film & tv • print • new media • lifestyle oct/nov 2012
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A r t w o r k b y D e a n Ve l e z , S e n i o r M o t i o n G r a p h i c s D e s i g n e r a t M a g i c k
W E ' V E C R E AT E D A M O N S T E R … Check out the reel: Vimeo.com/magicklantern D I G I TA L P R O D U C T I O N
in t h is iss u e 28 FE AT UR E S Cover Story - Impressed on the Set: Part 1
Feature Story - The Future Looks Bright: Part 2
Feature Story - Lifestyles of the Rich & Re-Branded
C O LU M N S Ozcetera p. 6 Behind the Camera w/ Drewprops - Burning Down the House
Voices - You & Me, by Michael Wolff p. 28 Oz Scene - Dragon Con, PiratePalooza & Encyclomedia
How I Got into the Business p. 38 Let Me Give You My Card p. 41 Ad Campaigns p. 42
O Z M A G A Z I N E S TA F F CO V ER A RT ©Todd Hampson www.timbuktoons.com
Publishers: Tia Powell - Group Publisher, Gary Wayne Powell - Publisher Editorial: Gary Powell - Ozcetera Editor Elizabeth Carter - Research Contributors: Nichole Bazemore, Andrew Duncan, Bobby Hickman, Diane Lasek Sales: Diane Lasek, Mukari Butler, Monique McGlockton IT/Database Administrator: John Cleveland Sherman, III Design: Christina Wingfield - Designer Sarah Medina - Production Artist & Designer Ted Fabella, Logo Design
Visit us on the web at www.ozmagazine.com, www.ozonline.tv, www.facebook.com/ozpublishing Oz Magazine is published bi-monthly by Oz Publishing, Inc • 2566 Shallowford Road • #302, Suite 104 • Atlanta, GA 30345 • (404) 633-1779 Copyright 2012 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.
contrib u tors Michael Wolff - A founder of Wolff Olins - among the world’s most iconic design companies. Now, as Michael Wolff and Company he works with clients around the world both as a designer and creative advisor. He’s a visiting Professor at Central St Martins ( The University of the Arts in London) and at Cape Peninsula University of Technology (Cape Town South Africa). He’s a Senior Fellow at the RCA ( The Royal College of Art), a member ofthe UK’s faculty of Royal Designers for Industry, and is the ‘Inclusive design champion’ for the UK Government. Voices, p. 28 Nichole Bazemore is a freelance writer and blogger. She is also the host of the show, “Say It With Style,” on Blog Talk Radio. Her company, Simply Stated Solutions, provides marketing materials for coaches, consultants, and small businesses. Learn more about Nichole and her company via her website, www.simplystatedsolutions.com, or connect with her on Facebook or Twitter @nicholebazemore. Cover Story, p. 14
Andrew Duncan, known in the motion picture industry as “Drewprops”, has been writing about the craft of filmmaking from the inside out since the mid-1990’s. His confusing and often embarrassing stories from behind the scenes provide a unique insight into the craft of filmmaking from the perspective of the shooting crew, artists, and designers who bring your favorite films to life on the big screen. www.drewprops.com. Behind the Camera w/ Drewprops, p. 22
Diane Lasek has been involved in the film and television industry for 20+ years, most of that time as a marketing and salesperson. She is currently working as a sales consultant on the Oz Publishing team and enjoys getting to know all of the hard-working creative folks working across Georgia. In her spare time she is a bee keeper, master gardener and has a little organic soil amendment company for your gardening needs. That can be found at www.smartdirtorganics.com. Feature, p. 24
Bobby Hickman is a freelance journalist who writes mostly about business and travel. He is also a copywriter and former president of The Freelance Forum. Bobby is currently ghostwriting the autobiography of a Celtic shaman in North Carolina. He is also developing a book on great Southern honky tonks, enabling him to hang out at bars and claim his drink tab as a business deduction. email@example.com. Feature, p. 30
Todd Hampson is the Founder/CAO of an award winning animation development and production company called Timbuktoons, LLC (EST. 2003), was the Executive Producer and lead animator for a small line of creative media products (including 5 DVDs), has produced hours of animated content for other companies, developed several show concepts, licensed characters, and been a professional artist for over 20 years in both Washington, DC, and Georgia. He holds a degree in Art with a focus on Illustration and Art History. His primary focus at Timbuktoons is leading an amazing team, designing characters, guiding the art direction and visual development process, growing the company, and producing content that makes a positive impact. www.timbuktoons.com Cover Illustration
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Cartoon Network Celebrates 20 Years Cartoon Network celebrated its 20th birthday in October with a fun-filled, over-sized party at its Midtown Atlanta headquarters. Since its launch in 1992 with two million subscribers, the network has grown to rank #1 among boys 6-14 and is currently seen in over 175 countries and in more than 360 million households worldwide. This year, Cartoon Network scored its most-watched spring and summer in its history!
“42” Wraps at Atlanta Film Studios Atlanta Film Studios Paulding County recently wrapped the facility’s first production, “42”, produced by Warner Bros and Legendary Pictures. The Jackie Robinson biopic, written and directed by Brian Helgeland, stars Harrison Ford, Chadwick Boseman and Christopher Meloni. Dick Cook and Jason Clark served as executive producers and Thomas Tull as producer. Warner Bros Pictures will also be providing domestic theatrical distribution. Jeremy Hariton, a partner in RoadTown Enterprises who operate and manage the facility, said, “Welcoming ‘42’ to the Atlanta Film Studios as our inaugural project was a thrill. Just to be associated with this production, which tells such a significant story in our nation’s history, is a great way to kick off our operations at the studio, and we could not have asked for a better cast and crew to have at our facility.”
Creating the Pilot Eclipse Post is working with Crazy Legs Productions to create a pilot episode about Kevin Michael Connolly. The thrill-seeking show is about Connolly, an author and photographer who was born without legs. Traveling around with only his hands and his skateboard, Connolly is discovering new cultures, meeting interesting people and tackling difficult physical challenges along the way. The pilot episode airs on The Travel Channel in November. On the awards front, Eclipse’s Greg Ward won a Southeastern Emmy award for sound design on a documentary for his work on “Margaret Mitchell: American Rebel.”
Tradition Completes Soundtrack The film, “Tradition,” completed its soundtrack by adding an incredible choir of talented singers like Brad Raymond (Cowardly Lion, “The Wizard of Oz,” Alliance Theater), Greg Bosworth (Miss Deep South, “Pageant: The Musical!,” 14th Street Playhouse), Gwen Hughes, (international jazz/blues vocalist, new album “Fragile Faith”), Jordan Craig (Sonny Malone, “Xanadu,” Actor’s Express), Rivka Levin (actor/singer, New American Shakespeare Tavern), and Valerie Payton (actor/singer, “Joyful Noise”). The session was directed by John Kabashinski and Brad Raymond. Audiocam Music’s Rick Hinkle recorded and mixed. The soundtrack also added a mandolin and an extra fiddle, played by The Mosier Brothers Band’s newest addition, Edward Hunter. The entire band came in to beef up the two main songs.
Network founder, Ted Turner, widely questioned at the time for believing that an audience existed for cartoons 24 hours/day, delivered a taped message to congratulate the network on its success. Atlanta Mayor Kasim Reed presented the City of Atlanta’s Phoenix Award and a city council proclamation of “Cartoon Network Day” honoring Cartoon Network’s unique cultural contribution. Others in attendance included Turner Broadcasting chairman & CEO Phil Kent and Cartoon Network president & COO Stuart Snyder. Guests were treated to Cartoon Network employees forming a human 20th birthday tribute; a giant custom cake sculpted by award-winning Atlanta baker Karen Portaleo; a parade of costumed cartoon characters, Atlanta Falcons Drumline and daytime fireworks with confetti cannons. Building upon beloved classic characters such as “The Flintstones,” “Scooby-Doo” and “The Looney Tunes,” Cartoon Network has since introduced dozens of award-winning original characters, including “Dexter’s Laboratory,” “The Powerpuff Girls” and “Foster’s Home for Imaginary Friends.” Today, the network also boasts global franchise hits “Ben 10,” “Adventure Time,” “Regular Show” and “Gumball.” These and more than 100 cartoon characters appeared in the world’s first look at an original music video tribute screened at the event.
Miller Joins MODA Jackson Spalding design director, Mark Miller, joins the Board of Directors for the Museum of Design Atlanta. Mark Miller, design director at Jackson Spalding, joins the Museum of Design Atlanta’s (MODA) Board of Directors, marking the start of a three-year term. Miller adds to a group of highly regarded designers, business leaders and entrepreneurs from organizations that value innovative design and art in Atlanta. Through exhibitions and educational outreach, MODA explores the role and impact of design on everyday life. A Smithsonian Institute affiliate, MODA began in 1989 as The Atlanta International Museum of Art and Design. The focus later shifted exclusively to design, an artistic field with increasing popularity and attention in Atlanta. A new strategic plan, vision and the MODA name soon followed. MODA is the only museum in the Southeast dedicated solely to the design disciplines. Miller received his graphic design degree from Radford University in Virginia. He is also a 2011 alumnus of Art Leaders of Metro Atlanta, a program sponsored by the Metro Atlanta Arts & Culture Coalition. He led a team that won a 2011 ADDY Award from the American Federation of Advertising’s Atlanta chapter. He has held a number of leadership posts at Jackson Spalding as well, currently chairing the “Green Team,” which promotes environmentally sound internal practices. Outside the office he is an active volunteer in the Grant Park community.
Tube Takes the Cake Fay Tenenbaum, “The Cake Lady,” with some of her fans. Producers Brittany Tenenbaum and Adam Hirsch recently enlisted Tube to work on their film, “The Cake Lady.” The project documents the life of Fay Tenenbaum, 89, as she transitions from her house into an assisted living facility. She’s lived fully and vibrantly ever since she got off of her train from Brooklyn in 1947, and has no plans of stopping anytime soon. Over her 74 years Atlanta she has raised four children, six grandchildren, cooked approximately 3,328 Shabbat dinners, and possibly twice as many of her famous pound cakes. A firm believer that you can’t have your cake and eat it too, Fay gives away dozens of cakes every week to everyone from her local firefighters, a neighbor with an upcoming birthday, or even her mechanic. Her generous spirit and positive attitude have made her somewhat of a local legend in her community, where she has earned the unofficial title of “the Cake Lady.” Tube provided finishing touches, including motion graphics, editorial assistance, voice-over recording, color correction, and audio-mixing. Chris Downs, Tube’s owner and creative director, developed a graphic brand for the film. Meanwhile, Hirsch and senior editor Greg Partridge developed the final edit. The film’s heartfelt narration was voiced by Tenenbaum’s granddaughter and producer, Brittany Tenenbaum. “Cake Lady” is being submitted to film festivals nationwide.
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Giant Move RadioactiveGiant has opened a multimedia studio in Atlanta, Georgia. Current projects slated for development and production include feature films, original television and interactive digital media products to be distributed across multiple platforms including IPTV, smart phones, tablets as well as terrestrial media services worldwide with direct-to-consumer and multi-screen content for residential and commercial pay-TV markets. RadioactiveGiant is a content producer and multi-platform distributor of 2-D and 3-D feature films, TV, live broadcasts, made-for-web and other innovative media formats from major studios, TV networks, independent producers, media publishers, advertisers and interactive media developers worldwide. RadioactiveGiant develops multi-screen media channels for delivery by fiber, satellite and IP transport, media networks that utilize advanced IP features including interactive content that enables dynamic data capture and exchange, digital commerce, one-to-one profiling and audience relationship management. “In the golden age of anytime, anywhere media, it takes the world-class infrastructure, deep talent pool, resources, business incentives and support that Georgia offers for a company like ours to stay competitive in the global market and continue to produce great products,” said Albert Sandoval, CEO of RadioactiveGiant. “As the paradigm continues to shift and digital platforms evolve, so will opportunities for delivering and monetizing new and diverse content as well as rediscovering over a hundred years of existing content. We look forward to utilizing all that Georgia has to offer to enhance our business and product offerings while contributing to new standards in global entertainment.” “Georgia works in aggressive ways to be the go-to place for digital entertainment companies like RadioactiveGiant,” said Chris Cummiskey, commissioner of the Georgia Department of Economic Development. “From the talent coming out of our universities, our progressive business environment, and a host of other comprehensive resources, Georgia is intentional in our efforts to help digital entertainment companies remain innovative and competitive here and in the global marketplace.”
ASO Busts a Move
Baird Adds New Camera Car
Ames Scullin O’Haire (ASO) debuted its new fully integrated ad campaign for Georgia Natural Gas (GNG) in September. The new “Savings to Live Your Life” campaign launch also marks the debut of ASO’s new creative direction for the natural gas provider that highlights how GNG’s simple plans and simple savings allow customers to spend time doing what they enjoy most – living. The broadcast and online ads’ soundtrack is the 1989 hit song “Bust A Move” by Young MC. The “Savings to Live your Life” campaign uses a variety of images of people of all ages and diversities enjoying their lives as they cook, go mountain biking, tailgate, play with grandchildren and more. “This campaign acknowledges that Georgia Natural Gas makes customers’ decisions to select us an easy one, because we offer simple plans and savings so you can get back to living your life,” said John Jamieson, vice president, Retail Energy Operations, AGL Resources and senior vice president, SouthStar Energy Services. The new campaign will be seen across Georgia on TV, in print, online and via direct mail and out of home.
Red Cape in Post “The Red Cape” is a film short about the 1898 race riot in Wilmington, NC. Black citizens were growing in prosperity after the Civil War, which inflamed those harboring confederate sentiments. Nine wealthy white citizens orchestrated a plan to push blacks out of the city and replace the bi-racial government with an all-white regime. They succeeded. The coup led to numerous other race riots at the turn of the 20th century, and was a springboard for the Jim Crow laws that disenfranchised blacks through the 1960s.
The newest camera car in the Baird Camera Cars fleet. Baird Camera Cars released its newest camera car. Powering this brand new Chevrolet Silverado 3500HD is a Duramax Diesel with an Allison transmission. This camera car features numerous upgrades. A 160amp generator is provided. It will accommodate both a 15’ and 30’ Technocrane. Optional sideboards can be inserted giving the crane operator a full range of motion. Numerous courtesy electrical outlets are located both inside and outside the camera car. Air bag suspension creates a smooth ride. Since coming online, the new camera car has worked on numerous feature films in Atlanta and the Southeast as well as projects for NASCAR, “The Walking Dead,” “Vampire Diaries” and other television shows based in and around Atlanta. Baird Camera Cars is also keeping busy supplying process trailers, tow dollies and tow bars for unlimited configurations and perfect shots.
The producers of the short rallied film professionals, as well as colleagues at the University of NC Wilmington, to work on the film. However, the first bout of media coverage brought a slew of hateful correspondence. “Our interest in the race riot attracted heated emails and cryptic phone calls in the middle of the night,“ says Atlanta-based producer Brendon Murphy. The producers took this as a personal challenge and continued their efforts, funding most of the production themselves. They avoided the media where possible, allowing them to reduce attention while filming in all of the actual historical locations. Four years later, they have a historically accurate re-creation of the event on 35mm film. The visual effects are being supervised in Atlanta. “This has been an incredible journey, but also the most difficult thing I’ve ever done,” says Murphy, who also manages LionStar Films. “My hope is that our work will prove valuable for generations to come.” Some of the footage can be found online, and financial support for post production can be made through the film’s kickstarter page.
Brendon Murphy, Producer, on the set of “The Red Cape.” www.ozmagazine.com OZ MAGAZINE
Biscardi Lands Season Two
Co-hosts Bruce Burkhardt and Caroline Raville on location for This American Land. Biscardi Creative Media (BCM) is back on public television for a second season with its work on ”This American Land.” “We keep calling this the ‘little show that could’ because for a national television series, particularly one with so much travel involved, we’re a very small creative team,” notes managing producer Walter Biscardi, Jr. Created by world-renowned Executive Producer Gary Strieker and featuring veterans Marsha Walton and Bruce Burkhardt along with newcomer Caroline Raville, ”This American Land” provides timely, engaging stories about wild places and the passionate people that are devoted to pro-
tecting those treasures for us all. In addition to its original stories, the series showcases segments from participating local public broadcasting stations in each episode, drawing attention to the special natural resources of that locality and what local people are doing to protect them. The show also has the segment “Science Nation,” reports from science & technology correspondent Miles O’Brien. With so many locations and a changing technological climate, Biscardi says ”This American Land” presents a host of challenges for the BCM team. “We use photographers from all over the country to help cut down on travel costs and as such, many different types of cameras are being used for the series. For the post production process it’s up to us to not only edit the stories, but manage the many formats that come in and make an engaging and beautiful high definition show for the viewer.” “This American Land” season two began airing in July on Public Television stations nationwide. The series is distributed by NETA (National Educational Telecommunications Association).
Face On Face Off Netherworld’s Roy Wooley has a run on the Syfy Channel’s “Face Off.”
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This fall Roy Wooley, chief makeup artist & creature designer at Netherworld Haunted House, competes on Syfy channel’s “Face Off” along with some of the best makeup artists in the industry. The series is a competition and elimination event that explores the world of special effects makeup artists and the unlimited imagination that allows them to create works of living art. Each week contestants are challenged on a wide range of skills sets including prosthetics, 3-D design, sculpting, eye enhancers, casting and molding. Judges include three-time Academy Award winner Ve Neill (“Pirates of the Caribbean,” “Edward Scissorhands”) and Hollywood veterans Glenn Hetrick (“Heroes,” “Buffy the Vampire Slayer,” “The X-Files”) and Patrick Tatopoulos (“Underworld,” “Independence Day,” “Resident Evil: Extinction”).
Piedmont Healthcare from Riot Atlanta’s and Company 3’s work for Feels Better Screen grabPiedmont Healthcare’s “Feel Better” campaign.
Mountain Bling Congrats to Mountain View Group, Ltd. and its client partners for winning a slew of regional, national, and international awards recently for superior work in communications, advertising, and digital media production. “Imagination Jam Manifesto Video” for GE Energy: CINE Golden Eagle Award, IABC/Atlanta Golden Flame Award, LACP Spotlight Award, MarCom Award, Ad Club ADDY Award. “The Power of Partnerships” for The Coca-Cola Company: CINE Golden Eagle Award, MarCom Award.
Riot and Company 3, subsidiaries of Deluxe Entertainment Services Group Inc., collaborated with Big Table Agency to create spots for its new Piedmont Healthcare “Feel Better” campaign. The spots are part of a company rebranding strategy, which includes a new name and a new logo. With the “Feel Better” campaign, Piedmont and Big Table take an artistic approach to the television campaign. The spots evoke the viewers’ emotion by depicting happy and healthy post-care patients enjoying life with friends and family; no doctors, no examination rooms, no medical devices. Riot Editor Kyle Kramb spoke to the creative license he was given on the project. “We started with roughly five hours of footage, a loose script and a music track. It was a collaborative process between Deron Hoffmeyer, VFX/Flame Artist; Billy Gabor, Company 3’s colorist; and me. I put the editorial puzzle pieces together to craft the story and Billy manipulated the color files to create the dramatic black and white images.” Gabor and photographer-turned-director, Pat Molnar, “set looks” a couple of days before the final grade. At the beginning of the final grading session, Gabor took Agency Producer, Nancy Landesberg, Copywriter, Kevin McKelvy, and DP, Jordan McMonagle through the setups, and they were blown away. The final graded shots were punchy black and white. Each vignette was branded with a motion graphic of the new, colorful company logo.
“What is GE Energy?” for GE Energy: LACP Spotlight Award, Pixie Award, Ad Club ADDY Award. “In Their Own Words” for The College of Saint Rose: LACP Spotlight Award, MarCom Award, Ad Club ADDY Award. “Radar Systems” for Raytheon: LACP Spotlight Award, MarCom Award. “World of Coca-Cola 1886” for The Coca-Cola Company: Ad Club ADDY Award, MarCom Award. “Indiana Live! Campaign” for Ypartnership: MarCom Award. “Stryker Triathlon Knee” for Stryker Orthopaedics: LACP Spotlight Award, MarCom Award. “Raytheon Exoskeleton XOS2” for Raytheon: Pixie Award.
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One Source, One Call, 24/7 Atlanta’s most comprehensive production equipment supplier for over 25 years. www.pce-atlanta.com 800-537-4021 404-609-9001 2235 DeFoor Hills Road, Atlanta, GA 30318
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Arketi Work Wins
Hollywood Trucks are the Fastest
Arketi Group and Knowlagent were awarded a Bronze Stevie Award in the small budget marketing campaign category in The 2012 American Business Awards for its “Productivity Plus” campaign. Knowlagent, the leading intraday management solution for the world’s 10 million call center agents, partnered with Arketi on an integrated marketing and public relations campaign including webinars, blog, survey, executive roundtables, media relations and branding. The campaign contributed to Knowlagent’s growing annual contract value by 30 percent and earning 169 media placements reaching 8.5 million readers.
Hollywood Trucks, LLC has been recognized by Inc. Magazine as one of the fastest growing companies in North America. The entertainment transportation company is ranked #3 of fastest growing companies within the state of Louisiana, and #15 among all national logistics & transportation companies in the United States. The company ranked #676 overall in the Inc. 5000.
On the pro bono front, Arketi will execute strategic public relations, digital marketing and brand development activities for the remainder of 2012 for the National Down Syndrome Congress (NDSC). The plan is designed to drive greater visibility for the NDSC and its efforts, both surrounding and following its annual Convention. The NDSC is a leading provider of information, support and advocacy for individuals with Down Syndrome and their families. On the client side of the biz, SalesLoft, a sales intelligence software company, has engaged Arketi Group for digital marketing efforts. As a Technology Association of Georgia (TAG) Business Launch finalist, SalesLoft received complimentary public relations and digital marketing services from Arketi. During this initial engagement, Arketi completed messaging, presentation and sales materials, and advertising for SalesLoft. SalesLoft then expanded its engagement with Arketi and will continue to partner with the firm on digital marketing projects in key markets. SalesLoft delivers consumable and actionable sales intelligence to help businesses close more deals through the power of data. By providing sales representatives with a customizable stream of news, information, and alerts on the companies and people they care about, SalesLoft increases their revenue and improves sales cycles.
“We are humbled and thankful to be included in such a prestigious list,” says Andre Champagne, founder and CEO of Hollywood Trucks. Founded in late 2007, Hollywood Trucks has grown from two employees and seven vehicles to 15 employees and over 300 vehicles. They also maintain a presence at Raleigh Studios Atlanta. The company’s rapid expansion will continue over the next two years as more than 100 units are added to the Louisiana fleet, followed by domestic expansion into Park City, Utah and Los Angeles, California, along with an international expansion into Toulouse, Haute-Garonne, France and Shanghai, China, a market quickly emerging as an economic force in the entertainment industry. “The whole company is excited about embarking on our largest expansion to date. It’s been very invigorating,” says Champagne. “And as we expand, we will continue our mission of deploying new products previously never available to the entertainment industry.”
New PRSA Champions
And, the Winner Is . . .
Caroline Sanfilippo Huston and Lisa Newbern are PRSA Champions.
After over 20 years in business, Encyclomedia wanted to find a big way to give back to the community, so they decided to give away a $50,000 video to a nonprofit organization. Encyclomedia announced the winner of the contest at their Studio Quinceañera in August where they were celebrating their 15th year in their Candler Park studio. And the winner is . . . The Dentistry for the Developmentally Disabled Foundation. The DDD Foundation offers accessible, comprehensive treatment to patients with developmental disabilities in the metro Atlanta area. Managing partner Lance Holland says, “We’re excited to be able to give the DDD a great video as they are so very deserving of it. We’re glad that we’ll be able to help them continue their important work. They’re the only facility like this in the Atlanta area, and they make a huge difference in the lives of their patients.” The video will be an integral part of a capital campaign to support the construction of a new office. Their current office is in an office park that is slated to be demolished.
Caroline Sanfilippo Huston and Lisa Newbern earned Chapter Champion Awards from the Georgia Chapter of the Public Relations Society of America. Huston is Public Relations Manager for InterContinental Hotels Group’s (IHG) upscale brands, Crowne Plaza Hotels & Resorts and Hotel Indigo. She joined IHG in 2003 and has held several roles of increased responsibility, moving into her current role in June 2012. She holds a bachelor’s in journalism and a master’s in business administration, both from University of Georgia. A PRSA member since 2004, she has served as co-chair for the Travel and Tourism Special Interest Group (SIG) from 2006 to 2011. Currently, she is a member of the Professional Development Committee, assisting with coordination of some of the pre-luncheon seminars and is also participating on this year’s Phoenix Awards Committee. Newbern is the Chief of Public Affairs for Emory University’s Yerkes National Primate Research Center. Her experience also includes working for a leading international public relations agency and for the headquarters of a national non-profit organization. She earned her communication degree from Florida State University. During her 24 years as a PRSA member, she has served on seven committees including this year’s Annual Conference Committee, co-chaired the Chapter Awards and Pro Bono committees and served as a frequent volunteer at the Real World Collegiate Conference.
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Encyclomedia’s Studio Quinceañera turned out to be a great night with music by WILD WEST Picture Show, Kenny Howes and the Wow!, and Zruda. The Mobile Marlay Food Truck was there with some delicious offerings, and Corporate Events Unlimited provided a giant bouncy house and sombrero toss. SweetWater Brewing Company served up tasty beverages, Active Production and Design brought a great stage, and Atlanta Pro AV provided the audio setup.
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New faces at PC&E: Jaime Kaufman, Sales Assistant; Matt Mabry, Lighting and Grip Warehouse; Bob Sanders, Lighting and Grip Warehouse Manager; Christopher Lamb, Stage Assistant; and Tony Phillips, Stage Manager. PC&E welcomes some new faces as it grows: Jaime Kaufman, Sales Assistant; Matt Mabry, Lighting and Grip Warehouse; Bob Sanders, Lighting and Grip Warehouse Manager; Christopher Lamb, Stage Assistant; and Tony Phillips, Stage Manager.
Matt Mabry Christopher Lamb
The Rosco LitePad kit is a new addition to the lighting and grip inventory. The Pro Gaffer’s kit is the most comprehensive of all the LitePad kits and includes twelve LitePad Axioms and a wide range of accessories. The kit is daylight balanced with a versatile and extensive set of lighting tools.
PC&E also added the Tessive Time Filter to its camera inventory. This new system substantially improves the representation of motion. It is a supplemental shutter for the camera that attaches in front of the lens and smoothly shapes the amount of light allowed to expose the sensor over the course of the time of each frame. A normal shutter transitions instantly from dark to light and later from light to dark. The Tessive Time Filter has a smooth, graded transition in both directions. Contact the Camera Department for more information.
In addition to a passel of new employees, PC&E has added two new Optimo lenses to its inventory. The Optimo DP 30-80 and Optimo DP 16-42 have an aperture of T2.8 and are lightweight and compact PL mount zoom lenses. These lenses are designed for digital cameras and are great options for PC&E’s Sony F65, ARRI Alexa, RED Epic, and Sony F3 cameras to name just a few.
If you are a former employee of PC&E, please tell them what years you worked there and what position you held. Send info to Loren Smith, firstname.lastname@example.org.
New Faces & New Gear at PC&E
2013 will be PC&E’s 30th Anniversary. They are starting work now on a special project and would love for everyone to help. If you have any pictures or stories that include PC&E equipment, people, stages, etc., share them with PC&E.
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In a Sixtieth of a Second Celebrity photographer Guy D’Alema has released his new book entitled: “Limelight … in a sixtieth of a second” highlighting images from his more than four year stint as the house paparazzi for the internationally acclaimed Atlanta hotspot, The Limelight, in the early 1980s. Here for the first time is a collection of photographs taken from his personal collection showcasing the talent, the patrons, the theme parties, the creative team and behind-the-scenes images. Many of the photos have never been published before. The 80-page book has 140 black and white or color photographs of some of the top celebrities who visited the Buckhead nightspot. Those featured in this book include: Andy Warhol, Grace Jones, Divine, Ann-Margret and Peter Allen . . . to name but a few. The theme parties were outrageous to say the least, and they included parties with titles like: “Bare as You Dare,” “Pajama Party,” “Heat Wave,” “Ship Wreck” and “Tropical Nights.” Never before published images of renowned club owner Peter Gatien, with his creative team and many of the celebrities, are featured throughout the book. Included in this collection is the international news photo of Anita Bryant dancing the night away with known gay evangelist, Russ McGraw. This was D’Alema’s first international photo release through Associated Press. The photo was a front-page story in the Atlanta-Journal and was carried in over 250 domestic newspapers and magazines including Newsweek and Playboy. The author describes his start as the paparazzi for the club and how it all began for him in 1981. The captions offer background on the club and the events that went on inside the walls and under the lights. There are two editions of the book: the standard edition which is 10 x 8 landscape format and the limited edition which is 13 x 11 landscape, signed, numbered and limited to 100 copies. The limited edition also includes a signed, numbered, limited edition, color 8 x 10 photograph of the signature Limelight Neon Backdrop on metallic paper stock.
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Passing the Talent Torch Shay Griffin of Chez Casting, Inc. will be turning over daily casting reigns to Kris Redding. Together, they combine 25 years of casting experience. With Georgia now one of the leading locations for films in the country, the company is preparing for the future. They recently cast “The Internship” for 20th Century Fox, directed by Shawn Levy and starring Vince Vaughn and Owen Wilson. The company also casted the just released “Trouble with the Curve” starring Clint Eastwood and Amy Adams, worked as scout of Atlanta talent for ABC’s pilot of “Nashville,” and A&E’s “Coma” showcased a record number of Georgia talent.
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Griffin, long recognized by her peers for her “eye for talent,” will continue to work with actors to develop their skills. She will also consult with Redding on casting projects. “It is time to build a larger professional talent pool to accommodate the needs of the film industry. Television series and films demand a large number of talent on an ongoing basis. I would like to spend more time encouraging the growth of local talent to meet that need” Griffin said. Redding brings additional experience from casting “hard to find faces” for commercials as well as industrials and reality television. She will run the company’s day-to-day operations. Griffin is a member of the Casting Society of America. She served on the five-member committee that was instrumental in promoting and passing the tax incentive for the Georgia Film Industry. She has also served as Vice Chair for the governor’s entertainment commission.
Grow Who You Know.
Three Squared at Work The Shopping Center Group partnered with the Three Squared team to re-design its corporate website to offer an engaging user experience tied to retail real estate. The new site incorporates the newly refined logo-mark from their previous branding efforts in 2011. The new website will also provide a new Content Management System (CMS) to enable a relevant, scalable and sustainable online experience to support the continued growth and success of The Shopping Center Group. Three Squared’s video production team was selected by Goodwill of North Georgia to produce a video highlighting the Goodwill Youth Program. The highly successful Goodwill Youth Program is tied to a self-schooling effort that is aligned with a specific corporate sponsor. The goal of the program is to help put young people to work in jobs they might not otherwise have an opportunity to land.
Georgia Tech and IMG Sports Marketing worked with Three Squared to create LED video segments for 2012-13 sporting events. The effort includes creation of LEDs for the Georgia Tech Football and Basketball venues as well as support for Georgia Tech Corporate Sponsorship Partners.
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d e s s e r I m p t h e Se t on of the most
-- - - -L-UENTIAL INF e l p o pe some
i n Ge orgia â€™s film prod & t el u ct evis
By: Ni chol e
ion ion i ndus try
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t Par 1
For people who work in the film
industry, work is more like a labor of love. At times, it even looks like a love affair— unpredictable, heady, and all-consuming. Those under its spell can’t explain it; they only know that this is it! In this article, part one of a twopart series, six Atlanta-based power players in the TV and film industry share how and why they got into the business, their joys and frustrations, what keeps them going, and why, in spite of it all, they’re in it for the long-haul.
article continues on p. 16
An Exercise in Symmetry:
Angi Bones and Dianne Ashford, Symmetry Entertainment
For most of her life, Angi Bones had been unaffected by the glitz and glamour of Hollywood. A California native, Bones regularly saw film sets and production crews, and considered the trappings that came with them to be an ordinary part of life. What did grab her attention and make her excited was her job as a law enforcement officer with the Los Angeles Police Department (LAPD). “I wanted to work with the DEA. That was my passion,” Bones says. But that passion would soon be tested by something she read on a flyer one day at her mother’s place of work. “They were looking for volunteers for a film,” Bones remembers. “I thought, ‘Cool. I don’t know what it is, but I’ll do it.’” It turned out to be an unpaid internship on the film Panther, which was directed by Mario Van Peebles. Bones was hired, and eventually was offered a paid production assistant gig, something the divorced single mom couldn’t pass up. ”I thought, ‘It pays $500 a week? Great. That’ll pay for daycare. I’m in.’” And she’s been in ever since. Bones left her job at LAPD (in fact, she purposely skipped her test with the Sheriff’s department to work on set) and rapidly climbed the production ladder, working as an extras casting director, producer, and assistant director on a number of films, including “Blade,” “The Antoine Fisher Story,” and “Training Day.” A former assistant director and co-producer for Tyler Perry Studios in Atlanta, she also worked on the films “Why Did I Get Married” and the hit cable sitcom “Meet the Browns.” One episode of a TV reality show was all it took to convince Bones’ business partner, Dianne Ashford, that there was more to life than a 9 to 5 corporate job. Ashford, an Atlanta native and Florida A&M University graduate, was living and working in St. Louis when an MTV show about a young woman on her quest to become an actress got her attention. ”I knew I wanted to be in the business somehow. Casting intrigued me,” she says. So, she called a former college friend, Rob Hardy, who, along with FAMU alum, Will Packer, had started a company in Atlanta called Rainforest Films. “I told him I wanted to get involved in film,” Ashford says. “He was working on a film called “Pandora’s Box”
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and said maybe I could come to Atlanta and work on it. I said, ‘Yeah, I could come to Atlanta on the weekends and work on the film.’ Rob was like, ‘You can’t just come and work on the weekends.’” She laughs. “I didn’t understand the time commitment that would be involved.” Ashford applied for a producer’s internship, took a 30-day leave from her job, and headed to Atlanta to work on the film. Thirty days later, she returned to St. Louis and resigned from her job. She moved back to Atlanta, and within a year, was working with Rainforest, handling distribution on the films “Lockdown” and “Motives.” It was on the set of “Motives” that Ashford and Bones met in 2003. The two women developed a rapport and kept in touch after production wrapped. One day, during a phone conversation, Bones shared her dream of owning a production company. “I’m sitting there listening to her, and I’m dying,” Ashford recalls. “I’m thinking, ‘I want to be in business with her.’ I think a day passed before I called her and said, ‘Hey, how about us going into business together? Maybe we could be the female version of Will and Rob.’” In November of that year, the two women formed their company, and called it Symmetry—to illustrate how their different skill sets complement each other. “Dianne had distribution experience and I knew how to make the movie,” Angi says. The women got to work immediately, partnering with Rainforest a few months later to make their own movie, “Trois 3: The Escort.” The movie was released in 2005 on DVD. Today, Ashford and Bones are in post-production for a new film, “Echo at 11 Oak Drive,” which they hope to preview at the BronzeLens Film Festival in Atlanta this November. Bones, who is also producing a movie for BET with Bobbcat Films, reflects on the long road she traveled to get here. “I remember working as a PA, 18 hours a day, with no insurance, and my mother saying, ‘I don’t get it.’ It’s in your blood, or it’s not. Skip film school. Do a month on a film to see if you want to be in this. It’s something you’ll be able to know right away.”
Tom Luse, Line Producer, The Walking Dead
Photo Credit: Scott Garfield/AMC
Tom Luse knew right away that “The Walking Dead” would be a hit, but he thought it would only resonate with lovers of a certain genre. He had no idea it would break network records. The show, which chronicles what happens during a zombie apocalypse, debuted on AMC on Halloween 2010 and earned the highest ratings ever for the cable network. It’s about to enter its third season. “Our show is about a world gone mad and how you survive that. I didn’t think it would be a mainstream success. It’s a testament to the writers and actors. They’ve taken the material and elevated it to make it compelling,” he says. Luse, whose credits include “Remember the Titans,” “Jeepers Creepers,” and “Glory,” is currently Line Producer for “The Walking Dead,” which is filmed south of Atlanta in the small town of Senoia. Luse’s job is to help realize the director’s vision—to make a compelling script equally compelling on screen—something he says is no small task. “There’s always something you don’t know or have to figure out,” he says. “For instance, how do you float an army of Civil War soldiers down a river? How do you replicate period football? How do you fill up a stadium with people wanting to hear a marching band? We’ve had to do all those things. That’s the fun part of it. There is no clear roadmap.” Nor was there a clear roadmap for Luse’s foray into film. He attended graduate school at Georgia State University, where he studied psychology. While there, he enrolled in film classes, at the suggestion of thenprofessor Kay Beck. He made a 30-minute documentary for his Master’s thesis that won an award from the American Film Institute. Eventually, Luse was hired as an intern at Jayan Films, an Atlanta-based commercial production company and from there, held a number of jobs, including production manager, prop master, and location manager. When asked whether pursuing a film degree, as he did, is the ideal way to break into the industry, Luse offers this advice: “It’s not about the pedigree of your degree. There are skill sets you can develop, but it’s really about your level of talent, passion, and communications skills. You have to have great communications skills. No one person can make a film by himself or herself. There is no direct path.”
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Carl Clifford, Line Producer, Single Ladies Carl Clifford’s path took him from Atlanta to Oklahoma to New York and back. Clifford is Line Producer for VH1’s hit TV show, “Single Ladies,” which follows three single women in their search for love and happiness in Atlanta. Clifford graduated from the University of Georgia with a degree in theater, but being part of the Who’s Who in Hollywood wasn’t on his agenda. “When I graduated from college, I had no clue what I was going to do. I wondered if I should go into the art department or production. I really never had any great goals or aspirations. It just kind of happened,” he says. After graduation, Clifford and his girlfriend headed west, to Oklahoma. Later, he went to New York where he started bartending. Even though he was making a lot of money, he decided to quit his job and take an unpaid position as a production assistant. Clifford eventually moved up to production manager and moved to LA, but came back to Atlanta
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in 2000 to care for his ailing father. The film and TV industry here had slowed down, as production companies followed the money—in the form of better incentives—to places like Canada and Louisiana. “It was pretty quiet in those days,” he remembers. Still, he landed a job as Unit Production Manager on “Warm Springs,” the HBO biopic about Franklin D. Roosevelt starring Kenneth Branagh and Cynthia Nixon. The movie came out in 2005 and won an Emmy for Best TV movie. That project led to work on other films, including “Stomp the Yard” and “The Blind Side.” Clifford began work on “Single Ladies” when it premiered in 2011, and is now preparing for the show’s third season. Not bad for someone who never had grand aspirations for a grand film career. Looking back, he says he wouldn’t do things differently. “If one is able, contact a production company with a resume and say, ‘I know you don’t know me. Let me come in and work for you for a week or two and let’s decide if you can use me or not.’ If you’re not up to the task, you’ll find out very quickly,” Clifford says. “It’s not about getting kids to work for free. It’s about seeing what they’re made of. Hopefully, eight times out of ten, they move along and are successful.”
Lee Thomas, Director,
Georgia Film, Music & Digital Entertainment Office
One’s odds of becoming successful in Atlanta’s film and TV industry are greater today than they were just a few, short years ago, thanks to the tax incentive that was revamped by the Georgia legislature in 2008. Lee Thomas, Director of the Georgia Film, Music & Digital Entertainment Office, remembers when chances of getting regular work in the industry here were a lot slimmer. She started working in the film office in 1996. “At the time, working freelance was very dangerous stuff. It was hit or miss. There was no guarantee of ongoing work.” Now, Thomas says, things have changed. “Whereas you would work as a PA for a long time, you’re seeing people move up quickly in this market. The good thing about the market today is there are so many opportunities. You have to be persistent. Once you get one job, you continue to get another job and another.” Thomas, who is originally from the South, earned her undergrad degree at Marist College in New York. She started a Master’s program in art history, then changed to film. After earning her doctorate in film from New York University, Thomas worked with the Brooklyn Arts Council. Eventually, she decided to come home. “I loved living in New York, but I really missed the South. I thought, ‘This is where I want to be.’” She was hired as an administrative assistant in the film office, and worked in marketing and placement before then-film commissioner Greg Torre made her a location scout. Thomas says in those days, the decision by
production companies to shoot in Georgia was purely location-driven: producers would send the film office a script, which she and her team would break down shot-by-shot. Then, they’d run around taking pictures . . . on 35mm film . . . of all the locations that could work for the shot. “We spent all of our time running back and forth to Wolf Camera to develop the film,” Thomas recalls. Then, they’d tape the photos together and send them to the producer. Thomas’ team still puts together packages (digital, of course) showcasing various locations that might be suitable for a shoot. But now, production companies have an extra incentive to film their projects in Georgia. They receive a flat 20% tax credit to shoot in Georgia and another 10% credit if they embed the state’s logo in the film title or credits. The incentive has been a boon to the state’s economy: It brought in an estimated $2.4 billion to the state in fiscal year 2011 and shows no signs of slowing down. “Today, people go from one show to the next,” Thomas says. “They don’t have much down time, and for crews, once they shoot in Georgia, the tendency is to come back. I love it. I love the crews. I love reading the scripts. Everything comes through this office. We get to be the first to show people around. We encourage them to hire Georgia people.”
From the set of “Get Low,” Lee Thomas (middle), with Producer Dean Zanuck (left) and Co-Producer Richard Rothchild (right).
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Mike Akins, Business Agent, IATSE 479 When production crews hire Georgia people, Mike Akins is a happy guy. As business agent for the International Alliance of Theatrical and Stage Employees (IATSE 479), Akins and his team work to ensure the people behind the camera are paid and treated fairly. “The film industry is perceived as a glamorous, fun industry, but it’s somewhat like manufacturing, where workers have 12 hour days. In some cases, those days can stretch to 20 hour days. A number of variables control a workday. We negotiate minimum conditions that are important to workers,” Akins says.
Akins started working in the industry in the commercial market as a grip. Eventually, he got a job as a grip on “In The Heat of the Night.” That job, and dozens of others, ended in the mid-1990s. “Several people went to California and became A-listers in their industry. Here in Georgia, we maintained one or two projects a year,” he says. Akins stayed, and in 1999, ran for business agent of Local 479. He won, but continued to see Georgia lose out on new productions to places like New Mexico and Louisiana. He knew something needed to be done. In 2006, Akins and his team lobbied state legislators to improve the tax incentive that was introduced in 2005, to make it more competitive and attractive to production companies. Their work paid off in 2008, when HB 1027 was passed. “We finally became a major player in the film industry,” Akins says. “In one of the worst economic times since the Depression, we’ve been putting people to work. Legislators saw what a benefit the film industry is to the state.” Like all the film professionals featured in this story, Akins says the industry gets in your blood. “It took me five years to get into it. It’s taken me a lifetime to get out of it,” he quips. “It takes over your life. Once you get into a project, your family life, your personal life, is totally consumed.” Luse agrees, but he says the benefits of working in the film and TV industry can outweigh the challenges. “When you pull something off, it makes you feel like you’ve accomplished something. It’s not a ‘me’ business, it’s a team business. It’s a fair amount of risk and the hours are long in production, certainly, but it can work out great.” For these A-listers, who’ve stayed and loved the industry through thick and thin, it certainly has.
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behind the camera with drewprops
EVERYTHING was on fire, the gun was missing, nobody was sure what had happened to The Girl, and somebody said that a camera assistant was missing - possibly trapped inside the hellish inferno that had been our set just 20 seconds earlier. You know, the set that was currently melting our motion picture cameras into a clump. But forgive me; I’ve started in the middle (again). By the mid-1990s the Fox Broadcasting Company was deep in the process of becoming a legitimate competitor to the traditional “Big Three” networks, and in the spring of 1996, we found ourselves working on a pilot for an action-adventure series called “Lawless,” starring Daniel Baldwin. Danny was hired to play John Lawless, a rough and tumble private eye, or maybe he was a cop trying to prove that he’d been framed, or maybe he was a secret agent on the lam. It really didn’t matter what the premise was as long as it had car chases, gunfights, explosions and boobs. You know, the usual. It was the last day of shooting, and our set was a small singlestory house in the middle of the woods somewhere up in Gwinnett County, northeast of Atlanta. The long and winding dirt drive leading up to the house seemed comprised entirely of old muddy ruts, and on my way up I noticed a fire truck parked off to the side. It reminded me that we would be doing a fire effect on set that night. The scene was pretty typical, something you’ve undoubtedly seen before: the good guy is pinned down behind a bar hiding from a bad guy wielding an automatic weapon and holding a girl hostage. Realizing that he is surrounded by bottles of alcohol, our hero stands up and throws a bottle of vodka toward the fireplace. When the bottle breaks the atomized vodka ignites, creating a huge fireball, which is just enough of a distraction to allow the good guy to get the upper hand. I don’t know if they’ve ever tried to replicate this scenario on Mythbusters, but if they do, it won’t work because vodka does not have enough alcohol to catch fire and burn. The Hollywood trick is
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to set up some propane tanks behind the fireplace and have them blow out a controlled release of propane on cue, using a solenoid valve. It was our understanding that this was exactly the sort of setup that the LA effects crew was using. While the effects guys were getting their rig set up, the grips were outside, tenting in the house. This meant that they were sealing up all the doors and windows with a heavy black cloth known as Duvateen™ to make it look like night outside. Inside, across from the fireplace, the camera guys were staking out their camera positions and Roger Sherer was making the cameras extra-safe by putting a piece of very clear Plexiglas in front of the lenses to protect them from the initial burst of fire from the fireplace. Meanwhile, it turned out that the stunt team didn’t have a double for the actress being held captive, so production convinced the actress’ stand-in to work the stunt.
What the heck, it was the last day of the show -- what could possibly go wrong? Video village had been stationed about 15 feet away from the entrance to the little house, and when we finally started rolling into the stunt I joined the knot of crew mashed in at the monitor. Inside, the director called “action.” From off-camera, someone threw a breakaway bottle of vodka against the fireplace and on cue the fireplace belched out a giant poof of flame, which seemed to stretch across the room toward the cameras. The initial blast was really shocking, because for a split second, the increase of air pressure in the house made the flap of Duvateen™ hanging over the doorway shoot straight out at an angle. The fire itself looked AWESOME… but it didn’t stop. Flames just kept coming and coming and coming. We later learned that the solenoid had stuck in the open position, effectively turning the special effects setup into a really terrific flamethrower. Those cameras didn’t stand a chance. And the crew? Well, we know that the director ran down the hallway and jumped out a side window just behind video village, where we were watching the Plexiglas beginning to curl and bubble and sag under the relentless furnace blast. (For many years following this incident you could go to a local prop house to see the molten sheet of Plexi in person.)
There was SO much shouting and panic! I’m not sure why, but I followed the propmaster, Joe Connolly, around to the other side of the house just in time to hear somebody shout, “I think Bruce (Robinson) is still inside the house!!” and “Where is the girl??” As we came back around to the front of the house, they had pulled the water truck up near the door and somebody tossed me the nozzle to a water hose and rolled a coil of flat hose down the hill toward us. I bent down and grabbed the end of the hose and screwed the nozzle on just as the pressure hit the line. Joe helped me adjust the nozzle then said, “come on,” and turned to go inside the house. We were quickly forced to drop to a duck walk because the thick black smoke boiling out of the door was impenetrable. Within 20 seconds my pullover was wet, but that was good because I was able to breathe through it like a filter as I followed Joe deeper into the building looking for injured crew. Not long after we’d started into the house, I noticed that one of the local effects guys who was working for the LA effects guys had followed us in. He offered Joe a funny looking wrench – which seemed to be a really weird thing to be doing in the middle of a rescue mission. However, I had never participated in a rescue mission before so I just kept spraying water into the
black smoke. A few seconds later Joe pulled a lifeless white shape toward us from out of the acrid black fog – but it wasn’t Bruce; it was a propane tank. That wrench suddenly made a lot more sense. In short order Joe had the tank unhooked and turned to hand it to the effects man, who heaved it out the door behind us. Our rescue mission had somehow turned into a “defusing the bomb” mission, something I was entirely unprepared to tackle.
I WAS OFFICIALLY POOPING KITTENS! Before we backed our way out of the burning house, Joe unhooked another tank or two. And as we stood outside sucking in the clean, cool night air I spotted Bruce, safe and sound. After the initial panic had subsided it was determined that everybody had made it out safely. The only scary moment was hearing that the stand-in who’d been turned into a stunt girl had frozen when
things went wrong, and the stunt man playing the bad guy had to throw his gun down and help her run for an exit. We learned that the fire truck had been stuck in the muddy lane at the bottom of the hill, but they finally made it up to set and began extinguishing the remaining hot spots. I still laugh when I think about the love seat that they dragged outside and left near video village; for the rest of that long night it would unexpectedly erupt in flames again. But the most memorable post-fire image was the sight of three blackened Arriflex cameras sitting on the lift gate of the camera truck, looking for all the world like steamed clams. Astonishingly, the film had not been damaged! Behind the scenes our producer, the late John Ashley, called back to the office to tell production coordinator Katie Troebs that we’d had a bit of a fire and to get us some fresh cameras. Imagine the shock of the folks at the camera rental house when she phoned them up in the middle of the night to tell them that we’d cooked all of the cameras they’d given us, and could we please have some more? While the crew waited for new cameras to arrive, some ladies from the wardrobe department took us back to their trailer to get us toweled off and into some dry clothes. By the time the fresh camera equipment arrived we had calmed down from the
adrenaline rush of our “rescue” drama and had returned to set. I was even able to laugh at the regular flare-ups from that self-igniting love seat. One of the last scenes on our schedule involved a bomb detonator that Joe and I had cobbled together during prep. The director had seen and approved the prop several weeks before, but I think he must have been pretty rattled by his recent escape from certain death and had decided to concentrate all of his critical reasoning on this gizmo so he could stop thinking about the wall of flames. I remember being incensed by his request that we “add more switches.” And, while I don’t remember my exact reply to the man, I do remember Joe stepping over to give me some very practical advice that I will now impart to all of you: “Drew, we don’t yell at the director.” Not unless he ‘s on fire. www.ozmagazine.com OZ MAGAZINE
Television and the web are becoming one, and the lines are continually blurred between branded content, webisodes and TV series. Several local production companies are successfully riding this wave. They know that it takes wide-open storytelling and fascinating characters to draw an audience, no matter what content form it’s in or on what device it is being viewed. Each of these companies understands the “pitch process.” They are all smart enough to know that “you never know.” That is, you may pitch three really great ideas and one not so great one to a network or an advertiser, and sometimes they will go with what you thought was the not so great one. The individuals that make up the companies profiled here bring a wide variety of entertainment, advertising, film, web & TV production experience to their respective teams. And, they are good at getting the green light.
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before: below after: right
Allen Facemire, Mary Grace Higgs & Suzan Satterfield
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Mega Dens host, Anitra Mecadon
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u yo e m and
By Michael Wolff
Dear Reader, I’m writing to you about design in its widest contextual sense, because design, as a way of thinking, could help us to change direction and avoid ending up where we seem to be heading. Buckminster Fuller thought and said what we need to do. He said: “We need to move from a you or me world, to a you and me world”. “You and me” is what this letter to you is about. First of all, let me explain that I’m writing to you personally. If you’re reading this now, I’m writing precisely to you. It may be hard for you to believe this, because we probably haven’t met. But I don’t write to groups, I only write to individual people. So if you’re reading this now, I’d like to thank you. It’s the only way I know how to speak to you personally about our daunting situation. I want to share some thoughts with you. I think we’re at the point of exhausting the paradigm we’ve lived in, called “more,” and it’s time for a new paradigm to live in called “enough.” We’ve got “more” tangled up with success. So most “more” today is in the hands of relatively few people. Many who feel they don’t have enough “more,” feel compelled to have more “more” and obviously there simply isn’t enough “more” to go around. If you use the statistics that define the situation we’re in as a mirror, you’ll see how old and unworkable the “more” paradigm has become. Take a look at a website called “the miniature earth,” and you will be shocked. This site concludes with this phrase. “If you keep your food in a refrigerator and your clothes in a closet, if you have a roof over your head and have a bed to sleep in, you are richer than 75% of the world’s population.” Arguments like: “It’s always been that way and that these days many people have vastly improved their standards of living,” are weak when you look at this bigger picture. “More” has also corrupted the idea of competition. Instead of competing with our own past performance, most of us are still competing fearfully with everyone else. If you’re a marathon runner, what matters is how you improve your performance from your last one. If someone comes along who runs twice as fast as you, you can’t do anything about it. But you can, by competing with yourself, in any aspect of what you do, triumph over yourself. That’s the whole point of competition.
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In the first London marathon, just a few meters from the end, the leading two runners joined hands to run over the line hand in hand – “you and me,” not “you or me.” Running the fastest they could run was enough. Winning by just that little bit more was abandoned. Being the best you can be is “enough.” Craving to be the best there is becomes an obsession and an addiction. Being bigger, more famous, earning more, having more and wanting more than others inevitably deprives others, and that’s what’s driven the “you or me” crisis we’re facing today. It was encouraging to hear from Andrew Witty, the Chief Executive Officer of GlaxoSmithKline (GSK), a leading global pharmaceutical company, that they’re going to give away a new product they’ve discovered that will diminish the horror of malaria, and just charge a management fee of 5% for its distribution. It’s interesting to hear that scientists in Cambridge University may have found the means to eradicate Malaria altogether. These two institutions weren’t competing with each other in a race for “more,” they were competing with themselves to achieve results that will benefit mankind because they are mankind. They are “you and me.” In business mark-ups, margin and super profit have become the mantras that often emasculate quality. They’re driven by the “more” paradigm. Like cancer, growth becomes an end in itself. In the US today, many brands that you would know and whose products stood for quality, now just print their logos on products that are made for a variety of brands in the same factories. They depend on their brand name implying a qualitative distinction, which is no longer there. They’ve been corrupted by the margin and profit mantra, and because of this, any generosity of spirit, usefulness, durability, beauty and mutual interest with you and me, are often lost. These brands no longer compete with their past performance, they compete to kill each other. Ironically many of these brands are now in authoritative lists of huge US retail brands that are anticipated to fail. This is competition as suicide. That’s enough for me to say in a short personal letter to you, other than to invite you to think about the value and place of “enough” in your own life. Once again, by writing to you in this way, I’m asking you to think about the thoughts that I’m expressing. I know, although you may not, that you as an individual can inspire others and, and that they can inspire many others, until ultimately, between us all, we can change the hopeless direction in which I think we’re all travelling. Hope is the outer suburb of possibility and from possibility, as designers, each one of us can personally live in, and strive to fulfill Buckminster Fuller’s legacy: a you and me world of peace, harmony and enough for all of us. Affectionately yours,
Michael Wolff - A founder of Wolff Olins - among the world’s most iconic design companies. Now, as Michael Wolff and Company he works with clients around the world both as a designer and creative advisor. He’s a visiting Professor at Central St Martins (The University of the Arts in London) and at Cape Peninsula University of Technology (Cape Town South Africa). He’s a Senior Fellow at the RCA (The Royal College of Art), a member of the UK’s faculty of Royal Designers for Industry, and is the ‘Inclusive design champion’ for the UK Government.
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Lifestyles RICH & feature
Your culture, much more than your logo, is your brand.
So, how’s your brand doing?
By BOBBY L. HICKMAN
You do realize you have a brand, right? Everyone has one -- a personal brand and sometimes a corporate brand as well. Whether you work for a large agency, a mid-sized creative firm, or are a one-person shop providing videography or editing or marketing services, you have a brand. Branding is not simply your logo, a catchy tagline, how cool your business card looks, or whether you’re using the latest fonts and colors on your web site. It’s everything your clients and prospective customers experience – from how you answer the phone to how you deliver the finished product. To ensure brand consistency, everyone who interacts with external customers needs to be on the same page – not reading words off a script or a teleprompter, but conveying a common understanding of your brand identity and what your brand promises to deliver. Keeping your brand fresh and relevant is particularly important for creative businesses and individuals who provide professional services. But how do you do that? We asked three local brand experts for their tips on branding for the creative community.
that no matter how big or small an organization, branding begins by looking at the key people who interface with customers. Ask the internal team questions like, “What does our business do?” and “Why should someone choose us over the competition?” Travis says exploring those types of questions “provides a great starting place to put a spotlight on how even a small team may not be on the same page.” In addition to making sure your team is consistent, Travis continues, you want to make sure your understanding aligns with what your customers think and say. She says many businesses are afraid to ask their customers questions such as “How are we doing; why did you choose us?” and “Why do you keep coming back?” But those answers are critical to understanding the customer standpoint. “You may find that why people chose you in the first place is different from the reasons they continue to work with you over time,” Travis adds. Customers may initially choose to work with you because of your expertise in a particular field or industry segment. “But people keep coming back for different reasons – mostly because of the experience they have with you and your brand over time.”
The Brand Renovator: Linda Travis, Principal and Owner The concept of branding is often misunderstood, says Linda Travis, owner and principal of The Brand Renovator, which works with established brands to keep them current and relevant. “Many people think of the brand as just the company name or the physical logo,” she says. “But if you think of branding as your reputation – your personal reputation or that of your company -- you can get a better handle on how complex it is and what you need to do to manage your brand.” Since “brand” equals “reputation,” the term “branding” refers to all the things you do to manage that reputation. “Think about the experience you’re delivering to your customers or clients,” Travis says. She suggests
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“When The Brand Renovator helps a company revisit its core brand message and revitalize it,” Travis says,” the firm may conduct interviews and surveys internally and externally. We talk to the key relationships…they have to understand how the market perceives them,” Travis explains. “I always find that talking to some of your best and most long-term customers gives great information on a brand that’s in need of revitalizing itself. Often the company does not give itself credit for doing certain things, but the customers say that’s why they keep coming back. So you need to leverage that in the marketplace.”
Travis works with some startups, but mostly she works with established brands. Her firm’s motto is “Keep the best. Revitalize the rest.” When a brand has some history, she says, “The last thing you want to do is put all that history in the trash and reinvent the wheel.” Some clients contact her because they want a new company name, and, after talking to clients and company leaders, “We find it’s not the name or the logo that’s broken. They’ve lost sight of what’s valuable to their customer and how they are different in the marketplace, and they’re not really leveraging that well in their messaging and the pitches that they make. She often uses a quote from Mae West, the film legend and “quite the avant garde business woman.” Although she was not talking specifically about branding, West said, “It’s not what I say, but how I say it. It’s not what I do, but how I do it. It’s how I say it when I do it.” Travis adds, “That sums up effective branding: not just what you say you’re going to do, the brand is “the creation of a story based in strategy,” she adds. “That but that one-of-a-kind experience over time that’s consistent with what story is both verbal and visual, from selling the brand internally to how you answer the phone.” everyone bought into at the beginning.”
Brand Fever: Vicky Jones, President and Owner After 15 years in business as The Jones Group, this summer Vicky Jones completed a project to rebrand her company as Brand Fever. “We ‘walked our own talk’ with our own rebrand,” a five month project that included qualitative research and other steps that it also follows with its clients.
Jones notes, “We believe that great brands are rooted in research, and executed and brought to life through creative excellence. You need both to have a great brand.”
PM Publicidad: Eduardo Perez, President According to Eduardo Perez, PM Publicidad is a full-service marketing and advertising agency that focuses on the Hispanic market. “Many of our clients past and present have come to us at a point where they have not yet targeted their advertising and marketing towards Hispanics. They’re starting from scratch, either for the demographic or with the language, to develop their brand for that market.”
The firm specializes in brand intelligence, brand strategy and creative excellence. Forty percent of their work is in the interactive space. “We work with Fortune 100 and 500 companies as a creative agency partner; creating integrated marketing campaigns for their products and services,” Jones says. The other significant portion of Brand Fever’s clients is “primarily with $300 million privately owned companies that use us for The Hispanic market is booming, with spending power now well over end-to-end brand solutions.” $1 trillion, Perez notes. The Spanish population is also expanding outJones says Brand Fever begins with brand positioning based on qualita- side of traditional markets (like Texas, California and the Southwest) into tive research (such as surveys and interviews), and then moves to “craft- the Midwest and across the South. “Hispanics are an increasingly imporing their positioning in the marketplace. From there we build their key tant consumer for most clients and brands,” he says, “and a lot of clients messages for their external audience.” They also create a plan to launch and brands are still missing out on that market.” the brand internally and “make brand believers of their employees and their organization. Then we move into brand identity, based on those cohesive platforms. That’s where our creative excellence comes in, which is one of our differentiators. We have all this in one place under one roof, from research to strategy to creative excellence.” Then the process moves to the web site, “where we do another deep dive into user profiles, and research goals and action items of the users,” Jones adds.
Perez says his company has developed a process called the PM Way that works for the Hispanic market, as well as “the non-Hispanic general market, the African-American consumer or any other market.” The process goes through a number of steps and follows “a thought process about the client, their business, their products and services, and their ideal consumer. Then we distill all that understanding into branding for the Hispanic consumer.” He adds that the results for each client are different, Brand Fever works with new brands and rebrands of existing products “just as every client’s business, products and services is different.” and services. “What we do is build brand value at all brand touch points,” Jones says. That can include integrated campaigns for sales of certain Brand values are consistent for a given company and do not change for different consumer segments, Perez continues. “What changes is how products, the web experience or brand identity. you communicate those brand values.” A company may also change “Branding is about your positioning in the marketplace,” Jones says, “con- “which of the brand values are highlighted to the consumer through sidering such questions as: “How are you different?” “Why do you mat- positioning, taglines and so forth.” Sometimes the firm works with the ter?” and “What benefits do you offer your customers?” The creation of client to change the messaging or the taglines, but in other cases, those stay the same.
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feature Eduardo Perez “We find the brand values that are communicated to the Hispanic market and what has been communicated to the general market thus far are the same values,” Perez says. If it works, “you may simply translate the same tagline and messages into Spanish. But in other cases, it may need to be trans-created -- saying the same thing but in completely different words.” Perez notes that the initial branding approach at PM Publicidad “is similar to my experience outside the Hispanic market. Branding leads to strategy and then into tactics.” His firm begins its research with the clients’ internal stakeholders. “Consumers do not define the brand,” he explains. “The company defines the brand, or it is based on the company’s values. Once you articulate that to the consumers, they interpret the brand.” Some companies have well defined brands, he notes. “Well-established, clear cut brand positions are typically easier to work with.” However, he adds, there are also some large companies that have challenges defining or articulating their brand properly. Perez notes that some clients, such as NAPA Auto Parts, are already established in the general market. “You don’t have to be advertising to the Hispanic market for them to be familiar with your brand.” But for others, “there may be low exposure to Hispanic market, which presents a bigger challenge.” PM Publicidad has not done any complete rebranding projects. They work with clients to refresh existing brands for the Hispanic market. They have also “developed some brands from scratch for clients who wanted to develop products targeted specifically to Hispanics,” including new lines from Proctor & Gamble and Durex condoms. “We worked with a financial services firm to repurpose a stored value card/prepaid debit card as a less expensive way for immigrants to transfer money to relatives,” Perez continues. “They hired us to take their existing product and develop a new brand from scratch,” including a new identity,
logo and running a pilot campaign to test the approach. They also recently worked with a new bank in North Carolina that targets the Hispanic community. In addition to logo, taglines and messaging, “We even helped with the design of the first branch: the colors, interiors and layouts. For banks and other businesses,” he adds, “Sometimes the physical location is your brand.” For creatives who are not experts in this market but have clients who want to target Hispanics, Perez suggests teaming up with an expert. “There’s a very big difference between marketing to Hispanics and marketing in Spanish,” he says. “The former is the proper way to do it. If you’re just translating your general market messages into Spanish and throwing it out there – well, occasionally that might work; but in general, it does not work very well.” The clear message from rebranding is culture . . . and communication, tailored communication. And, to communicate that culture, you must know what your clients want and how he or she views your offerings. Keep your brand fresh and relevant, while others mimic themselves or the competition. You will exceed your client’s expectations.
Dr. Michael Gellman CHIROPRACTOR
A d v a n c e d C h i r o p r a c t i c , K - l a s e r , M i g u n M a s s a g e Ta b l e , Non-surgical Spinal Decompression
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1. Captain Drew led his crew in a rousing chorus of “99 Bottles of Rum in the Hold”. 2. When pirates run out of rum they come and take yours. 3. Pirate wenches blowing hornpipes. 4. Israel Hands instructed the pirate horde on how to dance the Virginia Reel. 5. The dreaded Cardbeard, from Cardboard*Con, made an appearance! 6. PiratePalooza’s traditional dancing of the Virginia Reel has become a favorite of onlookers, many of whom join in - PROMENADE!
Encyclomedia’s Quinceañera After over 20 years in business, Encyclomedia wanted to find a big way to give back to the community, so they decided to give away a $50,000 video to a nonprofit organization. What they didn’t realize at the time was how much they’d wind up wanting to make 27 videos, 1 for each of the awesome nonprofits who entered the contest. Encyclomedia announced the winner of the contest at their Studio Quinceañera on August 25, 2012, where they were celebrating their 15th year in their Candler Park studio. And the winner is . . . The Dentistry for the Developmentally Disabled Foundation. The DDD Foundation offers accessible, comprehensive treatment to patients with developmental disabilities in the metro Atlanta area. Managing Partner Lance Holland says, “We’re excited to be able to give the DDD a great video as they are so very deserving of it. We’re glad that we’ll be able to help them continue their important work. They’re the only facility like this in the Atlanta area, and they make a huge difference in the lives of their patients.” The video will be an integral part of a capital campaign to support the construction of a new office.
1. The Encyclomedia Roster 2. The DDD Foundation, the nonprofit contest winner Photo Credit: Russell Kaye
3. Jo Harwood and Producer Joan Karpeles, Encyclomedia Creative Partner Burt Holland and Emily Holland 4. Nonprofit contest finalist Hospitality Education Foundation of Georgia
5. Encyclomedia Creative Partner Burt Holland congratulates the DDD Photo Credit: Russell Kaye 6. Director Benjamin Barak and wife Erika Morgan 7. Nonprofit contest finalist Good Mews 8. Zruda
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Their current office is in an office park that is slated to be demolished. Encyclomedia’s Studio Quinceañera turned out to be a great night with music by WILD WEST Picture Show, Kenny Howes and the Wow!, and Zruda. They all rocked! The Mobile Marlay Food Truck was there with some delicious offerings, and Corporate Events Unlimited provided a giant bouncy house and sombrero toss. SweetWater Brewing Company served up some tasty beverages, Active Production and Design brought a great stage, and Atlanta Pro AV provided a sweet audio setup. Encyclomedia wants to give a huge thanks to everyone who came out to help them celebrate. Visit www.encyclomedia.net/nonprofitcontest to view all 27 nonprofits who entered the contest and check out the amazing work they’re doing in Atlanta and around the country. They could really use your support!
9 9. Encyclomedia and the Nonprofit Contest Finalists 10. Corporate Events Unlimited’s Bob Carrigan and Cameraman Kent Maxey 11. Atlanta Pro AV
12. Mike Steele and LionStar FIlms’ Ryan Seger 13. Encyclomedia Senior Editor Tim Richardson, Fifty-Eight Advertising’s Mike Gustafson 14. Emily Holland, Director/ DP Breck Prewitt, Lacey Glover, 44 Digital’s Executive Creative Director Thomas W Frank 15. PAVE, Inc Audio Engineer Reginald Simpson
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how i got into the business
Scenic Artist Visionary Mural Co. www.VisionaryMuralCo.com
Producer/Director/UPM/Stunts/ Casting Director and Agency Owner Michael@michaelshortt.com
How did you into the business?
Location Sound Mixer Whitney@prolocationsound.com www.prolocationsound.com
How did you get in the biz? After growing up in South Florida with a keen interest in Film and Television, I decided to attend The Savannah College of Art and Design (SCAD) with an intent to pursue Cinematography or Directing as I wanted direct influence on the picture and style of what I was working on. After many projects I came to realize how I really enjoyed crafting the sound of my projects more then the picture and with a shortage of people interested in Location Sound and Field Recording I decided to try it out. I immediately had an aptitude for it and decided that was going to be my specialty. My original intent upon graduating in 2004 was to move to New York or California however I decided to try and make it in Savannah where I am still today. I am mainly focused on corporate and commercial work but with the boom in film production I have mixed two features in the last year: Savannah and The First-ling which I am very proud of. Advice to those seeking to enter the business ? I am often asked about being in the Film Business and I tell people not to do it because once you get a taste of it you will never want to do anything else. I often tell people I have never had a real job, as this is all I have ever done and I love it so much. My other advice is only work in this industry if you enjoy waking up very early and not sleeping very often but in all seriousness it is a great business to be in.
I was the neighborhood kid that wanted to “put on a show”. I told everybody what to do (Producer) and how to do it (Director) and picked the right kid for the right job (Casting Director) and when it was time to jump the bicycle on a ramp over ten garbage cans (Stunts), that was me! In college I majored in Journalism (Advertising/PR) and Theater (Acting/Directing) and interned at a national ad agency. Years later, I started an Advertising Agency and Production Company; which led me to start a talent agency. How did you become a Line Producer? I had a client in Florida who asked me to assume operational control of his projects so that he could concentrate on the creative aspects. Afterwards I started getting similar calls, which lead to traveling and eventually getting the feeling of “running away with the circus”. Do you have any stories from the road? After a long day at an open call at a mall in Myrtle Beach, SC, I returned to the hotel, around 11 pm. There was a knock at my door, I opened it and there before me was a mostly undressed, attractive woman wearing a long coat, black boots and a smile. She said, “I want to be in your movie”. In a singular moment of clarity, three distinct thoughts flashed through my mind; 1) the crew is playing a joke on me, 2) she’s a cop, or 3) she’s nuts. So I caught myself and said, “Awesome. I’ll be back at the mall at 10:00 am, come see me.” and shut the door. What’s coming up for you? I have been working on features, TV shows, commercials and print projects and hope to keep being called, and I have a couple of films in the funding stage that will be shot in Georgia. Every day is an adventure and has been for a long time. I just want it to continue.
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How did you get into in the business? I graduated Magna Cum Laude with honors in art and art history from Wellesley College after studying architectural design at MIT and mural painting at SCAD, and then moved to Winston-Salem, NC where I painted murals for the Arts Council and private clients. Rebecca Fuller, of RAF Models & Displays, asked me to help paint a 3D model of Chickamauga National Military Park. I’d built models in school but never seen an airbrush, let alone worked with automotive paint, bondo, and fiberglass, but I jumped at the chance to try something new. Something new turned out to be donning a gas mask and working outdoors, attempting to airbrush a ten foot long, 300-pound fiberglass sculpture teetering on an unwieldy cart liberated from the local hardware store, while combating the weather and desperately trying to achieve the perfect balance of paint and thinner that would actually work without blowing away or gumming up the paint gun and splattering permanent blobs across the entire model. Let’s just say the learning curve was pretty steep. Among the museums, national parks, and companies we worked with was Krispy Kreme, our hometown institution that was going public. I sculpted four three-foot wide fiberglass doughnuts for two kiosk carts they were building - one to for Penn Station in New York, and one to be used in the filming of Primary Colors. How do you combine mural painting with 3D prop building? A few years later I moved to Atlanta and began specializing in fine art murals, trompe l’oeil illusions, and creating complete environments using 3D props like my recent Dali-inspired ceiling featuring a 3D melting clock. I also created an Avatar-inspired fantasy movie set for the first Next Cool Thing event with five other companies, where I painted a 10’ x 20’ mural starring a flying Ikran with a moving 3D head sculpted by one of my partners. Recent projects? 3D tombstones for Vampire Diaries, Teen Wolf and a trompe l’oeil mural of the Paris Opera House.
Director 404-822-9939 email@example.com www.jasonprisk.com
How did you get into the business? I fell in love with everything audio/video when I was a teenager and produced dozens of videos not even a mother could love (just ask her). After earning a degree in Radio and Television, I moved to Atlanta and was hired as producer/engineer on the syndicated radio show Jay Sekulow Live, then based out of Lawrenceville. I also began working with music clients as producer in the recording studio both here in town and in Nashville. My love for video prevailed, however, and I eventually transitioned my business to a production company doing content creation for corporations and non-profits primarily. Today, I continue to work as a director and as a DP on television productions, but have also found much satisfaction working on features and other narrative pieces. What do you enjoy most about what you do? It is wonderful to have a job in which there is always room for improvement. As a director, you learn from every project--and you must find new and creative ways to keep each project fresh or you will quickly find yourself turning out content that everyone has “seen before.” What are your most memorable moments? During a two-week transition time between facilities, I ran a live radio show (airing on 500 stations and XM) out of my garage. I had ISDN lines installed and set up a temporary studio including call-screeners and everything. Just goes to prove that you never know what is going on at the neighbor’s house! Another memorable moment would be the day a top firearms expert (who trains military and SWAT teams) shot a hole in the floor of Studio Space Atlanta during a greenscreen “shoot.” He assured me afterward that it was someone else’s fault that live rounds for the AR-15 happened to be in his box of blanks--whew, what a relief! And as for memorable moments, how about ANY day shooting outdoors during the Summer in Georgia. It should be outlawed!
The Silent Café, LLC www.TheSilentCafe.com 404-246-2113
How did you get into the business? I got into the film industry in 1995 while I was an acting student at Alliance Theatre School. I worked on various films as a background actor until 2004. One day I asked myself “I wonder what goes on behind the camera.” So I looked on craigslist and saw a listing from MTV. They were looking for a production assistant. I had no idea what a production assistant did or if I qualified but decided to go for it anyway. Since I didn’t have a crew resume I sent in my talent resume and I got the job. You’ve worked in front of and behind the camera, which do you prefer? I prefer to simply be continuously busy in any area of the industry. However my first love is being a songwriter, vocalist and actor. I love everything I’ve done so far and I continue to make myself available for work as talent and crew. Did someone help you along the way? Yes. My second job as a crew member was as a production assistant for STARZ 1st Amendment Comedy Show. On that show I met Konrad Lewis. A year later I got a call from him to day play on a movie. I asked him what would I be doing he said craft service. I said “What’s that?”. He told me I would be passing out water to extras on a football film. I agreed to do it. From that day forward almost every crew position I’ve had with the exception of production coordinator for HGTV was because I got a similar call from Mr. Lewis. What made you want to start your own business? Someone took notice of my craft service skills and recommended me to provide craft service for the grand opening of Tyler Perry Studios in 2008. It was while working on that event that I began formulating what is now The Silent Café, LLC. List 3 of your latest project titles: The Rickey Smiley Show, Wayens Brothers Second Generation, Teen Wolf
Three recent projects...
3 favorite project titles I’ve worked on:
Crystal Springs, Leatherman Tool Group, The Solomon Bunch Movie
Divine Awakening, Hannah Montana the movie, The Rickey Smiley Show
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How did you get started in the business? Back in high school I was asked what I wanted out of a career. Without hesitation, I wanted to make movies, as a writer, producer, whatever. Time goes by, college, corporate job, boredom. I finally had an opportunity to pursue my goals. I began studying scripts, attended producer, director and acting classes. I produced my first film, then wrote, produced and directed another film. Success! I went on to produce a variety of films and had a good thing going. All of this activity led to a screenwriting gig. So, 3 years later, 4 scripts later, with 2 scripts about to be greenlit (the process takes time, people), I’m on a roll. I decided, I can keep writing, but let’s learn some more. Recently I joined IATSE Local 479 and work as a costumer on television and films. All those years ago I would have never thought I’d be doing what I’ve always wanted - you know, writing, producing, whatever. What is your true passion in film? My film premiered in New York at a small indie theater. It was the first time I saw it on the big screen and I was floored. To see the story I wrote, characters I’ve created, actors acting out my direction. I mean, listening to the words being spoken, words I remember writing, and hearing the audience’s reactions, it was absolutely surreal. The fact that I can create something and give it an identity, a purpose and life, is absolutely fascinating. It’s like inviting someone into your dungeon of secrets; just remember to keep a lock on the door! What is your most memorable moment working in film thus far? On set of one of my films and I looked around at everyone involved; the cast rehearsing their lines, the director talking with the cinemtographer, people setting up lights. It hit me; all these people were there because of me!
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El Myr 1091 Euclid Avenue NE Atlanta, GA 30307 elmyr.com
Star Community Bar 437 Moreland Ave. NE Atlanta, GA. 30307
Paris On Ponce 716 Ponce De Leon Pl. NE Atlanta, GA. 30306 Turner Studios 1020 Techwood Drive, Atlanta, Ga 30318 www.turnerstudios.com Utrecht Art Supplies 878 Peachtree Street Atlanta, GA 30309 www.utrechtart.com/stores
Aurora Coffee 468 Moreland Avenue Atlanta, GA 30307 www.auroracoffee.com
le t me give you my card On e i s n umbe r y o u ... w ill e v er know t h e l o n e liest
Two to four matched cameras in full studio configuration Well engineered on-location fly packages Corporate - Sports - Convention Religious - Special Events office:
www.agoratv.tv Special Events since 1979
Digital Picture is a premier digital printing company specializing in artistic and creative fine art products Giclee Printing • Fine Art and Photo Paper Scanning large or small • Mounting • Laminating Trade Shows and Advertising 404.355.3400 www.digitalpicture.com
Sales Consultant email@example.com
Oz Publishing, Inc.
digital printing center
Large Format - Posters & Banners, Backdrops, Canvas Prints... Direct to Board - Custom Signage for any use, with precision cutting...
2566 SHALLOWFORD RD. STE 104, #302 /ATLANTA, GA 30345
Digital Printing - Booklets & Catalogs, Brochures, Business Cards...
ASSOCIATION partners American Institute of Graphic Arts (AIGA) Atlanta Ad Club Atlanta Macintosh Users Group American Marketing Association-Atlanta Media Communications Association International (MCAI) Women In Film & Television Atlanta (WIFTA) Business Marketing Association-Atlanta (BMA-Atlanta)
National Academy of Television Arts and Sciences Southeast (NATAS) Atlanta Press Club (APC) Georgia Production Partnership (GPP) The Freelance Forum American Federation of Television and Radio Arts (AFTRA) Cable & Telecommunications Association (CTAM) American Society of Media Photographers (ASMP) Society for Technical Communication (STC)
www.ozmagazine.com OZ MAGAZINE
ad agency campaigns
mmi creative www.mmicreative.com
bigelow advertising bigelow.co Client: Community & Southern Bank
Walk the talk Print directly onto fabric.
Executive Creative Director: Tom Bigelow Art Director: Sheila Rogers Writer: Mike Selph Account Supervisor: Erin Tollison
Mimaki has long been at the center of custom fabric printing. Whatever your target market – fashion, interiors, soft signage, tradeshows – the Textile Jet Tx400-1800D lets your fabrics “walk the talk” by opening up exciting possibilities for designers and manufacturers to transform concepts immediately into reality. With time-saving direct-to-fabric dye-sublimation, the Tx400-1800D is ideal for customized short run production or one-offs of unique designs. And with consistently brilliant and detailed imaging, this printer is truly a one-of-a-kind alternative to screenprinting or mass market printed fabric.
Community & Southern Bank wanted to position themselves as a local financial resource offering big-bank expertise with communitybank customer care. The branding campaign Bigelow Advertising created was fun and a little irreverent, using images that big-bank customers could easily identify with. Tactics included TV, radio, outdoor, and more.
Fashion & specialty fabrics
Indoor soft signage
Interior & home fashions
Tradeshow displays / graphics
An on-demand digital direct-to-fabric and transfer sublimation printer. • Maximum printing width of 72.8” • Newly developed low vapor inks • Utilizes a bulk ink system for lower ink costs
firstname.lastname@example.org 888-530-3985 LA 888-530-3987
EMAIL INFO ATL
Vehicles love latex wraps and installers will love them too. Why? They’re wrap-friendly, super fast drying, flexible and require no special shop ventilation. Vinyl prints can immediately be laminated right off the printer and applied to the vehicle – a real production boost! Mimaki’s new latex printer, JV400LX, is wrap-friendly too. Just check out the “wraptastic” features below.
53” MAX PRINT WIDTH
63” MAX PRINT WIDTH
JV400LX LATEX PRINTER FEATURES
The JV400LX is ideal for any type of vehicle graphic on:
• Cars • SUVs • Pick-ups • Utility Vehicles • Tractor-Trailers • Fleet Branding • Vans • RVs • Boats • Busses • Race Cars Also perfect for all types of Banners & Soft Signage.
Low heat ink curing, 140°F, with no additional special electrical setup or installation. Featuring the industry’s only WHITE latex ink along with a full 4-color, CMYK, ink set. Mimaki’s newest RIP – RasterLink6 – is an easy-to-use software that enables three ink layers to be printed in one pass. Scan for more JV400LX features Or go to: mimakiusa.com/qr-ads/050812/JV400LX/
email@example.com 888-530-3985 LA 888-530-3987
EMAIL INFO ATL
Flex your UV options
moxie interactive www.moxieinteractive.com
Expand your UV industrial printing in new directions with the extra deep 5.9” adjustable flatbed of the UJF-3042HG and the new UV primer ink and flexible ink sets for printing on practically anything. DYE UJF-3042HG SUB INK
Expanded Ink Sets
PR-100 is a NEW UV Primer ink that can be used in combination with LF-140 and LF-100 inks. This primer ink is simultaneously under-printed as a spot ink.
Mimaki’s redesigned, tabletop-sized UJF-3042HG is an affordable and ultra versatile UV LED flatbed printer with a generous print area of 11.8” x 16.5” that now adjusts down to 5.9” deep for printing on an ever expanding choice of substrates and dimensional objects. With the addition of our flexible ink sets and new UV primer for optimal adhesion, your substrate choices are opened up to plastics, metals, glass and much more.
C M Y K lc lm + W
LF-140 is a UV Flexible ink offering 6-color printing along with white. More flexible than LH-100 ink, making it less likely to crack during post-processing. C M Y K + W
Use the UJF-3042HG for one-offs, prototypes, industrial and interior signage, molded switches and panels, packaging, ID badges, and promotional items. You’ll find the application options are more flexible than ever. Focused on solutions.
LF-200 is a UV Ultra-Flexible ink that is able to stretch up to 200% without cracking. C M Y K + W + Cl
LH-100 is a UV Hard ink that excels in scratch and chemical resistance and is ideal for media that does not require bending or folding after printing.
Listen. Connect. Deliver.
Director: Tom Bingham Creative Director: Justin Archer Associate Creative Director: Roy Kaufman Art Director: Chris Bailey Design Director: Carlos Escobar Writer: Jake Nash
Creative Team: Gary Mote, copywriter; Susan Johnson, art director/designer
Client: AMDRO Agency: Moxie Campaign: Jack’s First Session
Client: Mimaki USA Wide-Format & Industrial Printer ads
Homeowners plagued by pests need the support of people in the same situation. AMDRO support group is that place. Here anyone can find the strength to come out on top of pest problems. It’s here we live by the mantra “When bugs drive us crazy, we get crazy right back.”
Ad series for Mimaki USA, a manufacturer of wide-format inkjet printers. These ads run in a number of trade publications targeted to the wide-format and specialized industrial printing industries. All of these ads are geared towards depicting actual product printing applications to illustrate the value of the various printers.
OZ MAGAZINE www.ozmagazine.com
mimakiusa.com EMAIL INFO ATL
Full service catering for your next production.
www.solcatering.net 404.805.6589 â€˘ 404.853.3239
Production Support Services
In this issue: Impressed on the Set, Part 1; The Future Looks Bright, Part 2; The Lifestyles of the Rich & Re-Branded; Drewprops' "Burning D...
Published on Oct 3, 2012
In this issue: Impressed on the Set, Part 1; The Future Looks Bright, Part 2; The Lifestyles of the Rich & Re-Branded; Drewprops' "Burning D...