cetera Oz Magazine’s semi-monthly news from Georgia’s creative & entertainment industries.
Winners News from The 2011 Atlanta
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Hello Readers! The wait is over. Oz Magazine returns from hiatus refreshed and ready to roll. Thank you for your phone calls and for taking our surveys. We are enthusiastic and even more committed to Georgia’s visual communication industry. The premiere issue of the re-launched Oz Magazine this April is exciting. Lots of attention is focused on Georgia’s creative talent and the production industry, and we will feature many unique and hot projects. Oz Magazine will continue to emphasize business-to-business content, with a healthy dose of lifestyle added. And, by featuring your work and projects you will help re-create Oz Magazine into the “brag piece” that showcases your craft. The print version and e-book version of Oz Magazine continues as the “go to” source for creative industry news. To keep up with our busy stakeholders, we will be producing this semi-monthly, OzCetera e-magazine . . . news and reports from your industry. Send us your news plus your interesting and thought-provoking artwork. Email PR and relevant photos to Tiana Fernandez. Get social with Oz on our Facebook and Twitter page for the latest in Georgia film and production news, the creative marketplace, hot tips and more! In other news, the 2011 Georgia Film, Video & Digital Entertainment SourceBook is the biggest and best ever. You can view the e-Book online at the end of March. Download the Georgia SourceBook iPhone app for all your production needs! The FILM GEORGIA iPhone app can be found on www.ozonline.tv or the Apple App Store. Look for it in April.
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We are glad to be back! See you in Oz!
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www.ozonline.tv • www.ozmagazine.com • www.facebook.com/ozpublishing
In this Issue: Ozcetera - p. 4 Safety in Stakebeds - p. 8 Behind the Camera with Drew Props
The 2011 ADDY Award Winners - p. 12 The 2011 Atlanta Film Festival - p. 25 Charles Judson, Communications Director, Atlanta Film Festival 365
Publishers: Tia Powell - Group Publisher. Gary Powell - Publisher Assistant Publisher & SALES: Tiana Fernandez Editorial: Tiana Fernandez - Ozcetera Editor MYRMIDON/IT: John Cleveland Sherman, III CALL: 404.633.1779 • 800.705.1121 MAIL: 2566 Shallowford Road - Suite 104, #302 - Atlanta, GA 30345 www.ozonline.tv • www.ozmagazine.com Copyright © 2011, Oz Magazine. All rights reserved.
ABOUT THIS ISSUE’S COVER ARTIST,
This has been a great year for me, I won a gold medal from the SOCIETY OF ILLUSTRATORS NY in the editorial category for one of my stamp drawings used in Revista Piaui. Under the encouragement of my insane workaholic intern Sojung, I compiled and put together an 82.5 foot accordion fold book of letters I had sent my wife Lee for a rather extravagant Valentines present. I won a gold medal in SOCIETY OF ILLUSTRATION WEST for an IBM editorial piece and a gold for an NPR calendar piece, as well as a best of show for the poster for Hartford Stage. I had two pieces accepted in American Illustration, one chosen and one selected, and i also won a Silver Medal in 3x3 for my comic promotion BEBO...and got picked to be on the cover of OZ, the highlight of any year...
To see more of Bill’s work, visit www.thebillmayer.com
NEW DIGS FOR BISCARDI CREATIVE MEDIA “We’ve created a place that is not only technologically advanced, but comfortable and relaxed. More than just a service provider, we look forward to being a true production partner with you for years to come. Brand new 6,000 square foot facility on almost 2 acres of land, backs up to a wooded landscape. Designed solely for Post Production, Production and your entertainment needs.”
7 fully wired, comfortable Creation Suites ready for HD Editorial, Animation, Graphic Design, Color Enhancement, DVD / BluRay, and much more.
ATLANTA PHOTOGRAPHER CHRIS HAMILTON’S AWARD-WINNING PHOTOS WON $25K FOR EMORY EASTSIDE MEDICAL CENTER
PLACEMENT MUSIC SCORES AT SUPER BOWL XLV Atlanta’s Placement Music, was chosen by FOX Sports to create a commissioned original score for Super Bowl XLV for its presentation of the ‘Declaration of Independence.’ The almost seven-minute piece titled “Declaration Anthem” aired just prior to the kickoff on the most watched television program – ever – to a total of 162.9 million viewers. The track, co-produced by Tammy Hurt and Steve Dancz (composer), was released as a charity single and ringtone on iTunes and Amazon.com. A portion of proceeds from the full-length score, a radio edit and ringtone goes directly to benefit the Wounded Warrior Project. Placement Music also has a feature song placement in Paramount’s “Mean Girls 2” and provides custom tracks for Showtime’s “Dexter” and various MTV projects.
MATCHSTICK MOVES THEIR BRANDING HOME TO GRANT PARK Brand identity house, Matchstick, made a strategic move to a larger space in The Jane in Grant Park, but stays true to its roots in Atlanta’s eastside. The move comes as the company has grown in staff and workload over the past year. Having existed for the past four and a half years in a blue house off Graceland Ave. in East Atlanta, it’s built a culture around the home environment – hosting clients for breakfast for “Brands N Eggs” strategy sessions, having company staff meetings in the living room, and much more.
Craig Johnson, co-founder of Matchstick says “Moving from a house environment to a more urban, industrial space does not mean a change in our corporate values. Our notion and expression of ‘brand identity house’ means more than physical exterior. To us, it means home.” Matchstic keeps the home environment alive, bringing the kitchen front and center as a significant part of its culture and a gathering place of friends. The company plans to have a staff of seven, and will continue it’s commitment to providing companies with top-line services around brand identity creation, rebrand strategy, implementation and design.
CRAWFORD MEDIA SERVICES MOVES TO NEW, EXPANDED, STATE-OF-THE-ART FACILITY Crawford Media Services, Inc. opened the doors to its new headquarters in January at 6 West Druid Hills Drive. The expanded facility - recently redesigned both aesthetically and technically - provides a convenient and highly creative environment for both post-production and media management clients. Prominent features include: eight 3D-capable editing and graphic suites; a 40-seat, Dolby-certified screening room; a multi-purpose tracking studio and insert stage; expanded sound design/mixing suites; facilitywide, file-based work-flows; archival storage & hosted asset management; and large-scale, redundant fiber connectivity utilizing multiple On-Net carriers.
JAYAN FILMS EXPANDS Jayan Films co-located their new production division to the Crawford Media Services complex in February. According to the Director of Business Development Bob Judson, “Crawford is the perfect media partner for a company like Jayan. Both companies deliver the highest level of client services and provide full-service creative and technical resources for a wide range of markets.” Jayan has been producing commercials in the Southeast for over 25 years and recently expanded its services to include: the development of original content & branded entertainment, the delivery of web based media and production for large venue presentations.
ELEVATION CONTRIBUTES TO CNN’S PIERS MORGAN PROGRAM CNN chose Elevation to create promos for the premiere of “Piers Morgan Tonight,” a show filling the “Larry King Live” timeslot on CNN. Elevation created all the promos for the launch campaign, which aired on CNN prior to the January premiere. Owner Stephen Cocks on Flame and designer Tyler Williams in After Effects brought CNN’s “art of the interview” concept to life through 2D animation and compositing. Cocks and Williams carried out two final looks for the campaign. Elevation’s previous work with CNN promos include: Anderson Cooper 360, CNNi Lineup, and CNNi’s coverage of the World Cup.
BEHIND THE CAMERA WITH
STAKEBEDS Holy CRAP… I’d forgotten all about Joe’s giant pencil!!! Sure, I’d ducked to avoid the limb hanging out over the road, but I’d also neglected to toss a couple of bungee straps across his tremendous Ticonderoga before we pulled out of basecamp and now an 8-foot long yellow #2 pencil was sailing over my head, out into the road behind me, directly toward a little old lady in a champagne Toyota Camry with two-tone suede seats. She had the craziest expression on her face. It was just the sort of expression that says “Oh Lordy mercy, why is there a giant yellow #2 pencil flying through the air at my champagne Toyota Camry with two-tone suede seats??!” In that frozen moment I realized that the little old lady was entirely unlikely to be impressed that Joe had purchased the large PVC pipe and painted it to look like a giant pencil (with pink eraser) as a commentary on how wretchedly ineffective our 2nd-unit painter was at “erasing” the tire marks the stunt guys kept leaving all over the highway. All this lady knew was that we had preemptively launched an enormous pencil toward her car in direct violation of the First Law of Stakebeds : Strap It Down! Stakebeds are the pack mules of the motion picture industry, and while even the clumsiest newbie can learn to roll a cart from the nice big tailgate of a working truck onto the back of a stakebed, it takes a lot more experience and dexterity to navigate
the stakebed’s ridiculously narrow lift gate when moving things down to ground level. Second Law of Stakebeds : Don’t Lift Alone
“ De s p i t e
what people may tell you, it’s a fool’s erra n d t o a t t e m p t t o o p e r a t e a s t a k e b e d ’ s l i f t g ate by yo u r s e l f b e c a u s e t h e r e a r e t r e me n d o u s o d d s t h at s o m e t h i n g w i l l g o h o r r i bl y , h o r r i b l y w r o n g . ” In my own greenhorn days I sent my boss’ favorite cart into a triple ju-ju-flop off the end of a tailgate, watching in horror as it smashed into the asphalt below. Fortunately, only one other person saw me make this mistake. Unfortunately, that person was my boss. Please don’t allow my cautionary tales to deter you from the joys that can be found in stakebeds. For instance, there is a certain degree of celebrity which film crews enjoy as they ride through the streets of a city in the back of a stakebed truck. Children wave and old people cheer, grown men look on with open envy and the womenfolk watch with profound desire… at least that’s the theory being bandied about in the grip department. I recall a romanticly rainy, near-freezing, late fall stakebed ride across a darkened meadow as I tried to make time with a sexy on-set costumer. As I desperately wrestled a cart filled with directors chairs with my left hand and a unsecured rubbermaid cart filled with footballs with my right hand, the stakebed lurched across the tops of the
BEHIND THE CAMERA WITH
THE STAKEBED Unsung Hero of the Motion Picture Industry
meadow rills like a wounded sea-plane clipping wavetops. In-between having my fingers mashed between the cart handles and the stakebed’s walls, I danced to avoid the shin-biting fury of the costumer’s cart, which seemed determined to leap off the side of the truck.
“As the last rays of the sun fell below the treeline she turned to me and chattered out those industry-defining words I’ll never forget: “Glamour, Glamour, Glamour!” There are so many more wonderful and romantic things I could tell you about stakebeds, and while I would truly love to discuss the 87 remaining stakebed laws, associated corallaries, and pending ammendments, allow me to end with a story about the time I was working on the 2nd unit of an action movie we were shooting in the wind-chilled mountains of north Georgia. It was on that show that that the grips taught us that stakebeds can be turned into modern day Conestoga Wagons by inserting long pieces of PVC pipe down the vertical channels of the stakebed walls and arching them up and over the bed of the truck to the channels on the opposite side of the truck. Then cover the ribs with the biggest tarpaulin you can find. The resulting “covered wagon stakebed” blocked the chill winter wind, showed the locals that we knew what we were doing and (most imporantaly) convinced our Teamster, an honest-to-gosh cowboy named Blackie, that we were legit enough for him to share a bit of homemade apple brandy of questionable legality that he had acquired from undisclosed sources. You know you’ve made it when your stakebed driver shares his mountain hooch. ----(Note: For your reading pleasure and to convince you that stakebeds are fun and not at all dangerous I have attemmpted to remove the words “mashing” and “finger” from every paragraph of this article.)
Like any modern industry, today’s motion picture business has come to rely on highly trained technicians deploying highly specialized equipment and procedures to produce highly refined products. And while most of our nation’s most celebrated film schools do a superb job of teaching their students the difference between a dolly and a DP, they operate in absolute ignorance of one the most fundamentally important devices known to Hollywood: the stakebed truck. Stakebeds are the Huey Choppers of the film industry; providing a means for strategic delivery of equipment and personnel to remote locations under difficult conditions. The defining characteristic of a stakebed truck is its flat metal deck (or “bed”) with slots running along the edge into which wooden or metal rails can be inserted to create a high-walled pen to safely contain transport materials. These removable rails provide great flexibility, allowing the trucks to be used for transporting anything from large, unwieldy stage pieces down to carts filled with directors chairs. For location shoots there are two groups of trucks. The first group of trucks constitutes something referred to as “basecamp”; an encampment for staging actors, producers, catering and portable restrooms. The second group of trucks is known as the “working” trucks. These trucks carry the equipment for camera, grip, electric and props, and are almost always what you’d think of as “tractor trailers”. In addition to their normal role of supply carrier, stakebed trucks are typically used to move cargo from the staging area to more remote shooting locations. To transfer this cargo (typically a large variety of carts and lighting equipment) Drivers must back their stakebeds tailgate-to-tailgate with the larger working trucks, to allow the crew to offload the necessary equipment onto the back of the stakebed. This is usually accomplished with great speed, great precision, and a great deal of cursing. There are rare occasions when someone will pitch headlong off the tailgate, but even rarer is the day that someone escapes without a mashed finger.
ADDY AWARD ®
Friends, It’s all about the work. Yeah, it’s trite and horribly overused, but for good reason. Ultimately, our work is what helps build our clients’ businesses, our books, and our reputations. It is the physical (or digital) manifestation of a lot of hard work from so many people. I love the work. The 2011 Atlanta ADDYs represents the finest efforts in our advertising community; work that comprises great thinking from professionals and students alike. Based on this year’s submissions and attendance at the Show, the advertising community in Atlanta is doing pretty well… thankyouverymuch. With top-notch schools helping to prepare the next generation of sadists ready to take on a career in this crazy business, and an amazing collection of grizzled veteran talent, we have a lot to be proud of. Yet, we’ve got so much still to accomplish. The Atlanta Ad Club is proud to be helping our industry in this cherished city. From monthly educational and networking opportunities to the ADDYs Gala, we are working hard to bring relevant and compelling programs that engage advertising professionals while raising the visibility of our industry in the city. Whether it’s Wired magazine talking about the creative implications of tablets or futurists who contemplate what’s next or a reel night with adult beverages, we strive to bring you all something of interest, something that inspires, makes you smile or simply reminds you why in the hell you got into this business in the first place. So as you enjoy viewing our community’s award winning work, I hope it inspires you to consider attending an Ad Club event or program. The work in this town doesn’t get enough credit. Neither do the great people who work in our shops. But, you gotta admit, seeing all the work is pretty cool and pretty inspiring. I say it all the time, I laugh every day at work. Mostly because of the great people I work with and the work I get to be a part of. Thanks for all you do for the Atlanta ad community. I hope to see you at an event soon.
All the best, Rich Fabritius
President, Atlanta Ad Club
2011 Best of Show & ADDY® Gold Winner “Coca-Cola Happiness Machine” Advertiser: Coca-Cola • INTERACTIVE MEDIA • Interactive Multimedia (CD/DVD) - Consumer • Entrant: Definition 6 Credits: Paul Iannacchino, Jr, Director; Pat Carpenter, Editor; John Harne, Executive Creative Director; Ted Morris, Producer; Mike Barrett, Audio; Juan Sosa, Audio; Lisa Miller, Post Producer; Ni Ni Than, Art Director; Blakely Blalock, Account Supervisor; Peter van den Berg, Editor Assistant
“Box of Sunshine” Gold ADDY Award DIRECT MARKETING Business-to-Business or Consumer Single - 3-D Entrant: Breensmith Advertising Advertiser: The Weather Channel Credits: Adam Millman, Designer Chris Breen, Creative Director
“Any Second-Doubters” Gold ADDY Award CONSUMER OR TRADE PUBLICATION Full Page Less than four-color Entrant: BBDO Atlanta Advertiser: AT&T Credits: Bobby Pearce, CCO Jeff Spillane, CD Heather Gorman, CD Alex Russell, CD Matt Spett, ACD/AD Chris Dutton, ACD/CW Chris Buda, Art Buyer Brandy Stead, Account Supervisor
“Winter Games” Gold ADDY Award DIRECT MARKETING Business-to-Business or Consumer Single Entrant: Breensmith Advertising Advertiser: The Weather Channel Credits: Adam Millman, Art Director Chris Breen, Copywriter Chris Breen, Creative director James Palmer, Illusration
“HP Cannes Exhibit” Gold ADDY Award SALES PROMOTION Point of Purchase Trade Show Exhibit Entrant: BBDO Atlanta Advertiser: HP Credits: Bobby Pearce, COO Paul Huggett, Designer Director Jeff Oehmen, Designer Scott Larson, Sr. Print Producer
“iris Housewarming” Gold ADDY Award ELEMENTS OF ADVERTISING Illustration, Single Advertiser: iris Atlanta Entrant: iris Atlanta Credits: Simon Candy, Creative Director Grant Weber, Senior Creative Andi Mehok, Creative Paa Cross, Creative
“Chillest Ride in the Universe Sweepstakes”
Gold ADDY Award OUT-OF-HOME Vehicle Graphic Advertising Entrant: Ames Scullin O’Haire Advertiser: Cheerwine Credits: Derrick Ogilvie, Creative Director Mike Powell, Associate Creative Director Emily Lloyd, Art Director Zeptonn, Illustrator Nova Belote, Print Producer
Win the chillest bus in the universe.
“Sports Toolkit-Flowers” Gold ADDY Award CONSUMER OR TRADE PUBLICATION Entrant: BBDO Atlanta Advertiser: AT&T Credits:Bobby Pearce, CCO Jeff Spillane, CD Heather Gorman, CD John Carter, ACD/AD Scott Biear, Sr. CW David Harriman, Photographer Chris Buda, Art Buyer Brandy Stead, Account Supervisor Leanne Huggins, Account Executive Courtney Saffer, Print Producer
Enter for a chance to win here or at facebook.com/cheerwine
USMC “6 Hours Winning Battles Module” INTERACTIVE MEDIA
Websites. Consumer Flash
Gold ADDY Award Entrant: JWT/Atlanta
Advertiser: United States Marine Corps
Credits: Carl Warner, Executive Creative Director; Justin Baum, Creative Director; Matt Covington, Copywriter Lauren Oliver, Copywriter; Brad Steinwede, Producer
“U.S. Marine Corps Martial Arts Program: Warrior Path” INTERACTIVE MEDIA
Gold ADDY Award
Entrant: North Avenue Post
Advertiser: U. S. Marine Corps
Credits: Rob Lederman, Editor; Carl Warner, Executive Creative Director; Justin Baum, Creative Director; Brian Stieler, Art Director Eddie Moutinho, Writer; Chrissy Kaibni, Producer
“Morning in America” TELEVISION
Gold ADDY Award
Regional/National TV, Single
Credits: Bob Warren, ECD; Even Levy, GCD
Entrant: Fitzgerald + CO
Advertiser: Race Trac
“Life Changing Games”
Gold ADDY Award
PUBLIC SERVICE Non-Traditional
Entrant: Fitzgerald + CO
Advertiser: United Way
Credits: Bob Warren, ECD; Matt Sharpe, Art Director
“USMC/UFC Integrated Campaign Video”
Gold ADDY Award
MIXED MULTIPLE/MEDIA Consumer, Regional/National Entrant: JWT/Atlanta Advertiser: United States Marine corps Credits: Carl Warner, Executive Creative Director; Justin Baum, Creative Director/Copywriter; Brian Stieler, Art Director Eduardo Mountinho, Copywriter; Brad Steinwede, Producer; Clint Keener, Flash Designer; Anne Rogers, Project Manager
“Zoosk mixed media campaign”
Gold ADDY Award
MIXED/MULTIPLE MEDIA Consumer, Regional/National Entrant: Ogilvy Atlanta Advertiser: Zoosk Credits: Dave Galligos, Art Director, Creative Director; John Spalding, Writer, Creative Director; Mark Cohen, Writer; Emily Capps, Writer; Christian Mitchell, Writer; Lindsey Fischbach, Producer; Katie Thrasher, Account Manager
‘More Birthdays Phase 2’ PUBLIC SERVICE - Campaign
Gold ADDY Award
Mixed/Multiple Media Campaign
Entrant: American Cancer Society
Advertiser: American Cancer Society
Credits: Greg Doanladson, National Vice President, Corporate Communications; Andy Goldsmith, Vice President, Creative & Brand Strategy John Norman, Chief Creative Officer, Executive VP/Partner; Joe Alexander, Senior Vice President, Creative Director
Gold ADDY Award Regional/National TV, single
Entrant: BBDO Atlanta
Credits: Bobby Pearce, CCO; Jeff Spillane, CD; Heather Gorman, CD; John Carter, ACD/AD; William Bloomfield, Sr. CW ; TWiN, Director; Jerry Russo, Producer; Rabbit, Production Company; Brandon Fowler, SVP, Group Account Director; Leanne Huggins, Account Executive
“Forest Dance Off ” TELEVISION
Gold ADDY Award
Regional/National TV, Single Consumer Products
Entrant: Ames Scullin O’Haire
Credits: Derrick Ogilvie, Creative Director; Mike Powell, Associate Creative Director; Emily Lloyd, Art Director; Richard Farmer, Director Rich Pring, Executive Producer; Danica Walker, Producer
“Diary of a Wimpy Kid movie microsite” INTERACTIVE MEDIA Online Micro or Mini Sites Gold ADDY Award Entrant: Primal Screen Advertiser: Cartoon Network/Turner Credits: Doug Grimmett, CCO Jeremy Seymour, Director of Animation Dale Bradshaw, Technical director Joe Kubesheski, Animation Designer
National Children’s Study ‘Let Children be Children’ ELEMENTS OF ADVERTISING Sound Sound Design Gold ADDY Award Entrant: Tunewelder Music Group, LLC Advertiser: National Chidren’s Study - Queens Credits: Ben Callner, Director/Screenwriter Adam Callner, Producer Helene Friren, Storyboard, Design and Animation
“Black Friday: Save”
“Race Trac Beer”
RADIO Regional/National Gold ADDY Award Entrant: Fitzgerald + CO Advertiser: Race Trac Credits: Bob Warren, ECD Evan Levy, GCD
RADIO Regional/National Campaign Gold ADDY Award Entrant: Fitzgerald + CO Advertiser: Race Trac Credits: Bob Warren, ECD Evan Levy, GCD
Song - “XxCuzzMex”, Artist – Crystal Castles ADVERTISING FOR THE ARTS & SCIENCES Broadcast/Electronic Audio/Visual Gold ADDY Award Entrant: Indigo Studios Advertiser: Crystal Castles Credits: Marc Rochon, Executive Producer Aaron Bowdin, Executive Creative Director/Director of Motion
Student Gold ADDY® & Best of Show Winner
Consumer or Trade Publication Description: Campaign Entrant: The Creative Circus Advertiser: Off Credits: Natalie Zamora, Art Director David Ma, Copywriter Mike Haftel, Photographer
Mixed Media Campaign Student Gold ADDY Entrant: The Art Institute of Atlanta Advertiser: Toletta
“American Heart Association” Student Gold ADDY Mixed Media Campaign Entrant: The Art Institute of Atlanta Advertiser: American Heart Association
“Type Haus” “Spin Magazine App” Student Gold ADDY Online Advertising (Pop-Up/Banner/Email/Other) Type: Interactive Media Entrant: Portfolio Center Advertiser: Portfolio Center
Student Gold ADDY Sales Promotion/Packaging Entrant: The Art Institute of Atlanta Advertiser: The Art Institute of Atlanta Credits: Laura Rosini, Designer
Credits: Matthew Meneghel, Designer & Art Director Hayley Reaver, Copy Writing, Amelia Alpaugh, Photography
“Chiclets” Mixed Media Campaign Student Gold ADDY Entrant: The Art Institute of Atlanta Advertiser: Chiclets
“Lamp Landscape” Student Gold ADDY Elements of Advertising - Photography Entrant: The Art Institute of Atlanta Advertiser: The Art Institute of Atlanta Credits: Todd Burandt, Photographer
“Graham Greene Book Cover Series” Student Gold ADDY Editorial Design - Series, Covers, or Spreads Entrant: The Creative Circus Advertiser: Graham Greene Book Cover Series
Credits: Angie McDonald, Designer
“High Vantage Point” Student Gold ADDY Elements of Advertising Description: Photography Advertiser: Student Assignment Entrant: The Art Institute of Atlanta
Photo Credit: Jessica Imoto Harney
Atlanta Film Festival 365 Communications/Programming/Industry Outreach
Thirty-five years, in human terms, is relatively young and becoming younger as every generation lives longer than the last. In terms of organizations, it’s a milestone that classifies most entities as an elder statesman. Very few groups ever make it to year three, let alone find they can boast four decades in existence.
For a non-profit like the Atlanta Film Festival (ATLFF), implicit in achieving such longevity is continuous reinvention. Refocusing and refining programs to match not only the needs of the people it serves, but to embody the energy, conversations and innovations that are driving the artistic and filmmaking community. Since the late 1990s, as IMAGE Film & Video Center then, and now under our current incarnation as ATLFF, digital filmmaking has been an integral component of what we do... in how we increasingly screen films and in what workshops we produce. Now, we’re moving into a new phase. In many ways, we’re defining that new phase not by looking forward, but by looking back. IMAGE stood for Independent Media Artists of Georgia, Etc. It was a reflection of how much of what our members did and what we programmed couldn’t be classified under only filmmaking. From video art installations at the High Museum to crazy competitions involving filmmakers attempting to keep as many rotating tennis balls in frame at one time—yes, we really did that—the media arts portion of our name was expansive and inclusive in ways that defied convention. Thanks to technology, including both new filmmaking tools and the rise of the internet, thinking of filmmakers as “just filmmakers” has become to some extent limiting. Many filmmakers are musicians and artists. Many have become their own distributors. Some are masters at digital SFX and others are adept at creating media for the web and mobile devices. Using the term filmmaker in today’s creative environment is at times not expansive or inclusive enough. It has a particular inflexibility to it. However, the term media artist, gives individuals space to find and refine what they do they best. It’s a term that more accurately reflects what our media environment has been evolving into: celluloid giving way to digital, and storytellers experimenting with new forms like the webseries.
While we won’t be doing crazy competitions or installations in the short term, we continue to honor our 35 year history by creating events and programs that are relevant to being a media artist today, both the artistic and the business side. As part of that, we’re creating a seminar series for this year’s Atlanta Film Festival (April 28 – May 7) entitled CINformation. A multi-day event that will take place at the Landmark Midtown Art Cinema, this series will cover a range of topics and will bring together industry professionals, academics, and companies for workshops and discussions designed to educate and empower the working media artist and creative across multiple disciplines. Of which the core goals will be: • To present information that media artists and creatives can use today, not tomorrow. • To offer a platform for creatives and companies to present innovative projects, technology, products and techniques. • To foster an environment that encourages participants across various media to move beyond networking and into collaboration and partnerships. • To present information and workshops that address both the creative as well as the business side of being a media artist and creative. As this is the inaugural year, our expectations for CINformation are modest. However, we hope that as time goes on, we can build this event into one that will be a resource for both new and veteran media creators and artists across the Southeast to practice, improve and push their craft. http://twitter.com/atlfilm365 • http://atlantafilmfestival.com • http://facebook.com/atlantafilmfestival
Leading the community in creative and cultural discovery through the moving image
A Media Artists and Creatives Seminar Series During the 2011 Atlanta Film Festival (April 28 - May 7), ATLFF will host an inaugural multi-day seminar series that will bring together industry professionals, academics, and companies for workshops and discussions designed to educate and empower the working media artist and creative, including directors, writers, actors, producers, animators, game designers and media companies as well as the general public.
Topics tentatively scheduled for 2011 include:
Creating a “Bible” for TV and Webseries
Games are Not Films and Films are not Games: Producing Games and Films Together from the Ground Up
How to Make a Living as a Creative: How to be Proactive and Take Charge of Your Creative Career
Beyond DRM – Solutions for Digital Distribution and Sharing Content
Distribution and Deliverables in the Digital Age
How to Pitch Your Project
Staying in the Black: How to Avoid Making Bad Deals as a Freelancer
How to Take advantage of the Georgia Tax Credit
Making Atlanta into a Media Hub
How to Make Your Home Available for Film Productions
Full lineup speakers and seminars to be announced. Visit http://atlantafilmfestival.com for more information.
Creative Index 2011! August/September 2011
The go-to source for the creative visual media industry in Georgia
¶ Don’t miss the early bird
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