Ferrari

Ferrari Heritage

CRM Studios (555) 555-5555 fax 555-555-5555 www.crmstudios.tv

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Contents

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Cover Letter

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-Steve Dunning

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Why CRM STUDIOS? CRM Studios/Fort Worth is one of the largest production/post production, animation, sound design facilities on the country CRM Studios has a 48,000 square feet state-of-the-art production facility including:

Three soundstages Motion capture MX 40 system 11 Edit bays in every configuration of Avid/Final Cut Full high definition capabilities; shooting/editing Management team with nearly 90 years experience in industry Staff of animators, editors, compositing experts Award winning executive producers, producers, directors, production staff Entire staff of 45 production staff Sound design recording studios featuring Pro Tools Video conferencing center to set up meetings between Cincinnati or Abu Dhabi CRM Studios is an independent production behemoth; there is little that cannot be done under one roof Louisiana CRM Studios has two offices; Fort Worth/Dallas and Louisiana

Louisiana office was developed and structured to: Offer tax incentive packages to projects exceeding $250K in production/post

Acts as liaison between tax credit holders and filmmakers in a state that has no rivals; Louisiana is the second highest grossing film production state behind California CRM Studios’ sister company is a feature film entity, RiverDreams Pictures, has produced two features, At Last and The Pardon, with several more films in development. CRM has been involved in different levels of these productions since inception.

Experience CRM Studios has done everything under the sun: Produced television commercials; regional and national Managed 3D and 4D ride films including engineering and ride programming

Developed in-store television networks for GameStop, RadioShack and currently in contract stages with Cardinal Health and Virtua Health CRM chased the Rolling Stones around with cameras from Boston and New York for an in-store feature for RadioShack

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Why CRM STUDIOS? CRM engineers and technology teams have: Determined technical requirements for both Landry’s Restaurants and RadioShack 4D theaters; including on-site testing of servers, sound system upgrades, hardware/software modifications, etc.

Developed technical solutions for Pepsi, Frito Lay, AquaFina, Arby’s and agency Tribal DDB for obscure aspect ratios configurations from green screen capture to computer monitor display Created a 3D theater for test lab for Landry’s Restaurant’s “Skies Over Texas” 4D ride film Developed and now supply Lockheed Martin and the F35 Fighter teams with computers used in training pilots and mechanics on the world’s next generation of fighter plane Developed and tested the screen technology and software so GameStop could mount two vertical 42 inch monitors in their flagship competition store in California Created the technology and tested a round display projection system for Alcon Laboratories trade displays Determined equipment/technology requirements and installed dozens of offsite projects across the Southwest Managed the roll out of the first 100 stores for GameStop’s in-store TV network

CRM Healthcare CRM Healthcare, a wholly owned division of CRM Studios, develops, produces and distributes Continuing Medical Education and information for American Hear

Relationships As good as we are at a lot of things, we also know how relationships in the industry help grow a production entity the size of CRM...

This project requires a lot of important relationships, many which have been in place for years. Some of the players CRM is recommending as partners in this project include: -Director of Photography/Camera Guru, Max Penner, who has lensed some of the biggest rides in the U.S., including Terminator 3D, XXX, XXX -Ron Jones -Billy Velton .

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Broadcast Business/Image & Project Management Highlights:

Stock Image Management -Image consultant on “Millennial Mark” a broadcast minute produced for Omnicom with over a thousand images used from The Image Bank library -Broadcast Business over Pepsi, Frito Lay, Washington Mutual, Hyundai, Gatorade, Bud Light, Pizza Hut and many others -Worked with Greyhound Corporation on legal use of archival stock in national television commercials

-Consultant on “Millennial Mark” , a national interstitial broadcast minute produced for Omnicom & TL Planet, with over a thousand images used from The Image Bank library -Worked with Texas Instruments on development of the DLP (Digital Light Projection) system for initial theatrical testing/sales internationally

Broadcast Business Management -Broadcast business management on Anheuser Busch talent for Bud Light and talent negotiator on Ziegenbocksponsored music events/advertising projects -Talent manager on Pepsi’s Hispanic Spot “Housewives’ featuring Eva Longoria, liaison to third party negotiator -Managed all releases and contracts for Landry’s “Skies Over Texas” 3D/4D ride film including music, talent, location, etc.

-Researched/renegotiated international talent for lapsed Quaker “Clamato” TV spots -Worked with Element 79 and Gatorade on reuse for archival footage from University of Florida Gators for national television commercial -Handled roll out of national Pizza Hut and Taco Bell radio/TV spots

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Tom Kirkhart Tom’s background is custom-made for this project. His extensive experience spanning 25+ years includes nearly 8 years as a rights management consultant to ad agencies, production and entertainment companies and corporations. The Image Bank, a Kodak Company, was the largest supplier of both current as well as archive footage in the world-with 77 offices worldwide has since been absorbed into Getty Images. Some of the individuals Tom worked with are being recommended as consultants on this project.

Tom’s background also includes advertising agency experience, including his latest stint at Omnicom’s Dieste, Harmel & Partners, one of the largest Hispanic ad agencies in the U.S. While at Dieste, he was part of Broadcast Business Management, handling rights issues on stock, talent contracts, and music rights releases.

Tom is experienced in writing business and marketing plans, developing strategic marketing plans, and producing video/film projects for many Fortune 500 companies. His award-winning work has earned him Tellys, NY Film Festival, Bronze Quill and even a Clio for print work done in the 1980’s. Tom has produced special projects such as GameStop TV’s monthly magazine, and he served as Executive Producer on ‘Skies Over Texas’ for Landry’s Restaurants’ Tower of the Americas.

Full bios are found at back of proposal.

Engineering Engineering in today’s broadcast/film environment requires technical expertise on many constantly changing levels difficult for even the most tech-savvy group.

Our team of five broadcast engineers is led by Chief Technology Officer/Chief Operations Officer, Tim Davis.

Tim brings his 25+ years of experience and design. Highlights of Tim’s career include:

-20 years Air Force radio, television and multi-media

-Designed four major broadcast/film facilities including CRM’s facility

-Developed and executed dozens of design/build projects in excess of $50M

Because of the depth of overall production/post production talent, CRM’s engineering staff is able to tap other resources, from seasoned editors to creative animators to our Hollywoodtrained compositor, in order to round out this incredible project resource

Engineering Case Study Recap CRM Studios’ engineering staff is not only highly seasoned, but adept in every situation and environment.

Operation Micron

$1.0M 4D Ride Film RadioShack “Store of the Future” StoreOne 4D Theater -Provisioned 2K content for upgrade to the QuVIS server for Digi Award winning Store of the Future -Liaison to theater design/install team -Set up and configured StoreOne on-site sound mix -Provide ongoing maintenance and troubleshooting of theater and all components

StoreOne

Store of the Future Round Display Technology -Developed an algorithm to help the graphics teams design and create content for Dactronics 360 degree circular graphics display in store’s rotunda entryway (1280 X 126 aspect ratio) -Liaison to store finish-out construction crew, CRM’s animation and composting team in configuring and tweaking final display -Provide ongoing maintenance and troubleshooting for all display components throughout StoreOne

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Engineering Skies Over Texas 3D/4D Ride Film -Installed an in-house 3D theater for testing for Landry’s $1.6M 3D film; needed to test/tweak multiple projection systems for perfect 3D look -On-site for weeks before grand opening of building and theater to assist in final visual and aural adjustments -Downloaded 2K files for QuVIS server upload -Was instrumental in setting up/executing in-house technology to handle 2K file servers -Liaison to operations on install of in-elevator sound bites, audio for museum segment and myriad of other building issues pertaining to theater, sound, etc.

GameStop

GameStop TV In-Store Broadcast Network GameStop Tournament/NYC Stores Specialty Stores -Specified equipment purchases for initial roll out to first 100 stores nationally; as roll outs grew, equipment and specs were modified to keep up with GameStop’s evolution -Worked directly with store management, as well as content developers within CRM to download data cards for initial store roll out test -Managed installer-base specific to just Nielsen Study 30-day test stores -Developed/tested audio 5.1 system for roll out to 5000 stores -Designed/built test area for dual screen graphics requirement of new Tournament Specialty store, as well as large footprint New York store

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Engineering DDB Tribal Pepsi, AquaFina, Arby’s & Frito Lay Internet Specialized -Developed solutions for Pepsi in which configurations of aspect ratio had never been developed before (for example for the Pepsi website, a XXX by XXX aspect system from image capture on green screen soundstage to transitioning files for design team to drop in over alpha channel -Once Pepsi was satisfied with results another half dozen projects for Pepsico and other branded products requiring additional engineering, green screen to HD conversion, transferring to appropriate file size and to alpha channel.

-Each screen had a different aspect ratio than the one before; requiring CRM’s integrated staff (engineering/compositing/animation) to solve new issues while new project was in already in motion

City of Dallas City Hall -Engineered, designed and installed 12 new robotic cameras and overall system integration for broadcast use by the City of Dallas -Full router upgrade completed at head end facility -Re-engineered and relocated entire Dallas Public Access Channel including servers without going off air

Image Management, Sound Engineering & HD Engineering

Various locations throughout the Southwest -On site engineering on numerous 2000+ seat facilities throughout the Southwest -Designed and built CRM Studios’ 48,000 square foot production facility; showcased in Broadcast Engineering magazine -CRM’s broadcast engineers have become the mainstay for engineering in the region, constantly brought into projects as consultants or to troubleshoot complex system faults -Installed numerous standard def, high def and MD systems throughout the region 9

Special Engineering Challenges Specific Issues Requiring CRM Engineering Tunnel - The tunnel offers a special challenge considering it may require a three Christie projector set up (two sides/one top) -Tunnel warp effect requires CRM engineering to compensate for the curvature and skew of the screen -Timing and sync of the multiple 2K servers will be required -Scaling of the mixed format HD content to 2K image size (specified at 2048X1080) -Duplicating locally the different ride environments to ease content creation for creative staff

Pepper’s Ghost Segment -Pepper’s Ghost ....

Room-to Room Audio Recommended audio layout for this project:

-Music beds should play in each room based on era; i.e. Italian Aria track in 1920’s room -Sound bites of events, people, drivers also play in each room -Layered sound effects should stay with visuals or room environments -Voice over track should stay with the rider and car throughout the ride

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The Team STEVE DUNNING • 25 + years directing, producing, editing, creative directing, casting, and researching videos, mini-features, music videos, commercials, videos, in-store TV shows, etc.

• Director of national and regional TV spots for Big Boy Restaurants, Time Warner, Dickies Clothing, Bandai, RadioShack, and many others.

• Directed 3D and 4D ride films for Landry’s Restaurants’ Skies Over Texas, and Operation Micron the store of the suture, StoreOne. • Directs and creative directs GameStop TV, a 5000 store network and ShackTV for 7000 RadioShack stores.

Steve has had fun shooting the Rolling Stones by chasing them from Boston to New York.

Spent 80 hours and thousands of miles in a 3D-mounted helicopter, and many days in the 4D theater months later – thereby controlling every aspect of production, including ride production.

Steve’s love for entertainment even put himself through college, as a puppeteer for Six Flags.

TIM DAVIS

TOM KIRKHART

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The Team JIM DAVIS

DUFFY WHITE

JERRY J. MOORE

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The Team

KYLE ENTSMINGER

Compositor

Kyle Entsminger came to CRM Studios from Los Angeles, where he was a compositor on many major motion pictures and made-for-TV movies. He worked for such notable companies as Furious VFX, Hammerhead Productions, and Captive Audience. Kyle is an expert in 2D and 3D graphics software, including Maya, Lightwave, Shake, Combustion, and more. He has over 5 years experience as a compositor.

Kyle Kyle has worked on such films as Mr. and Mrs. Jones, starring Angelina Jolie and Brad Pitt, Constantine, starring Keanu Reeves, and Chronicles of Riddick, starring Vin Diesel. He was also the compositor on the Emmy Awardwinning TV mini-series, Triangle, which aired on the Sci-Fi Network.

Kyle is the compositor for CRM Studios and currently works on GameStop in-store TV, as well as many other projects.

He was also the compositor for Riverdreams Productions’ film project, The Pardon. He is currently working on other Riverdreams feature films that are currently in production.

When he’s not compositing, Kyle enjoys his downtime at his home in Dallas with his Italian Greyhound. Kyle also enjoys reading the latest automotive news and reviews and has an amazing knowledge of cars.

GERALD RICE

Senior Producer/Animator

Gerald brings twenty years of experience and international exposure in computer animation to his position at CRM studios. Now in his sixth year with CRM, Gerald works closely with art directors, producers and clients on projects from storyboard conception to their final product. Gerald has extensive experience with numerous software and hardware packages, including Flame, SoftImage, Maya, 3DSmax,Cinema4D, After Effects, Motion builder and Vicon motion capture system. In his spare time he enjoys building CNC machines and small jet engines.

Some of his clients have been BNSF, Barney, Michael Jackson, Miller, Lockheed Martin, Fujitsu, Pepsi, Honda, Manchester Giants, and Landry’s He earned a B.A. in Art from East Central University in Ada, Oklahoma.

JEFF BANNISTER

Lead Motion Graphics

Jeffery is a much welcomed addition to CRM Studios. He comes to us from Charlie Foxtrot Productions, a wellrecognized post production house in Dallas. Prior to that, he earned valuable experience as a freelancer on projects for such established names as Texas Women’s University, and Brinker International, a massive restaurant group that owns Maggiano’s, Chili’s, and more.

Jeffery has won and placed in many competitions, including two 1st place awards in the Delta Epsilon Chi State Advertising Competition, and third in the Delta Epsilon Chi International Advertising Competition. He is the chapter president of Delta Epsilon Chi and is also a member of Psi Beta and the American Legion. He has also contributed to the success of others in the field, having actively taught daily classes, mentored students, and formed lesson plans at The Art Institute of Dallas. Mr. Bannister graduated with honors and was on the President’s List at Temple College before graduating from The Art Institute of Dallas.

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The Team CATHERINE LOPEZ

Production Manager

Catherine Lopez’s duties as Production Manager has evolved into her spearheading the management of some of CRM Studios’ top clients. She has been production manager on the 3D/4D ride film, Skies Over Texas that was produced for Landry’s Restaurants’ Tower of The Americas. The project had a budget well over $1 million. Ms. Lopez is currently managing yet another project with a budget exceeding $1 million, GameStop TV, a monthly two hour in-store TV program that runs in all 3000+ GameStop stores across the U.S. Ms. Lopez is also an accomplished producer, having won an Addy Award for her production of a national toy spot for Bob The Builder.

Catherine graduated from the University of North Texas with a BA in Radio, Television and Film. She has been a crucial part of countless live broadcasts, as well as film projects and video shoots.

MAX PENNER

Visual Effects / Camera / DP

Max’s acumen in multi-format special venue projects has made him one of the most preferred technicians in the film industry. Working extensively for years on feature films, commercial spots, and television productions has allowed him to develop and hone many aspects of his skills that make him a vital part on any production.

Max partnered with Paradise FX, which was founded in 1992. Paradise FX is very well-known throughout the film business, and has worked with such companies as: IMAX, Paramount, Universal, Disney and many more. Being at Paradise FX allowed Max to continue his passion in large format, special venue, and 3-D photography as well as motion control and other high tech film making methods. His prototypes and unique camera platform designs have allowed Max to further broaden his prospects throughout the industry.

Max is an expert at the following camera and lens systems: Showscan, Imax, Iwerks, VistaVision, Panavision, Arri, MovieCam and Mitchell. He also specializes in aerial camera platforms along with any other camera moving vehicles.

From the front of a hollowed-out canoe shooting the Amazon, to NASCAR at 180 mph, to the belly of a TwinStar helicopter, and even the nose of a T-38 jet, Max has an enormous amount of real hands-on talent and experience to bring to the table.

Prior to Paradise FX, Max was associated for over 12 years with Ed Dijulio and Cinema Products. Max was instrumental in bringing the Showscan camera system up to speed and making it production-friendly.

RON JONES

Composer

Ron Jones has worked as a composer for over 35 years, and has studied with such legendary composers as Dick Grove and Lalo Schifrin. For the last 25 years, Ron has been scoring to picture. He is currently scoring Fox’s Family Guy and American Dad. Ron started out scoring many animation projects with Hoyt Curtin at Hanna-Barbera. Later on in his career, Ron worked with Mike Post and Pete Carpenter on several primetime action shows.

His credits are too numerous to mention here, but some from film and television include: Duck Tales, Star Trek, The Smurfs, The Flintstones, Star Trek: The Next Generation, Hardcastle and McCormick, and Club Dead. Ron has won many awards, including two BMI TV and Film Awards for his “Fairly Oddparents Theme”, which was recognized as the most performed theme in broadcasting, 3 years running. He has also been nominated for an Emmy.

He has lectured and taught film scoring at many universities and colleges, including one of the most prestigious film schools in the world, USC. He is a member of BMI, ASCAP, AFM, The Academy of Television Arts and Sciences, and more. Ron lives in Burbank with his wife, Laree, and son, Nathan.

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Quotes “CRM is perfect for the Ferrari History Ride—and my background really fits in well... includes years managing stock footage, especially archival rights control at The Image Bank...as well as Broadcast Business—from all of the Omnicom experience....to having done the Landry’s Skies Over Texas...you should have seen the 4 inch binder we gave them, complete with all contracts and releases for every person on screen, from the stunt skydiving team to the astronauts in NASA’s Neutral Buoyancy Laboratory ... with every legal angle protected with location releases...down to the rights for each piece of music, both composition, as well as performance rights...”

Tom Kirkhart Chief Marketing Officer Executive Producer CRM Studios

“What’s wonderful about this project for The History of Ferrari is the opportunity for our engineering staff to extend their experience on elements of the ride such as the tunnel—being able to design, build a prototype tunnel on our 80 foot stage to test the capabilities of three Christie projectors as they blend into a tunnel environment...in essence, our broadcast engineering staff is an incredible engineering phenomenon because we are constantly taking our experience and using it to solve real engineering issuesstuff that no one has ever had to work through before...and then get successful results”.

Tim Davis Chief Technology Officer Chief Operations Officer CRM Studios

History of Ferrari Ferrari: A Winning Heritage History often is portrayed as past events, but heritage invokes a past that we feel. Heritage and tradition is a feeling that is earned over decades or generations.

You don’t always get it because you’re rich-or simply because you’re born into the right family. You get it because you earn it, because you’re better than the others. You’re better at what you do than all those who want to imitate you, but, ultimately, cannot measure up.

Ferrari is heritage and tradition. Ferrari represents the best of human design and engineering, and the best of tradition: from the early racing days of Enzo to the cutting edge company of today.

Ferrari has earned a proud tradition that comes from its heritage, a heritage created by true winners. It is this intense feeling of pride--built on a strong commitment to excellence, design and power...that we intend to transfer to each and every rider. This will be accomplished through intense visual effects, supported by well executed sound effects and music of the era.

Enzo Ferrari is quoted as saying “Aerodynamics are for people who can’t build engines”. This intense man, who created Ferrari’s heritage, drives this story. We intend to carry it to the masses in the crafting of these film stories.

Staying Pure to the Story It is our intent to be sure the overall creative direction of this project stays pure in its delivery.

Top shelf and first class—the feel and texture of the creative needs to emulate the way Ferrari is seen by the world.

The incredible heritage that is Ferrari needs to be felt; from the selected imagery to how it is used, it needs to stay true to itself – an true to the history and traditions of the time period from which it came; not only in the visual style, but also in the sound design and music.

Each room on this exciting heritage ride takes us through a different time period as well as a different locale. From the 1920’s through present day, each period has a distinct visual style and feel, as we capture the world that is Ferrari.

For example, early in the production we will use dissolves and superimpose effects to visually blend a melody of stock footage that tells the early years of Ferrari. A classic Italian Aria, composed by an internationally renowned composer, will help create the feel and the tone of an old world story.

We will pick up the pace (possibly speeding up the ride) and start to feel the cuts of the editing and sharper, crisper sound effects as we enter the 1930’s and ‘40’s Germany, complete with dramatic camera angles and grand symphonic era music.

As our ride continues into the 1950’s, we incorporate more of a ’50’s style of editing. Complete with wipes, split-screens and much faster paced cuts, this era will increase the excitement and the energy, and build towards a climax at the end of this segment. The coming-of-age music emphasized here will feed the riders emotion and get the heart pounding , possibly driven by the obscure, 15 non-defined sounds of poetic beat music.

History of Ferrari

“The History of Ferrari” project will qualify for Louisiana tax credits for work performed

The editing style of the 50’s evolves into a more complex pattern....the visual becomes more complicated to demonstrate the complexity and angst of the 1960’s. Daytona racing...along with patterned wipes, multiple screen overlays and yes--even color! Well, at least in Technicolor-the color style made popular in the sixties. There is no mistaking the look of Technicolor when you see it. Just imagine how the music takes us through the 60’s; the images, along with the sounds of the times-all so changing-all so telling...and Ferrari made those changes as well. The company was, to some extent, changing with the times.

at CRM Studios in Louisiana.

As we enter the Triumph and Tragedy section, the monitors might display mini-biographies to match the stories chosen. Simple, full-screen shots will slow down the editing pace in order to allow riders the time to recognize some of the historical characters who left a lasting legacy

top-rated talent through our

The pace will then build into a heroic, yet suspenseful transition to the Schumacher era of Ferrari. Lots of slow motion can be implemented here in order to emphasize the incredible success of his career. The music should include full orchestral build—culminating in the resounding energy of a grand victory.

The ending needs a crescendo to celebrate where Ferrari has come from...and more importantly, where Ferrari must go...

Much of the compositing and editorial needed for this project will be extensive, requiring months of tedious frame-byframe manipulation...and it can be all be done with our Louisiana offices, allowing a 25% tax, the most generous tax credits anywhere in the U.S. In essence, whatever can be done in Texas at an already reasonable rate allows an additional 25% savings-which can be put back into the production and on the screen, allowing CRM Studios

We see the look of a multi-layered, multiple-screen phenomenon - the only way to end this incredible tale.

to deliver more value to its

This dynamic finale should be a gregarious montage of great Ferrari moments—one that is visual/aural feast. The culmination of this heritage story, from the drive and perseverance of Enzo to the cars he developed, needs to be a video wall mural equal to none! Imagine visuals coming at you so incredibly fast that your head will spin with the intensity of the cars, the excitement, the thrill of the ride and victory! For one rare moment, let’s feel the sensation of winning; let’s stand in the shoes of true winners.

Jim Davis Co-owner CRM Studios and RiverDream Productions Partner, Law Firm Jones, Odom, Davis & Politz, LLC

The editing style of the 50’s evolves into a more complex pattern....the visual becomes more complicated to demonstrate the complexity and angst of the 1960’s. Daytona racing...along with patterned wipes, multiple screen overlays and yes--even color! Well, at least in Technicolor-the color style made popular in the sixties. There is no mistaking the look of Technicolor when you see it. Just imagine how the music takes us through the 60’s; the images, along with the sounds of the times-all so changing-all so telling... and Ferrari made those changes as well. The company was, to some extent, changing with the times.

As we enter the Triumph and Tragedy section, the monitors might display mini-biographies to match the stories chosen. Simple, full-screen shots will slow down the editing pace in order to allow riders the time to recognize some of the historical characters who left a lasting legacy.

The pace will then build into a heroic, yet suspenseful transition to the Schumacher era of Ferrari. Lots of slow motion can be implemented here in order to emphasize the incredible success of his career. The music should include full orchestral build—culminating in the resounding energy of a grand victory.

The ending needs a crescendo to celebrate where Ferrari has come from... and more importantly, where Ferrari must go...

We see the look of a multi-layered, multiple-screen phenomenon - the only way to end this incredible tale.

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customer.”

History of Ferrari

“Wow, the use of archival footage for the Ferrari project probably represents somewhere

This dynamic finale should be a gregarious montage of great Ferrari moments—one that is visual/aural feast. The culmination of this heritage story, from the drive and perseverance of Enzo to the cars he developed, needs to be a video wall mural equal to none! Imagine visuals coming at you so incredibly fast that your head will spin with the intensity of the cars, the excitement, the thrill of the ride and victory! For one rare moment, let’s feel the sensation of winning; let’s stand in the shoes of true winners.

around 3,000 to 4,000 frames,

We believe that the story of Ferrari is a story like no other. This story is rich in heritage and tradition, not only in what the rider sees, but in what the rider doesn’t see. This story is about the victories-not just one or two but a long legacy of victories—like no other.

know how much time it takes to

Even though the visuals are predetermined to match the requirements of the ride, we strongly believe the ride can and should come alive on a second level...a level that is rich in sound design.

A level with exciting, almost surreal layers of sound effects, and even more importantly, one with a layered sub- plot of re-enactment voices. This could be done in an old-time radio style, one that tells the story.

and another couple of thousand frames of potential color footage...all-in-all it represents a lot of image work. Six to eight months of work for a team of a couple of compositors, from what it looks like at this point, at least initially...

Having done major features such as Mr. & Mrs. Smith, Flight of the Phoenix and others, I detail each frame that’s ready for the big screen.

The size of the projection, upwards of 30 foot spans, requires all archival footage be pulled into a 2K file format, each frame cleaned up and then reinitiated into a clean frame ready for jumbo projection

It is our intent to further research key moments in the heritage and history of Ferrari and hear those moments come to life throughout the ride. Faint voices that one hears in the background. A voice or two from the past relaying the story in sound bites that fill in the gap of the key relationships, the greatest moments of the cars, the races... the sub-plots, if you will, between Enzo and his mechanics, the drivers and their crew, and of course their fans. Those ever adoring fans!

required in some of these dark

The success of this ride will be determined how well all of the possible elements blend together to create an emotional, memorable experience. A lot of what we will bring to this mixture will be textural elements—those little snippets from the past...almost invisible to the viewer’s senses, but creating a style, an aura of success.

wall that large”

At CRM Studios, we have a very talented mix of editors, compositors, composers, animators, researchers, writers and other creative team members with the ability to make this vision come alive!

rooms. It is just like preparing feature size frames for extremely large format projection-every bit of dust and dirt will be fist sized by the time you put it up on the

Kyle Entsminger Compositor CRM Studios

Taking Stock When creating a masterpiece on history, it necessarily requires that you work with stock footage, e specially archival footage...and a lot of it!

Stock footage for a project as vast as this is, encompassing so many different eras in time and place...will require a lot of research, as well as expectations that many different resources from across this globe will be required. This is both anticipated and embraced, You can almost not have enough footage in this project as the storyline is bigger than life!

One of the most important jobs CRM Studios can do successfully is clean up the archival footage—clean it up so it looks almost brand new. We can remove that ‘old dusty’ feel that some old films have a tendency to elicit. Or, we can take pristine footage and make it look vintage, depending upon its use.

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History of Ferrari

“What really excites me about scoring the music for the film sequences in the History of Ferrari ride is the incredible depth of

We will also transfer all of this footage to high-definition formats...at the highest level that can be achieved.

time and place all tied together in

We plan to dramatically improve and enhance the archival footage selected by filtering out dirt and scratches, painting missing information, sharpening the focus whenever possible, splitting foreground from background and then compositing the elements back together after they have been cleaned up and color corrected.

The ride goes from 1920’s Italy

There are a lot of tricks to incorporate into this process to vastly improve the look of archival footage and we are lucky to have one of the best compositors on our team-one who was trained in Hollywood working on major feature film projects.

and all the way through today.

We are also lucky to have a stock footage expert on our team-one who worked at The Image Bank, one of the largest stock collections in the world. We plan to employ several top-notch researchers during the pre-production phase, and we have even located the team who did the research and supplied footage for the documentary, Ferrari, back in 2006.

Music, of course, will be the key, if not the most influential element in the ride. Music will be used to uplift our riders and certainly will be one of the most essential elements for success!

One recommendation, from not only the creative team, but the engineering team as well, is that music emanate from each room in which the ride car is located.

a four minute piece--

and continues through Germany in the 30’s and 40’s, up through LeMans and France in the 1950’sWhat a wonderful challenge-luckily, I’ve done lots of scoring for many television shows like Ray Bradbury Theater and Star Trek, The Next Generation... to symphonic works for major concertos...even the work done on high-end documentaries have a value here...this project knits my broad composing background into one fun, innovative and exclusive project. I was recently

The voice over track needs to travel with the riders, while the music needs to be a key element in each of the stylized rooms—and done for that time period. Music style also needs to emulate the country of origin for each race-thus, Germany in the mid-thirties needs music from that same era. This, we feel, is essential to the success of the ride.

saying that just a show like The

The music should be uplifting-it should tell a tale...but also should be able to move our riders from highs…to lows… and then back to really big HIGHS! A rollercoaster of era-driven music will maintain rider interest throughout the ride.

we’re probably doing ten or more

We feel so strongly about the music being one of the most essential elements of this ride, we have teamed with one of the best composers in entertainment on this project-someone experienced in creating different patterns of tone and time to match the elements on the screen.

Pre Show: Enzo Ferrari Our creative team concurs with the suggestion that the Pre-Show be reflective of the philosophies and dedication of Enzo Ferrari.

The ride will take us through the heritage of the racing success of Ferrari; not necessarily driven by the influence of the man himself, but rather the successes of the cars influenced by the man.

We might consider and test a reversal of the timeline; taking the story from today and going backwards in time.

In such a reversal of time, rather than introducing the historical footage that will be seen in the ride, it is our suggestion to showcase footage from today-shots of the drivers, crews and cars.... or the factory workers as these folks witness the influence Enzo had on every individual lucky enough to be involved in the Ferarri phenomenon.

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Family Guy can have as many as twenty different segments in a twenty four minute show-here in four minutes”

Ron Jones Ron Jones Productions Composer soundtracks for Television & Motion Picture

History of Ferrari

“The History of Ferrari” project will qualify for Louisiana tax credits for work performed at CRM

By establishing the current electrical pulse and excitement that emanates throughout the racing world due to the name that Ferrari has established in this day and age, respect and awe will come much easier for those who take the four minute journey through the heritage of this great car-and great man!

Studios in Louisiana. Much of the

Shooting Recommendations (Ride and Pre-Show Footage)

frame-by-frame manipulation...

We can appreciate and respect the budget that was originally developed for the ride, as well as for the overall park. A minimum of six days (more or less, dependent on the budget) seems appropriate, based on the information we have at this point.

compositing and editorial needed for this project will be extensive, requiring months of tedious and it can be all be done with our top-rated talent through our Louisiana offices, allowing a 25% tax, the most generous tax credits anywhere in the U.S. In essence, whatever can be done in Texas at an already reasonable rate allows an additional 25% savings-which

The breakout is as follows:

can be put back into the produc-

-One day for the Pepper Ghost scene with the Mayor

CRM Studios to deliver more value

-Four days shooting Ferrari at a current racetrack for the Pre-Show. This would require a smaller crew. We would also want to obtain some driver POV shots of the race on one of the older routes.

This assumes that we would be able to coordinate current racing locations with the older racing routes of yesteryear .

Jim Davis Co-owner CRM Studios and RiverDream Productions Partner, Law Firm Jones, Odom, Davis & Politz, LLC

Our suggestion would be to stylize many of the shots, reminiscent of a particular period of time and mix it in as over lays with other archival footage.

tion and on the screen, allowing to its customer.”

-One day shoot of Ferrari period cars for the Le Mans speed tunnel and rain effects. It would be nice to get a run and start Le Mans shot, if that is doable.

-One Day should be scheduled for the Mille Miglia POV or reenactment footage to use as overlay footage with existing stock.

We encourage and appreciate your suggestions throughout the planning stages, especially if the ideas fit within your budgetary restraints. Our primary goal is to add to the enjoyment and experience of each and every rider.

We would also like to be involved, if you will allow us, to suggest ways to enhance the rider experience as it relates to the film on screen. For example, the finish at Le Mans. It would be a crowd pleaser to spray the audience with a light mist of water as you see champagne being popped open with the fizzy refreshment flying across the screen.

Le Mans represents the first place champagne was shaken up and sprayed all over the winner.

This one event changed the way the world celebrates, and created a celebratory tradition from victory circles at car races to championship sports. Another example would be the added use of light and horn effects during the rain scenes at Le Mans.

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History of Ferrari

“The exciting thing for me about working on the Ferrari project is being able to mesh my love

Safety First!

Our suggestion is to make the safety video as easy to understand and follow as possible. After all, it is a safety video and the safety of the riders is of the utmost importance.

For this reason, we recommend producing the entire video in 3D animation, keeping the tone of high importance and with an international flare and feel.

One suggestion would be to develop a high tech, 3D Ferrari car design of the future as an example of required safety features. A celebrity voice over would help this piece, if budgetary parameters permit.

Celebrity Voice Talent We are considering the use of a classic voice talent, such as James Colburn for the VO, or another well-known celebrity voice. Celebrity negotiations can take much time and money-so flexibility in the final voice over choice is key to managing these talent costs.

It is always wise to let celebrity negotiators know you have many other talented folks in mind before discussing the cost of a celebrity voice over. If agents believe they are the ‘voice of choice’, the price escalates accordingly.

for amusement parks rides with my love for filmmaking. Being the dad of a 10 and 14 year old has put me in virtually every ride across the US and many, many times on Spaceship Earth. What I want this ride to do is to awe and our riders – to emotionally involve them with the legacy, heritage, and most importantly, the triumph that is Ferrari. “

Steve Dunning Chief Creative Officer Executive Producer CRM Studios “Lensing the insert shots on some of these scenes can tap into my background of Camera/ Director of Photography... especially difficult will be the tunnel shot that we’ve looked at. Luckily, we have CRM Studio’s expertise in engineering, and my background which started on the set of Combat! and I Love Lucy (my dad was an A level Hollywood cameraman-so I grew up at his elbow learning from the biggest lensers ever...) … I love working on ride projects and have spent a lot of time dealing with the technology involved in 3D… I am excited that this tunnel shot, as well as a couple of other obscure projection requirements, will creatively challenge my abilities-“

Max Penner

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300 RadioShack Circle, Suite T3.381 Fort Worth, TX 76102

(817) 415-2947 

www.crmstudios.tv

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