Independent Productions
Music & Sound Guide Fall 2014 • V.29|No.3
Film • Video • Animation • Audio • Locations • People
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Scenery for Hire Mountains and More
HONORING the BEST in Production Music Use
Markee 2.0 magazine and the Cinema in Industry (CINDY) Awards are pleased to announce the creation of the newest Special CINDY Award recognizing excellence in productions through the use of stock production music libraries. As is the case with all of the CINDY Special Awards, all CINDY entries, regardless of subject matter, category or media format, are automatically eligible to win. Websites, online videos, webinars, apps, podcasts and other new media, along with traditional broadcast and non-broadcast film, audio and video productions, are eligible. The CINDY Awards are open to the creators and clients producing the world's most effective linear and interactive media. Tens of thousands of media makers have received a CINDY award since the very first one was awarded in 1959. Markee 2.0 magazine is honored to be associated with the CINDY Awards this year, sponsoring the new Best Use of Production Music Award. During our nearly 30 years of following the film and video industry, we’ve seen the impact that music and sound can have on a production. As more and more filmmakers join the ranks of the professionals we serve, the explosion of new productions at all budget levels demands a ready source of music tracks. The companies in our annual Music & Sound Guide provide that resource. It is our hope that they, their clients, and you will enter the CINDY challenge and come out winners of the many awards being presented.
THE CINEMA IN INDUSTRY AWARDS. ESTABLISHED 1959.
A CINDY Award is presented to an individual or organization that has produced an exceptional piece of linear or interactive media for use in a broadcast or non-broadcast application. We are proud to partner this year with Markee 2.0 by donating 10% of each online entry fee to MusiCares for each entry made by or recommended by a member of NARAS or PMA. For the first time, the Markee/CINDY Award for Best Use of Production Music will be CINDY Award winner. presented to a CIND Enter your best work this fall!
Details and Entry Forms at www.cindys.com Entry deadline: November 15 TH
Markee2.0
Film • Video • Animation • Audio • Locations • People
Fall 2014 Volume 29, Number 3
contents w w w. m a r k e e m a g a z i n e . c o m
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features Independent Productions
8 Diversity in Action Meet two indie producers with very different approaches
9 Snake Oil Sam — A modern Steam Punk short 12 Exploring Black Magic with Blackmagic — The dark side of folklore comes to life
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Original Music
14 Hearing is Believing Music is the universal language of film By Bob Farnsworth
Lighting
16 Lighting the Scene 9
Shane Hurlbut explores the use of lighting to enhance a scene or make it even more memorable. By Tom Inglesby
18 Shedding Light on Film A Close Encounter with Vilmos Zsigmond, DP on Close Encounters of the Third Kind and many other innovative films
Spotlight | Rocky Mountains and Northwest
22 Scenery and Incentives 16 2
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Fall 2014
From the Majestic Rocky Mountains to the Shining Sea of the Northwest, producers can find every possible scenery. By Tom Inglesby
Film • Video • Animation • Audio • Locations • People
Markee2.0
Film • Video • Animation • Audio • Locations • People
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.
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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 regularly-scheduled 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
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columns & departments 4 From the editor Making TV
[On The Cover]
5 Why-Done-It
Monument Valley, Utah: one of the scenic locations for filming in the Rocky Mountain States
Mathias Herndl changes the who-done-it to a why-done-it in Motive By Michael Fickes
Photo © weltreisendertj | 123rf.com
Making Commercials
6 Dead Man Walking & Chewing A takeoff on a Monty Python skit pitches Mentos By Michael Fickes
Music & Sound Guide
26 Getting the Most from Production Music Any sound you want is out there somewhere By Sally House
27 Driving the Scene with Music Find the heart and soul of production music By Rich Goldman www.markeemagazine.com
Fall 2014
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from the editor
Markee2.0
Film • Video • Animation • Audio • Locations • People
| By Tom Inglesby
www.markeemagazine.com
Camera? Who needs a camera? Today’s cine cameras can fit in a shirt pocket and produce digital output at the highest resolution the delivery systems can reproduce. And in keeping with the “smaller, smaller, smallest” trend in everything electronic, the ubiquitous cell phone has become a cine camera. Which brings us to the concept of the mobile film festival. They are popping up all over the world, it seems. Let’s focus on the celebration of cell phone cinema right here in the USA: the International Mobil Film Festival being held next April in San Diego. The driving force behind the festival is Susan Botello of S. Botello Productions, who explains, “The purpose of our film festival is not only to create interest and spark creativity in people of all ages with limited income or resources, but to actually inspire creative filmmakers to live up to their potential and realize the opportunity to fulfill their dream.” The 2015 event will be the fourth and expects to entertain a record number of entries. According to Botello, “Our mobile media film festival will take place in San Diego, where we’ll have a live event venue in which we feature the films competing, film festival partners from around the globe, our global Community Stories program and much more. And all the films will have been shot on mobile phones!” The festival isn’t the only place for artistic release using a cell phone. Botello also launched Mobile Film Television (MFTV), an online mobile film distribution network back in 2013. The mobile television channel, while still in its infancy, is a venue for mobile filmmakers to distribute their mobile phone films via a channel that will play their short films on just about any device or screen with Web access. “This new medium is ready for filmmakers,” Botello says. “Films will be available around the world from filmmakers around the world. The films can be displayed on screens of any size. We’ll be showcasing them at the International Mobil Film Festival on big screens as well.” Films for MFTV do not have to be submitted to the film festival and the length of the films differ. As with any distribution company, a filmmaker will need to enter into a distribution contract and release their films for distribution by MFTV. There is no limit to how many films a filmmaker can submit for distribution or how many films a particular filmmaker or production company may submit or be distributed. “The criteria for films is simple: it is strictly for films shot with mobile phones,” says Botello. “We are not seeking just films that are traditionally cinematic. We hope to include quality experimental films from mobile filmmakers. Throughout both the festival and the MFTV channel, production values are important. We want these to be quality films, just shot on mobile phones.” More information is available online, of course, at www.mobilfilmfestival.com. See you — and your cell phone film — in San Diego April 25 and 26, 2015.
Highlights Coming In • • •
The Business Side of Film Mobile Production Spotlight on West & Southwest
IN EVERY ISSUE: Making TV • Making Commercials
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Fall 2014
Winter 2014 Follow us on:
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making TV
Mathias Herndl | By Michael Fickes
Why-Done-It Motive transforms the traditional who-done-it into a whydone-it. Murder mystery writers typically explain means, motive and opportunity on the way to revealing the identity of the murderer. Years ago, Columbo rejiggered the traditional whodone-it into how-done-its focused on detecting the means. Viewers knew who committed the murder, as well as the how and the why. The mystery lay in how Columbo would figure it out. Now Motive (in its second season on ABC) is doing something similar by revealing the murderer and victim at the beginning of the show. Like Columbo, Motive has a formula. It reveals the murderer and victim in the first two scenes. Then it cuts to the police at the scene of the crime beginning an investigation. Next, we see the murderer in the aftermath of the crime cleaning up and working out an alibi. As the present-day police investigation proceeds, the show uses flashbacks to explain the motive. The flashbacks show how the murderer and victim met and how the murder came to pass. Along the way, we learn the motive. The mystery for us — the viewers — is how the police will uncover the motive, which leads them to the murderer. Shooting a show with such a complex formula is challenging, says Motive Director of Photography Mathias Herndl, a.a.c. (Austrian Association of Cinematographers). Signaling viewers that the next scene will travel backward or forward in time ranks as one of Herndl’s greatest challenges. “We work out those transitions in prep,” he says. “We wanted to stay away from the traditional color transitions and decided to use matched cuts. We usually develop three or four ideas.” www.markeemagazine.com
For instance, in one episode, the wife of the victim must strip off her bloody blouse. As she pulls the blouse over the top of her head, it becomes a blanket that the wife is unfurling onto the bed in the bedroom — before the murder. In another episode, a detective is swiping through a series of photos of a man on his smartphone. We see the phone’s screen and the [Above] swiping fingers in close-up. Mathias (right) with camera operator Mark Chow (left) on The last swipe takes us to a set of Motive. bar where the man in the photos is sitting — in the past, before extremely expressive face,” he says. the murder. “I work to maintain that striking beau“The first transition in an episode ty and expressiveness by not overis the fanciest, but we’re careful to lighting her.” avoid taking viewers out of the story “Louis Ferreira is a brilliant actor,” by being too gimmicky,” Herndl says. Herndl continues. “He plays Vega by “As the story progresses, the transiprojecting a sense of mystery and tions become cleaner and faster. By creating the sense that he doesn’t the sixth act, we use matched talk unless he has something worth wipes.” saying. I light him generally the way I Herndl shoots the matched cuts light the show — by trying to keep — and the rest of Motive — with an the lighting from getting in the camARRI Alexa camera and ARRI master era’s way.” primes — no zooms. The series feaHerndl shoots with 800 ASA in tures Vancouver’s Major Crimes Unit, relatively low light using, for the most part, an F-Stop of 1.3. Part of the and Herndl shoots on location in show’s look, he says, is a shallow Vancouver. depth of field that directs viewers’ In lighting, Herndl uses practical eyes to the heart of each scene. light sources and aims for a textured, “I’m trying to provide a moody moody, dark look with strong highand textured feel with strong highlights. “We want the mood raw and lights,” he says, explaining his shooting connected to reality,” he says. “We motives. “I want it to look phodon’t use a lot of high backlights.” tographed rather than lighted. On Herndl has thought deeply about location, set ups are often about taklighting the main characters, including ing light away instead of adding light.” the two leads, Detective Angie Flynn The show itself, of course, is about (Kristin Lehman) and Detective Oscar shining light onto the motive of a dark Vega (Louis Ferreira). “Angie is a mystery. beautiful woman with a striking and Fall 2014
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making Commercials
Fluid | By Michael Fickes
Dead Man Walking And Chewing Gum In battle, a medieval soldier refuses to die before the taste of his Mentos chewing gum wears out.
With 14 arrows stuck in his chest, a medieval soldier should be lying dead on his back — or at least screaming in pain. Instead, he is standing and happily chewing gum on a battlefield with a castle in the background. So begins a 30-second Mentos chewing gum commercial entitled Never Surrender. A knight and his squire approach the soldier. The knight demands that the soldier remove his gum, fall down and die. “I simply cannot,” says the smiling soldier in a funny send up of an English accent. “The freshness continues. I will not surrender before my gum does.” The knight motions to his squire to get the gum out of the soldier’s mouth and screams in frustration: “You are ruining the integrity of battle!” The soldier eyes the squire sharply and backs him off. See the spot here: http://www. youtube.com/watch?v=QIiY2AM9Ns8 “It’s a take on Monty Python,” says Editor John Piccolo of Fluid, the editorial studio that handled the project. With offices in New York and Los Angeles, Fluid specializes in post-production services including editorial, original music, sound design, audio mixing, color correction, design, animation, and finishing. “The production company shot the commercial on location in a tiny village in the south of France where they found a castle surrounded by rolling hills that made a good battlefield,” continues Piccolo. “They shot the digital footage with an ARRI Alexa.” 6
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Fall 2014
[Above] I will not surrender before my gum does.
The director and DP created a battle scene at the location. There are horses and knights in the background, and smoke periodically billows through the frame. Piccolo handled the offline cut with an Avid 6 and finished with Flame. Nice Shoes took care of the color correction. “The chief editing challenge was to make sure the comedy starred, while covering all three actors and the location,” says Piccolo. “I worked hard to balance the screen time among the three actors and the location. “The piece was well cast. The soldier with all the arrows in him is interesting and funny. Plus, he is chewing Mentos gum — the product — so I had to show him chewing. The knight has a couple of funny lines
that I had to get in. The squire mugged the camera with funny looks that I wanted to include, too. The rough cut, of course, timed out at 35 seconds. “Trimming comedy back is always difficult,” chuckles Piccolo. “You need to allow extra beats so that the funny lines and looks will play out. You can’t trim those; you have to find other places.” Needless to say, Piccolo, who also has cut spots for Crest, Dell, Sony, the New York Lottery and Red Stripe, found a way to prune the piece back to 30 seconds. Piccolo also notes that the sound design is important to the spot. It is pushed down, far under the dialog, but we can hear villagers talking and sometimes yelling. At one point, a horse, apparently nearby, whinnies. There are
Film • Video • Animation • Audio • Locations • People
clanking sounds as armored soldiers with swords wander the battlefield. As the commercial ends, a product shot comes up and a voice over says: “Mentos gum. Long last the fresh.” “Long last the fresh” instead of “Long live the fresh” is a nice touch. After the product shot, Piccolo cuts back to the soldier on the battlefield. Night has fallen, but the lively dead man continues chewing. The knight and squire walk into the frame — to see if the soldier has toppled over yet. The soldier points to his smiling, chewing mouth and says: “Still fresh.” The frustrated duo leaves in a huff.
[Above] Fluid Editor John Piccolo tweaks the Mentos chewing gum commercial, "Never Surrender."
Sound design closes it out: An owl hoots, calling attention to the darkness. Under the owl, we hear the riveting of a frog. (ed: some discussion in grammar cir-
cles if this should be ribbiting not riveting) Piccolo: “For some reason, I’ve wanted to get a frog sound into a commercial. This was my opportunity.”
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Scene from Noka: Keeper of Worlds
Scene from The Ballad of Snake Oil Sam
Independent Productions:
DIVERSITY IN ACTION While major studios control large amounts of money, small independent productions with limited budgets can still make a splash if they approach their projects with great ideas, good planning, and high-quality but inexpensive equipment. Here are two such indie producers with awards to show for their efforts. The common thread is simple: they took chances and succeeded.
BY TOM INGLESBY
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Film • Video • Animation • Audio • Locations • People
Snake Oil Sam Inspired by music, The Ballad of Snake Oil Sam is an indie short that the director used to get ready for a feature. What does it take to be an independent filmmaker? Obviously, talent, time, money and ideas to start. But if you have talent and ideas, wouldn’t it be better to hook up with a major studio, one that would — in effect — provide the money you need and free up your time from chasing after the money you need? Independent means independent from someone telling you what to do, when to do it, and how to do it differently than the way you want to do it. It means you can win all the marbles your way. Or lose all your marbles. Arlene Bogna is one of those betting on winning — not losing — by being independent. She has a background in directing commercials and branded entertainment, and experience in art direction, fine art photography, visual effects, and writing. Bogna has been a shadow director on two network drama episodes, and is currently preparing for a revenge western feature titled Amaryllis Bang! Bang! Most recently, she completed a short “art” film called The Ballad of Snake Oil Sam in which she combined steampunk and desert backgrounds with avant-garde music. Arlene is a creative spirit, a female film director who wants to the push envelope in her productions. Her inspiration? “Aside from directors [such as] Sergio Leone, Quentin Tarantino, and Danny Boyle, I am inspired by cinema from the late 60’s through the 70’s, by music, and of course by the wilderness,” Bogna admits. “Spaghetti westerns have an attention to nuanced moments, as well as epic drama, which really draws me in. Cinema in the 70’s, like Easy Rider, Butch Cassidy and the Sundance Kid, Vanishing
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[Below] Snake Oil Sam as played by Zane Byrdy
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Independent Productions
[Below] Snake Oil Sam’s Muses (from left) Gladys Nyoth, Eva Zeva, and Christina Balmores.
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Point, even Star Wars, have a freedom and an expressiveness to them, such that I really feel like I’m on a journey discovering a world right with the hero. I guess being in the natural frontier gives me a similar feeling, sort of ‘life times two.’ I’m a very visual person — meaning if someone says something, I visualize it instantly — so I am constantly inspired by the people I meet in my life and the stories they tell.” The Ballad of Snake Oil Sam was inspired by new music by the band West Indian Girl, specifically the song “Taboo” from their album Shangri La. “I was listening to the track while brainstorming with writer/producer Anthony Ferranti so that we could explore concepts for a potential music video for the band,” recalls Bogna. Ferranti came up with the iconic visual of a snake oil salesman trekking through the desert, and Bogna says she felt like she had been struck by lightning. “Clear as day, that was it!” is the way she remembers it. “It was an inspiring moment, and from there we developed the character Snake Oil Sam and added the sympathetic twist that he is seeking redemption. I also found that many of my personal interests could be layered into the story organically — what if Snake Oil Sam is a medicine man in the making? What if we could bring in an eclectic desert tribe, like in the 70’s film Vanishing Point, and make it an ode to today’s dance culture and subculture?” That’s a lot of what ifs. But there are more. “What if I, as an artist, could explore certain cinematic notions in preparation for my feature, Amaryllis Bang! Bang!, including dreamy frontier visuals and the theme of redemption,” Bogna asks. “We realized we had a cool short film and that I had a chance to express myself in a unique narrative and fly my cinematic freak flag as a director, so I could not wait!” An Independent film is a collaborative adventure that needs a certain level of people and situations coming together and falling into place at just the right time, and this kind of serendipity is certainly what made The Ballad of Snake Oil Sam possible. “It takes some grit, especially in the beginning, to find the right people,” Bogna acknowledges. “I am so grateful to all the talented and supportive people who came on board. I also found that the concept attracted people who were just as passionate about the material as I was. That was thrilling because I felt the film growing into something bigger than me. And the challenges of filming off-grid in the desert wilderness definitely kept us on our toes! Heat waves, bobcats; you name it, we encountered it.”
Film • Video • Animation • Audio • Locations • People
But like the show Survivor, the crew came together as a tribe, camping together and giving it their all. “It felt like a very special experience to me,” Bogna beams. “That is why it was so rewarding to have our work accepted into the Cannes Short Film Corner, part of the Cannes Film Festival, to kick off our festival run, because it felt like a strong affirmation of our efforts and vision.” Off in the desert again, Bogna responded to the age-old question: What advice would you give to an upcoming filmmaker? “Prepare, prepare, prepare! And hone your vision ahead of time. Be there for your actors. Stay open on set for inspiration and in case you need to adapt quickly to find another way to achieve your vision.” Encouraged by the positive reception her film has been getting, Arlene Bogna has started her first feature-length film. She explains, “In The Ballad of Snake Oil Sam, I explored the cinematic notions of redemption and dreamy frontier visuals in preparation for my feature Amaryllis Bang! Bang!, which I co-wrote with Nicole Schubert. Amaryllis Bang! Bang! is a swashbuckling adventure about an Apache-trained warrior set on avenging the murder of her family, only to find out a chilling secret about herself. I’ve workshopped the script in scene study with professional actors, which is basically director heaven. Now I’m fielding questions about locations and logistics! I feel very fortunate to have producers on board to support my vision and bring Amaryllis Bang! Bang! to life. And I’m very excited by the positive meetings from Cannes. I can’t wait to see how serendipity plays out to bring this epic yet personal story to the big screen.” Inspiration can come at any time, from any direction. As Bogna says, you have to be open for it. Who knows, maybe her story will be your inspiration.
[Below] Zane Byrdy and director Arlene Bogna confer on the set of The Ballad of Snake Oil Sam.
The Ballad of Snake Oil Sam https://www.facebook.com/TheBalladOfSnakeOilSam
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Fall 2014
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Independent Films
Exploring Black Magic With Blackmagic Noka: Keeper of Worlds looks at the dark side of Caribbean folklore with help from a unique camera. Shaun Escayg has worked in VFX for more than a decade. He’s a fan of monster films, loves to create and manipulate images, and especially loves anything supernatural. For inspiration, he often draws upon his own heritage — he was born in Trinidad — and love of Caribbean folklore, which has a variety of dark creatures in its beliefs, myths, tales, and practices. In folklore, the supernatural exists, side-by-side with humans, and Escayg decided to explore this theme in his short film Noka, Keeper of Worlds. In order to bring the Caribbean’s dark creatures to life, Escayg relied on his expertise in VFX, but when it came to capturing the live action, he decided he needed a very specific camera. “This film is very important to me because it combines a few things I am passionate about: story, VFX, and Caribbean folklore,” says Escayg. “The folklore has so many dark creatures in it, but because there is heavy VFX in the film, I needed ultimate flexibility in post. That meant the camera had to have the highest resolution possible for camera tracking, as well as the ability to shoot in RAW to capture detailed information.” His ultimate choice was the Blackmagic Cinema Camera. “Noka was actually written before Fish, my previous short film and winner of the Belize and Malibu International Film Festivals. At the time, I didn’t see any way to make Noka. Then I saw the Blackmagic Cinema Camera,” he recalls. “It has 2.5K RAW, a cinematic look, beautiful highlights and roll offs, all for an affordable price. As soon as I saw the camera, I knew I could finally make Noka.”
A Demanding Location Noka: Keeper of Worlds follows eight-year-old Gabriel, who has been treated for a rare form of schizophrenia, which he apparently inherited from his grandfather. While attending his grandfather’s funeral, Gabriel encounters an old friend of the family who claims his grandfather wasn’t sick at all. Rather, he and Gabriel are gatekeepers of an unseen supernatural realm. Gabriel, the man says, must leave all he knows and loves to fulfill his purpose and legacy as a “Noka.” [Right] Gabriel (Stephen Nagy) learns that he is a Noka.
[Far Right] Cast and crew of Noka: Keeper of Worlds block out a scene.
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The film was shot in just five days on location in Santa Cruz, Trinidad. Escayg wanted to keep his workflow as simple as possible so he went in with just two Blackmagic EF cameras, Zeiss prime lenses, Redrock Micro rigs, matte box, Steadicam and a crane for some shots. Escayg did not use any external recorders, instead choosing to record in RAW straight to internal SSDs. “The built-in recording media was accessible — if I ran out of SSDs, I could go to a local electronics store and buy more. I loved being able to record to non-proprietary media. It keeps my workflow flexible, especially when I’m shooting in remote locations where resources might be limited,” he comments. “The camera’s form factor also was very helpful for the shoot. It’s small, yet solid, so it doesn’t feel shaky,” notes Escayg. “The cameras are easy to use handheld; they snapped on and off our rigs, crane and the Steadicam in minutes. There was no time wasted.” The small form factor also came in handy during a scene in which Gabriel fights a rather large, frightening creature in a cramped bedroom. When tucked against the wall, Escayg was able to shoot the entire sequence seamlessly. A larger camera would have been too big to capture the exact angles he wanted, angles that helped enhance the feeling of danger and frenzied activity. On the other hand, a camera that was even smaller wouldn’t have been able to capture the detailed, 2.5K RAW footage he required to capture the VFX plates and deliver on the very particular look of the film. “Being able to enter metadata was a life saver for VFX, which was heavy on this film. You have to be meticulous when it comes to VFX, so having all the information on lenses, height and distance measurements, ISO info and more in camera was great and alleviated the need for pen and paper,” Escayg admits. “I could source data back into edits and use the information to track footage properly. It’s something that’s simple, but effective and provided a seamless workflow. We didn’t have much time or budget, so there was no room for mistakes. Without a seamless workflow, this wouldn’t have been possible.”
[Above] The small form factor of the Blackmagic camera came in handy when shooting in the jungle.
Intricate Color, Subtle Transitions “I wanted a vintage look to the film, a timeless feeling that transports the audience completely into the world of Caribbean folklore. There’s a colonial Caribbean setting I wanted to capture that was essential to transport the viewer,” explains Escayg. “There are also a lot of moods in the film, as it travels back and forth between Gabriel’s potential reality and the different worlds that he experiences. I knew using the cameras’ RAW capabilities, along with DaVinci Resolve in post, would let me achieve what I wanted.” While this was Escayg’s first time using DaVinci Resolve, he was up and running after only a few days using the software. “Resolve was the obvious option to use in conjunction with shooting with the Blackmagic cameras. It’s easy to use and I can’t imagine not using it now,” he says. In post, Escayg used Resolve to transition shots, with mood changes reflected in subtle changes on top of color correction. He was also able to recover any overexposed shots and maintain continuity if there was unexpected cloud coverage or rain. “Being able to pull up blues in the shadows only, or tint ever so slightly across a few shots and frames was amazing. It was a key to achieving specific colors in mid tones, shadows and highlights, which the audience doesn’t notice it until they are already immersed in the next scene. That helped the transitions from reality to fantasy and back again,” Escayg says. “It was all about crucial and subtle control, adding slight sharpening here and there and keeping continuity with the drastic shifts in light in the Caribbean.” The tracking feature also was a lifesaver. “I could clean up reflections of the camera crew and gear if they popped up in a window, or clean things out of the VFX plates, Escayg continues. “I also assembled all the VFX, color-corrected and animated shots in Resolve’s timeline along with master sound files and was able to spit everything out from Resolve.” He adds, “It’s pretty exhilarating to see people’s attitudes toward short films and indie projects change because they can now be made with the same look and quality as high-end feature films, but for a fraction of the cost.” Noka: Keeper of Worlds has been entered into the Sundance Film Festival, Austin Film Festival, LA Shorts Fest, and many others. For more information, visit http://nokawheel.com/. www.markeemagazine.com
Fall 2014
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Original Music
HEARING IS
BELIEVING No matter what visuals are integrated into a TV campaign, the music behind the narration and imagery is the language that people will best understand. B Y B O B FA R N S W O R T H Founder/Composer Hummingbird Productions/Nashville
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Film • Video • Animation • Audio • Locations • People
N
ormally, people say “Seeing is believing,” but I would like to offer my theory that it is more accurate to say: Hearing is believing. I’ve discovered, as a musician
and composer, that we generally trust our ears more than we trust our own eyes. I wonder why that is? Perhaps it’s because our ears always are open, even when we sleep. I’ll leave that to scientists to figure out.
Speaking of great thinkers, a great deal of thought must go into the design and implementation of music for commercials. In the world of advertising, the sound of music that can be heard behind the announcer’s words is remarkably powerful. This is especially true when conceiving the music that will accompany an important, new advertising campaign. If I play a snappy, funny little tune on the piano while I say the words — “I really felt sort of melancholy when I woke up this morning. I didn’t even feel like getting out of bed” — the music heard behind my words would make me sound like a liar. On the other hand, if I was playing a somber tune while saying the words — “This morning I woke up, the birds were chirping and the sun was shining” — people listening to me would, once again, think I was a liar. I’m not happy; I’m sad, because the dirge-like music they can hear elicits a more powerful human response than the words I’m saying. No matter how closely we think today’s synthetic sounds can replicate real instruments, it always blows us away when we are allowed the opportunity to compose original music for ad campaigns employing an entire orchestra. When recording tracks using just electronics and digital instruments, the music tends to “stair-step” and the emotion within the piece of music isn’t conveyed properly. Because of the human element involved when someone actually plays an instrument, the music can rise and fall naturally and organically — like an ocean wave. A human musical performance always allows much more subtlety, nuance, and flavor to be expressed than a completely digital version. As another creative outlet, we musicians and composers enjoy when we have the opportunity to create a remix for a brand’s existing theme music. This is a great way to infuse a successful ad campaign with new energy. I love working on remixes and mash-ups because it keeps brands sounding fresh. Indeed, music is the international language. No matter what words you say, the music of www.markeemagazine.com
your voice is the language people will understand. So I ask us all, what sort of music do people hear when you walk into the room? Whether we are speaking our music or we are playing our music on an instrument, we must distinguish between mere notes and music. That’s one of the most important aspects of the creative art in music; there is much more to it than stringing notes together. There is the emotion and the feeling that is conveyed when music is created from notes, and that can best be realized when the emotion needed in the project is understood by the composer and musicians. It’s much harder to get it right when you try to pull that emotion out of a prerecorded piece that was done for another project. There always will be a place for all types of music in film, video, and advertising. My hope is that the right piece of music is the one you decide to use, each and every time. And remember, Hearing is believing. Bob Farnsworth founded Hummingbird Productions, one of the oldest full-service music production companies in America, in 1979. Its award-winning material includes: “Always CocaCola,” and “I Wish I Were an Oscar Mayer Weiner.” For more information, visit www.hummingbirdproductions.com.
Fall 2014
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Lighting
Shane Hurlbut, ASC
LIGHTING THE SCENE BY TOM INGLESBY
The wrong light, the wrong temperature, the wrong filter leads to the wrong image. Here is how one cinematographer makes sure that doesn’t happen. [Below and Opposite Page] Shane Hurlbut shows how lighting is done to groups of budding cinematographers.
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Shane Hurlbut, ASC grew up on a farm in New York and got his start in films as a gaffer. Hurlbut’s shooting career began in 1995 with music videos for The Rolling Stones, Nirvana and Smashing Pumpkins, followed by commercials and features. His credits include The Rat Pack, Terminator: Salvation, and We Are Marshall. Among a select group of cinematographers, Hurlbut is recognized by Canon as an “Explorer of Light” and by the Tiffen Company as an “ImageMaker.” Hurlbut just wrapped Fathers and Daughters, which is in post and will be released in 2015. Directed by Gabriele Muccino, the cast includes Aaron Paul, Amanda Seyfried, Russell Crowe, Diane Kruger, and Jane Fonda. Taking time off from a very busy shooting schedule, Hurlbut is putting on a series of workshops for Monty Zucker Education, touring the country explaining how he approaches lighting a feature. The workshops include a lot of hands-on experience for the attendees. “This is immersive experience,” he explains. “Just like the way I light and the way I lens, I want the audience to actually think, and to not just write down stuff on a paper. I want them to actually weigh in on decisions; in groups of four or six, they have to all talk as one on how they think this light looks on an individual, or why they would light this scene the way they do.” Lighting conveys emotion, temper, feeling. Hurlbut says, “All of my lighting is based on the script and the characters’ emotions. I believe in talking the scene through with the director to learn how he or she would like to capture that emotional performance. It’s then my job to take all those notes from the director and to build it into the lighting as well as the camera motion.” His recent shoot, Fathers and Daughters is an example. “Amanda Seyfried’s character had no real foundation,” Hurlbut recalls. “Her foundation was like sand. So we wanted to show this liquid, languid kind of quality to her through camera motion. The script is very endearing at times, but also very depressing at other times. We did not want a very dark, dismal, and depressing movie, from the lighting standpoint, because we thought it would be way too much for the story. The characters were delivering a wonderful, emotional performance, so the lighting almost goes Film • Video • Animation • Audio • Locations • People
against what they’re experiencing. The actors were driving more the emotion, and we were driving a very beautiful, very golden image that, at times we would make darker and moodier and colder in tone. “The story has a lot of dimension based on the characters’ emotions, he continues. “For me, that’s how I light and how I compose. It has to be driven by them.” Hurlbut started out as a key grip, learning how to move the camera and how to shape and control light. Those are the two building blocks for a cinematographer. “I don’t use all these advanced 3-D programs or anything like that,” he acknowledges. “I like to come in with a plan drawn out for the grip and the gaffer to understand what we need. But that doesn’t mean that we don’t throw it completely out the window and start completely over again if the actor wants to take it in a different direction. Maybe the director had an epiphany, and he wants to handle it a different way. That’s why even with really good prep and really good organization, you can get thrown curve balls.” The ability to think on your feet, be flexible and shake it all up based on the character and where they want to go with their emotion at that specific time defines a great cinematographer. “Sometimes it’s plug and play,” Hurlbut notes. “The actors come in, and they do exactly what we all thought they would; the scene goes where the director wanted it to go. But then sometimes, when they don’t, those are the times where it’s very exciting because you can switch things up.” What is Hurlbut’s personal approach? When asked, he responds, “Every movie I do, I do a light study on all the main actors. So let’s take Fathers and Daughters, for example. We have tests where Russell Crowe, Amanda Seyfried, Aaron Paul, Diane Kruger would go through hair and makeup, different aging, everything that they will do in the film. As they’re doing that, I have a dolly set up with a 20-foot diameter curved track, and I have three different light sources mounted on it. I have a hard Fresnel, a kind of a semi-soft [Kino Flo], and then a big six by six [bounce]. And I literally move this light around, starting on the right side and moving it all the way over to the left side. While we are doing that, we’re taking still images as well as motion picture with her or him in costume, in their hair and makeup.” After shooting this test, Hurlbut and the director look at the results to determine which side the actor is best lit from, or which side is going to make her look older if that’s what they want to accomplish. Or, like in The Rat Pack, which side does Joe Mantegna look more like Dean Martin? “We then generate a plan,” he says, “and when we’re blocking a scene, we know that this person is going to be lit best from the right or the left. We can actually formulate camera blocking around all that we learned. It’s a unique way to understand lighting a face, and when it’s all said and done, the face is everything; the skin tone is everything. That’s where all the emotion is coming from.” Have digital cameras and LED lighting changed how things are done? Of course. For better or worse? “They are very beneficial,” Hurlbut admits. “I find that I’m lighting things faster than I ever lit on film and doing so with this wonderful lighting control. www.markeemagazine.com
Dimming is so much more important now, with the sensor having more latitude; in the past, they did not have the latitude of film. The cameras now are getting that way, and having this incredible ability to be able to spin your color [temperature] and dim down to .3 percent without a color shift is huge.” As an example, Hurlbut recalls, “On Need for Speed, I’m lighting four-and-a-half miles of street racing, on the streets of Macon, Georgia, with 12 lights. On film, that was never possible.” LED lighting, with its amazing control, hasn’t made filters on lenses obsolete, however. “You still need all the bells and whistles of neutral density and diffusion filters to really enhance and bring out the wonderful qualities of these new digital sensors,” claims Hurlbut. “Am I doing more color correction, dialing in the look I want in-camera? Yeah, more than I ever did on film. I would actually have to use colored filters in front of the lens if I wanted to change the look. Take that night race on Need for Speed. I wanted to go for a really rich, golden look from the sodium vapor lights. I based my camera at 4,000 degrees—if I had put it at 3,200, it would have looked normal. We didn’t want normal. We wanted something that looked really unique and very colorful and very exciting at night. So that was done by me scrolling the [Kelvin] wheel to be able to change that image.” He adds, “I have the ability, in color correction, to paint my own contrast. I know the power of the color correction tools in post, and I can go on a mission to control and shape the light like I’ve always done as a cinematographer. But when the rubber meets the road and we’re behind, a car breaks down or a stunt goes wrong, or we’re doing a lot of takes and the actor isn’t in the pocket and we need to get her or him there, then these are the compromises that are made, knowing that in post-production you can go back and kind of finagle it.” Fall 2014
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Lighting
Vilmos Zsigmond, ASC
SHEDDING LIGHT ON FILMING A wide-ranging discussion with Vilmos Zsigmond, ASC, on his techniques for lighting films.
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Vilmos Zsigmond may not be a household name but within the industry, he is a highly honored practitioner of the filming arts. His filmography includes masterworks such as Close Encounters of the Third Kind, McCabe & Mrs. Miller, The Long Goodbye, Deliverance, The Deer Hunter, and The Sugarland Express. Known for his use of natural light where possible, Zsigmond has many tricks up his sleeve and shares some of them with us. “I try to be very honest with lighting,” he begins. “I always want to see the sources for the light in the room. I want them to be real for the location and what’s there, and I don’t want to work against it. People will realize they are not seeing the ‘real thing.’ On the other hand, I like to design and place those light sources myself, to follow up the mood of the scene with my style of lighting. I would say it is a little bit better than just simply real, but it’s still real.”
Film • Video • Animation • Audio • Locations • People
Zsigmond admits to being influenced by master artists — the kind who used oil paints, not film — in his work. “Painters have a choice of how to paint their creations. They can select their light sources, like the Dutch Masters or French painter Georges de La Tour, who liked to play with candles or shafts of lights to do the lighting-centered painting that he is known for.” As a director of photography, Zsigmond has a long relationship with the medium of film. Today, so much of the industry has converted to digital imaging that “oldschool” cinematographers might be excused if they long for the old ways. How will artists of light like Zsigmond change to adapt to digital? “I don’t think it will make a difference to what I am doing. A digital camera is just a tool. I can’t understand why people are so afraid of digital cameras. Still, some younger or newer cinematographers, working with digital cameras, may not have experience in lighting. We were trained to create the mood of a scene, mainly with lighting. I shot a digital film, a dance film, and I lit it the same way I would light a film movie. I don’t think anybody could tell that I shot it on digital because that’s the way I approached it.” Digital cinematography can be considered a good thing or a bad thing. “The good thing is that you can easily get a digital camera and practice doing low-budget movies,” acknowledges Zsigmond. “You can even do a personal movie with a small cast in an inexpensive way. It is good that students can get ahold of these cameras. But the bad thing is that in order to become a great cinematographer you have to know about lighting. Too many digital cinematographers today don’t pay attention to lighting. Lighting does make the difference. A good movie, if it’s lit right, creates the mood in every scene.” He adds, “You have to accept the idea that for a good feature film, the lighting has to fit the mood of the story. Those who start out learning cinematography digitally can have a problem. You turn the camera on and you already have an image, even when the scene isn’t lit right. So it’s easy for a producer, looking at the monitor, to say, ‘Let’s shoot, I really like what I see.’ As a cinematographer, you might have a hard time convincing people that it would be better if you lit the scene properly. That’s a big problem, to learn to do the right lighting for each scene.” The basic challenge in cinematography has always been the use of light to create or enhance a scene. The ability to “paint with light” differentiates the master from the acolyte. “Correct!” exclaims Zsigmond. “This is also true for digital movies like Slumdog Millionaire or 127 Hours by Anthony Dod Mantle. I like his use of lighting, which looks more natural than mine. His close ups are
really marvelous. His use of a tiny digital camera is important. He uses cameras that he can put into small spaces very close to the actor’s face.” Lighting has been a point of contention between studios, directors, and DPs. Zsigmond recalls one “close encounter” he had with a studio. “Steven Spielberg was always in charge on his films. Close Encounters was really disturbing to the studio because we started with a budget around $10 million and we ended up spending around $30 million. But the dailies were incredibly successful. That’s why everybody said we didn’t have a choice; we had to go on and on and on until it was done.” The studio, however, felt that a different DP might keep costs down better than Zsigmond was doing. “They contacted many DP’s who had previous experience in special effects movies to come in and take over, but they wouldn’t,” he remembers. “A lot of lights were required because many locations were found late and they required an amount of lighting that wasn’t in the original budget.” He continues, “The first day we went into the big hanger where the landing spot scene was about to shoot, and I asked Steven when we were going to pre-light the set. He replied, ‘Well, it’s lit.’ I looked around and said, ‘I don’t see anything lit, except those four stadium lights in
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[Opposite Page] Vilmos Zsigmond ASC, far right, discusses how to innovate lighting for a scene during a class.
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Lighting
Vilmos Zsigmond, ASC
[Above] A thousand points of light—from a broken mirror—enhance the alien landing in Close Encounters of the Third Kind.
the corner of the set, and they are lighting up the hanger. I don’t see any lights coming from the doors or windows of the buildings, or on the landing field.’ Doug Trumball was the special effects designer — he also worked with Stanley Kubrik on 2001: A Space Odyssey — and he said, ‘I’m sorry to say, but I think Vilmos is right. This is a classy picture. This is a different kind of picture. This is bigger than life.’ So the budget went up incredibly, and they said that was all my fault because I didn’t tell them what we needed beforehand. But if I would have told them that before we started shooting, we probably couldn’t have gotten what we wanted.” The problem was in the planning. “It was not discussed properly in preproduction,” Zsigmond 20
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notes. “It was not planned to make this a big movie. So it was basically a production issue. The proper discussion would have added another week of filming and they were not up for making this movie a big movie.” One of the memorable scenes in Close Encounters was when the aliens descended from their spaceship. As in so many situations, the end result is more emotional because of the lighting. Zsigmond: “I had to change the lighting that was done by the rigging crew before I even walked onto the set. 1,000 1K Quartz lights were hanging from the ceiling. It seemed like this would be a tremendous amount of light coming from the ship. But it wasn’t the quantity of the light; it was the quality that we needed. When we turned on the smoke generator and all the lights, the effect was not working; there was no magic.” And if nothing else, films like Close Encounters have to provide that magic. “I realized we should have used HMI spot lights instead of so many bulbs,” says Zsigmond. “So we replaced the bulbs with spotlights, and the shafts of light still did not appear. We had already placed a huge mirror at a 30degree angle on the floor of the spacecraft exit, but the shafts were still not appearing.” All smoke and mirrors, the set was still in trouble. “We probably should have used about 1,000 small mirrors instead of one large mirror in order to break up the light,” thought Zsigmond. “My key grip was listening and said, ‘Did you consider breaking that big mirror into 1,000 smaller pieces?’ So we took some hammers and did what we had to do; we broke up the large mirror. That’s Film • Video • Animation • Audio • Locations • People
what actually created the different angles and broke up the light.” In post-production, Trumball added the alien ships flying over the landing area and they all had spotlights. Zsigmond explains, “We had to have very bright spot lights that simulated these lights. Because our set was so big, we bunched three 10K Fresnel lights together in a spot position and panned with them like it was one big spotlight. We also used colored gels on the lights. All these extra lights, generators, and electricians that we ordered increased the budget tremendously.” Zsigmond has a special fondness for one film he worked on, The Deer Hunter. “It is a complete film and I like everything about it. I like the cast; I like what the actors did; I like the directing. It was a great collaborative effort. I remember how happy I was when doing that film because I had a great time with Michael Cimino, a talented director with many good ideas. He lets the people around him be collaborators and I had 100 percent input in that movie. Michael didn’t always tell me how to set up the light or set up the camera, he left it up to me most of the time. Sometimes we did it together, and sometimes he just let me do it. He gave me a lot of freedom in that sense.” Freedom like that is earned the hard way, by learning the trade and showing your capability over many films. Zsigmond
has been nominated four times for an Academy Award — he won the Best Cinematography Award for Close Encounters — and twice for primetime Emmy Awards, winning once for Stalin. He’s brought home many other awards, including the ASC Lifetime Achievement Award in 1999. Throughout his career, which started in 1956 covertly filming the revolution in his native Hungary, Zsigmond has studied and practiced the art of lighting. Taking his inspiration from the classic artists, he cautions new cinematographers, “You have to remember all the time there is a big difference between a guy painting the wall in a room with a roller and an actual painter doing a painting like Rembrandt using a brush.” Vilmos Zsigmond presents special classes at the Global Cinematography Institute in Hollywood where students and experienced DPs alike can learn even more from a master of light on how to use that “brush” to best effect.
Footnote: This article contains excerpts from an interview with Vilmos Zsigmond , ASC conducted by Yuri Neyman, ASC, both well-known directors of photography and founders of Global Cinematography Institute, and published in the Gamma and Density Journal http://gammadensity.com/journal/GD-JOURNAL-MAR-2011.pdf.
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Spotlight
[Clockwise from Above] Beautiful Monument Valley, Utah at sunset Photo courtesy of Laurin Rinder © 123rf.com
Remote Vista in the Mountains of Idaho
Rocky Mountain and Northwest
Scenery and Incentives
Photo courtesy of Steve Prorak © 123rf.com
Lower Spokane Falls from Munson Bridge in Riverside park, Spokane, Wash. Photo courtesy of Tracy Fox © 123rf.com
Devil’s Tower between the trees, Wyoming Photo courtesy of Malgorzata Litkowska © 123rf.com
Swift current lake Photo courtesy of snehit © 123rf.com
The Pacific Northwest — the states of Oregon and Washington — have a multitude of scenery options, from seacoast to mountains and a lot of prairie in between. There are ranches and forests, cities that can double for almost anywhere (and do), new and old buildings, and so much more.
The Painted Hills in Eastern Oregon Photo courtesy of crackerclips © 123rf.com
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BY TOM INGLESBY Film • Video • Animation • Audio • Locations • People
Farther east, next door states along the Rocky Mountains offer up some of the classic “spectacular vistas” that make Eastern city dwellers fantasize about their next vacation. Features such as Brokeback Mountain and Close Encounters of the Third Kind popularized Wyoming as a location with some of the best natural wonders rarely seen by city folks. Famous landmarks, such as Utah’s Monument Valley and Bryce Canyon, and Yellowstone National Park in Wyoming, Idaho and Montana, have served as backdrops for countless westerns and contemporary films. And there are active incentive programs in place to sweeten the idea of filming features, episodic television and commercials in all these areas. That’s the good news; the bad news is, funding for many of these programs is, at best, iffy these days. Utah has an annual budget of $6.79 million for film office incentives, which covers film and television but does not include commercials, sporting events or game shows. To receive a baseline 20% tax credit incentive, there’s no local hire requirement; but if you want an extra 5% (25% total), you have to hire 85% of the total cast and crew in Utah. Excluded are extras, five principal cast members, two creative executive producers, and a director. Utah accepts that those people will be brought in from L.A. or New York, so they’re not part of the total. One of the productions shot in Utah, Waffle Street, directed by brothers Ian and Eshorn Nelms, is based on the true story of James Adams (James Lafferty), who jumps from the white-collar world of Wall Street to waiting tables at a waffle shop. Amid the greasy madness of the 24-hour diner, James befriends Edward Collins (Danny Glover), an ex-con grill master who serves up hard lessons about life, finance, and grits. The crew filmed throughout the Salt Lake City metropolitan area in August 2014, including taking over One Man Band Diner in Lehi, Utah for a few weeks. “We purposefully wanted to set the film in Anytown, USA, and we could cheat Utah for many places. It’s a beautiful location,” says producer Autumn McAlpin. Utah’s talented film crews, helpful film commission and great tax incentives offered additional appeal, adds producer Brad Johnson. “Utah’s known for having really good crews and a beautiful setting,” Johnson said. “At first the directors were reluctant, but after location scouting, they were talking about moving here.” The community was eager to have a film made in their backyard, McAlpin adds. “We received amazing donations for locations, product sponsors, and extras.” Johnson and McAlpin both enjoy working in Utah so much that they based their respective production companies in the Beehive State. North of Utah are two states that feature idyllic western locations, Idaho and Wyoming. Unfortunately, as Amy Rajkovich, a tourism specialist, notes, “Currently, Idaho has film incentives on the books, but the program has never been funded. The incentive is set to sunset in 2020.” Still, there are shows being shot in Idaho. Way Out West, a “semi-reality” show on truTV, is being shot in Idaho now. truTV is a cable channel, part of Turner Broadcasting System, Inc., a Time Warner company. The show description plays up the Idaho connection: “Amidst the majestic mountains of Idaho, three boisterous, fun-loving families of outfitters have been livwww.markeemagazine.com
[Above] Waffle Street was shot throughout the Salt Lake City metro area, including high in the air and down on the ground.
ing, laughing and competing with each other for three generations, taking clients deep inside the country’s last great wilderness for tracking, fishing, rafting, horse riding and camping trips.” Local productions fill out the forms for incentives, too. In Wyoming, a number of Jackson-based production companies do consistent work in their home state. Producers like Teton Gravity Research and Brain Farm apply for film incentives regularly. Teton Gravity Research specializes in ski and snow extreme sport cinematography. Athletes wearing cine cameras do leaps and jumps that defy gravity — and the viewer’s imagination. They recently had the premier for their latest feature Almost Ablaze. “Almost Ablaze highlights stunning locations, next-level riding, and the globetrotting lifestyle of thrillseeking athletes,” boasts the producer. “The crew set up camp deep in the Teton Range hitting 5,000-foot dream lines all on foot. The film has already won Film of the Year at the 2014 International Freeski Film Festival.” Meanwhile, back at the bank, the Cowboy State offers a simple incentive solution: a cash rebate program of up to 15% on dollars spent in the state during a film shoot. There are a couple of advantages to the cash rebate: you get your expense report to them at the end of production, and they’ll cut you a check about four weeks later. No waiting around for tax season! On a $200,000 project, a 15% tax credit might net you $25,500. In Wyoming, that same 15% comes in the form of a cash rebate, and it works out to a full $30,000. Production companies have to spend a minimum amount of $200,000 to qualify and then meet additional criteria to determine the rebate percentage between 12%-15%. Fall 2014
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Spotlight
Rocky Mountain and Northwest [Left] Train track in prairie landscape of Montana Photo courtesy of snehit © 123rf.com
Next door, as it were, the Montana Film Office is at the forefront of offering competitive cash incentives and generous soft incentives for production efforts in the state through the Big Sky Film Grant and tax incentives. Targeting feature-length indie films with budgets under $10 million willing to shoot a minimum of 50 percent in-state, the Montana Big Sky Film Grant awards a total of $1 million cash per fiscal year to eligible projects. Selected productions will receive funds 30-60 days after principal photography wraps. Combined with Montana’s tax incentives, which provide 14 percent back on Montana crew and talent salaries and 9 percent back on productionrelated expenditures made in Montana, the grant offers qualifying productions up to 20 percent in cash enhancements. Qualified film-related expenditures incurred in the state, including all talent and crew salaries, are eligible. Productions find additional savings through the state’s sales tax-free status and the accommodations tax reimbursement after 30 consecutive days. “We are here to assist with every step of the grant process so we can help maximize the returns productions are getting,” says Montana Film Commissioner Deny Staggs. “Our goal is to make sure that Montana’s great locations, talent, and crew remain available and affordable for every production.” [Below] Spokane, Wash., downtown streets and architecture Photo courtesy of Alex Grichenko © 123rf.com
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The Montana Film Office offers producers complimentary script breakdowns and location services, helping them find that rushing river, Old West town, mountain and prairie vista, quintessential main street and much more. During production, staff act as liaisons with producers and state and federal agencies to assist productions in obtaining the necessary permits and also provide productions access. Through the Film Office’s comprehensive database of in-state crew and support services, productions can keep expenses down as well by utilizing local crew and service providers. To date, The Montana Film Office has allocated grant funds to a handful of productions this year, including Winter Light, a dramatic short by producer Josh Pense and director Julian Higgins that shot near Missoula, Montana. Throughout the summer, Montana played host to feature films. Timber the Treasure Dog from Oracle Films took advantage of Montana’s natural cave systems to create a family friendly film fully shot and finished in-state. Also shooting this summer were commercial productions for GMC, Coke, Ford, Chevy, and Polaris. If mountains aren’t in your script, how about an “Anytown” that can be done up as, well, any town? The Washington city of Spokane had an episodic series filming for the SyFy network called Z Nation. The 13 episodes wrapped around the end of September, 2014. Though several films have been made in Spokane, Z Nation is the first TV series to be shot in the city, at least beyond the pilot stage, says Marc Dahlstrom, production supervisor. A crew of 50 to 60 people – more than half are from Spokane – worked all over the area. The show’s story involves a cross-country race to save humanity. If you haven’t guessed, the Z in the title stands for zombie, and Spokane will be standing in, not for one city, but for the whole nation. You don’t have to have zombies, local or imported, in your film to take advantage of the scenery and financial incentives of the Rocky Mountain and Pacific Northwest, just a desire to use those the best way possible.
Film • Video • Animation • Audio • Locations • People
Locations Gallery Contact: Jutta Matalka Director, Tourism/Film
Palo Duro Canyon State Park Considered the second largest canyon in the U.S. and one of its most magnificent scenic attractions. More than 30,000 acres display extraordinary vistas of color and beauty. Today’s visitors appreciate the fact that they can drive 800 feet down to the bottom of the canyon.
Amarillo Film Commission 1000 S. Polk • Amarillo, TX 79101 Phone: 806.342.2012 • Fax: 806.342.2061 www.visitamarillotx.com
Contacts: Andy Edmunds Director Dawn Blacksten Project Manager
Free backlot. Period. A period farm, wharf, earthworks and ships are surrounded by 3,000 acres of pristine riverfront land – 30 minutes from Richmond, and available without a location fee. Virginia’s historic backlot is the perfect location for historic or modern projects requiring authenticity and wide-open spaces. Virginia Film Office 901 East Byrd Street • Richmond, VA 23219-4048 Phone: 800.854.6233 www.FilmVirginia.org
Jackson, Mississippi
Mississippi Film Office P.O. Box 849 • Jackson, MS 39205 Phone: 601.359.3297 • Fax: 601.359.5048 www.filmMississippi.org
www.markeemagazine.com
Contact: Ward Emling Manager
While Mississippi has a spectrum of small towns: from vibrant town squares to sleepy railroad towns to the most curious intersections, and landscapes: from the endless Mississippi Delta to rivers wide and lazy to the beautiful beaches of the Gulf Coast…don’t forget the cosmopolitan, culinary, and entertainment richness of Jackson: the center of government, industry, and enterprise…and the place Conde Nast Traveler called one of America’s Top Ten Friendliest Cities and the NY Times recently invited you to spend 36 Hours. Fall 2014
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Fall 2014 • V. 29 |No. 3
Film • Video • Animation • Audio • Locations • People
2.0
Creative director Scott Miller (left) and composer William Hunt explore the art of making music at The Hit House.
Getting the Most from Production Music Someone — it’s been attributed to Steve Martin, Elvis Costello, David Byrne, Thelonious Monk, and even Frank Zappa — once said, “Talking about music is like dancing about architecture.” So, let’s dance! Music is powerful because it generates human emotion. It can move you from intensity and drama, into quiet contemplation, and on to triumphant celebration, with just a beat, a few notes and a melody. So how do you get the perfect piece for your film? Broadly, there are three ways a music company like The Hit House can help you: music supervision, production music, and original music composition. Let’s look at each.
Music Supervision Great music supervisors have an incredible knowledge of music and the instincts to know where to search for it. They can find you tracks by all kinds of bands, from global megastars to indie bands you haven’t even heard of yet. Working with one of them will expose you to B Y S A L LY H O U S E , sounds you never knew existed, and equally important, music that will blow you away. A great Founder and Executive Producer, brief for these guys is to ask them to surprise you and take your film/concept to places you The Hit House never imagined. Consider how filmmakers like Quentin Tarantino, Baz Luhrmann, and Stanley Kubrick use music in such unexpected yet brilliantly inspiring ways. Sometimes the most inappropriate track
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is the one that is most appropriate. Sometimes a cover of a famous track creates the perfect mood and fits within your spectrum. This universe of happy surprises is what a music supervisor can give you. Just make sure your brief inspires them.
A great brief for these guys is to tell them what you want to feel, rather than simply what you want to hear. These people are into music, in the same way you are into filmmaking. Partner with the right people and everyone will shine.
Production Music
Original Music Composition
The best music companies have thoughtfully created, high production-value tracks that could be perfect for your project. I’m not talking about needle drop/jingle tracks. I’m talking about composed tracks, in many genres, which when done correctly, can sound as cinematic as anything you would have scored to picture. It’s also worth noting that if you work with the right partners, they will have these tracks with all the splits, so it is possible to customize the track to your needs. Love the melody but find the drums overpowering? No problem, we’ll lose the drums. The best way to use this kind of resource is to start by finding a company whose work you admire, then asking them to help you with suggestions from their library. They know their libraries and tracks better than you ever will, and it will make finding the needle (drop) in the haystack that much easier.
Done well, this approach allows you to tailor the music to your narrative perfectly. If a scene has highpoint you want to punctuate, original music can do that. If you need to complement an emotional transformation in a character, original music can do that. If you need to shift the energy of the story dramatically, original music can do that. So in many ways, original music will give you the most flexibility. It’s also worth saying that the observations made above about Music Supervision and Production Music are also valid in the conversation of Original Composition. A great brief is to explain what you want to feel, and when you want to feel it, and then be open to surprises in genres you may not have considered. I hope this has inspired a clearer understanding of our world of music and how best to unleash it for your films.
Music & Sound Guide
Driving the Scene with Music Music can either support or drive a scene and where you begin the search for that music should be determined by how important the music will be in the success of the scene, commercial, or video. When instrumental music is simply used to support setting the right tone and feel, a wide variety of production music is available at very affordable fees. Decisions on which library to use should be driven by the specialty of the library — very contemporary offerings, ethnic music, period music, etc. BY RICH GOLDMAN When the intended use requires a song with lyrics by a band or singer/songwriter, or very President high-end music that typically comes from commercial artists and top-end trailer producers, Riptide Music Group other sources of music discovery should be used. There’s “heart and soul” in music from dedicated artists that stands apart from production music. Both have their place and libraries such as Riptide are committed to developing and acquiring the best for both worlds.
5 ALARM MUSIC
626-304-1698
AMPHIBIOUS ZOO MUSIC
5TH FLOOR RECORDING CO
414-276-1919
ANOTHER COUNTRY
310-666-7269
APM MUSIC
mark@7outmusic.com
AARON/STOKES MUSIC + SOUND
612-373-2220
APM MUSIC
info@aaronstokes.com
ABSOLUTE MUSIC
612-339-6758
ARU INC
818-255-7100
ASCHE & SPENCER
800-343-2514
ASCHE & SPENCER
718-797-0120
AUDACITY RECORDING
516-764-1466 www.americanmusicco.com
www.markeemagazine.com
323-461-3211
AUDIO ENGINE-NY
208-344-9551 steve@audiolab.org
AUDIO NETWORK US, INC
646 688 4320
info@apmmusic.com
nyoffice@audionetwork.com
212-856-9800
AUDIO SUITE-CREATIVE SOUND SERVICES 480-598-2999
info@apmmusic.com
info@audiosuitestudios.com
312-527-7000
AUDIOIMAGE RECORDING
612-338-0032 310-396-2344 954-920-4418 212-473-2700
804-644-7700 info@audioimagerecording.com
AUDISEE
206-283-4733 info@audisee.com
AUSTIN SOUNDMINE
512-423-3680 info@soundmine.com
AZ LOS ANGELES
linda@audacityrecording.com
info@ambermusic.com
AMERICAN MUSIC COMPANY INC
AUDIO LAB SOUND RECORDINGS
info@ascheandspencer.com
info@aircraftmusiclibrary.com
AMBER MUSIC
312-706-5800
info@ascheandspencer.com
info@megatrax.com
AIRCRAFT MUSIC LIBRARY
602-250-8605 info-west@audioengine.net
contact@aruchicago.com
absolute@absolutemusicinc.com
AIRCAST CUSTOM MUSIC
AUDIO ENGINE-WEST
tim.konn@anothercountry.net
ray@5thfloorrecording.com
7-OUT-MUSIC
323-468-1035 tim@amphibiouszoo.com
info@5alarmmusic.com
310-581-8081 alonso@azlosangeles.com
BAD ANIMALS
info@audioengine.net
206-443-1500 info@badanimals.com
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Music & Sound Listings BAKER SOUND STUDIOS
215-567-0400
DAVENPORT MUSIC LIBRARY
HANDSOME BROTHERS MUSIC
info@bakersound.com
BAM STUDIO
312-255-8862
info@davenportmusic.com
DAVID BERNSTEIN MUSIC
503-396-5294
info@bamstudio.com
BARCLASION MUSIC
813-689-6066
BEACON STREET STUDIOS
310-392-9535
DEAF MULE
425-481-4100
214-849-5505
DERRYBERRY AUDIO INC
206-352-2900
303-456-8216
DEWOLFE MUSIC LIBRARY
800-864-1467
212-259-0524
DIGITAL ASSASSIN MUSIC
602-253-2448
951-244-1278
DIGITAL DOMAIN OF AUSTIN
818-882-9060
512-328-9058
DIGITAL ONE
205-870-1180
503-228-3441
DL MUSIC
615-298-2200
323-878-0400
DOPPLER STUDIOS
612-252-3990
404-873-6941
DREAMSCAPE MUSIC
323-466-3122
310-857-8599
DRM: SIR REEL SOUND
972-818-1649
214-752-5000
EARHOLE
319-235-6517 913-894-6854
ECHO BOYS
802-870-3436
612-338-7947
ELIAS ARTS
212-807-6500
ELIAS ARTS
310-581-6500
312-822-9333 323-874-9590
310-399-6900
EMOTO MUSIC
206-464-0520
312-640-1878
ENDLESS NOISE
202-237-8884
310-694-8251
EXTREME PRODUCTION MUSIC
303-430-8811
FIRSTCOM MUSIC
704-372-3448
FRESH MUSIC LIBRARY
303-447-0551
GAMEBEAT STUDIOS
404-873-6628
GE MUSIC
800-468-6874
GLENN SOUND
770-964-3063 curtis@curtisbryantmusic.com
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JAMIE DEFRATES MUSIC
904-399-2929 jamiedefrates@gmail.com
JDK MUSIC PRODUCTION
804-272-6777 info@jdkmusic.com
JECO MUSIC
310-315-3626 gus@jecomusic.com
JECO MUSIC
212-768-8501 gus@jecomusic.com
JRT MUSIC
888-578-6874 cat@jrtmusic.com
JSM
212-627-2200
310-395-0408
hello@jsmmusic.com
KALEIDOSOUND
925-283-9901
800-858-8880
forrest@k-sound.com
KILLER TRACKS
310-865-4455
413-786-1450
info@killertracks.com
LION & FOX RECORDING
301-982-4431
708-283-8860
mail@lionfox.com
LOS ANGELES POST MUSIC INC
212-673-9274 206-583-8112
GMP MUSIC
800-955-0619
LUMINOUS SOUND STUDIOS
972-331-7040 info@luminoussound.com
MANCHESTER MUSIC LIBRARY
310-260-2626 dain@grooveworx.com
413-369-4331
information@manchestermusic.com
MANHATTAN PRODUCTION MUSIC
info@gmpmusic.com
GROOVEWORX CUSTOM MUSIC
310.896.5176 info@lapostmusic.com
info@glennsound.com
info@cssmusic.com
CURTIS BRYANT MUSIC
214-649-6052 james@jamesneelmusichouse.com
info@gemusic.com
info@creativesoundconcepts.com
CSS MUSIC
615-320-1444 more@ivgroup.cc
info@gamebeatstudios.com
esinger@coupestudios.com
CREATIVE SOUND CONCEPTS
IV
bob@freshmusic.com
info@concentrixmusic.com
COUPE STUDIOS MUSIC
312-587-0133 john@idmusicchicago.com
info@firstcom.com
colosnd@coloradosound.com
CONCENTRIX MUSIC & SOUND DESIGN
ID MUSIC
la@extrememusic.com
paul@cleancuts.com
COLORADO SOUND RECORDING STUDIO
312-735-2894 ron@idigmusic.com
marycatherine@endlessnoise.com
tickle@clatterdin.com
CLEAN CUTS MUSIC
I DIG MUSIC
chicago@emotomusic.com
info@cinetrax.com
CLATTER & DIN
601-853-1778 huntergibson1@comcast.net
la@emotomusic.com
chris@chicagorecording.com
CINETRAX
HUNTER GIBSON MUSIC INC
ahaugen@eliasarts.com
EMOTO MUSIC
615-385-3729
info@hummingbirdproductions.com
mphenix@eliasarts.com
chas@charlesellerstudios.com
CHICAGO RECORDING CO
HUMMINGBIRD PRODUCTIONS
info@echoboys.com
chuck@chapmanrecording.com
CHARLES ELLER STUDIOS
dl@humit.com
312-527-1775 JAMES NEEL MUSIC HOUSE
catamount@cfu.net
CHAPMAN RECORDING STUDIO
310-260-4949
adam@earholestudios.com
record@cakemixrecording.com
CATAMOUNT RECORDING INC
HUM MUSIC AND SOUND
sirreelsound@icloud.com
info@bwn-music.com
CAKEMIX RECORDING
310-260-9939 judh@horriblemusic.net
len@dreamscapemusic.com
info@bwn-music.com
BWN
HORRIBLE MUSIC
info@dopplerstudios.com
info@brockmusic.com
BWN
612-520-1660 birgit@hifiproject.com
derek@dl-music.com
greg@boutwellstudios.com
BROCK MUSIC INC
HI-FI PROJECT-MINN.
info@digone.com
bob@blacktoastmusic.com
BOUTWELL STUDIOS
212-784-6210 birgit@hifiproject.com
kelly@digdom.com
info@bigumusic.com
BLACK TOAST MUSIC
HI-FI PROJECT-NY
info@digitalassasinmusic.com
info@bigscoremusic.com
BIG U MUSIC.SOUND DESIGN
310-319-1100 info@hifiproject.com
info@dewolfemusic.com
michael@bigideamusic.com
BIG SCORE MUSIC
HI FI PROJECT-LA
info@derryberryaudio.com
bearcreek@seanet.com
BIG IDEA MUSIC
612-418-8830 bob@hestkramer.com
info@deafmule.com
adrea@beaconstreetstudios.com
BEAR CREEK STUDIO
HEST & KRAMER
db@davidbernsteinmusic.com
rick@barclasionmusic.com
617-666-1200
douglas@handsomebrothers.com
212-333-5766 info@mpmmusic.com
MARSHALL SOUND DESIGN
972-484-1535 johnny@marshallsounddesign.com
Film • Video • Animation • Audio • Locations • People
MAYFAIR WORKSHOP
773-426-3073
RED COLA MUSIC AND SOUND DESIGN
mark@mayfairrecordings.com
MEGATRAX PRODUCTION MUSIC
888-634-2555
REN MUSIC, INC.
info@megatrax.com
MENTEN MUSIC INC
612-940-6177 214-574-6874
908-925-1908
RIOT MUSIC
414-791-0163
305-332-1338
RIPE SOUND
212-229-2279
415-748-3059
RIPTIDE MUSIC
612-332-4914
310-437-4380
RON ROSE MILAGRO
248-424-8400
860-745-1312
ROYALTY FREE MUSIC
855-554-1264 info@royaltyfreemusic.com
SCIENCE FRICTION
305-854-1810
info@scifrimusic.com
SCM PRODUCTIONS
866-269-0900
scm@scmpro.com
SCOOTMAN MUSIC PRODUCTIONS
steven_karpowicz@olemusicbox.com
MUSIKVERGNUEGEN
323-856-5900
SHORELINE STUDIOS
800-448-6467
SIGNATURE MUSIC LIBRARY
info@ntracks.com
NEW PANTS MUSIC
719 632-0227 rac@crlr.net
NIGHTINGALE MUSIC PRODUCTIONS
SONG STREET RECORDS
615-244-6515 support@songstreetrecords.com
SONIXPHERE
312-329-1310
SONY CREATIVE SOFTWARE
800-577-6642
SOPERSOUND MUSIC LIBRARY
800-227-9980 sopersound@aol.com
SOUND IMAGES
513-241-7475 charlie@soundimages.com
SOUND LOUNGE
212-388-1212 kathyg@soundlounge.com
SOUNDDOGS.COM
877-315-3647 customersupport@sounddogs.com
SOUNDMINE
818-767-4226 patrickm@soundmine.com
219-921-0205 info@sigmusic.com
SINGING SERPENT
ken.kolasny@sonixpher.com
310-394-4932 info@shorelinestudios.com
800-454-1900 info@smartsound.com
615-319-9556
scootmanmusic@bellsouth.net
info@musikv.com
NARRATOR TRACKS
SMARTSOUND SOFTWARE INC
303-422-6333
info@musicalacarte.com
MUSICBOX
972-226-7118 bobs@singletonproductions.com
856-810-1448
info@music2hues.com
MUSIC A LA CARTE
SINGLETON PRODUCTIONS
info@rr-mp.com
dorene@fischeredit.com
MUSIC 2 HUES
212-486-9816 dennis@singingserpent.com
contact@riptidemusic.com
philm@pgmartists.com
MODERN MUSIC
SINGING SERPENT
andy1@ripesound.com
info@miscoast-music.com
MIXOLOGY POST
310-882-5439 music@singingserpent.com
steve@riotmusic.com
info@menzamusic.com
MIDCOAST MUSIC
SINGING SERPENT
joe@renmediapublishing.com
info@mentenmusic.com
MENZA MUSIC
323-460-6470 hello@redcola.com
SOUNDS BIG PRODUCTIONS
212-920-4639 andrew@soundsbigproductions.com
619-235-6040 music@singingserpent.com
416-221-2393
admin@nightingalemusic.com
NUANCE MUSIC
512-468-4362 bmsatter@nuancemusic.com
OGM PRODUCTION MUSIC
323-461-2701 ogmmusic@gmail.com
OMNIMUSIC
800-828-6664 omni@omnimusic.com
OPUS1 MUSIC LIBRARY
818-508-2040 rodney@o1music.com
OUTPOST AUDIO INC
305-250-9988 info@outpostaudio.com
OZONE MUSIC
248-298-2858 ozone@ozonesound.com
PBTM ROYALTY FREE MUSIC
541-345-8117 support@pbtm.com
PERSONAL MUSIC INC
305-854-7014 info@personalmusic.com
POINT CLASSICS LLC
866-368-9603 tanvi@pointclassics.com
PRODUCER’S TOOLBOX
212-673-2773 eb@flavorlab.com
PRODUCTION GARDEN MUSIC
210-530-5200 info@productiongarden.com
PROMIDI INTÕL CORP
305-956-9116 info@promidi.biz
RCB MUSIC LIBRARY
813-689-6066 rick@rcbmusiclibrary.com
www.markeemagazine.com
Fall 2014
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Music & Sound Listings SOUNDSCAPES
501-661-1765
STUDIO BARD LLC
brent@soundscapes.com
SOUNDVIEW RECORDING
877-295-6435
SZABO SOUND & MUSIC
dave@soundview-recording.com
SPEAK HOUSE AUDIO
602.279.0900 402-466-7623
bholihan@startrackerstudios.com
THE HOLLYWOOD EDGE
323-603-2180
713-956-7451
info@hollywoodedge.com
THE LISTENING CHAIR
214-748-8846
scott@szabosoundandmusic.com
TEQUILA MOCKINGBIRD
susan@speakhouseaudio.com
STARTRACKER RECORDING STUDIO INC
503-273-2273 audiospa@studiobard.com
512-499-8655
brian@listeningchair.com
THE LODGE
info@tequilamockingbird.com
THE AUDIO SUITE-CREATIVE SOUND SERVICES 480-598-2999
310-581-8363 musicproduciton@thelodge.com
THE MUSIC BAKERY
800-229-0313 helpnow@musicbakery.com
steve@audiosuitestudios.com
STEPHEN ARNOLD MUSIC
214-726-1600 sales@stephenarnoldmusic.com
THE MUSIC FACTORY THE HIT HOUSE
310-378-8633
404-688-1667 brian@themusicfactory.com
music@thehithouse.com
STEVE FORD MUSIC
888-828-0556
THE MUSIC KITCHEN
sf@stevefordmusic.com
661-338-4749 michael@themusickitchen.com
THE PROCESS RECORDING STUDIOS
336-855-1941 office@theprocess.com
THE SOUND ADVISOR
203-373-1847 dennis@thesoundadvisor.com
TIM CISSELL MUSIC
214-499-2375 tcissell@wt.net
TIM CISSELL MUSIC
303-955-4436 tcissell@wt.net
TONAL
212-255-4369 michelleb@tonalsound.com
TRAILBLAZER STUDIOS
919-645-6600 eric@trailblazerstudios.com
TRF PRODUCTION MUSIC LIBRARIES
201-335-0005 info@trfmusic.com
TRIVERS MYERS MUSIC
310-862-9340 liz@triversmyersmusic.com
TUNEDGE MUSIC
818-933-2050 rw@tunedge.com
TWISTEDTRACKS.COM
773-856-6586 info@twistedtracks.com
UNIQUE TRACKS
718-965-2318 info@uniquetracks.com
VALENTINE PRO
720-898-9171 laurie@valentinepro.com
VALENTINO
800-223-6278 info@tvmusic.com
VANACORE MUSIC
661-295-1123 areli@vanacoremusic.com
VIDEOHELPER
212-633-7009 info@videohelper.com
WALTER BRYANT MUSIC
816-741-3750 walter@walterbryantmusic.com
WOLF MUSIC LLC
615-254-4828 leaonard@wolfmusic.com
YESSIAN MUSIC
248-553-4044 info@yessianmusic.com
WARNER/CHAPPELL PRODUCTION MUSIC 888-615-8729 jennifer.stowe@warnerchappellpm.com
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Music & Sound Galleries
5 Alarm Music
Audio Network
CSS Music Celebrates 32 Years
5 Alarm Music is the largest independent music library in the nation offering music for Film, TV, Commercials and Promos. Over 80 production music libraries, search and download online, live chat help. Over 280+ indie artists (Rescue Records).
Our music is created with you in mind. Whether you’re producing a TV series, advertisement, corporate video or film, connect with Audio Network to find the perfect soundtrack for any project! Created by authentic musicians and cleared for worldwide use across multiple platforms, we make licensing simple without compromising quality.
A lot has changed since 1982. Formats have come and gone, but CSS, the oldest royalty free library under original management, is still striving to deliver the music you’ll be proud to use.
P: 626.304.1698 • F: 626.795.2058 www.5alarmmusic.com info@5alarmmusic.com
P: 646.688.4320 www.us.audionetwork.com
The Vault by Stephen Arnold Music is a deep catalog of custom produced and curated music. Every track has the highest production value and was either an artist’s original creation, painstakingly written and recorded for commercial release, or custom-quality music designed for a major broadcast or cable network, client or ad agency.
Your Music Soundtrack For Film & TV FirstCom Music’s 25 spectacular libraries deliver the combined power of over 170,000 tracks, with 7,000+ new tracks released every year. Delivery options include: hard-drive and online.
hear the difference
P: 214.726.1600 www.stephenarnoldmusic.com sales@stephenarnoldmusic.com
P: 800.858.8880 • F: 972.242.6520 www.firstcom.com info@firstcom.com
We’re the masterminds behind some of the most listened-to music in unscripted programming. 20 years of collaborative experience with Hollywood’s TV producers has allowed us to craft our own style of music for hundreds of shows that include Undercover Boss, Survivor, Catfish, and many more. With our award-winning custom music, music supervision and music library we continue to create the perfect sound for your great story.
thehithouse.com
www.markeemagazine.com
P: 800.GOT.MUSIC • F: 323.660.2070 www.cssmusic.com info@cssmusic.com
P: 661.295.1123 www.vanacoremusic.com info@vanacoremusic.com
Warner/Chappell Production Music Warner/Chappell Production Music is an exciting company uniting successful independent Production Music houses Non-Stop Music, 615 Music, Groove Addicts, V – The Production Library and many more. Library, Custom and News Music, all at www.warnerchappellpm.com. P: 888.615.8729 • F: 615.242.2455 www.warnerchappellpm.com jennifer.stowe@warnerchappellpm.com Fall 2014
| Markee 2.0
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advertisers’ index page# company phone & website 31
MARKETPLACE
FOR MARKETPLACE ADVERTISING DETAILS... Contact John Davis at 888.303.5639 or email: jdavis@lionhrtpub.com
EQUIPMENT
5 Alarm Music 626-304-1698 www.5alarmmusic.com
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AAdynTech 888-504-3031 www.aadyntech.com
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Amarillo Film Office 806-342-2012 www.visitamarillotx.com
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Audio Network 646-688-4320 www.us.audionetwork.com
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CSS Music 800-GOT-MUSIC www.cssmusic.com
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Firstcom Music 800-858-8880 www.firstcom.com
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Killer Tracks www.killertracks.com
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Lights Action CO 818-881-5642 www.lightsactionco.com
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Mississippi Film Office 601-359-3297 www.filmMississippi.org
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Stephen Arnold Music www.stephenarnoldmusic.com/vault
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Sylvania wwwOSRAM-americas.com/KREIOS wwwOSRAM-americas.com/entertainment
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The Cinema in Industry Awards (CINDY) www.cindys.com
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The Hit House
Contact: John Davis at 888.303.5639, ext.226 or email: jdavis@lionhrtpub.com
www.thehithouse.com
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Vanacore Music 661-295-1123 www.vanacoremusic.com
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Varizoom
S TAY CONNECTED TO MARKEE 2.0!
512-219-7722 www.varizoom.com
25
FOR MARKETPLACE ADVERTISING DETAILS...
Virginia Tourism Authority d/b/a Virginia Tourism Corporation 804-854-6233 www.FilmVirginia.org
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Warner/Chappell Production Music 888-615-8729 www.warnerchappellpm.com
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Markee 2.0 |
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Film • Video • Animation • Audio • Locations • People
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Highlighted subject | by Joe Author
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Markee 2.0 |
Fall 2014
Film • Video • Animation • Audio • Locations • People