2017 adnews Film Annual by adnews magazine

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Production Resource Guide Impact Partners Sundance Screenings Huge Sound Post Production in SLC Fumihiko Describes Creative Process Jarrod Phillips the Renaissance Man

DEPARTMENTS 4 Publisher’s Notes 5 News Briefs FEATURES 6 Strategy behind the State of Film in Utah 8 Impact Partners 10 Fumihiko Eguchi 12 Jarrod Philips 14 HUGEsound Post-Production DIRECTORIES 16 Stage Pass Showcase 16 Stage Pass Matrix 17 Production Directory Index 18 Production Directory next

CR E AT IV E A N NU AL

focus: advertising agencies • media buyers • design • illustration • marketing research • social media • mobile media • public relations • direct response • responsive web Publisher / Editor: susen sawatzki Co-Publisher: joelle chevalier Writers: jonathan richards & joelle chevalier Cover Photograph: fumihiko eguchi Printing and Mailing: a d n ew s p 801.532.1325 www.adnewsonline.com No responsibility is assumed by the publisher for its accuracy or completeness. All rights reserved.

BY THE NUMBERS G R O W I N G T H E F I L M I N D U S T RY I N U TA H

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PUBLISHER’S NOTES susen sawatzki Utah’s film, digital and music production and post production industry is disturbingly volatile. Seasonally, activity booms and then just as quickly, it winds down to a deafening hush. And the tease of more to come, lures those who have faith in the future to build studios, invest in equipment and remain in Utah to contribute to the core talent base. And only for those who carry it on their own backs, there exists a production industry in Utah. The request for incentives repeats each year and the legislature plays it safe, doling out just enough to not kill the industry all together. The collective spirit of Utah’s film production industry is scrappy, hard working, resourceful and very talented. Take the Sundance Film Festival for

instance and the Sundance Institute, dedicated to talent development in the areas of screen writing, directing, producing and cinematography. From nothing to world-renowned, the Sundance Film Festival continues to generate millions of dollars of revenue to the state annually and the Institute turns out those who ultimately deliver on the documentaries and entertainment that remind us of a purpose yearning for recognition. A vision fed on contributions alone grew to what it is today. The cool new terminology of “digital media arts” and anything to do with technology that ties into Utah’s popular moniker, “Silicon Slopes” tends to get traction with the legislature and other funding sources. There is no question that the ultimate outcome of a creative product is to channel through technology and its digital iterative delivery systems. And demand for sheer volume of the digital/information technology-trained workforce required to “man the guns,”

so to speak, grows exponentially year over year with healthy salaries paid to those with six-month certificates. Meanwhile, true artists and those with the courage to dip into the sacred waters of honest story telling settle for the meager results of begging. It’s a given, the starving artist paradigm. There’s some portal of belief system that perpetuates that notion through all time. As though it actually takes suffering and starvation to turn out a worthy creative product only to be appreciated posthumously. This all sounds like another diatribe from a whiny creative person, and that it is. But it is also an observation of the selective assignment of market value into an unsustainable, shortsighted system—a system that creates demand and then extracts market value for transient substance and distractive focus. I put it out for you to find the view where creativity and, might I add, nature, hold ultimate value to humanity and are honored and held in reverence.

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NEWS BRIEFS BEGA METZNER NEW DIRECTOR OF THE MOAB FILM COMMISSION

This January, the Moab to Monument Valley Film Commission named Bega Metzner as Director of the commission. With more than 20 years in the industry, coined with a passion fueled for all things production as well as the area’s distinctive ecosystems, Bega hopes to inspire new opportunities for the commission. The Moab to Monument Valley Film Commission is the longest running film commission in the world, and while Bega hopes to maintain that heritage, her goal is to foster strengthened community engagement locally with weekly film screenings. She also hopes to leverage educational outreach to the local youth, providing pathways for lifelong participation in the film industry. Other initiatives would include mentoring programs and internships for high-school students in the region within the film commission, and also with production companies working on projects in the area.

GOED APPROVES FILM INCENTIVES This spring Utah will be the site of ten film projects, of which the GOED board approved with production incentives. With Utah’s film industry having an established representation of 432 film-related businesses and roughly $100 million in wages and salaries, the draw for added incentives is a continuity of these efforts. The 10 productions including films, music videos, and digitals series are expected to bring approximately $13 million in economic revenue to the state, fostering tourism growth for the state.

P H O T O G R A P H S B Y: B E G A M E T Z N E R

V I C K I VA R E L A I S N A M E D 2 0 1 6 TOURISM DIRECTOR OF THE YEAR Vicki Varela, director of the Utah Office of Tourism, Film and Global Branding was named National State Tourism Director of the Year. Varela accepted her award at the annual Educational Seminar for Tourism Organizations conference in Florida in 2016 where she was recognized for her achievements including her visionary and strategic leadership in expanding and developing marketing initiatives fostering Utah’s fast growing tourism industry. Her ability to harness the spirit of Utah is the platform for the continued growth in both film and tourism in Utah.

S U N D A N C E F I L M F E S T I VA L S C R E E N E D F I L M S S H O T I N U TA H “Brigsby Bear,” is an independent feature film about a young man who finds out that his favorite children’s TV show is going off the air. Director Dave McCary filmed in the summer of 2016 in Salt Lake City. “Deidra & Laney Rob a Train” is a film about two teenage girls who start robbing trains to make ends meet after their mom ends up in jail. Netflix will release the film later this year, which was directed by Sydney Freeland. “Wind River,” is a drama written and directed by Taylor Sheridan (the writer of 2015’s Sicario), starring Elizabeth Olsen and two-time Oscar nominee, Jeremy Renner. The film (shot in Park City last March) follows a Fish & Game Department employee (Renner), who stumbles across the frozen body of a teenage girl. “Snatchers”, directed by Stephen Cedars and Benji Kleiman is about a status-obsessed teen, Sara who wakes up nine-months pregnant—with an alien. With her best friend Hayley, they strive to put an end to all the carnage. Cast includes Mary Nepi, Gabrielle Elyse and Austin Fryberger.

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S TAT E O F F I L M I N U TA H

The Utah Film Commission in 2017 Virginia Pearce, director, Utah Film Commission takes a strategic approach to focus on smart investments with strong returns. Over the past decades, there has been a subtle but profound shift in the role of filmmaking in Utah’s economy. A state that was once considered to be a backwater location ideal for westerns is now a leader in both technology and potential. Going forward, the Utah Film Commission is looking for ways to increase the impact of its resources, further growing the industry by improving Utah’s attractiveness for new relationships while also further developing its existing ones. Beginnings of an Empire The Utah Film Commission was created in 1974 to encourage the burgeoning film industry in the state. It exists between the offices of Tourism and Economic Development and serves as an effective blend of the two. Through the efforts of the Film Commission, Utah has become a powerful force in the filmmaking industry. To date, the state has hosted more than 1,000 productions—ranging from John Wayne classics like “Stagecoach” to award-winners like “Forrest Gump” with a number of other successful television and film franchises in between. As a benchmark of this, consider the history of the Sundance Film Festival. The Sundance Film Festival began as the Utah Film Festival, held in Salt Lake City in 1978. It changed locations to Park City in 1980 and changed names in 1985 when the Sundance Institute took over planning and execution for the festival. In 1986, the festival screened 86 films in two theaters. By 2016, that number grew to roughly 200 films in 16 theaters that attracted more than 30,000 nonresident visitors! Strengths of Utah’s Film Industry This growth came through the concerted effort of all those in Utah’s film industry—a collection of talented people who bring a number of strengths to the table. • Cost of Production – perhaps foremost on the list is Utah’s low cost of living and other production costs. As compared to places like Los Angeles, Salt Lake City has a thriving

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film industry at a fraction of the cost for things like rent, food, and labor. Coupled with Utah’s film incentive, producers in Utah can do far more for the same amount of money as compared to other locations. • Level of Education – Utah has a thriving, young population of creatives with extensive educational opportunities. High schools in the area have effective arts programs, and the universities boast award-winning animation teams and other film skills. All of this adds up to a pool of qualified, eager, talented workers for interested filmmakers. • Film Culture – in addition to the educational emphasis around the film industry, the pop culture in Utah is also full of film connections. The Sundance Film Festival itself is evidence of this and a powerful draw for both creatives and consumers alike. • The Motion-Picture Incentive Program (MPIP) – this is the Film Commission’s incentive program that encourages producers to film in the state. While the incentive program isn’t the largest or most aggressive in the world, it has the distinction of being well-funded and easy to work with. In Utah’s program, funds are set aside for productions even before disbursal, meaning that the fund won’t “run out” on a producer after all of the filming has been done. Once the commitment is made, producers can be sure of the payout—as long as they themselves meet the requirements. • Diversity of Location – one of Utah’s most impressive strengths is its blessing from Mother Nature. Within an

hour’s drive, producers can be in beautiful canyons, lush forests, barren salt-flats, urban jungles, or stateof-the-art studios. Director Ridley Scott put it best when he said, “I have seen more wonderful and varied scenery in a single day in Moab than any other day I have ever scouted.” The Film Commission’s Forward Movement This is all history, but it points to Utah’s future in filmmaking as well. In an effort to further develop Utah’s film industry, the Utah Film Commission has developed a forward-looking strategy to enhance the state’s appeal to filmmakers. This strategy embraces four key priorities to promote Utah as a global destination for film. • Industry Growth and Talent Development – Utah is known for its locations and potential, but to grow the industry, the state needs to produce more and better talent. The educational programs exist, but there is a lingering disconnect between academia and industry as well as a lack of cohesion between related factions. The Film Commission will

particular, the industry seems to be more and more incentive driven, and Utah’s current program is not best in class. To improve the MPIP, the commission will look for ways to grow the incentives—always keeping an eye on efficacy and positive impact. • Develop Effective Measures and Metrics – as the film industry in Utah grows, the Film Commission needs better, more detailed ways to track its impact. To that end, the commission is working to develop a fair system of metrics for tracking internal data (such as MPIP payouts) as well as external data (such as impact of the film industry on the greater economy). By building these measures, the commission will be able to better justify its current use of resources and allocate in ways that best promote growth. A Vision for the Future Every time a new production chooses Utah, we have a chance to improve our image and strengthen our brand. The direct economic benefit of the film industry is undeniable, whether you look at majestic, rural Utah or the developed, urban I-15 corridor. The in-

For a film with a budget of $4 million, the impact is as follows: $1,585,869 spent on accommodations, $1,310,209 in wages and benefits, $529,696 in film rental and leasing services, $271,538 in retail, $131,299 in dining and $111,649 for transportation-related activities. focus on building bridges between the disparate elements of the industry to improve understanding, skill training, and synergy. • Cultivate Emerging Markets – the film industry is no longer limited to motion pictures and television. Today’s industry includes video games, virtual reality, and other cutting-edge technologies. Utah is poised to become a leader in these industries, and the Film Commission is looking at ways to further develop industry relationships and cultivate hightech talent. • Evolve the Motion Picture Incentive Program (MPIP) – the MPIP has already proven to be an invaluable asset in attracting film production and boosting Utah’s film industry, but the Film Commission knows that the program could be improved. In

direct benefit is even more powerful but sometimes harder to quantify. Either way, the Utah Film Commission is ready to move forward and improve the industry in the state. Utah could well be the next major hub for creatives and tech, and thanks to these programs and priorities, the state is well on its way to achieving that potential. Research for this article was taken from University of Utah’s Kem C. Gardner Policy Institute’s 2016 Research Study into the state of Utah’s film industry and from the Utah Film Commission’s 2017 Strategic Plan. Our thanks to both of these organizations for what they do to support film in Utah. by Jonathan Richards

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I M PA C T PA R T N E R S At the convergence where storytelling becomes more than just entertainment, but a projection of the human story, Impact Partners sustains powerful work in the film industry, illuminating these issues and sparking change. Through the transparency of despair, hope is revived through independent documentary films. This year, Impact Partners had six films screened in the 2017 Sundance Film Festival, changing the world story by story. These films articulate the experiences of those facing tribulations and injustices, from Syrian refugees to Russian athlete doping, there is no topic too large or small. Featured in this year’s festival was “Bending the Arc,” a film about health care heroes who set out with the intention to provide health care to even the poorest countries across the world. Up against bureaucracy, disease, and philanthropic colonialism, “Bending the Arc” presses the issues of global public health, disparity, and inequality. Produced by Oscar-nominated Cori Shepherd Stern and directed by Academy Award nominated Kief Davidson and award-winning director, Pedro Kos.

I M PA C T I N G C H A N G E THROUGH FILM

“Unrest,” the story of Harvard PhD student, Jennifer Brea, who finds herself bedridden after a fever, and is told by doctors it’s “all in her head.” Jennifer Brea directed. At the crux of business and animal-rights, “Trophy” unveils the world of big-game hunting, breeding, and wildlife conservation in the U.S. and Africa, exposing the complex web of animal exploitation and commodification. It is directed by Shaul Schwarz and co-directed by Christina Clusiau. One of the most riveting stories screened in Sundance this year was “Icarus,” a look inside the world of doping in sports. Documentarian Bryan Fogel discovers the truth about the dark side of doping in sports upon a chance meeting with Russian doctor, Grigory Rodchenkov, head of Russian Olympic anti-doping. This geopolitically fueled documentary was a whistleblower for a broader rigged game. As the documentary takes thrilling turns, provokingly exposing Russian-athletic foul play, the film ultimately sparked investigations into the Russian Olympic team prior to Rio 2016. Produced by Executive Director and Co-founder of Impact Partners, Dan Cogan, with David Fialkow, and Jim Swartz, “Icarus” may be deemed as a scandalous ploy in the broader scheme of U.S.-Russian relations; however, the takeaway from “Icarus” is the questioning of morality, ethics, geopolitical influence, and the players of corruption. It has been acknowledged for both Bryan Fogel and Grigory Rodchenkov, the film was a space and a platform that enabled the truth to emerge in ways that could have forever remained hidden.

Another Impact Film screened at Sundance this year was “Dina”, a story of unconventional lovers both living with mental disabilities. “Dina” explores the complications of love—tender, raw, and wholeheartedly complex, while also poignantly revealing the ordeals of mental health issues and normative romance. It is produced and directed by Antonio Santini and Dan Sickles. “STEP,” is a feel-good film that intertwines oppression and the joy of expression. It follows the trials and triumphs of an all-female high school Step Team in Baltimore and is directed by Tony Award-Winning Broadway producer, Amanda Lipitz.

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‘ICARUS’

Producer and philanthropist, Geralyn W. Dreyfous, co-founder of Impact Partners and Gamechanger Films, as well as co-founder and board chair of Utah Film Center, furthered her engagement in refugee initiatives. “Cries from Syria”, picked up by HBO Documentary, is directed and produced by Evgeny Afineevsky, and was screened in the 2017 Sundance Film Festival. An evoking and compelling account of the broader context of the Syrian conflict, “Cries from Syria,” is truly a cry for the world to see. For Geralyn, the pure act of giving is something she is sincerely committed to and acts on daily. In January, 2017, Geralyn forged an alliance with colleague Naja Lockwood and “Cries from Syria” director, Evgeny Afineevsky for an “Art Talk” at the Kimball Art Center. The discussion aimed to highlight clips from the film, as well as start a conversation on the issue, while bringing the local community together, merging perspectives from the Utah Refugee Services Office and the Utah Refugee Education and Training Center. Geralyn and Naja are committed to aiding initiatives through screenings of “Cries from Syria.” According to Dreyfous, “We are raising $400k in hopes the film will educate Utahns about the horrors our new neighbors have endured and recognize the courage and resilience they have put forth to bring their families to safety and begin a new life.”

G E R A LY N D R E Y F O U S

U TA H R E F U G E E E D U C AT I O N A N D T R A I N I N G C E N T E R

For Geralyn and Impact Partners, the commitment and investment in documentary filmmaking is an authentic and passionate initiative. With the 2017 Sundance Film Festival showcased films as well as its daily growing collection of insightful documentary films, Impact’s and Geralyn’s initiatives unequivocally made an impact, exposing the critical issues our world faces today and igniting the hearts and minds of those collectively ready to change it. by Joelle Chevalier FILM A NNUA L 2017

F U M I H I KO E G U C H I The Creativity of Following Your Heart

When we think of ‘creatives,’ we often think of artists, musicians, or actors. Think a little harder, and we might expand that realm to include writers, directors, designers, and maybe even some marketers. To be fair, however, the idea of being a ‘creative’ really ought to extend to anyone who exercises creativity—particularly when that person displays more creativity than their peer group. Fumihiko Eguchi, the award-winning Creative Director at Lunatic Fringe Salon, is just that kind of person. A hairdresser may not make the topof-mind list for creatives, but Fumihiko isn’t your average stylist either. Born and raised in Japan, Fumihiko often felt limited in his opportunities to express himself, so while his friends were deciding where to go to college, he decided to come to the United States. He was 17 at the time. According to Fumihiko, back in Japan, he felt a lot of pressure to do well in school in order to get into a good university in order to do well in order to get a good job so that he could grow old and raise a family. He felt limited there. Once in the States, he felt almost overwhelmed with all the choices and opportunities available to him—but he also felt free. With his newfound freedom, he began looking for a way to express his inner creativity and found himself drawn to hair10

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styling. He saw it as an art form in a natural medium and also saw that, in many instances, it was largely overlooked. One of the aspects that attracted Fumihiko connected back to the Origami art style of his childhood. Origami, the art of paper folding, plays with creases and angles to control the contrast of light and dark in a piece. Fumihiko saw an opportunity to apply that same principle to hairdressing. He recognized that there is beauty not only in what is shown but also in what is withheld. As he gained ability and renown, Fumihiko made another realization. No matter how good his work was, he was always

at the mercy of the photographer to capture the essence on film. Often, he worked with skilled photographers, but he decided to gain experience with the photography side in order to better understand his own art. To gain this knowledge, Fumihiko reached out to photography professionals who he admired. He built mentoring relationships and shadowed them to watch them work. As his understanding of lighting and photography improved, his ability as a hairdresser also improved. Ultimately, he decided to learn post-production processing as well to have a full understanding of the process. For that,

THIS SERIES TOOK 2013 SALON TEAM OF THE Y E A R AT T H E N O R T H A M E R I C A N H A I R S T Y L I N G AWARDS PRESENTED BY THE PROFESSIONAL B E A U T Y A S S O C I AT I O N .

he would stay up at night to study at ‘Youtube University’ in order to learn the software and techniques. Then he was offered a position as the creative director of Lunatic Fringe Salon. When he accepted, his team of stylists quit. They were accustomed to working independently, and he wanted a team. They resented him and left, so he cultivated a new team. That year, the new team won the North American Hairstyling Award (NAHA)—an award akin to an Emmy or Grammy for hairstylists. After leading the salon to an NAHA win, Fumihiko took a step back and looked at his profession. There are hundreds of cosmetology schools across America, but very few students have aspirations to do more than open a little salon in their home or rent a booth somewhere. The stigma is that there is nothing momentous to do in hairdressing. Fumihiko disagrees. With a national award under his belt, Fumihiko began traveling to cosmetology schools across the nation, sharing his story and how he’d made a real career

by following his passion. Then, after doing so much in America, he decided to return to his native country. In Japan, fashion takes a different angle, focusing on kawai—the Japanese word for ‘cute’—rather than the ‘sexy’ that seems to be the target in America. The difference gave Fumihiko the chance to reach out to hairdressers in Japan and create new relationships for collaboration. Leveraging his success, he has been working with professionals in Japan and in America to increase awareness and passion within the industry. Fumihiko’s stated goal is “to reignite the passion through education,” and he’s well on his way. He attributes his success to his heart. When he set out, he had already failed at so many things in so many ways that he no longer had a fear of failure. That, in turn, strengthened his resolve to pursue his own dreams and vision—no matter what his critics said—and that clarity and drive has made him a visionary in his field. Ultimately, Fumihiko is a perfect example of how a creative mind can lead to breakthroughs and progress in any field

or focus—particularly when that person looks outside his or her own industry to find new inspiration. His ability to think differently from others in his field has enabled him to lead teams and do amazing, award-winning work time and time again. His passion and genius is an inspiration to us all, and for that, we say to Fumihiko,

by Jonathan Richards FILM A NNUA L 2017

JARROD PHILIPS

A Rena issa nce Man o f t he E nt e r t ai nment I nd ust r y

‘ FOLLOW

Y O U R H E A R T,

S P E A K Y O U R T R U T H K I N D LY, AND BE IN AND ENJOY T H E M O M E N T. ’

In the time of the renaissance, young nobles were schooled in a broad range of subjects and skills in order to make them versatile and capable in all conceivable situations. Fast forward a few centuries, and specialty has largely overturned this concept of versatility. In today’s world, people tend to focus on a narrow set of skills that are highly technical but not broadly applicable, so it’s something of a pleasant surprise to find a person who seems to be driven and capable across a range of skills. In the entertainment industry, Jarrod Phillips is just such a man.

‘OAR SD IANNATAOCRT OORR, SP UR OP EDRUVCI SEOR ,R D, HI RI ES CBTOOURN, DC LOE-S S C R E AT I V E E N E R G Y I G N I T E S A PA S S I O N I N A L L THOSE WITH WHOM HE WORKS.

’

-Sean D. Reyes - Utah Attorney General

Unlike many actors, Jarrod was actually reluctant to begin acting. He had no personal interest in acting, but his sister convinced him to try out for a high school play, and the experience changed his mind. Through the remainder of high school, he continued to pursue drama and acting — working alongside much older cast members in a number of community productions.

Starting — and Stopping — Young

His acting career took a detour, however, when he went to college. The people around him spent a lot of time nagging him about how acting wasn’t a real career. They told him that he would never be able to support himself or a family as an actor because so few make it big. He initially fought the opposition and enrolled in college for an acting degree, but eventually, strains in his personal life convinced him to change to a business focus and pursue something less time consuming. G S A C R E AT I V E A P P R O A C H T O H I S ‘WHOER BK RTI HNAT ENABLES HIM TO FIND INNOVA-

T I V E W AY S T O M A K E D E A L S H A P P E N W H I L E F O R G I N G R E L AT I O N S H I P S O F T R U S T W H E R E E V E RY B O DY W H O K N O W S A N D WO R K S W I T H HIM HAS COMPLETE CONFIDENCE IN HIM.

’

I S T H E C O N S U M M AT E P R O F E S S I O N A L , D I L I G E N T LY C O M P E T E N T A N D R E A L LY A J O Y TO WORK WITH. PLUS, HE’S A H U G G E R . . . A N D T H AT ’ S A B I G P L U S .

- Je r e m y K a r t ch n e r - P R D i r e c t o r a t I n m o m e n t P R

‘ JARROD

’

–Bryan Brandenburg C h i e f Ma r k e t i n g O f f i ce r / C o - Fo u n d e r S a l t L a k e C o m i c C o n

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After graduating, Jarrod began working at a motion-capture studio in San Francisco. He wasn’t acting, but he wasn’t willing to give up the film and entertainment industry entirely. Over the next few years, he worked on productions like Rainbow Six: Rogue Spear, The Scorpion King: Rise of Akkadian, and the Stuart Little TV series. He eventually moved to L.A. where he was also involved in projects like the “Matrix Trilogy,” “Polar Express,” and “Titanic” in addition to hundreds of video games.

Then, in 2005, a job offer from a friend brought him back to Utah, and Jarrod worked for a 3D-modeling software company. His girlfriend at the time was taking some acting classes, and he went with her. The teacher was very positive and supportive about his skills — despite the nearly 17 years that had passed since he’d last acted — and encouraged him to sign with an agency.

A Re-enACTment

He did and began working as an actor in addition to his other work. During this time, he also helped a friend, Dan Farr, to organize the Salt Lake Comic Con.

‘WJIAL LR RPOU DT PVEEOR YP LQE UATI C KELY ASE WITH HIS CHARM AND O U T G O I N G N AT U R E

’

- D a n Fa r r - Fo u n d e r S a l t L a k e C o m i c C o n

In his acting work, he quickly noticed that most of the projects needed help on the production side and began consulting while acting. This timeshare between acting and producing and everything else has given Jarrod a breadth of expertise that most in the entertainment industry could only dream of. Seeing projects from so many sides helps him be better in all roles. For instance, most recently, Jarrod was able to produce the feature film “My Christmas Love” for the Hallmark Channel. Thanks to his broad skill, the movie has become the fourth-highest watched program in Hallmark Channel history.

1. Follow your heart 2. Speak your truth kindly 3. Be in and enjoy the moment Becoming a Renaissance Man

Not everyone will appreciate these rules, and not everyone will be inspired by someone who follows them, but Jarrod has found that his life has been at its best when he has kept the rules in mind. He admits that, when he wasn’t acting, he felt like he was missing something and harbored serious regrets. Now that he is acting again in addition to his other work, he feels like he has become whole again. Which isn’t to say that following your passion is always easy. Jarrod admits that many of the things he has to do in a given day could arguably be called boring—even miserable. The difference is that his passion is enough to carry him through those low spots to reach the high times again. Without passion, the lows would be lower and the highs non-existent. The beauty of Jarrod’s life is how he demonstrates that passion can be harnessed in many different ways — even within a single person. Jarrod is a true Renaissance Man of the entertainment industry because his passion drives him to learn and grow across all aspects of his industry every day. And that’s a lesson we can all learn from.

‘K NJ AORWRLOEDD GI SE EAXBTL RE EWMHE ELYN I T

COMES TO THE TV & FILM W O R L D I N U TA H . H E ’ S R E L I ABLE, KNOWS JUST ABOUT E V E R Y B O D Y. . . W H E N E V E R I S H O O T I N U TA H H E ’ S A L W AY S THE FIRST PERSON I CALL.

’

– B r i a n No l a n - H yb r i d Mo b i l e

‘TAHLEK’ LI NL GB EA BS OI TUT TI NSGODMOE WNNE W

OPPORTUNITY AND I’LL S AY S O M E T H I N G L I K E , “ I T SOUNDS COOL BUT I CAN’T T H I N K O F W H AT T O H A V E T H E A D S AY ” T O W H I C H H E ’ L L , O N T H E S P O T, C O M E U P W I T H SEVERAL VERY CLEVER AND C R E AT I V E I D E A S T H AT I N E V ER WOULD HAVE BEEN ABLE T O T H I N K O F. A N D , H E ’ S A VEGAN WHICH MAKES GOING TO LUNCH WITH HIM INTERESTING! –Michael Spencer Marketing Manager Si e g f r i e d & Je n se n

’

by Jonathan Richards

‘I NJ ABRERI NOGD ’WS ESLULCVCEERSSSELDI EI SN T H E

MECHANICS OF RUNNING A SET AND IN BEING A FRIENDLY FA C E . . . M U LT I - FA C E T E D A N D A L W AY S W I L L I N G T O G I V E S O M E T H I N G A G O.

’

–Larry Grimaldi Vice President, Development & Production Marvista Entertainment

Following Your Passion

In some ways, Jarrod is the perfect example of a man who followed his passion, gained the broad skill set of a modern Renaissance Man, and found success. He offers three simple guidelines for anyone else wanting to do the same.

FILM A NNUA L 2017

H U G E s o u n d TM P o s t P r o d u c t i o n

CURT RUST • MICHAEL FOX • JENN SPRAGUE • MICHAEL MCDONOUGH MICHAEL GREENE • CHANCE THOMAS • MARK NELSON Take a group of talented media veterans, a swanky, stateof-the-art studio space, and a dash of big thinking, and you have HUGEsound TM Post Production. HUGEsound is a versatile post-production studio facility in downtown Salt Lake City occupied by some of the most seasoned and successful audio media professionals in the business. Last August when entrepreneur Gaylen Rust approached Michael McDonough, a renowned sound designer, he had little in mind but something huge when he purchased the building at 352 South 500 East which was originally occupied by Metcom Studios. Michael spent his first few weeks in the gutted building with a folding table, a phone, a trashcan, and a chair. It was during those first few months that he began contacting talented colleagues had become acquainted with over the years. By November, with a clear vision of what HUGEsound was going to be and who was going to be part of it, heavy demolition and construction started. Through strategic planning and collaboration, the final results of the renovation process revealed something aesthetically unsurpassed and technically unrivaled. After a soft opening during the Sundance Film Festival in January, and an official open house in February attracting more than 400 guests, HUGEsound was up and running. The team solidified into something quite unique, each member offering a critical piece of the media mix. Joining Michael

F IL M A NNU AL 2017

McDonough, who holds the VP of Operations and VP of Sound position, is Chance Thomas, VP of Music and Creative Development. Also apart of the team is Michael Fox VP of Film and Television, Michael Greene, Senior Audio Engineer, and Mark Nelson, Video Post Services. Together, these gentlemen form the A-Team of media and their new studio facility is a powerful reflection of this talent. The facility itself is welcoming, refreshing, sharp, and technically outstanding— think Tron: Legacy-esque, featuring recording studios—one is equipped with a foley pit, editing suites, and an exquisite open sound stage which is fit for just about anything including green-screen shooting. HUGEsound is built on three divisions that serve as a foundation for the company—Picture, Music and Sound. All divisions operate to facilitate post-production audio, music, and editing services, for recording, composition, film editing, and sound design for various markets including film, TV, video games, IMAX, documentaries, commercial, industrial, virtual realities, theme parks, and so forth. For HUGEsound, their philosophy is simple—create a free-flowing creative atmosphere. As Chance Thomas, VP of Music, says, “this is a creative playground.” The way the facility looks, it really is a playground for possibility. For Chance, his vision for HUGEsound really embodies this philosophy, and in his own words, “this is a place where people feel comfortable, they feel inspired. We’ve got the technol-

Hub of Media Talent ogy and the artists to help people realize their vision. Those are the key principles we’ve built the business on.” The facility itself is unique and unparalleled, which is exactly what both Michael and Chance envisioned throughout the development stages. For Michael, he intended for a place where multiple disciplines could be accommodated, and no doubt this has become a reality.“ Ideally a producer would come into this place and say, ‘I’ve got this show, and you guys can post the entire thing,” he says with a chuckle. While the entire building was originally designed and outfitted as a visual and sound production/post production facility, when the turnover occurred, there was opportunity for an internal reconstruct. From the open lobby space, to the acoustic materials and design, right down to the HVAC, electrical configurations, security and fiber connectivity, a complete re-think created a new space as the canvas to the incomparable talent collective. With Google Fiber now in Salt Lake City, HUGE has taken advantage of this, accommodating boundless opportunities to technically operate and facilitate for clients globally. Jennifer Sprague, Director of Production emphasizes HUGEsound’s ability to extend their services through paramount technology and connectivity. “You can be here, without being here,”

she says, suggesting the compatibility to work remotely, out of state as well as internationally. As an example, HUGE worked with a client based in London, and while the director was there, he was seamlessly connected in real-time with the talent in Salt Lake. Now that HUGEsound has settled into itself, the future looks bright. With some exciting projects in the works and boundless possibilities, the team is excited for what the future holds. When asked what the dream project would be, Chance chimes in “When Avatar 2 comes out, Michael does the sound design, and I do the score, Mike Fox edits it, Jenn books the orchestra, and Mike Green records the music—that would be a dream project!” But for now, some upcoming projects include Michael McDonough’s sound design for “Extinct” an upcoming Orson Scott Card series produced by Taleswapper and Go Films for BYUtv, while Chance is working on the score for the new “Lord of the Rings” online video game, which is part of the Mordor expansion, as well as his work on the Lagoon theme park House of Terror revamp. Mike Fox recently worked on an episode of Mr. Mercedes, a new Stephen King series. For HUGEsound the name really does say it all. With a growing entertainment industry in Utah and the newly established facility, HUGEsound has opened a space where anything is possible in the “workshop of imagination.” by Joelle Chevalier FILM A NNUA L 2017

stage pass showcase

IMPATIENT COW

LONE PEAK PRODUCTIONS

IMPATIENT COW

Jon Foster P 801.718.3006 THE RANCH 264 S. Glendale Street, Suite 100 SLC, UT 84104

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LONE PEAK PRODUCTIONS AND STUDIO B

P 801.521.5567 F 801.521.5569

404 North 300 West SLC, UT 84103

PRODUCTION DIRECTORY INDEX 3 SIXTY SCENERY

GORDON C. LONSDALE, ASC

22 Set / Scene Design

AVALANCHE STUDIOS

20 Producers / Production Companies

HARTLEY TAPE AND SUPPLY

22 Production Studios / Stages

HUGESOUND POST-PRODUCTION

BLUFIRE STUDIOS

18 Animation / Computer Graphics /

Visual Effects

18 Audio / Music Composition /

Scoring / Production

18 Audio Post Production 18 Creative Services

CAROLYN LEONE

19 Digital Cinema Mastering

18 Costume Design

19 Editors / Editing Facilities

21 Production Music Libraries

COSMIC

18 Animation / Computer Graphics /

Visual Effects

19 Digital Cinema Mastering

19 Editors / Editing Facilities

20 Producers / Production Companies

CREATIVE SERVICES BUREAU

20 Producers / Production Companies

DIGITAL BYTES

19 Editors / Editing Facilities

20 Expendables

22 Production Studios / Stages

IMPATIENT COW

18 Animation / Computer Graphics /

Visual Effects

21 Producers / Production Companies

ISOM DIGITAL MEDIA

18 Animation / Computer Graphics /

Visual Effects

21 Producers / Production Companies

Compelling & Creative Video Content LONEPEAKPRODUCTIONS.COM

20 Models / Actors / Voice Talent

21 Producers / Production Companies

THOR MEDIA

21 Production Services

MATTHEW WILLIAMS

18 DP / Cinematographers

TMG / TALENT MANAGEMENT GROUP INC.

MCCARTY TALENT & MODELING AGENCY

20 Models / Actors / Voice Talent

TV SPECIALISTS INC.

MEDIAGRABBERS

20 Equipment Rental, Sales & Leasing

18 Animation / Computer Graphics /

22 Unmanned Aerial Vehicles

Visual Effects

19 Editors / Editing Facilities

VÉRITÉ

22 Production Studios / Stages

18 Animation / Computer Graphics /

Visual Effects

MOVING PICTURES LTD.

20 Interactive

22 Production Support Services

VINEYARD PRODUCTIONS

19 Equipment Rental, Sales & Leasing 21 Producers / Production Companies

MUNN POWELL / BLACKBOX 18 DP / Cinematographers

Reimagine Your Business WITH

STARS TALENT STUDIO

LONE PEAK PRODUCTIONS

18 DP / Cinematographers

WEBB AUDIO VISUAL

20 Equipment Rental, Sales & Leasing

WE MEASURE OUR SUCCESS BY OUR CLIENT’S SUCCESS ALLEN COMMUNICATIONS ECONOMIC DEVELOPMENT CORPORATION OF UTAH FEMA | FEDERAL EMERGENCY MANAGEMENT AGENCY HUNTSMAN CANCER INSTITUTE MERIT MEDICAL RIO TINTO | KENNECOTT SALT LAKE CONVENTION AND VISITORS BUREAU SELECTHEALTH SOFI TELEPERFORMANCE UNITED STATES DEPARTMENT OF HOMELAND SECURITY UNIVERSITY CREDIT UNION WOLFE TORY MEDICAL

VIDEO | BROADCAST PRODUCTION | PRINT | INTERACTIVE MEDIA

404 NORTH 300 WEST | SALT LAKE CITY, UTAH 84103

T 801.521.5567 | F 801.521.5569 | LONEPEAKPRODUCTIONS.COM

FILM A NNUA L 2017

PRODUCTION DIRECTORY ANIMATION / COMPUTER GRAPHICS / VISUAL EFFECTS

AUDIO POST-PRODUCTION

DP / CINEMATOGRAPHERS GORDON C. LONSDALE, ASC M 801.362.6881

BLUFIRE STUDIOS

Matt Hoffman, President P 801.787.0690 vfx@blufirestudios.com blufirestudios.com

BluFire Studios provides fast, flexible, high-end visual effects and animation for a wide variety of worldwide clients. We can be seen in everything from national ads to feature films and primetime television to a display at the Smithsonian. Our recent work tied with Skyfall for a Cinefex award and was also featured in Cinefex magazine. We love to find unique solutions to post-production problems and employ cutting-edge technology and custom tools to make each project stand out.

MEDIA GRABBERS INC.

Joshua Eaton, President P 801.951.1382 F 801.951.1387 TOLL FREE 888.225.8879 383 North 700 West, Unit B North Salt Lake, UT 84054 josh@mediagrabbers.com mediagrabbers.com

Grabbing people’s attention, thirty seconds at a time! We provide the eye candy that makes your media stand out. Whether it’s photo-real animation or sexy graphic compositing, from concept to delivery, we can make it shine. Find us on Facebook!

VÉRITÉ COSMIC

Micah Young P 801.467.4788 1345 South Major St. Salt Lake City, UT 84115 micah@cosmicpictures.com cosmicpictures.com

Ask us how our affordable 360 VR and VFX services can expand your creative vision and reduce your production costs. We offer digital set extensions, digital creatures, CG destruction and explosions, head replacements, full body digital doubles, green screen compositing, and paint removal.

IMPATIENT COW

Jon Foster, Producer, Icow.tv P 801.718.3006 THE RANCH 264 S. Glendale Street, Suite 100 Salt Lake City, UT 84104 jon@icow.tv icow.tv

We continue to be a SLC-based production and postproduction company. But now we have a brand new 35,000 sqft facility! Come check it out. Icow.tv.

Kimberley A. Jones P 801.553.1101 8850 South 700 East Sandy, UT 84091 kjones@verite.com verite.com

From project management to production, Vérité is focused on making it happen for our clients by being an extension of their team. We’re a full service agency, which means our clients can come to us with anything, and we’ll use our expertise to bring projects to life. They know that no matter the challenge, they can say, “Vérité’s got this.”

AUDIO / MUSIC / COMPOSITION / SCORING PRODUCTION

HUGESOUND POST-PRODUCTION

Jenn Sprague P 801.990.4780 jenn@hugesound.com hugesound.com

HUGEsound Post Production - State of the art facilities for picture editing, music scoring, sound design and much more. The ultimate creative playground for media professionals.

ISOM DIGITAL MEDIA

Luke Isom P 435.671.8223 isom.luke@gmail.com isomdigitalmedia.com

With a background in film and media arts, specializing in digital media services for video production, video editing, photography, motion graphics and more. 18

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COSTUME DESIGN CAROLYN LEONE

- creative - collaborative - committed

P 323.403.7795

25 years of experience. Works locally in Salt Lake, Los Angeles and Chicago.

HUGESOUND POST-PRODUCTION

Jenn Sprague P 801.990.4780 jenn@hugesound.com hugesound.com

HUGEsound Post Production - State of the art facilities for picture editing, music scoring, sound design and much more. The ultimate creative playground for media professionals.

CREATIVE SERVICES

gclonsdale@me.com gordonclonsdale.com Representation: Innovative Artists: Cecilia Banck P 310.656.5186

Director of Photography for: TV Series, TV Movies, Features, Commercials and 2nd Unit.

MATTHEW WILLIAMS

Director of Photography Film and Digital Cinematography P 818.590.4528 mwilliamsdp@gmail.com williamsdp.com

Film and Digital Cinematography Super 8 to IMAX, DSLR to Arri Alexa

HUGESOUND POST-PRODUCTION

Jenn Sprague P 801.990.4780 jenn@hugesound.com hugesound.com

HUGEsound Post Production - State of the art facilities for picture editing, music scoring, sound design and much more. The ultimate creative playground for media professionals.

MUNN POWELL

Blackbox P 801.358.6866 blackbox@mac.com munnpowell.com

Commercial clients include Honda, Toyota, Popeyes, Frito-Lay and more.

Gordon C. Lonsdale ASC, DGA

PRODUCTION DIRECTORY DIGITAL CINEMA MASTERING

EDITORS / EDITING FACILITIES

COSMIC

Micah Young P 801.463.3880 1345 South Major St. Salt Lake City, UT 84115 micah@cosmicpictures.com cosmicpictures.com

The dark secret Hollywood doesn’t want you to know about. Studio quality digital cinema finishing on an indie budget. Digital dailies. Full DI and color grading services. Digital Cinema mastering. Clients include Fox Searchlight, ABC Television, dozens of happy indie producers, and you. Need a DCP for digital cinema distribution? We can do that too. Stop by and see the only large screen 4k digital finishing suite in Utah. You’ll be like,“What???” And we’ll be like, “I know, right?”

Micah Young P 801.467.4788 1345 South Major St. Salt Lake City, UT 84115 micah@cosmicpictures.com cosmicpictures.com

Without exaggeration, the very best place in the Universe. Literally. Edit. Colorization. Motion Graphics. Visual Effects. 360 VR. 2D and 3D Animation. Digital Dailies. Digital Cinema Mastering. 4 full-service edit suites and Digital Cinema Theater with Assimilate Scratch and Christie 4K Projection.

EQUIPMENT RENTAL, SALES & LEASING

LONE PEAK PRODUCTIONS

Brad Brusa, Paul Furner P 801.521.5567 F 801.521.5569 404 North 300 West Salt Lake City, UT 84103 info@lonepeakproductions.com lonepeakproductions.com

Looking for a production company who can do it all? Lone Peak has been doing it all since 1979. In-studio and on-location shooting, 3 edit suites with color grading, compositing, motion graphics, animation, insert stage, audio booth and stock library for TV, corporate, industrial, and documentary. It all starts with an idea. Bring us your’s and let’s make it happen.

HUGEsound Post Production - State of the art facilities for picture editing, music scoring, sound design and much more. The ultimate creative playground for media professionals.

Grip / Lighting / Dollies / Expendables Production Services—The way you want them. Delivery and pickup available.

REDMAN MOVIES AND STORIES, INC.

HUGESOUND POST-PRODUCTION

Jenn Sprague P 801.990.4780 jenn@hugesound.com hugesound.com

Troy Parkinson, P 801.973.0632 F 801.973.0380 TOLL FREE 800.867.0632 812 West Layton Avenue Salt Lake City, UT 84104 mail@movingpics.net movingpics.net

HD. 3D. TV. 2K. 4K. OK? Ask for Micah and he’ll give you the nice face discount.

MEDIA GRABBERS INC.

HUGESOUND POST-PRODUCTION

MOVING PICTURES LTD.

Jenn Sprague P 801.990.4780 jenn@hugesound.com hugesound.com

HUGEsound Post Production - State of the art facilities for picture editing, music scoring, sound design and much more. The ultimate creative playground for media professionals.

Joshua Eaton, President P 801.951.1382 F 801.951.1387 TOLL FREE 888.225.8879 383 North 700 West, Unit B North Salt Lake, UT 84054 josh@mediagrabbers.com mediagrabbers.com

With 10 seasons of adventure reality shows and 500 commercials under our belt, yes, I’d say we know editing. From short form to long form, we have the experience, the facilities and the creative juices to help deliver award-winning media. Find us on Facebook!

Bryan Clifton, Kelly Eaton, Joe Olivas P 801.978.9292 F 801.978.2299 The Redman Building 1075 South 700 West Salt Lake City, UT 84104 bryan@redmanmovies.com kelly@redmanmovies.com joe@redmanmovies.com

Arri Alexa, Red Epic, Sony F65 and F55 cameras, grip and lighting, Fisher and Chapman dollys, jib arms to riding camera cranes, blmpded movie generators, Lightening Strikes, Helicopter mounts, walkie talkies, sound stages, expendables, trucks. Still photo strobes One stop shop, full customer service. Plus, Redman is now the Official Grip and Lighting Equipment Supplier for Park City Film Studios.

FILM A NNUA L 2017

PRODUCTION DIRECTORY EQUIPMENT RENTAL, SALES & LEASING

TV SPECIALISTS, INC.

Geoff Barry P 801.486.5757 F 801.486.7566 180 East 2100 South Salt Lake City, UT 84115 geoffb@tvspec.com tvspecialists.com

HD and production camera rentals, editing system packages, digital cinema projectors. Factory authorized sales and support. Locally owned and operated. For current prices, call Geoff.

INTERACTIVE

MODELS / ACTORS / TALENT

VÉRITÉ

MCCARTY TALENT AGENCY

Kimberley A. Jones P 801.553.1101 8850 South 700 East Sandy, UT 84091 kjones@verite.com verite.com

WEBB AUDIO VISUAL

Steve Webb P 877.908.8567 F 801.484.8589 3020 South West Temple Salt Lake City, UT 84115 stevew@webbav.com webbav.com

From the lights on the ceiling to the cameras, projectors and everything in-between, Webb A/V provides the highest quality audiovisual equipment available for your next event or to update your company’s presentation room. Whether for rental or purchase, we offer thousands of products from projectors and TVs to professional-grade microphones, speakers, lighting and everything else audiovisual you can imagine. Webb is also known as a premier event production, management and staging company - doing events across the country. Our event experts can help create, manage and produce your events and those of your clients – no matter the size. Since 1955 we’ve staked our name and reputation on honesty, professionalism and dedication to our clients.

HARTLEY TAPE & SUPPLY

Myron Hartley P 385.218.5938 M 801.643.2442 Freeport West Bldg E-5 Clearfield, UT 84106 myron.hartleytape@gmail.com hartleytape.com

High Bond Tape, Gaffers Tape, Double Faced Carpet Tape, Double Coated Film Tape, ATG - 1.7,2 and 5 mil., Peel & Stick, Permanent, Removable, Hi/ Low, High Temp (Flash) Tape, Double Coated Masking Tape, Double Faced Window Glazing Foam plus the full line of packaging and construction tapes.

AVALANCHE STUDIOS

P 801.581.9292

1326 Foothill Drive Salt Lake City, UT 84108 office@mccartytalentagency.com mccartytalentagency.com

Utah’s First & Finest Talent Agency is happy and grateful to be celebrating 43 years of business. McCarty’s has provided the State of Utah the best actors, voiceover artists, models, young performers and make-up artists. Please visit our website or give us a call.

STARS TALENT STUDIO P 801-201-5885

facebook: @fellowshopslc instagram: fellow.shop thefellowshop.com

F IL M A NNU AL 2017

Dave Lindsay P 801.747.1130 M 801.455.7345 8653 S. Sandy Parkway Sandy, UT 84070 dave@avalanche-studios.com avalanche-studios.com

Once upon a time there was a fullservice production facility specializing in TV ads and high-end corporate video projects. They offered creative services, scripting, shooting (HD to 5K), post, VFX, motion GFX, green screen, and more. They had a talented staff, tons of experience, and a plethora of passion—all to make sure every project and client lived happily ever after. What’s your story? We’ll help you tell it.

9441 S. Union Square Sandy, UT 84070 amber@starstalentstudio.com starstalentstudio.com

Stars represents more than 2,000 including many of Utah’s top actors, voice over talent, models, singers, and athletes. With over 30 years of experience, we specialize in representing talent with diverse ethnicities. SPOT COLOR

PANTONE 1585 C

TALENT MANAGEMENT GROUP, INC.

Vickie Panek - Brett Smith P 801.263.6940 F 801.263.6950 512 East 4500 South, Suite 200 Salt Lake City, UT 84107 Vickie@talentmg.com talentmg.com

TMG is YOUR source for the most capable talent to satisfy the needs of the most demanding clientele. We are professionals representing professionals – dedicated to the success of every project through excellence, quality and integrity. • Industrial • Print • Commercial • Runway • Voiceover • Presenters • TV • Makeup Artists • Film • Stylists

made and found goods 217 east broadway slc, ut

PRODUCERS / PRODUCTION COMPANIES

COSMIC

Micah Young P 801.463.3880 1345 South Major St. Salt Lake City, UT 84115 micah@cosmicpictures.com cosmicpictures.com

Lots of directors and styles including VR and 360 video to choose from. Lots of camera formats to choose from (ARRI-Alexa, Movi, DJI Inspire X5, RED, DSLR, GoPro). Lots of post expertise to choose from (edit, graphics, effects, 3D animation, compositing, color, VO, and sound sweetening). Lots of projects to have fun on (commercials, industrials, web videos, features, and TV shows). Let’s. Get. Started. OPTIONS, people.

CREATIVE SERVICES BUREAU

Matias Alvarez, Mark Hofeling P 435.901.3188 Matias@creativeservicesbureau.com Mark@creativeservicesbureau.com creativeservicesbureau.com

Creative Services Bureau takes the expertise of film production professionals into the non-industry world to provide creative consulting and unique design at unparalleled speed.

PRODUCTION DIRECTORY PRODUCERS / PRODUCTION COMPANIES

DIGITAL BYTES

Bruce Bain P 801.892.0300 M 801.652.4693 5882 South 900 East - Suite 300 Salt Lake City, UT 84121 bbain@digitalbytes.tv digitalbytes.tv facebook.com/DigitalBytes

Digital Bytes is Utah’s finest production and postproduction facility, specializing in corporate sales/marketing/training and recognition videos, multi-camera live events, streaming services and broadcast commercials.

LONE PEAK PRODUCTIONS

Brad Brusa, Paul Furner

P 801.521.5567 F 801.521.5569

404 North 300 West Salt Lake City, UT 84103 info@lonepeakproductions.com lonepeakproductions.com

TV production, corporate, industrials, & documentaries… looking for a production company who can do it all? Lone Peak has been doing it all since 1979. From concept, scripting, and graphics to shooting (in studio or on-location) and post (in one of our 3 edit bays). Great talent, great facilities, great work! It all starts with an idea. Bring us your’s and let’s make it happen.

PRODUCTION MUSIC LIBRARIES

HUGESOUND POST-PRODUCTION

Jenn Sprague P 801.990.4780 jenn@hugesound.com hugesound.com

PRODUCTION SERVICES

THOR MEDIA

P 385.715.2100

ThorMedia.com

HUGEsound Post Production - State of the art facilities for picture editing, music scoring, sound design and much more. The ultimate creative playground for media professionals.

With over 20 years of experience, Thor Media provides specialty consulting and production services for video production, visual effects (VFX) and Motion Graphics.

IMPATIENT COW

Jon Foster, Producer, Icow.tv P 801.718.3006 THE RANCH 264 S. Glendale Street, Suite 100 Salt Lake City, UT 84104 jon@icow.tv icow.tv

We continue to be a SLC-based production and postproduction company. But now we have a brand new 35,000 sqft facility! Come check it out. Icow.tv.

VINEYARD PRODUCTIONS

Jeff T. Miller P 801.263.3443 F 801.263.3191 5183 South 300 West Murray, UT 84107 vineyardfilmproductions.com

Full-service production company specializing in feature-length films, commercials, television and large format. Having successfully managed over $400,000,000 in production funds, Vineyard has the experience and reputation for on-time and onbudget results.

made and found goods 217 east broadway slc, ut facebook: @fellowshopslc instagram: fellow.shop thefellowshop.com

ISOM DIGITAL MEDIA

Luke Isom P 435.671.8223 isom.luke@gmail.com isomdigitalmedia.com

With a background in film and media arts, specializing in digital media services for video production, video editing, photography, motion graphics and more.

FILM A NNUA L 2017

PRODUCTION DIRECTORY PRODUCTION SUPPORT

SET / SCENE DESIGN

3 SIXTY SCENERY MOVING PICTURES LTD.

Troy Parkinson P 801.973.0632 F 801.973.0380 TOLL FREE 800.867.0632 812 West Layton Avenue Salt Lake City, UT 84104 mail@movingpics.net movingpics.net

Grip / Lighting / Dollies / Expendables / Production Services – The way you want them. Delivery and pickup available.

Denton Mackenzie P 801.708.7900 2550 South West Temple SLC, Utah 84115 dentonm@3sixtyscenery.com 3sixtyscenery.com

3sixty scenery is a full-service custom scenery, design and fabrication company. We build everything from stage sets to installations, special effects and movie location sets. We are a team of craftsman specializing in engineering, project management, design and fabrication, installation, and restoration.

UNMANNED AERIAL VEHICLES

TV SPECIALISTS, INC.

James P 801.486.5757 F 801.486.7566 180 East 2100 South Salt Lake City, UT 84115 jamesb@tvspec.com tvspecialists.com

Aerial Cinematography Experts! Utah’s first DJI Authorized Dealer. On site training and repair. Phantom’s, Inspire’s, Osmo’s, Ronin’s, S900 & S1000’s. For more information, call James.

Some of our clients include: doTERRA, DOMO, Instructure, Google, Canada Goose, McDonalds, and Hire Vue. Contact us for your next Sundance Film Festival Event.

Be (seen) more

PRODUCTION STUDIOS / STAGES

HUGESOUND POST-PRODUCTION

Jenn Sprague P 801.990.4780 jenn@hugesound.com hugesound.com

HUGEsound Post Production - State of the art facilities for picture editing, music scoring, sound design and much more. The ultimate creative playground for media professionals.

LONE PEAK PRODUCTIONS

Brad Brusa, Paul Furner P 801.521.5567 F 801.521.5569 404 North 300 West Salt Lake City, UT 84103 info@lonepeakproductions.com lonepeakproductions.com

Salt Lake’s oldest production company now has Salt Lake’s newest studio. Studio B is centrally located, full dmx controlled light grid, 30x35’ cove and control room with multi-camera switching and live streaming. At Studio B, there’s no branding other than yours. Your clients don’t have to know you don’t own the space, and they’ll be so impressed with what you’ve done, they’ll keep coming back to you… and you’ll keep coming back to Lone Peak… what a deal. Give us a call.

MEDIA GRABBERS INC.

Reach the most upscale, educated and loyal audience on television. Promote your brand, build goodwill and support KUED. Sponsor the quality PBS programs on KUED 7.

Call

the KUED Development Department for pricing information.

801-581-4302

F IL M A NNU AL 2017

Joshua Eaton, President P 801.951.1382 F 801.951.1387 TOLL FREE 888.225.8879 383 North 700 West, Unit B North Salt Lake, UT 84054 josh@mediagrabbers.com mediagrabbers.com

One of the largest double walled rentable green-screen coves in the Wasatch front. Two stories tall, incredible sound, large enough for a car and houses an industrial turntable that can hold 800lbs. Flip the switch and walls are lit! Find us on Facebook!

Craving seconds? Save up to 25% on lodging this spring and satisfy that cookie craving! Offer valid March 1 - April 16, 2017.

DoubleTreeParkCity.com/bounceback

FILM A NNUA L 2017