August/September August 2015 • V.302015 | No.2• V.30 | No.3
Film • Video • Animation • Audio • Locations • People
2.0
Lighting in Tight Places Playing on Emotions
Production Music
Practical Effects
Firstcom music RetuRn to
the ARchives ? Advertiser ? Full-Page Advertisement New Artwork Special Instructions
Page ?
music For
documentary Dig deep into thousands of authentic archival music tracks from the past 30 years. Explore songs and score ranging from the 1940’s - 1990’s and beyond.
find your creative solutions at firstcom.com
8 DAYS ? Advertiser ? Full-Page Advertisement
IN NOVEMBER New Artwork
Special Instructions
s a n t aPage m?o n i c a
AMERICAN FILM MARKET & CONFERENCES
www.AmericanFilmMarket.com
®
The American Film Market is produced by the Independent Film & Television Alliance I www.ifta-online.org
®
Markee2.0
August/September 2015 Volume 30 | Number 3
Film • Video • Animation • Audio • Locations • People
co n t e n t s w w w. m a r k e e m a g a z i n e . c o m
6 fea tu res
06
14
Cinematography
Behind the Scenes: Broken Links Sometimes it takes more than just a team to make a film. James Mathers
14
Lighting
Bigger than a Breadbox – by a Lot
Documentary cinematography isn’t all about people and places; sometimes it’s about things and their history. T. Hunter Byrd
18
Audio
Production Music for every Production
It can be just what you want or just what you didn’t know you needed; it’s production music, but is it right for you? Tom Inglesby
2 | Markee 2 .0
|
August/September 2015
Film • Video • A nimation • Audio • Locations • People
Markee2.0
Film • Video • Animation • Audio • Locations • People
34 feature s
22
Business
Crowd Funding? Why not? An indie producer meets Indiegogo. Cullie Poseria
24
Markee 2.0 is a results-driven magazine that has been published since December 1985. A nationwide survey of film and video industry professionals revealed that Markee 2.0 is at the top of their must-read list. Editorially, Markee 2.0 offers a wide range of content tailored for its diverse readership. Features span film and video production and postproduction topics to include must-read interviews with leaders in the creative community, the latest equipment and technology news, perspectives on innovative independent filmmaking, and in-the-trenches reports on shooters, editors, animators and audio pros – plus regularlyscheduled specialty supplements. Markee 2.0’s seasoned writers know the industry inside-out. That’s what makes Markee 2.0 compelling, informative and timely reading.
www.markeemagazine.com
Production
Monsters under the Bed
Before there were virtual effects, practical effects ruled. In some films, they still do. Tim Partridge
30
Spotlight
NASCAR And Charlotte — a Perfect Pair
If you need to shoot NASCAR-style race cars doing burnouts and drifts, Charlotte, N.C., is the place to be. Ron Bronski
34
Special Feature
Setting the Stage for Emotions
If a picture is worth a thousand words, how much is it worth to you to make the viewer react the way you want? Tom Inglesby
w w w. m a r ke e m a g a z i n e .c o m
[On The Cover]
Chronicling the restoration of a steam locomotive requires dealing with a lot of lighting challenges, not the least of which is working in tight places like the boiler. For more on lighting, see page 14.
August/September 2015
|
Markee 2 .0 | 3
Markee2.0
from the editor
Film • Video • Animation • Audio • Locations • People
| By Tom Inglesby
Fire! Donald Trump! With aging comes memory loss. So goes the conventional wisdom, anyway. Maybe it’s a matter of semantics, though; it’s not that we can’t remember things, it’s that we can’t remember things we want to recall at a given moment. While I might have trouble with the name of the singer of a 1950s song I like, I certainly remember events in my life from that era. Selective amnesia. One of the things I remember is flying model airplanes in the 1950s. They were much less technical than today’s radio-controlled planes; we set the controls, fired up the engine and let the plane go, hopefully to circle the field and come in for a gentle (Ha!) landing when the fuel ran out. That memory came to me the other day when I was reading scary stories—non-fiction, unfortunately—about near collisions of manned aircraft with unmanned aerial vehicles (UAV), commonly known as “camera drones.” According to the CNN report, “Two airplanes flying near one of the nation’s busiest airports each came within 100 feet of a drone on Friday, according to audio from each flight’s radio calls. The first reported spotting a drone while approaching John F. Kennedy International Airport. The drone passed just below the plane’s nose when the jet was flying at an altitude of about 800 to 900 feet. [Later the same day] Delta Flight 407—which had 154 people on board—was preparing to land when the cockpit reported seeing a drone below its right wing.” There has been a misunderstanding in the business since the FAA issued waivers to several broadcast and film companies to operate UAV camera platforms. The rules for the use of UAV have not been published as of August 2015—they are due in September—but the general rules for any radio-controlled (or free flight) activity remain: no flying within five miles of an airport without notifying the airport operator and control tower and no flights above 400 feet. But the FAA says it gets about two reports per day from pilots saying they spotted a UAV outside these parameters. More importantly, unless you have one of the waivers, you are not allowed to film using a drone for any commercial purpose, including TV broadcast. Out here in California, it’s the fire season and with the five-year drought, it’s a horrific season. Tens of thousands of acres are burned and burning. Spectacular columns of fire are seen on TV almost every night; homes are destroyed and lives are devastated. But fire fighters from around the country are mobilized to contain and then extinguish the fires and one of the tools they depend upon is the helicopter. Equipped with a slurry tank of retardant, the choppers attack the fire from above, often saving lives and property. And then we read reports like this: “[F]irefighters face a new foe: drones operated by enthusiasts who presumably take close-up video of the disaster. Five such ‘unmanned aircraft systems’ prevented California firefighters from dispatching helicopters with water buckets for up to 20 minutes over a wildfire that roared Friday onto a Los Angeles area freeway that leads to Las Vegas. Helicopters couldn’t drop water because five drones hovered over the blaze, creating hazards in smoky winds for a deadly midair disaster, officials said.” Let’s hope that these idiots with airplanes are not professional cinematographers. The “rules are made to be broken” crowd will, someday, cause an accident that will take lives, all for a splash on YouTube or footage to sell to Fox News. Don’t be one of them. Oh, why Donald Trump in the headline? Reports are that any article with his name in the title gets thousands of extra clicks. I’ll try anything to get the word out about safe, legal use of camera UAVs.
4 | Markee 2 .0
|
August/September 2015
www.markeemagazine.com LIONHEART PUBLISHING, INC. 506 Roswell Street, Suite 220, Marietta, GA 30060 Tel: 770.431.0867 Fax: 770.432.6969 E-mail: lpi@lionhrtpub.com www.markeemagazine.com Publisher John Llewellyn llewellyn@lionhrtpub.com Editor/Associate Publisher Tom Inglesby tom@markeemagazine.com Executive Editor Cory Sekine-Pettite cory@lionhrtpub.com Director of Sales and John Davis Marketing Companies L-Z jdavis@lionhrtpub.com 770.431.0867, ext. 226 Advertising Sales Aileen Kronke Companies A-K aileen@lionhrtpub.com 888.303.5639, ext.212 Art Director Alan Brubaker albrubaker@lionhrtpub.com Assistant Art Director Jim McDonald jim@lionhrtpub.com Online Projects Manager Patton McGinley patton@lionhrtpub.com
Assistant Online Leslie Proctor Projects Manager leslie@lionhrtpub.com
Marketing/Reprints Kelly Millwood kelly@lionhrtpub.com Subscriptions Amy Halvorsen amyh@lionhrtpub.com
Markee 2.0 (ISSN 1073-8924) is bi-monthly digital publication published by Lionheart Publishing, Inc.
Subscription Information – For a free subscription to Markee 2.0 and Markee 2.0 eNews, sign up at: www.markeemagazine.com Click on Subscriptions. Copyright © 2015 by Lionheart Publishing, Inc. All rights reserved. The copyright owner, however, does consent to a single copy of an article being made for personal use. Otherwise, except under circumstances within “fair use” as defined by copyright law, no part of this publication may be reproduced, displayed or transmitted in any form or by any means, electronic or mechanical, including photocopying or by any information storage and retrieval system, without the prior written permission of the copyright owner, Lionheart Publishing, Inc. Send e-mail permission requests to cory@lionhrtpub.com. Disclaimer – The statements and opinions in the articles of this publication are solely those of the individual authors and contributors and do not necessarily reflect the opinions of Lionheart Publishing, Inc. or the editorial staff of Markee 2.0 or any sponsoring organization. The appearance of advertisements in this magazine is not a warranty, endorsement, or approval of the products or services advertised.
Film • Video • A nimation • Audio • Locations • People
specialty advertising
F
Sarasota County Film Office
ILMMAKERS LOVE TO LEARN THAT SARASOTA COUNTY OFFERS A ONE-OF-A-KIND, UP-TO-100% CASH REBATE incentive program for projects of every budget. That’s helped to grow the number of productions served to over two thousand and the economic impact to more than $40 Million, since the Sarasota County Film & Entertainment Office (film commission) was created in 2007. Additionally, Sarasota County’s allure is its multiple “identities” of Paradise and The Cultural Coast of Florida, as productions often seek extraordinary locations and find those there. When it comes to “Paradise,” lots of places use the word without genuinely earning the title. What is Paradise? A place of beauty, extraordinary quality of life, enjoyment and delight, wonderful weather in a gracious environment, abundant amenities, stunning nature, stimulating arts and culture, plentiful pastimes and pursuits, recreation and relaxation, stunning visual elements…
In Sarasota County, Florida, on the west coast, they back up their “Paradise” claim with impressive reality, not just words. Repeatedly, geographic locations’ diversity surprises visitors. For example, Sarasota County’s #1 rated snowy white “sugar sand” beaches and miles of breathtaking sunsets into the pristine waters of the Gulf of Mexico along five barrier islands, draw devotees. A subtropical jungle with a winding river and a rope footbridge in the treetop canopy, surrounded by thousands of acres of hiking and biking, camping and exploring, as well as botanical gardens, fishing, boating, marinas, birding, kayaking and more, fill the hearts of outdoors/nature-lovers. Sports enthusiasts can find it all from more golf courses than they could ever likely play to tennis, cycling, swimming, baseball & softball, soccer, Bocce (even Pickleball!), to the more unusual pastimes of equestrianism, polo, cricket, skydiving, rowing, sculling, even the upcoming modern Pentathlon.
Architectural styles run the gamut from historic registry buildings to trapezoidal shapes, mid-century modern to 1920’s Venetian Gothic, Contemporary, Neoclassical, Georgian, Tudor and Mediterranean Revival, to pastel cottages and bungalows, bold ranches, mansions, and so much more. Sarasota County is also justifiably known as “The Cultural Coast.” Theaters and performing arts abound, feeding aficionados of circus, opera, ballet, Broadway, improv, contemporary and diverse live theater, orchestras and symphony, jazz, chorale, chamber music, classical, modern dance, concerts, and more. Festivals thrive, from film, food, wine, chalk street art, to multidisciplinary performance, Scottish Highlands games, and a parade of others. Embellish all of that with world-class Ringling Museum of Art, galleries, sculptures and statuary, and you have just a glimpse of Sarasota County.
Cinematography
Broken Links
behind the scenes:
broken links Sometimes it takes more than just a team to make a film.
6 | Markee 2 .0
|
August/September 2015
Film • Video • A nimation • Audio • Locations • People
By James Mathers Cinematographer Founder, Digital Cinema Society My latest movie, Broken Links, had needs that were greater than the available resources. I was lucky and received manufacturers’ assistance with everything from cameras, lenses, and support, to lighting and data management. I’d like to share my experience using these tools, some for the first time on any feature, and tell you how I employed them on this little movie.
[Above] The classic setting sun shot, in this case of Bonnie Bedelia, never grows old. w w w. m a r ke e m a g a z i n e .c o m
August/September 2015
|
Markee 2 .0 | 7
Broken Links
Cinematography
[Above] Crew of Broken Links celebrates the end of primary shooting.
Broken Links was not my first time working for Producer/Director Meir Sharony; I shot one of the very first movies acquired on the RED One, Balancing the Books, for him in early 2008. His productions are totally independent and self-financed; every dollar that can be scraped together needs to show up on screen. The idea is to work with a very limited crew and equipment package, trying to devote the maximum amount of resources toward the cast. Let’s face it, it’s not the below-the-line factors such as the cinematographer or the type of camera used, it’s the on-camera talent that draws an audience. Much as I may wish there were more funds to devote to my department, I have to agree that it makes sense to invest as much as possible in hiring the best available on-camera talent. With a few twists along the way, Broken Links is basically the story of a woman coming out of a very dark period in her life following the death of her daughter and subsequent divorce. Sharony was able to gather a prominent cast including Olympia Dukakis (Oscar winner for Moonstruck), Bonnie Bedelia (Die Hard, Parenthood), Sam Robards (A .I. Artificial Intelligence), Sorel Carradine (The Good Doctor), and in the leading role, Brooke Smith (Ray Donovan, Silence of the Lambs).
What’s important
[Above] Olympia Dukakis looks out over New York during an emotional scene in Broken Links.
8 | Markee 2 .0
|
This may sound paradoxical coming from me, a guy who spends a lot of time behind cameras, but I really feel too much is made these days about what cameras are used. It’s as if somehow the electrified hunk of silicon, metal, and various plastics is solely responsible for creating the image. Rather, it’s what is in front of the lens, together with the filmmaker’s craft behind the lens, that makes compelling cinematic imagery. Even the most capable camera cannot perform at its best when controlled by those lacking experience and talent. I hate to admit it but movies can now be shot with an iPhone! Factors such as budget, form factor, and workflow options help to determine which camera is the right tool for any given job. Many times these decisions are based on what the filmmaker has access to. Owning RED cameras for many years gave me easy access to a good image capture system I was able to offer many producers, even though it may not have been the very best camera out there at any given time. I no longer own cameras, and now need to assess each project based on its unique needs. Broken Links was gearing up to go into production about the same time that the AJA CION was hitting the street. There had yet to be a feature shot with the new camera, so I thought this movie might make a good test case, and luckily my friends at AJA were open to it. Saving on camera rental is always helpful, but it is not really that big of a budget item, even on a small movie. There were some other factors, however, that convinced me this
August/September 2015
Film • Video • A nimation • Audio • Locations • People
camera would be a particularly good choice. With obvious benefits such as future proofing the product, and the seamless reframing possibilities, acquiring in 4K has now become a given. The producer also wanted to finish the movie on his desktop with little or no outside services required, so the CION’s ability to shoot 4K ProRes straight to convenient on-board SSD drives was a big plus. The CION does output RAW, but it is uncompressed, and I was concerned it could get a little cumbersome with an outboard recorder. I like shooting RAW, and usually avoid “baking-in” my color choices on the set; however, since no one would be coloring my dailies on this movie, I opted to try to get it pretty close to what I wanted right on the set. In other words WYSIWYG—What You See Is What You Get. I felt the ability to have more color information was particularly important to telling this story of an emotional journey, so the 4444 color space was appealing. Another plus of the CION is the form factor. The camera only weighs about 7 pounds, and even with my 19-90mm Fujinon Cabrio, a Zacuto Gratical EVF, and an Anton Bauer battery, it is still only about 21 pounds and very well balanced at that. While this wasn’t a movie with a lot of handheld, it’s always nice to quickly be able to go into that mode when you’re in tight spaces, or need that unsteady aesthetic. I would like to point out here what I believe is a misconception about the CION. Having a camera that is ergonomically designed for handheld might suggest that it is ideal for run-and-gun productions, but that is not the case. The camera is capable of capturing some beautiful imagery, yet it has taken a lot of flak in blogs and on-line forums. I believe much of this is due to the false expectation that this is the kind of camera you can simply throw on your shoulder and shoot in whatever light may be available. With a base rating of 320ASA, which I find an accurate appraisal, it is not the winner of the low light derby. The latest firmware also offers ASA settings of 500, 800, and 1,000, but if you want to stay in the sweet spot where this camera really sings, you’ll stay locked, as I did, at 320ASA. If you don’t have the ability to light, either from lack of time, experience, or equipment, then perhaps the CION is not the camera for you. In my case, I was aware of the camera’s limitations going in, and felt that they were far outweighed by the aforementioned strengths. After years shooting film at that same sensitivity, and then also using the early RED cameras extensively at that rating, 320ASA is a mark I am very comfortable lighting. The CION was highly reliable throughout our shoot, and turned out to be a very good choice that I would consider again for many different kinds of productions. w w w. m a r ke e m a g a z i n e .c o m
[Above] DP James Mathers does a test with the OPTI-FLECS lighting panel.
[Above] Mathers depended on storage from Other World Computing, seen here on the left in the black boxes.
August/September 2015
|
Markee 2 .0 | 9
Broken Links
Cinematography
Data management
Storage may not seem very exciting, but if you’ve ever lost your work due to an equipment failure, it will definitely get your attention.
What proved to be more of a challenge was where to put all that data. I don’t know when it started to become the DPs job to figure out the complete workflow, but that seems to be the case these days, especially on smaller productions. It used to be that once the footage left the camera, a cinematographer was pretty much out of the picture until possibly the final color correction. Personally, I don’t mind the extra responsibility, because it helps me protect my choices and insure the work will not get tampered with too much on its way down the post-production pipeline. Whether I like it or not, post considerations do play an ever-increasing part in determining what kinds of cameras are used, so I obviously want to be involved in that conversation. It was up to me to figure out what to do with dozens of terabytes of data that would be generated. Ours was a two camera package and capturing 4K ProRes 4444 is roughly 10 Gb/minute per camera, and that’s just for the camera original. Of course, that needs to be backed up with RAID protection and two copies seemed reasonable, so the overall capacity adds up pretty quickly. I turned to my friends at Other World Computing (OWC) for a solution and was gratified to find out they had the tools to efficiently and securely back up, transport, and archive all the data. The key on-set component was the OWC ThunderBay 4 RAID, a fourbay drive enclosure with dual Thunderbolt 20 Gb/s ports. Individual bare drives are currently available in up to 6Tb capacity, so each enclosure can now accommodate a whopping 24Tb which, configured for RAID 5, gave a working capacity of 18Tb. That’s a lot of storage packed into an eight-anda-half-pound box with dimensions of less than 10’’x7”x6.” OWC provides all the software to easily set up a variety of RAID configurations. Storage may not seem very exciting, but if you’ve ever had to worry about losing your precious work due to an equipment failure, it will definitely get your attention. I’m very careful about the components I choose for data management. I’ve owned a ThunderBay-4 for about a year, which we use to edit and manage the DCS streaming content. It has worked flawlessly so I knew I could count on it for this movie. OWC was kind enough to provide another unit for this production and everything was controlled on-set with a latest model MacBook Pro. The CION records to very compact 256Gb or 512Gb solid state Pak media, which you can transfer over Thunderbolt or USB-3 via the AJA Pak Dock. Even though you could theoretically daisy chain via Thunderbolt, you also need to connect a monitor, shuttle drives, etc., and we found that another OWC product, the Thunderbolt 2 Dock, was really helpful in unifying all these peripherals. The Dock has 12 ports including dual Thunderbolt 2, powered USB 3.0, FireWire 800 for legacy devices, a 4K HDMI to connect monitors, Gigabit Ethernet, for computer control, as well as audio in and out. While it is typical to see your data manager stuck waiting to complete downloads and backups at the end of the day, with such a high-speed system and good management techniques, our data manager/DIT was usually one of the first ones to sign out at every wrap.
Lighting Besides a short crew and practical locations, another caveat of this production was that it would be lit only with units that could plug into a household circuit: no generator. Luckily, great strides are now taking place in the development of low wattage lighting, and this project gave me the opportunity to try several new technologies. 10 | Markee 2 .0
|
August/September 2015
Film • Video • A nimation • Audio • Locations • People
The need for small, highly controllable units made me think right away of my friend Dedo Weigert’s wonderful little tungsten lighting instruments we know as dedolights. However, when I visited their showroom, I was blown away at the wide breadth of their product line. They’ve gone way beyond their little tungsten units, and now feature a full line of LEDs, as well as HMIs. Many of their new lights still take advantage of Dedo’s patented “double aspheric” lens technology. This is what gives their lights such tremendous focusing ability and light output comparable to much larger units. I became particularly fond of their small LEDs, (20W, 40W, and 90W), which are similar in size to their classic tungsten units, but with greater output even at the lower wattages. They are also fully dimmable and available as a Bi-color. A distinctive yellow focusing band sets them apart and you could find them mounted all over our set as rim lights or specials precisely highlighting elements in the background. We were also fortunate to get our hands on a couple of their HMIs. A nice feature of these units is that they can be operated as either 400W or 575W daylight from the same ballast without changing the globe, and again offer all the great precision light control Dedo is famous for. In addition, we carried a modular projection attachment capable of creating razor sharp edges and shadow patterns; think Source4 on steroids. Dedo was also kind enough to provide a 400/575 PAR (parabolic aluminized reflector), which we used as a large source through their 5ft diameter “Dedoflex Octodome.” With one of our stars in her 80’s, and shooting in 4K, it helped to keep our close-up lighting on the soft side, and this was just the ticket. Our “Big Gun” was only a 500W fixture, but it did the trick. It was provided by a new company called Red Scorpion LEDs, designed from the ground up by cinematographer and former gaffer Marcelo Colacilli, with an emphasis on giving maximum output per watt that can still be plugged into a household circuit. They can reasonably be thought of as a replacement for an HMI PAR with their biggest unit, a 1K, being roughly equivalent to a 4K HMI w w w. m a r ke e m a g a z i n e .c o m
[Above] DP Mathers peers through a Zacuto Gratical on the AJA CION with 75-400 Fujinon lens.
August/September 2015
|
Markee 2 .0 | 11
Broken Links
Cinematography
PAR. The 500W unit that we had seemed to exceed what I would expect from a 2.5K HMI, and proved plenty big enough for our purposes. We also found the smaller 200W fixture to be quite handy, and used them both primarily as daylight fill. I have found that the array of multiple LEDs allows them to be snuck in closer with little or no diffusion, compared to the single hot source of an HMI globe. It’s easier on the actor’s eyes, and you don’t see a hot spot giving away your source.
Color correcting
[Above] Star Brooke Smith (right) in discussion with Clara Berta in an art studio scene.
12 | Markee 2 .0
|
As with most LEDs, the challenge with the Red Scorpion’s lights is color fidelity. Given the design emphasis on output over color rendition, this is admittedly more of an issue with their units. Luckily, another manufacturer I’m friendly with, Rosco, had recently approached me about testing a line of gels specifically designed to offer an array of options to deal with LED lighting. The new Rosco line is known as OPTI-FLECS and comes as semi-rigid reusable filters in 21 varieties of standard colors and diffusions. A gel can only absorb color, so if a portion of the color spectrum is missing, there is no gel that can create it. This is why users of lesser quality LEDs are often disappointed when they try to use gels to fix their lights. However, gels can be very effective in helping to control spikes in the spectrum, which is the issue with Red Scorpion LEDs, so OPTI-FLECS was the perfect solution. During our preproduction camera and lighting tests, we matched a variety of filters to different types of LED lights. We found a couple of the “Rouge” gels worked really well on the Red Scorpions to give nice skin tones for our daylight fill, one with frost and the other with just the color correction. Shooting in practical locations with only smaller lights also created a challenge in keeping the windows from blowing out. Again, Rosco came to the rescue by providing their Cinescreen. I’ve never been a fan of affixing ND (neutral density) gel directly onto window glass; it is very time consuming, imperfections are easily seen, and when the light changes, there is no quick fix. However, Cinescreen is a cloth-based netting or scrim material that can quickly be stretched on the outside of the window and changed as necessary. It knocks out about two stops with the added bonus that it is re-usable. The rest of our lighting was filled out nicely with some innovative products from a company called BBS. Their Flyer system is a lightweight, dimmable Bi-Color LED designed to easily and quickly place soft overhead light where it’s needed. The fixture and soft box diffusor are lightweight enough that they can be extended on a common K-Tek boom pole that comes with the kit. The unit can easily be rigged on a C-stand creating a fast and safe alternative to a full menace arm rig. At only 2 lbs. and able to run off a camera battery attached to the included belt pack, it also makes a great traveling light to float with a moving camera. This was the perfect rig for this movie and we found ourselves using it on almost every setup. We even used it to light our crew photo. BBS also provided us one of their new remote phosphor lights known as the Area 48. Remote phosphor is a type of LED technology that uses higher
August/September 2015
Film • Video • A nimation • Audio • Locations • People
output “super blue” LEDs, then matches a particular phosphor coating to the wavelength of light emitted to achieve the desired color temperature. The coatings are integrated into a lens that looks like a hard gel and can be swapped out to achieve varying color temperatures, including 5600K daylight, 3200K, or Chroma Green, Chroma Blue, etc. The results tend to have much better color rendition and create a very soft source with a tremendous output per watt. The Area 48 uses only 122W of power, is fully dimmable, and can also run off of camera batteries. This versatile unit also saw a lot of use on our movie.
Camera Support For camera support, I always count on OConnor and am a big fan of their 2575. On this movie, they offered us a prototype for a new, lighter weight head called the 2560. It looks identical to the 2575 and offers the same solid feeling and form factor, but in a much lighter weight package, (about 16lbs compared to 23lbs for the 2575D). Our B-camera was often carrying the Fujinon Premier 75-400; a stunningly beautiful lens, but hefty, and the 2560 handled it effortlessly. I didn’t feel there was any significant trade off, and having lighter-weight camera support allows for faster and easier setups, so the 2560 was perfectly suited to this kind of shoot and may become my fluid head of choice going forward. Last, but not least, I would like to tell you about the Zacuto Gratical EVF, which I was allowed to demo on Broken Links. Besides a bright display with brilliant colors, there are several features which can be valuable to the cinematographer. The ability to accept HDMI or SDI, coupled with the ability to cross convert, is very helpful. It also supports viewing LUTs (look-up tables) which can be exported to the director’s display even if I may choose to be looking at the straight output of the camera. Other features include a built-in wave form, histogram, false color, focus assist, pixelto-pixel zoom, and many more. Broken Links is now in the hands of the editors, and I’m sure they will be able to craft a movie we will all be proud to be associated with. I know I couldn’t have gotten such good results without a little help from my friends. (Excerpted with permission of the author from the Digital Cinema Society eNewsletter, June 2015) w w w. m a r ke e m a g a z i n e .c o m
A H I G H LY C U R AT E D C O L L E C T I O N O F T R A C K S FROM THE WORLD LEADER IN SONIC BRANDING™
C L I E N TS I N C L U D E : A L J A Z E E R A , AS S O C I AT E D P R E S S , A XS TV, C CT V C H I N A , C N N , E S P N , F OX , H D N E T M OV I E S , I O N , N B C, TO P R A N K B OX I N G & M O R E
2 1 4 . 72 6 . 1 0 1 0 / 8 0 0 . 5 37. 5 8 2 9 / s t e p h e n a r n o l d m u s i c . c o m / v a u l t
SAM15_Vault_Markee_4.5625x7.5_v6.indd 1
August/September 2015
|
PM Markee 23/23/15 .0 |1:2713
Bigger than a Breadbox –
by a Lot By T. Hunter Byrd
[Above] DP Stephen Hussar adjusts a Zylight to get a close up of the gearbox.
14 | Markee 2 .0
|
August/September 2015
Film • Video • A nimation • Audio • Locations • People
Documentary cinematography isn’t all about people and places; sometimes it’s about things and their history.
[Above] Getting light inside a locomotive steam boiler is tricky.
In many ways, the story of American expansion Westward is the story of railroads. Trains held the fascination of generations of children long before airplanes and cars took over. Those of us of a certain age grew up with American Flyer and Lionel trains and perhaps “graduated” to the smaller but finer detailed HO- and N-gauge models. Some never got over that love of trains. “One of the things my dad was interested in was trains,” recalls Stephen Hussar. “That was his main thing, railroads.” Hussar has been a cinematographer, still photographer, and producer for almost 30 years and produced an hour-long special for PBS titled Restoration Stories. “I’ve always been fascinated by restoration projects, both the processes themselves and the motivations of the people who dedicate themselves to reconditioning pieces of the past. One of the features in the program focused on the Wiscasset, Waterville & Farmington (WW&F) Railway Museum in Alna, Maine. During the shoot, the museum was making plans to restore an 1891 steam locomotive that had literally been locked away in a barn for over 60 years.” WW&F was a narrow-gauge railroad, one of those that were unique to Maine. “I was on the Internet one day,” Hussar says, “and I saw Wiscasset, Waterville, and Farmington Railway had a website. This was back in 2000. And I remembered the WW&F
w w w. m a r ke e m a g a z i n e .c o m
August/September 2015
|
Markee 2 .0 | 15
Lighting
[Above] Hussar used the FB-100 light in chronicling the restoration of the WW&F locomotive.
16 | Markee 2 .0
|
Restoration Series
from when I was kid, and I thought, ‘Wow! There’s a museum to this little railroad that my dad had taken me to.’ When I was there with my father in the early ‘70s, the railroad was gone—it had stopped operation in 1933. There was nothing left, just a right of way through the woods.” But a local group decided to restore some of the WW&F. One member bought several miles of the right of way, which is essentially just a trail through the woods on an embankment. And he started to build the museum, and people began to show up and ask if they could help. Now it has over 1,000 members, two steam locomotives and coaches. Hussar’s show started airing in 2005 and he kept in touch with the volunteers at the museum. “They started restoring Number 9, an 1891 steam locomotive, and I kept going up and shooting little bits of it so would be fairly well documented. I’m there once or twice a month, trying to get footage.” Over the years, they’ve been adding on to the buildings to the point where they now have a machine shop where they can build and rebuild with authentic machinery. “One of the volunteers is a professional mechanical engineer, a machinist, which is great,” says Hussar. “Using the old tools is really fun for him, and everybody that comes in to help him gets trained on all the old tools and machinery. It’s really something. Still, there’s a bit of practicality involved. There are certain things you just can’t do in the old ways anymore.” For example, replicating the boiler jacketing has been quite a process. “The locomotive was built in Portland, Maine by the Portland Company, which doesn’t exist anymore,” Hussar explains. “The spec sheet exists in the Maine archives, and
August/September 2015
Film • Video • A nimation • Audio • Locations • People
calls for the jacketing to be made of something called Russia Iron. It’s a sheet of pure iron—very thin, but iron—and polished to this incredible shine. Unfortunately, you can’t get that anymore. There’s no way to make it. Machinery doesn’t exist.” So the master mechanic and a retired chemical engineer from Kodak worked out a way to replicate the shine on modern sheet iron, imported from England. Hussar remembers, “They figured out exactly what shape, by using sheets of vinyl as a template on the actual boiler, and loaded those dimensions into a computer and came up with the cutting pattern.” Following along as the restoration took place, documenting the steps along the way, was a long term project for Hussar. Because the work was being done in a warehouse-like building, lighting the job was a challenge. As Hussar notes, “Mixed lighting was the problem. Sunlight through high windows, work lights for the restoration, overhead lights, even sparks from machinery. A daylight balanced Zylight F8-100 LED Fresnel became my main light in the museum’s machine shop. The facility has warm 150-watt incandescent lighting throughout, along with windows that add sunlight, so I used the F8-100 to make it appear like the key light is coming from the windows.” Hussar continues, “I’ve used HMIs for years; I love that the F8-100 stays cool and it doesn’t take time to warm up to provide precise color temperature. The light coming out of it is even and controllable. It’s extremely well-made. It’s a great Fresnel and it happens to be an LED.” The F8-100 is very bright but only draws about 90 watts, so you can plug it into a standard wall socket without blowing a fuse. It can even be powered by a standard 14.4V camera battery, which was helpful in the museum. “It’s a very visually interesting location with all of the shop machinery being historic and authentic,” Hussar says. “It’s not like I’m working in a hurry, but it simplifies things—the fewer wires running around heavy machinery the better.” Not all the shots were indoors. “I think back on an exterior night shoot I did some time ago with the train,” Hussar recalls. “I had to light the area with tungsten lights running off a generator. The shots came out just fine, but the shoot would have been so much better and easier with the Zylight F8-100.” Hussar compensates for the mixed lighting in the restoration facility but prefers to not mix his own lighting. “I started using the F8-100 almost exclusively. I’ll either bounce it into a white card, if I need something soft, or I’ll use it direct if I need it look like the sun is actually falling on something.” You don’t have to be in love with trains to appreciate the work being done in restoration shops all over the world. Hussar sums it up, “When you go to a place like that, where the rest of the world is put on hold, time kind of stops while you are working there, and you’re watching people solve problems much as they would have done 100 years ago and more. It’s pretty amazing—everything that needs to be restored is this incredible can of worms. You take something apart, and you find out you need a part that doesn’t exist anymore, so you have to make that part. They’ll make a pattern for it out of wood, and then they’ll bring it somewhere and have it cast, and then machine it to make it fit, and the restoration continues. It’s uplifting to watch. It really is.” w w w. m a r ke e m a g a z i n e .c o m
[Above] Wayne Laepple, a retired professional railroader/journalist, working on the boiler for WW&F No 9.
August/September 2015
|
Markee 2 .0 | 17
Production Music for Every Production It can be just what you want or just what you didn’t know you needed; it’s production music, but is it right for you? By Tom Inglesby
18 | Markee 2 .0
|
August/September 2015
Film • Video • A nimation • Audio • Locations • People
Markee has been covering the production music industry for a long time, including an annual guide to production music sources. The magazine also sponsors the Best Use of Production Music award at the CINDY Awards. The last winner, CBS Thursday Night Football, used music from Warner/ Cha pp ell P ro duc tion Music ( WCPM ) a nd we asked CEO Randy Wachtler a blunt question: What is it that makes production music as good as, or in some cases, better than original scoring for films, commercials, and TV shows? “I think you’ll see across broadcast and television that production music is being used more,” Wachtler says, “and it’s because competition in the industry has led all of us to improve our quality. We’ve all gotten better at what we do. That’s one reason. Another reason is that technology has gotten better, and the recording process has gotten more affordable and easier. A lot of things have contributed to pretty darn good production music these days.” There are many, perhaps hundreds of studios that crank out material that can be considered production music. Warner/Chappell alone has many different libraries and several different companies represented in their catalog. “A number of years ago,” Wachtler notes, “the majors—and when I say majors, that means Universal, Warner Brothers, and Sony—all got into the production music business. Each of those studios assembled many of the smaller independents. In our case, Warner/Chappell is owned by Warner Music Group and we’re made up of a whole bunch of independents. However, we’re a little bit unique compared to some of our competitors in that we have two world-class production facilities, one in Nashville, on Music Row, and one in Salt Lake City, where one of our companies, Non-Stop Music, was based, and where we can do large orchestral scores.” Music of any sort doesn’t just happen. It takes composers and musicians to realize the sounds we hear. “We hire composers, on a project basis, to create what we’re looking for under our guidance,” Wachtler explains. “For instance, if we need some romance cues or some drama cues, we would hire a composer that’s skilled in that genre to create that for us.” The term production music can be misunderstood. It wasn’t too long ago that film and video producers had two choices in scoring their project: original music and stock music. The former was generated specifically for a film, often scene by scene; the latter was from a library of music that had been created specifically for—well, for anybody and everything. Stock music was a collection of short and long pieces, from seconds to minutes of music in a variety of themes that could be used by anyone paying the fee and/or royalty. Some studios created both stock library material and scores on assignment for various projects. Wachtler says, ”We have a library of existing catalog cues and we also can do on-the-spot custom scores, directly to what a client is working on. We have done that for many years and we continue to do that.” If you have an original score that needs realization, you can use a studio and engineer, hire musicians, and generate music. You are in control. What about hiring a company like WCPM; will that put your score into their library for someone else to use in the future? “Not necessarily,” acknowledges Wachtler. “Let’s say NBC needs a certain song or a certain cue for something. If they’re hiring us to do that, we will not put it in the catalogs. It will really be for their use alone. Anything we compose and create on our own can go in our catalogs. But if a network or a TV show hires us to do something, normally, they will own it, and it will be for their use only.” w w w. m a r ke e m a g a z i n e .c o m
August/September 2015
|
Markee 2 .0 | 19
Audio
Stock music used to be a collection of music from seconds to minutes in a variety of themes that could be used by anyone paying the fee and/or royalty.
20 | Markee 2 .0
|
Production Music The digital revolution has also been responsible for changes in how production music is delivered. The vinyl records and reels of tape that were staples in a studio’s storage room are no more. According to Wachtler, “We do music on hard drives once in a while, but it’s almost entirely on the Internet now; it’s just much easier. Imagine a production facility that has multiple editing and post-production rooms, and hearing ‘Where’s that CD?’ ‘Oh, I don’t know. Wasn’t it over in Studio Four?’ ‘No, it wasn’t. Is it in Two?’ It gets a little crazy with physical product for the bigger users. The convenience of the Internet is so much better for them. For those that can’t use online access, because of firewalls or company policy, we’ll provide them with hard drives.” Online catalogs may be convenient, but how does an editor find what he or she is looking for? How do you do indexing? “It’s a challenge,” admits Wachtler. “We’ve gotten pretty sophisticated in our metadata tagging, and you can drill down on our search site, much like on Amazon. It is very much like what we have. You want rock? You want classic rock? You want classic rock, but only a :30? You want classic rock with no lead guitars, but a :30. And you just keep refining down like that until you get what you want. And then you can play it to hear if that’s exactly what you want. If it is, you download it and pay the fee or apply it to your contract.” And if you are a big studio, you don’t even have to do it yourself. “We have 10 fulltime U.S. reps,” says Wachtler, “because some users just don’t want to take the time to do everything and so we do it for them.” Music cues are not the only sounds in some libraries. As Wachtler notes, “We have sound effects, as well, and then we have a hybrid of sound effects and music called sound design. It’s not quite music, and it’s not quite a door slamming. It’s in between. It might have a few effects together. It might have a chord with it. So we have a really nice, extensive collection of sound designs.” If you are doing a period project, the next American Graffiti, for example, you’re also covered. “Our libraries include some archived series—‘50s, ‘60s, ‘70s for example,” Wachtler adds. “As a major, we’re expected to cover the entire spectrum. If we don’t, then we’re not really doing our job. So we’re constantly writing and producing new music all the time in the older vein along with the contemporary styles. A lot of times, producers want the newer stuff to sound like the old stuff, and so we find ourselves saying, ‘Hey, can you make it sound like it was done in the ‘70s?’ It can be fun and a challenge.” Is there a trend now? “We call them mashups, a form of cross-collateralization. You have rock composers and musicians coming to Nashville to write with country people, an interesting mix of country and rock. And what does that sound like? It’s not like the old country rock. It’s an interesting, new sound. And that seems to happen all the time, where things are crossing over.” Another trend is the wide distribution, through many channels, of popular music. “Our competition these days seems to be the labels,” admits Wachtler. “We’re constantly compared to whatever artist seems to be hot. For instance, a music supervisor might think Maroon 5 or some other artist or band is hot right now. They don’t want us to copy them but they ask, ‘Can you guys write and record music every bit as good in quality as big artists?’ That’s what we’re constantly compared to, and it’s tough because some artists spend months and months on a single, with huge budgets and big producers. Having said that, I think we do a pretty good job, comparable to some of the biggest artists’ recordings.” Not that anyone will admit it, but there are times when a session isn’t exactly as planned. In the 1960s, there were two sayings heard frequently in the studio: “We’ll fix it in the mix” and “Close enough for jazz.” We asked Wachtler, “Do you ever make mistakes today?” He responded: “Oh yes. But sometimes, mistakes aren’t so bad. In the studio, especially, sometimes you do something, and then say, ‘Wait a minute, that wasn’t what we meant to do, but let’s save it.’” Outtakes are always a good thing to keep around; that’s one way to build up a production music library!
August/September 2015
Film • Video • A nimation • Audio • Locations • People
Crowd Funding? Why not? An indie producer meets Indiegogo. By Cullie Poseria
Skyler Reed first approached me to help her create her first professional level music video after a collaboration I did with singer/songwriter Rahkua Ishakarah on her video shoot for INSANE. Skyler Reed is an R&B, soul, and opera singer/songwriter who recently moved to Los Angeles, and she was recording her first full album at the time of our meeting. In order to launch her new album, gain exposure, and create media/marketing buzz, she was interested in doing a music video she could have on her website . In our initial discussions of the project, Skyler shared an inspirational piece titled “I’m Doin’ It,” about her journey to LA, her struggles, and her triumphs. Her enthusiasm over the piece and genuine interest in doing the project as a collaborative effort inspired me to get further involved in helping her supervise the direction and production of the project beyond my typical cinematography role. Together, we came up with ideas for the scenes, including showing a mother singing to her daughter, a group of hustlers following a unique voice in the park where they are hustling, and her struggles to make financial ends meet, including trying to buy a dress for a big performance. The scenes with the mother and daughter flashbacks mainly came from an idea to dedicate the project to Skyler’s mom, Stephanie Lynn Boardley, who was Skyler’s source for musical inspiration as a child.
22 | Markee 2 .0
|
August/September 2015
Film • Video • A nimation • Audio • Locations • People
[Above] Skyler Reed (Left) and Cullie Poseria go over a scene.
After all the fun and creativity, we looked at our concept document and realized this wouldn’t be a simple shoot, and we would need to enlist some talent, crew, and locations, as well as get extra gear. That’s when I approached Skyler and said, “How do you feel about crowd funding?” This idea led to an Indiegogo fundraising campaign video to help publicize Skyler, market her new album, and raise money for upcoming music videos. Because this was Skyler’s first foray into producing video content, she took and understood much of my production advice, and she connected well with many of my fellow New York University film alumni friends who came aboard the project to help. These folks included our assistant director Matthew Roscoe and line producer Evan Haigh. I was impressed by her ability to keep up with things she had never done—creating casting calls, holding auditions, fundraising, social media, etc. So I wanted to step in and help her with the crowd funding campaign using the limited resources we had. She had a recording session at the studio coming up, so I said, “Well let me get ahold of my friend Roland Lazarte’s Canon 5D, some lenses—thanks to Ankur Poseria—and shoot at ES Audio Recording Studios in Glendale.” The studio was gracious enough to let us film there. After consulting with Evan Haigh, who helped put together the Indiegogo campaign with Skyler, we knew we needed to launch the campaign within the week. I would need to shoot and edit the video to completion within two days! Our video shoot went smoothly. I shot with the 5D and an on board mic, and we immediately went to our next location to shoot her interview footage. This part of the shoot was entertaining, and I think Skyler learned a lot about talking in front of the camera. Following the w w w. m a r ke e m a g a z i n e .c o m
filming, I took the material and downloaded the footage onto my Other World Computing Envoy Pro EX USB 3.0 240GB external hard drive. We had shot 1920 x 1080 HD 23.97FPS, with our sound recorded internally, and did our color correction set up through a picture profile. I was editing on my MacBook Pro laptop on Apple’s Final Cut Pro 7.0. I thought these options would be the best for a fast delivery and quick output to the Web. I spent that evening editing on my laptop, and the Envoy Pro worked magnificently. I received some additional files and grabbed images/video from Skyler and her online website to use as B-roll to cut to throughout her interview footage. With each render, transcode, and transfer that I did, the drive never flinched, and its SSD spec made me feel reassured after a recent drive failure I had with a portable hard drive that was barely a year old. Not only was the external hard drive slim and easily transportable, but it was quiet, fast, and reliable—exactly what I needed for the time crunch I was in. The next day, I delivered the final video, and Matthew Roscoe took a gander at improving a bit of the sound track, which was not the greatest since the location we shot in was next to the freeway and we only had an onboard mic available. That was probably the hardest part of the video, dealing with cleaning up the sound. Besides that, we got some wonderful responses, and the video helped Skyler’s campaign to release her new music video and album. We were very happy that the campaign ended successfully, and everyone’s hard work went straight into making her music video. The music video just premiered and we have a nice behind-the-scenes look at the video posted as well. August/September 2015
|
Markee 2 .0 | 23
Monsters
under the Bed Before there were virtual effects, practical effects ruled. In some films, they still do.
By Tim Partridge CEO/ Executive Producer 32TEN Studios
[Above] The 32TEN crew and its valuable partner, a large fire extinguisher.
24 | Markee 2 .0
|
August/September 2015
Film • Video • A nimation • Audio • Locations • People
[Below] Why the fire extinguisher is valuable.
Before we discuss the use of practical effects in today’s filmmaking, let’s define the term and where it fits in the lexicon of special effects. “Special effects” encompass an enormous range of techniques to create something that the eye would not normally see. These include camera techniques like close ups, zooms, and high speed photography. Then there are all the transitioning techniques such as dissolves, wipes, and split screens, all of which were once done with a piece of film and are now done digitally. Finally, there are the special effects that are achieved in camera on the set such as flipping cars, exploding trucks, and squibs of blood where the bad guy gets shot. This last category is what we call special effects today.
w w w. m a r ke e m a g a z i n e .c o m
August/September 2015
|
Markee 2 .0 | 25
Production
[Above] A model bridge—a bigature—goes up in flames and flying debris for a scene in The Lone Ranger.
[Below] Close up of the “dynamite” that supposedly created the fiery explosion in the upper photo.
26 | Markee 2 .0
|
Practical Effects All of the preceding categories involve manipulating something that actually exists. There is also the category that encompasses things that exist only in the imagination of the filmmaker; these are your monsters, aliens, robots, spaceships and far away planets. It also includes doing things to existing elements that you can’t do for real like blowing up a skyscraper or morphing from a man to a wolf. Before the 1980’s, it is a good bet that any of the above effects were achieved “practically,” i.e. using layers of optical film, scale models or miniatures, special FX make-up with prosthetics, and of course, fake blood. Post 2000, there’s a good chance that most, if not all, of the above has been done digitally using computers to create fantastic new worlds and creatures and then to composite them into the on-set footage. In between, during the 80’s and 90’s, there was a transition period when a mix of practical and digital techniques were employed. The well understood practical techniques were replaced by computers which, in the right hands, became powerful tools to help the creative process. So where does this leave “practical effects” now? Practical effects today relates to that category of creating things that either don’t exist or creating effects that can’t be done to people/objects that do exist. Moreover, today it is a creative choice to use practical techniques since digital is always an alternative. And, as in all things, there are pros and cons to each in the areas of quality, cost, and time to completion. It is rarely a case of one or the other; it is always a combination of some practical elements digitally composited with some digital elements. So when would a production choose to shoot a practical FX element? When it is important to the filmmaker—or the fans—that the movie has a “practical” look. As incredible as computer generated imagery is, to many people it has a specific look that is different than a real object. This might not be an issue if the object is in the back or even mid-ground, but may be if the object is very close to the camera. Another area where practical elements are often preferred is in scenes of mass destruction. An exploding miniature building, plane or spaceship packed full of debris designed to fly toward camera will have the correct speed relationships between materials, the correct gravitational pull on each element and the actual interactions between flying, colliding material, all in the correct light without having to simulate all of that that in a CG model. If flames are involved in the explosion, the interactive light from them on all of the flying debris is just as it should be and happens for free! Flames and other organic elements are the other area where practical is often chosen over digital, especially if the element is close to camera. Let me give you some examples: In Pacific Rim, the filmmakers decided that a particular shot where a complete interior floor of an office building was destroyed by the fist of a Jaeger robot needed to be done with a practical model. All the destruction was to happen right in front of the camera as the
August/September 2015
Film • Video • A nimation • Audio • Locations • People
camera tracked back alongside the fist tearing through cubicles, desks, office furniture and the ceiling. Nick d’Abo (Indiana Jones and the Kingdom of the Crystal Skull, Star Wars: Episode III – Revenge of the Sith) was charged with supervising the model build and along with the rest of the team decided upon ¼ scale. His team then set about creating two dozen miniature cubicles with all the appropriate office furniture, desks, chairs, computers, monitors, filing cabinets, papers, notepads, pens and pencils, etc. Some of the items were 3D printed, some were molded, but most were hand made by skilled model makers using a variety of materials. With the knowledge that these pieces were to be destroyed, the desks and partition walls were pre-scored so they would crumble on cue. These were then all placed in the office set with a suspended ceiling so that when the fist ripped it down, everything above looked realistic. 32TEN’s practical effects supervisor Geoff Heron (Mission Impossible III, Pearl Harbor) had also rigged some pyro events in the ceiling so sparks would fly as lights were ripped through. Heron also built the two rigs that would travel through the set; one carrying the mandril, a steel ram in the shape of the robot’s fist, painted green so that it could be extracted and replaced by a CG fist. A second one, synchronized with the first, would carry the 3D cameras alongside the mandril to capture the destruction. The starting point for this shot and others in Pacific Rim, was “this is what we envision, make it look dramatic” and the rest was up to the team to imagine and create what was needed. For The Lone Ranger our instructions were very different; we were shown a carefully choreographed digital previz of the shots we were tasked with and told “match that exactly!” The main shots here were of a 19th century train trestle bridge that was to blow up and collapse. Director Gore Verbinski was also very particular about the look of the explosions that would blow the bridge up, so Heron, who is also a highly qualified pyotechnician, built into the schedule some R&D so he could perform a number of tests using different compounds to produce different looks until everyone was happy. Since there was to be lots of pyro in the explosions and splashes in the river below, 32TEN model supervisor Ben Nichols (The Matrix Revolutions, Star Wars: Episode II – Attack of the Clones), working with production designer Crash McCreery and Industrial Light & Magic (ILM) VFX Supervisor Tim Alexander, determined the model should be no smaller than 1/5th scale (otherwise water droplets look too big). That meant our miniature section of the bridge would be 25 feet tall and 33 feet long and would stand in a water tank 50 feet square. We call these “bigatures.” In this case, blueprints of the actual bridge that was built on set existed, so building the three sections was relatively simple once the correct size lumber was sourced and the scenic artists found a method to reduce the size of the wood grain and age it appropriately. What was not simple was rigging the sections so the bridge could collapse exactly in the way that the previz described—and then be re-erected and ready to go for take 2! Again, Heron was in charge of executing the practical effect w w w. m a r ke e m a g a z i n e .c o m
[Above] Geoff Heron plans a flood scene for Tomorrowland by getting into the tank.
August/September 2015
|
Markee 2 .0 | 27
[Above] Another 32TEN “bigature” was the gateway to Jurassic World.
28 | Markee 2 .0
|
and did so with a combination of pyro, wire pulls, ropes, pulleys, pneumatic systems, and a very experienced team. We did several takes of each shot and since we knew which pieces would be destroyed, we had several replacement pieces standing by. Miniature dynamite sticks and cord were placed close to camera for added effect and director Verbinski watched it all on a live feed to LA. Even when an event like this is so carefully choreographed, each take is slightly different; one fireball is more beautiful than another or two pieces of flying debris collide in a spectacular way only once. And, in water, each splash is always different. We are often called upon to shoot real water since it is still one of the things that is very difficult to get to look real, especially close up, in CG. In Noah, there was water all over the place and Heron used every water cannon, sprinkler head, and length of hose he had to create a number of elements such as rain, miniature wave crashes, and gushes of water that were composited into the scenes. In Tomorrowland, there was a scene where a young girl gets a glimpse into the future and sees her family home inundated by floodwaters after a hurricane. The water fills the screen and the camera rests on the scene for a long time zooming in on the flooded family home. So while the edges of the screen and the background were to be digital extensions, it was determined the central part should be real water in a miniature set. We built a tank 40 feet square and 18 inches deep and placed the houses, trees and vehicles in it to match the real location. As another example of digital and practical effects working in harmony, our assets that were placed in the water were there only to provide the interaction with the water as it slowly flowed by. The houses, vehicles and trees were replaced with CG versions later on. The floating debris, however, would have been too difficult to track and replace with CG, so the model makers painted dozens of pieces of ¼ scale debris to look like it had been waterlogged for some time and fed it into the tank for the shot. Heron’s team kept the water moving with underwater pumps, several fans strategically placed around the tank, and some underwater structures to provide eddies
August/September 2015
Film • Video • A nimation • Audio • Locations • People
and whirlpools. For key pieces of debris that needed to be choreographed, this was done with attached wires held by off-camera model-makers puppetteering as necessary. The scenic painting of models to give the correct sense of scale is a fine art learned over many years. When done by a talented artist, it can add a sense of realism since there is real texture that the camera picks up. Sometimes we will build a small section of a set and scenic paint it so that the production can take photographs and map them onto a CG model, providing the texture they need. That is exactly what we did for some underground tunnels for the project Mazerunner. For Jurassic World however, the scenic work was equally important and the model was equally practical. We were asked to build a practical model of the huge gates at the entrance to the prehistoric theme park. In the movie, the gates would stand approximately 60 feet tall. We decided, based on the level of detail required, the proximity to camera— and, of course, the budget—that a 1/3rd scale model would be best—still giving us an almost 20 foot tall miniature. Model supervisor Mark Anderson and his team went through a series of tests of different types of wood for the doors and compounds for the stone pillars. Having settled on cedar for the doors due to its tight grain, and a drywall compound for the columns, it was then up to scenic artist Peggy Hraster to deliver the look that the director wanted. This is an iterative process of painting sections, sending photographs, and getting feedback until everyone is happy and the gates look suitably aged. Next, the iconic Jurassic World sign was laser cut from acrylic and its arching support was fabricated from medium density fiberboard (MDF)—which Peggy painted to look like aged steel. The final touch was to hide some lights inside the flame scones on the pillars to give the effect of the light from the flame torches (to be inserted later) hitting the gates. This was also a working model in that we had to shoot the gates while the doors were opening, to allow the monorail and its passengers into the park. This was all done using motion control under the guidance of VFX Cinematographer Carl Miller. Once the lighting was correctly adjusted, the camera stepped forward on a track mimicking exactly the camera move on location, and at the same time the doors opened, driven by the same motion controlled system—and this was all done one frame at a time. Several passes were made under different lighting conditions so that the compositors could make a blend of each to get the perfect look. Finally, the real flames for the torches on the gate were shot separately but in a similar motion-controlled fashion so they could be resized and digitally placed on the gates in the final shot. As you can see, our practical elements are always used in conjunction with CG to create the imagery the production desires. But without the practical, the virtual would be less believable in this age of digital excitement on the screen. w w w. m a r ke e m a g a z i n e .c o m
1.888.615.8729 NASHVILLE / NEW YORK / LONDON LOS ANGELES / PARIS2015 / SALT LAKE / HAMBURG August/September | CITY Markee 2 .0 | 29
Spotlight
Charlotte, N.C.
NASCAR and Charlotte —
30 | Markee 2 .0
|
August/September 2015
Film • Video • A nimation • Audio • Locations • People
A Perfect Pair By Ron Bronski
If you need to shoot NASCAR-style race cars doing burnouts and drifts, Charlotte, N.C., is the place to be.
Early in 2015, two creative industry executives announced the official launch of a new production company focused on serving worldwide agencies and brands. The Charlotte, N.C., company, Wondersmith, was founded by executive producer Joe Murray and creative director Thom Blackburn. Joe began his career as a still photographer but moved into post-production as a commercial editor and finishing artist. He launched Edit at Joe’s in Charlotte in 2003, and has run it successfully for the past 11 years, earning a solid reputation as a go-to producer. Working with a diverse client roster including agencies such as BooneOakley, LKM, Sigma Group, and brands such as Carmax, Bojangles’, Husqvarna, North State, Panasonic and Rack Room Shoes, his skills as a post supervisor and producer rose rapidly.
w w w. m a r ke e m a g a z i n e .c o m
August/September 2015
|
Markee 2 .0 | 31
Spotlight
[Above] Excited crew members of Jeff Gordon’s NASCAR team jump the fence in the director’s POV.
[Above] Gordon gets the traditional Champaign shower as his crew celebrates a win.
32 | Markee 2 .0
|
Charlotte, N.C. “Wondersmith is a reflection of our existing body of work and our ongoing commitments to creative development and smart production approaches,” says Murray. “The addition of Thom Blackburn as creative director demonstrates these commitments and gives us a proven creative leader with experience directing large teams of the highest caliber.” Previously executive creative director for Limerick Studios, one of the Southeast’s premier motion content providers, Blackburn led that studio’s projects for The Charlotte Hornets, Duke Energy, Lowe’s Home Improvement, NASCAR, and a host of others. A Charlotte native and UNC Charlotte graduate, he began working in film and TV at the age of 16, and he held staff positions for Media-Comm, ESPN, and Creative Post and Transfer—as well as the motion design and production studio SOLID in LA, where his work as a creative director over the span of 10 years earned him acclaim. Recently, Wondersmith took on a project for North State and Panasonic. To create two cinematic North State spots, Wondersmith worked with Trone to promote the brand’s new fiber initiative at a level that would position them as a major player. Wondersmith enlisted Florian Stadler as director of photography and Jeff Elmassian of Endless Noise to create a custom score. With Murray as executive producer and Blackburn as creative director, the team captured everything they needed in one 14-hour day. “While we feel the results speak well for themselves, we’re also proud to say that so far, these spots have earned six Charlotte ADDY Awards (including Animation and Special Effects “Best of Show” honors), and a Silver Regional ADDY,” boasts Murray. Blackburn recalls, “From the initial concept phase, we helped define the visual arc of the characters’ inspirations, using those visuals to point back to the brand in entertaining ways. It is an honor when a client entrusts you with creating their visual vocabulary.” Wondersmith’s spot for Panasonic debuted during broadcasts of Daytona’s Speedweeks in February. It put four-time NASCAR champion Jeff Gordon behind the wheel of his iconic No. 24 Chevrolet SS to demonstrate the ruggedness of Panasonic’s Toughbook 54. The spot will air throughout the 2015 NASCAR Sprint Cup Season, and was directed through Wondersmith by the team of Mortimer Jones for Sigma Group. “Together with executives from Sigma and Panasonic, we all worked hard to show the Toughbook in use in a race setting, where we could demonstrate its unique
August/September 2015
Film • Video • A nimation • Audio • Locations • People
toughness,” says Jones. “The best ideas always seem to happen when the collaborative lines are open, and we all are very proud of how this turned out.” Shooting on location at the Charlotte Motor Speedway, the crew—led by Jones, Murray as EP, DP Adam Stone, and VFX lead Byron Nash—put a lot of effort into planning the shoot. It was a large rigging job, where they had cameras hanging off the race car on both sides, cameras mounted inside and on a pursuit vehicle for one shot. For the final scene, they used a drone to capture footage from about 50 feet in the air. ARRI Amiras were used for principal photography, with Blackmagic Cinema Cameras used for dashboard cams and a Panasonic Lumix DMC-GH4 for the drone shots. Their time with Gordon was extremely limited, but with diligent planning, they were able to get everything they needed in just a few hours, and that included Gordon doing his own burnouts. Anyone who has visited a NASCAR track knows that logos are everywhere, so part of Byron Nash’s work was removing a lot of those. Also in post, crowds were added in the stands, the speedway’s leaderboard tower was lit up and flat gray skies replaced with more dramatic ones. While only three cars were shot on the track, Wondersmith multiplied those in some scenes to show a bigger finish to the race. The complete post-production toolset consisted of Apple’s Final Cut Pro for editing, and Adobe After Effects for VFX clean-up and compositing. w w w. m a r ke e m a g a z i n e .c o m
[Above] The over-the-wall shot as seen by the viewer.
[Above] Combining burnout and drift, Gordon puts his #24 into a smoky spin.
August/September 2015
|
Markee 2 .0 | 33
Setting the Stage for Emotions [Below] Alex Buono in his element, behind the camera.
If a picture is worth a thousand words, how much is it worth to you to make the viewer react the way you want? By Tom Inglesby
34 | Markee 2 .0
|
August/September 2015
Film • Video • A nimation • Audio • Locations • People
Visual styles and subtext. That’s how Alex Buono describes what he teaches filmmakers during his current nationwide series of workshops. Sponsored by MZ Education, Buono is on the road explaining how to set the stage for the viewer to get emotionally involved with what he or she is seeing—or going to see.
[Above] Buono explains how lighting can change the emotional reaction to a scene.
Two years ago, Buono did the workshop called “The Art of Visual Storytelling.” Subtitled “Style and Subtext,” his current tour makes participants aware of the various elements and challenges that Buono deals with in his work as DP on Saturday Night Live and Documentary Now!, a new IFC comedy series from Seth Meyers, Bill Hader and Fred Armisen, that he’s co-directing and shooting. Buono comments, “I have friends who work on TV shows, and the big challenge of a traditional television show—or a traditional movie, for that matter—is that you’re creating a look, and then you’re basically maintaining that look over the course of the film or the course of multiple seasons of a TV show. My job is completely different. Every single week, I get a completely unique script and a different genre. One week, I’ll get a script, and it’s a pharmaceutical commercial; the next week, it will be a gritty documentary. Then the next week, it will be like an action thriller or a romantic comedy.” Faced with the ever-changing nature of SNL, Buono has to quickly understand how to create the look of that genre. He asks, “What makes people know what you are portraying? How do you identify what are the components of the genre? How do you break it down to a visual style and quickly convey what we’re trying to capture in the script? How is shooting a horror film different from shooting a documentary, or different from shooting a pharmaceutical commercial, or different from w w w. m a r ke e m a g a z i n e .c o m
August/September 2015
|
Markee 2 .0 | 35
Special Feature
Visual Storytelling
shooting a thriller? If a certain script is supposed to feel like a suspense thriller, how is that different from if it was supposed to feel like a romantic comedy? Would you shoot it differently if it were a romantic comedy versus a suspense thriller?” He continues, “I’m asked to answer those types of questions every week. I’ve been in so many different situations where you’ve got to create so many different looks that it became the inspiration of this tour, to show my attendees a lot of different visual styles. We’re going to shoot a car spot, a car commercial. Then we’re going to shoot a music video. Then we’re going to approach a slick title sequence. We’re going to talk about documentaries and a lot of different visual styles. “You can create all of these different visual styles using essentially the same equipment. It’s all about varying the lens you’re using, how you’re moving the camera, the color temperature of the light, and the quality of the light. Should it be hard light or soft light? Just making these choices can completely change the visual style of what we’re shooting.” Sounding a little like pop psychology—what color makes you think horror? What color romance? Buono thinks there are subtle cues that alert the viewers to what the script wants them to feel. “I don’t think that it’s so much a psychological thing. I don’t think, ‘It’s a horror movie, so we should make it all blue; or it’s a romantic
[Below] Buono on the set of The Sapranos
36 | Markee 2 .0
|
August/September 2015
comedy, so we should make it all warm or red.’ I don’t actually buy that at all.” On the other hand, he says, “I think the semiotics part of it, the subtext, is important. Can we understand how visual subtext works, how we are all conditioned as audience members, as people that watch visual media, to understand certain iconography? If you want your film to feel like other horror films that you’ve seen, how do you do that? If you’re going to break the mold, you have to understand the model that you’re breaking. A big part of the class is on the relationship between style and subtext, understanding that you can create different looks using the same equipment, and how to do that.” The second part of Buono’s class is a little more theoretical: understanding the power of using symbols to enhance the storytelling and have more powerful stories. “A big part of that is just showing the audience a lot of different examples,” he explains. “Examples from different films where great filmmakers have injected a tremendous amount of meaning behind the images, using subtext, creating symbolism within their images, creating a repeating motif visually. I feel that makes the difference between an average film and really, truly great film. “It makes a huge difference that the great filmmakers of our time are all using visual subtext throughout their films. And it’s subtle; it’s not right on the surface; it’s not screaming at you. But as soon as you scratch the surface, you realize, ‘Oh, I see what they’re doing. I see how they created a set of rules for themselves.’ Of course, I’m not suggesting that these are the rules to shooting a scene. All I’m trying to do is help the audience understand that if you’re trying to create a look, how do you even begin to do it? If you’ve got a script and it’s like a British crime movie, you want it to feel like some other British crime movies that you’ve seen. Everyone needs a reference point. You need to start somewhere and say, ‘Well, what’s my inspiration for this? What do I want it to look like?’” As an example, Buono notes, “One of the greatest cinematographers of all time, Vittorio Storaro (Apocalypse Now, Reds, The Last Emperor); what does he use as his reference point? He might look at a Caravaggio painting and say, ‘That’s what I want to achieve, that kind of contrast.’ But where do you even begin to make it look like that? What’s the quality of light? What’s the color palette? What lens do you think he should be using? How are they moving the camera? All of those little questions create the rules, the guide for how you’re going to create that look.” But isn’t the “rule” that rules are meant to be broken? “I’m not suggesting for a moment Film • Video • A nimation • Audio • Locations • People
that these are the rules, and you can’t break these rules, or else no one will understand what you’re doing,” Buono admits. “It’s up to you to make it your own thing. You might break down a certain reference frame and determine the certain look and say, ‘Okay, there are 10 things that I think this guy is doing, but I can only afford to do three of them.’ I think if you do those three things, you’re creating a rule for yourself. Will it help you get closer to the look that you want, and also have some kind of a consistency in what you’re doing?” In today’s digital world, post-production can throw all kinds of techniques into a scene that change what the DP has done. Is that a problem? “It’s actually quite the opposite,” claims Buono. “I shoot with post-production in mind. And I’m usually the person in post-production doing the reframing and the recoloring of the scene. I think that it’s very important, if you’re the image maker, to be involved in post-production, to understand how post-production works. When you’re shooting an image, you have to have the whole workflow in mind. You have to have the end result in mind. You’re not just turning over footage and saying, ‘Do whatever you want with it.’ I shoot an image and then I stay with it, all the way until it’s finished.” Once you understand how powerful the tools are in post-production, it really helps your shooting. “I just shot a TV series where one of the episodes was supposed to feel like a 1920s Eskimo film,” recalls Buono. “It was supposed to look like Nanook of the North. The way that we achieved the look was a combination of how we photographed it and what lenses we used. Then, in post-production, we had to turn it into black and white, and achieve the actual contrast level of the film stock they would have been shooting back then. We added grain to it w w w. m a r ke e m a g a z i n e .c o m
[Above] Buono on a mobile rig with lights and camera and waiting for the action.
but we wanted the grain to feel like the grain from an old acetate film stock, not just random film noise. Knowing all of these processes that we were going to use in post-production informed how I shot it in production.” Finding the way to convey the right emotion to the viewer through subtext and visual style is particularly important for new filmmakers. “One of the big barriers for entrance for a young filmmaker, for any new filmmaker, is you have this sense that it’s so expensive to get started. That’s really the challenge,” acknowledges Buono. “The new filmmaker thinks, ‘I have to somehow buy a lot of gear, or borrow it, because it’s all about the equipment.’ To become a filmmaker is to get beyond that, to understand it’s not really about the equipment. The equipment is really a very small part of the equation. It really is knowing that once you have the equipment, what you are going to do with it. It’s understanding how storytelling works, and how the way that you shoot something will help you tell a more powerful story.” That’s where subtext comes in. “There are many tools at your disposal to affect people emotionally, to affect people intellectually, by the image that you capture,” Buono says. “How does the picture relate to the storytelling, and are you serving the story or are you hurting the story by shooting it that way? Understanding that is the big, almost intellectual leap that a newer filmmaker needs to make. That’s a big step in your filmmaking process, to get beyond the equipment and understand that the real challenge is the storytelling.” August/September 2015
|
Markee 2 .0 | 37
NEWS
What’s so
Special? What’s so special about the Special CINDY Awards? First, we must explain a little about the CINDY Awards in general.
38 | Markee 2 .0
|
August/September 2015
Film • Video • A nimation • Audio • Locations • People
The Cinema in I ndustr y (CIN DY ) Awards began two years after the founding of the Industry Film Production Association in Los Angeles. This fledgling professional association, primarily made up of aerospace filmmakers in Southern California, wanted something to elevate their status within the larger film production industry. What better way than to introduce a film festival judged by their peers? In 1959, the first CINDY Awards specifically designed for the non-theatrical market were presented. Non-theatrical is a broad arena of production work that trains and explains as well as entertains. It can be found in a wide variety of applications from museum exhibits and training environments to consumer product rollouts and business meetings. Many successful Hollywood directors and cinematographers began their careers in the non-theatrical market, and it seemed only fitting that The CINDY Awards should honor them at the very beginning of their careers. In the early days, many future Hollywood legends would start their careers by working in the industrial film arena. Renowned directors George Stevens, John Ford, William Wyler, and John Huston found themselves taking a break from features in Hollywood to make 16mm training and public relations films supporting the war effort during WWII. Later, Robert Altman would begin his career in Kansas City at The Calvin Companies, one of the largest “industrial” film producers of the 1950’s. He worked first as a cameraman and later as a director, making training and educational films. At least two of the projects he worked on received some of the earliest CINDY Awards. The 1960’s brought advances not only in 16mm film, but filmstrips, audio, Super-8 sound cartridges, and slide media as well. By the 1970’s, video arrived on the scene and video cameras became smaller. In the 1980’s, multi-image presentations were in wide use, video was exploding, and the first interactive programming was born. In the following 25 years, the rate of change ramped up even more. The curve measuring the means for gathering, editing, and delivering media went totally vertical. Today, the survivors left standing are the ones who adapted and changed. One of these is the CINDY Awards. The success of the CINDY’s is simple. Although the platforms and technology for gathering, mixing, and delivering media are always changing, the talent to properly blend words, sounds, and imagery into persuasive audience messages always will remain constant and paramount. Today, the CINDY Awards accept a variety of programming from various delivery platforms in a wide-range of subject matter categories. The dividing line between non-theatrical and everything else no longer exists. Entertainment is presented both in the theater and direct to your home. Training and educational content is available across the web and from the cloud. All are available anytime, on any device, including your old-fashioned television set. And it’s all delivered in crisp and colorful HD. In addition to the regular CINDY Awards, we have instituted several Special Award categories. The reason these awards are so “special” is they recognize those select productions that exhibit an extremely high degree of proficiency in a particular skill or in the choice of the subject matter. Overall, the entire program may not rate receiving a CINDY gold award with a 10 on the judging scale, but it may contain a production element that, in itself, is a standout and warrants its own 10-plus rating. Because of the need for more talent to create content in this vast media-producing universe, it has become even more critical to focus on these specialists w w w. m a r ke e m a g a z i n e .c o m
The Markee 2.0 Production Music Award honors a producer who effectively utilizes stock library music to enhance a production; it also honors the source of the music.
August/September 2015
|
Markee 2 .0 | 39
CINDYS
What’s so special
and the skillsets required in very specific areas. The Markee 2.0 Production Music Award is the latest to join our five existing Special CINDY Awards. This award honors a producer who effectively utilizes stock library production music to further enhance the production and also honors a particular library source providing the music that helped in capturing the award. Markee 2.0’s support in presenting this new award emphasizes the importance they and the CINDY Awards place on these contract producers and the vital role the production music community plays in supporting their efforts. In 2014, the very first Stock Production Music Use award went to Warner/Chappell Production Music. The agency was The Vault and their client/sponsor CBS. The :30 TV promo entitled Starts Here introduces a new season of Thursday Night Football. The Warner/Chappell winning track This Night is Ours is from their NonStop Producers Series catalog. The Vault is a full-service creative advertising, production, and post-production agency based in New York. The Vault crew included Creative Director Jon Paley, Executive Producer Sally Kapsalis, Account Director Josh Weissglass, Producer Stephanie Mueller, and Editor Miles Trahan. Warner/ Chappell Production Music is a worldwide leader within the production and custom music industry with 35 years of experience and success. In addition to Markee 2.0’s lengthy past coverage of broadcast commercials and theatrical production work, they also have covered the non-theatrical side of the media business. Many markets outside of Los Angeles, Chicago, and New York have been featured. Unlike the “Big Three,” where there is little crossover in the role you play in a particular production, both technical personnel and talent in smaller markets may work in a commercial, feature, or training piece all in the same month. These folks start out their careers as “generalists” not “specialists.” The Special CINDY Awards program began in the late 1980’s with our John Cleese Comedy Award. The Cleese Award is named for one of the originators of the Monty Python series, who—in addition to his theatrical work— was also involved in the production of a variety of very successful business training films utilizing his particular style of humor. The award celebrates the use of humor in conveying the intended message. Humor is a difficult element to make a part of an effective piece. To use humor well, you must know your audience and what they deem to be funny. Humor is only effective if done extremely well. Good humor attracts and holds the attention of the viewer while badly done humor can easily lose the viewer and doom the entire production. Writing, editing, direction, the skills of the actors or 40 | Markee 2 .0
|
August/September 2015
voice over characters, all may contribute to a successful John Cleese Special Award winner. Our 2014 John Cleese Comedy Award recipient is a perfect example. Superfan is a :30 spot created for Netflix, by Ignition Creative, that stars Ricky Gervais. In the spot, Gervais (himself a star of the Netflix original series Derek,) makes unexpected guest appearances as though he were a character on such Netflix shows as Orange Is the New Black, House of Cards and Lillehammer. “You know when you’re watching your favorite Netflix show,” Gervais addresses the viewer, “after five straight episodes, you want to be in it!” The Robert Townsend Social Issues Award was established in the 1990’s. It’s named for the producer of a number of television series and films, including the landmark feature Hollywood Shuffle. Clevelandnative Robert Townsend always has been interested in social change. The Townsend Award recognizes a single production or program series focusing on a specific social issue. The emotional impact the program has on the viewer is paramount for it to be deserving of the Townsend Award. Last year’s winner was March on Washington, a museum installation video at the Center for Civil and Human Rights/Atlanta. Produced by Batwin + Robin Productions Inc. located in New York City, the wide-screen show is a tribute to a celebratory moment in the American civil rights movement. Through the elegant use of soundtrack, stock footage, and stills, the viewer is transported back 50 years to a landmark moment in American history. Our Wolfgang Bayer Cinematography Award honors the work of the cinematographer. The job of the cinematographer is to capture images that move the audience, pushing them forward to accept the message and to take the action that is intended. Perhaps second only to small children, wildlife cinematographer Bayer worked with some of the most difficult of actors—animals. Based in Jackson Hole, Wyo., for many decades, Wolfgang Bayer was a prolific wildlife cinematographer who produced many award winning educational films. A vast amount of his archival footage was instrumental in the initial establishment of the Animal Planet brand. The Western New York Public Broadcasting Association received the Special CINDY for cinematography in 2014. The WNED-TV PBS affiliate’s video, If Our Water Could Talk, explores the restoration of the area’s regional waterways to make them viable again for recreational use. The powerful message of this video is conveyed even more effectively through its exceptional camera work. To find out about the other Special CINDY Awards, more CINDY history, and how to enter our next event in September, visit www.cindys.com. Film • Video • A nimation • Audio • Locations • People
advertisers’ index page# company
MARKETPLACE
For Marketplace advertising details... Contact John Davis at 888.303.5639 or email: jdavis@lionhrtpub.com
phone & website 1 American Film Market
www.americanfilmmarket.com
1 CINDY Awards www.cindys.com
C2 Firstcom Music 800.858.8880 www.firstcom.com
41 Glidecam Industries 800.600.2011 781.585.7900 www.glidecam.com
41 Lights Action CO 818.881.5642 www.lightsactionco.com
41 Premier Studio Equipment 909.427.8591 www.premierstudioequipment.com
5 Sarasota County Film & Entertainment Office 800.765.5777 www.filmsarasota.com
13 Stephen Arnold Music 800.537.5829 www.stephenarnoldmusic.com
21 TNDV Television 615.585.6528 www.TNDV.com
29 Warner/Chappell Production Music
For Marketplace advertising details... Contact: John Davis at 888.303.5639, ext.226 or email: jdavis@lionhrtpub.com
Stay connected to Markee 2.0!
888.615.8729 www.warnerchappellpm.com
41 Willy’s Widgets www.willyswidgets.com
You can visit our website, www.markeemagazine.com, for exclusive news and trade show coverage. You can also sign up for the Markee 2.0 eNews and follow us on Facebook and Twitter!
w w w. m a r ke e m a g a z i n e .c o m
August/September 2015
Follow us on:
|
Markee 2 .0 | 41