Oz Magazine July/August 2015 - VENDORS Special Issue

SERVING GEORGIA’S FILM PRODUCTIONS

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MAGAZINE

STAFF Publishers: Tia Powell (Group Publisher) Gary Powell Michael Garland (Assistant to the Publisher)

Editorial:

CONTRIBUTORS CHRISTINE BUNISH Christine Bunish has been a writer and editor covering the professional film, video, broadcast and advertising industries for more than 25 years. She was a writer at Broadcast Management/ Engineering and World Broadcast News and an editor at Millimeter before going freelance. (Out of Towners p.61, Getting Down to Business p.72 / cbunish@gmail.com)

Gary Powell

Sales:

HARRY BOX Harry Box is a Los Angeles-based cameraman, manager of the PLASA Production Equipment Rental Group, author of the industry favorite, the Set Lighting Technicians Handbook, and a member of Local 600 and the SOC. (Voices p. 32)

Monique McGlockton Kris Thimmesch Martha Ronske

Contributors:

Christine Bunish Harry Box Michael Garland Jake Shiptenko Allen Rabinowitz

Creative Director: Kelvin Lee

Production and Design:

Kelsey Waugh Ted Fabella (Oz Logo Design)

MICHAEL GARLAND Michael Garland is the assistant to the publisher at Oz Publishing.

He grew up in Little Rock, AR, and attended college at the University of Central Arkansas. After graduating he taught English in Thailand for two years while writing a blog and “hanging out.”

Now based in Atlanta, he enjoys live comedy, music and travelling.

(Sprouts and Growth p. 48, Down Time p.42)

Cover Image: Huainan Li Eye Glass Photo Stills: Bob Shelly Special Effects International

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. (Vendors p. 36)

JAKE SHIPTENKO Jake Shiptenko is currently a attending St. Pius X Catholic High School in Atlanta. He has written and directed several short student film productions. After graduation, he hopes to get a college education in film production. (Film Locations p. 70) 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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KELSEY WAUGH Kelsey Waugh is a Graphic Designer currently enrolled at Kennesaw State University. She looks to combine her light-hearted style with her illustrations and designs, creating a unique and quirky type of style. After graduating, she hopes to transition into the animation industry, creating cartoons and voice acting. (waugh.kelsey@gmail.com)

CONTENTS

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ATLANTA GOES HOLLYWOOD

VOICES

BESSIE COVER STORY

08 OZCETERA 32 VOICES 34 HOW I GOT INTO THE BUSINESS 36 COVERS STORY Vendors

42 DOWN TIME 44 OZ SCENE:

44 Atlanta Goes Hollywood 45 Bessie

47 VENDORS SPECIAL

VENDORS SPECIAL

79 LET ME GIVE YOU MY CARD 82 NEXT GENERATION

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ATLANTA METRO STUDIOS GIVING AND GROWING

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tlanta Metro Studios, Fulton County School System and Union City have created a pilot-program collaboration that will start by funding tuition for as many as six 2015 Fulton County high school graduates and enroll them in Clayton State University’s Digital Film Crew Training Program. The applicant search will target Fulton County schools surrounding the Atlanta Metro Studios at the former Shannon Mall site in Union City.

Ed Richardson and Brian Livesay, founders and co-CEOs of Atlanta-based 404 Studio Partners, along with their development partner Rooker, created, designed and are currently in construction of Atlanta Metro Studios. “We are committed to engage Fulton County’s youth and to provide opportunities for them to learn the skills necessary to be a part of Georgia’s thriving film business,” says Richardson.

“There are a number of programs that claim to give students an insider track into the film business, but most of these programs fall far short of the actual boots on the ground training that is given in the Clayton State University program. This business is, after all, a ‘tradecraft’ industry and nothing beats the hands-on training for entry level crew that the Digital Film Technician Certificate Program delivers,” says Livesay.

“At Clayton State University, we are in the forefront of film training in Georgia higher education,” according to President Dr. Thomas Hynes. “This project will be our first to fast-track high school students into one of the state’s fastest growing industries. And we couldn’t have more supportive and enthusiastic partners.”

“Union City is proud to be the home of Atlanta Metro Studios and we couldn’t be

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more excited about the opportunities that this groundbreaking collaboration will bring to our Fulton County school students,” says Union City Mayor Vince Williams. “Our collective team is focused on positively impacting the future of our youth, and being a part of this program will put these students on the path to joining Georgia’s booming film industry.”

According to Fulton County Schools Superintendent Robert Avossa, this partnership is directly aligned to the school system’s strategic plan of preparing 100% of students to be career ready. “We are excited and enthused to be a part of the dynamic partnership with our community and business organizations,” says Superintendent Avossa. “This project presents a tremendous opportunity for recent high school graduates to receive free training to be able to qualify for very high-paying jobs and long-term careers in the film industry. We look forward to this continued partnership within the programs at the Career and Technical Education School opening 2016 near Banneker High School.”

“Produc tion companies are picking Georgia because we have the entire package; a business-friendly environment, statewide accessibility, diverse locations and a skilled crew base,” Governor Nathan Deal recently said. “Georgia is one of the fastest growing entertainment production centers in the nation and facilities such as this one [Atlanta Metro Studios] will play a vital role in long-term infrastructure growth.”

Barton Bond, director of the Film and Digital Media Center at Clayton State, sees this project as not only unique in Georgia, but in the nation. “The program trains students on professional equipment, orients them to all the

jobs and procedures on film sets and then, most critical to the students’ potential success, places them on the crews of independent productions in the Atlanta area during the two-semester course schedule,” says Bond. “In just our first year of offering the program, we have placed 10 students in the local film union, which is also one of our training partners. Another two dozen students are currently working in film-related jobs.”

“Clayton State University’s Digital Film Technician Certificate Program is a significant step forward for Georgia and the state’s ability to develop a local, highly skilled, and welltrained workforce to support the ever-growing film and television business,” says Livesay. “The Clayton State program is a game-changing training curriculum that honestly puts the rubber on the road for students looking to have a real career in the film business. Our entire studio team has spent our careers in the trenches of the film and television business and we see this as a tremendous opportunity for all Georgians.”

“By creating and continuing to support the film production incentives in Georgia, our state leadership has empowered Atlantans like us to develop and build studio infrastructure critical to the industry’s continued growth in our state,” Richardson says. “Because of the exponential growth the industry is now experiencing in Georgia, there is a very real need for local workers. With this new workforce development program, we are very excited to unlock the door to the great potential that the film business holds for the next generation of Georgians.”

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BISCARDI

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isc ardi Creative Media (BCM) ha s completed post production on two public service announcements for Fix Georgia Pets featuring world-renowned dog trainer Victoria Stilwell. The PSAs remind pet owners about the importance of spaying and neutering pets to help cut down on animal overpopulation. The topic is near and dear to BCM, sharing their facilities every day with Molly the Wonder Dog, a rescue.

BCM principal, Walter Biscardi, Jr. and Stilwell’s production team talked through the PSA before principal photography. “We’re thankful that Victoria and Van got us involved in pre-production because that is so important to communicate prior to photography,” said Biscardi.

Producer Van Zieller and Biscardi also discussed the style of the spot prior to photography wanting to avoid something overly depressing. Noted Biscardi, “While there’s no way to sugarcoat what’s happening to these animals in shelters, we made creative decisions in the music and the pacing of the piece to make this a spot that is built on hope, not despair.”

Zieller and his crew spent a day at a local shelter photographing both the animals, some adoptions and the workers. Biscardi utilized a combination of Adobe Premiere Pro, Adobe After Effects and Rampant Design Tools to drive the look and feel of the spot. “I had to turn this spot around basically in one day, but still

Victoria Stilwell worked with Biscardi Creative Media on PSAs for Fix Georgia Pets.

create a unique style to keep the spot moving.

Production mattes from Rampant Design gave me a lot of movements options without needing to keyframe and allowed me to achieve a pretty unique look for a spot of this type in a very short amount of time.”

Both a :30 and :15 version of the spot was created both for broadcast and web use.

The spots are the latest in a long running commitment by Biscardi Creative Media to support causes through their work.

Biscardi Creative Media (BCM) has completed full production on a new infographic inspired spot to launch the newly revised mobileRDM tool from Atlanta-based Mueller Systems. BCM provided full script to screen services on the spot designed to very quickly demonstrate the simplicity and efficiency of mobileRDM.

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Biscardi worked directly with Mueller’s Communic ations team to develop the storyboards and animation. The spot had to quickly demonstrate what mobileRDM does and be able to be used in a lot of different applications from the web to trade shows to one on one demonstrations. Biscardi designed an infographic style spot utilizing very simple, iconic graphics that quickly move the viewer through the functionality of mobileRDM. The emphasis was on keeping the graphics very simple so the emphasis remained on Mueller and their product and not on the slickness of the animation. While music was used as a bed, the spot can be enjoyed and understood in locations where the music can’t be heard such as a trade show or convention.

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OZCETERA

COHESIVE SOLUTIONS SELECTS ARKETI

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rketi Group was selected by Cohesive Solutions, an asset-intensive business solutions and consulting firm, for messaging, brand enhancement and website development work.

Cohesive enlisted Arketi to create marketplace messages and assist with branding to articulate its growing and evolving brand.

Initially, Arketi focused on messaging in order to build strong market positioning for Cohesive Solutions. This phase included developing a robust marketing strategy and messaging analysis in order to deliver a highlevel marketing plan. Then Arketi went to work

rebranding Cohesive, which included creating a new logo as well as print and digital materials.

Arketi also developed a new website that leverages Cohesive’s new message and visual brand.

“Arketi’s expertise in messaging and digital marketing, along with their ability to grasp our vision, led us to select them for multiple engagements,” said George Lowry, president and co-founder of Cohesive Solutions. “Arketi has proven they understand our business and how to most effectively communicate to our customers, which has been a huge benefit to us.”

Cohesive Solutions works with businesses to improve asset management and overall per formance results. Cohesive’s Propel solution enables businesses to achieve greater performance, while their asset management offerings, powered by IBM Maximo, provide a single point of control over an organization’s critical assets. “Helping to reposition companies as part of their plan to grow is what Arketi is all about,” said Micky Long, vice president at Arketi Group. “For a progressive company like Cohesive, this meant an evolution of their messaging, branding and overall positioning.”

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KISS THE LIMIT PARTNERS WITH YOUTHSPARK Filmmakers Shandra McDonald (L) and Nancy Howard at a human trafficking awareness event.

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iss The Limit Productions, Inc. (KLP) will partner with youthSpark to produce a documentary about the organization’s work to end child sex trafficking through early intervention. The organization’s mission is to advocate for children that lack legal and adult protection in abusive and exploitative situations. Their vision is “A world where no boy or girl is a product that can be bought, sold or abused.”

Award-winning writer, direc tor and producer Shandra McDonald of Kiss the

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Limit Productions, Inc., will work as the lead producer and director on the documentary.

Kiss the Limit Productions, Inc. will share the executive producer credit with youthSpark.

The production will also include award-winning television producer Suzan Satterfield of Picture Window Productions, and award-winning associate producer Nancy Howard of Visionary Films and Kiss the Limit Productions.

“We are delighted to collaborate with youthSpark around a project of this magnitude,” stated McDonald. “We approached the stellar organization about doing the documentary once we saw the impact that the “Voices” program was having on girls’ lives. Everyone should know about this program.” youthSpark Voices, a direct service early intervention program, directly assists children, particularly young girls, deemed high risk for sex trafficking involvement. Uniquely designed to support and empower these girls, youthSpark partners directly with the Fulton County Juvenile Court and its Probation Department. Based at the Juvenile Court, they are positioned to reach local girls earlier on the abuse continuum. “Identifying and addressing factors girls face before they are exploited is just as important as rescuing them from the

life,” shared Jennifer Swain, youthSpark deputy director. “We’re grateful to partner with KLP to show communities how they can act earlier to stop youth from going down the path.”

T h e o p p o r t u ni t y to p ro d uc e t h e documentary came out of a grant recently awarded to Kiss The Limit Productions by the Federal Home Loan Bank Atlanta (FHLB) grant program. “FHLB Atlanta is committed to serving as an active corporate citizen in the local community,” says Hyacinth Edwards, who is a senior credit risk analyst with FHLB. “The Bank is focused on activities that can make a difference and impact the communities where employees live and serve. The Bank provides support to many local and national organizations through employee volunteerism, in-kind print services and sponsorship.” The Teri and Roderick McClure Charity Foundation has also donated to the making of the documentary, which has begun shooting. Plans are underway to finish shooting by the end of the summer, with post production beginning in the fall. The documentary will be distributed on youthSpark’s website.

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POGO INKS MULLENS

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Director Sean Mullens joins the Pogo roster.

ogo Pictures adds director Sean Mullens to the company’s talent roster. Mullens brings to the company a keen comedic sensibility and a seasoned collaborative spirit. He joins a directorial roster, which includes company owner Steve Colby and Ryan Smith. Pogo Pictures represents Mullens on the east coast and in Texas.

Mullens has focused on creating and directing national TV commercials, music videos and films. Mullens studied advertising and design at the Art Center College of Design.

Soon after, he joined FCB San Francisco as vice president/creative director, where he created award-winning advertising for Levi’s and MTV. Sean rocked his way into filmmaking by writing and directing music videos for R.E.M., Third Eye Blind, Courtney Love and many other music artists. Mullen’s work resides in both the Museum of Modern Art and the Smithsonian.

His documentary films and commercials for VW, ESPN and Vitamin Water have received international acclaim including an Emmy

nomination, Cannes Film Festival Gold Lions, Golden Clios and Grand Jury Awards from the Austin and London International Film Festivals.

For Mullens, signing with Pogo Pictures is an opportunity to extend his directorial career to include commercials, as well as television and film projects. Currently focused on his first commercial project for Pogo Pictures, collaborating with JW T, Mullens is also shooting a documentary entitled Pull about his small community just north of San Francisco, and its history around an annual tug of war competition. The doc is destined for the film festival circuit. He is also in development on two television episodic projects: one dramatic, the other comedy.

Pogo Pictures has recently completed an extensive commercial campaign for Humana via the Rapp Agency. Pogo is also in the midst of a major expansion, with additional director signings due this year, as well as the launch of a new division.

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䈀唀䌀䬀䠀䔀䄀䐀 伀挀琀⸀ ㄀ⴀ㐀Ⰰ ㈀ ㄀㔀

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RIVER ROCK STARS

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ncyclomedia was recently honored as a River Rock Star by the Chattahoochee Riverkeeper at their annual River Revival Concert. The evening, held at Terminal West, featured music from Tab Benoit, Dead 27s, and The Pimps of Joytime. Encyclomedia is entering its third year of sponsoring the Chattahoochee Riverkeeper and received the River Rock Star award for aiding in CRK’s environmental initiatives. Last year, Encyclomedia worked extensively with CRK to produce a video highlighting the history of the CRK and showcasing the dramatic impact they’ve had on the health of the Chattahoochee River and the whole Chattahoochee River Basin.

Encyclomedia’s managing partner, Lance Holland, accepted the award saying, “It’s really an honor for Encyclomedia to be recognized as a River Rock Star along with two true rock stars Jack Johnson and Tab Benoit.”

Encyclomedia looks forward to continuing to partner with CRK to help show the world the great things they’re doing. Next up, Encyclomedia will be filming the Back to the Chattahoochee River Race and Festival. They’ll capture all aspects of the event with coverage by air via a drone and by water with shooters paddling the course.

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STICKIN’ WITH STICKLEY

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ountain View Group recently completed a large-scale production project with Stickley Audi & Co, a company whose furniture pieces are best known for their American craftsmanship and multi-generational staying power. Stickley and Mountain View Group have had a long-standing relationship that includes broadcast TV, radio and print work over a span of more than ten years. Mountain View has worked closely with Stickley as a strategic brand partner, in addition to creative development and extensive production work that includes a series of television and radio spots for the furniture brand.

Most recently, the team at Mountain View completed a complex production project for Stickley’s newest commercial campaign, a five-spot series, which focuses on the beauty, construction and American made furniture that Stickley produces. The creative concept of the shoot was built around the many life moments created in a home, from a toddler blowing out birthday candles, to a mother placing a turkey on a table for Thanksgiving dinner.

“This is our fourth major campaign for Stickley,” according to director Tom Gliserman.

“Not only is the furniture a beautiful element and star of the spots, but the opportunity to use

narrative storytelling to bring out the inherent value of Stickley makes for more engaging content.”

The team at Mountain View hired professional actors, and worked as a team with a Stickley designer to coordinate the propping and set design for each location. The campaign rolled out in May. “We always look forward to working with the team at Stickley,” said Mountain View managing producer, Adrianne Maros. “The close collaboration from concept to completion yields commercials that are on-target and help Stickley meet their business objectives.”

∠ 匀瀀攀挀椀愀氀椀稀椀渀最 椀渀 䄀攀爀椀愀氀 䘀椀氀洀 愀渀搀 䠀䐀 嘀椀搀攀漀 倀爀漀搀甀挀琀椀漀渀猀 ∠ 吀眀漀 䤀渀ⴀ䠀漀甀猀攀 䌀椀渀攀昀氀攀砀 䠀䐀 䜀礀爀漀 匀琀愀戀椀氀椀稀攀搀 䌀愀洀攀爀愀 匀礀猀琀攀洀猀 ∠

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∠ 䌀甀猀琀漀洀 䌀椀渀攀昀氀攀砀 䌀愀洀攀爀愀 䴀漀甀渀琀猀 昀漀爀 䠀攀氀椀挀漀瀀琀攀爀Ⰰ 䌀愀洀攀爀愀ⴀ吀爀甀挀欀Ⰰ 䌀愀洀攀爀愀䈀漀愀琀Ⰰ 䌀愀洀攀爀愀䈀椀欀攀 愀渀搀 匀渀漀眀 䴀漀戀椀氀攀猀 ∠ 㐀 䔀洀洀礀 䄀眀愀爀搀猀

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OZ MAGAZINE: VENDORS SPECIAL ISSUE

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The American Society of Cinematographers has re-elected Richard Crudo as president.

KUDOS TO CRUDO AT ASC

T

he Board of Governors of the American Society of Cinematographers (ASC) has re-elected its slate of officers for another term. Continuing to serve in their roles will be Richard Crudo as president; Owen Roizman, Kees Van Oostrum and Lowell Peterson as vice presidents; Matthew Leonetti as treasurer; Fred Goodich as secretary; and Isidore Mankofsky as sergeant-at-arms. Crudo will serve his sixth term as president. In addition to the last two years, he fulfilled the role from 2003 through 2006.

The members of the Board, elected in May by the organization’s active membership, include: John Bailey, Bill Bennett, George Spiro Dibie, Richard Edlund, Fred Elms, Daryn Okada, Lowell Peterson, Robert Primes, Rodney Taylor and Haskell Wexler.

“I am humbled to once again have the opportunity to serve this great organization,” said Crudo. “As we start to close in on our 100th anniversary, we will continue to honor the intents

of our founders by protecting and promoting the interests of the cinematographer. Our active and associate members are the best people in the world at what they do; by their efforts the ASC will remain the industry’s standard bearers for many decades to come.”

In its entire history, the ASC has never been as busy as it is right now. Its quarterly Master Class series has set the highest standard for education and is regularly sold out in advance. Other efforts include its Student Heritage Awards, Breakfast Club seminars, panel discussions by their Education and Outreach committee, the Friends of the ASC membership, and the org’s ongoing committee collaborations with other industry participants vital to the image-making process.

Perhaps most notable is the ASC Technology Committee, which has proven unique in its ability to shape the standards and practices of digital cinematography.

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Crudo is also a member of the Academy of Motion Picture Arts and Sciences, serving on the Executive Committee of the Cinematographers Branch as well as the Sci-Tech Committee. In addition, he has chaired and co-chaired the ASC Awards for several years throughout the past decade.

Born and raised in Brooklyn, New York, Crudo began his film career as an assistant cameraman. As a director of photography, he has shot a wide range of feature, television and commercial productions. Among his feature credits are Federal Hill, American Buffalo, American Pie, Music From Another Room, Outside Providence, Down To Earth, Out Cold, Grind, Brooklyn Rules and the upcoming Addic ted. He has also direc ted several independent features.

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JULY / AUGUST 2015

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OZCETERA

ALL ABOUT TEN YEARS OF PROPS

C

ongrats to Ted Morrow and all the current and former staff that helped All About Props in reaching their 10th anniversary. Here’s to many more.

夀伀唀刀 伀一䔀䔀匀吀伀倀 匀䠀伀倀 䘀伀刀 䄀䰀䰀 夀伀唀刀 䌀伀一匀吀刀唀䌀吀䤀伀一 一䔀䔀䐀匀

MODUS REAL ESTATE

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Greta Sanders

odus Real Estate’s p re s i d e n t , G re t a Sanders announced her company’s recent arrival in the Atlanta, Georgia real estate market. “We are very excited about our opening and proud to be a part of the growing real estate community here in Atlanta,” added Sanders.

Sanders has been in the Atlanta area for over 15 years.

She was recently a part of Vantage Realty Partners and Kim King Associates. Modus Real Estate will be based in midtown with three divisions including commercial, residential and production housing to the movie industry.

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JULY / AUGUST 2015

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OZCETERA

ACTION FROM CAREY HALL AND JOEY SISSON

A

ction Artwork Rental has launched a website featuring more than 800 works of art cleared for use by the film and television industry. The searchable database makes it easy for set designers, set decorators, and other industry professionals to find exactly what they need for their projects.

“After working in the Atlanta film industry for ten years, I realized there was a need for a place to procure cleared art quickly, without hassle and major expense,” says co-owner and local leadman Joey Sisson. Ac tion Artwork Rental prints to order and prints can be rented on a weekly basis. The company offers competitive pricing, without the worry of dealing with the overhead of clearing each piece of artwork with each artist. Renting prints ensures competitive pricing and maintains the safety of the original works.

Although AAR offers work from artists from all over the country, they showcase mostly Atlanta artists. “At AAR, we knew we wanted to highlight the extraordinary talent of local artists,” says co-owner and manager Carey Hall.

“Atlanta is home to many independent galleries and tapping into those artists is very exciting,” says Hall.

AAR is unique in that their artists set their own rental prices and retain 90% of that rental value with each rental. When productions rent from AAR, they are supporting the local economy and helping to guarantee that artists are able to make a living producing their art.

AAR will add a “Ready to Hang Artwork” section to the website in the coming months.

Since many productions need same day service, AAR is expanding its grab-and-go.

Carey Hall

Joey Sisson

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匀漀洀攀 漀昀 伀甀爀 䌀爀攀搀椀琀猀 吀礀氀攀爀 倀攀爀爀 礀✀猀 䄀 䴀愀搀攀愀 䌀栀爀椀猀琀洀愀猀 吀栀攀 䘀漀甀渀搀攀爀 䘀椀渀搀椀渀最 䌀愀爀琀攀爀 䐀甀洀戀 愀渀搀 䐀甀洀戀攀爀 吀漀 吀礀氀攀爀 倀攀爀爀 礀 ᤠ猀 吀栀攀 匀椀渀最氀攀 䴀漀洀猀 䌀氀甀戀 䄀渀挀栀漀爀洀愀渀 ㈀㨀 吀栀攀 䰀攀最攀渀搀 䌀漀渀琀椀渀甀攀猀 吀栀攀 䠀甀渀最攀爀 䜀愀洀攀猀㨀 䌀愀琀挀栀椀渀最 䘀椀爀攀 吀栀攀 䠀甀渀最攀爀 䜀愀洀攀猀㨀 䌀愀琀挀栀椀渀最 刀攀搀 䈀愀渀搀 匀漀挀椀攀琀礀 吀栀攀 一椀挀攀 䜀甀礀猀 䄀渀搀 䴀愀渀礀 䴀漀爀攀⸀⸀⸀

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OZ MAGAZINE: VENDORS SPECIAL ISSUE

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S PE C I A L 3 I S SU E S You are ready to ooer your talents, business and energy to Georgia’s booming lm and TV production industry and want to know where to begin. This is your compact and comprehensive guide to breaking in, and staying in, the production biz. For all crew, vendors, actors and actresses, these three issues give you the know-how, and the know-who, for working in feature lms, episodic TV series, reality TV, and commercials.

1 . C R E W : M AY / J U N E 2 0 1 5 2 . V E N D O R : J U LY / AU G U ST 2 0 1 5 3 . TA L E N T: S E P T E M B E R / O C TO B E R 2 0 1 5

www.ozmagazine.com

For advetising rates contact Tia Powell (404).633.1779 JULY / AUGUST 2015

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OZCETERA

SIM ATLANTA GROWING BY BITS AND BYTES

S

IM Atlanta is growing. This past March, SIM had three pilots all prepping at the same time while post was working dailies for six shows at once. Realizing that they needed additional space, they expanded their facility to include an additional 10,000 sq. ft. building next door just for camera.

SIM held their popular Bits and Bytes seminar in their new camera facility after the expansion. The theme for this particular event was 4K, showcasing four different digital cameras (Arri Alexa, Sony F55, Panasonic Varicam, and Red Dragon) and a 4K dailies station showing Covert Affairs in 4K. Daine Pearson came by to do a little show-and-tell with the Cinedeck, specifically setting up a connection with AVID to show digital cuts, insert editing into complete files, and filebased assemble editing. Also shown was new equipment straight from NAB, including SmallHD’s new 5” monitor designed for drone use and the SeMote remote systems designed for the Alexa and RED. Also on site was Trew Audio with a trailer that can travel anywhere

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OZ MAGAZINE: VENDORS SPECIAL ISSUE

for VO/ADR sessions, a great way to provide on-location looping.

Special guests included representatives from the Atlanta Film and Entertainment Office as well as representatives from many of the Atlanta based studios and stages (Pinewood, 3rd Rail, and Mailing Stages). The president of Georgia Production Partnership, a writer from Atlanta Business Chronicle, and many production and post professionals also stopped by. It didn’t hurt to have Nuevo Laredo (Mexican restaurant legend in Atlanta) as the caterer. Look for another Bits and Bytes in the fall.

SIM Atlanta is also very proud to host the 2nd annual Sarah Jones Opportunity Internship in conjunction with WB and the Camera Union Local 600. This opportunity allows one candidate a year to have a 20-week internship with SIM and then go and work on a WB show to work alongside the camera crew. Upon completion, the recipient is entered into the Local 600 as a camera utility.

Rob Sim with last year’s Sarah Jones Opportunity internship recipient, Chelsea Craig.

Rob Sim taking in the festivities.

OZCETERA

45 YEARS OF CYA

To Barnes & Thornburg, going the extra mile isn’t about distance – it’s about results.

Uncommon Value

In Atlanta contact Steve Weizenecker, Partner, at 404-264-4038 or sweizenecker@btlaw.com.

Ray Williams and Lyn Mathis, brother and sister and agents at 45-year old insurance agency, Williams, Turner & Mathis, Inc.

J

uly 1 marked the 45th anniversary of Williams, Turner & Mathis, Inc. Since 1970 WTM, has helped families and businesses with their insurance needs. For most of that time WTM has had a special interest in working with many people and companies in the film and video industry. Not only do they work with people behind the camera, but also they are behind a microphone themselves. Be sure and listen to WTM principals Ray Williams and Lynn Mathis on their weekly radio show Covering Your Assets Monday’s at noon on 1160 AM “The Talk of the Town.”

ATLANTA CHICAGO DALLAS DELAWARE INDIANA LOS ANGELES MICHIGAN MINNEAPOLIS OHIO WASHINGTON, D.C.

䔀渀琀攀爀琀愀椀渀洀攀渀琀 吀爀愀瘀攀氀 匀瀀攀挀椀愀氀椀猀琀猀 猀椀渀挀攀 ㄀㤀㤀㌀ 伀ϻ挀攀猀 椀渀 䌀愀氀椀昀漀爀渀椀愀 䘀氀漀爀椀搀愀 䜀攀漀爀最椀愀 䰀漀甀椀猀椀愀渀愀 吀攀砀愀猀ꀀꀀꀀ

䘀甀氀昀 椀氀氀猀 愀氀氀 爀攀焀甀椀爀攀洀攀渀琀猀 昀漀爀 琀愀砀 椀渀挀攀渀琀椀瘀攀猀 匀攀爀瘀椀挀攀 漀爀椀攀渀琀攀搀 愀最攀渀琀猀 琀漀 猀甀瀀瀀漀爀琀 礀漀甀 ㈀㐀⼀㜀 䄀椀爀氀椀渀攀 攀渀琀攀爀琀愀椀渀洀攀渀琀 搀椀猀挀漀甀渀琀猀 䴀攀搀椀愀 戀愀最最愀最攀 爀愀琀攀猀 一攀眀 䄀挀琀 吀爀愀瘀攀氀 ㌀㌀㐀 倀攀愀挀栀琀爀攀攀 刀搀⸀ꀀ 匀琀攀⸀ ㄀㠀 䄀琀氀愀渀琀愀Ⰰ 䜀䄀 ㌀ ㌀㈀㘀 倀栀漀渀攀㨀ꀀ ⠀㐀 㐀⤀ 㠀㄀㈀ⴀ㔀㌀㔀㠀 眀眀眀⸀渀攀眀愀挀琀琀爀愀瘀攀氀⸀挀漀洀 吀栀攀爀攀猀愀 䠀愀爀琀 ꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀ ꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀ 匀琀攀瘀攀 吀栀漀洀愀猀漀渀 琀栀攀爀攀猀愀⸀栀愀爀琀䀀渀攀眀愀挀琀琀爀愀瘀攀氀⸀挀漀洀ꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀꀀ 猀琀攀瘀攀⸀琀栀漀洀愀猀漀渀䀀渀攀眀愀挀琀琀爀愀瘀攀氀⸀挀漀洀

JULY / AUGUST 2015

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OZCETERA

BEEFING UP AT C21

c

ommunications 21 (c21), a full-service marketing, public relations and interactive firm, has promoted account manager Lauren Vocelle to senior account manager. In her new role, Vocelle will continue to provide clients with interactive marketing and social media tactics as well as public relations support.

She will further leverage her experience by managing c21’s internship program. Vocelle joined c21 as an account manager in 2013, following an internship. She manages a variety of client accounts in the real estate, retail and food and beverage industries such as Braden Fellman, Buckhead Community Improvement District, Mystic Wine Shoppe, Southeast Dairy Association, The Avenue and more.

“Lauren has played a significant role in c21’s growth and will continue to do so in her new role as senior account manager,” said Sharon Goldmacher, president of c21. “I have great confidence Lauren will provide her clients with remarkable service, while continuing to create real results. She is a high-performer and always eager to take on and conquer her next challenge.”

Vocelle graduated in May 2011 from Flagler College with a bachelor’s degree in communication, specializing in public relations

c21 promotes Lauren Vocelle and hires Jamie Donaldson.

and a minor in advertising. She is an active member of the Public Relations Society of America Georgia Chapter, and is in the process of becoming Google AdWords certified.

Jamie Donaldson joins c21 as its newest account manager. Donaldson, who has an M.A. in journalism and mass communication, will provide public relations, digital marketing and video production to clients in various industries from agriculture to technology.

Before joining c21, Donaldson interned at Georgia Aquarium in the digital media department. She has a strong background in

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OZ MAGAZINE: VENDORS SPECIAL ISSUE

digital communication, research, video editing and managing social media pages to promote distinct brand images. She also independently maintains the digital presence and conducts blogger outreach ef for ts for children’s animation startup, Mighty Yeti Studios.

“A l o n g w i t h h e r c o m m u n i c a t i o n background, Jamie brings valuable digital video and photography skills to the c21 team as we continue to expand our video services,” said c21’s Goldmacher. “We’re very excited to have her on board and to put those skills to work for our clients.”

Donaldson graduated in May 2014 from The University of Georgia with a master’s degree in journalism and mass communication.

She focused her research on children’s media and public broadcasting while also taking a variety of classes in public relations and media management. Before that, she received a Bachelor of Arts in Journalism with a major in telecommunication arts and a minor in anthropology from The University of Georgia.

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NEW NORTH STAR

You Focus On The Shot Kelly Flynn

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e’re happy to announce Kelly Flynn will be joining our North Creative team as designer and animator.

Flynn graduated with BFA in Computer Animation from Ringling College of Art & Design. She primarily worked with Animatic Media doing pre-visual development with clients such as Nissan, Coca-Cola and Stella Artois. She is fluent with Adobe CC, Maya, Zbrush and Nuke.

In client news, North Creative teamed up with 22squared for their Facebook campaign Camry Connections. Senior editor/compositor Rob Lederman provided the color correction and finishing while senior 2D/3D designer & VFX artist Jenna DeLorenzo provided graphics. Lederman also provided color and finishing for Golden Corral’s current promotion Reunion while sound designer, Seth Cohen, provided audio mix and sound design. And DeLorenzo and sound designer, Juan Baez, teamed up with Cartoon Network Latin America to create and develop the promotion Hero My Way.

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JULY / AUGUST 2015

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VOICES

By: Harry Box

At the PERG General Membership Meeting at NAB. From left to right: Ed Stamm (ARRI Rental, Atlanta), Paul Duclos (Duclos Lenses, LA), Micheal Koerner (Koerner Camera, Portland/Seattle), Harry Box (Plasa PERG).

T

he PLASA Production Equipment Rental Group (PERG) is made up of local, national and international professional rental companies. The organization focuses attention on issues that no one company can take on by itself. It engages with industry partners to improve the industry. For example, PERG has helped to reduce “redlining” of rental contracts by negotiating a sample terms and conditions with the Association of Independent Commercial Producers (AICP).

PERG is currently working with the major studios to create similar sample terms & conditions.

PERG created Rental Guard, a web-based alert system that helps rental houses prevent and respond to equipment theft. Large-scale equipment theft has been a persistent, international epidemic for many years. Theft leads to higher costs for

everyone through loss of revenue from stolen equipment to higher insurance rates. In its first year the Rental Guard system prevented hundreds of thousands of dollars in theft by fraud, identified stolen equipment for sale, and kept our members apprised of evolving criminal trends. The system actually helped Atlanta rental house PC&E avoid a major theft and enabled them to involve Atlanta law enforcement. Rental Guard allows anyone to post missing equipment reports and search the database. This is important for anyone who is contemplating buying used equipment – especially from an Internet source.

PERG members have access to additional features of the Rental Guard system. They can inquire about potential new customers, and issue alerts about customers who raise red flags.

PERG extends outreach in the production

The organization focuses attention on issues that no one company can take on by itself.

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community. Many times productions return rented flash cards and storage devices with the client’s images still on the drives.

PERG wants to help rental houses and production houses deal with this issue and created documents like “Recorded Content Disclaimer” and “Media Handling Guidelines for Rental House Employees” that are available on its website.

PERG hosts events to bring together crewmembers, production companies and rental houses. The AICP and PERG co-host an annual Oktoberfest event in New York, and this year

“

initiated a Cinco de Mayo event in Los Angeles that is destined to become an annual event as well. With the many PERG member companies in Atlanta, the organization is planning to host events here in the near future.

PERG companies are always on the lookout for talented and experienced staff. PLASA (the international entertainment technology trade association of which PERG is a part) provides a sophisticated online job board on which employers can post job listings and employees can post resumes.

PERG encourages everyone in Atlanta to make use of the job board. The more it is used, the more of a service it can provide.

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I don’t understand why any professional motion picture rental company wouldn’t want to be a part of the Production Equipment Rental Group PERG. The organization combined with all its members works hard to create a standard of business practices that protect the rental companies best interest. In my time at PC&E they have assisted us with fraud issues and helped us work out terms and conditions with major motion picture studios. It’s comforting to know someone is working behind the scenes to protect us.

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HOW I GOT INTO THE BUSINESS How did you get into the business?

I secured three internships throughout college in production offices on an indie film and then two studio feature films. That’s where I learned; a strong work ethic as well as networking is what really gets you in the door in the industry. After graduating, I moved to Atlanta and sent my resume to everything I could find, and I reached out to contacts I had worked with. That’s how I got my first interview.

JORDAN ANDERSON ART DEPARTMENT COORDINATOR

jordananderson3@mac.com

How did you end up as an art department coordinator?

I started as an art department production assistant on the first season of Rectify. In between the first and second season, I was working on different shows and was promoted to production secretary. When I went back for season two of Rectify, I worked as an art PA again. When the season was over, I continued on the path of production secretary; until, I was called recently and offered the position as art department coordinator on the third season of Rectify.

How did you get into the business?

I got into working on sets completely by chance. I met someone who was a set PA through a friend of a friend of a friend about five years ago. I expressed my interest to her, and a few weeks later, she called me to come work on a commercial. I quit my serving job that day and was lucky enough to get picked up on a TV show the next week. The rest was history.

Best advice to young people in your profession?

Leave yourself available and open to new jobs. I can’t count how many people got their first day on set and did a great job, but when they were called back, couldn’t make it work out because of their other job.

It’s a scary jump to go from a regular job to freelance work, but you have to commit if you want to stay in it.

ETHAN FIRESTONE LOCATION ASSISTANT

ethanfirestone@gmail.com

How did you end up as a location assistant?

I became a location assistant after being a production assistant for a few years. It was getting to the point where I needed to pick a path to follow, and locations

How did you get into the business?

I had taught in the public school system and various settings for nine years. A friend of mine has a daughter who happens to be an actress. She told me about her daughter’s teacher on-set. She thought it would be something I would enjoy.

Best advice to young people in your profession?

Be flexible with your schedule. It’s feast or famine in this business, so make sure you save for periods of little or no work.

REEVA FORRESTER SET TEACHER

taylorforrester@bellsouth.net

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OZ MAGAZINE MAGAZINE: VENDORS SPECIAL ISSUE

What do you love about your job?

I love teaching small groups the variety of settings and the sweet kids. I absolutely love teaching children of all ages. There’s never a dull moment. It’s rewarding to watch the kids growing, changing and learning.

What has been the highpoint of your career?

Working on all three seasons of Rectify. It’s not often you get to work on projects that you have a passion for, or feel so strongly about. We’ve become a family working together on the show.

What’s the toughest part of your job?

Moving between different departments presents a difficult learning curve at times, but it feels great to make it through everyday knowing that I’m still learning.

What projects have you worked on recently?

Rectify, The Nice Guys, Bessie

just seemed like a good fit. There was a handful of locations department folks who I had become friends with, and they put me in touch with a guy named Wes who was managing Selma. I got in touch with him, and he helped me switch over and trained me to do locations.

What are a high point and low point of your career trek?

The high point of my career is a little complicated because there is no one moment. It’s all of the experiences and friends I made over the years working on low budget indies to big tent-pole features. Every show has had a moment that I would consider a high point. A low point would be any show where I stood in a far off lock-up, bored out of my mind for hours, but everyone has to start somewhere.

What projects have you worked on recently?

The Accountant, Selma, The Hunger Games Series

Do you have a word or quote or mantra you live by?

Slow and steady wins the race. Just like the story of the tortoise and the hare, persistence pays off. Make learning a lifelong goal.

How long should one take to make it in the business?

It depends on so many factors. This job is more about teaching and helping others. It’s not about making it.

There are no academy awards for teaching, but there is a sense of accomplishment in knowing you have made a difference in the life of a child.

What projects have you worked on recently?

Resurrection, Bessie, 90 Minutes in Heaven

How did you get into the business?

I have been building and creating all of my life. I don’t remember a time I wasn’t. A lifetime of teaching myself to use every material and tool lead to my current title, monster maker. At 30, I am living the dream.

VII KELLY

MONSTER MAKER

I was kidnapped by Shane Morton and Chris Brown on the set of Your Pretty Face is Going to Hell and have been ripping off heads, making dragons walk, sculpting the undead, and managing to make a bloody mess at Silver Scream FX Lab ever since. I wouldn’t have met these guys without the folks at Zombie Cat Studios. As a collective we bring to life massive puppets that roam the streets of Atlanta and swim the halls of the Georgia Aquarium. I haven’t worked on a project or set that my twisted heart wasn’t into.

The best advice I could give to someone trying to get into the biz.

Network! Never say no to a project if you have the passion and know you can do it. I worked for free for years to get the experience and the connections to these maniac geniuses. Learn all of the skills you can so you have everything to offer a crew of builders.

What do you love about your job?

I love everything about what I do. I wouldn’t consider it a job; it’s my world. At the end of the day I can always answer the question, “So Vii, what’d you do today?”, with something interesting that I am proud of.

Silver Scream FX Lab vkelly20@gmail.com

SANDERS LEWIS

PRODUCTION ASSISTANT sanderslewis@gmail.com

BEATRICE “Ms. B” SIMMONS OWNER/CEO

Ms. B Crafty & Catering www.mscrafty.com

How did you get into the business?

I decided to move to Atlanta to be close to a couple of my best friends. After looking for jobs for a few months, a friend suggested me to her coworker, and I ended up working nights on Necessary Roughness.

In mid July I got a few days of day playing in the office when they wrapped their season. One of the guys who I worked with got me a job in November and things took off from there. I ended up doing inventory for Goosebumps for a few weeks, as well as, work in their art department. Next, I got a call from a show called Term Life, and they needed someone for an extended period of time. After that, I got a call for a feature from an old boss. They ended up needing a director’s assistant on The Sunday Horse, and I got the job. That was probably my most difficult job. The stress level was high, and I made a lot of mistakes, but I learned more from those mistakes than I learned on any other job.

Best advice to young people in your profession?

Don’t get discouraged if it takes months to truly get in and find regular work. Often, your best way to find work is to simply build a large network of industry people. People find out things and word spreads really fast, so remember that there’s always something to do. Also, don’t be afraid to ask how much you get paid before you take a job. That’s a mistake I’ve made a couple of times.

How did you get into the business?

I had built a successful catering business, when I got a call to do a catering job at Tyler Perry Studios. It was quite a challenge being that the event was in less than 24 hours. However, I rose to the occasion, not realizing at the time that good food was an integral part of the production industry.

Best advice to young people in your profession?

Don’t get caught up in working in the industry. Love what you do….the rest will come!

The brunch was a huge success culminating into my being summoned by Mr. Reuben Cannon.He complimented me on my food and offered me a job catering one of the studio’s television shows. I was catering for the crew within a week. This lead to requests from other production companies, and before I knew it, I was on my way.

If you weren’t in film, what would be your dream job?

I would probably be a wildlife biologist. The idea of helping to manage animal sanctuaries and assist in maintaining a natural balance to our planet’s ecosystem is something that really speaks to me.

Probably because my dad was a biologist, and my mom was a science teacher.

What projects have you worked on recently?

The 5th Wave, Lewis & Clark (US prep unit), Mena

What do you love about your job?

Making the crews happy!

Do you have a word or quote or mantra you live by?

I treat others the way I want to be treated!

What projects have you worked on recently?

Being Mary Jane, Survivor’s Remorse, Furious 7

How did you know you had stuck?

The calls became more and more frequent, and I found myself turning down more jobs than I accepted. It was time to grow a business to better accommodate all the requests.

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OZ MAGAZINE: VENDORS SPECIAL ISSUE

Perhaps no piece of legislation passed by the Georgia legislature has been more popular than the Entertainment Industry Investment Act, better known as the “tax incentive” to those people impacted by it. Because of the state’s actions, the film and television production industry has rebounded from its moribund status prior to its enactment to boosting the Peach State to the rank of third biggest in the nation, trailing only California and New York.

The vendors who service the industry are among those who praise the law. From costume rentals, to signage providers to paramedics, they all almost universally declare its benefits. Says Scott Bellomy, general manager of Costumes, Etc. . . . Inc.: “It’s helped us grow our business by giving the movie and TV production companies a reason to come to Georgia and in turn, they sought out places that could fill their needs.”

“The [film and production] industry in Georgia has really grown since the introduction of the tax incentive,” says Donna Foland of DGF properties, who handles rental properties. “The tax incentive has done a lot to bring the industry into Georgia. It’s helped us in leasing out space in the short term, and helping some of the vendors to find space.”

While the general public sees only the finished product of these efforts on the television or movie screen, the film and TV production industry is one that relies on an army of behind-the-scenes people who account for the bulk of personnel required to make the idea a reality. Many of these folks are Georgia residents who in turn are spreading the production dollars through all segments of the community.

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“The movie industry in Georgia died for a while due to lack of incentives, “explains Bruce Cusmano, owner of Metropolitan Artifacts, Architectural Antiques which since 1980 has rented or sold large scale architectural antiques to people building large homes and restaurants as well as renting props to the movie industry. “We rent anything that is unusual.

I don’t sell tables and chairs, just architectural pieces: iron balconies, 12-foot entry doors, chandeliers, stone fireplaces and items of historical significance. “ Having weathered a downturn in production business because of competition from other states for the production dollar, Cusmano is happy to declare that the incentive has revived the industry. “The movie business in Georgia is back,” he states. “The incentive has been wonderful for everyone from restaurants to hotels to antique dealers to the trucking industry. We deal with almost all of the productions that come to Atlanta. People even ship these items to California or Florida or New York then bring it back to us.”

Film, television and digital entertainment tax credits of up to 30 percent create significant cost savings for companies producing feature films, television series, music videos and commercials, as well as interactive games and animation. Obtaining the incentive is simple: Qualifying productions companies that spend $500,000 or more on production and post-

The movie business in Georgia is back...

”

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production in Georgia, either in a 2004: “Before the tax incentive, there were single production or on multiple very few movies and shows shot in Georgia, projects, receive a 20 percent tax credit, so we would supply security people to one plus an additional 10 percent credit for or two movies a year. We had maybe 70 embedding a Georgia promotional logo employees. Since the incentive and the provided by the state in the finished movie boom, we’ve peaked out at about project. If a company has little or no 400 employees on several occasions. That’s Georgia tax liability, it can transfer really helped by providing jobs to people or sell its tax credits. in the area who really needed jobs.”

Scott Bellomy Though some naysayers feel the “New work has allowed me to increase money is nothing more than a blank my staff,” says Stan Swofford, a paramedic check for the filmmakers to shoot in who operates Production Medical Services, Georgia and that the money can be used which handles general on-set medical care in projects which have a more direct and from headaches and upset stomachs to visible impact on the state’s economy, potential emergency mode for stunt work. they are missing an important point: Stating that he’s added 12 to 15 people This is money that could have been because this new tax incentive related work, spent in other areas which provide Swofford says, “Back in the day, it was just many of the same positive attributes me and a couple of other guys and we did that the Peach State offers. While some just about every movie that came to town. states have backed away from similar Now that there are six to eight productions Donna Foland incentive programs they once offered, going on in a given day, there’s a lot more they are losing the production business people involved, and I’ve got a lot more to Georgia so that the state has leappeople who work under my umbrella. Only frogged to its position as the number the volume has changed: it’s the same job, three choice for places to shoot. just a lot more of it.”

One of the desired outcomes of the tax incentive Swofford’s entrance to the industry came in the was an increase in industry-related jobs. Many of the mid-1980s, thanks to a paramedic buddy who was dating vendors interviewed for this article report that this an actress. “She got a role in a movie,” Swofford recalls. plan has succeeded beyond expectations. “Our business “My friend went down to the set with her and was has grown a lot and we’ve had to hire additional people introduced to the set nurse, all the medical staff then, for our crews who handle this work,” says Sarah Rogers, and found out how it works. When the Chuck Norris an administrative assistant at AAA Signs and Safety movie Invasion USA came to town, he applied for the Products, which fabricates and rents directional and job. Since there were no other applicants for the job, other signage to the productions. “We’ve had to he got it.”

Like Swofford, Marcel Chrisman, owner/ increase our inventory on a number of items, mostly operator of AMARACO, a production support operation rental products because we have so much demand.”

Adds Reginald L. Lindsey, president of Global Protective Services, providing armed and un-armed security guards and bodyguards for celebrities since

“

Since the incentive and the movie boom, we’ve peaked out at about 400 employees on several occasions.

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Movie production is a ‘hurry up I need it yesterday’ kind of business...

that provides a variety of janitorial and set clean-up services, fell into the production business without seeking it. In 1994, she received a call from a production company seeking a quote on cleaning services. “Upon my arrival,” she remembers, “I came across an army of people and equipment shooting a water tower scene in the parking lot. I made my way into the production office and met a P.A. who did a walk through with me and closed the deal the following day. I was hooked on this new exciting adventure. I gained a close relationship with the crew and they called me for the next show, and so by referrals, the calls continued. In the years following those first shows, you could count all the productions in town on one hand. Since the tax credit incentive was passed in 2008, the industry has literally exploded, flooding the Atlanta and surrounding area with productions of all sizes, bringing with them a voracious appetite for local goods and services.”

In the beginning of her film industry adventure, Chrisman says she worked two shows, but now rotates on six or seven annually. Along with the additional business has come more competition. She credits more than two decades in the business with her maintaining a busy schedule. “My years of experience are paying off,” she explains. “It seems the film industry has gotten wiser and likes to stick with the people who are more experienced in the business. There are people coming in from out of state so there are more times that I have to prove myself. I didn’t get one movie I thought that I would get, but they called back and said they were unhappy with the service provided and would never go with an unknown quantity again.”

The film production industry is notorious for needing services and items on a moment’s notice.

Fulfilling requests has proven to be a challenge and an education for the vendors. “Movie production is a

”

‘hurry up I need it yesterday’ kind of business,” explains Rob Peek, who is in charge of sales on movie productions and resale for Bairstow Lifting Products which sells, rents and distributes lifting and safety equipment.

“I’ve gotten used to their needs and how fast I can accommodate them and turn around to meet their needs and time crunch. I’ve learned to stock more and the production people within my own building who produce materials for special needs have learned to accommodate certain work areas.”

“They want stuff at the last minute, like requesting signs for ‘first thing in the morning’ delivery the night before,” says Rogers. “We just do the best we can to get what they need to them. Sometimes, we tell them we can only do what we can do. We will definitely try to get things done as fast as we can.”

Cindy Ganoe of Gano Inc., a wardrobe services provider, has a simple way of dealing with this kind of situation. “I charge them a rush fee,” she explains. “I do

Bruce Cusmano

Sarah Rogers

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“

people to get there. People will still occasionally ask me to open at an off hour, but they know I have a life.”

Ray Ransom, store manager of Sam Flax Art Supplies, adds: “The wild things usually happen from people wanting something extra quick, but usually, they don’t do that to me. Sometimes things pop up in a hurry. If they call in the morning, we get it to them that afternoon.”

For many of these vendors, dealing with production parties is very often quite different than their regular clientele. “Our everyday customers tend to have a set schedule on what they need,” says Lindsey. “They may need an officer 12 hours a day, round the clock just for the weekend or whatever. With the movie industry, nothing is set in stone, and you must be able to make changes to your schedule in order to keep up with whatever their schedule may be. The movie schedule has so many different variables: actors scheduling conflicts, script conflicts there are just so many variances with the movie industry. If your company can’t keep up with that, then you’re out of business.”

“You have to [work harder] for the production companies because they want things when they want them,” says Rogers on the difference from her company’s construction clients.” If you don’t have something when they need it, the outcome isn’t very good. Most of our construction company customers can wait a little while longer, but the movies; they need it when they need it.”

“When you work as a 911 medic on an ambulance,” says Swofford, “which I also did for many years, you’re dealing with real emergencies: heart attacks, strokes and broken limbs. When you get to the movie set, it’s almost like being a school nurse. It’s broader based and you’re dealing with things you wouldn’t be doing like headaches and other minor medical problems.”

Says Foland: “Our local, regular clients don’t ask for strange things. It’s all about perception; everybody has a job to do and we’re all trying to make it work.

The local clients know the business and what we can and can’t do, or willing or not willing to do. For people who don’t know you, it’s learning each other’s style of communication, what are the expectations and understanding what they’re looking to have fulfilled.”

Ransom finds little difference between the production companies and the regular Sam Flax customer: “We may be ordering supplies that we never carried before, or changed the stock we keep on hand a little. But the movie people aren’t very different than the architectural firms or ad agencies we deal with regularly.

Their deadlines may be a little different, but everyone needs it in a hurry.”

For those looking to become a vendor in the Atlanta production marketplace, the veteran group of vendors

I stand at attention and say ‘Tell me what you need and I’ll do it if I have to stay here all night...

have a reputation for coming through on the last-minute things. But if they want something the next day, I charge them the rush fee.”

“I stand at attention and say ‘Tell me what you need and I’ll do it if I have to stay here all night,’” Cusmano explains. “I give my cell number, the phone is next to my bed, to everyone. One production company called me at 3 AM and said, ‘We have a cast of thousands and forgot something. Could you possibly open for us?’ I was there within five minutes and opened the store. They took what they needed and left. I didn’t charge them for it.

You make your money on a regular basis, but when there is an emergency we’re always at the ready. We appreciate the business, and in order to do it, we have to provide really good service.”

A phone call coming in at odd hours is a common problem for a vendor. “We can meet whatever need they have at whatever hour,” says Bellomy. “We have such a large inventory, that when people come in needing something in a split second or at the last minute we can generally accommodate them just because of our assortment.”

“I’ve gotten away from being a 24/7 business, ” Ganoe says of her reluctance to provide the all-hours type of service. “Very seldom will I come in at an off hour to let them pick something up. If you were going to pick up something at Macy’s and they close at 10 PM, you’ll need to be there by then. We’re open 11 hours a day: 8 AM to 7 PM, and 8 to 6 PM on Fridays. There’s ample time for

Marcel Chrisman

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Jane & Cindy Ganoe

OZ MAGAZINE: VENDORS SPECIAL ISSUE

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offers a mixed bag of advice on what it takes to survive and prosper.

For the most part, they advise the newcomer to follow standard rules of knowing the market and providing concierge service if that’s what’s being requested.

“As a new vendor in the beginning of my business,” says Ganoe, “I had to bend over backwards and do what I needed to do. I stayed open late. I did due diligence of letting clients know that I would be behind everything. After 10 years, I don’t do that very often any more. As vendor, you have to aim to please, and once you please them, they will come back to you. You stay true to your word, be upfront and honest. Don’t say you can do something in two days if you know it will take you five.”

“Do your research and be flexible,” Foland advises. “Know what you’re getting in to, be flexible and always remember to be gracious. Everybody sees things differently.”

“Be open and be willing to give service beyond what is good for you,” Cusmano explains. “The vendor needs to be as cohesive as possible and be willing to change or alter something. You need to be as flexible as possible.

When movie people need something and they need it now, you might need to pass on it, or come up with a creative solution.”

According to Ransom, word of mouth is the key to building a good reputation. “If you can do the job and get [clients] what they need in a timely manner, word gets around,” he declares. “Be customer-service oriented.

When people know that you treat the customer well, that’s crucial.”

“The hardest part of this business is getting started,” claims Swofford. “Once you’re known, you’re on cruise control. The best way is to find someone who is already in the business and have them mentor you. Have them train you. There’s no school you can go to where you can learn my job. You just have to do it and let it come to you in a million little pieces of minor information.”

Be customer-service oriented. When people know that you treat the customer well, that’s crucial.

“

You don’t need to know the actor; you need to know the people behind the scenes...

”

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It’s not whom you know, according to Lindsey, but rather who knows you. Stressing the importance of networking, he says: “First of all, you need to find out who the players are. I would contact the state film office and the local film offices for events they have scheduled like meets and greets. A lot of times getting into the industry, you’ll find that some of people you think are the players are not the decision makers at the level where you would do business. There’s a misconception that you need to know the actor. Well, you don’t need to know the actor; you need to know the people behind the scenes like the location manager or the UPM (unit production manager) who are really the decision makers.”

Despite all the challenges and hurdles they have to face to succeed in selling their wares or services, the vendors agree on their joy of being involved in the movie business. For many, it comes down to the camaraderie found in the industry.

Cusmano proclaims that he’s not had a bad experience working with production people. “I have a good relationship with all the set decorators and shoppers,” he says. ”Over the years, some of these people have become my friends. We appreciate the same things artistically, so it makes for a friendship. We travel with them; we eat with them. We get involved. It’s not just a business for me—it’s a love affair.”

“The good is when you get to hang out with the actors and get the good food and catering,” Swofford says. “The bad is working 85 hours in six days.”

“There really haven’t been any bad incidents,” says Bellomy. “It’s all been a good experience. We have a diverse clientele, which is my favorite thing about working here. I truly enjoy working with people in the movie/TV industry.”

For Peek, the work has moments of satisfaction that uniquely can only be provided by a movie or television show. “When you go see a movie in the theater,” he explains, “and at the end when the credits come up, it’s good to see the names of the people you worked with.

You can remember when they came in and told you what they needed to use the equipment for, and it’s a good feeling to see how it all came together.”

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Down Time By: Micheal Garland

As more film and television productions come to Georgia, Oz spends some down time with people creating content and opportunities in Georgia. Here is some down time with Keith Matthews and Karl Carter.

Keith Matthews

Keith Matthews has been working in the production industry for years and has most recently developed DigiSpotMe as an alternative to the resume. His goal is to help multifaceted professionals convey a wide range of skills in a convenient media format.

When he’s not focusing on his newest project, he writes, produces and performs music for clients and brands such as Coke, Honda, ESPN and Mini.

Tell me about your latest project?

My latest project is a series of branded 30-60 second spots which I named DigiSpotMe. It’s a way to tell the world who you are, what you’re about and how to reach you.

What did you want to offer when you began this project, and to who?

It took a year to create a cool, creative and most importantly, effective way to help forward thinkers stand out from the crowd. I designed this for the creative entrepreneur or business

that has already accomplished some form of success and is looking to maximize awareness using multimedia via social networking platforms.

What kind of clients have you worked with so far?

I’ve worked with program directors, public relations, cultural curators, directors, architects, performers, educators, and the list is growing. The great thing about this is that I can apply it to almost any creative occupation, and it makes sense.

How do you find clients?

I’ve been fortunate to have good people in my corner that were willing to put the word out to their networks. That’s how I got my first client.

After that it was by referrals. Plus, it doesn’t hurt to have a decent resume of work as well.

Care to share any of your networking secrets?

Since networking is all about building relationships, the best advice I could give is to just be you, confidently. With so many playing the game of “fake it till you make it,” it comes across like a breath of fresh air when you can have an authentic interaction with a person at a networking event.

How are you expanding your business?

I’m expanding my business by providing the platform as well as the content.

What are your mid and long-term goals?

My mid term goal is to continue to build on my catalog of digispotme.com content, and to brand myself as the go-to when it comes to short format branded content. My long-term goal is to be a multimedia content consultant for a leading technology company seeking multimedia as a way to elevate their marketing.

Keith “SAV” Matthews DigiSpotMe, Creative Director Email: ksm2@digispotme.com www.digispotme.com

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OZ MAGAZINE: VENDORS SPECIAL ISSUE

Karl Carter Karl Carter is co-founder and CEO of GTM, Inc. He has spent over 20 years honing his skill as an expert guerilla marketer. Carter has been a strategist for truth®, TAG Body Spray, Current TV, Verizon, and Nissan USA. In recent years, he and GTM have created and produced Smirnoff’s Master of the Mix. His latest project, Snake Nation, is set to be a driving force for creative content sourced directly from Atlanta.

Tell me about your latest project?

We’re really excited about our work for our clients, brands that want to create compelling experiences and content. To that end we are creating a content studio, co-workspace, and social club called Snake Nation. This is a place for creative rebels to build and grow, and for brands to tap into emerging talent and create compelling content.

What did you want to offer the market?

Who are the clients you’re looking to serve?

We’d like to offer an incredibly creative environment, a supportive network and the 15+ years of experience we have in branded entertainment. We intend to house productions, create content, and work with brands to consult and produce branded entertainment content, like we did for Smirnoff with Master of the Mix, which ran for three seasons... and working on a fourth.

What kind of clients have you worked with so far?

We’ve worked in a variety of different industries, from social change, the truth®, and Greater Than AIDS, to spirits brands like Smirnoff, Guinness, and Don Julio. We have also worked with automotive companies such as Nissan and media companies like HBO and Current TV (now Al Jazeera).

How do you find clients?

Largely referrals have been our biggest drivers and online.

What have been your secrets to success in such a competitive industry?

Innovation, hard work, faith, loyalty, and love.

How are you expanding your business?

We are adding our media property and studio, Snake Nation, to the GTM umbrella, and looking at opportunities to expand abroad.

What are your mid and long-term goals?

Mid-term will be to launch our new content studio and co-workspace, Snake Nation, and grow GTM overall with new clients, services and properties, from tours to TV and digital shows. Long-term will be to become a provocative and creative voice in media that has global impact. We want to change the narrative in communities of color and focus on the Multicultural Millennial audience.

Karl Carter GTM/Snake Nation CEO Email: karl@gtmcentral.com www.gtmcentral.com

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OZ SCENE: ATLANTA GOES HOLLYWOOD

Atlanta Goes Hollywood A

stellar cadre of chic and prominent women, representing the Atlant a History Center’s Members Guild and friends, participated in “Atlanta Goes Hollywood” at the Guild’s annual spring luncheon. Chaired

by Patti Dickey and presented by PNC Wealth Management and its director Cynthia Widner Wall, the luncheon program of fered an exhilarating glimpse into Atlanta’s emergence as a major center for the film and television

industry. A distinguished panel revealed the scope of the metro area as “Hollywood East,” as actor and entertainment attorney Darryl Cohen led the discussion by Ric Reitz, president of the Georgia Screen Actors Guild/ AFTRA whose credits include the TV show In the Heat of the Night; actress Lori Beth Sikes who appears in the show Resurrection; and actor Daniel Thomas May, best known for his role in The Walking Dead.

Photo Credit: Jim Fitts & Kim Link.

Moderator Darryl Cohen & panelist Lori Beth Sikes.

Anne Cook, Jill Berry, Jean Parker, Jade Slover, & Anne Martin.

Bill & Cindy Voyles.

Members Guild President Cecilia Wright.

Joanne Chelser Gross, Patti Dickey, & Sally Dorsey.

Vicki Palefsky & Valery Voyles.

Daniel Thomas May.

Catherine Wall, Cindy Widner Wall of Presenting PNC Wealth Management, Chairman Patti Dickey, & Kay Quigley.

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OZ SCENE: BESSIE

Bessie H

BO Films presented an advanced screening of Bessie starring Queen Latifah, Mo’Nique, and Tika Sumpter at the Rialto Theatre for the Arts on May 4, 2015. The film was directed by acclaimed filmmaker Dee Rees (Pariah) and is executive produced by Latifah’s Flavor Unit Entertainment.

The biopic is based on the life and career of blues singer Bessie Smith, showcasing how she became one of the most successful and highest paid African-American performers of the 1920s. The event was hosted by the film’s producer Shelby Stone and the film’s star Tory Kittles. Bessie also features Michael K. Williams, Khandi Alexander and Mike Epps.

Photo Credit: Robin Lori.

Jasmine Guy and T.C. Carson.

The Bessie Band & Dancers.

Jasmine Burke.

Brad James, Rodney Perry, Egypt Sherrod.

Jasmine Guy & Stepp Stewart.

Donna Bisco with Bessie actor Joe Knezevich.

Tammy McGarity.

Tory Kittles & Kamryn Johnson.

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Premium Tastings at Savi Provisions Join Savi Provisions for a four – course dinner and tasting of our Premier Selection of Wines paired to fare with our chef-driven menu in our private tasting room.

Hosted by a specialized wine professional Prices start at $75 per person – Includes tax plus gratuity Tickets available at SaviProvisions.com

Savi Provisions offers a variety of tasting options and packages starting at $25 per person Grand and Premier Cru wines Private Label Barrel Whiskies Vodka from Poland, Russia and Sweden.

For catering requests contact 404-664-4405.

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OZ MAGAZINE: VENDORS SPECIAL ISSUE

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Sprouts and Growth

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Out of Towners

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Where Did That Come From?

70

Film Locations

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Getting Down to Business

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OZ MAGAZINE: VENDORS SPECIAL ISSUE

Life in “The Biz” as told by the people and companies who are relatively new to film and TV production work.

By: Michael Garland

A

s the film industry in Georgia grows, more and more people and companies are finding their place in an industry they never planned to be a part of. Many businesses have sprouted and grown as a result of Georgia’s favorable production tax incentives. Oz has gathered some of the more recent vendors in the production industry to get a glimpse of their world.

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“ Steve Bellomy

Everyone I talked to loved the concept of the business, and many said that if I didn’t do it, they would.

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(Set Supplies) How did you get your first project?

My friends and contacts in the industry were all aware of my business idea to start Set Supplies.

I had mortgaged my house and bought two trucks when I got a call from a friend of mine who was production manager on an upcoming BP commercial. She wanted to be my first client and rattled off all the supplies she would need. I lied and told her I had everything ready to go.

The call came on a Wednesday, and the commercial was on Monday. I spent the next couple of days driving all over town to get enough gear just to get through that one shoot. Needless to say, it was a success, and the calls started coming in.

Why did you decide to pursue this business? Well, I was working on an independent film, and every day we had to load and unload all of the production supplies just to get to our lighting and grip gear. I felt like something had to change. Someone needed to put all of the supplies under one roof and get them off of the grip truck. I saw an opportunity and talked to everyone I knew in the industry about my business idea, and took several production coordinators and managers to lunch to ask what supplies they would need on set. Everyone I talked to loved the concept of the business, and many said that if I didn’t do it, they would.

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What was it like to see your product being used for the film industry? I love seeing our supplies being used on set and knowing that we fulfill a need that saves so much time and effort. I feel like we provide a product and service that is so simple, but so invaluable.

What percentage of your business comes from the film industry?

I would say that about 90% of our clientele, whether producers, production managers, or location coordinators, are associated with the film industry.

Have you had to expand your location, inventory, or staff?

Just in the last two years, not only have we relocated to our new facility in Decatur, we have more than doubled our inventory, added to our trucking fleet, and continued to grow and expand our personnel.

What has been your favorite project to work on? Why? I don’t think that I could pick a favorite project that I’ve worked on, but one that always stands out for me was a TV series called I’ll Fly Away. That’s where I “cut my teeth” as a third electrician for two years straight.

Even though that show was nearly 25 years ago, I still consider the crew on that show some of my closest friends.

Matt Davis

(Cofer Studio Supplies) How did you get your first project?

The president of our company, Chip Cofer, received a call from the construction coordinator on Big Momma’s House in 2009. They said they were going to be building numerous sets on a stage near our store in Tucker. Chip came to me the following morning and asked me to contact them and see if there was anything we could do for them.

Before we knew it, we were selling them all sorts of building material, and I got to know the coordinator and his buyers quite well. It turned out to be a great learning experience for us all.

Why did you decide to pursue this business? We heard that this industry demanded a lot of lumber and building supplies to build their sets, but more importantly demanded quick service, which is our specialty. Big Momma’s House ended up being a big customer, and we received great feedback on how good our service was.

After that show, we decided to commit ourselves to this industry and the demands it requires day in, and day out.

What was it like to see your product being used for the film industry? Very cool! One particular set comes to mind. In 2010, while we were working on Fast Five, they called requesting burlap bags of sand. Well, we couldn’t source the bags full of sand, so we decided to fill the bags ourselves. Two of my bosses and I stayed late that day to ensure we met their deadline. The following year, I noticed them on the BIG SCREEN!

“

How do you balance regular clients with your film clients? We have a separate division that is dedicated specifically to the film industry.

I head it up, and my back up is Katie Cofer. Combined, we handle all sales, special order purchases, and coordinate pick up orders as well as deliveries. We also have dedicated forklift operators, yard employees, and delivery drivers to ensure quick and efficient service.

What percentage of your business comes from the film industry?

A significant portion of our business comes from this industry. Since 2009, it has increased annually along with our ever-growing customer base. When we first started, we mostly just called on the construction coordinators and their buyers. Now we sell to several departments including grips, special effects, and set decoration and have supplied over 200 feature films, TV series, and commercial productions.

Have you had to expand your location, inventory, or staff?

We have not yet had to expand our location. However, we have seen a significant change and increase in inventory. We have always catered to custom home builders, thus selling products to meet their needs. The film industry’s needs and commodity items are much different and generally demand more quantity. Over the past four years, we have actively been seeking yard employees and delivery drivers to meet the demand.

What lessons have you learned from your experience with the film industry? I have learned that customer service is everything!

Our company as a whole has learned to work together as a team and communicate to accomplish good customer service. Not only in this industry, but with our home builders and retail trade as well. As mentioned, we are dedicated to the film industry and will do whatever it takes to meet their needs, day in, and day out. Our company motto is, “No is not an option!” From Chip Cofer, down to the delivery drivers, we all know and understand what it takes to keep our customers happy.

I don’t think anyone that has never experienced any of that has any idea what it takes to make a film.

”

Actor Paul Walker

Wayne Stone

(Jim Ellis Automotive Group) How did you get your first project?

I have lived in the North Atlanta area my whole life, so I know many people and have many contacts for all types of venues, equipment, vehicles, watercrafts, and bikes. My very first project was taking a location scout for Hall Pass around Lake Lanier.

A good friend in charge of security referred me because he knew I lived on Lake Lanier and that I knew the area well. Anyway, after driving him around a short time, I realized I had a better and quicker way to do this. I called a friend that owned a helicopter and had him fly us over the lake for better views. Well, next thing you know, the beach scenes and lake house for Hall Pass were filmed at Mary Alice park on the south end of the lake. I also met the Farrelly brothers as well as the cast.

Great people and it was really fun.

Ironically, this same venue was used for American Reunion. My boat and I were also in American Reunion. I have since supplied vehicles for Vampire Diaries, Being Mary Jane, Taken 3, The Game, and Devious Maids among others, as well as other picture car companies.

Why did you decide to pursue this business? I hadn’t really planned on pursuing the business but was kind of thrown into it.

I now have a small group of regular clients—picture car coordinators in particular—and hope to expand on it. The industry in the state of Georgia is vastly growing and the financial impact is huge.

What was it like to see your product being used for the film industry? It was really fun to see vehicles I was involved with on the screen. It was like “hey, that was mine.”

How do you balance regular clients with your film clients? Balancing my film clients with regular clients hasn’t been an issue so far, but I do see the potential for a shift. I hope that will be the case. I really enjoy providing for the industry. I have met some fun and interesting people. It has actually been good for business, resulting in some sales as well.

What percentage of your business comes from the film industry?

So far only a small percentage of our business is from the film industry but, as I stated, I see and hope for a shift to increase that percentage.

What lessons have you learned from your experience with the film industry? I have learned how a lot of things work behind the scenes that you would never think of or know about when you see the finished feature. The technology, equipment, trial and error, and mostly the people are so interesting.

I don’t think anyone that has never experienced any of that has any idea what it takes to make a film. It has been fun and informative.

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industry, and Crowne Plaza Atlanta Midtown is that trusting partner who values and respects those committed to the time and effort of executing a great production. We know that it takes time, and like this industry, our team is committed to excellence.

Vicky Nimmons

Why did you decide to pursue this business? It’s a thriving market, it covers a longer stay pattern for the hotel which is very lucrative during low occupancy season, and it provides direct exposure for the hotel.

How do you balance regular clients with your film clients? We tend to err on the side of privacy for all of our guests. So at any given time, any of our VIP guests can be found in our lounge, sipping on their favorite beverage without any outside distractions.

What percentage of your business comes from the film industry?

5% of our business comes from this industry. We’re looking to grow that 3% over next year.

Have you had to expand your location, inventory, or staff?

No, not at this time. We are staffed accordingly to supply the demand for the industry.

What lessons have you learned from your experience with the film industry? The industry looks for partners they can trust. It’s a tough

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What lessons have you learned from your experience with the film industry? Time is always pressing, so we have learned to be ready and accommodating.

What has been your favorite project to work on? Why? Probably Last Vegas because several of my husband’s large paintings were used and made the final cut. I loved seeing such famous guys standing beside Carey’s work.

(Crowne Plaza Atlanta) How did you get your first project?

This hotel got its first project back in 2010, under another hotel brand at the time. I’ve always found this market as something that I’d like to tap into. When I took over the production market for Crowne Plaza Atlanta Midtown, I started working through my old connections from Road Rebel, a company that I’d worked with at a previous hotel. I called on them several times before landing my first production. Building trust is an important element to growing this market segment!

Have you had to expand your location, inventory, or staff?

No. But we would be happy to have to.

Rebekah Watson (Watson Gallery)

How did you get your first project?

When we opened in 2005, we already had several connections with set decorators and buyers in the industry. We took over Abstein Gallery, and Paul Abstein had developed relationships with a few folks. We decided to make it as easy as we could for our film clients and our reputation grew. I consider many of the set decorators and buyers to be more like friends rather than clients.

What was it like to see your product being used for the film industry? It is so exciting to see our art on the big screen! Often times, we miss the movie because we are too busy scanning for my husband Carey’s work or the work of our other artists. I know that the other artists feel the same way.

How do you balance regular clients with your film clients? It is not difficult to balance. All of our art is cleared and ready to use. Often times, pieces are selected, wrapped and ready for transport within the hour.

What percentage of your business comes from the film industry?

It depends on the season - but definitely a healthy percentage of our business comes from the film industry, and we could not be more pleased!

Brittany Reece.

Chrispother Reece (Reece Tent Rental)

How did you get your first project?

Our first project that we worked on was a made for TV movie called Andersonville, about the Civil War Confederate POW war camp, filmed in Turin, GA. The film required large white tents that could hold extras for their film. There were only two companies in Atlanta at the time that had tents large enough to fit the bill, and we were one of them. Since then, we have continued to work hand in hand with the film productions here in Georgia, and we are proud to be a part of the legacy being built here in Atlanta and the Southeast for the film industry.

Why did you decide to pursue this business? We started seeing a high number of productions being filmed here in Georgia and thought to ourselves there could be a market here that has not been tapped into yet. We saw opportunity and ran with it and have continued to try to do so.

What was it like to see your product being used for the film industry? Our tents have actually been used in a few films, but the one that when we saw it blew us away was a film, Not Since You, in which a big portion of the movie takes place under our tent. When we first saw that, we were amazed by it. It’s a very good feeling when you first see something you put so much time and effort into creating and building put on a big screen for everyone to see.

How do you balance regular clients with your film clients? Finding the balance between our regular clients and our film clients can be difficult at times. You just have to do what it takes to get the job done. I have personally delivered tents and tables and chairs for many movie shoots at 3 am because that’s what it took and what the client needed. I give my cell to many of the locations coordinators, so they can call me when they need something. Our job is to make it happen!

What percentage of your business comes from the film industry?

I think the percentage fluctuates since so many other companies are now getting involved with the film productions. I would say that a steady 30% of our business comes from our film clients, but we have seen it go as high as 40%.

Have you had to expand your location, inventory, or staff?

We continue to buy tents, tables, chairs, garment racks, and other equipment at a steady pace to accommodate the film industry’s growing needs. We will continue to look for any new niches that we can find to stay ahead of the curve and keep the film industry happy.

What lessons have you learned from your experience with the film industry? Learn to roll with the punches and have some patience.

The film industry is not a normal 9-5 job, and if you are going to efficiently do work with them, you have to learn your phone may ring at any time.

I remember working at Screen Gems one day delivering tables and chairs to a set, and they were in the process

of filming while I was trying to deliver. When they say “quiet on set,” that means you stop what you’re doing and wait until they say it’s clear to continue. It takes longer than usual to get it done, but I wouldn’t have traded that day for anything. It was a fun experience!

What has been your favorite project to work on? Why? My favorite projects personally were Catching Fire and Mockingjay.

When we got the contracts for Hunger Games, being a big fan of the books, I was excited to get the opportunity to be a part of the process and the making of the movies. We went all over the state putting up tents and thousands of feet of security screening, delivering tables, and chairs for the movies. Just getting to see some of the locations… how they turned a small manmade lake in Jonesboro and a green screen into the starting point of the games was amazing. As a company, we love all of the projects we work on and look forward to all of the new adventures that the movie industry takes us on!

of foam or bags of Styrofoam, started when a set designer noticed leftover packing material in our warehouse.

At the time, she had no idea what she would use it for but knew it could be used for a custom set prop.

Why did you decide to pursue this business? It’s a natural fit with our core business of moving, packing supplies and selling boxes. Realizing that we already stocked so many of the expendables production crews needed, we decided to expand our inventory to include related essentials like gaffers, tape, ropes, and adhesives. Our customers helped us learn what products and tools we should carry.

What percentage of your business comes from the film industry?

Just a small percent, but it’s definitely the most exciting and fun.

Have you had to expand your location, inventory, or staff?

Yes, we’ve expanded the number of film industry related products we carry. I enjoy meeting the production and set design people and learning what other items they may need.

What lessons have you learned from your experience with the film industry? Film industry clients have inspired me to see my products beyond their obvious functions.

Kenneth Freedman (Service Box and Tape)

How did you get your first project?

Like in Hollywood, we were basically “discovered” by production assistants looking for cardboard to protect flooring. Word spreads quickly, and soon we were supplying cardboard pads and other items like blankets and bubble wrap to protect walls and furniture for shoots all over town. Our work sourcing unusual set design material, like giant rolls

What has been your favorite story from working in the film industry? A set designer sought our help to find prop material. We toured her through a packaging recycling plant where she spotted large bales of recycled material. Several weeks later, she invited me to her set to see the cool futurist home décor items she fashioned. I can’t wait to take my kids to the movie and show them our product.

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“

Then, I saw it! It was one of my props!

OMG!!!

”

Rich “RJ” Rappaport (RJR Props)

How did you get your first project?

We are the new kids on the block.

We’ve only been doing this for six years. We were blessed to receive a call from TBS. They were making a show called Lords of Bad Axe, which was renamed Level Up, a children’s show. We were asked to make a large computer server room and provide props for other sets. We had lots of mainframe computers and servers ready to go because our previous business was industrial computers and electronics. They needed a crazy huge amount of server gear, but we were able to come up with it. In the end, it all looked really amazing, and the series was picked up. From there, news quickly spread about our capabilities with electronic props, computers, medical gear, etc., and our ability to rig items to light up and work.

Why did you decide to pursue this business? I can’t take the credit.

I truly believe that G-d* blessed us. I could not have done it. I know my limits and capabilities. Special effects expert Bob Shelley needed help on a feature film. He came to visit our warehouse. For many years, I had been accumulating a huge collection of computer gear, hospital and medical gear, office gear, police gear, security, aircraft props, and much more. My wife and friends called it “my cool stuff!”

I also have a strong background in computers, electronics, medical equipment, and aircraft avionics (pre-med background

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as well as a military engineering background). Bob Shelley asked us to help obtain a rare piece, and we had the exact item he needed. We also helped provide lighting for it.

Bob was amazed at our accumulation and our skills. He said we have a “goldmine here.” That resonated with me, and I decided to give it my very best, to be the Southeast’s technical prop supplier. Since then, we have provided props to 135 feature films and television shows and much more!

What was it like to see your product being used for the film industry? My kids were watching a show on TV. I told them to quit watching the dumb show and get out of the house, get some fresh air and sunshine. I told them to turn it off, because it looked really boring.

Then, I saw it! It was one of my props! OMG!!! All of a sudden it was the BEST TV show I ever saw!!!

I made my wife and kids watch the whole thing, even when they wanted to go outside to play baseball! It was the most amazing feeling to see our props being used in the film and television industry.

How do you balance regular clients with your film clients? We use one phone number for everything.

But a few years ago, I picked up the nickname “RJ” in the film industry.

It spread fast, and I just got used to it! When clients call for industrial electronics, they ask for Rich. When film and television folks call, they ask for RJ!

What percentage of your business comes from the film industry?

It started out slow, but it’s now over 50% of our business. It has been a great blessing. We have always given to various charities, whether the money is there or not. This has been a way to support my family and support these charities as well.

Have you had to expand your location, inventory, or staff?

Yes, we are continuously expanding our props inventory, bringing in exciting new items every week.

We recently acquired a piece of history from the NASA space program: the telemetry unit from the Space Shuttle, and a vintage EEG machine used to stress test astronauts in the early days of the space race. We also expanded the amount of space allotted to props.

We have 35,000 square feet, with 32 feet ceilings. We have pallet racking that is three levels high, giving us about 90,000+ square feet of useable space. We also have forklifts, pick ladders, special shelving, and lighting to maximize it and make it all accessible.

What lessons have you learned from your experience with the film industry? Always give 110%. There is no room for halfhearted, unmotivated people.

It doesn’t matter how it gets done, but it must get done right 100% of the time. You also need to think differently than everyone else. It helps to be very creative, but you have to learn to think differently, to see the big picture, and to imagine how something will look fully dressed through the lens of the camera.

What has been your favorite story from working in the film industry?

We were working on a feature film.

We were providing props for a stock brokerage set. There were computers on every desk. Everything worked perfectly when we provided it.

Someone on the set was dressing the computers, and they wanted to change a few settings on all the computers. Unknowingly, they made all the computers unusable. We got a call very late on a Friday afternoon.

They asked us to come in on Sunday

morning at 7am to fix them. We stayed up most of the night Saturday night coming up with various fixes and plans. On Sunday at 7am, I brought two computer experts, as well as my son who is studying computer science. We had two hours to repair every computer and get everything running. It was a large set with lots of computers. My son came up with the fix, and we got it all done. The computers were all back up and running. We asked them to please not change settings in the future.

Then the set decorator realized that the digital studio in LA had accidentally sent playback images that were the wrong resolution!

It had nothing to do with us.

Apparently the digital studio made the images incorrectly.

It was a Sunday. The studio was in LA, and it was closed on Sunday.

That would mean the filming would have to be put off an entire day, costing the production untold gobs of money. It was only an hour before final rehearsal! Nobody knew what to do. My son respectfully offered to help. He formulated a plan. He re-imaged the images in the proper resolution, without pixilation, using photo shop on his Mac. Then he used Adobe Flash, in place of Adobe Director, to arrange the images.

He burned them onto 28 different thumb drives and asked a few teams of people to burn them onto the 28 computers. It was all finished just as the limousines pulled up with the actors for final rehearsal. Everything went perfect thank G-d. And the set decorator personally thanked us for saving the production a lot of money and time delays. My son received a personal thank you in recognition for helping with the production.

It was scary and difficult getting through it, but it got done and we thank G-d every day! *Original spelling maintained out of respect for religious beliefs.

Have you had to expand your location, inventory, or staff?

Adding this industry has created more staffing due to increased ticket counts. Also, I have widely expanded my inventory by carrying unique batteries I didn’t know existed, but stocked them due to customer requests.

John Cyphers

(Batteries Plus Bulbs) How did you get your first project?

I was closing my store one night in 2008 and a sound mixer—which I didn’t even know what that was— bought 100, 9 volt batteries over the phone. He wanted to pick them up at 10:30 that night. I told him I didn’t stay open that late, so I hid the product behind my store, told him where they were, and the next day they were gone.

Why did you decide to pursue this business? The aforementioned customer said way back then that this industry was going to be huge in Georgia, and I brushed him off as another crazy customer. I was definitely wrong in that thinking, as we work with 40+ productions a year at least. He started passing my name along to others, and it just exploded.

What was it like to see your product being used for the film industry? Since all the products my customers use are behind the scenes, it’s just another cog in the wheel, but it’s satisfying to know we play a small part in getting these productions to the screen.

How do you balance regular clients with your film clients?

As the owner, I personally try to handle all the film clients along with other commercial business as well. I have to say, my veteran and knowledgeable store staff do a great job in providing support for my sales team in filling the gaps we miss.

What percentage of your business comes from the film industry?

10% of my commercial business and 5% overall of commercial/ retail combined.

What lessons have you learned from your experience with the film industry? Having inventory in stock and speed in delivery is something we pride ourselves for all customers. Productions took to this to a whole other level. Instead of asking the customers how quickly do they need the batteries, I tell them delivery either same-day or next day at the latest. No production staff member wants to be the one to delay an expensive scene because a few dollars worth of batteries weren’t there in time.

I also learned to make the production office staff look good with timely quotes and deliveries. They have a really tough job, work long hours, and a lot of people above them to deal with everyday. I found myself working with many of the same coordinators on different projects throughout the years and have developed good working relationships with them.

What has been your favorite project to work on? Why? So many to choose from! I would have to say The Watch. Normally I don’t get to see my products in use when I see the film, but this was unique. A set designer called me and asked for 600 fake car batteries for a scene. I had no clue how to handle this, so I called up our car battery manufacturer and asked them about it. They helped me out and stopped production on one of their lines and reconfigured it so they could make just the plastic shells.

We created some fake labeling and when I saw the movie, I got to see the scene where they were all piled up powering a communications device to send word back to the alien home world.

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“

The film industry is very different from the special event industry.

”

Marina Miller (Event Drapery) How did you get your first project?

I received a call from Tyler Perry Studios, they were working on a movie project, locally, and they found us searching online for a custom drapery company.

time we set aside to work on a film project as opposed to a special event.

Even for a small installation there can be lots of changes Patience is a virtue; it helps that the atmosphere is electric!

Why did you decide to pursue this business? I have an extensive background in interior design, fashion merchandising, fashion, and prop stylist work. Drapery became an extension to what I already loved to do. Event Drapery was started in 2006 to fill a huge gap in the industry for drapery that was not just velour or polyester.

We had seen huge success in the event industry. The film industry was a surprise for me, but once we began working on projects with multiple set designers and producers, it all fell into place and we knew what we had to offer was exactly what was needed.

What percentage of your business comes from the film industry?

Currently about 10%, we look forward to more growth!

What was it like to see your product being used for the film industry? Exciting. It means that Event Drapery is trusted to be a part of the industry.

How do you balance regular clients with your film clients?

Very carefully. The film industry is very different from the special event industry. One huge similarity is the temporary set up, but a big learning curve for my team and myself is the

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Have you had to expand your location, inventory, or staff?

Inventory has been the predominant expansion; we have added multiple new patterns to our inventory and are able to use them in other projects.

What lessons have you learned from your experience with the film industry? Patience.

What has been your favorite project to work on? Why? That’s a difficult question, really, there is a similarity between special events, but with the film industry there are so many things that are new and exciting to us. Locations are a huge favorite of mine, seeing more of Atlanta than I knew was here. My favorite thing about working in this industry is the buzz, it’s in the air, it’s exciting, it’s new, and it’s contagious!

Diana Cochran

(Vann Jernigan Florist) How did you get your first project?

Word of mouth. We started working with Frank Galini, when he was working on Warm Springs more than 10 years ago.

Why did you decide to pursue this business? The floral business is seasonal; the film and television industry has kept our sales steady when we don’t have Valentine’s Day or Christmas boosting sales.

This business fits in nicely with our everyday work because the call times are usually very early. We can get the film and television work delivered before our normal day even starts.

What was it like to see your product being used for the film industry? I was at home watching movies on a Saturday afternoon and was caught by surprise; I had been watching My Fake Fiancé, not looking for our work, just having a day off. They had a huge wedding in this movie; we had done all the bouquets, boutonnières, corsages, garlands and the pew bouquets. I was excited to see how good everything looked and how many clear shots of the work there actually were. Often times, the flowers are background arrangements and you’re so engrossed in the plot you’re not paying attention to the flowers.

How do you balance regular clients with your film clients?

Film industry clients have large, specific, and thoroughly planned needs that are fun for us to develop out and execute. Of course, they forget anniversaries and birthdays like everyone else, so we bring in additional creative staff for large projects and keep the staff designers busy with daily operations.

What percentage of your business comes from the film industry?

About 20%.

Have you had to expand your location, inventory, or staff?

Often times, we do expand our staff by bringing in a talented group of freelance designers we have come to rely on.

What lessons have you learned from your experience with the film industry? We have learned to be flexible and fast. I think most importantly we have learned to listen very carefully in order to interpret the looks and feeling the prop masters are trying to convey.

What has been your favorite project to work on? Why? I don’t think we can actually name a favorite project, but we do like working with TV series simply because of the repeat business. My staff’s favorite was an elaborate vampire funeral in a creaky old Southside church for Vampire Diaries. Who doesn’t love a good vampire funeral?

Lisa Thompson

(14th Street Antiques) How did you get your first project?

The way we got our first project was the set designers found us!

Over the past 10 years, they’ve kept coming back for everything from the bones of the set to the finishing touches, including lighting and rugs.

With our two stores located within minutes of each other, they can cover a lot of ground—nearly 90,000 sq. ft. of merchandise—in a short time, which helps them considerably with tight production deadlines.

Why did you decide to pursue this business? We love doing business with set designers. They’re

fun, energetic and creative people, which is our absolute favorite type of customer. It’s been wonderful building long-term relationships with them through the years. They consider us a part of their team, knowing that we’ll take their calls, respond in a timely manner, and really care about a project.

What was it like to see your product being used for the film industry? Everyone here watches for the films to come out, and we all enjoy spotting familiar pieces.

It’s fascinating to see things in a different setting and context, especially since we don’t often get that opportunity with our retail business.

What percentage of your business comes from the film industry?

20-25% of our business comes from the film industry.

Have you had to expand your location, inventory, or staff?

We know that we have to move quickly on film industry projects.

We’re flexible, so our staff is available to work longer hours when a film industry job comes through the doors.

What lessons have you learned from your experience with the film industry? What we’ve learned is that anything can happen, to expect the unexpected, what works on camera and what doesn’t, and how to get stains out of all kinds of materials. That’s been an education!

We also found out that 99% of our art is considered clearable. Another interesting discovery is how easy it is to create a set vs. decorate a home, because emotions are removed from the decision making process.

What has been your favorite project to work on? Why? Favorite projects include the movie, Keeping Up with the Joneses, where we were involved from beginning to end with the development of each set, including planning and scouting product. We had a similar experience with the TV show, Satisfaction, where we had weekly meetings to plan upcoming sets. It’s especially rewarding when designers send pictures in advance, we find suitable matches, and then simply arrange for delivery. Presto!

Steven Carse (King of Pops)

How did you get your first project?

People saw us on the street and thought it would be cool to have us come out to the set. Vampire Diaries was one of our first. It has been so cool how everyone here filming has really embraced Atlanta, and as an extension of that, King of Pops.

Why did you decide to pursue this business? We didn’t really pursue the film industry specifically. It was just a natural progression of our catering business. With us getting more and more popular in Atlanta and the production business being so present in the city in the past few years, it was only natural we would end up catering our pops to them.

What was it like to see your product being used for the film industry? We love seeing people having our product and their reaction. On a movie set, there are a lot of the crew who are from here, so most of them know us and come ask about their favorite flavors, and then you have a lot of actors flying in from LA or NY, who are having it for the first time. We love seeing their reactions too, as they ask us more about what they’re having and seem baffled about the simplicity and quality of ingredients. They are usually working long hours, tired, and in this time of year, also hot, so bringing them a delicious frozen treat does brighten up their day.

And this is what we love doing.

How do you balance regular clients with your film clients? We treat everyone the same way. No matter if it’s a kid’s birthday party which only ordered 50 pops or a celebritypacked movie set, we want to bring the best standards of service and product to everyone. But we won’t lie,

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sometimes our pop slingers get really excited about going to a film set. It’s definitely fun for us to be involved.

And of course, after going to a movie set, we get thrilled when we get a celebrity who first tried our pops on set and is off that day and wants to have another one. In the past few weeks, we had Jon Hamm, Zach Galifinakis, Sacha Baron Cohen, and his wife, Isla Fisher, visit our window shop in Inman Park.

her two pops (Strawberry Lemonade and Chocolate Sea Salt), and she was hustled back toward the set. I didn’t even have time to catch my breath afterward because I had to write my chalkboard for all the other pop fans that were working on the movie!

able to do anything and everything at any given moment.

What percentage of your business comes from the film industry?

Although we are often called in to cater at movie and TV sets, it’s still a relatively small percentage of our business, maybe 5%. That 5% though accounts for some of the best stories and most fun we’ve had in this business.

What lessons have you learned from your experience with the film industry? The biggest lesson we learned is that unlike most events, that are planned and booked ahead, the requests for the film industry are usually very last minute. We know it’s no one’s fault, just the nature of the business. Of course, we do our best to make it work, which usually require some creative logistics.

The good news is, once there, no one is more excited to see us than film crews. They really are the best customers in the world.

What has been your favorite project to work on? Why? This is from one of our slingers, Mac Herring: When I catered the set of the third Hunger Games movie, I had to park the truck while some of the production staff wheeled the cart inside the soundstage for me. When I got back to my cart, a few people had [already] taken the chalkboard and bag from on top of the cart and were digging through it looking for pops. Mindful of the danger that dry ice presents to ungloved hands, I ran toward them asking as politely as I could “Hi, can I help you??” The person deepest in the cart looked up like a deer in headlights and started apologizing profusely. It was Jennifer Lawrence. She only had a short break to eat something before she was required again for filming, and she had specifically requested to have King of Pops on set. I quickly served

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be ready, “ Towilling and

Delores Harris

(Harris Diversified) How did you get your first project?

Around 2007 our company started providing generated power through a tent company for locations-catering, extras, hair and makeup, and changing tents. After working with the film industry for a while, someone suggested that we should provide portable HVAC rentals as well, and from there things really took off for our rental business.

Why did you decide to pursue this business? We were intrigued by its energy, and it was so totally different than the festival industry.

What was it like to see your product being used for the film industry? Our first production was The Blind Side. We were so thrilled and excited to use our very first 25-ton A/C we had just purchased.

We owe that to Melody Manning for giving us our first opportunity, and for that we will always be grateful!

How do you balance regular clients with your film clients? It is tough sometimes especially when we are doing large high profile events such as the Peachtree Road Race, the Salute to America - 4th of July event at Lenox, and Music Midtown, but we somehow make it.

”

What percentage of your business comes from the film industry?

75%.

Have you had to expand your location, inventory, or staff?

Yes. We have more than doubled our warehouses, inventory, and staff over the past few years.

What lessons have you learned from your experience with the film industry? To be ready, willing and able to do anything and everything at any given moment. Yea, 24/7, that’s us. Being dependable, reliable and experienced with a very professional staff with customer service qualities is what’s gotten us where we are today. It really matters.

What was your favorite project to work on or with? Why? There has been a lot. We have worked on over 150 film and television productions over the past seven years. 42, Furious 7, Insurgent, and The Walking Dead, Season One, will always be special to us, but I think we would have to say The Blind Side. Because it was our very first “big one,” and we love the movie.

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唀爀戀愀渀 䨀甀渀最氀攀ꀀ ㈀㘀㄀ 䌀氀漀瘀攀爀 刀攀愀挀栀 倀攀愀挀栀琀爀攀攀 䌀椀琀礀Ⰰ 䜀愀 ㌀ ㈀㘀㤀

眀眀眀⸀昀愀挀攀戀漀漀欀⸀挀漀洀⼀甀爀戀愀渀樀甀渀最氀攀氀愀猀攀爀琀愀最

圀圀圀⸀唀刀䈀䄀一䨀唀一䜀䰀䔀䰀䄀匀䔀刀吀䄀䜀⸀䌀伀䴀 JULY / AUGUST 2015

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Out of Towners

By Christine Bunish

A

tlanta has resources aplenty for motion picture and television production. But with a growing slate of projects coming to town the pool of people, products and services dedicated to the business could be deeper. And some mainstream trades might consider marketing their skills to an industry that’s definitely here to stay.

Susan Benjamin, Set Decorator First worked in Atlanta in 1993; she’s back in town as set decorator on The Founder, the Michael Keaton film about how Ray Kroc gained control of the McDonald’s empire in the 1950s. Matt Groves and Brittan Upchurch are her buyers.

“There’s so much more available in Atlanta now compared to when I worked here in 1993 and 2008,” she says. “It’s much more a glass-half-full situation.”

She calls Atlanta “the Mecca of all things decorative in the south” and hails the area’s “wonderful antiques stores,” which include Biggar Antiques, a prop house and prop provider with whom she

“the Mecca of all things decorative in the south...”

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has a production rental agreement.

“People are so willing to work with you. They’re not completely jaded by the film industry and feel excited to be part of it.”

Benjamin likes the general availability of fabric and uses Made-to-Measure Designs to reupholster furniture and make draperies. “I wish I could clone them and bring them with me wherever I work,” she laughs. “I’d like to see more drapers work exclusively with the film industry.”

What’s lacking is “a solid art rental house with old to very contemporary pieces,” she says.

Benjamin patronizes art galleries, but art rentals are at the top of her wish list. “Everything needs to be cleared by the artist before it goes on set,” she notes. “That’s become a big issue in the last ten years.”

Although antiques are plentiful, decorating for postVictorian periods can be a challenge as Benjamin has discovered; The Founder has a distinctly mid-century American look. “Items from the 1950s are not as easy to find as older pieces here,” she says. “Period TV sets and all the everyday smalls are difficult to come by as is retail packaging for things like toothpaste, milk cartons, food products. That’s our big treasure hunt at the moment.”

She’d also like to see solid sets of outdoor furniture available in Atlanta and finds exterior furniture lacking overall. “Ultracontemporary lighting and furniture is not as easy to come by” either, she says. “Just a few stores carry a good selection of those pieces.”

Also on her wish list: “really good period magazines both for research and set dressing.”

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Shannon Hamed, Travel Coordinator Who now lives in Georgia, facilitates everything travel and housing related for features and TV. She’s currently working on season three of FOX’s Sleepy Hollow, which just made the move from North Carolina to Atlanta.

“Everything is here – grand hotels from the top of the line to the popular chains to unique, boutique hotels and the rental car companies, including Enterprise, which has a huge entertainment division we used quite a lot in LA and North Carolina and was easy to segue to here,” she says. “Also, great car services like Topper Limousine and Greene Worldwide Transportation.”

Pam Swofford of Production Housing, LLC, was Hamed’s first contact for Sleepy Hollow housing.

“We’re shooting in Conyers and trying to keep people close by,” she explains. “Pam was able to negotiate great rates for us there.”

Because Hamed is now local and was formerly a production coordinator on many features, she helped set up the show’s new production offices and got competitive bids for security, containers, office furniture, and Internet and phone. Unlike many

“Everything is here – grand hotels from the top of the line to the popular chains to unique, boutique hotels and the rental car companies...”

services she found that builders and contractors are not marketing themselves to the production industry. “I needed a bid to put up false walls – not cubicle dividers – in the office and had to find a contractor by word of mouth. It wouldn’t hurt for them to get in some resource guides.”

The high-speed Internet install also moved slowly, and Hamed would like to see a better understanding of the unique needs of the industry for this service.

She acknowledges that it would be “unfair to leapfrog” over other businesses, “but at the same time we’re a specialty industry with a timeline. We don’t have the luxury to sit and wait it out.”

Although catering does cater to the production industry, Hamed had to source a personal chef via word of mouth. That trade might grow its business by putting production on their menus.

Another service she knows is in demand is doctors-on-call.

“I think there’s only one or two services that provide house calls,” she says. “With all the production in town we’ll need more doctors who can come to the set at all times of the day. It’s hard to stop and send an actor to a doctor’s office.”

Little Five Points.

Livia PerezBorrero, Production Supervisor A new resident of Atlanta, Livia PerezBorrero recently wrapped out NBC’s now-cancelled supernatural series, Constantine.

Perez-Borrero is enthusiastic about Atlanta’s resources across the board but says they need to be deeper. “Really everything is in Atlanta – nothing’s lacking – but if you can find ten of something in LA, you’ll only find four of it here.”

A prime example is crew.

“The ranks are filling up because there’s so much work here, but productions still have to bring in people from outside Georgia: Florida, North Carolina, New York, even Canada,” she says.

More crafts people need to be trained to work in this business, too. “There are not enough carpenters or greensmen who know film and TV production,” she reports. “There are plenty of people in the trades all around, but they don’t gear their services to the industry, and we do have unique needs.”

Likewise, there’s “plenty of space” to shoot shows but “some of it is empty warehouses.

Productions rent the space, create their offices and turn the place into a soundstage.” She acknowledges that the studio landscape is changing however, and cites Pinewood Studios as having

“Everything is here – They’re committed to the film business here, and it shows.” everything a production needs. She also looks forward to the stages being developed in Norcross.

As Atlanta grows in all respects the traffic worsens, too.

Perez-Borrero has an office on a two-lane thoroughfare, which quickly gets congested at certain times of day. “It should take me five to ten minutes to get from my office to the highway, but during rush hour or lunch hour it takes 30-45 minutes,” she reports.

Still, she calls Atlanta “a good place to work” and a fine city to host out-of-towners. “They love all you can do in Atlanta on their days off. They don’t feel constricted in any way,” she says. Perez-Borrero is sure that Atlanta will deepen its pool of resources in future.

“They’re committed to the film business here, and it shows.”

Darrell Pritchett, Special Effects Coordinator Californiabased Darrell Pritchett has spent a lot of time in Georgia with six seasons, to date, of The Walking Dead and

the recent Ben Affleck feature, The Accountant. His job is to replicate all the effects of nature – wind, rain, snow – plus fire and explosions, “any action prop,” he explains. To do that, he requires rental equipment and a ready supply of expendables, which need to be replenished as they’re used to create special effects.

“Most of the basics are covered here,” Pritchett says. “Getting what I need is not a real issue; I don’t feel crimped at all. Bob Shelley’s Special Effects International has a nice big shop in Fayetteville with a lot of equipment for rent. And we also get items from Walkabout Effects’ David Fletcher.” Rental equipment can include wind machines, rain gear and pool heaters, as episodes demand.

Rigging needs can now be filled at Jack Rubin & Sons, which opened a store in Atlanta last year.

“A few specialty things, like breakaway glass, are still shipped in from LA,” he notes. Such items are not likely to be on the shelves in Georgia any time soon, and Pritchett understands why.

“There’s not enough of a market for it. It’s not cost effective to have this stuff sit in your inventory. It has to make you money. I wouldn’t suggest that anybody go into this field at this point.”

Expendables are plentiful, too.

Pritchett gets fluid for smoke and fog generators, movie dust and blood from Bob Shelley’s and tape from PRG Paskal.

On The Walking Dead Pritchett maintains a full-time crew of three, all local. If an episode requires more crew he’ll fight the competition to source day players: When more SFX productions are in the area crew is in demand. “It can be difficult to find day players who are experienced,” he says. “It takes a while for people to develop in this field. It’s not a job to learn in a short period of time.”

Still, Pritchett is impressed with Georgia resources. “I’ve done a number of movies here and six seasons with The Walking Dead and things have come along quite a bit.

Business is in pretty great shape.”

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On set, the components that make films and television shows come together are sometimes obvious.

However, you’d usually never guess what goes into an average day. This is in large part because of the number of vendors it takes to make a production look great and run smoothly. These are the people who show up and drop off materials before the majority of the crew has even woken up. These are the companies that work in “The Biz” in huge warehouses full of props and back rooms at antique shops. These are the people who supply wallpaper, drapes, and police cars.

Everything in a production has to be perfect, and if you want perfection you need experts. But instead of trying to tell you about all that vendors do and what they supply, we will show you.

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1. “Downtown Salon” - Art and Display 2. “Sleepy Neighbors” - Fabrics, Draperies and Upholstery 3. “Local Brewery” - Signs & Graphics 4. “Air Conditioning Unit” - Air Conditioning & Heating 5. “Trendy Tween” - 2nd Hand Shop 6. “Salt Spreader” - Hardware 7. “Rent Signage Advertisement” - Signs and Graphics 8. “Breakaway Glass” - Breakaways - Glass, Furniture 9. “Flyers” - Office Services - Photocopies, Printing 10. “Flag” - Flags & Banners

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PRE-PRODUCTION Accommodations Entertainment Attorneys and Lawyers Financing, Venture Capitalists Film Licensing and Copyright Clearance Insurance Interior Designers - Residential/ Corporate Literary Agencies Locations Available Music Licensing and Copyright Clearance Payroll and Talent Payment Services Product Placement and Promotion Public Relations and Publicity Researchers and Historical Advisors Specialty Advertising Services “Technical Advisors - Medical, Law, Legal, etc.”

Translators and Interpreters MEDICAL SERVICES & BODY WORK Aestheticians Ambulance Services Chiropractors Dental Services Medics, Doctors, Nurses Esthetician Eye Care Hair Salon Health Spa Holistic Care Massage Therapists Fitness Physical Therapists Set Safety Consultants Tanning Salons

E Q U I PM E N T S U P P L I E R S Broadcast Systems Integrators Audio-Visual Equipment Rental Camera Cases - Custom, Rentals, Sales Editing Equipment Equipment Financing Equipment - Manufacturers, Dealers, Resellers Motion Picture Cameras and Accessories Theatrical Lighting Motion Control Lighting and Grip Equipment Raw Stock: Motion Picture Film Sound Equipment, Sound Mobiles, Location Sound Packages Still Camera Equipment Television Mobiles, Video and HiDef Camera Packages, Accessories Blank Recording Media, Accessories and Packaging Miscellaneous Rental Equipment Underwater Equipment

PRODUCTION S U P P O R T S E RV I C E S PRODUCTION OFFICE SUPPORT Air Freight Office Support Cleaning and Janitorial Computer Repair Computer Services and Tech Support Computer Software Computers - Sales, Rentals and Leasing Concierge Services Courier Services Crating and Packaging Customs Brokers Extra Temps Firms Internet, Data, Phone Service Providers (ISP) Mailing Centers Office Equipment Office Furniture Office Services - Photocopies, Printing Office Supplies Production Office Rental Space TRANSPORTATION DEPARTMENT SUPPORT Travel Agencies Aircraft and Helicopters Ambulances and Ambulance Equipment Auto Detailing

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1. “Kindergarten Table & Chairs” - Table & Chair Rentals 2. “Storage shelves” - Office Furniture 3. “Pea-Green Paint” - Hardware, Paint and Lumber 4. “Human Figures” - Puppets & Puppeteers 5. “Kid-Proof Floors” - Flooring 6. “Wood Shelf ” - Prop House 7. “Framed Diagram” - Picture Framing 8. “Custom Map” - Wall Art

9. “Assorted Flowers” - Florist 10. “Poster Art” -Art and Display 11. “Wood Cabinet” - Furniture Rental 12. “Art Drafting Material” - Drafting Supplies 13. “Old Shelf ” - Antiques, Period Items 14. “Toys” - Children Toy Store 15. “Glass” - Window Treatment 16. “Mini Chalkboard” - School Supply Store

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Boats and Marine Services Buses - Crew Basecamp Power Services Car Rentals - Vans, Campers, Motorhomes Cranes: Mobile, Stage and Location Fire Trucks and Equipment Fuel: Diesel, Gas, Kerosene Highway Safety Products - Barricades, Cones Golf Cart Rentals Horse-Drawn Vehicles Insert Car Suppliers Limousines and Car Services Motorcycles - Sales, Rental, Repair Picture Car Suppliers Production Truck Rentals Pumper Services Towing and Transport Trains and Railways STUDIO & STAGES Air Conditioning and Heating Building and Load Assessment Engineers Facility Design Locksmith, Safe Rentals, Safe Services Logistics, Moving and Storage Scene Shops Security Storage Containers Strike Services Studios and Stages Warehouses CATERING & CRAFT SERVICES Caterers Caterer - Mobile Kitchen Units Coffee Services Craft Service Supplies Event Decorators and Designers Gift Baskets Ice Suppliers Linens Mobile Dining Room Party Rentals Personal Chef Premiere Screenings Refrigerated Trailers Restaurant Equipment Table and Chair Rentals Tent Rentals Water Suppliers Wrap Party and Special Event Planners TECHNICAL SUPPORT 24-Frame Playback Aerial Camera Platforms Batteries Camera Consultants Camera Cranes Camera Repair Cellular Phones Digital Code Slate Ear Prompting Equipment Electrical and Electronics Suppliers Expendables Fuel - Generators Generators Lifts Multi-Service Companies - Camera Suppliers Multi-Service Companies Lighting, Grip and Electrical Pagers Photo Labs Platforms and Scaffolding Projection Services Rigging Equipment Fiber, Satellite and Uplink Services Teleprompting Equipment Video Assist Equipment Walkie-Talkies and Two-Way Radios Turntable Rental CASTING SUPPORT Acting Classes and Work Shops Casting Assistants Casting Facilities Choreographers Dialect and Voice Coaches Coaching - On Set Extras Agencies

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Housekeeping Nannies and Guardians Personal Management Personal Trainers Seminars and Workshops Talent Agencies Talent Agency - Animal Talent ON SET SUPPLIES & SERVICES Antiques, Period Items Appliances - Sales, Rental Architectural Antiques Art and Architectural Drafting Supplies Art and Display Backdrops and Cycloramas Breakaways - Glass, Furniture Camping Gear Construction Materials Contact Lenses and Eyewear Costume Makers Jewelry Costume Rentals Crystal and China Custom Fabrication Custom Finishing Picture Framing Dental Supplies Digital Imaging Drums and Barrels Dry Cleaning, Laundry, Feather and Suede Cleaners Fabrics, Draperies and Upholstery Faux Finishing and Murals Flags and Banners Flooring Fresh Flowers, Live Plants, Silk Plants Foam Fabrication Funeral Equipment Furniture Hardware, Paint and Lumber Household Accessories Interior Design Light Fixtures, Practicals Lighting - SFX Machinists, Metal Work Make-Up Supplies Manicurists and Nail Technicians Marine, Nautical Supplies Mechanical Effects, Animatronics and Robotics Medical and First Aid Supplies Medical and Scientific Equipment Mens Clothing Military Aircraft and Vehicles Military Surplus, Paramilitary Gear Miniatures and Model Makers Neon Signage Pipe and Drape Polygraph Printing - Wide Format Prop Boats Prop Houses Prop Suppliers Prosthetics Puppets and Puppeteers Records, Musical Items Recycling and Waste Management Restorations Restrooms - Portable Sculptor and Model Makers Seamless Background Paper Seasonal Holiday Decorations Signs and Graphics Snow Makers Specialty Glass and Windows Sportswear Stunt Equipment Supply Houses - SFX Surface Materials Taxidermy Tents and Canvas Awnings Thrift Shops Trophies, Plaques Uniforms, Specialty Clothing Vintage and Period Clothing Wall Art Wardrobe Supply and Rentals Western Supplies Wigs and Lacing Window Treatments

1. “Too Expensive To Touch” - Scientific Equipment

2. “The White Light” - Medical Equipment

3. “Bio-Trash” - Recycling & Waste Management 4. “Dummy” - Prop Houses

5. “Doctor” - Talent Agency 6. “Medical Storage” - Storage Container 7. “Tiles” - Tiles and Flooring Store 8. “Medical Supplies” - Medical and First Aid Supplies 9. “Fluorescent Bulbs” - Light Fixtures, Practicals 10. “Cables” - Electrical and Electronics Suppliers

1. “Horse” - Animal Talent 2. “Authentic Cowboy” - Vintage and Period Clothing 3. “Local Brothel” - Construction Materials 4. “Trusty Ride” - Horse-Drawn Vehicles 5. “Sand” - Hardware, Paint and Lumber 6. “Flag” - Flags and Banners 7. “Western Bank” - Architectural Antiques 8. “Feeding Trough” - Thrift Shop 9. “Door” - Custom Fabrication 10. “Boots” - Western-ware 11. “Trees” - Live Plants

JULY / AUGUST 2015

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BY: JAKE SHIPTENKO

R OUGHT THAT YOU TH ER EV U O Y E V A H ?

FECT FOR A MOVIE ER P E B LD U O W E S HOU

Do you think that it possesses a unique character that not only deserves to be captured on film but needs to be captured on film? Maybe your family owns a beautiful farm that resembles an early American plantation. Maybe your office building is the next place for Bruce Willis to try to take down another set of terrorists. If you would like your Georgia home, business, or property to be listed as a film location in Georgia, you can submit it now through Georgia.org. For your location to be

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considered, send digital photos by using the location submission form. There is no cost for submitting a location to the database. Your photos will be reviewed and, if approved, your property will be added to the location photo database. All locations are placed in a secure, password-protected database and sent to clients upon request. Location photos are not accessible to the general public, so the privacy of your location is safe and secure.

GUIDELINES FOR SUBMISSION:

• • • • • • • • • • • • •

Submit large, monitor quality photos, and shoot wide where possible.

Locations submitted with just one photo will not be accepted.

Send as many photos per location as possible.

Send interior and exterior shots.

Submit all of the photos at one time as no edits or changes will be allowed once the photos are submitted.

Avoid inclement weather.

Display the location as it is on a normal basis.

Submit photos in their final condition.

Do not submit the property if it is scheduled to be sold or drastically remodeled in the near future.

No head shots.

Do not submit video clips, renderings, or brochures.

To submit photos you must have the authority to approve filming on the location, or be the actual owner of the property.

Once it is accepted, your location is a potential set for a movie or television show.

When it comes to charging a film crew to use your location, there are a number of factors to consider. These variables include the budget of the project, how long they will need to use your property, how many people will be on your property, will any of the furniture in your home be displayed in the film, will there be any additions or extractions made to your property, and will they be using your electricity while they are there. Once you have figured out all of this information, and they set a price, you can begin negotiating. If you are approached by a student working on a project with limited resources, you are encouraged to help the new generation of filmmakers in Georgia.

Most of the film/TV projects that ask to use your location will have substantial liability insurance policies. This will be addressed in your location agreement, which the production company must sign. This will guarantee that any damage caused to your property will be paid for by the occupying film crew.

There is no way to know how long it will take for a production company to contact you about your property. The need for locations in the industry changes constantly, and your location will be sent, on request, to film/TV projects that are searching. Get your site submitted as soon as possible, just in case a film producer is looking for a location just like yours.

For more information visit: http://www.georgia.org/industries/entertainment/ georgia-film-tv-production/list-your-property-as-afilm-location/ Location Agreement form sample: http://www.georgia.org/wp-content/ uploads/2013/09/Sample-Location-Agreement.pdf

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Getting Down to Business The Bu sin ess of Law yer s and Ins ura nce

By: Christine Bunish

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“Like any industry, motion picture and television production is its own world with its own methods of doing business and its own complexities,” says Andrew Velcoff, a shareholder in the Entertainment Group at law firm Greenberg Traurig, LLP, which has offices in Atlanta and worldwide. Georgia-based attorneys who represent production clients deal with an array of issues regarding intellectual property, talent, locations, vendor services, clearances and tax credit qualifications.

Productions also require insurance for general liability, equipment, automobiles, workers’ comp and more. Increasingly, they’re consulting Georgia insurance agents when they come to town.

Legal Services Span Production Life Cycle Velcoff was senior VP and general counsel/legal with Turner Entertainment before joining Greenberg Traurig.

His client roster has included major studios, networks, independent producers, awards shows and musical artists.

“We operate not only as lawyers for our clients but often work with them to shape business models and business strategies,” he says. “It’s extremely rewarding to play a role in helping them to bring a concert special, a film production, a TV series or an awards show to the market – sometimes from just the beginnings of an idea to a reality. Of course, that’s what this industry is ultimately about.”

Velcoff’s work typically encompasses representation of producers who are acquiring intellectual property, raising financing, engaging talent and securing distribution and exhibition. “Although there are generally accepted norms for how business is done, projects often depart from the norms in one way or another because each project is unique,” he says. “Sometimes we have to be creative and flexible to make things work.”

Stephen Weizenecker, a partner in the Atlanta office of Barnes and Thornburg, LLP, works exclusively in film, television, technology and the video games industry.

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Stephen Weizenecker.

His involvement spans “creating content to distributing content and maximizing production incentives generated as a result of the production of that content,” he explains. “Clients come to us with an idea and walk out with a finished product – we help with all stages in between.”

At least half of Matthew Schwartz’s practice at the Schwartz Law Group in Atlanta is devoted to representing motion picture and television producers, writers and actors.

He does a lot of work for reality programming, a genre that has generated its own set of legal issues. “Reality TV has presented a lot of issues people did not foresee but which they’re adjusting to now,” Schwartz says. “Producers are often dealing with many people they don’t know a lot about, so we do much more extensive background checks on these participants to make sure they’re not hiring people with undisclosed moral turpitude

Andrew Velcoff.

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concerns. Their employment is subject to the results of these checks.”

Some reality unknowns become celebrities and forge new careers on the basis of their programming success. “Since they’re making money off their new found fame, networks regularly insist on having a 10-25 percent interest, for a specific period or sometimes indefinitely, in any business venture the celebrity creates within a certain number of years to their last show,” Schwartz explains.

The evolving media landscape also poses new legal challenges for producers. “The traditional issues haven’t changed: who will be owning what content, under what circumstances can a deal be terminated, what kinds of controls will there be on merchandising, trademarks, names and likenesses.

What’s changing is the model of how to make the business more profitable and how to structure deals to exploit those opportunities,” Schwartz reports.

“There are some transactions where only five percent of the economic worth is in some new media yet you spend 95 percent of your time negotiating the new media provisions because the marketplace is still evolving,” says Velcoff.

“The parties to a deal may have a completely different perspective of what rights are worth, or they just don’t know because the market has not yet become established. Even when you think you’ve figured it out and established some norms, something new pops up on the horizon.”

Georgia’s generous production tax credits are key to attracting productions to the state, but qualifying for them may not be a cut-and-dried process. “There’s always some thorny issue to get through,” says Schwartz. He recently dealt with the eligibility threshold that requires the applicant to spend a minimum of $500,000 on qualified Georgia vendors. His client was structured as two entities, whose total expenditures easily exceeded the required threshold.

But each entity alone did not meet the benchmark. The Department of Revenue denied his client’s eligibility until Schwartz was able to show

Matthew Schwartz.

Lynn Mathis.

that the two entities “essentially functioned as one-and-the-same as one entity was actually liable for the expenses of the other pursuant to an indemnity agreement.”

According to Velcoff, a new legally-intensive process involves securing financing against the anticipated Georgia tax credit.

“Rather than waiting until the end of a film to monetize the credit producers are doing it upfront; it can be, however, a complicated transaction,” he notes.

Weizenecker and his firm have been instrumental in developing production incentives for the Dominican Republic, the City of Qingdao, China and the US Virgin Islands. “We help create programs for governments that want to attract production,” he says. “We draft and revise programs and lobby to improve existing programs.”

Georgia has been so successful in enticing production to the state that it now has to “focus on delivering the infrastructure” to support the boom in business, Weizenecker says.

“Warehouses alone are not going to suffice for some productions.

Producers are looking for dedicated sound stages and support services and talented crews to staff the production.”

Weizenecker’s firm was involved in bringing UK-based Pinewood Studios to town and is working on the majority of physical infrastructure being developed in the area, including Eagle Rock Studios in Stone Mountain and Atlanta, Atlanta Metro Studios in Union City, and others. Velcoff represents the Atlanta Media Campus developer, Jacoby Development, which is converting the former Lucent Technology facility in Norcross into sound stages. “Georgia is building really significant brick-and-mortar assets in geographically diverse locations,” he reports.

Although motion pictures and television currently lead the production pack, Weizenecker believes the video game industry, which also benefits from the tax credit, will be the next big thing.

“It’s our next growth area. We have the education infrastructure for the business here, and graduates now know they can stay and create

jobs in Georgia. I expect we will see great things from that sector over the next year.”

Ensuring Insurance Coverage Bob Barrow, who heads Atlanta’s Barrow Group, LLC, insurance agency sees new film and television clients every day now. “The majority need guidance on coverage, or they’re told by a third party or vendor what they need,” he says. “Two-thirds require short-term coverage, from prepro to post on a specific project. The rest, such as commercial production companies, rental houses or studios, purchase annual policies and are covered for a number of projects within the year.”

Lynn Mathis, president and COO of Williams, Turner & Mathis, Inc. in Atlanta, concentrates on insurance for the film and TV industry – something she’s been doing for 30 years. “They need some of the same lines of coverage as other businesses, but not that many insurance companies are comfortable with this industry. We contract with carriers

JULY / AUGUST 2015

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Bob Barrow.

who write coverage for independent producers, DICE (documentary, industrial, commercial, educational) production companies and many other film-related support companies.”

Compared to other business niches, production “doesn’t think far enough ahead” about insurance needs, Barrow finds. “I’ll get a call on Friday from a production in California that’s picking up equipment for a weekend shoot and suddenly realizes they need coverage. Sure, we can turn that around and they can pay by credit card, but if you need something in 20 minutes you’re not going to get the lowest cost. We have to use webbased quoting, and that won’t be the cheapest.”

Mathis also notes that producers may not budget enough to cover all the insurance they should carry – something especially true of firsttime filmmakers.

They need general liability to cover property damage and bodily injury to third parties not involved in the production; a separate category insures third-party

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locations against damages. Every rental house requires that customers have equipment insurance; a policy can also cover props and wardrobe, especially if a production is a period piece. Auto insurance covers cars used on the production, PAs running errands for the show and even talent.

Union shoots require workers’ comp but most non-union productions and student films opt out of coverage. “We suggest workers’ comp for every production, but the lower the budget the more producers want to skip it,” says Barrow. “They’re rolling the dice.

If someone is injured and isn’t covered by general liability the production will have to pay.”

Negative and faulty equipment coverage may be something to think about, too, says Mathis. It grew out of risks during the film lab process and in the digital age now covers reshoots due to equipment malfunctions or hard drive crashes.

Activities with a high degree of hazard or risk, stunts, aerial cinematography, topside and underwater shoots, pyrotechnics and big animals, need to be declared and

added to general liability if possible.

“The whole area of equipment drones is new and raises liability concerns,” adds Barrow. Mathis has insured several clients using drones. “They got into drones at the very beginning and know what they’re doing: They always have a camera operator, a drone pilot and someone watching the crowd. But drones are so inexpensive that a lot of people buy them and don’t know what they’re doing,” she notes. “We’re waiting for the FAA to issue guidelines and for policies to be amended or changed. General liability excludes aviation but some companies don’t consider drones aviation since they are unmanned.”

Errors and omissions coverage is unique to the industry. Mathis likens it to medical malpractice insurance. “Most distribution contracts require it,” she says.

“If you’ve made a mistake and neglected to get a release from every location, extra, cast member and crew this protects you.”

Errors and omissions coverage often isn’t considered in budgets, but it can be added later on.

“Frankly, until the production gets a distribution contract it’s a waste of money – if nobody is going to see this independent film they don’t need,” Mathis explains. “The distribution contract has specific requirements for coverage, so we’ll issue it then to comply.”

Also specific to the industry are completion bonds, which guarantee the finishing of a production; they are issued by a few completion bond companies and are expensive to obtain. For that reason, Barrow and Mathis say they’re used only for films with $5 million or higher budgets.

Navigating the insurance maze needn’t cause producers to tear out their hair. “Call for help,” says Mathis. “People often call their home and auto insurance agents about production insurance. But this is a specialty area. Try to find insurance agents who work with the industry, and don’t be put off when we ask a lot of questions!”

吀栀攀 䤀渀搀甀猀琀爀礀 䰀攀愀搀攀爀 昀漀爀 漀瘀攀爀

䜀攀琀 䰀椀猀琀攀搀 一漀眀 椀渀 䜀攀漀爀最椀愀ᤠ猀 ⌀㄀ 刀攀猀漀甀爀挀攀 昀漀爀 䘀椀氀洀 ☀ 吀攀氀攀瘀椀猀椀漀渀 倀爀漀搀甀挀琀椀漀渀

䴀甀猀琀 戀攀 愀 䜀攀漀爀最椀愀 爀攀猀椀搀攀渀琀 愀渀搀 栀愀瘀攀 愀琀 氀攀愀猀琀 漀渀攀 瘀攀爀椀昀椀愀戀氀攀 挀爀攀搀椀琀 椀渀 昀椀氀洀Ⰰ 琀攀氀攀瘀椀猀椀漀渀Ⰰ 挀漀洀洀攀爀挀椀愀氀Ⰰ 椀渀搀椀攀Ⰰ 搀漀挀甀洀攀渀琀愀爀礀 漀爀 挀漀爀瀀漀爀愀琀攀⼀椀渀搀甀猀琀爀椀愀氀猀

䴀甀猀琀 栀愀瘀攀 愀 䜀攀漀爀最椀愀 戀甀猀椀渀攀猀猀 氀椀挀攀渀猀攀Ⰰ 栀漀眀攀瘀攀爀 昀椀氀洀 愀渀搀 琀攀氀攀瘀椀猀椀漀渀 挀爀攀搀椀琀猀 渀漀琀 爀攀焀甀椀爀攀搀Ⰰ 戀甀琀 戀攀椀渀最 昀椀氀洀 昀爀椀攀渀搀氀礀 椀猀℀

䰀䤀匀吀䤀一䜀匀 䄀刀䔀 䤀一䌀䰀唀䐀䔀䐀 䤀一 伀一䰀䤀一䔀 䘀䰀䤀倀䈀伀伀䬀 倀刀䤀一吀 䐀䤀刀䔀䌀吀伀刀夀 伀一䰀䤀一䔀 䰀䤀匀吀䤀一䜀匀 䤀倀䠀伀一䔀⼀䤀倀䄀䐀 䄀倀倀 䴀䄀䨀伀刀 匀吀唀䐀䤀伀 䐀䤀匀吀刀䤀䈀唀吀䤀伀一

吀漀 氀椀猀琀Ⰰ 挀栀攀挀欀 漀甀琀 漀甀爀 眀攀戀猀椀琀攀

爀 氀椀猀琀 漀昀 吀漀 猀攀攀 漀甀 愀渀椀攀猀Ⰰ 漀洀瀀 猀甀瀀瀀漀爀琀 挀 瀀愀最攀 猀攀攀 渀攀砀琀

䘀漀爀 搀椀猀瀀氀愀礀 愀搀瘀攀爀琀椀猀椀渀最Ⰰ 挀愀氀氀 伀稀 倀甀戀氀椀猀栀椀渀最Ⰰ 䤀渀挀⸀ 77

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Ideal rental for filming and screenings.

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Supported by Endless Ribbon Foundation Inc. www.erfinc.org 3231 Lenora Church Rd Snellville, GA 30039 404.731.2143

倀甀爀瀀漀爀琀猀 琀漀 洀愀欀攀 琀栀攀 眀漀爀氀搀 愀 最爀攀愀愀爀 瀀氀愀挀攀 戀礀 甀猀椀渀最 ∀䘀漀漀搀椀渀最∀ 琀漀 瀀爀漀洀漀漀 挀栀愀渀最攀猀 椀渀 椀渀搀椀瘀椀搀甀愀氀 瀀攀爀猀攀挀挀瘀攀 漀渀 挀漀猀洀漀瀀漀氀椀椀渀 椀猀猀甀攀猀⸀ 䄀瀀漀瀀栀愀愀挀㨀ꀀ 眀漀爀搀 漀昀 最爀攀攀欀 漀爀椀最椀渀 昀漀爀 琀栀攀ꀀ 渀攀最愀愀瘀攀 琀栀攀漀氀漀最礀 愀戀漀甀琀 甀渀搀攀爀猀琀愀渀搀椀渀最 漀昀 䜀伀䐀 㴀 挀爀椀椀挀愀氀 琀栀椀渀欀椀渀最

䄀䜀伀刀䄀吀嘀ꀀꀀ倀刀伀䐀唀吀䤀伀一 䨀伀䔀䀀䄀倀伀倀䠀䄀吀䤀䌀䘀伀伀䐀䤀一䜀⸀䌀伀䴀

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䘀漀漀搀椀渀最㨀 圀攀戀猀琀攀爀Ⰰ 琀攀挀栀渀椀挀愀氀氀礀 渀漀琀 愀 瀀爀漀瀀攀爀 眀漀爀搀⸀ꀀ 圀椀欀椀瀀攀搀椀愀 㴀 䘀攀攀氀椀渀最 ⠀最漀漀搀⤀ 愀戀漀甀琀 昀漀漀搀 㴀 攀洀漀漀漀渀猀

LET ME GIVE YOU MY CARD

䴀 䄀刀䌀䔀䰀 䌀 䠀刀䤀匀䴀䄀一

䌀攀氀氀㨀 㜀㜀 ⸀㜀㄀㐀⸀㈀㄀㌀㘀 伀ϻ挀攀㨀 㜀㜀 ⸀㐀㜀㜀⸀ 㔀㐀㘀

䨀愀渀椀琀漀爀椀愀氀 匀攀爀瘀椀挀攀猀 倀爀漀搀甀挀琀椀漀渀 匀甀瀀瀀漀爀琀

䄀䜀伀刀䄀吀嘀

䴀䔀䐀䤀䄀 䄀一䐀 吀䔀䰀䔀嘀䤀匀䤀伀一 倀刀伀䐀唀䌀吀䤀伀一 匀伀䰀唀吀䤀伀一匀

䄀䴀䄀刀䄀䌀伀 ㈀ ⬀ 礀攀愀爀猀 漀昀 攀砀瀀攀爀椀攀渀挀攀 椀渀 搀攀琀愀椀氀攀搀 愀渀搀 瀀攀爀猀漀渀愀氀椀稀攀搀 挀氀攀愀渀椀渀最 猀攀爀瘀椀挀攀猀 昀漀爀 瀀爀漀搀甀挀琀椀漀渀 漀ϻ挀攀猀Ⰰ 氀漀挀愀琀椀漀渀猀Ⰰ ⠀瀀爀攀 氀洀 愀渀搀 瀀漀猀琀 氀洀⤀Ⰰ 愀渀搀 挀愀猀琀 ☀ 挀爀攀眀 愀挀挀漀洀洀漀搀愀琀椀漀渀猀 椀渀挀氀甀搀椀渀最 䄀ⴀ氀椀猀琀攀爀猀Ⰰ 眀椀琀栀 琀栀攀 甀琀洀漀猀琀 愀琀琀攀渀琀椀漀渀 琀漀 瀀爀椀瘀愀挀礀⸀ 䘀愀洀椀氀礀ⴀ漀眀渀攀搀 ☀ 椀渀猀甀爀攀搀⸀

믠攀 䄀挀挀漀甀渀琀愀渀琀㬀 䜀漀漀猀攀戀甀洀瀀猀㬀 䘀甀爀椀漀甀猀 㜀㬀 匀愀戀漀琀愀最攀㬀 믠攀 䠀甀渀最攀爀 䜀愀洀攀猀㨀 䴀漀挀欀椀渀最䨀愀礀Ⰰ 倀愀爀琀 ㈀㬀 믠攀 䠀甀渀最攀爀 䜀愀洀攀猀㨀 䴀漀挀欀椀渀最䨀愀礀Ⰰ 倀愀爀琀 ㄀㬀 䤀渀猀甀爀最攀渀琀㬀 嘀愀挀愀琀椀漀渀㬀 䄀渀挀栀漀爀洀愀渀 ㈀㨀 믠攀 䰀攀最攀渀搀 䌀漀渀琀椀渀甀攀猀㬀 刀攀猀甀爀爀攀挀琀椀漀渀⸀ 䄀搀搀椀琀椀漀渀愀氀 挀爀攀搀椀琀猀 愀瘀愀椀氀愀戀氀攀 甀瀀漀渀 爀攀焀甀攀猀琀⸀

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䠀漀洀攀 漀昀 吀栀攀 䌀漀渀瘀攀爀猀愀琀椀漀渀 倀椀攀挀攀 䌀甀猀琀漀洀 洀愀搀攀 栀愀渀搀戀愀最猀

䌀漀渀琀愀挀琀㨀 䴀愀欀愀氀愀 䴀挀䜀氀漀挀欀琀漀渀 㐀 㐀⸀㌀㜀㔀⸀㘀 㠀㌀

䔀洀愀椀氀㨀 琀栀攀挀漀渀瘀攀爀猀愀琀椀漀渀瀀椀攀挀攀猀

洀洀㌀椀渀挀䀀最洀愀椀氀⸀挀漀洀

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NEXT GENERATION

Stardust

Fever

MOLLY STROHL Molly Strohl is a 22-year-old photographer currently based in the American south. She recently graduated from the Savannah College of Art and Design with a BFA in Photography. Having divided her childhood between multiple regions of the US, her thirst to travel and explore is now implemented into her work. When not enjoying the great outdoors or meeting new people, she indulges her eighty-year-old alter ego by knitting, pestering her cat, and watching bad movies.

Stardust

Website: www.mollystrohlphotography.com

Little Prince - Future Writer

Apple of Eve Baba Yaga - 3 Riders

NURI KELI Nuri Keli is a mixed media illustrator currently working at FCP as a BG painter for the show Archer. Pursued MFA in Illustration at Savannah College of Art and Design and BFA in Graphic Design at Yeditepe University (Istanbul-Turkey). Nuri explores the imaginary and magical worlds in his illustrations. His focus is generally on children’s books and editorials.

Website: www.nurikeli.com

Lula and Lou - Bridge Walk

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