Si gn
Eye On Independent VFX on TNT’sFilms: FiveFalling uniqueSkies projects
Studios AndFootage Soundstages: Stock Four thriving Guidefacilities
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up w w fo w rF .m ar ke a RE em t E eN ag az ew in s e. co m
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BART - A quirky short about love Director: Rich Landes Cinematographer: Peter Simonite
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July/August 2013 Volume 28, Number 4
contents w w w. m a r k e e m a g a z i n e . c o m 8
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34 8
features 8
Eye on Independent Films Eternal life and love, a father and son’s epic – and comic – battle, the peril of being just too set in one’s ways, a political revolution one year later and teens’ lessons on tolerance in post-9/11 New York City. By Christine Bunish
16 Locations Gallery 20
Computing
Working In The Cloud The Cloud is infinite, scalable, flexible and expandable to cover everyone’s needs. By Tom Inglesby
27 Music & Sound Guide 34
Studios/Stages
Studios And Soundstages From big-budget features to commercials and independent films, these four western studios thrive on Hollywood heritage, diverse and expansive facilities, and a creative use of practical effects. By Christine Bunish
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July/August 2013
Film • Video • Animation • Audio • Locations • People
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Film • Video • Animation • Audio • Locations • People
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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.
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columns & departments 4 Editor’s Note 6 Making TV – Playing With Fire When fire breaks out on Chicago Fire, it’s real. By Michael Fickes
7 Making Commercials – Lowe’s Flicker-Cut Campaigns The big-box home improvement retailer has come up with another campaign with riveting visual effects. By Michael Fickes
42 Digital Discussions – M2 Digital Post Inc. Michael Towe By Tom Inglesby
[On The Cover] Markee 2.0's Annual Music & Sound Guide features the industry's leading production music, scoring and audio library companies from coast to coast.
44 Inside View – Rochester/Finger Lakes Film & Video Office Nora Brown By Christine Bunish
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July/August 2013
| Markee 2.0
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Markee2.0
from the editor
Film • Video • Animation • Audio • Locations • People
| By Cory Sekine-Pettite
Robots to the rescue? Earlier this year, while speaking to students at the University of Southern California, Steven Spielberg foretold of the impending “implosion” of the movie industry as we know it. His reasoning was the failure of many “megabudget” movies to turn a profit. “There’s going to be an implosion where three or four or maybe even a half-dozen megabudget movies are going to go crashing into the ground, and that’s going to change the paradigm,” he told the crowd attending the opening of the University of Southern California’s School of Cinematic Arts’ new Interactive Media Building. Spielberg’s estimation wasn’t that big-budget movies no longer would be made, but that the pricing structure for seeing such films would cost theatergoers more than an independent film, for example. He suggested the ticket price to see the next Iron Man type of movie could be $25. He might not be far off base. If you believe the words of movie producer and author Lynda Obst, then “spectacular, Cameron-inspired technology” is all Hollywood has left to showcase, she recently told Fast Company. Obst argues in her book, “Sleepless in Hollywood: Tales From the New Abnormal in the Movie Business,” that 70 percent to 80 percent of studios’ revenues are from foreign box offices – particularly China and India – places that produce their own comedies, dramas and other “small” films. Therefore, she says, all that Hollywood has to offer the overseas audiences whose entertainment spending they crave are “razzle-dazzle effects.” If this is Hollywood’s future, I can live with it. There are plenty of other outlets for creative writing and storytelling – cable and network television, and online entertainment sources such as Netflix and Hulu, which already are producing their own original programming. Spielberg can see the writing on the wall; he produces the very entertaining Falling Skies for TNT. What I can’t live with are continual regurgitations, reboots and unending sequels. Fewer Fast & Furious variations or Superman remakes. More Pacific Rim. If all we’re going to see in theaters are “big” movies, I don’t want to see another superhero remake. Clearly, the man of steel can’t rescue Hollywood. But perhaps men and women fighting for our planet from inside steel robots can.
Highlights Coming In
September/October 2013 Follow us on:
• Original Music Feature • Producing For The Web • Lighting Equipment IN EVERY ISSUE: Making TV • Making Commercials • Inside View
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Lisa Wiegand | By Michael Fickes
Playing With Fire When fire breaks out on Chicago Fire, it’s real. Fires – real fires – rank as major characters in Chicago Fire. Director of Photography Lisa Wiegand and Special Effects Coordinator John Milinac carefully plan the fires for the NBC show from prolific hit-maker Dick Wolf. Milinac works with his crew to design and install networks of pipes that jut out of the floor and ceiling for the fire sets – often built in a warehouse. Then, the crew pumps fuel for a fire into the pipes. For safety, camera operators and dolly grips don fire retardant automotive racing suits before the shoot. In a typical scene, fire trucks drive up to the building – a real building in Chicago with real flames from fireboxes installed in the windows. “The cameras, two ARRI ALEXAS, are always with the firefighters,” Wiegand said. “So the audience discovers problems along with the firefighters.”
Starting fires Inside, Milinac brings the fire in each pipe up to a planned and pre-tested level. The actors wear firefighter bunker gear – protective clothing and equipment that can withstand high temperatures. “John is always there, along with Stunt Coordinator Rick Le Fevour,” Wiegand said. “If something goes wrong, they will turn off the fuel and put the fire out.”
Holding back fire Onscreen, the scenes look extraordinarily dangerous. In one scene inside a multistory downtown apartment building, a character named Matthew Casey (Jesse Spencer) herds two residents into a room with a window and slams the door on the growing fire that has blocked their escape route down a stairwell. Firefighters outside must raise a ladder to the window. While they work, the raging fire pushes against the door. Casey 6
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braces his back against the door to keep it shut. The pressure from the fire pushes the door ajar and flames lick around the openings. Casey pushes the fire back and the fire pushes Casey back. He bounces back and forth, moving a foot or more each time. That better not be real fire coming through the openings around the door. “It was real,” said Wiegand. “But it looks worse than it was. Casey wasn’t moving very much, and the shot was dull. Then Reza Tabrizi, the camera operator, tried zooming way in and way out rapidly and repeatedly. It worked and gave the scene all that energy.” The crew carries three Angenieux Optimo lightweight zooms for each ALEXA: 15mm-40mm, 28mm-76mm and 45mm-120mm. Then there are two primes: 135mm and 150mm for each camera. The lightweight lenses facilitate handheld shots, which make up 90 percent of each show. Two 12:1 Angenieux Optimos handle studio shots.
Speed counts Chicago Fire is a demanding show. Every scene, even the difficult rescue scenes, must move quickly. Large crews facilitate that. “My departments dealing strictly with photographic concerns number 30 to 50 depending on the day,” Wiegand said. Technology helps. The show uses Burbank-based FotoKem’s nextLab, an automated software solution for productions shot in high-definition digital video files. “We set up look-up-tables or LUTs before the season,” said Scott Rader, VFX supervisor on Chicago Fire and creative director at Spy, a post-production
[Above] Scene from Chicago Fire pilot. Pictured: Jesse Spencer as Matthew Casey, Taylor Kinney as Kelly Severide. Photo: Matt Dinerstein/NBC. Copyright NBC Universal, Inc.
house with offices in Los Angeles and San Francisco. “The LUTs are digital files that contain color specifications for various scenes,” continued Rader. “For example, Lisa wants a certain look for the interior of the firehouse during the day. There is a LUT that contains color and lighting specifications for those scenes – and there are LUTs for other kinds of scenes.” When the digital video loads into nextLAB, the software downloads the appropriate LUT for each scene, attaching each to the appropriate video files. “That corrects 90 percent of the color,” Rader said. “We fix the rest during final color correction.” It’s an innovative system that is slowly replacing disk drive storage. Rader also is in charge of VFX fire. Although the fire scenes are real, Rader’s team often makes them bigger, smokier and scarier, while painting out the safety riggings and harnesses that keep the actors safe during the shoot. So while Lisa Wiegand can scare you with a zoom lens, Rader does it with animation software.
Film • Video • Animation • Audio • Locations • People
making Commercials
Stardust LLC | By Michael Fickes
Lowe’s Flicker-Cut Campaigns The big-box home improvement retailer has come up with another campaign with riveting visual effects. Recent spring and summer television campaigns from home improvement retailer Lowe’s look like stop-motion, or like stopmotion done fast or differently or something. What is that technique? “It’s stop-motion, but not traditional stop-motion,” says Dexton Deboree, executive producer and managing partner with Stardust LLC (http://stardust.tv), a production and post-production house with offices in Los Angeles and New York. “Doing it the traditional way – shooting a few thousand still frames and moving the camera a fraction of an inch for every set up – would have cost too much and taken too long. We developed a technique that imitates stop-motion.” Call it “flicker cutting.” Each of Lowe’s Co.’s two campaigns – spring and summer – includes a number of 10-second, flicker-cut spots with five-second price and logo card endings. The spring campaign features vignettes of family members preparing the yard and flower gardens. Each vignette carries a label: “Tilling,” “Planting,” “Mowing,” “Trimming,” “Seeding” and so on. Summer follows with more vignettes. A young boy with a plastic lawn mower follows his father with a real power mower back and forth across the lawn in a vignette called “Teacher.” At a cookout vignette called “Light,” dad lights the grill as the family gathers at a picnic table. In “Glow,” the kids collect lightning bugs in jars. “Flicker” shows the family roasting marshmallows over a flickering fire. The kids wave their sparkling sparklers in “Sparkle.” There is no dialog. It is just the flicker-cut vignettes, the titles, end cards and a charming, simple musical track from the Japanese band Lullatone. Stardust provided live-action production, design and editing for both campaigns, which can be viewed from Stardust’s website. www.markeemagazine.com
BBDO wanted something different The project started when advertising agency BBDO showed a stopmotion reference piece – a short film. The agency wanted to find a way to mimic stop-motion without raising costs or requiring more than a typical two- or three-day shoot. Stardust had just bought a Panasonic GH3 DSLR with motion capability. Stardust Director Seth Epstein decided to shoot a test spot with it. “The camera loads the video as a series of 24 frame sequences,” Deboree said. “Seth shot it, and then we pulled out every fourth frame and experimented with playback speeds.” BBDO liked the look, and the campaign went into production.
Collaborative production Deboree said that the production process – particularly pre-production – involved constant collaboration with BBDO. “The agency would develop a 10-second script, and we would talk through what products to feature in each spot and how to work them into the storyline,” he said. For spots shot outdoors, Lowe’s wants any product shown to be their product, Deboree continued. If the camera points at a flower garden, the flowers in the garden have to be Lowe’s products. It’s the same for indoor shoots. In the kitchen, for instance, the countertop, oven, lighting and other products shown must come from Lowe’s.
Shooting and editing With the concepts and product selections complete, Epstein shot the
vignettes for both campaigns over three days. He shot about 90 percent of the video with the idea of pulling out every fourth or fifth frame. The other 10 percent was shot in still frames and edited together – like conventional stop-motion. The edit posed challenges. “It was important to pull out frames without altering the depth of field,” Deboree said. “That could interrupt the seamless feel of the spot. “The editor also had to make sure that the frames on either side of what was removed had evenly lighted backgrounds and foregrounds,” he continued. “A dramatic lighting difference caused the video to almost strobe, instead of providing the subtle flicker we wanted.” The editor pulled out the frames in the rough cut. Then Epstein and the editor went through the video with an eye to refining the flutter effect, pulling out a few more frames while adding others back in. Once satisfied with the look, they created the EDL and finished both campaigns. July/August 2013
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Scenes from Right There: A Short Film About Tolerance.
Eye on
INDEPENDENT FILMS Eternal life and love; a father and son’s epic – and comic – battle; the peril of being just too set in one’s ways; a political revolution one year later; and teens’ lessons on tolerance in post-9/11 New York City. Indie filmmakers nationwide tackle subjects humorous and serious.
BY CHRISTINE BUNISH Man Up, Little Boy
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From Queens to Cairo
July/August 2013
Chasing Shakespeare
Film • Video • Animation • Audio • Locations • People
The film: Bart and Lulu (www.bartandlulu.com) The genre/length: Short drama; 7 minutes
What it’s about: Elderly people using new technology to find love through online dating.
What it’s really about: “Bart is so set in his ways doing online dating that when he finally meets a woman face to face, he panics and goes back to searching online,” said Director Michael Manese. What inspired the production: “I had the idea to remake something I did in college about two people who keep meeting but don’t know they’re meant for each other,” said Manese. “At that time, it was college kids searching newspaper personal ads to find their loves. Now I’ve got elderly people doing online dating.” The biggest hurdles to financing: “I didn’t have any hurdles – my film cost $500 to make.” The biggest production challenge: “Finding the right actors. Not only would they have to be talented and dependable, but also understand and deliver what you have in mind. You get used to seeing the movie in your head all the time and when people start saying your lines or acting out the parts, it’s totally different. The actors who play Bart and Lulu – Mike Falco and Sue Kroll – are a professional comedy team.” The biggest post-production challenge: “I did my own post using Apple’s iMovie on my MacBook. Going black-and-white was a last-minute decision; it gave the film a certain softness. There’s no dialogue in the film. I felt it wasn’t necessary.” How to get distributed: “From what I’ve researched, the key to getting distribution is to get your film screened at festivals and hopefully have it seen by a person or company with the means to distribute it. I wish they had taught us this in film school, at least when I was an undergrad. When it comes to entering festivals, you have to be shrewd because there are hundreds, maybe even thousands, and most charge entry fees. I try to hit all of them. You can make a really great film, but in the end it’s going to be competing with other great films. The challenge is how do you make yours unique? Getting selected by a festival is great! It’s the ultimate validation really. I get psyched when my friends and family like my work, but when people in the industry who you don’t know like it, I’m on top of the world! Right now Bart and Lulu has no distribution deal in place, but a friend I met at the New York City International Film Festival has offered to look into selling rights to it. The last short he worked on screened at Cannes and was sold in different markets in Europe and America.” I couldn’t have made the film without: “It’s all about the idea. An idea will keep me going. If I can play with it, squash it, stretch it, see if it’s there the next day, then I know I have something. Of course, you also need money to make films. But between the two, I would much rather have no money than no idea.” Lessons I’ll take to the next film: “Have a marketing strategy and budget. If you don’t, you’re just making a home movie. I’ve spent twice as much money and effort on marketing – festival entry fees, posters, copies of DVDs, a movie website – than on production and post.”
www.markeemagazine.com
Director/producer/editor/colorist: Michael Manese
DP: Luke Abaffy
Music: Jon Tinnirello
Acquisition format/camera: Canon 7D
Locations include: Little Neck, Long Island, NY
Film festivals: Premiered at New York City International Film Festival opening gala; Reel 13/PBS, New York; Staffordshire Film Festival (UK); Sprockets and Splices (TX); Underground Cinema Film Festival, Dublin; Albany Film Festival (CA); Howard County (MD) Community College TV; River Aire Film Festival (UK); Deep Fried Film Festival (Scotland)
[Top] Bart is too shy to talk to women face-to-face. He prefers online communication.
[Left] Bart and Lulu has been named an official selection at multiple film festivals.
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Independent Films
The film: Chasing Shakespeare (www.chasingshakespeare.com) The genre/length: Romantic drama; 116 minutes
What it’s about: Chasing Shakespeare is a beautiful, enchanting love story about a young Native American woman’s search for her destiny and her widower husband’s attempts to reunite with her after her death.
What it’s really about: “Eternal life and love. The fact that through love we live forever,” said Director Norry Niven. “What’s great about having a Native American clan at the root of it is that it’s easily accessible to people. It takes you to a very spiritual and rewarding place.”
Director/DP: Norry Niven
Producers: Norry Niven, Loren Basulto
Executive producers: Anya Remizova, Bonnie and Alan Petsche, Rich Moses and Selwyn Razor
Writer: James Bird
Editor: Peter Tarter, Treehouse/Dallas
Colorist: Kelly Remenscheider, Dallas
VFX supervisors: Dale Carmen, Scott Gordon, Kevin Althans, ReelFX/Dallas
What inspired the production: “I had another project underway with the Twilight folks and was experiencing creative frustration on the studio level,” recalled Niven, who also directs commercials via Three (One) O in Marina del Rey, Calif. “James Bird wrote this for me; he created something that’s pure art. I read it, and it blew me away – everyone who read it was totally mesmerized by the screenplay.” Landing the cast: “My friend is a casting director, and we got her on board as soon as the money was in place. She got Danny Glover, Graham Greene and Tantoo Cardinal attached. It took longer to find the young people who could be believable versions of Danny and Tantoo.” The biggest hurdles to financing: “We had an angel come in and provide the majority of what we needed early on. We began production while raising additional funds. It was scary to know there was no way to finish unless we raised the money while we were shooting. We stayed in Texas because my production and post-production family is in Dallas. I knew we’d get the most value on screen here, although Texas incentives are not the best right now. Without the support and talents of ReelFX, the film would not have been possible – there were wall-to-wall VFX.” The biggest production challenge: “There was a bit of pressure working with celebrity actors with tight schedules, and we had to shoot a lot of nights. But I’d done hundreds of commercials with my team, and they pulled it off without a hitch. Danny created a real bond with his onscreen son and wife that shows up in the film, and Graham kept the mood light. It was unbelievably wonderful to work with them.”
[Top] Young William Ward and Venus Red Hawk (Mike Wade and Chelsea Ricketts) are wed in a Native American ceremony (by actor Graham Greene) in Chasing Shakespeare.
[Right] Lightning plays a central role in Chasing Shakespeare.
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Film • Video • Animation • Audio • Locations • People
The biggest post-production challenge: “The film had two personalities in post: the story and the VFX. It was a challenge telling the story without having the VFX in place. We had to take a leap of faith and have a lot of imagination. It took over a year to trim the film to two hours and then apply the VFX – we couldn’t afford to create the VFX simultaneously and have them cut. Peter Tarter had an enormously difficult job, and his editing is truly like ballet.” How to get distributed: “It’s important not to get lost with a big company. We wanted a distributor that was hungry and aggressive, yet experienced. But we had to get seen, be well reviewed, win some [film festival] awards – which is an impossible task! The awards we won meant the world to our exposure.” I couldn’t have made the film without: “The talented people who surrounded me – they all gave their hearts and souls and were the key to Chasing Shakespeare.” Lessons I’ll take to the next film: “I was aware of what I was getting into, but I learned about time. My commercial work tends to go quickly, but this film needed TLC with Peter and me tweaking and fine-tuning it. I’ll have that time budgeted next time.”
Post-production sound: John Northcraft and James Pinepinto; music, Eric Kaye, The Lodge, New York City
Acquisition format/cameras: Red cameras with Panavision anamorphic lenses; Phantom high-speed
Locations include: Waxahachie and Dallas, Texas; New York City
Film festivals/awards: Dallas International Film Festival; Best Feature and Best Actor (Danny Glover), First Glance Film Fest (Hollywood); Best Feature, Artisan Festival International (Cannes and The Hamptons); Audience Award and Best Feature, Big Island Film Festival (Hawaii); Special Selection, Montreal International Black Film Festival; Best Romance, WorldFest-Houston International Film Festival; Title Design Award, South by Southwest; Breckinridge (CO) International Film Festival; Fort Lauderdale International Film Festival
[Top Left] Chelsea Ricketts plays the young Venus Red Hawk in Chasing Shakespeare.
[Top Right] In Chasing Shakespeare, Danny Glover plays the elder William Ward who believes he sees the ghost of his wife, Venus Red Hawk, returning in a lightning storm.
[Inset] Norry Niven directed Chasing Shakespeare.
[Left] A storm brews at William Ward’s farm bringing a night of strange visions in Chasing Shakespeare.
www.markeemagazine.com
July/August 2013
| Markee 2.0
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Independent Films
The film: From Queens to Cairo (www.akhnatonfilms.com) The genre/length: Documentary; 54 minutes
What it’s about: This insightful documentary follows Egyptian-American filmmaker Sherif Sadek as he returns to his native Cairo with his family one year after the start of the Egyptian revolution during the Arab Spring. He journeys from the famed Tahrir Square to rallies and slums, searching for perspective from all walks of life.
What it’s really about: “It’s about a country experiencing a revolution, trying to change from a dictatorship to a liberal democracy. In order to do that, Egypt has to overcome obstacles,” said Director Sherif Sadek. “Intertwined is the story of a person who lives abroad and returns to Egypt [with his children] for the first time since the revolution.”
Director/producer/DP/conform: Sherif Sadek
Associate producers: Sherif Shafie; Ash Davis; Mary, Sameh and Sylvia Iskander; Karim Hanna; Dalia Gayed
Additional camera: Tarek Hosny, Blackout Studios/Cairo; Mosireen Collective/Cairo; Nader Sadek; Dan Hacker
Editor: Dan Hacker
Colorist: Jason Crump, Metropolis Post/NY
VFX: John Kitses/Queens
Post-production sound: Corey Folta/Queens
What inspired the production: “In the beginning of the film, I talk about how hard it is for Egyptian-Americans like myself to leave their families, jobs and new lives to participate in a revolution,” said Sadek. “I waited a year until I was able to go back on the anniversary of the revolution. I consciously decided to see myself as a character in the film, so it’s not so much about me, me, me.” The biggest hurdles to financing: “It was hard to find help writing grant applications, so I ended up raising the money from my own savings and crowdfunding, which was much more successful for me than grants would have been. I raised almost $10,000 from crowdfunding – I expected only a third of that! I used Indiegogo, which gave me the option of keeping all the money I raised even if I fell short of my goal.” The biggest production challenge: “When I went to Egypt I had a bit of a different film in mind, things I specifically wanted to shoot for the story. But the situation was so fluid that I had to adjust my shooting day by day.” The biggest post-production challenge: “Paying Editor Dan Hacker what he deserved to spend eight hours a day, five days a week concentrating on the film. If I had been able to do that we would have finished in three months instead of nine because Dan had to do other jobs around this one. It’s the existential problem for documentary filmmakers.” How to get distributed: “I’m still going through that challenge. I’ve talked to a few companies: One asked for a $10,000 retainer, which ended the conversation. The film has been accepted by NewFilmmakers New York, which has a website listing distribu-
[Top] From Queens to Cairo Director Sherif Sadek in Tahrir Square.
[Right] Egyptian flags fly in Tahrir Square in From Queens to Cairo.
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Film • Video • Animation • Audio • Locations • People
tors and marketing and PR companies, so I now have an intro to them.” I couldn’t have made the film without: “First, the revolution and its martyrs. Second, the support of my family throughout this period. And third, Assimilate, the company I work for [developers of Scratch software and other digital film tools]. Their support for an employee with an artistic vision was immense, and the software they make helped me tell the story.” Lessons I’ll take to the next film: “In production, I learned that the documentary filmmaker’s best tool is the monopod, which allows you to be in any situation with a small camera and not a lot of gear and stabilize your shots. In post, I learned not to reverse engineer a film. I had a film in mind and ended up shooting something different than I had planned on making – and a more interesting story cinematically.” Shooting an epilogue: “I’d love to shoot an addendum to the film, but I need the money to do it. I say in the film that the revolution will take a few generations – you can’t go from a dictatorship to a liberal democracy overnight. I’m not surprised [by president Mohammed Morsi’s overthrow]. It’s another step along the road.”
Music: Dorian Besson/Brooklyn
Acquisition format/cameras: Nikon D7000 HDSLR, Canon 5D, iPhone
Locations include: Queens, New York; Cairo
Film festivals/awards: Best Feature Documentary, Queens World Film Festival, NY; Best director, short documentary, Madrid International Film Festival; Best Director/Short Documentary, Rainier Independent Film Festival (WA); Indiewire Project of the Day; Ismailia (Egypt) International Film Festival; San Antonio Film Festival; NewFilmmakers New York, New Jersey Film Festival
[Top Left] Teamaker in Heliopolis graces the screen in From Queens to Cairo.
[Top Right] A crowd in Tahrir Square one year after the revolution in From Queens to Cairo.
[Inset] From Queens to Cairo captures the slums of Giza one year after the Egyptian revolution.
[Left] Nut seller in Tahrir Square captured in a scene in From Queens to Cairo.
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Independent Films
The film: Man Up, Little Boy (www.facebook.com/ManUpLittleBoy) The genre/length: Comedy short; 8 minutes
What it’s about: A domineering father (Bradley Whitford) and his underachieving son (Zachariah Palmer) square off in an epic and over-the-top battle of wills and wrists in an arm-wrestling contest that escalates to unforeseeable extremes.
What it’s really about: “It’s about the circle of life – and not aging gracefully,” said Director/Producer Jeffrey Williams.
Director/producer: Jeffrey Williams
Writer/producer: Dan Greenberger
DP: Saul Herckis
Editor: Jeffrey Williams, Mile 47 Post/LA
Colorist: Kelly Reese, LA
Post-production sound: Will Ogilve, LA
Music: Robert Toteras, Film-Noise.com/LA
Acquisition format/camera: Canon T3i
Locations include: Eagle Rock, Calif.
Film festivals: Premiered at Dances With Films, Hollywood
[Top] Bradley Whitford and Zachariah Palmer play a father and son who square off in an epic arm wrestling battle as Molly McCook observes in Man Up, Little Boy.
[Right] In Man Up, Little Boy the long-time rivalry between father (Bradley Whitford) and son (Zachariah Palmer) comes to a head.
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What inspired the production: “Writer and Co-Producer Dan Greenberger plays tennis with this daughter, and she’s been getting better and better, and finally beat him in a match. That didn’t go over well with him,” Williams said. “It’s that horrifying sense of not being on top anymore – that you’ve been knocked off your perch as the alpha in your house. So Dan wrote a script asking how far would a guy go to maintain his alpha male status.” The biggest hurdles to financing: “I asked my very, very understanding wife, ‘Do you mind if I spend a couple thousand dollars making a short film with Bradley Whitford?’ Dan and I were originally going to shoot this for $500 in my living room, but when Bradley joined the production we said we’re in a new tax bracket now! But everybody on board knew it was a labor of love. The crew did it as a favor, and we’ll return the favor on their projects.” The biggest production challenge: “Dan was college friends with Bradley Whitford and realized the role of Walter was tailor-made for him. We were amazed when he said ‘yes,’ and more than a little intimidated. The scope and scale of the production changed overnight – he’s so talented that we had to rise up to his level. Since we only had one day to shoot everything, we wound up with a 15-person crew to keep the shooting rolling along smoothly.” The biggest post-production challenge: “I’ve worked as an editor for 20 years, so at the risk of sounding cocky I’ll say post-production was a piece of cake. I’ve postsupervised other people’s films and knew I’d be able to shoot in a way that would get me through post without a hitch. The key is to organize your dailies before you start cutting.” How to get distributed: “That’s the million-and-a-half-dollar question, especially for short films. Distribution is chaos, and it takes a long, long time. The sad truth about making shorts is that you do it for the passion of it or to get attention for future projects. We’re on the festival circuit currently, then hope to get picked up by something like Shorts.tv or the Holy Grail of short distribution: iTunes. But it takes a long time.” I couldn’t have made the film without: “Dan, my co-producer. And we couldn’t have made it without Bradley, and the three of us couldn’t have done it without our great crew.” Lessons I’ll take to the next film: “Slow down. As a director of a low-budget film you feel every second you’re bleeding money and time. Your adrenaline starts pumping and it’s go, go, go! But when you line up a shot it’s important to slow down, take a moment and really look at it. You have to find the mental space where you can push all the pressure aside and ask if the shot is the best you can get, if it’s going to make the film, and what you can do to make it better.” Film • Video • Animation • Audio • Locations • People
The film: Right There: A Short Film About Tolerance (www.righttherefilm.org) The genre/length: Documentary short; 16:33 minutes
What it’s about: Now teenagers, alumni from elementary school PS 234, three blocks north of the World Trade Center, return to their school on the tenth anniversary of 9/11 and reflect on that pivotal day in one of the south-facing classrooms.
What it’s really about: “Probing teenagers’ attitudes to subjects connected to 9/11,” said Director Florence Buchanan. “These teens are not only tolerant of people of other races and religions, but also have a strong moral compass and a powerful sense of right and wrong. At the end of the day, it’s all about education. If you’re not educated you tend to be more intolerant.” What inspired the production: “I’ve been concerned since 9/11 about increased racial profiling and intolerance in general. I got an email from PS 234 about doing a 9/11 commemoration and thought what an extraordinary thing it would be to capture on film former students who were gathered [there] that day,” said Buchanan, whose daughter Octavia was among the returning PS 234 grads. “I got permission from the principal, emailed parents and found 14 amazing kids who were interested in being interviewed.” The biggest hurdles to financing: “I work in advertising, so people I work with commercially seem to be happy to work on indie film projects, and they are incredibly generous. My post-production was mostly a labor of love. I also emailed a bunch of friends asking for help. Some very generously funded the one-day shoot and other friends did the catering.” The biggest production challenge: “We organized the kids to come up to the classroom for their interviews during the course of the day, but it’s always hard to keep on schedule. So we doubled up on some kids, putting friends and brothers together. It gave us an interesting dynamic, but mostly we were concerned about running out of natural light. Joanne Dugan was also shooting stills and video portraits of them, and we also needed each kid to do the time-lapse tower building sequence in another classroom. It required precision scheduling.” The biggest post-production challenge: Editor Peter Mostert at Hooligan was so generous, but of course other jobs came in, and we had to work at odd hours. Sometimes it’s good to step away from things for a while. Ultimately everything went the way we wanted it to go. Peter came up with the split-screen idea: We didn’t want to do traditional talking-head cutaways, so he solved the problem by layering images on the screen against a textured felt board background. It gave a graphic sensibility of school – think of the sign identifying the class in the annual class photo.” How to get distributed: “We’re doing the festival circuit first, which has been great, then I want to get the film into schools as a tool for teachers to talk about 9/11 and the issues it raises. I’d love for it to be part of some 9/11 commemorative TV programming this year, too.” I couldn’t have made the film without: “If those teenagers hadn’t been so poised, articulate and thoughtful, there wouldn’t have been a film at all.” Lessons I’ll take to the next film: “Don’t wait around if an idea comes to you – go for it. You may not always be able to pull it off, but remember that Goethe said that ‘The moment one definitely commits oneself, then providence moves too.’ That’s utterly true in filmmaking.” [Top] From left to right: Jenice, Emma, the director’s son Harrison, Sarah, former PS 234 principal Anna Switzer, director Florence Buchanan, Ethan, the director’s daughter Octavia, Andrew, Julia, Sam and James reunited for Right There.
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Director: Florence Buchanan
Co-director/B camera and timelapse: Arthur Bijur
Producers: Susan Smitman, Florence Buchanan
Executive producers: Nadia Zilkha, Jane Wells, Susan Ould, Jane Newman, Donna Green
DP: Melissa O’Brien
Stills and video portraits: Joanne Dugan
Editor: Peter Mostert, Hooligan/NY
Graphics/assistant editor: Damien Oramas, Hooligan/NY
Post-production sound: Phil Loeb, Cory Melious, Jodi Levine; Heard City/NY
Music: Amber Music/Opus/NY, Michelle Curran, executive music producer; Mike Perri, music supervisor
Acquisition format/camera: Canon 7D
Location: PS 234, Tribeca, NY
Film festivals/awards: Best of Festival, Documentary Short, Richmond (VA) International Film Festival; New York International Short Film Festival; Mill Valley (CA) Film Festival; Cinemonde Private Screening Series (NY); Hamptons (NY) Take 2 Documentary Film Festival; Worldkids International Film Festival, Mumbai; Peace on Earth Film Festival (Chicago); River Bend (IN) Film Festival; Sonoma (CA) International Film Festival; New York No Limits Film Series; San Antonio Film Festival; Indianapolis International Film Festival July/August 2013
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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
Contact: Crystal Palmer Director Tim Czakoczi Production Support
U.S. Capitol – District of Columbia Of all of the capitals in the world, Washington, DC is one of the most exciting for filmmakers, combining global landmarks with diverse and unique neighborhoods. Nothing says Washington like the U.S. Capitol. Let Washington, DC play the “silent star” in your next production. DC Office of Motion Picture and Television Development 200 I Street SE • Washington, DC 20003 Phone: 202.727.6608 • Fax: 202.727.3246 www.film.dc.gov
Jackson, Mississippi
Mississippi Film Office P.O. Box 849 • Jackson, MS 39205 Phone: 601.359.3297 • Fax: 601.359.5048 www.filmMississippi.org
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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.
Film • Video • Animation • Audio • Locations • People
Contact: Brian O’Hare, Locations Coordinator
Valley of Fire Valley of Fire is the oldest state park in Nevada and was designated a scenic byway and a national natural landmark. It covers 42,000 acres at an elevation between 2,000–2,600 feet and features brilliant colored sandstone more than 150 million years old. Film Incentives coming January 2014.
Contact: Brian O’Hare, Locations Coordinator
Reno Arch The iconic Reno Arch has been greeting visitors along Virginia Street since 1927. A contest to come up with a slogan for the arch with the winning phrase “The Biggest Little City in the World” is still branded on the arch to this day. Film Incentives coming January 2014.
Contact: Brian O’Hare, Locations Coordinator
Elko Elko has been called "the last real cow town in the American West.” Discovered in 1868, the town is home to the annual National Cowboy Poetry Gathering and the National Basque Festival. Residents consist of cowboys, sheepherders, miners, railroad men and a large Basque community. Film Incentives coming January 2014.
Nevada Film Office 6655 West Sahara Ave., Suite C-106 • Las Vegas, NV 89146 Phone: 702.486.2711 • Fax: 702.486.2712 nevadafilm.com
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Locations Gallery Contact: Nora Brown Executive Director Karl Goldsmith Deputy Director
Taughannock Falls Taughannock Falls plunges 215 feet past rocky cliffs that tower nearly 400 feet above the gorge. Gorge and rim trails offer spectacular views from above the falls and from below at the end of the gorge trail. 30% NYS Film Incentive rebate.
Contact: Nora Brown Executive Director Karl Goldsmith Deputy Director
Finger Lakes Vineyard — New York Truly a gem as a location - one of the most beautiful regions in the country - the Finger Lakes is also the second largest wine producing region in the country; its steeply sloping vineyards and clear blue lakes make it ideal for doubling the picturesque wineries and lush grape-growing valleys of Europe. 30% NYS Film Incentive rebate.
Contact: Nora Brown Executive Director Karl Goldsmith Deputy Director
Rochester Sky line Rochester is considered New York’s biggest small city. Can look like Any City USA. Filmmakers love the seamless, affordable permit process. Sound stages, equipment and crew all here waiting for you. 30% NYS Film Incentive rebate.
Rochester/Finger Lakes Film & Video Office 45 East Avenue • Rochester, NY 14604 Phone: 585.279.8308 • Fax: 585.232.4822 www.filmrochester.org
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Film • Video • Animation • Audio • Locations • People
Contact: Jeanne D. Corcoran Director - Sarasota County Film & Entertainment Office
Ca d’Zan at Ringling Estate Amazing fully-period-restored 1920’s Venetian Gothic Mansion of John & Mable Ringling, rivaling Europe’s best! Add in a stunning, huge courtyard sculpted around the statue of David, an art museum to take your breath away, and you’ll be dazzled and enchanted, plus Sarasota County Florida’s UP-TO-100%-CASHREBATE incentive program is the icing on the cake. Call for all the details! Sarasota County Film & Entertainment Office 2601 Cattlemen Road, Ste 102 Sarasota, FL 34232 Phone: 888.765.5777 ext. 104 www.filmsarasota.com
Contact: Jeanne D. Corcoran Director - Sarasota County Film & Entertainment Office
Venice Pier NOT California, but Sarasota County Florida, home of the UP-TO100% CASH REBATE incentive! Gorgeous sunsets into the pristine Gulf of Mexico crystal blue waters, over white “sugar sand” snowy soft beaches…with nearby jungle having a rope footbridge in the treetop canopy, a winding river through the jungle, and much more. Call for all the details!
Sarasota County Film & Entertainment Office 2601 Cattlemen Road, Ste 102 Sarasota, FL 34232 Phone: 888.765.5777 ext. 104 www.filmsarasota.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
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WORKING In The
CLOUD In the beginning, there was film. Images captured on lightsensitive material that could be shared among many viewers. Later came magnetic material called “videotape” and it was good for many things. Then a revolution! The computer and digital charged onto the field. BY TOM INGLESBY 20
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Film • Video • Animation • Audio • Locations • People
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Cloud Computing
[Above] CLEAR is a tool for producing and delivering live and Video on Demand (VoD) productions.
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First, there was the mainframe computer; and it was good – and really huge and really, really expensive. Then came the mini computer and it was pretty good, too – and a lot smaller. This was followed by supercomputers, desktop computing, client-server computing, distributed computing, and a whole bunch of other platforms for data generation, manipulation and storage. And then along came the Internet. Meanwhile, film kept plugging along as the medium of choice for capturing images, storing them, and distributing them for many to see while sitting in the dark – in theaters, at least. Aided and abetted by video at first, then slowly replaced in both production and distribution by the upstart, film kept fighting the good fight. It made pacts, some say with the devil itself, to fend off its eventual retirement by merging video and then digital (CGI) into its traditional strengths. But the museums started to have more film equipment than the production companies, and production companies started to have more computers than video cameras. Pretty soon, distribution was all that film had left. And then along came the Internet. Hard drives and solid-state storage media have increased in capacity to the point where new-to-the-masses prefixes have entered the lexicon. Qualifiers that only die-hard mathematicians cared about a few years ago are common today. In 1984, kilobyte was a big number; in 1994, megabytes ruled; in 2004, gigabytes were becoming common. By 2014, terabytes will be considered a starting point for ordering storage hard drives. What’s next, petabyte flash drives? No, the next step is already here and it’s called Cloud Computing. There is no need to learn a new way to count because clouds are infinite, scalable, flexible and expandable to cover everyone’s needs. Or so the proponents claim. In many ways, the cloud concept dates back to the idea of grid computing – computers at multiple locations working in unison to solve a problem and connected through a fast network that may or may not include physical connections. While the term grid computing was popularized in the early 2000s, the idea goes back to the space alien search from 1999. Film • Video • Animation • Audio • Locations • People
Space aliens? SETI@home is hosted by the Space Sciences Laboratory, at the University of California, Berkeley. SETI stands for the Search for Extraterrestrial Intelligence. Its purpose is to analyze radio signals, searching for signs of extraterrestrial life. Computing power is supplied by thousands of home and business computers that are volunteered to the project, using their excess processor capacity or downtime, and connected through the Internet. This creates a grid-like infrastructure, a virtual supercomputer distributed in tens of thousands of geographic locations. The same concept is the defining idea behind the cloud. Companies such as Amazon.com offer their spare capacity in processor power and storage to clients. These virtual machines give the customer supercomputer capabilities with nearzero investment up front and no maintenance. Those functions are taken care of by the hosting company and amortized over their usage and the number of clients they serve. But what do you do in a cloud? There are several opportunities for production companies to benefit from using cloud computing. One is called Infrastructure-asa-Service (IaaS), which allows servers to be created in a virtual computing environment without the same restrictions that using physical hardware imposes on you. As an example, CloudSigma (www.cloudsigma.com) is a pure IaaS provider with server farms in Zurich, Switzerland and Las Vegas that provides high-performing and reliable virtual servers. You can instantly create, start, stop and delete servers as and when you need them. IaaS helps to handle unlimited content flow and maintain scalable infrastructure. Reliable and secure infrastructure resources in a cloud environment that possesses massive processing power, secure network connections, and scalable storage capacity enables media companies to simplify their data and storage challenges. Platform-as-a-Service (PaaS) providers specialize in creating purpose-built, standardized environments where developers can upload code without having to take into consideration operating systems, resource usage, et cetera. Salesforce’s Force.com is an excellent example of PaaS.
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[Below] CLEAR’s fully redundant cloud architecture ensures availability of the service at all times.
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Cloud Computing
The PaaS model can be used to build a robust digital supply chain. Media companies require consistent services such as authentication, connectivity to consumers, content aggregation, and multichannel distribution. PaaS enables them to build an efficient layer over IaaS for content management, aggregation and distribution to clients and customers. Software-as-a-Service (SaaS) providers offer applications directly to end users and build on the environments provided by Iaas and PaaS layers. SaaS has many advantages for end users such as pay-as-you-go models, constant software development with instant availability of new versions, lower maintenance costs for users and more. A customized SaaS model provides cost reductions in hardware and software procurement because there is no need for IT resources and in-house IT maintenance. There are various options available, like multi-tenant IT architecture owned and managed by your cloud vendor, or internally developed hosted solutions that are later hosted on the cloud provider’s servers.
Up in the cloud
[Below] CLEAR provides a digitization platform and digital content services to broadcasters, studios, advertisers, and others.
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Mark Overington, president of Aframe North America, Burlington, Mass. (www.aframe.com), points out some ways his cloud can be used. “Aframe is a great tool for the independent producer because they don’t have to invest in major computer equipment, storage systems, or software that they have to run or manage. By using Aframe, they have the ability to take their content, put it into our cloud service, and manage it directly over their Internet browser from anywhere they choose. It really eliminates the challenges of what we call data wrangling.” Data wrangling? “Copying material from camera cards and putting it onto your server inside the facility, managing and backing up all that media, and keeping safety copies of it; that’s what we call data wrangling,” explained Overington. Many producers are at a disadvantage when their commercial clients or broadcasters require them to index and archive media for a long time. As Overington says, “They put it on disc drives and then put them on a shelf or in a closet, and every six to 12
Film • Video • Animation • Audio • Locations • People
months they have to take those disc drives out and fire ‘em up because you can’t let a disc drive sit idle for more than 12 months – the head material will corrode. If the data is in the cloud, you can upload it in New York, make a copy in LA, and view it anywhere. We manage that process for you.” Collaboration is another benefit of the cloud. It’s great to have the ability to share content with the people on your team or with your client, to be able to share it when people are in one location or many locations. “If I’m shooting in Miami and my client is in Atlanta, I just upload footage from Miami to Aframe and the client in Atlanta can see the footage. Compare that with making a DVD or disc drive and sending it to them,” Overington said. In a real-world example, MarVista Entertainment uses Aframe’s cloud to expedite review and approval of digital dailies as part of a hyper-streamlined workflow. No more waiting for a courier to drive raw footage across town; MarVista’s normal workflow involves sending footage direct from multiple camera types into the cloud. Once there, the original rushes are stored as proxy files that Aframe automatically generates. MarVista avoids the need for transcoding, burning, and distributing 10 sets of DVDs each day, and can simply upload raw footage and send one email with a link to a proxy, to be viewed anywhere and anytime.
Getting creative
One rarely mentioned value of using the cloud is that it neutralizes the multiple operating systems and device architectures prevalent today. It can be accessed from any device, desktop, laptop, and from anywhere there is a connection to the web.
Perhaps the most familiar name in cloud computing is Adobe. The company’s Creative Cloud is widely used throughout the world. Recently, Adobe updated Creative Cloud with desktop applications and crossdevice collaboration and publishing capabilities. Creative files can be stored, synced and shared on Mac OS, Windows, iOS and Android. Behance, the online creative community, is now integrated with Creative Cloud, so customers can showcase work, get feedback on projects, and gain global exposure. One rarely mentioned value of using the cloud is that it neutralizes the multiple operating systems and device architectures prevalent today. It can be accessed from any device, desktop, laptop, and from anywhere there is a connection to the web. And it can be accessed by everyone at the same time. This opens up a new environment referred to as the “second screen” approach. The second screen is where you’re seeing content on television and you have an app on a mobile device that can show you anything from deleted scenes to extreme close-ups. You can go back and see detailed information on something that caught your eye during a scene, or even during a live performance such as a baseball game. If, as we hope and exclaim, content is king, we want that content to get into the most hands, to be seen by the most eyeballs, to provide the most entertainment and information to the most people. The cloud can help. Think about all the footage “left on the cutting room floor” in the past and the popularity of “director’s cut” versions that supply some of those deleted scenes that had to be cut for distribution length requirements. Using the ambiguity of the cloud, we can post that data where anyone can pull it down, using the right app, and fill in the blanks while watching the content. You can use all those great outtakes you couldn’t squeeze into the distribution copy!
All content, all the time One company pushing this approach is Prime Focus Technologies (PFT), London, New York and LA (www.primefocustechnologies.com). Their hybrid cloud environment, called CLEAR, provides a digitization platform and digital content services to broadcasters, studios, advertisers, and others. It is a tool for producing and delivering www.markeemagazine.com
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Cloud Computing
[Above] CLEAR users can have clip production and delivery to websites within three minutes of live feed, including metadata associated with the clips.
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live and Video on Demand (VoD) productions. Custom VoD packages from live video feeds to new media platforms can be generated quickly. Owners can now make content available soon after the show goes on air and leverage the web and mobile devices for new revenues and additional promotion. You can have clip production and delivery to websites within three minutes of live feed, including metadata associated with the clips. Graphics and advertising can be integrated into the edited content as pre- and post-rolls. The fully redundant cloud architecture ensures availability of the service at all times. Combined with automation and reporting, the platform enables high-speed content delivery and also streaming to global locations. Ganesh Sankaran, PFT co-founder and COO, likes to show how this works by using a sports metaphor. “Let’s say I’m at a soccer match or baseball game and I would like to see some of the details that people at home see on their TV. I want to see that on my iPad or tablet while I’m watching the game live. Major League Baseball is sitting on 200,000 hours of content and I, as a user, don’t want the broadcaster to tell me what to see. I want to control that. How do you give the users access to the content anywhere they want?” He continues, “There’s a whole lot of information there – millions and millions of hours of content. But people don’t want to just see it sitting in front of a TV set. People are spending time on Facebook; people are spending time on Twitter and other media. How do I engage my audience? How do I tap into my archive? How do I utilize outtakes? These are all very key things for producers and broadcasters. Just making the camera work look sharp, just making better storage, just making better graphics is all good. But somebody has to start thinking that the users want more than better graphics, better edits, or better camera views. They want to be a part of that event, that film, that stream. The cloud can help you do that.” In 1967, singer/song writer Joni Mitchell summed up the whole cloud-computing situation in “Both Sides, Now” – long before the term was coined. (If you haven’t heard it, give it a listen.) In many ways, nothing much has changed. Film • Video • Animation • Audio • Locations • People
July/August 2013 • V. 28 |No. 4
2.0 Music & Sound Guide
Film • Video • Animation • Audio • Locations • People
[Pictured] Megatrax Recording Studios Photo by Fernando Sanchez for Megatrax Production Music
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Music & Sound Listings 5 ALARM MUSIC
626-304-1698
ARU
312-527-7000
info@5alarmmusic.com
5TH FLOOR RECORDING CO
414-276-1919
ASCHE & SPENCER
612-338-0032
ray@5thfloorrecording.com
7-OUT-MUSIC
323-650-0767
612-373-2220
ASCHE & SPENCER
612-339-6758
310-396-2344
AUDACITY RECORDING
818-255-7100
954-920-4418
AUDIO ENGINE-NY
800-343-2514
BEACON STREET STUDIOS
310-392-9535 adrea@beaconstreetstudios.com
BEAR CREEK STUDIO
425-481-4100 bearcreek@seanet.com
212-473-2700
BIG SCORE MUSIC
800-864-1467
bobg@audioengine.net
AUDIO ENGINE-WEST
602-250-8605
info@bigscoremusic.com
BIG U MUSIC/SOUND DESIGN
info@audioengine.net
info@megatrax.com
AIRCRAFT MUSIC LIBRARY
312-255-8862 info@bamstudios.com
linda@audacitycreative.com
absolute@absolutemusicinc.com
AIRCAST CUSTOM MUSIC
BAM STUDIOS
info@ascheandspencer.com
info@aaronstokes.com
ABSOLUTE MUSIC
215-567-0400 info@bakersound.com
matt@ascheandspencer.com
info@7outmusic.com
AARON/STOKES MUSIC + SOUND
BAKER SOUND STUDIOS
contact@aruchicago.com
AUDIO LAB RECORDING STUDIO
208-344-9551 steve@audiolab.org
BOUTWELL STUDIOS
205-870-1180
info@aircraftmusiclibrary.com
AMBER MUSIC
212-352-1888
greg@boutwellstudios.com
AUDIOIMAGE RECORDING
804-644-7700 john@audioimagerecording.com
BREED
214-253-0980
michelle@ambermusic.com
AMERICAN MUSIC COMPANY INC
516-764-1466
bflores@breed-music.com
AUDISEE
206-283-4733 info@audisee.com
BROCK MUSIC INC
615-298-2200
info@americanmusicco.com
ANOTHER COUNTRY
312-706-5800
info@brockmusic.com
AZ LOS ANGELES
310-581-8081 alonso@azlosangeles.com
BWN MUSIC
612-252-3990
tim.konn@anothercountry.net
APM MUSIC
323-461-3211
info@bwn-music.com
BAD ANIMALS
206-443-1500 info@badanimals.com
BWN MUSIC
323-466-3122
info@apmmusic.com
APM MUSIC
212-856-9800
602-253-2448 Katie@bigumusic.com
info@bwn-music.com
CAKEMIX RECORDING
972-818-1649 Record@cakemixrecording.com
info@apmmusic.com
CATAMOUNT RECORDING INC
319-235-6517 catamount@cfu.net
CHAPMAN RECORDING STUDIO
913-894-6854 chuck@chapmanrecording.com
CHARLES ELLER STUDIOS, LLC
802-870-3436 chas@charlesellerstudios.com
CHICAGO RECORDING CO
312-822-9333 chrisshepard@chicagorecording.com
CINETRAX
323-874-9590 info@cinetrax.com
CLATTER & DIN
206-464-0520 tickle@clatterdin.com
CLEAN CUTS
301-495-7772 Julie@cleancuts.com
CLEAN CUTS
410-467-4231 anna@cleancuts.com
CLEAN CUTS
202-237-8884 tetiana@cleancuts.com
COLORADO SOUND RECORDING STUDIOS
303-430-8811 colosnd@coloradosound.com
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Film • Video • Animation • Audio • Locations • People
CONCENTRIX MUSIC & SOUND DESIGN, INC
FIRSTCOM MUSIC 704-372-3448
800-858-8880
GMP MUSIC
800-955-0619
info@firstcom.com
info@gmpmusic.com
fred@concentrixmusic.com
FRESH MUSIC LIBRARY COUPE STUDIOS MUSIC
303-447-0551
888-211-8576
GROOVEWORX CUSTOM MUSIC
bob@freshmusic.com
310-260-2626 info@grooveworx.com
info@coupestudios.com
G & E MUSIC CREATIVE SOUND CONCEPTS
212-673-9274
HANDSOME BROTHERS MUSIC
info@gemusic.com
404-873-6628
617-666-1200
Douglas@handsomebrothers.com
info@creativesoundconcepts.com
GAMEBEAT STUDIOS CSS MUSIC
800-468-6874
708-283-8860
HEST + KRAMER
info@gamebeatstudios.com
612-418-8830 bob@hestkramer.com
info@cssmusic.com
GLENN SOUND CURTIS BRYANT MUSIC
770-964-3063
206-583-8112
HI FI PROJECT
info@glennsound.com
310-319-1100 birgit@hifiproject.com
curtis@curtisbryantmusic.com
DAVENPORT MUSIC LIBRARY
info@davenportmusic.com
DAVID BERNSTEIN MUSIC
503-396-5294 db@davidbernsteinmusic.com
DEAF MULE
214-849-5505 gio@deafmule.com
DERRYBERRY AUDIO INC
303-456-8216 info@derryberryaudio.com
DIGITAL DOMAIN OF AUSTIN
512-328-9058 kelly@digdom.com
DIGITAL ONE
503-228-3141 cameron@digone.com
DL MUSIC
323-878-0400 info@dl-music.com
DOPPLER STUDIOS
404-873-6941 info@dopplerstudios.com
DREAMSCAPE MUSIC
310-857-8599 len@dreamscapemusic.com
DRM: SIR REEL SOUND
469-360-1443 sireelsound@mac.com
EARHOLE
312-527-1775 info@earholestudios.com
ECHO BOYS
612-332-6299 info@echoboys.com
ELIAS ARTS
212-807-6500 ksherman@eliasarts.com
ELIAS ARTS
310-581-6500 ahaugen@eliasarts.com
EMOTO MUSIC
310-399-6900 reception@emotomusic.com
ENDLESS NOISE
310-694-8251 marycatherine@endlessnoise.com
EXTREME PRODUCTION MUSIC
310-385-0408 la@extrememusic.com
www.markeemagazine.com
July/August 2013
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Music & Sound Listings HORRIBLE MUSIC
310-260-9939
MANCHESTER MUSIC LIBRARY
judh@horriblemusic.net
HUM
310-260-4949
413-369-4331
MANHATTAN PRODUCTION MUSIC
212-333-5766
dl@humit.com
HUMMINGBIRD PRODUCTIONS
615-385-3729
MARSHALL SOUND DESIGN
601-853-1778
972-484-1535
I DIG MUSIC
312-735-2894
MAYFAIR WORKSHOP
773-426-3073
MBK PRODUCTIONS
323-533-7294
312-587-0133
IMAGINARY MIND PRODUCTIONS COMPANY
MCBRIDE PRODUCTIONS
801-575-4623
813-567-1444 MEGATRAX PRODUCTION MUSIC
888-634-2555
323-573-2896
IV
615-320-1444
MENTEN MUSIC INC
612-940-6177
MENZA MUSIC
214-574-6874
214-649-6052
JAMIE DEFRATES MUSIC
904-399-2929
MIX KITCHEN
312-649-0330
MIXOLOGY
212-229-2279
804-272-6777
JECO MUSIC
212-768-8501
PRODUCTION GARDEN MUSIC
MONSTER TRACKS ORIGINAL MUSIC
215-567-0400
PROMIDI MUSIC
www.music2hues.com
RCB MUSIC LIBRARY
813-689-6066 rick@rcbmusiclibrary.com
REN MUSIC LIBRARY
908-925-1908 joe@renmediapublishing.com
RIOT MUSIC
305-332-1338 steve@riotmusic.com
RIPE SOUND
415-748-3059 Andy1@ripesound.com
RIPTIDE MUSIC
310-437-4380 contact@riptidemusic.com
RON ROSE PRODUCTIONS
gus@jecomusic.com
800-662-6638 anything@ronrose.com
MUSIC A LA CARTE JRT MUSIC
305-956-9116 info@promidi.biz
chuck@monstertracks.com
MUSIC 2 HUES
210-530-5200 info@productiongarden.com
info@mixologypost.com
info@jdkmusic.com
203-526-1198 contact@pond5.com
info@mixkitchen.com
jamiedefrates@gmail.com
JDK MUSIC PRODUCTION
POND5, INC
mark@menzamusic.com
james@jamesneel.com
866-368-9603 tanvi@pointclassics.com
info@mentenmusic.com
skeller@ivaudiobranding.com
JAMES NEEL MUSIC HOUSE
POINT CLASSICS LLC
info@megatrax.com
Johnmassari1@mac.com
312-714-0434 jim@pluggedmusic.com
brian@mcbrideproductions.com
info@impcomultimedia.com
INTIMITA MUSIC
PLUGGED MUSIC GROUP
kays@mbkproductions.com
john@idmusicchicago.com
305-854-7014 info@personalmusic.com
mark@mayfairrecordings.com
ron@idigmusic.com
ID MUSIC
PERSONAL MUSIC
Johnny@marshallsounddesign.com
Huntergibson1@comcast.net
541-345-8117 info@instantmusicnow.com
info@mpmmusic.com
info@hummingbirdproductions.com
HUNTER GIBSON MUSIC INC
PBTM MUSIC LIBRARY
info@manchestermusiclibrary.com
888-578-6874
305-854-1810 info@musicalacarte.com
ROYALTY FREE MUSIC
info@royaltyfreemusic.com
cat@jrtmusic.com
MUSICBOX-A DIVISION OF ole JSM
212-627-2200
866-269-0900
SCM PRODUCTIONS
info@olemusicbox.com
303-422-6333 scm@scmpro.com
info@jsmmusic.com
MUSIKVERGNUEGEN KALEIDOSOUND
925-283-9901
info@musikv.com
323-856-5900
SCOOTMAN MUSIC & AUDIO PRODUCTIONS
800-448-6467
SHORELINE STUDIOS
615-319-9556 scootmanmusic@bellsouth.net
forrest@k-sound.com
NARRATOR TRACKS KILLER TRACKS
800-454-5537
310-394-4932 info@shorelinestudios.com
info@ntracks.com
info@killertracks.com
NUANCE MUSIC LEONARD WOLF MUSIC
615-254-4828
512-468-4362
SINGING SERPENT
619-962-0832 music@singingserpent.com
bmsatter@nuancemusic.com
Leonard@wolfmusic.com
OGM PRODUCTION MUSIC LION & FOX RECORDING STUDIOS
301-982-4431
323-461-2701
SINGING SERPENT
212-486-9819 dennis@singingserpent.com
ogmmusic@gmail.com
mail@lionfox.com
OMNIMUSIC LOS ANGELES POST MUSIC INC
818-501-8329
800-828-6664
SINGLETON PRODUCTIONS INC
972-226-7118 bobs@singletonproductions.com
omni@omnimusic.com
info@lapostmusic.com
OPUS1 MUSIC LIBRARY LUMINOUS SOUND STUDIOS
972-331-7040
818-508-2040
SMARTSOUND SOFTWARE INC
800-454-1900 info@smartsound.com
office@opus1musiclibrary.com
info@luminoussound.com
OUTPOST AUDIO INC MACH 1 PRODUCTIONS
818-873-7700
305-250-9988 debbie@outpostaudio.com
SMC ARTISTS
818-505-9600 ovavrin@SMCartists.com
info@mach1pro.com
OZONE MUSIC & SOUND
248-298-2858 ozone@ozonesound.com
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Film • Video • Animation • Audio • Locations • People
Music & Sound Listings SONIXPHERE
312-329-1310
SPROCKETS MUSIC
Greg.allan@sonixphere.com
SONY CREATIVE SOFTWARE
www.sonycreativesoftware.com
305-860-6960
THE LODGE
STARTRACKER STUDIOS
800-775-2964
info@thelodge.com
THE MUSIC BAKERY
bh@startrackerstudios.com
SOPERSOUND MUSIC LIBRARY
800-229-0313 helpnow@musicbakery.com
800-227-9980 sopersound@aol.com
STEPHEN ARNOLD MUSIC
214-726-1600
THE MUSIC FACTORY
sales@stephenarnoldmusic.com
SOUND IMAGES
404-688-1667 brian@themusicfactory.com
513-241-7475 info@soundimages.com
STEVE FORD MUSIC
312-828-0556
THE MUSIC KITCHEN
steve@stevefordmusic.com
SOUND LOUNGE
661-338-4749 michael@themusickitchen.com
212-388-1212 kathyg@soundlounge.com
SOUNDDOGS
STIMMUNG
SOUNDMINE
SZABO SOUND & MUSIC
SOUNDS BIG
TEQUILA MOCKINGBIRD
SOUNDSCAPES
THE CARPORT, INC.
713-956-7451
THE SOUND ADVISOR
512-499-8655
TIM CISSELL MUSIC
972-680-0817
615-400-7877
tcissell@wt.net
TONAL
212-255-4369
THE HIT HOUSE
310-378-8633
info@tonalsound.com
TRAILBLAZER STUDIOS
music@thehithouse.com
SOUNDSNAP
203-373-1847 dennis@thesoundadvisor.com
Russlong1@earthlink.net
501-661-1765 brent@soundscapes.com
336-402-5133 david@theprocess.com
info@tequilamockingbird.com
212-920-4639 andrew@soundsbigproductions.com
THE PROCESS
admin@szabosoundandmusic.com
818-767-4226 patrickm@soundmine.com
310-460-0123 ceinwyn@stimmung.tv
877-315-3647 support@sounddogs.com
919-645-6600 eric@trailblazerstudios.com
soundsnap@gmail.com
SOUNDVIEW RECORDING
503-295-6435
THE HOLLYWOOD EDGE
SPEAKHOUSE AUDIO
602-279-0900 susan@speakhouseaudio.com
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323-603-3252
TRF PRODUCTION MUSIC LIBRARIES
jmoran@hollywoodedge.com
dave@svrecording.com
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212-353-3895
whitney@sprockets.com
THE LIONFISH GROUP LLC.
510-521-2758 info@lionfishgroup.com
201-335-0005 info@trfmusic.com
TRIVERS MYERS MUSIC
310-862-9340 liz@triversmyersmusic.com
Film • Video • Animation • Audio • Locations • People
TUNEDGE
800-279-0014
WARNER/CHAPPELL PRODUCTION MUSIC 615-244-6515
musicsales@tunedge.com
Tim.Arnold@warnerchappellpm.com
TWISTEDTRACKS
773-972-2972
WOLF MUSIC LLC
music@twistedtracks.com
UNIQUE TRACKS
888-400-2149
615-254-4828 Wolfmusic.sounddesign@gmail.com
YESSIAN MUSIC
212-533-3443
info@uniquetracks.com
VAGABOND AUDIO
312-321-0828
Info-ny@yessian.com
YESSIAN MUSIC
888-937-7426
info@vagabondaudio.com
VALENTINO
310-201-0015 valentino@selectracks.com
VIDEOHELPER
Info-la@yessian.com
YESSIAN MUSIC
248-553-4044 Info-detroit@yessian.com
212-633-7009 info@videohelper.com
WALTER BRYANT MUSIC
816-741-3750 walter@walterbryantmusic.com
Music & Sound Galleries
American Music Company High quality, great production music and variety. Every selection of music is posted to our web site for immediate review and instant downloading. Inexpensive music licensing and no bull@#$%! P: 516.764.1466 www.americanmusicco.com info@americanmusicco.com
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www.markeemagazine.com
Megatrax Production Music Megatrax Production Music is the leading independent music source. Featured in thousands of television shows, commercials, promos, trailers, feature films and multimedia projects, Megatrax truly is The Sound of Entertainment®! P: 888.MEGA(6342).555 • F: 818.255.7199 www.megatrax.com info@megatrax.com
Warner/Chappell Production Music Warner/Chappell Production Music is an exciting new 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: 615.244.6515 • F: 615.242.2455 www.warnerchappellpm.com Jennifer.stowe@warnerchappellpm.com July/August 2013
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STUDIOS And
SOUNDSTAGES
[Clockwise from Top Left] Practical effects for the destruction of the railroad trestle bridge in The Lone Ranger was shot at 32TEN Studios. New York streets on the backlot at Fox Studios during the shoot for Water For Elephants.
From big-budget features to commercials and independent films, these four western studios thrive on Hollywood heritage, diverse and expansive facilities, and a creative use of practical effects.
The new Reno Tahoe Studios are located in Reno’s massive convention center. Garson Studios’ two-wall greenscreen cyc, the largest permanent greenscreen in New Mexico, in Studio A.
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BY CHRISTINE BUNISH Film • Video • Animation • Audio • Locations • People
In the western United States, studios and soundstages often come with a distinguished Hollywood heritage. In Santa Fe, N.M., Garson Studios was founded by an Academy Award-winning actress. In Hollywood, Fox Studios carries the cachet of one of the legendary major studios. Moving north, the stages of San Rafael, Calif.’s 32TEN Studios once hosted Lucasfilm blockbusters, while the new Reno Tahoe Studios in Nevada seeks to establish its own heritage as production incentives promise to attract film and TV business to the state.
Boutique-style Garson Studios Draws Longmire, Indie Features Located on the campus of Santa Fe University of Art and Design, Garson Studios (www.garsonstudios.com) brings an Old Hollywood heritage to what has become, in recent years, one of the country’s film-friendliest production centers. A star during Hollywood’s Golden Era and a long-time New Mexico resident, Greer Garson “wanted to create filmmaking opportunities for young people” in the state, says Paula Amanda, director of Garson Studios and associate chair of the university’s film school, which Variety named one of the top 15 in the nation. In 1989, Garson built the studios that bear her name; the three “boutique-style soundstages” share a building with the film school – “a very unusual paradigm” for producers and students alike, Amanda notes. “The close proximity of the film school with working soundstages creates all kinds of opportunities for our students,” she says. “Producers like the energy of young people, and they enjoy mentoring them – they want to give back. There’s student involvement on most productions.” Garson Studios features three soundstages: Stage A with 14,000 square feet and the largest permanent greenscreen in the state; Stage B with 7,500 square feet; and Stage C with 2,800 square feet and a small greenscreen. The facility also offers production offices, a fenced lot and additional production office space on the campus. “We’re constantly upgrading the studios,” Amanda said. “We remodeled the offices, replaced and upgraded the sound insulation on the stages, installed new AC units and a new roof. The entire building has been replastered, painted and has new signage.” Garson Studios are the oldest soundstages in the state, she says; Santa Fe Studios is situated outside of town and nearby Albuquerque has Albuquerque Studios and I-25 Studios. But Garson Studios’ location in the center of Santa Fe is a big draw. “Producers enjoy being here – there’s highend housing and restaurants in town, yet they like the buffer of being on a campus,” Amanda said. The A&E series Longmire, now in its second season, has called Garson Studios home since its pilot. Although the western mystery show shoots extensively on location in New Mexico (see Markee, July/August 2012), it has large sets on Stages A and B. Stage A hosts the sheriff’s station, which comprises a staircase, foyer, bullpen with jail cells and a separate sheriff’s office, plus the interior of Sheriff Walt Longmire’s cabin. Stage B contains the set for Henry Standing Bear’s Red Pony bar. The series makes use of other space on campus: the university’s welcome center doubles for the office of lawyer and powerbroker Jacob Nighthorse and the facilities office serves as the tribal police station. “We also have 80 acres of potential locations and back roads,” Amanda pointed out. www.markeemagazine.com
[Above] Independent film Odd Thomas, based on the Dean Koontz novel, readies a greenscreen shoot at Garson Studios.
[Below] The Red Pony bar on Longmire is a large set on Stage B at Garson Studios. Pictured, left to right: Robert Taylor, Lou Diamond Phillips, Charles S. Dutton. Credit: ©2013 WBEI. All rights reserved.
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Studios/Stages
[Above Top] Studio B at Garson Studios measures 7,500 square feet.
[Above] Independent feature Bless Me, Ultima shooting at Garson Studios.
[Below] The sign shop is one of many backlot support departments maintained by Fox Studios.
She said that Longmire “has been incredibly accommodating to our film school,” doing “campus-wide casting calls for students and staff,” paying the student interns on the production and hiring a number of alumni for positions on the show. When Longmire was on hiatus, the feature 2 Guns, starring Denzel Washington and Mark Wahlberg, came in for pick up shots. “We have been storing sets for Longmire on Stage B so we have less space to offer than before,” said Amanda. “We like to have local, independent filmmakers on Stage C when we can,” such as the new thriller Serpent in a Bottle. After a period of uncertainty – when Gov. Martinez came into office – regarding continuing the state’s generous production tax incentives, New Mexico has increased the rebate for series TV production to 30 percent of a producer’s total qualified spend in the state. Feature films also are eligible for a 30-percent rebate on resident labor if they use a qualified production facility and a 25-percent rebate on other expenses. As a result, Amanda believes a growing number of productions will once again consider shooting in New Mexico. Producers are sure to find strong infrastructure and an eager student body at Garson Studios. “The students are separated from the soundstages by one door,” said Amanda. “It’s an amazing feeling to step right from the classroom into the commercial world. In the beginning, I thought I was pushing our way into production when I asked producers coming in if they had anybody who could speak to our classes, if the students could visit the stages or shadow the camera department or crew. But they’re thrilled to interact with young people who are excited about coming into the industry. I’ve only experienced a real sharing and giving attitude.”
Fox Studios Scores Full House For Fall Few soundstages come with the pedigree of Fox Studios, Los Angeles (www.foxstudios.com), whose 50-plus-acre facility offers 15 production stages with a total of 300,000 square feet of rentable space. Six of the stages top 27,000 square feet each, and one of them boasts a 500,000-gallon tank beneath its floor. With 10 single- and multi-camera TV series on the stages this fall, “we’re cranking,” reports Hal Haenel, senior vice president and general manager of studio operations. “Having a full house isn’t unusual at this time of year,” he noted; the roster is likely to thin out as shows are cancelled, but Fox Studios will fill the stages with features, pilots and, starting in December, commercials. ABC’s acclaimed Modern Family is on Stage 5. “A show like that would normally take several stages, but we’re able to get all three of their home sets on one stage, which cuts down production time for them,” said Haenel. Also shooting at Fox Studios are the returning Bones, New Girl and How I Met Your Mother, plus the new 36
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Film • Video • Animation • Audio • Locations • People
shows Gang Related; Dads; Friends with Better Lives; Crazy Ones, starring Robin Williams; Enlisted; and Back in the Game. Uniquely, Fox Studios still maintains all its backlot support departments, some of which are staffed by second- and third-generation professionals. “Most of the studios have closed many of these departments,” Haenel noted. “They’re a critical piece of the pie [for us]. Our Studio Supply Store sells over $2 million annually in everything from lumber to office supplies. “Couple that with signs, drapery, print services, grip, set lighting, costumes and transportation departments, and you have a true one-stop shop,” he continued. “The old studio model makes things more efficient. It gives us an advantage over some of the independents where you have to run all over town for services.” The drapery department, located in the same historical building it started in, is currently making “three yurts for an episode of Bones and hundreds of quilted panels for a space ship interior for a local Christopher Nolan feature,” Haenel said. Although Warner Bros. and Universal have larger backlots, some producers prefer the smaller Fox backlot “because you can dress it quickly, shoot and be out – yet it’s still big enough to do a car and bus loop,” Haenel said. Fox Studios practices a number of green initiatives in conjunction with parent company, 20th Century Fox. “We bought electric lawnmowers and blowers – and with a 55-acre facility we have a lot of green space,” Haenel reported. The facility also is equipped with solar panels on the roofs of the Post Production Complex and production support building. “Like everyone, we’re dabbling in LED lights,” Haenel added. “We have Litepanel 1x1 bicolor LEDs; they’re efficient and can be used in a lot of different applications. Two years ago, we started using LEDs as work lights for set construction. Now we’re interested in seeing if we can do table reads on stage without dropping in new lights. The quality of LED lighting is great. It cuts down on energy consumption and every year they get smaller and more powerful.” A new four-story building is under construction as part of the Fox Studios’ Post Production Complex. It will have three floors of picture post-production space,
[Above Top] An entrance to Fox Studios, whose illustrious history dates back to Hollywood’s Golden Era.
[Above] A rainbow of gowns and other apparel items in the wardrobe department at Fox Studios.
[Left] Stage 19 is one of 15 production stages at Fox Studios, which offer a total of 300,000 square feet of rentable space.
www.markeemagazine.com
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Studios/Stages
plus a 95-seat, ground-level theater – the ninth theater on the lot. It will be available for rent and features a Dolby Atmos sound system. Atmos retrofits are underway in two more locations: the Howard Hawks and John Ford dubbing stages. Both will have Atmos and Barco Auro 11.1 systems to support the two immersive sound formats. Just because Fox Studios has a century of history behind it doesn’t guarantee soundstages that are fully booked, Haenel noted. “Twenty-one out of 26 new, one-hour dramas are shooting out of state. They’re chasing rebate dollars, and the incentive states have a leg up on California. We still have to win the business like anybody else. For us, it’s about creating relationships and making sure we have our team behind them when they need it.”
32TEN Studios’ Practical Effects Expertise On Display in its Main Stage
[Above Top] Hybrid production trucks on the lot at Fox Studios.
[Above] Drapery from the Fox Studios drapery department on the How I Met Your Mother set.
[Below] It’s raining on the main stage at 32TEN Studios where practical effects elements are captured.
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A different kind of industry heritage belongs to 32TEN Studios in San Rafael, Calif. (www.32ten.com) The production facility and practical effects services provider, which is 100-percent employee-owned, is based on the site of the former ILM Model Shop. “Our building at 3210 Kerner Boulevard has a real legacy in the industry,” says president/CEO Tim Partridge who reopened 32TEN Studios with Greg Maloney in early 2012. “Indiana Jones, Star Wars, Back to the Future were all shot on this stage.” The company’s historic main stage measures 6,000 square feet, 30 feet to the walkable grid with a four-foot deep, 16x16-foot covered pit in the middle and 60x30x20foot two-wall greenscreen cyc. The drive-in stage has a wooden floor. A new 24x48-foot insert stage features a 10x12-foot greenscreen. Grip and electrical equipment, including 10- and 4-ton grip trucks, are available along with make up and wardrobe rooms and production offices. A 135-seat luxury screening room has been outfitted with 3D digital projection and is available on a rental basis. Nine other production-related companies form a “creative community” in the building comprised of editors, cameramen, and commercial and corporate production companies. “Our main stage is large for the area,” notes Partridge. In addition to attracting commercials, 32TEN draws independent films and industrials. “We tend to get the big Silicon Valley companies with larger productions than their own stages can accommodate.” The core business of 32TEN Studios, however, remains practical effects. The facility sports a model shop across from the main stage entrance, wood shop, machine shop, ventilated paint booth and 3D printers. “We have a resident licensed pyrotechnician who’s renowned in the industry,” Partridge said. “The union labor pool that was formed here thanks to Lucasfilm and ILM is incredibly experienced and still available.” 32TEN hosted a number of summer blockbusters for practical effects on its main stage. For the “mecha” versus “kaiju” tale Pacific Rim, 32TEN worked with ILM on two stereo 3D shots. The primary scene involved the interior floor of an office building, filled with fully dressed cubicles at one-quarter scale, which were destroyed by the giant fist of a Jaeger mecha – a large, armored robot-like machine. “The model shop built the office cubicles and assembled them on stage. We put together rigs to pull the Jaeger fist and RED Epic camFilm • Video • Animation • Audio • Locations • People
eras through the office and added pyro,” Partridge explained. “It was a four-week build and a one-week shoot.” 32TEN also created several one-quarter-scale rows of seats in a soccer stadium that were blown apart by a concussion wave – created by air cannons – when a Jaeger drops onto them from the sky. The company also contributed practical effects elements such as a roiling cloud of dust racing down a street in Hong Kong and falling panes of glass. 32TEN reteamed with ILM for the dramatic train trestle bridge sequence in The Lone Ranger. “We built three pieces of the bridge at one-fifth scale, so they were still very large models,” says Partridge. “One piece was shot in a water tank for the low-angle initial explosion to capture the water interaction. The second model was shot at train level to show the collapse into the canyon, and the third piece was shot falling towards camera as the bridge collapsed down on top of it.” The sequence was shot using high-speed Vistavision with pyro, hydraulics and mechanical rigs creating the destruction; 80x32 foot greenscreens were draped across huge shipping containers in the backlot. Early in the production of the sci-fi feature Elysium, when the 32TEN model crew was still operating under the Kerner Optical banner, they shot the spaceship crash, which had to be replicated on the live-action set. “They needed our model shot first so they could see how it landed, how it was oriented so they could recreate that on the set in Mexico,” Partridge explained. Working with a model spaceship and not CGI, “we were dealing with the chaos and real physics of practical effects,” he reminded us. “How the spaceship landed was a bit left to chance.” When Elysium was in post-production, producers returned for explosion elements in zero gravity, “a technique developed here for Star Wars,” Partridge pointed out. Coming up for 32TEN are element shoots for a 2014 summer blockbuster – “more pyro, water and explosions,” he said – and additional feature work is in the bidding stage. Practical effects “is such a specialized niche, the field is so small” that 32TEN’s core business is likely to remain the primary draw for its stages. “We’d like to attract more live-action stage work, but that tends to leave California for the incentivized states,” Partridge noted. “There is some location shooting [for features and TV] in northern California, and for that we can offer cover sets on our stage if they need them.”
[Above Top] Shooting a dirt explosion for practical effects elements on the main stage at 32TEN Studios.
[Above] The main stage at 32TEN Studios once hosted Indiana Jones, Star Wars and Back to the Future.
Reno Tahoe Studios Builds Legacy in Northern Nevada Reno Tahoe USA (www.filmrenotahoe.com) is hoping to establish a new legacy with the opening of Reno Tahoe Studios, a 300,000-square-foot facility inside the convention center in Reno, Nevada. Reno Tahoe Studios is a division of Film Reno Tahoe, the entertainment-industry marketing arm of Reno Tahoe USA, which aims to attract TV and film production to Reno, Sparks, North Lake Tahoe and other northern Nevada locations. The studios comprise three large stages, numerous support rooms and furnished office space inside the massive and often under-utilized convention center. Chris Baum, president and CEO of Reno Tahoe USA, an industry veteran who launched Film Detroit and helped grow Michigan’s production revenues from $6 to $320 million in two years, cites the wisdom of the convention center/studios model. “Through our Michigan experience, we knew of several businesspeople who started ‘studios’ and then were not able www.markeemagazine.com
July/August 2013
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Studios/Stages
[Above] The huge halls in Reno’s convention center are ideal for soundstage use as the new Reno Tahoe Studios attest.
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to cover their expenses in the early days of the industry,” he said. “Reno Tahoe USA owns and manages the convention center/studios, a fullyfunctioning, 500,000-square-foot building. So we enjoy the financial flexibility that operating an existing facility gives you.” Halls one and two at the convention center are the busiest with trade shows, so halls three, four and five have been made available as Stages A, B and C, each with dimensions between 50,000-70,000 square feet. “The stages are 34 feet to the grid, column-free, with elephant doors and office space above,” said Baum. “Productions can build multiple sets on one stage and have wardrobe next door. Other than the major Hollywood studios, this is about as big as film and television stages get.” The convention center itself is so huge that “a convention can be going on at the far side of the facility and you won’t even know they’re there,” he pointed out. “Everything is compartmentalized for privacy and security during shoots.” Catering and extensive parking are available on site, and grip and electric gear can be provided through an equipment partnership. Baum hopes that the new Nevada production incentives, which take effect Jan. 1, 2014, will help spur interest in shooting in the state – and in the Reno-Tahoe area in particular. The “middle-of-the-pack” incentives require that 60 percent of a film or TV show be shot in the state for a base 15-percent transferable tax credit. Productions outside Las Vegas qualify for an additional 2 percent credit, and productions with 60 percent or more of their crew sourced in Nevada get another 2 percent back for a maximum of 19 percent. There’s an annual pool cap of $20 million, and unused funds can be rolled over to the next year. The annual per-project cap is $6 million, so smallto medium-size productions stand to benefit most. “The incentives are not quite as big as we hoped,” said Baum, but they should fuel production in a region whose proximity to Hollywood is “a real plus. We’re a little over an hour’s flight from LA or eight hours by car.” The Reno-Tahoe area not only offers beautiful Lake Tahoe and Sierra Nevada locations, but also a diversity of landscapes. “We have tree-lined neighborhoods and older towns with generic architecture, so we can look like the Midwest and East Coast,” Baum said. “Our university campus looks like an Ivy League school. The different climate and terrain in the area makes it possible to ‘cheat’ for many other locations.” He reminded us that the region, in pre-incentive days, served as a backdrop for Marilyn Monroe’s iconic The Misfits, the bowling-themed Kingpin and Whoopi Goldberg’s Sister Act. Baum says Film Reno Tahoe spoke to “independent production companies and studios during the incentives debate, and the feedback we got was very enthusiastic. They love the ‘next door’ convenience factor.” Now that the incentive package has passed, Baum, Southern California-based National Manager Julie Greer and Film Reno Tahoe Film Liaison Jeff Spilman, who helped write the Nevada incentive, have been actively touring and entertaining location companies, studio executives and film and TV producers. The popular music group Savvy, which has headlined the Starz cable series The Wannabes, will be shooting a feature-length pilot for a new spin off in northern Nevada locations and hopes to utilize Reno Tahoe Studios if the series is picked up. Baum previously worked with series producer Spilman and the band in Detroit. “Word is really starting to spread about Nevada’s new incentives and Reno Tahoe Studios. We’re off to a very good start,” Baum said. Film • Video • Animation • Audio • Locations • People
2013
NEW YORK CITY Cine Gear Expo 2013 - New York City Exhibits, Seminars, Networking September 27, 3:00pm - 8:00pm September 28, 11:00am - 5:00pm Location: Metropolitan Pavilion 125 West 18th Street New York, NY 10011 www.cinegearexpo.com
Digital Discussions
M2 Digital Post Inc. | By Tom Inglesby
A Clearly Cloudy Future At NAB this year, a section of the exhibition space was designated as the Cloud Pavilion. About 20 companies exhibited – to the extent that anything called a “cloud” can be exhibited – and discussed applications for this digital environment. A cynic might revert to one of the early clichés of computing and refer to some of it as vaporware; a nice pun, that. But there are some practitioners who have had their heads in the cloud for a while and they seem to think it actually has value. Not only value, but value balanced with growing pains. Markee had a digital discussion with Michael Towe, president of M2 Digital Post Inc. (www.m2digitalpost.com) in San Diego on his experiences with clouds. “Let’s start with strengths,” Towe began. “The production industry is changing and has been for a few years now. The era of large production houses is gone. … The trend is for smaller, more distributed production resources. The editor that used to drive into the large post house to work now has his own system and is working out of his house. But working out of the house has drawbacks. It makes the act of collaborating more difficult, as well as the task of client review and approval. This is where the cloud comes into play.” Speaking of the client approvals process, Towe recalls: “In the past, I had office space that was nice and big and comfy and expensive. “Now I work out of a 400-square-foot patio [at home]. I made the move in a large part because the cloud enabled me to do so. I send clients a video via a cloud review and approval service, they look at the video and send me changes. I came to the realization that I was spending about $3,000 per month to have a big office I didn’t need. So in early 2008, I dumped the office space. I now do 99 percent of 42
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my review and approval via the cloud.” So what about collaboration? A big part of this industry is sharing ideas, brainstorming with others. Towe has that covered. “The cloud has helped here, too. The review and approval process I just explained can be used with others. I use it quite often for motion graphics work and especially for voice work. Now I can use online services to post my job. Within a couple hours, I have [Above] auditions to put in front of a Michael Towe, president of M2 Digital Post. client; they pick the one they like, and we’re off to the races. Granted, to ship a drive from time to time there are still times where getting everybecause the files are just too big. Anothone to a recording studio is the better er downside is it does make client manchoice, but those jobs are few and far agement a bit more difficult. You need between.” to develop a different set of skills to Brainstorming isn’t all like it used to manage those clients when dealing with be. Face time is valuable when you conthem through emails.” sider the travel time and coordination So Towe is working in what might be necessary. According to Towe, “I find called a hybrid cloud environment, commyself sharing ideas and impromptu bining real world (FedEx, hard drives) brainstorming with so many through with cloud activity. “My quick conclusion social networks. Things like Twitter and is the cloud is here to stay,” he confessFacebook become a valuable resource es. “The video profession has changed to bounce ideas off of friends. Sites like drastically in the past 10 years. The cost YouTube and Vimeo have given me of entry has come way down so compehours of inspiration from simply looking tition has gone way up. This in turn has driven profits through the floor. What I at others’ work. And when it comes to can charge today for a five-minute, corgetting people together in a virtual room porate trade show video is a fraction of to discuss things, I have used sites like what I could charge for it in 2004. That GoToMeeting and Skype.” means I have to find ways to cut back So what about weaknesses? What’s my costs to remain competitive. The the downside? “There is one big downcloud has enabled me to do this by makside,” Towe admits, “and that’s sponing office space a thing of the past. I have taneity. That water cooler moment with lowered my overhead by thousands of a coworker that sparks a great idea realdollars a month because of it.” ly is gone. To be honest, I don’t know Last thoughts? “Darwin taught us that how you get that back. Social networks you need to adapt or die. The most come close, but it’s still not the same. recent adaptation in the video producSpeed is another drawback. We’re still tion species is a connection to the cloud. at relatively slow Internet speeds for the Those that don’t make that connection size of files we need to push around in will go the way of the Dodo.” the video world. I still find myself having Film • Video • Animation • Audio • Locations • People
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July/August 2013
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Inside View
Rochester/Finger Lakes Film & Video Office | by Christine Bunish
Nora Brown Executive Director – Rochester/Finger Lakes Film & Video Office Rochester, N.Y. • www.filmrochester.org Markee: What was it like to have The Amazing Spider-Man2 in town? Ms. Brown: “We got a call from a location manager who was looking to shoot a car chase, crash and gun battle upstate for a movie called London Calling, so we sent images of Rochester’s Main Street and tunnels. Then they sent someone to scout the city, followed by stunt people and more locations people. By that time, a small group of us knew the movie really was The Amazing Spider-Man2, and we were in the running. The last visitors did a lot of math to calculate if Main Street was wide enough for cars to go fast enough for the chase. What sealed the deal was our ability to shut down a major downtown intersection for the duration of the shoot. Everyone stepped up to the plate to make it happen.” Markee: What did it take to shoot the car chase that’s the opening sequence in The Amazing SpiderMan2? Ms. Brown: “We shut down Rochester’s four-lane Main Street for 10 days. The cross-traffic footprint grew and shrunk day-to-day, and we moved a main transfer point for buses over one block. They changed the street signs and parked stunt cars along the road – dozens of New York City taxis, police cars, buses and even a Daily Bugle truck. The lion’s share of the shooting was in front of the county office building. Locals will recognize it, but everyone else will think that it’s New York City. The producers told us they’d never have been able to pull this off in Manhattan.” Markee: Your film office was launched about 20 years ago – what makes it stand out? Ms. Brown: “A lot of people who answer the phones at regional film offices work for convention and visitors’ bureaus, 44
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and they don’t speak ‘film.’ We’re staffed by filmmakers. My deputy director and I each have had 30-year careers in film: I started as a production assistant on features and worked my way up to coordinator, unit production manager and eventually producer. When you call us you can tell we’re experienced at this.” Markee: What’s the history of filmmaking in Rochester? Ms. Brown: “There’s always been production here. We’re the home of George Eastman, Kodak and the George Eastman House film archives. Well-known DPs come here to test new film stock and crews have gotten their chops working with them.” Markee: What incentives are in place to fuel production? Ms. Brown: “Increased incentives include a 30-percent fully-refundable tax credit on qualified expenses for shooting in upstate New York and an extra 10-percent credit on below-the-line labor costs. The latter is huge for independent features, which typically don’t have high above-the-line budgets: They spend it all on making the film and 50 percent of that is usually labor. “Our biggest competition comes from Massachusetts, Pennsylvania and Ohio, not New York City. So we think the increased incentives will cause filmmakers to take a longer look at upstate New York.” Markee: What makes the Rochester area film-friendly? Ms. Brown: “We have an easy and affordable permit process, a highly qualified crew base and a qualified production facility: Young Lion Studios, an amazing multiple soundstage facility in a former Kodak building with equipment and support services. Our locations include Americana towns and cities and
vineyards that can double for California and Europe.” Markee: What are some of the more surprising locations you offer? Ms. Brown: “Letchworth State Park is called the Grand Canyon of the East with its gorge, the Genesee River and dam – it’s been really popular. The Erie Canal has villages all along its way; the High Falls Brewery is a manufacturing plant available for shooting. All of our county parks give the look of being in the middle of the woods, but you can park your trucks right beyond the tree line. There’s even a horse farm 15 minutes from downtown Rochester.” Markee: How do you follow The Amazing Spider-Man2? Ms. Brown: “Two independent features are expected to shoot here; we do indie films pretty seamlessly and production budgets go a lot farther here. Our commercial business never really slowed down – Welch’s films commercials at Finger Lakes’ vineyards before the grapes are ripe, so they have to import them. We get a lot of reality and documentary programming, too, including the BBC. And we’re always up for more films like Spider-Man!”
Film • Video • Animation • Audio • Locations • People
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