efficient and economical to shoot on location instead of choosing to build a set. Generally the smaller the space (a bathroom, for example), the more money is saved by building a set and the larger the space (a train station perhaps), the more money is saved by shooting on location. It can also be economical to use the same location for different scenes, simply redressing the location appropriately for each scene. It is also helpful to find several locations that are close to one another; this saves money by decreasing the number of production moves. The production designer depends heavily on other department heads to execute the director’s vision. The art director supervises the design and building of the sets. He or she must have a strong knowledge of architecture as well as artistic design abilities. A comprehension of computeraided design programs is also beneficial. An assistant art director may be hired to assist the art director.
President of 7th Wave Picture Always remember to put yourself and others in a safe working environment. We are out there to work, earn money, have fun, whatever, but it isn’t worth getting hurt, or losing a life!
Set Decorator Coordinator
A storyboard artist creates a multi-panel pictorial representation of the scenes in the film before production begins. The director uses the storyboard to communicate his vision to the crew. There are software programs that are designed specifically for storyboarding. They include a variety of drawing tools; a wide choice of characters, props and locations; frame sequencing options; and text tools for adding captions. Another way that a director may organize camera setups is through the use of a floor plan. The production designer may supply the floor plans of various sets drawn to scale. The director can mark the plans to show the position of furniture and props, the movement of cast members, camera positions, the direction in which the camera will move, and the order the setups will be shot. The shot list describes the camera setups. An illustrator or conceptual artist can create detailed drawings of scenes, sets, props, vehicles and
so forth to convey the director’s and the production designer’s vision. A set designer implements the plans to facilitate the work of the various art department functions. He or she is also responsible for designing, building and operating all prototypes upon which the actual production models will be based according to the directives of the production designer and director. The special effects crew is responsible for constructing and operating miniatures and models conceived by the production designer. A set decorator selects all of the set dressing, including furniture and artwork as well as small items like kitchenware and magazines. Larger productions may require a set decoration coordinator whose sole purpose is to budget expenses for decorations used in the background or scenery. This person also coordinates with other departments such as lighting and props. The set decorator and the on-set decorator place the items
on set. The on-set decorator works with the property master to maintain the set dressing during production. The set decorator also supervises a lead person who manages the swing gang. The lead person and swing gang make the last-minute changes to the set before filming begins. As one scene is being shot they are at the next location getting it ready for the next scene. The greensman creates, arranges and maintains the appearance of the landscape, the interior plant decorations (flowers and plants) and anything green that is going to be seen in the film. A scenic charge oversees the creation of the film’s scenery. Graphic designers use electronic formats to create digital visual images. Large productions may employ a graphic auditor to maintain the financial records during production from the graphic designer. Just think about the costs that occur in a film like The Hobbit. *visit ozmagazine.com for more words from the wise!
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Patrice Coleman Construction Auditor
Set Construction Foremen
Transportation Department Armorer
Another important department under the production designer is the prop department, which is run by the prop master. Props are specific items noted in the script. The prop master is responsible for the selection, inventory and maintenance of all props used in the production. Prop assistants work with the prop master to help organize and place props on the set. Prop builders construct realisticlooking objects that will be filmed or photographed. A prop stylist creates the arrangement of props that will be used in the film or photography. The prop maker is the individual who designs, builds and operates any special props required for production as directed by the production designer and director. An armorer supplies and often makes the weapons and other warfare gear that are used in production. A food stylist arranges and enhances the appearance of the food that is to be filmed or photographed. Just think about the movie Soul Food. That film required an excellent food stylist. Another department that is supervised by the production designer is set construction. The set construction foreman/ coordinator is the key carpenter who supervises the area and reports to the production designer with regard to construction 54
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Make Up Artist
Hone your skills. After you identify what area you need work in, find someone that does it well to help you with it. This could be an actual class or someone you know may be willing to help you for free or for a fee. Remember, knowledge and time have value!
progress. Carpenters build, deliver, set up and maintain all construction pieces for the production. On larger productions, a construction auditor keeps records and manages the invoices of the construction department. Painters are employed to complete any necessary painting for the production. A scenic artist is a specialized artist who works with the paint crew to create specific looks. For example, it may be necessary to “age” walls and doors to make a newly built house look lived in. The drapery crew is tasked with making or purchasing and installing drapery and upholstery material required for production. A paperhanger applies wallpaper, tile and other related materials to the walls, floors and ceilings of sets. A welder may be employed to perform any metalwork or welding needed for production. A plasterer completes any plastering needed for production as directed by the foreman. Next we will look at the transportation department. The transportation captain is responsible for securing and maintaining all production vehicles including those driven by the actors in the film. Various drivers are employed during a production. During pre-production the drivers chauffeur key production personnel to various sites during location scouting. During production, they may be needed to shuttle actors to and from rehearsal, makeup tests and
Insert Car Driver
Picture Car Coordinator
wardrobe fittings. They may move production vehicles from location to location, shuttle actors and crew between the set and residences, parking lots and catering locations. An insert car driver drives the rolling platform that the camera crew rides on to shoot an action sequence. A marine coordinator oversees the water shots of the production. A picture car coordinator manages the use of all vehicles that are featured in the production. Everyone gets hungry. The caterer plans, organizes, cooks and serves the main meals to the entire production crew. They are very important, because crewmembers often relate their experiences on various pictures in terms of the food rather than any other aspect of the production. The best caterers serve meals that are healthy and hot and served with a variety of beverages and yummy desserts. They use “proper” cutlery, not plastic, and they provide a comfortable place to eat. Any special diet requests should be honored regardless of whether they are cast or crew. Craft service provides various snacks and beverages to the crew throughout the day on the production set.
Special Effects Person
Second Hair Stylist
Hair Stylist Assistant
Wig Maker & Stylist
Wardrobe Seamstress/ Tailor/Stitcher
Body Makeup Person
Makeup Artist Assistant
Second Makeup Artist
Offer to intern for other key hair stylists, locate local fashion photographers and barter your hair services in exchange for use of photos. Make sure you keep your tools sanitized and fully stocked.
Key Makeup Artist
Research, never stop learning. Study your craft: garment history, trends, style, etc. Always be thorough and detailed.
Hair Stylist Teacher Wardrobe Medic, Doctor, & Nurse
Medics, doctors and nurses are always present to respond to any health issues that arise on the set whether it is treating something as small as a cut or performing life-saving CPR. The Screen Actors Guild requires that a teacher work on set to teach any minor children who are employed during regular school hours. State labor laws may have additional requirements. For example, in California a teacher must be hired whenever a minor is on set, even when school is not in session. The teacher must have a special certification to function as both a teacher and a welfare worker. Once the sets are ready, the actors must be made up and costumed to fit their roles. The key makeup artist is the head of the makeup department. He or she designs and applies the makeup to the key actors and organizes and supervises all personnel in the department. The second makeup artist provides the makeup for the background and extra talent. Additional makeup artist assistants may be necessary to
assist at the direction of the key makeup artist. The production may use the services of a body makeup person who applies the makeup required on the actor from the neck down. A make-up artist, special effects person specializes in transforming the talent’s face with the use of prosthetics, makeup and other materials. The key hair stylist is the lead who supervises the assistant hair stylists. He or she is responsible for cutting, coloring and styling the actors’ hair, wigs, toupees, etc. A second hair stylist may be required to style hair for the background performers and extra talent. In large productions, additional hair stylist assistants may assist the hairstylist as directed. A wig maker and stylist may be required to create wigs for the talent to wear. On the set, a hairstylist and makeup artist are always available to touch up actors’ makeup and hair between takes. Last, but not least, of the departments necessary in the production stage is the costume/ wardrobe department. This department is overseen by the costume designer who is responsible for the purchase and
or/design and the supervision of the making of all costumes for the production according to the vision established by the director and production designer. A group of assistants helps the costume designer during the production. The wardrobe supervisor manages the day-to-day activities of the wardrobe department, which includes costuming the actors during production as well as handling the maintenance and inventory of the costumes. The wardrobe supervisor may also have assistants – dressers/costumers – to help during the production. The production may also require a wardrobe stylist and buyer to select the clothing that will be used for the feature. Most productions also require a wardrobe seamstress/tailor/stitcher, often with assistants, to make alterations to the costumes so that they fit properly, and to repair any damage sustained during filming.
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The project enters post production. After the shooting schedule is complete, the project enters the post production phase, which includes picture editing, dialogue editing, sound effects editing, music scoring, music editing, sound mixing, titles and optical effects, the sound track, negative cutting and printing.
Digital Assistant Editor
Assistant Film Editor
The most important individual in this process is the film editor. Every editor should have the ability to match cuts and make smooth transitions, as these aspects of the film help to tell the story. This is when the director’s involvement and communication is critical. Hopefully the director and editor will have decided how they will work together. Will the director be present during the cutting process, or just wait for the first cut? Union pictures must use a union-affiliated editorial staff; minimally, that is one editor and one assistant editor. Non-union films are free to seek non-union editors. Often the input of the UPM and the DP is considered in the editing process. Every editor needs a good assistant film editor. The assistant’s role is to maintain and organize the editor’s leftover footage (trims and outs of both film and sound tracks) from every scene in the film. He or she must be able to quickly locate these bits and pieces. The assistant is often the liaison between the laboratory, optical house and sound facility.
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Visual Effects Director/Supervisor
If the film is cut digitally, then a digital assistant editor is needed. This editor’s duties include completing the telecine process by which the film and sound are transferred to digital files. He or she also makes backup copies of the cut material; maintains paperwork; and liaises with the lab, sound and special effects houses. The digital assistant editor also must be able to operate and maintain the editing machine and troubleshoot if the editor has any technical problems. For a video shoot, a video editor assembles the shots to be used in the finished product. For some films, a colorist or color correction artist provides the best image using color grading and other effects. Another specialist who may be employed is the visual effects director/supervisor who oversees the process of adding images or distorting images into a real-action shot in a film or television production. We have talked about the visual editing now let’s focus on the
Sound Effects Editor
sound editing roles of post production. Sound is a significant element of any production. There are three main areas of post production sound: dialogue, sound effects and music. The dialogue editor provides the mixers with clean tracks so that they can change the levels of speakers individually. The sound effects editor creates a mood or emotion that will affect the audience’s reaction to the film. Their role to is give the mixers flexibility for manipulating individual sounds. They do this by cleaning, splitting, or enhancing the sound effects. Each sound must synchronize with the visual action. A production may require a Foley artist to record live sound effects in sync with the picture during post production. Examples of such sounds are footsteps on carpet, a doorknob turning, a man flopping onto bed and clothes rustling. One advantage of this post production sound is that a Foley artist can capture multiple sound effects on a single track or multiple tracks without editing.
Michael Kohler Owner of Bluetube
James V. Cockerham
Make music that you love! There is a ﬁlm project that needs it. Music composers often write music with a speciﬁc purpose in mind, but it is also okay to write music from your heart.
NAME: James V. Cockerham POSITION: Music Composer PROJECTS: “A Gift of Love” starring Ruby Dee Davis; “Come Home” starring John Patton of The Color Purple; “ Praising the Lord in a Strange Land” script written by Yolanda King and narrated by Ossie Davis
Train your ears. Don’t just hear things, listen to them. You can learn a lot by listening, and focusing on different instruments in songs, or individual elements like the soundtrack, sound effects or dialogue in a TV show or a movie. Music training is also very helpful even if you aren’t a musician per se. Understanding things like pitch, cadence and timing can help with everything from editing and Foley, to music placement and mixing.
Make music that you love! There is a ﬁlm project that needs it. Music composers often write music with a speciﬁc purpose in mind, but it is also okay to write music from your heart. Take your listeners back to the well crafted music from the 1970s, 1980s and 1990s and even music before then. Make heads bob with the 2000 beats or make your listeners stare into space with 2015 soundscapes. Music creates the atmosphere. It transforms mood and mind. Make sure your music does to you what you what it to do to others when they hear it. The Filmmakers are listening!
Music Editor/ Supervisor
Another important sound aspect of any film or television show is the music. A composer writes music to fit the picture. The music also helps to tell the story. Imagine a horror scene without the spooky music! Various types of music are used in films: underscoring, visual vocal, background vocal and source music coming from a radio or television, for example. The music editor/supervisor, generally chosen by the composer, uses a copy of the film to time each scene that requires music. Each camera move, camera angle change, dialogue start and stop, and change in action is to be detailed and timed to the hundredth of a second. Then the supervisor writes the music timing sheets, which contain all of the timing information for every scene that must be scored. The music editor also tells the composer about any changes to the picture and marks the film with music-related cues. In addition, he or she lays in any prerecorded music that will not require scoring (source music). The music editor lays the completed music tracks opposite the appropriate places in
the picture. If there is no budget for original music, the music editor must work with the director to choose music. Attorneys who specialize in music clearances take care of any legal issues. All of these post production sounds are merged to create the sound mix or final dub. The person responsible for this mix is called the post production sound mixer/rerecording mixer or sound mixer. On large productions, these duties are usually divided among a dialogue mixer, a sound effects mixer and a music mixer. Finally, the goal is to put the edited picture with the sound track. A negative cutter has the daunting task of editing the original camera negative to match precisely the edited work picture and line up the sound track in synchronization with the cut negative. If the picture has been cut digitally, the negative cutter uses a series of numbers (the negative cut list) generated by the digital editing machine to conform to the camera negative.
Many negative-cutting rooms have electronic synchronizers that synchronize a video playback system with a conventional mechanical synchronizer, providing the negative cutter with a visual reference. Technology has created options for independent film producers. Many independent producers contract with post production houses to complete their post production services. This eliminates the necessity of making large capital investments in editing equipment. Filmmakers also often contract out other tasks such titling and optical effects. Sometimes these operations can be completed economically with software packages. Filmmakers today have more technology available to greatly reduce the cost of a production. It is our hope that this overview helps you to find an area that matches your skills in our exciting and ever-expanding Georgia film and television production industry. *visit ozmagazine.com for more words from the wise!
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ENT & D E V E LO P M U C T IO N PRE-PROD Development: The process of ﬂeshing out a script and clarifying the story before a ﬁlm can be given the greenlight for production.
Pre-Production: The planning stage before a ﬁlm begins shooting; includes casting and hiring senior designers to prepare for production. In pre-production, designers lead their crews in constructing visual elements like scenery and costumes.
The number of crew members on a ﬁlm can vary widely depending on the size of the production. Production: The phase when ﬁlming takes place, led by the director. Also known as principal photography.
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E : P R IN C IP L N IO T C U D PRO PHY P H OT O G R A
MAKI M L I F N I S R CAREE
P O ST-P R O D U C T
Post-Production: After ﬁlming is complete, the director works with the editor to cut together the raw footage. Sound eﬀects, a musical score, and visual eﬀects are intergrated during post-production, reﬁning the motion picture before it is released to the theaters.
IO N : E D IT IN G
Depending on the extent of the visual eﬀects required for a ﬁlm, the crew of artists could expand to dozens or hundreds of individuals.
Full Sail University
MAY / JUNE 2015
By Andrew Duncan Do you constantly dream of abandoning your desk job and running off to work in the movies? A career in the motion picture industry requires a deep commitment and a lot of personal sacrifice, so to help you make your decision we’ve collected the top ten differences between the “regular” working world and the motion picture industry.
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No More of Those Boring 9 to 5 Hours! Get ready to work in the middle of the night and on weekends One of the first things that newcomers to the motion picture industry learn is that everyone on the crew works extraordinarily long hours. From production assistants to producers, 15 to 16 hour days aren’t uncommon and may endure for the run of a production, which may take months to complete and can often be made up of a six-day work week. Unlike the normal working world, people who work in the movie business have no idea what their schedules will look like from
week to week, let alone six months into the future. Get ready to begin missing parties and concerts, weddings and funerals. Little Johnny’s first T-ball game? You won’t be there. Little Susie’s first dance recital? You were standing in a field in the rain, drinking cold coffee. Your schedule will mystify you; it will frustrate your loved ones and put a strain on your love life; your best friends from the regular working world will slowly drift away.
Stop Worrying About Job Security And face the fact that you will be frequently unemployed Unlike a lot of jobs in the regular world, movie work is temporary and you’re always shooting yourself out of work. Sooner or later you’ll receive that final paycheck and find yourself back amongst the ranks of the unemployed. People sometimes try to find other work between movie projects, like food service jobs, but it’s difficult to find an employer who is willing to make room for you on their staff only to have you cut out and leave for a movie job a few weeks into a waitress gig. Longtime movie technicians are all too familiar with this cycle of work and have grown accustomed to filing a claim with the Department of Labor to collect
unemployment insurance between films. Many people who have only ever worked in the real world find this process frightening and disheartening, but it’s the very real way that film crews survive between projects and if you’re committed to becoming a pro you’ll have to swallow your pride and start learning how to go the unemployment office without fear or embarrassment. People who are new to the industry will be competing with people with better resumes and should expect to find their employment opportunities constrained due to this competition during their first year or two in the business.
There’s No Such Thing as a Salary for Film Crews
Predicting your expected annual income will be impossible Just like your wildly unpredictable work schedule, the amount that you get paid will vary based on a variety of factors including: the type of project you get hired to work on, your department, your position in that
department, the deal that you or your union have negotiated for that position, the amount of hours you work in any given week, and any penalties accrued by production exceeding union-negotiated windows for meal and travel times.
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You Don’t Have to Use the Company Healthcare Because there isn’t any now – you have to pay for it yourself People who work for big companies out in the real world expect for one of their benefits to be health insurance, but this isn’t the case for people who work in the movies. In fact, you’ll never technically work for Paramount
or Disney or Universal or Sony or any of the studios – you’ll work for a payroll company, whose only duty to you is to cut you a check from the production company to which you’re providing services.
But don’t panic. You can always join a union and join in on the group-negotiated insurance plans they offer, similar to plans offered by big companies in the real world.
The Novelty of Food Trucks Will Fade Those people have been sweating into your food all along anyway People who work in the real world can have lunch in a company cafeteria or may enjoy a range of local restaurants within walking and driving distance of their workplace. When these same people have an opportunity to order from food trucks they tend to lose their minds due to
the sheer novelty of the act. Movie crews on the other hand are quite accustomed to eating food prepared in a food truck because that’s the way that Hollywood has been feeding their people for decades. Producers can’t afford to have their crew wandering away from set during
lunch for fear that they won’t return in time to keep the days work on schedule, so they provide a caterer. The novelty eventually wears off for some crew members and they sneak away from set to eat at nearby restaurants when the opportunity presents itself.
No One Will Ever Steal Your Office Chair Again! Because you won’t have one and will never sit down again At least that’s what it will feel like the first few times you work a 14 hour day on concrete floors, with few chances to sit down and take the weight off your feet. It
could take more than a week for you to get your “set legs,” so until your muscles grow accustomed to the workout be prepared to combat the pain with shoes designed to
provide good cushioning, and don’t scrimp on those fancy $40 insoles hanging on the rack nearby.
Save Money!! No More Suit and Tie expenses!! But you’ll spend twice as much on weather gear Shooting exterior locations will expose you to ever-changing weather conditions, from rainstorms to blizzards, scorching summers and sub-freezing winters. As a result, most veteran crew members boast a collection of
high quality outdoor gear and have learned to layer their clothes like professional mountain climbers, carrying everything from moisture-wicking socks to GoreTex wind-blocking pullover hats. Take the advice of the pros
when they tell you to spend at least one paycheck to purchase the best gear available, because all it takes is getting sick once to realize that you could miss out on a paycheck due to inadequate gear.
No More Meetings! Actually, there will be plenty of meetings Every movie holds a production meeting at some point during pre-production. This important meeting is led by the 1st assistant director and is comprised of a read-through of the entire script, with a discussion of the outstanding responsibilities of each department for each scene, making sure that all the department heads are on the same page. Production meetings often reveal issues that may have
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been previously overlooked; from logistical issues to location challenges to overlapping responsibilities between multiple departments. Unless you’re a department head or their main assistant you may not be invited to this meeting, so count yourself lucky. Another important type of meeting is a show & tell with the director. Show & tells are designed to get the director to buy off on a
range of things, including: sets, set dressing, props, wardrobe and various other elements that are being purchased or built for use on-camera. These meetings can be tinged with politics, as they are sometimes used for forcing indecisive directors to cop to a decision so that they don’t later cast blame on the department for not providing the right stuff. Any time there are to be firearms, stunts or special effects
on set there will be a safety meeting run by the 1st assistant director and expounded upon by the department head responsible for the execution of the dangerous portion(s) of the shot. These
meetings are very necessary and highly desired by veteran crew members and anyone new to the business should be aware that a safety meeting is a very important meeting, as lives may be at stake.
Say Goodbye to Friday Margaritas With Co-Workers Say hello to Splits (aka Fraturdays) At the beginning of the week a movie crew expects to have an early morning call time (this is the time you’re supposed to be on set, ready to begin work). Due to the fact that most movies shoot for more than 12 hours a day, each subsequent day’s call time gets pushed a little later into the morning in a natural progression as the week goes by, which generally means that the crew will be coming to work in the early afternoon by Friday. When a script features exterior night scenes the production must shoot splits, which are scheduled at the end of the week. Split is a filmmaking term that describes the instance in which a crew is given an afternoon call time, allowing the day to be split into two parts to accommodate daylight scenes and nighttime scenes. If there’s just a little bit of work to be shot in the daylight crews may be instructed to arrive
late in the afternoon on a Friday and work well into the morning on a Saturday, often finding themselves driving home after sunrise. These blended Friday/ Saturday shoots have come to be called Fraturdays. Saturday/ Sunday combinations are less typical but Satundays do exist. If a script features a lot of night work, splits may begin earlier in the week, or the entire week may simply be shifted into vampire hours, which is when the entirety of the schedule is dedicated to night work. Fraturdays are the bane of film crews, because they mean that you’ll find yourself sleeping well into the afternoon on a Saturday and be jetlagged all weekend, just in time to be turned around for working an early 7am call time the following Monday morning. Regardless of how your schedule works out, chances are you’ll miss out on Friday date nights.
Say Goodbye to the Executive Washroom Say hello to pooping in a trailer If you’re picky about where you use the restroom at the office then you’re in for some major culture shock on a movie set, because everyone on the crew will be using the honeywagon at some point in the course of a location shoot. Toilets and urinals on a honeywagon are fairly spartan, but ever so appreciated when you find yourself shooting in a field miles from civilization. A good honeywagon driver will keep his restrooms spic and span, but it’s still hard to forget that you’re crouched in a tiny stall in a big trailer because you can feel
the whole thing swaying back and forth as actors and PAs trot up and down the stairs leading to the other rooms in the trailer. If you close your eyes you can try to imagine that you’re on a boat out at sea, but when you’re finished and ready to go you still have to lift a foot pedal to fill up the toilet bowl with water then cross your fingers that when you press down on that same pedal the water will wash the bowl’s contents down into the foul-smelling tank where all the bad stuff stays without letting your cell phone tumble out of your shirt pocket.
MAY / JUNE 2015
By: anDrew DunCan
TIPS FOR SURVIVING THE ZOMBIE HORDE AND JOINING GEORGIA’S FILM INDUSTRY
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You know that scene in The Walking Dead when the good guys are hiding in some old building while the zombies are groaning and trying to break in? That’s what it’s like right now in Georgia’s motion picture industry... ...except that the “good guys” are the people who have been working in the business for years and the zombies are the hordes of Georgians who have been promised fame and fortune in the motion picture industry by breathless local television stations for the last 5 years. While this analogy isn’t particularly kind to those of you who want to break into the business, it’s accurate to say that those who are already established have felt great pressure from outsiders like you as well as film crews who have traveled to Georgia from Los Angeles, only to treat our local crews like outsiders. It’s a very competitive business – people tend to be protective of their jobs, and now you want in on the action? Well I’m here to tell you that It’s entirely possible for you to move from being an outsider in this industry to being an insider, but it is likely to require a significant time investment before you’re able to work in this business fulltime (think in terms of years) and along the way you’re going to have to learn to understand the topography of Georgia’s motion picture industry and the nature of the motion picture industry in general. You’ll also need to learn to read the “trail signs” of where the jobs are (and are not) to be found and to establish yourself in the greater community of film technicians. There’s a sidebar accompanying this article featuring some resources to help you get started, but that information will do you little good on its own because the single most important lesson you need to learn about this business is that it is
entirely relationship-based, and until you have some relationships in the industry you stand little chance of making this your career. So, let’s get started.
What Are Your Skills?
It’s easy to point to a movie crew at work and declare “That’s what I want to do!”, but the deal is that each person on a movie set possesses a specific set of talents that allow them to be good at their job. So it’s important for you to understand the range of jobs available to you in the movie industry and to consider the skills that you already bring to the table. Are you good at CAD work? Set Design might be your thing. Do you like working with a team of people to assemble technical equipment? The Grip department might be for you. Have you been making your own clothes since you were a kid? You might make a good seamstress for a wardrobe department. Over the past decade the fastest route into the movie business has been through the construction department because the majority of the workers who build our sets arrive already possessing most of the skills necessary to accomplish the job at hand, and when a production needs a set by a certain deadline it often solves the problem by throwing more people at it. It must be said that people who dedicate their lives to the construction of movie sets possess a level of artistic carpentry that far exceeds what you’ll find out in the residential and commercial market, so don’t expect to start out doing anything too glamorous if you get hired for construction.
Get COnneCted Film Bar Mondays
eat, Drink, & B-inDie
atlanta Film Festival
Atlanta Film Festival
Atlanta Film Festival
A weekly meet-up with an ever-changing selection of venues whose stated purpose is for “connecting and creating community,” organized by former Atlanta Film Festival Artistic Director Charles Judson. (Free) facebook.com/groups/ filmbarmondays
Held on the third Tuesday of every month from 7:30-9:30 p.m. at Manuel’s Tavern. Inclues networking, panel discussions, guest speakers, new equipment demos and more. (Free) atlantafilmfestival.com/edbi
Join the Community
There are a great variety of groups in the Metro Atlanta area dedicated to the art and business of filmmaking, from the Atlanta Film Festival to the Georgia Production Partnership to the craft unions to which most of the professional crew members belong. The Atlanta Chapter of Women in Film & Television (WIFTA) has been in operation since 1974 and has provided many opportunities for people who went on to have successful careers in the motion picture industry. These organizations are out there and there’s little stopping you from joining them and beginning to meet the people who work in the Atlanta motion picture market. There are several terrific social groups out there as well, like former Atlanta Film Festival Artistic Director Charles Judson’s weekly “Film Bar Mondays” meet-ups, and the Atlanta Film Festival’s monthly event “Eat, Drink, & B-Indie”. You have a lot of options for meeting people who are interested in filmmaking.
Engage Online and In Real Life In the 1990s people met in message boards online to discuss projects happening around the Metro Atlanta area. In 2015 most of those message boards have been supplanted by open and closed groups on Facebook and to a lesser extent on Google Plus.
A quick Google search will bring up listings for meet-up groups producing their own films, and many of these groups rely on volunteer support, which can be a great introduction to the nature of filmmaking for some people. The advantage of working on a low/no-budget
The Atlanta Film Festival (ATLFF) is an Academy Award qualifying, international film festival founded in 1976. atlantafilmfestival.com
indie crew is that it can expose you to many different areas of film production by allowing you to cross departmental lines freely, unlike the regimented departments found on professional productions. This “incubator” environment is often the best place for a young filmmaker to learn what they like to do and to network, since they’re actually working on a set, doing the sorts of things they may eventually do for a living. The friendships you make on indies can eventually lead to job opportunities on larger productions.
Break Into the Big Leagues
The first foot in the door for many people is to work as a production assistant (PA) for several years. The advantage of this job is that it allows you to have unprecedented access to all departments, a fair exchange for the low pay and long hours. PAs are generally well-regarded by crews and looked after to some degree, most typically when the PAs are young (there’s nothing so sad as an aging PA). Outside access to people who work in the big leagues of the movie business is fairly unusual because most of crew members do not tend to mingle with the community of aspiring filmmakers. For many of them it is simply a job. They’ve made it, and their time is so precious and their desire to avoid competition so great, that they really have no reason to interact with the next generation of filmmakers until they find themselves in need of additional crew. In these instances it is often former PAs that are hired to cover this demand, as at some point in every PA’s career they decide on a craft and begin to pursue it to the exclusion of all others.
GeOrGia prOdUCtiOn partnersHip A professional organization featuring meetings with key industry representatives and compelling speakers. georgiaproduction.org
*See more at ozmagazine.com
Join a Union
Working as a PA is a great route if you’re eager for new experiences and don’t have many financial commitments, but it’s also a game for the young as it is a physically demanding job and promises extra long hours. However, if you’re no longer in your 20s but are willing to spend some money and devote some time toward learning you could consider joining a union like Atlanta IATSE Local 479 and attend their frequent and varied training classes to build up an understanding of how to work on a movie set in various craft roles. One particular advantage of this path is that you will be exposed to industry professionals who take time from their busy schedules to come and teach classes on their specific craft, and if you make an impression with them there’s a chance they might decide to give you a call on a day when they’re in need of help, in which case the good news is that you’ll already be in their union – and the truth is, like it or not, you will eventually find it in your best interests to join one of these unions.
Surviving the Crewpocalypse
I truly believe that some of you reading this article today will manage to navigate past the zombie hordes and, through a series of amazing adventures and very close calls, will one day find yourselves counted among Atlanta’s motion picture professionals. When that day comes I hope that you’ll do your part to pass along the torch and help inspire and encourage the next generation!
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ProTips for Standing Out & Landing Your Next Job
There are a lot of old Hollywood myths that persist in the regular world, one of which is that people who work in the movie business are full-time employees of the big name studios, when in truth they are temporary employees whose Employers of Record are payroll companies that are virtually unknown outside of the entertainment industry.
A good resume relies on two things: honesty and brevity.
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motion picture crew can boast upwards of 20 different specialty departments, each of which features its own department head (or “key”). These people are freelancers just like yourself, who are vetted and hired by the producers, and are then expected to staff their own crew from the available workforce, both local and distant (if necessary). By the time a department head’s services are in constant demand they will have developed a pool of people that they hire from frequently, this group being thought of as that department head’s “main crew”.
And, even if you do manage to find a group of people you work with frequently, it’s important that you maintain a top-notch resume because you should never assume that you’ll stay together as a team indefinitely. That department head who has hired you for the last 5 years might be suddenly be presented with the opportunity of a lifetime to work on a show in a faraway exotic location and the next thing you know you’ll be back on the market for a job as an untested stranger for a brand new group of potential employers. So what makes a resume “good” for the movie business?
Regardless of your experience level, it’s practically impossible to become part of a department head’s main crew until you’ve established yourself with them and so to get the ball rolling you’ll need to provide them with a resume.
A good resume relies on two things: honesty and brevity.
The “word of mouth” network is the thing that gets people hired 99.9% of the time in this business...
It’s important for a busy department head to be able to quickly determine your skill level and job history, so don’t spend a lot of time on fancy fonts or photographs. And unless you’ve been specifically requested to provide an exhaustive record of your entire filmography, leave off the older and smaller projects. You’re only as good as your last job and the sooner you can remove those less impressive projects you’re doing good. And speaking of “page”, it’s important for you to know that you should (almost) always aim to make your resume fit onto a letter size piece of paper, and only onto one single side at that! You only need to demonstrate that you have relevant experience, so don’t hand over a 5-page novella about your life and times. Be sure to include your contact information, including:
Be honest about your role on any job that you list on your resume. Do not inflate your previous position or responsibilities in an attempt to skip a few rungs ahead on the career ladder because your inexperience will eventually be discovered, making it more difficult for you to get hired again. Department heads may be in frequent competition to win jobs, but they talk to each other regularly about the available pool of employees they share and you can bet your bottom dollar that they quickly identify those people who fib on their resume. The “word of mouth” network is the thing that gets people hired 99.9% of the time in this business, yet the person who hires you based on the recommendation of their peers will still be very interested in looking at your resume, as a resume will say a lot about a person, from the way that information is organized on the page to the selection of fonts and styles.
• Name • Telephone number • Email address
You’re only as good as your last job and the sooner you can remove those less impressive projects you’re doing good.
Provide a list of relevant experience, featuring these salient data points: • Movie title • Your position on the show • The name of your immediate supervisor and their job title (note that listing the producer and/or director as references is typically reserved for department heads.) • The year of the project • The type of project (television series, feature film, reality show, etc) • The studio/network If there’s room left you may also want to include any relevant specialties you possess which might specifically prove useful for the show to which you’re applying. For instance, if you have applied for a position on a football-themed movie and you’ve previously worked on two footballthemed movies you make sure to mark those jobs with a highlighter or move to them to the top of the list to make sure that they’ve been noted.
The way that you share your resume with potential employers requires the same attention to detail that went into preparing the document. Use high quality paper if you plan to hand off a hardcopy to a production office or directly to a department head. If you are going to send it via email make sure to send a PDF, not your original Word file, and be sure to title the file with your name instead of the imminently forgettable “resume.pdf”.
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Note that the sample resume shown on this page is just one variation of the sort of layouts being used by professionals in the business this very minute, and that the most important thing for you to realize that your resume is rarely going to fall onto the right desk and
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get you a job all by itself. It’s up to you to find out where the jobs are and who’s potentially hiring. It’s up to you to be the right person for the job, to make it known that you’re available without being perceived as a pest. Department heads don’t react well to schmoozing,
but they do appreciate people who approach them with a professional attitude and well presented materials. Get out there and build your own movie resume today then put it to work for you!
SIGN HERE By Tim McCabe
So, you’ve gotten a job on a film, you’re going to help make a movie. Congratulations! Whether you’re a set designer, make-up artist, camera operator or any of the other positions film making can offer, one of the initial stops you’ll make on your new job is the office of the production accountant. This is where it starts and here are a couple of things you need to know. The first bit of wisdom is SO simple. When you begin a project, you will be presented documents to complete by the producer or accounting department. These may be a W-4, an I-9, a start/close
form, time card, release, or a deal memo. Every blank on these forms means something. Read them and complete them with all the correct information. Payroll companies may have to pull your time card if you omit information such as your social security number, apartment number and address, even your zip code. Most important: WRITE LEGIBLY! Can your writing be read? If not, print. Three or four people will be reading this information in order for you to get your paycheck. If you want to get paid, make it easy for the people cutting your checks. A second bit of advice: if you have the option of being an “employee” or an “independent contractor,” it is to your advantage to choose “employee.” The production company will pay your benefits for Medicare, FICA, worker’s comp, and state and federal unemployment agencies. The latter two provide unemployment
benefits through the Georgia Department of Labor if you meet certain requirements. As an employee, your state and federal taxes will be withheld for you. Come tax time, that W-2 form, with your tax deductions already made, will be a nice surprise. And, the benefits paid for you amount to a 7.65% increase in your payment. An independent contractor classification is often used for those who are self-employed. Not all jobs offer this option one or two days work can fall under the IC category. But for longer jobs, you will be considered an employee. With IATSE (International Alliance of Theatrical Stage Employees) and SAG (Screen Actors Guild) productions, in most instances you will be treated as an employee unless you are incorporated. There are exceptions but the employee status is generally a good pick. Check with your tax advisor for their determination.
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You Got C
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The Job. (Now what?) By: Andrew Duncan
Know How To Work A Walkie-Talkie The walkie-talkie has made modern filmmaking incredibly efficient, allowing the 1st Assistant Director to communicate the day’s ever-changing schedule to the entire crew while allowing individual departments to coordinate on logistics for upcoming shots. One department head said, “You need to know how to use a walkie-talkie – I almost hired my Starbucks barista because they can work under pressure and know how to use a walkie-talkie. The last three people I’ve hired were in the union but didn’t know how to use the radio.”
Take Notes Literally. You should keep a little note pad and a pen or pencil with you at all times. This advice works for any department because you never know when your boss may give you complicated instructions. Don’t find yourself in the unenviable position of going back to them to ask them to repeat their instructions later.
Put Your Phone In Your Pocket And Leave It There One of the department heads I interviewed spoke toward the wired generation, “You should spend more time watching what’s going on right there on set than looking at your phone. Until you’re a department head you shouldn’t be looking at your phone during setups or during filming. There’s always something to learn and you ain’t going to learn it on Instagram.”
Union Membership Does Not Include Placement In Atlanta there are new people who join IATSE Local 600 and IATSE Local 479 all the time. In Local 600 new members can enter as Digital Utility, an assistant position. In Local 479 new members can select from a variety of departments in which they want to work. It’s important for potential new members to know that neither of these unions arrange
employment for their members, they simply represent them in contract negotiations with studios and in instances where there is a dispute with an active production.
Have Realistic Expectations About Getting Work I often mention that it’s important to have realistic expectations about how long it may take to establish yourself as part of a department key’s regular crew. Factors that may be involved in your adoption by a department key include: your work ethic, your sense of humor, your attention to detail, your rapport with the rest of their crew, your ability to react to changing conditions with flexibility, your physical stamina, your organization skills, your ability to anticipate potential problems, your ability to work safely, and many more. You may have to take a second job to meet bills as you work toward getting consistent work from the movie business.
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Landing Your Next Job Will Always Be Your Greatest Accomplishment
Don’t Let Your Dreams Interfere With Today’s Work
Dayplaying Can Lead To Being A Part Of A Regular Crew
As an absolute beginner it’s going to take some hustle for you to find your first job and the project you end up working on may not be the best, but by the end of it you will be so proud that you’ll want to bask in the accomplishment forever. What you don’t know yet is that the job you just finished was absolute crap and you didn’t know a damn thing the whole time you were doing it. You won’t fully understand this fact until you secure your second job and ride it to completion because that second job will have made you question many of the things you believed about that first job. This pattern will continue throughout your career, but the one underlying truth you’ll discover is that you will always sweat getting hired again.
Put your ego in your back pocket and do the work you’ve signed on to do. The most important job of your movie career is the one that is currently paying you. It may be your desire to work on big budget feature films, but until that day arrives you’d darn better well take the work you can get, whether it’s a TV show, a commercial, or a music video, and be happy to have it. Do an excellent job. Work!
If you hit it off with the department head and their crew it’s more likely that they’ll ask you back, and may one day lead to you being considered for hiring as part of that department head’s crew on a future project.
Everyone Has A Dry Spell Just wait until the phone stops ringing. Or the Instagram stops dinging. Or whatever the hell it is you kids are using these days. Just wait until people stop contacting you for work, because it will happen. How you react to this dry spell will teach you a lot about yourself as a person. Don’t forget that I told you so.
Not Everyone Is Excited To See You It has become a common occurrence to see online posts by people who are brand new to Georgia’s film industry introducing themselves and declaring their readiness to be hired. It’s necessary to get your name out there if you want to work, but be prepared to encounter pushback from some who feel there are already enough people working in the market and perceive you as competition.
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Your Resume Will Get You Hired Department heads will be looking to see the size of the shows you’ve worked on, your role on the project, your references and the duration of time you spent on each project. But they’ll also be looking to see if you can make your resume legible and worth a damn. A nice resume will do a lot toward getting you an interview.
Be Patient. Your Resume May Have Time-Delayed Results Several department heads I spoke with said that they always accept resumes and keep them in a file because there are inevitably times when they need to hire someone at the drop of a hat and that they do in fact reach into the resume file on those occasions.
Try To Get Work As A Dayplayer Department heads occasionally find it necessary to hire additional people on days that are particularly busy for their department. One friend refers to some dayplayers as “two arms and a back”, as they’re often needed simply to help move a lot of stuff around and don’t need to have any special skills. Do what they ask you to do. Offer to do more if you see where you can help. Don’t try to out-think the regular crew or upstage them. Be a team player and you might get asked back.
Dayplaying For One Department Head Is NOT A Career One of the department heads I spoke with said that some of the people they had in rotation had not worked for anyone else in a six-month period, a fact they found surprising and somewhat disappointing. The movie business is for the bold, so use those dayplaying credits to get more work with different shows!
You Are Only As Good As Your Last Job If the person you sent a resume to knows your references there’s a strong chance that they’ll get in touch with those people to ask about you so always give the project you’re working on right now your very best effort.
Be Reliable. Honor Your Commitments One of the biggest sins that newcomers commit is abandoning one project for the greener pastures of a different project, often with very little warning and no attempt made to replace themselves. Repeat offenders develop a reputation of being unreliable, which can come back to haunt them later. Department heads and producers have long memories and people who honor their commitments are held in high esteem.
...the job you just finished was absolute w
and you didn’t know a damn thing the whole time you were doing it.
Department Heads Talk To Each Other Don’t Suck Up.
Film Crews Have Provincial Attitudes
Sure, they may be competitors, but department heads dip from the same pool of workers and it’s to their benefit to know which people to avoid hiring. When you work for one department head behave as if you’re working for them all.
Despite his obvious talent in sports, Deion Sanders encountered a lot of flak for playing professional baseball for the Atlanta Braves AND professional football for the Atlanta Falcons. In a similar fashion, producers and crew alike find it difficult to respect crewmembers who choose to work between multiple departments. They don’t like to see you working as a prop assistant on one movie and a greensman on the next. You may find this kind of judgment limiting, but it’s important to understand how it can be to your advantage to settle on one single department and give it your all.
Fake It ‘Til You Make It Some of the most successful people I know have bluffed themselves into a job at some point in their careers. These have all been highly motivated individuals; the sort of people who will move heaven and earth to get the job done. Some people lack the confidence to pull off this maneuver, while others deceive themselves into believing their own hype. If you plan to pull off the big bluff be prepared to pay the consequences when your hand is called.
The best advice I ever received was: if you plan to work in the Atlanta market you should learn to know the locals and not suck up to the people from out of town, because those out-of-towners are not going to take you back home with them at the end of the show. You really shouldn’t suck up to anybody – just be cool.
Say YES To Everything I don’t mean this literally – it’s just a funny saying that Dwight BenjaminCreel, one of my former prop masters, used to say to me in the early days when he was stepping away from set. But I took it to mean that I should have a positive attitude on set and always be looking for solutions instead of reasons why things couldn’t work.
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If you’ve been in the business for more than still four and have trouble years getting hired
you’re probably not very good at it and should consider pursuing a trade in animal husbandry instead…
Don’t Waste Your Time In The Wrong Department I recall dayplayers who couldn’t take their eyes off the camera the entire time they worked for us in the prop department. It became a problem over the course of the day and we had to speak to that person several times to remind them why we’d hired them for the day. If you already know what department you want to work in then don’t waste a minute working in a different department – you’re wasting your time and theirs.
Aim For Shows That Fit Your Level Of Experience Be realistic about the level of experience you currently possess. The biggest resumes usually win in a fight because department heads want to hire people who have a lot of experience since they don’t have the spare time to train someone. If you don’t have any movie experience it’s unlikely that you’re going to get hired on a Tom Cruise movie, but a low budget horror movie may be willing to hire you. Movies are often described according by their budget level, with anything over $12M being considered a standard project, followed by Tier 3 ($8.5M to $12M), Tier 2 ($5M to $8.5M), and Tier 1 ($2.2M to $5M). Tier 1 projects (and smaller) are often unable to afford experienced crew who boast big resumes and as a result are more willing to serve as a training ground for those who are still establishing 6 74
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themselves in the business. The low pay rate of these smaller projects is balanced by the opportunity they provide to the crewperson toward gaining experience and adding a new project to their resume.
How Do People Get Hired? Producers tend to line up department heads months in advance of arriving in Georgia to set up an office. They do this to ensure that they have established the very best crew possible. Department heads typically have an established crew of people that they hire regularly, and a crew of dayplayers on the next tier down. Like most people, producers typically want to hire crews that they already know and like, and can depend on. If that fails, they will rely on friends and colleagues for recommendations when hiring unfamiliar crews, basing their decisions on any number of factors, including resume and interview. The majority of people are seeking work in assistant positions, so it’s important for them to develop a good relationship with the department keys who will be doing the hiring. As in any profession, our reputations precede us, and to be hired on a consistent basis you must prove valuable and reliable within your department. Department heads share notes on the strengths and weaknesses of their crews and of the pool of available dayplayers. In a competitive market it may take years to establish
a good reputation and a solid relationship with department keys, so be patient in your quest to become someone who is hired as part of the main crew on a regular basis. Some dayplayers may never develop the skills or the reputation to find themselves in that position.
Some People Simply Aren’t Worth Hiring This is something that nobody is willing to talk about because nobody wants to be the bad guy. If music producer Simon Cowell was to write an article about getting hired in the movie business he would unabashedly announce something along the lines of “If you’ve been in the business for more than four years and still have trouble getting hired then you’re probably not very good at it and should consider pursuing a trade in animal husbandry instead…” and would go on to make a nasty comment about your haircut and your buck teeth. I personally find it kind of craven when department heads can’t be up front with undesirable hires and tell them why they won’t be hiring them again, but the film business isn’t about confrontation and it’s kind of expected that you’ll eventually pick up the hint, like that girl who won’t return your phone call after that really great date where you talked about her . . . attributes . . . all night.*
*I just realized why that girl isn’t calling me back.
Six Easy Ways To
By: Andrew Duncan
Be Late Listen, Atlanta traffic is insane, nobody is going to blame you if you’re half an hour late. Just buy a big box of doughnuts for everybody and they’ll forget about it. To keep getting hired, try to be at work 30 minutes early, and enjoy a relaxed breakfast at catering.
Don’t Pay Attention They interrupt when you’re texting friends. They get mad when your phone isn’t on vibrate. What was that thing they asked you to do? Better text your friend about how annoying these people are. To keep getting hired, keep a notebook and pen in your pocket and always be listening up on the radio in case somebody calls for you, and leave your phone in your pocket.
Get the Scoop This movie set is so awesome! Hey there’s that famous actor! Post photos and location details to the Internet! You might go viral and make it on TMZ, isn’t that what this is all about? To keep getting hired, never post or email pictures from set and don’t share any proprietary details of the project you’re doing until well after it hits theaters.
Befriend Celebrities Be best pals with the famous actors! Do your best to go hang out with them after work and they’ll have sex with you and take you to Hollywood! It happens all the time! To keep getting hired, treat celebs as work colleagues, just like everybody else on the crew. Otherwise, we have a name for people like you.
Undermine Your Coworkers Hey, you’ve got to do what it takes to get ahead in this game, right? Make sure that everybody on the crew knows about the deficiencies of their co-workers. You might eventually push somebody out of the way and take their place. Climb that ladder! To keep getting hired, learn the strengths of your coworkers, do what you can to fill in the weaknesses, and don’t gossip.
Collect Souvenirs This crap will bring a fortune on eBay, once the movie gets out. And honestly, who’s going to be hurt if you take a few things from set or from the kits of the other departments? Do it. You only live once, baby! To keep getting hired, acquire a moral compass and follow it.
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WORD ON SET
Not an all inclusive list, but some of the basic terminology that one would hear on set. Often, crews from different parts of the country or world have slightly different jargon.
Apple Box: A box built of a strong wood or plywood which is capable of supporting weight. These may be of various sizes, the smallest of which is also known as a ‘pancake’ because it is nearly flat. Action: A term used to intiate a take. Anamorphic: An optical system used to magnify vertically and horizontally in a picture. Answer Print: The first graded print that is a combination of sound and picture. Used to show the client the final product before final copies of the film are printed.
Abby Singer: The shot taken before the last shot of the day. Named after an American production manager and assistant director. Above the Line: Individuals associated with the creation and artistic development of a project, including writers, directors, producers, and actors.
Artifact: A visual defect found in the image because of a malfunction in the imaging equipment.
Above the Line Expenses: Expenses that occur during pre-production such as story rights, payrolls and expenses related to the above-the-line participants.
B-Movie: A film considered to be less successful due to factors like low budget, bad writing, unknown cast, bad acting.
Best Boy: 2nd in command under the Key Grip or Gaffer, in charge of equipment and labor, and can be male or female.
Back to one: Actors return to beginning or 1st positions in the scene.
Bit Part: A small role, often lasting only one scene.
Backlot: A large, empty space on studio property used as a location for construction of exterior sets or outdoor scenes in the film.
Black Wrap: Black Aluminum foil which is used for wrapping lights, to control light spill, and for making small flags.
Background Artist: A euphemistic term used by the crew to refer to extras. Below the Line: All physical production costs not included in the above-theline expenses, such as equipment, labor, food, transportation, locations, etc.
Call Sheet: A sheet of paper distributed to the crew every night at wrap, with the next day’s scheduled scenes printed on the front and the list of required crew printed on the back, listed by department. Additional information includes the work schedule of actors, required special equipment for the day,
Alan Smithee: A notorious pseudonym used by directors unwilling to have their own name slapped on a film when they weren’t happy with the final cut.
Blockbuster: A film that succeeds at the box office, measured by ticket sales. Blocking: The process of determining the best placement and movement of actors and camera during the rehearsal of a scene. Blooper: A scene not used in the film because of a cast or crew mistake.
Agent: A person or agency that works to promote and represent the interests of their clients, including the obtainment of employment and negotiation of contracts. People who employ agents include actors, writers, directors, directors of photography, production designers, and camera operators. Anime: A style of animation originated in Japan. Auteur: A filmmaker, usually a writer/ director, but refers to any filmmaker who plays a part in all aspects of the moviemaking process.
Body Double: A person whose physical features resemble an actor sufficiently enough to be used for scenes in which the actors face will not be seen. Examples include scenes in which the character is in the background, nude scenes, and insert shots. Bomb: A movie that fails at the box office, measured by ticket sales. Boom: A long pole with a microphone on the end. Controlled by the “Boom Operator.” Box Rental: A fee or allowance paid to a crewmember for providing his/her own equipment or other specialized apparatus for use in a production. Burrito: Rolled up sound blanket.
weather notes and contact information for production.
Cameo: A famous actor appearing in a small role.
Call Time: The time individual cast and crew members must report to set.
Cast: The group of actors appearing in the production.
Camera Report: The list of the scenes already filmed including camera notes for future use & for edit.
Cel: A hand-painted depiction of a single frame in an animation film, traditionally made on acetate or similar transparent material.
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Character Actor: An actor known for their prolific body of film work, typically playing smaller supporting roles. Often sought due to their unique appearance and acting style. Cold Open: An editorial technique for jumping straight into a storyline without exposition, often before opening credits. Completion Bond: An insurance guarantee that principal photography on a given film will be completed. It indemnifies a production against the unforeseen costs of any type, whether or not they result from problems which are covered by other types of insurance.
Dailies: Refers to the footage shot on any given day to be regularly reviewed by the Director, 1st AD, DP, Producers and Studio Executives. Day For Night: Camera/Processing technique for making footage shot in daylight appear to take place at night. Day Out of Days: A form designating the workdays for various cast or crewmembers or special equipment of a given production. Dance Floor: A floor built of 3/4 inch plywood which is usually covered with masonite to provide a smooth surface for the dolly.
Copy: Spoken acknowledgment used over the walkie to inform the person you are communicating with that you have heard and understand what they have said. Coverage: Refers to a variety of different shots filmed for a scene. They are used in the editing process to create pace and variety. Cowboy Shot: a shot taken from midthigh up of an actor. Cover Set: An indoor location which is kept in reserve to serve as an alternate
Double Bill: Two movies shown back to back for the price of one.
Dialect Coach: A person who assists actors in developing accents and dialects for their character, and retaining that manner of speaking throughtout the film.
Editing: The process of sequencing shot footage into a final product.
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C-Stand: A general purpose grip stand.
Development: The process of developing a script in the hopes that it will be greenlighted by a studio.
Epic: A large budget production that has an “on the edge of your seat” storyline.
Feather: Moving a ‘flag’ closer to or further away from a light source that it is in front of will ‘feather’ or soften/ harden the shadow on the surface upon which the light falls.
C47: Clothespin that grips often use as a small clamp.
Dissolve: An editing transition between two clips where the first clip fades into the second over a short span.
Establishing Shot: The first shot of a new scene, that introduces the audience to the space in which the forthcoming scene will take place.
Cut: Term called out by the director to the cast and crew to signal that the current take is complete and to stop cameras and sound recording.
Denoument: Final scenes of a film where the characters’ status postclimax is explored.
Electrician: A crew member who works in the electric department, providing electricity to set and setting lights for scenes.
Feature Film: A movie has to be at least 40 - 45 minutes long to be considered a feature film.
Crossing: A warning said by anyone who must cross in front of the camera during a set-up, alerts the Camera Operator that it is not part of the scene.
Dingle: Branches which are placed in front of a light as a cookie would to cut the light and provide a shadow pattern.
Extra: People who appear in a scene in non-featured, non-speaking roles, to add life and vitality to a scene.
Fade: An editing transition as an image fades to black.
shooting site in case the chosen exterior shooting site is unusable, often due to bad weather.
Deal Memo: A crew contract made with the Production Company that outlines salary, screen credit and kit rental fee.
Easter Egg: A hidden reference to another movie, event, person etc. in a film.
Exposition: Narration, dialogue, or onscreen graphics meant to advance the storyline quickly.
Cookie: A perforated material which is used to break up light or create a shadow pattern. Also known as a cucoloris.
Extreme Close-Up: A close-up shot that focuses in extreme detail on one particular aspect of a person, place or object. Feautured Background: Nonspeaking extra(s) with prominent onscreen placement. Femme Fatale: A slang term used to describe a female character whose seductive nature ultimately brings trouble to the lead character, typically a man. Film Noir: A style of filmmaking pioneered in the 1940s, featuring
Dubbing: A sound technique for combining or replacing sounds, including dialogue. Dutch Angle: A shot where the camera is tilted, to create drama.
Eyeline: This term means both the actor’s field of vision during a shot as well as the direction of their gaze. Crew are often asked to move out of an actor’s eyeline to prevent the actor from being distracted during a take. Eyeline Match: A filming technique to provide an actor with a location to focus their gaze during a close-up, to ensure that their eyeline willl appear to be looking at fellow actors or onscreen events when the shots are edited together. Exterior: A shot made outdoors. moody, high-contrast lighting and strong shadows, with a wry, jaded writing style centered around crime and intrigue, with an overlay of sexual tension. Film Printing: The transition of negative into a print. Fire Watch: The duty of watching equipment and sets while the cast and crew are on lunch break.
First Team: the actors in the scene. Flashing: A warning issued by anyone taking a photograph on set with a flash. Done to let crew know a flash
Gaffer: The head of the electric department. Collaborates with the Director of Photography and the Key Grip to light scenes.
High Concept: A film aimed at sophisticated, literate audiences. Hold: Term used on a continuity report that indicates a take should be kept, but not developed. Also clarifying that an actor can contractually work on a Hold day if the schedule changes. Used in commercials to temporarily hold crew for a potential shoot date.
Jib: The extension of a mechanical crane.
Goof: A scene/take not used because of a mistake on-camera. Honeywagon: Term used for a multi-purpose trailer, divided into separate rooms accessed from the outside by stairs. This trailer can include dressing rooms for actors, offices for the AD department, and restrooms for the crew. Hot Points (Points): Term yelled to alert cast/crew on set to be aware that equipment (like ladders or dolly track) is being moved around on set, and to take special care not to run into the projecting ends of that equipment.
Key: An alternate term for the head of any department. Key Grip: The head of the grip department. Collaborates with the Director of Photography and the Gaffer to light scenes, set up dolly tracks, car
Frame: A single image isolated from the actual film, often used for print and marketing.
Greenscreen: A method of filming actors in front an evenly lit green background then using an editing process to replace that green background with desired background footage. Grindhouse: A term used to describe movie theaters that show B movies.
Hot Set: A set that has been shot on and to which the crew will return for additional filming. Nothing should be moved on a hot set, because it could create continuity issues. Hype: The excitement (often manufactured) surrounding the release of a film or television show.
rigs, and to provide stable platforms for unique filming locations and methods. Kickoff: The beginning of production.
Last Looks: Phrase that is called on set by the 1st Assistant Director to notify the hair/makeup they have time to make a final inspection of the cast/ background before cameras roll.
wrap around staircases, and/or along walls to protect from damage.
Location Filming: A real facility that was not built specifically for the film.
Lead Role: The main character in the film.
Last Man: This phrase is used by production to mark the time that the last crewperson went through the lunch line and sat down to eat, allowing them to set the time when the crew are to be called back in to set (typically 30 minutes after Last Man).
Lens: A cylindrical assemblage of round glass lenses on the front of a camera, through which light passes to be recorded onto film or by a digital processor.
Location Sound Mixer: A sound person who records dialogue, ambient sound, room tone, and other auditory needs while filming on location.
Layout Board: 4’ x 8’ sheet of cardboard taped down to cover floors,
Magic Hour: The time just around sunset or sunrise when the color of the sunlight is infused with a golden hue. Majors: The top Hollywood movie studios and distributors. Martini: The last setup of the day.
Giraffe: A rolling stand that holds a mechanically-operated boom microphone, typically used for instudio television productions.
Juicer: A slang term for an electrician. Jump Cut: An editorial term for a cut to a new scene outside the current sequence of events.
Focus: Sharpness of an image.
Generator: Used to produce electricity for use on set, primarily for lights.
Gel: A colored sheet of acetate placed in front of a studio light to impart color to actors and sets. Useful for subtley creating moods and bringing out color in an actor’s face.
Holding the Roll: Postponing rolling camera and sound, often for a noise issue like an airplane, or to change something on set before it is filmed.
is coming and the electricians don’t assume they burnt a light bulb.
Lined Script: Created by the script supervisor, it is a copy of the shooting script.
Lock Up / Lock it Up / Lock it Down: An order issued by the 1st Assistant Director to their department to secure a set and make sure that everyone is quiet, so that cameras can roll. Long Shot: A camera shot that is taken from a distance.
Once the director approves a take on the Martini, wrap will be called.
Medium Shot: Shot taken at a medium distance, usually the waist- up.
Matte Shot: An old cinematic technique wherein live action footage was combined with a realistic painting of a location that might be unaffordable or impossible to construct in real life.
Modeler: Prior to computer effects modelers fabricated realistic miniatures to be shot close up, to simulate reality. Modern modelers create their models within computer applications,
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and those models are animated and intermingled with live action footage.
MOS: When scenes are filmed without sound recording.
Montage: A sequence of relevant images used as exposition for a character or an important situation.
Motion Capture: A technique used in animation wherein real world actors or objects are used to collect realistic
Negative Cost: The cost of production after the finished negative.
Negative Print: Opposite positive image. It is the reversed light image.
Negative Cutter: The person responsible for putting together the negatives to create the final version of the film with the approval of the filmmakers.
NG: an abbreviation for “No Good” used in various situations during production. New Deal: An announcement made by
Non-linear Editing: Computer-based editing solution which allows the editor to work on any part of a film for which they have footage.
Off Book: When actors memorize their lines for an audition or rehearsal and do not need their script.
Opening Weekend: The first weekend of a movie release, the success of the movie is usually based on the amount grossed on the first weekend.
Overcranking: In-camera technique for simulating slow motion, by running film faster through the camera then projecting at normal speed.
Optical Soundtrack: The soundtrack is recorded on a composite print.
Over the Shoulder Shot: When the camera is held over the shoulder of one actor to capture the actions of the actor opposite them.
Positive Print: The untouched light image on film.
location scouts, storyboards, rehearsals, actor training.
Post-Production: The process that occurs after principal photography wraps. Generally includes editing, special effects, titles, ADR, scoring, re-shoots, and marketing.
Prequel: A film whose action is set prior to that of its preceeding films.
N O P
On Line: The final editing process in preparation for film distribution. Open: When a film is first released in theaters. Pay or Play: A contract provision which commits the production company to compensate a cast or crew member for a project whether or not that project ever goes into production. Pickups: Footage shot after principal photography and production has concluded. Often done to “tune” a movie to make it better. Picture Car(s): Term used for automobile(s) that are featured in a film. Any car that the main actor is in will be known as the “Hero Car”. Pipeline: The schedule of movie projects in the works.
R Rating: A certificate issued by Motion Picture Association of America (MPAA) indicating that children under the age of 17 are not allowed to view a film unless accompanied by an adult. Rear Projection: A technique used to film live action in front of a screen. Often observed in driving scenes from older movies. Reel: Strip of film on a metal wheel. Reels will usually hold 15-25 minutes of film. Rehearsal: The activity where the Director supervises actors in a practice run. Actors are usually in costume and have been through the hair and make-up process. Rehearsals generally precede shooting.
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Practical: Any light that appears in the scene, like a working desk lamp. Pre-Production: All events that occur in the months and weeks before filming begins. A short list includes: production design, construction of sets, camera tests, wardrobe design and fittings, prop fabrication and acquisition,
movement data, which is then applied to computer models of characters giving them realistic on-screen behavior.
the 1st Assistant Director that the crew will begin working on a new scene or camera shot.
Principal Photography: The span of time spent filming the principle cast of a production. Print: The projectable version of a film put onto a reel(s). Pyrotechnician: A member of the crew specializing in fire effects and explosions.
Release: When a movie is able to be viewed by the public.
Rolling: Called by the 1st AD to start camera and audio recording.
Reverse Shot: A shot whose camera angle is aimed in the opposite direction from the preceding shot.
Room Tone: 30 to 60 seconds of sound recorded before departure from a location, to provide the Editor with a background they can use in the event that dialogue changes are required in post production.
Revisions: Edits made to the script during production. Each new revision release is denoted by printing to a different color of paper. The revision color sequence is: XXXXX. Also known as “Rainbow Revisions”. Rigger: Crew members that set up the infrastructure for a set prior to the shooting crew’s arrival. Typically includes grips and electricians, setting up special lighting rigs and electricity.
Rotoscoping: A technique used in animation when live action images are traced manually or with the help of software. The ultimate intent is for isolating footage of actors from one background and inserting them into another.
Scene Chewing: When an actor is over the top and dominates the screen.
original film and featuring the same actors or situations established in the initial installment in the series.
Shot List: Director created list given to the film crew of all the shots to be filmed for that day.
Screening: The viewing of a movie.
Series: A sequence of films that contains the same characters and contains the same themes.
Screenplay: The written-out script that will be produced into the film.
Set: An environment used for filming, whether on stage or on location.
Slate: A small board which holds information identifying a shot. It is filmed at the beginning of a take, and when running sound, makes a clapping noise to sinc the sound and picture.
Screenwriter: The writer who either adapts a former production or writes their own screenplay.
Siny Board: A grip reflector used for reaiming sunlight to provide a key or fill light.
Second Team: Stand-ins for first team. Stand-ins run the scene for lighting and camera, while the first team continues through hair, make-up, and wardrobe.
Shooting Script: Script used by the crew shooting the movie.
Screen Test: Form of an audition, when the actor is on camera.
Sequel: A subsequent installment of a movie, following the style of the
Take: One continuously recorded scene, from the call for “Action!” to the call for “Cut!”
Teaser Trailer: A short edited preview of a movie designed to create interest in the project, typically released in the months/weeks before the film is released.
Walk On: Small role, usually with no dialogue. Walkie Check: Indicates someone is checking to see their walkie-talkie is functioning. “Good check,” is how you answer. Walla Walla: Recorded conversations used in the background of a scene, for instance the blurred together conversations you hear in a crowded restaurant while dining out.
Xerography: electrostatic process to make or transfer an image.
Short Subject: A movie that has a length shorter than 45 minutes.
Steppage: When more than one person speaks over the walkie talkie at the same time causing nothing but static. Turnaround: The camera will be shooting from the opposite angle or a project thought to be ready for productin goes back into development.
Teleplay: Script written for television.
Talkie: Older term to indicate films with dialogue compared to silent films made in the 1920’s and early 1930’s.
Storyboard: Sequence of hand drawn or computer generated pictures created to visually describe each scene in the film or commercial.
Telecine: Transferring moving images from film to a video signal.
Talent: Term used to indicate actors or extras.
Undercranking: The process of slowing the frame rate, so when played at normal speed the action appears fast.
Speed: Called by the Camera Op and Sound Mixer to confirm each recorder is rolling and ready to record.
Telewriter: A writer that either adapts a production for television or creates their own script for television. Tilt: Rotating the camera either up or down.
Treatment: An abridged script, longer than a synopsis, that consists of a summary of each major scene of a proposed movie and descriptions of the significant characters. Trilogy: A movie series that includes only 3 films.
Timecode: A time reference added to the film for edits.
Video Village: The area in which viewing monitors are placed for directors and other production personnel.
Voice Over: When the speaker is not shown, but their dialogue is used in the film.
Visual Effects: Additions to a film’s image during post production, typically done using computer software. Watch Your Back: A warning said by anyone coming though or around the set with an object that could potentially hit someone, like hot points.
Wipe: An editing transition when the first clip is overlaid with a second clip, which appears to “wipe in” from the left or right.
Western: Movie genre that takes place during the “wild west”.
Wrap: The time period after shooting is done for the day, where crew members pack away their equipment. It is also the term for the end of the project.
Whip Pan: A camera technique and the term used to describe a rapid pan to the left or right.
Yarn: A term used to describe an apocryphal story.
Working Title: A title used during production, that will be changed once the film is released.
Zoom: A camera technique for changing the focal distance of the lens, to bring action closer to the viewer. Zoopraxis: A movie process used in the 1870’s, which involves images rotated in front of a light source to create the perception of the objects moving. MAY / JUNE 2015
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UNIONS & GUILDS IATSE LOCAL 491
IATSE LOCAL 479 IATSE Local 479 an Atlantabased branch of The International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada. How to Join: IATSE Local 479 welcomes all new applicants and transfers from other IA locals. New applicants are not required to have prior experience in the motion picture industry and must fill out an application and pay a non-refundable application fee, a membership fee (rates are listed on our website), and provide references. The full list of requirements are provided on our website â&#x20AC;&#x201C; www.iatse479.org/ become-a-member Mission Statement: IATSE Local 479 is dedicated to the principles of trade unionism and the representation of every worker employed in our crafts, based on the IATSEâ&#x20AC;&#x2122;s long history of pursuing fair wages and working conditions for its members. As an organization that is run by its membership, we are responsive to the needs of our industry and our region, and are committed to building a robust, sustainable, and safe environment in the State of Georgia for the production of motion pictures for years to come. We will forever be committed to the protection of the negotiated rights of our members and the advancement of the best working conditions possible, and as citizens of the State of Georgia we will actively work with state and local legislators to lead our industry in innovative solutions for growing our business and providing for our members. What districts do you cover (if more then just Georgia)? IATSE Local 479 covers the entire State of Georgia, with the exception of the city of Savannah.
Who do you represent? IATSE Local 479 currently represents: Construction Paint & Scenic, Props, Set Dressing, Greens, Wardrobe, Grips, Electric, Special Effects, Sound, Video Assist, Craft Service, First Aid, Script Supervisor, Hair & Makeup, Production Office, Art Department Coordinator, Projection. How does someone apply to become a member? Applicants may approach a union steward on set or may come to our office to pick up an application package. No experience is required to join Local 479. What all do you need to become a member? Applicants must submit a completed application with 4 references, 2 of which must be members of Local 479 in good standing. Applicants must submit an application fee and a membership fee, based on or any reason an applicant is denied membership their membership fee will be reimbursed, however the application fee is non-refundable. In addition to the application fees all applicants must be residents of the State of Georgia and be able to provide proof of their residency in this state (a list of admissible forms of identification are provided on our website). What are the benefits of being a member? IATSE Local 479 provides its members with access to group healthcare and retirement plans, as well as a rapidly growing education department, which held more than 70 industry-specific classes in 2014. We are actively engaged with production companies around the State of Georgia, intent on making certain that our members enjoy the very best environment. Business Agent: Mike Akins Contact info: (404) 361-5676
IATSE Local 491, is the Savannah Area branch of Studio Mechanics (FILM TECHNICIANS) of the The International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada. How to Join: IATSE Local 491 welcomes all new applicants and transfers from other IA locals. Anyone interested in information regarding member, living in the Savannah, GA Area may find out more about joining Local 491, by calling Jason or Kelly at 912-509-7022. Mission Statement: IATSE Local 491 is dedicated to the principles of trade unionism, the representation of every worker, building a safe and robust industry in the Savannah area, across the jurisdiction, and throughout the country. What districts do you cover (if more then just Georgia)? IATSE Local 491 covers the Savannah, GA Area as well as the Carolinas. Who do you represent? IATSE Local 491 currently represents: Construction, Paint & Scenic, Plaster, Props, Armorers, Set Dressing, Buyers, Graphic Artists, Greens, Wardrobe, Grip, Electric, Generator Operators, Marine Coordinators and Boat Handlers, Special Effects, Sound, Video Assist, Playback, Craft Service, First Aid, Set Design, Art, Art Department Coordinator, Studio Teachers, Projection, Locations (in some markets) as well as any other positions traditionally represented by the IATSE not represented by another IATSE Local. How does someone apply to become a member? Applicants may set an appointment with our Business Agent, Jason Rosin, in our Savannah Office, after speaking with Kelly and meeting the application requirements.
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What all do you need to become a member? Applicants must submit a completed application with a reference, a sponsor, a resume and a Drivers License, as well as pay an application fee and a membership fee. What are the benefits of being a member? IATSE Local 491 provides its members with access the best group healthcare and retirement benefits available. Industry craft and safety training programs. Networking opportunities as well as the simple fact that membership in the IATSE is the most important recognized step in one’s professional development. Business Agent: Jason Rosin Contact info: Savannah Office Phone: (912) 509-7022 Business Office Phone: (910) 343-9408
TEAMSTERS LOCAL 728 Mission Statement To provide safe and professional workers to the film and television industry. Jurisdiction: The State of Georgia Representing: The transportation and locations department on a production. How does someone apply to become a member? One would fill out an application at the Local to be on the drivers list. You must have: a valid Georgia CDL and be a Georgia resident of at least one year and pay a fee.This does not guarantee you any work but if you are called to work then you are eligible to join the Teamsters because you will be represented by a contract. What are the benefits of being a member? Working under a union contract will give you the obvious benefits like health insurance and a retirement plan but it provides much more. You have a voice and representation within your work place. You have someone who is fighting to maintain the standards that are within the industry like safety and better working conditions.
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Unions have a bad reputation for wanting only higher wages but it is so much more. Business Agent: Tony Lefebvre Contact info: (404) 622-0521
IATSE LOCAL 600 Mission Statement: To achieve, by organization and mutual endeavor, the improvement of the social and economic conditions of workers in the Theatrical,Motion Picture, Television and related industries in the United States and it’s territories engaged in photography or otherwise permanently recording images of all kinds for production; to assure the maintenance of fair rate of wages for such workers;to acquire,possess, and disseminate useful information in regard to such work and to secure to ourselves by unity of action such benefits as are rightly ours. Representation: The ICG /Local 600 is a national local. However, our local has three regions. Georgia is in the Central Region of Local 600. The Central Region has a total of 22 states that fall under our responsibility. All classifications found in a camera department and publicists. How does someone apply to become a member? In the Central Region they would need to provide a resume and a letter of intent, and fill our an application. What all do you need to become a member? This would depend on background, experience, & desired classification. The ability to demonstrate experience in your chosen classification is a primary consideration in the majority of classification. Pay a initiation fee. After accepted, they pay first quarter dues. What are the benefits of being a member? There are enormous benefits to membership if you plan to make a career as a professional camera technician in the motion picture/ television industry. The vast majority of the top camera professionals in the industry are
members of Local 600. Being able to network and calibrate with other members is a huge advantage in a freelance world. Working under a I.A.T.S.E. Contract provides guaranteed working conditions and wages.We have an annual training budget that we use to update and enhance the skills and knowledge of our members with training and technical seminars so that the employer can always look to and count on local 600 to provide the highest skilled camera workforce in the country. Access to Guild publications such as ICG Magazine, Camera Angles newsletter, membership directory, weekly E newsletter, safety bulletins, guild news, political action, negotiation updates etc. Some of the best Pension and Health Benefits in the industry. Other services: Scholarship Program, Emerging Cinematographers Awards, Screenings, Networking events. Business Agent: Rusty Burrell (Central Region Director) Contact info: (404) 888-0600 firstname.lastname@example.org
IATSE LOCAL 798 Business Agent: Rosemarie Levy Contact info: (800) 222.7985 www.local798.net District 7, Jurisdiction: Tennessee, North Carolina, South Carolina, Georgia, Louisiana, Mississippi. Representing: Make-up Artists and Hair Stylists.
PRODUCERS GUILD OF AMERICA Business Agent: Scott Thigpen (Vice Chair) Contact Info: scott@ crazylegsproducitons.com www.producersguild.org Jurisdiction: Georgia Chapter of PGAEast
DIRECTORS GUILD OF AMERICA Contact Info: NY: (800) 356-3754 LA: (800) 421-4173 www.DGA.org
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