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May/June2010 • V. 25 |No. 3
Film • Video • Animation • Audio • Locations • People
2.0
Stereo 3D’s
Hands-On
Learning Curve
Is Stock Footage Recession-proof? Stock Footage Guide How Soundstages Stay Profitable Spotlight: MidAmerica
Permit 211 Bolingbrook, IL
PAID PRSRT STD U.S. Postage
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%HVW 3URGXFWV awarded to Vegas™ Pro 9
Broadcast Spectrum
The broadcast spectrum is a lot wider than it used to be. From television to the Internet and across portable devices, you need a production application that’s fast, flexible, and dependable, one that can deliver today’s formats reliably without sacrificing quality. Vegas™ Pro 9 software is your complete broadcast solution. Designed for broadcast professionals, new Vegas Pro 9 includes native XDCAM™ MXF and EX MP4 support; smart render for HDV and XDCAM™ MXF; capture compress to MXF; native file support for the RED ONE™ camera; and a scalable 4K workflow—all valuable new functionalities for in-the-field production and broadcasting. With ProType Titling Technology, multicamera editing, a comprehensive channel-based audio mixing console, Blu-ray Disc™ burning, and superior 32-bit float engine processing,Vegas Pro 9 offers a never before imagined array of opportunities to reach any broadcast production goal.Vegas Pro 9 combines Vegas Pro, DVD Architect™ Pro, and Dolby® Digital AC-3 encoding software to offer an integrated environment for all phases of video, audio, DVD, and broadcast production. For even more power, add the Vegas™ Pro Production Assistant* to your arsenal.This plug-in extends the functionality of Vegas Pro 9 and automates many common tasks, saving hours of tedious editing time.Together, these powerful tools will change the way you produce and deliver content. The broadcast spectrum just got a little more manageable. For more information or a trial version, visit www.sonycreativesoftware.com *Vegas Pro Production Assistant sold separately.
Copyright ©2010. Sony Creative Software Inc. All rights reserved. “SONY” and “make.believe” are trademarks of Sony Corporation.
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Film • Video • Animation • Audio • Locations • People
May/June 2010 Volume 25, Number 3
contents w w w. m a r k e e m a g . c o m
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features 10 Mastering the Stereo 3D Learning Curve By Christine Bunish
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Stock Footage Libraries:
Facing Recession Challenges By Brigitte Clifton
21 Stock Footage Guide 30
Soundstages
Setting the Stage(s) for Production Coast to Coast By Mark R. Smith
38
Spotlight – MidAmerica
Heartland Serves Up Big Slice of American Pie By Mark R. Smith
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Film • Video • Animation • Audio • Locations • People
Markee 2.0 is a results-driven magazine that has
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been published since December 1985. A nationwide survey of film and video industry professionals revealed that Markee 2.0 is at the top of their must-read list. Editorially, Markee 2.0 offers a wide range of content tailored for its diverse readership. Features span film and video production and postproduction topics to include must-read inter-
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views with leaders in the creative community, the latest equipment and technology news, perspectives on innovative independent filmmaking, and in-the-trenches reports on shooters, editors, animators and audio pros – plus regularlyscheduled specialty supplements. Markee 2.0’s seasoned writers know the industry inside-out. That’s what makes Markee 2.0 compelling, informative and timely reading.
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columns & departments 4 Editor’s Note 6 Making TV – Meeting Today ’s News Needs Produced by WNET.ORG, Need To Know may represent the future of newsmagazines By Michael Fickes
On the cover: Stereo 3D comes to the living room in Samsung's "Wonder-full" spot directed by TWiN
8 Making Commercials – What Planet Are You From? Artistic Image uses CGI to sync up Ford with people and planets in an alternate universe By Michael Fickes
46 Mobile Portfolio – Camera Copters 48 Inside View – Offhollywood’s Mark L. Pederson By Christine Bunish
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from the editor
Markee2.0
Film • Video • Animation • Audio • Locations • People
| by Christine Bunish
www.markeemag.com LIONHEART PUBLISHING, INC. 506 Roswell Street, Suite 220, Marietta, GA 30060 Tel: 770.431.0867 Fax: 770.432.6969 E-mail: lpi@lionhrtpub.com www.markeemag.com
From Hype to Hands On
Publisher
Editor
Senior Writers
As we thought likely, the buzz at the National Association of Broadcasters (NAB) convention was stereoscopic 3D with myriad vendors stepping up to the plate to support the technology as it moves beyond special venues and cinemas into your living room. There’s still a lot of hype around stereo 3D, and how quickly and deeply it will be embraced by American consumers remains to be seen. But there’s no doubt that the demand for 3D content is increasing, so this month Markee 2.0’s cover story features creatives who already have practical, hands-on experience with the technology. They’re shooting commercials and small-budget independent features, rolling out customized mobile units to cover major sporting events, establishing efficient postproduction workflows and offering tried-and-true 2D-to-3D conversions. Check out Inside View for another early adopter of 3D whose services are in demand worldwide. Those who jump on the stereo 3D bandwagon are sure to be concerned about ROI as is every business owner in this industry. This month Markee 2.0 also examines how stock footage libraries have faced the challenges of a global recession and how major soundstages across the country have taken different paths to staying profitable. You’ll want to archive the Stock Footage Guide to keep as a handy reference. Continuing on an economic note, our every-issue regional Spotlight travels through MidAmerica where state film commissions strive to attract producers despite small – or no – incentive packages, and area production companies and post houses showcase their talents and diversity. And don’t miss Making TV’s look at the future of television newsmagazines and Making Commercials’ journey to an alternate universe.
Highlights Coming In
July/August 2010
Art Director
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John Llewellyn llewellyn@lionhrtpub.com Christine Bunish editor@markeemag.com Michael Fickes Mark R. Smith Alan Brubaker albrubaker@lionhrtpub.com Kat Wong katwong@lionhrtpub.com
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Markee 2.0 (ISSN 1073-8924) is published bi-monthly by Lionheart Publishing, Inc.
Subscription Rates – Annual subscription rate for U.S. orders - 1 year $34 / 2 year $56; Canada & Mexico – 1 year $58 / 2 year $89; All other countries – 1 year $85 / 2 year $120. Single issue $8. All orders outside the United States must be prepaid in U.S. Dollars only. Remit all requests and payment to Lionheart Publishing, Inc., 506 Roswell Street, Suite 220, Marietta, GA 30060.
• Independent Film Showcase • Locations, Locations, Locations • Spotlight: Northeast/MidAtlantic • VFX for Episodic TV • Locations Gallery • Music & Sound Guide
Copyright © 2010 by Lionheart Publishing, Inc. All rights reserved. The copyright owner, however, does consent to a single copy of an article being made for personal use. Otherwise, except under circumstances within “fair use” as defined by copyright law, no part of this publication may be reproduced, displayed or transmitted in any form or by any means, electronic or mechanical, including photocopying or by any information storage and retrieval system, without the prior written permission of the copyright owner, Lionheart Publishing, Inc. Send e-mail permission requests to editor@markeemag.com.
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IN EVERY ISSUE: Making TV • Making Commercials • Newsroom • Inside View
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Disclaimer – The statements and opinions in the articles of this publication are solely those of the individual authors and contributors and do not necessarily reflect the opinions of Lionheart Publishing, Inc. or the editorial staff of Markee 2.0 or any sponsoring organization. The appearance of advertisements in this magazine is not a warranty, endorsement, or approval of the products or services advertised.
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making TV
Need To Know | By Michael Fickes
Meeting Today’s News Needs Produced by WNET.ORG, Need To Know may represent the future of newsmagazines.
With newspapers and news publications failing across the country, who knows what the next generation of news will look like? WNET.ORG, the New York City metro area’s premier public media provider and parent company of TV stations THIRTEEN and WLIW21, may have an answer to that question: Its weekly newsmagazine program and daily news website called Need To Know. “We are working in completely new ways to make this show,” says Wayne Palmer, the program’s on-air director.
Show and Website are Tightly Integrated The key difference is how the television program and the website interact with each other. The website (www.pbs.org/wnet/need-to-know) contains text and video stories plus the 60-minute weekly TV programs that air on Fridays. The website content comes from PBS ENG crews reporting from the field as well as essayists and feature 6
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producers who submit material for any of five beats that the newsmagazine covers: economy, environment, health, security and culture. Website editors select content to display on the website, and web designers upload and format the material. Many of the website’s video stories are formatted like the news features that have appeared on television for years. Others, however, experiment with different presentations. For instance, satirist Steve Brodner has a piece on the website’s security beat page called “Who is Hamid Karzai?” It’s a video essay with Brodner doing the voiceover. As he speaks, the camera follows his hand as it sketches caricatures of Karzai and others in poses that play off his words and illustrate the creative bent of the editorial focus. The website explores major stories of the day as well as those unlikely to
[Above] Co-hosts Alison Stewart and Jon Meacham are Peabody and Pulitzer Prize winners, respectively.
[Below] Need To Know’s new flagship studio at Lincoln Center.
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[Left] The studio’s glass walls look out on 66th Street and Broadway.
appear elsewhere — the Brodner piece for example. Among those currently appearing on the website are pieces that look at Muslim superheroes, physicists working on invisibility technology, a history of the contraceptive pill, how climate change may affect wine, the health dangers posed by global warming and the poetic heritage of Somalia. Need To Know television producers constantly sort through the website seeking stories that that could be expanded for use on air. Broadcasts feature some of these unusual stories as well as documentary-style domestic and international field reports, short features, essays and studio-based interviews and discussions.
Lincoln Center Studio Links to Control Room Downtown Need To Know’s TV home is WNET.ORG’s new flagship studio at Manhattan’s Lincoln Center. The street-level, glass-walled facility at 66th Street and Broadway accommodates the show’s co-hosts: Jon Meacham, editor of Newsweek and a Pulitzer Prize winner, and Alison Stewart a Peabody Award-winning broadcast journalist. A number of the program’s interviews are conducted in person in the studio. Director Wayne Palmer and technical director Manse Sharp record each show from a control room located in the WNET THIRTEEN building on 33rd www.markeemag.com
Street. Fiber-optic cabling connects the control room with the studio, 33 blocks away. For example, Sharp “switches video for five cameras in the studio at Lincoln Center,” explains Palmer. “Sharp also controls a robotics system that operates four of the cameras. A technician working in the studio operates the fifth camera.” Sharp’s remote camera controls include pan/tilt, pedestal up and down, and focus and zoom. Mahwah, New Jersey’s Telemetrics Inc. supplied the robotics system and Sony the five HDC-X300 compact HD cameras. “I switch the video to a nonlinear playback-and-record system with six play/record channels,” says Sharp. Omneon’s Spectrum Media Server performs those tasks in the control room where a Chyron graphics system is also housed. Back in Lincoln Center, the studio crew consists of four carpenters, four electricians, a stage manager and the tech who operates the fifth camera, handles audio assist and supports Sharp when he needs help moving the robotic cameras. The new studio, which rises two floors to a height of 28 feet, is equipped with a Unistrut lighting grid and lightingcontrol system with a DMX interface that provides individual control of every light in the grid as well as two layers of motorized shades that control daylight entering the space.
A special K-13 insulation coats the ceiling to reduce noise and reverberation. The mechanical system features a Noise Criteria 30 (NC30) design to ensure quiet operation during production. The show’s two hosts sit in front of a 103-inch Panasonic High Definition plasma screen. Also on set are one Samsung 46-inch and four Samsung 32-inch HD LCDs. Four Standard Definition Sanyo projectors play video that might come from file footage or other SD sources. “Our graphic designer has created a beautiful look for the studio,” Palmer says. “It incorporates rich deep orange, amber and blue. It’s a gorgeous look and not one that I’ve ever seen on a national program.” When the hosts are on camera, Palmer asks for deep-focus shots with a crystal-clear foreground and an outof-focus background. “It’s important to see the co-hosts and interview subjects clearly,” he says. As Palmer notes, Need To Know is pursuing and reporting its newsmagazine stories in entirely new ways. So is all of PBS. Need To Know follows a major redesign of the nightly PBS Newshour (www.pbs.org/newshour/) and the revamped Nightly Business Report (www.pbs.org/nbr). Each now has a website that enables visitors to replay stories from their daily broadcasts as well as read other stories being followed by PBS reporters. According to PBS executives, the network will soon begin aggregating all of its news and public-affairs content along with offerings from editorial partners in an online “super-vertical” site housed at PBS.org. PBS has also joined a partnership formed by leading publicmedia organizations with the goal of developing a local/national system that will support journalism in areas that have lost local news coverage. May/June 2010
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making Commercials
Ford SYNC | By Michael Fickes
What Planet Are You From? Artistic Image uses CGI to sync up Ford with people and planets in an alternative universe When setting out to promote Ford Motor Company’s SYNC technology for Ford’s Dealer Groups, JWT/Retail First in Detroit handed Atlanta-based Artistic Image (AI) a complicated challenge. According to Ed Dye, co-founder of AI (www.artisticimage.com) and a designer/director/illustrator, Ford wanted to explain the benefits of SYNC to three demographic groups: 20-something males, young female drivers and young moms. “We were also asked to make the commercial modular so that we could insert video targeting other demographic groups and vehicles to create future spots,” he adds. That’s a tall order: explain the technology, appeal to three target audiences with one commercial, and build in the flexibility for the agency to replace modules appealing to one target audience with segments tailored to different ones.
Technology Meets Planets SYNC is Ford’s in-car connectivity system standard on all 2010 Lincoln models and available on select 2010 Ford and Mercury models. It allows drivers to operate most MP3 players, Bluetooth-enabled phones and USB drives with simple voice commands. Dye and JWT/Retail First decided that the most effective way to explain the technology would be to demonstrate how easy it is for three drivers to use SYNC in a nontraditional setting. According to Dye, the commercial’s audience “has youth in common, so we started out by thinking about how young people live today and use technology to work, communicate and as interactive entertainment.” Mulling this over, Dye hit upon the idea of creating a dynamic, video-game envi8
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ronment for the commercial, called “Ford SYNC Universe.” Using CGI, his team crafted an intergalactic universe of planets where three young drivers navigate their Fords through futuristic cities and unique landscapes as they utilize their cars’ SYNC technology in a challenging video-game environment. On a sizzling, lava-wrapped planet, an adventurous 20-something man driving a sporty Ford Focus speeds across a craggy landscape while commanding the SYNC technology to “play rock music.” A loud, driving track from his MP3 player blares out of the speakers as he maneuvers around eruptions. On a second planet that resembles a glittering disco ball, a 30-something woman drives her Ford Fusion sedan through a youthful, urban-professional community. Across the streetscape, her generational cohorts congregate in outdoor cafes, retail stores, offices and city parks as she gives a command to the hands-free SYNC technology to “call Sam.” And on a third planet faceted with ice crystals a young mom drives her Ford Edge crossover vehicle to run errands in her futuristic suburb. The radio speaker signals that her cell phone has received a
[Above] Ford Focus speeds across a lava-wrapped planet.
text message, and she commands the system to read it to her. The entire look of the spot is in the tradition of Japanese anime integrated with video game-style communication as the vehicles are surrounded by icons showing activation of the SYNC product. “To get the anime right, I studied the work of Takashi Murakami, a Japanese artist credited with raising anime to a fine art,” Dye reports.
Animating the Worlds Using Pixologic’s ZBrush Dye created the young man’s dark planet with no roads and bright orange volcanic lava simmering just below the surface. As his Ford Focus careens across the landscape, lava tracks erupt in his wake. Dye wanted to show how “the vehicle’s weight would peel the road back and reveal the lava underneath. The road would do a light dance and literally follow the vehicle’s movements.”
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[Top] Anime-style imagery combines with icons showcasing SYNC’s activation.
[Above] Artistic Image partners, designer/director/ illustrator Ed Dye (left) and director Ken Soons.
He also tapped ZBrush to sculpt all the characters and cars in the commercial, taking great pains to render each detail of the vehicles. Dye deployed Autodesk Maya “to rig and animate all of the shapes in the commercial — the planet, the stars, the cars and the people. Pixar Studios’ Maya-compatible Renderman Shaders created complex surface textures for the rock, lava, glass, metal vehicles and other surfaces.” To put everything together, he used Apple’s Shake and Adobe After Effects to composite, color correct and apply VFX to about 20 individually-rendered layers. Although Apple discontinued Shake last year, fans like Dye continue to use it. It simplifies the process of compositing highly-complex, multilayered animation scenes by allowing a compositor to modify earlier image-processing www.markeemag.com
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steps while viewing the results of the current compositing layer. Speaking to more than one demographic group in a 30-second commercial may sound like a formula for failure. But SYNC’s alternative universe offers a virtually infinite way to extend the campaign to other Ford vehicles — just create a new planet that matches a particular vehicle and target audience. The spot proved so successful that JWT has awarded AI another 20 Ford Dealer Group spots. The AI business model, which harkens back to an era when postproduction studios handled everything from the rough cut to the finished commercial, likely contributed to this success. At a time when fragmentation of the post industry often results in separate suppliers for editing, VFX, animation and finishing, AI has put everything back together under a single roof – and even added commercial direction to its menu of services. “We think this will become the trend,” says Dye. “Working with too many different companies has gotten too complicated. Sometimes, a VFX house will do something that doesn’t fit with what the editor and director imagine. Sometimes, VFX (aren’t) compatible with animation technology. You also have to schedule and reserve time with each vendor. Sometimes the work takes longer at one house and wrecks the schedule at the next. It’s too many cooks.” It’s AI’s contention that one company employing people skilled in every facet of production and post can work together faster and more efficiently than a roster of specialty boutiques while ensuring that the original vision of the project shines through at the end. That’s particularly important when you’re creating an alternative universe. May/June 2010
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S Mastering the T E R E O 3D
G N C I U N R R V A E E L BY CHRISTINE BUNISH
Stereoscopic 3D is nothing new as our 19th-century forebears would attest as they slid a new dual-image photographic card into their handheld stereopticon viewers. A 3D movie process was patented in the 1890s and a stereo camera rig in 1900. Great Train Robbery director Edwin S. Porter showed 3D tests in 1915, and the earliest confirmed 3D film showing followed in 1922. The Depression and World War II sidelined the technology, but 3D movies were back in force in the 1950s, often for horror and sci fi titles. 10
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Interest diminished as moviegoing declined and TV viewership peaked, but 3D enjoyed a revival in the ‘60s and ‘70s and a true resurgence in the next two decades fueled by IMAX theaters and specialvenue content. With major technological advances and the unparalleled success of Avatar, 3D no longer occupies just a niche in the industry. It’s already moving to homes with the ESPN 3D cable network launch June 11 and Discovery, Sony and IMAX partnering on a 3D network slated for 2011. With the pulse of stereo 3D quickening, it’s not too soon to master the learning curve.
Directing Duo TWiN Creates “Wonder-full” Samsung Spot Makers of 3D displays are among the first to produce commercials in 3D and use the spots for 3D cinema exhibition, 2D broadcast and Point of Sale content for their products. “Wonder-full,” from Leo Burnett/Chicago, introduces the “world’s first 3D LED TV” from Samsung and answers the question, “Ever wonder how amazing it would be to experience life in another dimension?” Helmed by Josh and Jonathan Baker, who direct under the name TWiN and have been affiliated with production company Rabbit (www.rabbitcontent.com) since it opened in New York City in 2008, “Wonderfull” follows a family that literally brings its aquarium visit home. After the father’s magical, light-tipped finger carves a solid section from the aquarium’s glass wall, he straps the fish-filled block to the car roof, carries it into the house and pushes it into his Samsung 3D LED TV until it vanishes. Then he dons his 3D glasses and joins his family on the couch to watch the 3D sea creatures burst through the TV and swim into the room; his son reaches up to touch a ray. The commercial marked TWiN’s 3D debut although the directors have the extensive VFX expertise the spot required. To shoot “Wonder-full” efficiently they assembled a Dream Team of partners, including Academy Award-winning Avatar cinematographer Mauro Fiore (who got word of his Oscar nomination on the fourth day of shooting), Jim Haygood of Union Editorial who’s cutting Tron Legacy 3D and Digital Domain for post and VFX. “We put together an A-list 3D team from the feature world,” says Rabbit executive producer Joby Barnhart. “You have to be fairly precise when you shoot in 3D, so we wanted to assemble a crew with previous experience in the medium to advise us.” TWiN was determined to shoot the spot “handheld and keep our signature shooting style,” says Jonathan Baker. “We didn’t want to let stereo 3D lock us down too much.” At its core the commercial offered “a story we liked and the potential for great VFX,” notes Josh Baker. Shooting in stereoscopic 3D added “an extra www.markeemag.com
layer on top, for people who would be seeing it in 3D in cinemas and stores.” According to Jonathan, the duo discovered that “more of a circus goes along with 3D production. We had a tent with a 55-inch 3D TV, cables, drives, the stereographer and space for everybody to watch and discuss details like interocular and convergence. It was fun to watch all the depth pop out while we were directing the talent.” Fiore and the Digital Domain team helped the directors establish the 3D parameters on set taking into account the size of cinema screens and the visual comfort of the moviegoers. “There’s no room for error,” Jonathan emphasizes, “or [3D] becomes uncomfortable to watch.” Fiore manned a Pace/Cameron Fusion camera system for the location production, which enabled him to capture footage handheld throughout the entire shoot. The actor playing the father mimed cutting the aquarium block and, in a greenscreen sequence, carried a prop box so his hands were fixed to a tangible object. Reference footage of the sea creatures was captured at the aquarium; Digital Domain animated the ray in post. As former designers themselves, TWiN typically remains involved in a spot through post. They discovered that “the normal tricks you do, things like simple wire removals or paint outs, can become more difficult in 3D,” says Jonathan. Digital Domain’s ability to screen May/June 2010
[Top] Stereo 3D comes to the living room in Samsung’s “Wonder-full” spot directed by TWiN.
[Above] Dad prepares to remove a block from the aquarium in Samsung’s “Wonder-full” spot directed by TWiN.
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VENDORS SUPPORT S TEREO 3D WITH PRODUCTS, INFORMATION the spot in stereo in its theater proved extremely helpful enabling the post team to “test out what a cinema audience would see.” The 2D spot for television broadcast was then output from the 3D version by simply rendering one eye. After “Wonder-full,” Rabbit is “poised to handle” more requests for 3D production, says Barnhart who expects 3D spots to increase once the 3D cable networks launch. “Avatar opened it up for the public. They discovered that 3D doesn’t always have to be flying at your face. You can create a world with depth, amazement and wonder. That’s what grabs people.” [Top] Dzignlight’s Eric Deren (dark suit) capturing behind-the-scenes footage of a freefall for Human Flight 3D.
[Bottom] Dzignlight’s Eric Deren (left) on location in Oka, Quebec for the feature, Hidden 3D, with DP Benoit Beaulieu.
Dzignlight’s Deren Taps Decade of 3D Experience for Features Eric Deren, owner of Atlanta’s Dzignlight Studios (www.dzignlight.com), did his first stereo 3D project in 1999 and continued to take on 3D jobs primarily for industry trade shows. When he was among a group asked by Paramount to do shot tests to explore the viability of 2D-to-3D post conversion in 2007, he realized he wanted to get more involved in 3D stereography. His own “glorified camera tests” became the awardwinning Stereoscopic Skydiving short that has been showcased at 3D film festivals and is now licensed as content by the major 3D display manufacturers.
• For details on 3D products from Panasonic, Sony, JVC and Autodesk, see the NAB feature in the March/April issue of Markee (www.markeemag.com). • Maxell’s four-part series on stereoscopic 3D history, production and postproduction and the technology’s potential impact on consumers is a mustread (www.maxellpromediablog.com). • At NAB Canon U.S.A., Inc. showcased 3D-related lens features currently available in its HDTV lens systems along with its new SPB-10 separation box (www.usa.canon.com). • Fujinon, Inc. introduced six news lenses in conjunction with its 3D Synchronous Control System for 3D production at NAB (www.fujinon.com). • Element Technica, designer and manufacturer of the Technica 3D family of camera rigs, has delivered its 50th Quasar 3D rig; its compact Neutron rig for smaller cameras debuted at NAB (www.technica3D.com). • Distributor ZGC offers an array of P+S stereo 3D rig camera packages, the Stereotec 3D side-by-side rig and Transvideo 3D monitors (www.zgc.com). • Check out Pablo and other stereo 3D post solutions from Quantel (www.quantel.com). • SGO drew crowds at NAB where Mistika Version 5.0, a turnkey realtime postproduction finishing system with a new set of stereo 3D and 2D tools, made its North American debut (www.sgo.es). • CineForm Neo3D delivers a comprehensive 3D editorial workflow on both Mac and Windows platforms and is compatible with most nonlinear editing systems, including those from Adobe, Apple, Avid and Sony (www.cineform.com). • Powered by FXFactory, Dashwood Cinema Solutions’ Stereo3D Toolbox is a plug-in designed to work with After Effects CS3/CS4, Final Cut Pro 6 and 7, Apple Motion 3 and 4, and Final Cut Express 4 applications (www.timdashwood.com). Last February, Deren became on-set stereographer for the indie thriller Hidden 3D, produced by Don Carmody (A Christmas Story, Chicago) and shot in Quebec. He deployed Sony F23 Cine Alta HD cameras with Zeiss DigiPrimes in an ImARTis SwissRIG beam-splitter rig and averaged 14 set ups per day, all on location, during the 33-day shoot. “Once the lens alignment was done, and that usually took 45-65 seconds, 3D didn’t slow down the production at all,” he reports. “My goal as stereographer was to make sure nobody was ever waiting for 3D on the set.” Earlier this year Deren was brought on board Human Flight 3D, a docu-drama from Carl Samson’s Sky High Entertainment featuring members of the Red Bull Air Force. He’s now acting as on-set stereographer for the final phase of the estimated $15-milion movie, which is expected to wrap shooting in Florida, Lake Tahoe and Las Vegas. He will capture the ground narrative with a pair of Silicon Imaging SI-2K cameras in a SwissRIG; the cameras’ small form factor also enable them to be used in a helmet-mounted rig for aerials.
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Lab 601 will do the stereoscopic post finishing for Human Flight 3D with Deren collaborating. The company’s toolkit includes an Avid 3D Media Composer, the Iridas line of software and The Foundry’s Nuke. “People have the perception that, like when we migrated to HD post, you buy the 3D hardware and displays and you’re ready to go,” says Deren. “That may be true from an editing standpoint, but stereo depth grading and finishing is a pretty big issue. You need someone with a knowledge of 3D from a what-you’re-putting-on-the-screen standpoint so the footage will offset correctly. It’s not just putting the output of two cameras together.” Deren, who teaches classes in 3D stereography, finds it exciting to discover there’s so much still to learn. “After doing this for 10 years I’ll go on set and find new situations and no precedent for how a particular shot should be done.”
NEP Rolls Out Pair of 3D Trucks After building a 3D research truck that allowed it to gain substantial experience in 3D sports production, Pittsburgh-based mobile giant NEP Broadcasting, LLC (www.nepinc.com) is rolling out two, 53-foot expando 3D trucks and companion 50-foot support vehicles. One will be primarily dedicated to ESPN’s 3D cablenet with the other available to the marketplace at large. Last fall NEP teamed with 3D visionary Vince Pace and ESPN to cover the Ohio State/USC football game that ESPN broadcast into theaters. A series of trials and ENG shoots for the sportsnet followed, including a Harlem Globetrotters basketball game in Orlando, which tested 2D viewability of a 3D production. NEP supplied two days of NCAA Final Four coverage in Indianapolis to CBS for delivery to select theaters nationwide. Soon after, NEP shot the Par 3 Tournament at the Masters in Augusta, Georgia and provided limited hole coverage of the Masters itself; ESPN produced the Comcast telecast. The company also captured several tracks of the Black Eyed Peas in concert at Madison Square Garden for a Samsung TV promotion. “Each has been a learning experience for all parties,” declares Mike Fernander, president and GM of NEP’s U.S. mobile units. “We’ve retired our research truck and are ready to roll out our two new trucks in July.” CTO George Hoover says the vehicles have “signal flow, routing and distribution purpose-built for 3D production” along with “dedicated stations for convergence operators and stereographers.” They feature Pace/Cameron Fusion rigs for Sony HDC-1500 and 950 cameras plus the new small form-factor HDC-P1s. There are still some missing links in the equipment roster, however. “We’re just beginning to see viable 3D graphic solutions – Chyron and Vizrt have them,” says Hoover. “We haven’t seen a 3D wireless camera beyond the prototype stage, and the biggest long lens www.markeemag.com
we have is 42x. We’re starting to see Skycam in 3D and very small POV cameras for over hoops and hockey nets. A lot of gear will make its first on-air appearance in the next couple of months.” He reports that NEP has learned that “what works best in terms of 3D imaging is positioning the cameras low and close to the field of play, like the best seats in the house.” Fernander quips that, “getting Jack Nicholson to free up his Lakers’ seats (for our camera positions) is going to be a challenge!” NEP has also discovered that shooting a single, simultaneous 2D/3D show “doesn’t work very well,” says Hoover. “2D sports and concerts cut fairly rapidly
May/June 2010
[Above] Interior of the research truck NEP built to enable it to gain stereo 3D sports and concert experience.
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Stereoscopic 3D
ALL SYSTEMS GO
for TV and pan and zoom a lot, but if you do that in 3D all you get is an audience that doesn’t feel too good. 2D and 3D require different production techniques and different language to tell the story.” NEP’s first 3D truck will be in Anaheim to cover the All Star Game’s Home Run Derby for ESPN 3D; a 60-game package of various events for the new cablenet follows.
Digital Jungle Paves 3D Post Path
[Below] Digital Jungle completed the DI for 3D Sun, a special-venue film shot by satellites outfitted with stereoscopic camera rigs.
Hollywood’s Digital Jungle (www.digijungle.com) was “on the bleeding edge” of stereo 3D postproduction “before everybody jumped on the bandwagon,” reports president/founder Dennis Ho. “About four years ago, when we first acquired Quantel’s Pablo, they had no idea the box had stereoscopic potential. When we showed them what their box can do and created a 3D anaglyph image, Quantel’s jaws dropped. We then assisted Quantel in developing an early 3D anaglyph test plug-in for the Pablo. Now, many software versions later, Pablo is touted as the best 3D post solution out there.” Digital Jungle has been engaged in 3D post R&D for the last three years. It completed DI or partial DI work for 3D Sun, a special-venue film from K2 Communications shot by satellites with stereoscopic rigs for NASA; Universal Pictures’ Jaws 3D and Taza, Son of Cochise, for the home 3D market; a Coca-Cola 3D promotion for
Cinematographer James Neihouse tapped the OConnor 2575 head for the 90-lb. IMAX 30-perf 3D camera he deployed to capture Kennedy Space Center footage for the recently-released film, Hubble 3D IMAX. Shooting around NASA and the launch support systems on a “non-interference” basis, Neihouse (who served as DP for the film’s ground shooting) and his team had to be able to pick up and move quickly. He gave kudos to the OConnor head’s manageability, tilt range and “incredibly smooth and light to the touch” performance. Hubble 3D IMAX is an IMAX and Warner Bros. Pictures production, in cooperation with NASA; Leonardo DiCaprio narrates. the company’s Atlanta headquarters; and Animalopolis, a special-venue 3D film. Digital Jungle finished the 3D showreel for Panasonic’s booth at CES and NAB and displayed a compilation of Digital Jungle’s 3D post credits at Show Biz Expo. Ho would like to see “more content creation” and to that end Digital Jungle does “a lot of consultation for firsttime 3D filmmakers” to help them through the learning curve surrounding “the workflow and the pitfalls.” The post house is currently fielding a lot of calls from clients asked to promote 3D products, he reports. There are already “clear-cut rules about what you can do and can’t do in 3D post,” Ho points out. For example, depending on shot composition, MTV-style quick cuts may not give the eyes enough time for the brain to accommodate the 3D image. Careful consideration also has to be given to how to color grade and converge each scene for maximum 3D effect and viewer comfort. After all, “there’s no such thing as a perfect 3D image: It’s still an illusion that fools the brain,” Ho reminds us. In addition to Pablo, Digital Jungle’s 3D toolkit includes Adobe After Effects and Imagineer Systems’ mocha soft-
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ware; the company can also access Assimilate’s Scratch and Autodesk’s Maya, Smoke and 3ds Max. “A variety of software and hardware is available depending on budget and time constraints,” Ho explains. “We’re agnostic as to glasses,” he adds, using both active XpanD shutter glasses and passive polarized glasses for viewing.
Cinema Concepts Leads in Theatrical Pre-Show 3D Content Among the creative, postproduction and theatrical distribution services offered by Atlanta’s Cinema Concepts (www.cinemaconcepts.com) is 3D production, encoding and wrapping. The company focuses on creating custom pre-show promos, corporate ID and policy trailers in stereoscopic 3D as well as converting 2D-originated content for stereo 3D exhibition. These are all services that Cinema Concepts has been providing for a number of years to an impressive roster of clients all across the globe. “3D production is nothing new for us — we have been producing theatrical content for over 30 years, and the evolution to digital cinema and now 3D digital cinema has been a natural progression for us,” says studio director John Price. “When we pitch new creative to our theatrical clients we are offering both 2D and 3D options. We have even gone back into some of our legacy projects and reconstructed them for stereo 3D playback.” Price emphasizes that “Avatar changed the timeline for everyone. 3D was certainly gaining momentum before, but now the awareness has been heightened to a new level and the demand for 3D content is stronger than ever. Our 3D conversion process has certainly gained popularity this past year. Until native 3D production becomes the norm, conversion is a viable option for many advertisers looking to maximize their exposure with placement in front of 3D feature films.” According to Price, Cinema Concepts’ 2D-to-3D process “is an intimate one and begins with a thorough evaluation of the spot in its 2D form. Tearing it down shot by shot to indentify the potential strengths and weaknesses once it’s reborn in the 3D environment is a very important step.” He also points out that, “It’s our responsibility to guide our clients in the right direction by helping them identify if there is, in fact, a 3D benefit (in converting) their spot. Most ads have a higher retention rate and entertainment value in the 3D world, but just because you can make it 3D, doesn’t always mean you should.” One of the most notable 3D conversions Cinema Concepts has performed was for The Coca-Cola Company’s “Arctic Beach Party” polar bears spot. “That project posed several interesting challenges,” Price notes. “The short turnaround was no surprise — only a month to complete it — but we needed a 30-second cut of the spot, which at that point didn’t even exist in www.markeemag.com
High Definition. The only element available was a 60second HD version that was produced almost four years ago. We had to cut it down to a :30, create a new theatrical 5.1 mix and perform bottle label replacement before we could even begin the labor-intensive 3D conversion process.” Although some tools are available for automatic 2D to 3D conversion, “for the level of quality we want to offer clients there’s no magic push-button solution,” Price explains. “3D conversion is VFX work, and if you cut corners it will certainly show. We bring years of creative and technical experience to the table, and we’ve taken industry-standard tools and integrated them in a way that’s unique to us.” One of Cinema Concepts’ biggest assets is the ability to work on the big screen in realtime stereo 3D. “We’re able to patch an artist or editor into our 3D screening room so they can design, edit, color correct and even depth grade in an actual theater environment,” says Price. “Our Digital Edit/Screening Theater is a tremendous asset for almost any project.” He says the company is “confident in our processes and services, and we’re continually developing new ways to do things faster and more efficiently, whether it’s encoding existing content, converting 2D material or producing 3D creative from scratch. We never stop evolving.” May/June 2010
[Top] Cinema Concepts’ Digital 3D Edit/Screening Theater.
[Above] Cinema Concepts’ Autodesk Smoke 2K edit suite.
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[Right] Red Cross disaster relief vehicles caught in a Hurricane Katrina storm surge in Mississippi captured in HD 24p by StormStock’s Martin Lisius. Photo courtesy of Martin Lisius/StormStock
[Below] Archival still of a US Army flame squad from Lou Reda Productions’ Library of Congress collection used in The History Channel’s WWII in HD series. Photo courtesy of Lou Reda
[Top] FootageBank HD licensed penguin imagery for Verizon’s in-store Twitter campaign. Photo courtesy of FootageBank
[Left] The ABC detective series Castle used this Manhattan skyline from Framepool in multiple episodes. Photo courtesy of Framepool
Stock Footage Libraries:
BY BRIGITTE CLIFTON
Facing Recession Challenges
With everyone around the world feeling the impact of damaged economies, many in production have turned to the stock-footage industry as a sort of refuge, an always effective and affordable solution for their production needs. That doesn’t mean the stock-footage industry is recessionproof, however. Clients are still demanding unique, high-quality images, but they’re making fewer projects during tough times and budgets are tighter for those that do get the green light. Finding Flexible Solutions 18
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The solution for many stock-footage houses has been to go with the flow. FootageBank HD (www.footagebank.com) has always specialized in high-quality, current, privately-owned material, including international locations, aerials and natural history. But even with their elite, high-resolution, rights-managed material often used for IMAX productions and other film and television work, the archive has found itself making adjustments over the past few years. “It used to be very much that people paid for what they ordered,” says company founder and president, Paula Lumbard. “Now we’re getting to know the client and saying, ‘Let’s package this for you’ to allow for more flexibility, lower rates and an overall product that fits the budget.” To adapt to the changing market and offer more adaptable packages for a variety of budgets, in 2009 the company launched a royalty-free subdivision, Footagehead (www.footagehead.com), that offers the same trademark quality at a lower price point. Lumbard has also begun tailoring services to meet tighter budgets for features and TV. For example, during pilot season, FootageBank offers stock to pilots at half the cost when they’re pitching to networks. If the show is picked up, they pay the remainder. Artbeats, Inc. (www.artbeats.com) has also found a sweet spot in meeting the needs of changing production demands. Offering challenging shots such as gyro-stabilized aerials, ultra slow-motion effects and pyrotechnics at affordable, royalty-free pricing allows “producers to create big-budget masterpieces without the high production costs,” according to president and founder Phil Bates. To maximize these offerings, Artbeats’s FootageHub search engine calls up wellknown brands such as Steve Gibby and Ribbit Films, new gyro-stabilized aerials from Belgium’s Wim Robberechts & Co., lifestyles footage from the UK’s OmniReelLife and other new, in-demand products. Artbeats also shoots its own material. Recently, through an ongoing relationship with a world-class aerial cinematographer, Artbeats was able to capture footage of cities, landscapes and various landmarks on all five Hawaiian Islands. Providing consistently top-caliber footage by shooting your own material is one of the things StormStock president Martin Lisius credits for his company’s longevity. Founded in 1993 by cinematographer and storm-chaser Lisius, the StormStock library (www.stormstock.com) is recognized as the highest-quality collection of storm footage in the world, he reports, with a large majority of new footage shot on either HD or 35mm and transferred to HD. Lisius and his team recently added a Texas tornado, a Rocky Mountain blizzard and several New York City winter storms shot on HD to the rights-managed images StormStock regularly licenses to film and television producers worldwide. The company provided footage for several new TV documentaries and for The Discovery Channel’s Raging Planet 2 series. Lisius says he has seen a slowdown in business during the recession, however, as “clients are spending less on everything now, including stock footage.” But his business niche seems secure since “it’s much cheaper and safer to license footage from StormStock than to send a crew to go shoot a hurricane or tornado.”
[Top] Global ImageWorks licensed an HD shot of New York City’s chic Henri Bendel boutique for Gossip Girl. Photo courtesy of Global ImageWorks
[Middle] Framepool licensed this action soccer shot for T-Mobile’s “Rewind” commercial. Photo courtesy of Framepool
Personal Touch Supplements Online Service While it is a forgone conclusion that today’s archives are now searchable online, producers often need to combine the immediacy of searching for and viewing potential shots online with the personal attention of researchers who are familiar with the library and can find unique shots more efficiently. So while online databases [Opposite page, Left] Scenic cove along the coast of Molokai captured by Artbeats. Photo courtesy of Artbeats
[Right] Footage of Rajasthani pot dancers from Oddball shot at the Pushkar Camel Fair in northern India. Photo courtesy of Debasish Sen/ Oddball Film + Video footage
www.markeemag.com
May/June 2010
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Stock Footage Libraries
Photo courtesy of Global ImageWorks
are becoming more comprehensive and more powerful, it is frequently more efficient to pick up the phone to ask the libraries for a more personalized search. According to Oddball Film + Video (www.oddballfilm.com) director Stephen Parr, “An online database is only as good as the questions asked it, and many producers know that stock houses with a good knowledge of their collection can save them time and money while uncovering footage they never would have requested or even known existed.” Global ImageWorks (www.globalimageworks.com) has digitized most of its holdings and now has over 20,000 clips available for viewing online. The company finds that providing longer pieces of content for viewing gives producers a much clearer idea of each shot’s potential. But equally important, according to president Jessica Berman-Bogdan, “is the personalized service we offer” where callers bypass account executives and speak directly to staff researchers who fulfill their orders. Global ImageWorks has provided footage to a variety of commercials, webisodes, museums and television shows including Fringe, NOVA, Gossip Girl and the opening titles of True Blood, as well as Oscar-winning documentarian Alex Gibney’s award-winning, My Trip to Al Qaeda. One of the largest online collections of motion content, Framepool (www.framepool .com) has been a trendsetter in technical standards for online research and delivery with 500,000 clips available for FTP download. Framepool USA Chief Operating Officer Peter Carstens says that tape is rare in his business today because of the convenience of FTP delivery. “It took some time for digital downloads to become fully accepted,” he notes. “But now we feel that producers wholeheartedly trust the quality of digitally-delivered master material and therefore reap the time and cost benefits, too.” Providing that service requires constant infrastructure updates, he says, and Framepool is currently installing a new portal to make the process faster and more powerful. FootageBank’s focus on High Definition media makes that digital delivery more difficult, says Lumbard. “But that’s the way things are going, so we work with clients to educate them about download speed, server space, et cetera to get that material. And in a global market, getting a High Def file into Poland or Turkey requires a lot of education for all sides.” FootageBank recently installed a High Definition digital-capture suite to smooth the process. Global ImageWorks’ Berman-Bogdan, who provides a good deal of HD and RED footage, agrees. “Clients can either download footage already digitized from our website or we can digitize and send files online within a couple of hours,” she says, but “on the masters, it’s a whole other story.” Although the technology has evolved to meet client expectations, “sometimes even if the client wants it online, they don’t have the ability to download such large files. So we end up making a physical copy on some form of media.”
[Right]
Predicting Future Demands
[Top] Archival still of British Empire troops in Normandy from Lou Reda Productions’ Library of Congress collection used in The History Channel’s WWII in HD series. Photo courtesy of Lou Reda
[Middle] Global ImageWorks supplied iconic Soul Train footage to the TV One series, Unsung.
StormStock’s Martin Lisius shot HD footage of a spring blizzard in Utah last April. Photo courtesy of Martin Lisius/StormStock
Stock-footage libraries always face the challenge of predicting where client needs will lie next year or even next month. Libraries like StormStock offer specialty material — hurricanes, lightning, tornadoes, storm clouds, blizzards and stormy seas – that will always be in demand. Others, like Framepool, choose to cast their nets wide. Framepool’s array of content features material from over 400 production companies, including world-class brands and other top sources. Footage is provided raw, not color-corrected, wherever possible, in bins of related shots or rushes to provide a selection of angles and takes of the same content. FootageBank thinks the future is in larger formats: 2K, 4K and stereoscopic 3D in raw formats and various codecs. With more pixels to manipulate, Lumbard believes filmmakers are able to maximize creativity for a better production. Since travel is more expensive these days, the library’s RED and HD location clips are quite popular as is natural-history footage illustrating global warming. Verizon Wireless took advantage of Footagehead’s royalty-free, natural-history footage for a recent series of commercials. For some, “special” is a specialty of its own. “We want people to know that what we have isn’t what everyone else has,” says Global ImageWorks’ Berman-Bogdan. The company seeks out unique material as well as such iconic TV series as Soul Train and Omnibus. Stock Footage Libraries, continued on p.29
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May/June 2010 • V. 25 |No. 3
Film • Video • Animation • Audio • Locations • People
2.0
Stock Footage Guide [Pictured] Holy man meets Handycam at the Hindu spiritual festival Makar Sankranti in Bengal, India in this Oddball footage. Photo courtesy of Debasish Sen/ Oddball Film + Video footage
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Aerial HD Stock LLC
eFootage, LLC
footagehead
A diverse mix of day and night cityscapes, scenic beauty, industrial, energy production, urban, agriculture, and more, in 1080P. Represented exclusively worldwide by Getty Images. Shot by cinematographer Steve Cassidy and coproduced with Camera Copters owner/pilot Paul Barth.
eFootage.com is a fast, easy one-stop-shop for all your stock footage needs. Our streamed, searchable online database offers contemporary & vintage HD, news, sports and much more.
Royalty free HD footage, all downloadable, all one flat fee. Footage added monthly shot from around the world with the most up to date HD camcorders. R U a footagehead?
P: 1.800.IMAGERY www.aerialhdstockllc.com sales@gettyimages.com
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Global ImageWorks
HBO Archives
Hotstockfootage.com
Global ImageWorks licenses contemporary and archival footage including RED camera, HD, and film. Rights managed and royalty free searchable online. Representing Soul Train and Omnibus. Additional services: Research and Clearances.
HBO Archives is a full-service stock footage library offering free research and screeners. Our collections include Sports, Entertainment News, Archival, The March of Time Newsreels and Documentaries, Contemporary Stock and Wildlife.
Wild! Wacky! Unusual! Hotstockfootage offers a myriad of extreme sports, action, wild, wacky and unusual scenes, as well as RARE and one-of-a-kind sports crashes, rescues, scenics, sunsets, etc.
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P: 877.426.1121 • F: 212.512.5803 www.hboarchives.com footage@hboarchives.com
NBC News Archives
Penn State Media Sales
StormStock®
Over 75 years of news coverage – one-on-one interviews, docs on religion, WW II, Vietnam; investigative reports, features, social commentary, sports, entertainment. Searchable text database. Preview on-line footage 2001present.
Offering rare, exclusive footage featuring Milgram’s Obedience, Zimardo’s Stanford Prison Experiment, Spitz’s Motherlove, Harlow’s Nature and Development of Affection and a large library of films in a wide range of subjects.
StormStock®, founded by Cinematographer Martin Lisius, is the highest quality collection of storm footage in the world and includes hurricanes, tornadoes, lightning, storm clouds and blizzards on 35mm and HD.
P: 814.863.6638 www.MediaSales.psu.edu dmh26@psu.edu
P: 817.276.9500 www.stormstock.com info@stormstock.com
P: 212.664.3797 • F: 212.703.8558 www.nbcnewsarchives.com footage@nbc.com
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P: 303.721.6121 • F: 303.721.0466 www.hotstockfootage.com john@hotstockfootage.com
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Reda Archives, LLC Military campaigns, historical events, sports, entertainment and much more. America’s largest privately owned film archive offers millions of feet of cataloged quality non-fiction footage. Call or email for screeners. P: 610.258.2957 • F: 610.991.0460 www.redafilms.com research@louredaproductions.com
Streamwerx Streamwerx offers HD aerial stock footage and photography: Beautiful day and evening scenic skylines, port cities, lakes, mountains, national forests and adventure. Filmed from helicopters with gyro stabilized camera systems. P: 704.421.3595 www.streamwerx.com aerials@streamwerx.com
WPA Film Library WPA supplies high-quality footage on topics as diverse as history, pop culture, politics, celebrities, landmarks, home movies and Americana. Highlights include the entire British Pathe Newsreel Library. We provide free research and screeners. P: 800.777.2223 • F: 708.460.0187 www.wpafilmlibrary.com sales@wpafilmlibrary.com www.markeemag.com
May/June 2010
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440-838-5377 info@classicworldwide.com www.classicworldwide.com
martinmt@indiana.edu www.indiana.edu/~bfca
502-581-8160 jjdrkn@yahoo.com www.airbossstockfootage.com
310-277-0400 sales@classicimg.com www.classicimg.com
images@bestshotfootage.com www.bestshotfootage.com
718-626-2646 asl@airsealand.com www.airsealand.com
603-463-5900 info@nhmovies.com www.nhmovies.com
800-327-2893 CLASSIC IMAGES
888-247-4420 forflying@aol.com www.airpowerstock.com
CINEWORKS/NH MOVIES
info@bennett-watt.com www.hdstockfootage.net
aerialfcs@aol.com www.aerialfocus.com
AERIAL HD STOCK LLC/CAMERA COPTERS 888-463-7953
845-639-4238 jazzfilm@mail.com
motiongallery.ny@bbc.com www.bbcmotiongallery.com
adpix@adpix.com www.adpix.com
AERIAL FOCUS
310-360-9600 info@celebrityfootage.com www.celebrityfootage.com
818-299-9720 CHERTOK INC. JAZZ ON FILM
310-459-2526 BBC MOTION GALLERY 415-431-1122
CELEBRITY FOOTAGE
motiongallery.la@bbc.com www.bbcmotiongallery.com
info@sdfilms.com www.sdfilms.com
ADVENTURE PICTURES
rcfilmvideo@earthlink.net
bill@atlantavideo.com www.atlantavideo.com
stockfootage@warrenmiller.com www.warrenmiller.com
ACTION SPORTS/SCOTT DITTRICH
303-499-9430
info@ati.la www.ati.la
EAA TELEVISION
601-853-4252 jim@dollarhide.net www.dollarhide.net
516-869-1170 infodoubletime@optonline.net
310-497-5636 sales@dvcuts.com www.dvcuts.com
818-359-4035 info@dvarchive.com www.dvarchive.com
920-426-4800 video@eaa.org www.avpix.org
office@cameronprod.com www.cameronprod.qpg.com Film • Video • Animation • Audio • Locations • People
aMAR2503_MayJune2010
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EAGLES CRY PRODUCTIONS
3:53 PM
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678-414-9119
ESTABLISHING SHOTS OF CHICAGO
jrrussell@eaglescry.com www.eaglescry.com
ECHO FILM PRODUCTIONS
208-336-0349
F.I.L.M. ARCHIVES INC
970-479-6333
info@filmarchivesonline.com www.filmarchivesonline.com
FALL MOUNTAIN PRODUCTIONS
hayden@eefproductions.com www.eefproductions.com
EFOOTAGE LLC
ELECTRIC EYE MEDIA
ENVIRONMENT MEDIA CORP
212-515-1252 footage@espn.com www.espnfootage.com
808-329-1655
FILM & VIDEO STOCK SHOTS INC
888-436-6824 stockshots@earthlink.net www.stockshots.com
FINLEY-HOLIDAY FILM CORP
562-945-3325 stock@finley-holiday.com www.finley-holiday.com
FISH FILMS FOOTAGE WORLD
818-905-1071
FOOTAGE BANK HD
561-279-7827 bcameron@vstar.com www.vstar.com
FLIXDISC LTD
FOOTAGE HOLLYWOOD
818-760-1500 info@footagehollywood.com www.footagehollywood.com
FOOTAGE.NET
732-385-1122 info@footage.net www.footage.net
310-822-9600
info@footagehead.com www.footagehead.com Footagehead is the most comprehensive destination for HD royalty free footage. Partner of FootageBank HD rights managed service, our suppliers specialize in capturing images for entertainment and programming. Online search, free preview downloads and new footage added weekly. Footagehead.com royalty free HD. Contact: carolm@footagehead.com, or, 310-822-9600.
FOOTAGELAND
800-442-0550 footageland@aol.com www.footageland.com
FRAMEPOOL
800-331-1314 americas@framepool.com
FREEWHEELIN FILMS
970-925-2640 kayla@fwf.com www.freewheelinfilms.com
800-708-1584 flixdisc@aol.com www.flixdisc.com
888-653-1400 info@footagebank.com www.footagebank.com
footageworld@aol.com www.footageworld.com
FIVE STAR PRODUCTIONS
800-773-2753 support@footagebakery.com www.footagebakery.com
612-789-6000 FOOTAGEHEAD
fastfootage@aol.com www.fastfootage.com
843-986-9034 bpendergraft@envmedia.com www.envmedia.com
ESPN FOOTAGE LICENSING
FAST FOOTAGE
503-285-8974 encountvid@aol.com www.encountervideo.com
617-469-4999 info@fanlight.com www.fanlight.com farishmedia@hawaii.rr.com www.hawaiivideo.com
501-321-0440 support@elitevideo.com www.elitevideo.com
ENCOUNTER VIDEO
FARISH MEDIA
888-440-6698 milfilm@maui.net www.milleniumfilms.net
ELITE VIDEO
fmp@sover.net www.fallmountainproductions.com
626-395-9593 FANLIGHT PRODUCTIONS
info@efootage.com www.efootage.com eFootage is a bountiful stock footage archive containing a diverse collection of vintage and contemporary material. Highlights include the only extant film prints of the Canadian Paramount News, the entire contents of the Chisholm Film and Video Archives from Toronto, Canada, vintage and contemporary news clips, including new HD news material and so much more - all ideal for HD and SD film, tv and institutional use. Fully streamed website, FTP delivery available for all material.
802-463-4060
407-297-0091 dusslingjf@ffandt.com www.floridafilmandtape.com
212-696-2616 FOOTAGE BAKERY
echofilm@mindspring.com www.echofilms.com
EEF PRODUCTIONS
847-816-9020 FLORIDA FILM & TAPE ned@nedmiller.com www.nedmiller.com
GETTY IMAGES
800-462-4379 motionrequests@gettyimages.com www.gettyimages.com
s &//4!'% 4%84 /.,).% 3%!2#().' s 2%42)%6!, $/7.,/!$ s ()'( $%&).)4)/. 6)$%/ footage@hboarchives.com s 1-877-426-1121 hboarchives.com ©2010 Home Box Office, Inc. All rights reserved. HBO® and related service marks are the property of Home Box Office, Inc.
www.markeemag.com
May/June 2010
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Film
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Video
GLOBAL IMAGEWORKS LLC
3:53 PM
HD
Page 26
CD/DVD
201-384-7715
info@globalimageworks.com www.globalimageworks.com Contemporary and historic footage offering depth and perspective across a variety of high profile categories and unique views of the world. Featuring rights-managed and royalty-free stock footage with online searchable database and 25,000+ videos. Exclusively representing the iconic tv shows Soul Train and Omnibus. GIW’s collection includes stunning RED camera stock shots as well as a full catalogue of HD and film footage. Additional services: Research and Clearances. We’ve Got It or We’ll Get It!”
GLOBAL NEWS SERVICE PRODS
212-206-1261 frank_gns@hotmail.com www.gnsvideo.com
GLOBAL VILLAGE STOCK FOOTAGE
HAWAIISTOCKVIDEO.COM
HBO ARCHIVES
707-823-1451 HD CUTS
626-584-9515 info@goalproductions.com www.goalproductions.com
GOLAN PRODUCTIONS INC
312-642-4500 aigar@golan.tv www.golan.tv
GOLIATH MEDIA
617-306-6106 info@goliathmedia.com www.goliathmedia.com
GOTFOOTAGE.COM
702-257-8822 support@gotfootage.com www.gotfootage.com
GOTHIDEF.COM GREAT PLAINS MOTION PIC CO
402-339-1001 rod@thegreatplains.com www.thegreatplains.com
GREG HENSLEY PRODUCTION
HERO SHOTS
970-984-3158 772-465-2400
LONE PEAK PRODUCTIONS
801-521-5567 info@lonepeakproductions.com www.lonepeakproductions.com
LONE WOLF DOCUMENTARY GRP
207-799-9500 curtiss@lonewolfdg.com www.lonewolfdg.com
LOS ANGELES NEWS SERVICE
310-345-1437 lans@highdefinition.net www.highdefinition.net
LOUIS WOLFSON II ARCHIVE
305-375-1505
MACDONALD & ASSOCIATES
773-267-9899
info@fmia.org macfilms@worldnet.att.net www.macfilms.com
323-833-5920 rickspalla@yahoo.com www.hollywoodnewsreel.com
MAMMOTH HD INC
303-670-7973 info@mammothhd.com www.mammothhd.com
303-721-6121
john@hotstockfootage.com MEDIA BAKERY www.hotstockfootage.com Wild! Wacky! Unusual! Hostockfootage offers a myriad of extreme sports, action, wild, wacky and unusual scenes as well as RARE and MEISSE PRODUCTIONS INC one-of-a-kind sports crashes, rescues, scenics, sunsets, etc.
INTERNATIONAL FILM & VIDEO INTERNATIONAL HISTORIC FILMS
773-927-9091 info@historicfootage.com www.historicfootage.com
cousin@hboi.edu www.hboi.edu
INTERNATIONAL TRAVEL FILMS
805-682-9325 info@mediabakery.com www.mediabakery.com
419-529-5900 info@meisseproductions.com www.meisseproductions.com
503-242-9168 marlin@ifilmvideo.com www.ifilmvideo.com
hensley@sopris.net www.greghensley.com
HARBOR BRANCH OCEANOGRAPHIC
323-469-7499
mylmi@pacbell.net www.libraryofmovingimages.com
631-477-9700 info@historicfilms.com www.historicfilms.com
HOLLYWOOD NEWSREEL
LIBRARY OF MOVING IMAGES INC
406-728-0753 yak@highplainsfilms.org www.highplainsfilms.org
HISTORIC FILMS ARCHIVE
908-362-6616 sales@ruevideo.com www.ruevideo.com
406-581-0260 markzetler@hotmail.com www.heroshots.com
HIGH PLAINS FILMS
720-565-1313 brookaitken@comcast.net www.laproductions.com
LEONARD RUE VIDEO PRODS
310-305-8384 sales@hdcuts.com www.hdcuts.com
702-951-9340 HOTSTOCKFOOTAGE.COM
info@gothidef.com www.gothidef.com
541-482-0332 info@lastfrontierfootage.com www.lastfrontierfootage.com
877-426-1121 LEN AITKEN PRODUCTIONS
footage@hboarchives.com www.hboarchives.com HBO Archives collections include: Sports – exclusive sports imagery and top athletes. Contemporary – stock shots from HBO Films. Archival – anchored by The March of Time documentary series. Wildlife – wildlife and scenics from exotic locations around the world. Entertainment News – exclusive behind-the-scenes and other footage covering music, comedy television and film celebrities. Our website features high-speed video and text searches and offers lowres video downloads. We also provide free research.
video@videosource.com www.videosource.com
GOAL PRODUCTIONS
808-329-1655 LAST FRONTIER FOOTAGE farishmedia@hawaii.rr.com www.hawaiivideo.com
323-461-9994 inttrvfilms@aol.com
MIAMI NEWS NET
305-285-0044 mnn@bellsouth.net
MICHAEL GRABER PRODUCTIONS
949-489-9330 info@graberproductions.com www.graberproductions.com
MICHAEL MAY PRODUCTIONS
808-739-0032 mmmay@lava.net
IRON ORCHID FILMS
808-955-1000 MIGRATORY FILMS
907-694-3902 migraflm@alaska.net www.migratoryfilms.com
filmawaii@aol.com www.filmhawaii.com
JALBERT PRODUCTIONS
631-351-5878
MONTANA DV
406-251-7227 info@montanadv.com www.montanadv.com
carol@jalbertfilm.com www.jalbertfilm.com
JENNINGS PRODUCTION
310-306-2010
MOVIECRAFT INC
708-460-9082 stock@moviecraft.com www.moviecraft.com
joe@skydive.tv www.skydive.tv
JORDAN KLEIN FILM & VIDEO
352-288-3999
MYFOOTAGE.COM
212-265-9558 info@clipcafe.com www.clipcafe.com
info@jordy.com www.jordy.com
K&K MEDIA
281-495-3691
MYSTIC SEAPORT
860-572-5379 suki@mysticseaport.org www.mysticseaport.org
kurt@kkmedia-tv.com www.kkmedia-tv.com
KBC PRODUCTIONS
208-344-1948
NATIONAL GEO DIGITAL MOTION
877-730-2022 ngdigitalmotion@ngs.org www.ngdigitalmotion.com
kris@kbcfilms.com www.kbcfilms.com
KESSER IMAGE LIBRARY
305-663-4443
NAT’L COMBAT HISTORY ARCHIVE
KING WORLD PRODUCTIONS
212-817-5601 dfields@kingworld.com www.kingworld.com/licensing
LARRY DORN ASSOCIATES
503-597-7030
grmortensen@militarylibrary.net www.militarylibrary.net
kesser@ix.netcom.com www.kesser.com
NAUTILUS PRODUCTIONS LLC
910-826-9961 nautilusvideo@earthlink.net www.nautilusproductions.com
323-935-6266 lda_la@msn.com www.worldbackgrounds.com
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Film • Video • Animation • Audio • Locations • People
aMAR2503_MayJune2010
6/18/10
NBC NEWS ARCHIVES
3:53 PM
Page 27
212-664-3797 OCEAN STOCK FOOTAGE
footage@nbc.com www.nbcnewsarchives.com NBC News’ radio and television coverage for more than 75 years have created a treasure trove of one-on-one interviews, documentaries on religion, World War II, the Vietnam War, and investigative reports, features, social commentary, sports and entertainment. The News Archives also offer Universal Newsreels, from the 1920’s onward and through our expanded family, the resources of MSNBC and Telemundo, as well as NBC’s O&O’s, some affiliated stations and NBC News Radio broadcasts, which date back to the late 1920’s. NBC Archives also represents selected NBC Sports clips and the Dick Cavett Collection.
NEW & UNIQUE VIDEOS
619-644-3000
OCEANFOOTAGE.COM
505-897-9738
831-375-2313 support@footagesearch.com www.oceanfootage.com
ODDBALL FILM + VIDEO
415-558-8112 info@oddballfilm.com www.oddballfilm.com
OLSON & BROWNING FILMMAKERS OMEGA MEDIA GROUP INC
520-298-4810
OMNI PRODUCTIONS
OPPER SPORTS PRODUCTIONS
201-750-5860 OUR SMALL PLANET
831-375-4448
OUTBACK STOCK
386-446-0505
PAL PRODUCTIONS INC
207-469-0924 nhf@oldfilm.org www.oldfilm.org
www.markeemag.com
514-923-1390 206-361-9366 lazpal@aol.com www.paladventurevideos.com
info@normankent.com www.normankent.com
NORTHEAST HISTORIC FILM
517-351-1660 save@oursmallplanet.com www.ospmedia.com mike@outbackstock.com www.outbackstock.com
office@norbertwu.com www.norbertwu.com
NORMAN KENT PRODUCTIONS
858-481-7283 info@surfhistory.com www.surfhistory.com
nhlha@nhl.com www.nhlhockeyarchive.com
NORBERT WU PRODUCTIONS
435-259-8444 omni@moabvideo.com www.moabvideo.com
dfrench@newyorkshots.com www.newyorkshots.com
NHL HOCKEY ARCHIVE
770-449-8870
clientservices@omegamediagroup.com www.omegamediagroup.com
newdealfilms@earthlink.net www.newdealfilms.com
NEWYORKSHOTS.COM
918-585-8083
PAN AMERICAN VIDEO
800-726-2634 panam@panamvideo.com www.panamvideo.com
800-770-2111
mediasales@psu.edu www.MediaSales.psu.edu Penn State Media Sales offers exclusive footage from the world’s most famous and infamous educational and research films. Rare archival footage subjects include psychology, anthropology, primates, and sociology. Titles include Obedience, Comparative Tests on a Human and a Chimpanzee Infant of Approximately the Same Age, Transorbital Lobotomy, and Stanford Prison Study. Subjects and authors include Milgram, Jung, Bandura, Skinner, and Zimbardo.
PERCEPTIONS INC
802-425-2783 perceptivt@aol.com www.perceptionsvermont.com
olsonbrowning@aol.com
footage@newuniquevideos.com www.newuniquevideos.com
NEW DEAL FILMS INC
707-769-0708 PENN STATE MEDIA SALES info@oceanstockfootage.com www.oceanstockfootage.com
PORT ANGELES TV PRODUCTIONS
360-457-1605 patv@tenforward.com www.patv.com
PRAIRIE PICTURES INC
817-276-9500 info@prairiepictures.com www.prairiepictures.com
PRODUCERS LIBRARY
818-752-9097 research@producerslibrary.com www.producerslibrary.com
PUBLICDOMAINFOOTAGE.COM
301-471-8058 info@publicdomainfootage.com www.publicdomainfootage.com
REDA ARCHIVES, LLC
610-258-2957
research@louredaproductions.com www.redafilms.com Millions of feet of cataloged high quality non-fiction film are available to film producers from America’s largest privately owned film archive. Subjects include virtually every American military campaign, historical events, sports, entertainment, biography and much more. As filmmakers we understand and respond to your need for quality, and rapid turnaround. High definition digital transfers direct from original film are now available.
May/June 2010
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REELCITIES
Page 28
CD/DVD
866-866-7335 customerservice@reelcities.com www.reelcities.com
REELIN’ IN THE YEARS PRODUCTIONS
35mm sky background plates. StormStock: It's time to take shelter! To order your free custom StormStock screener, send us your footage “wish list” and shipping details.
619-281-6725 STREAMLINE STOCK FOOTAGE 504-834-8811 rberning@berning.com www.berning.com
ROCKETCLIPS INC
562-438-6300 sales@rocketclips.com www.rocketclips.com
ROYALTY FREE HD
781-449-6282 info@royaltyfreehd.com www.royaltyfreehd.com
ROYALTYFREESTORE
503-521-9004 info@royaltyfreestore.com www.royaltyfreestore.com
SAGEBRUSH VIDEO PRODS
STREAMWERX
704-421-3595
aerials@streamwerx.com www.streamwerx.com HD Aerial Footage: Beauty and adventure will reel you in to StreamWerx HD aerial footage collection. We stock low level shots above National Wild and Scenic trails, coastal waterways and both day and night cityscapes for many U.S. cities. If it looks like fun from the air, we probably have the gyro stabilized, royalty-free lifestyle and scenic clips you seek. Visit StreamWerx.com for more art and beauty in action.
STUDIO 1 PRODUCTIONS INC
386-788-6075
307-739-2256
SCREENSCOPE INC
202-364-0055 screenscope@screenscope.com www.screenscope.com
SEA PHOTO TAPE LIBRARY
WEATHERSTOCK AGENCY
818-842-2525
WEATHERTHINGS
SHOW POPPERS
989-652-8785
SILVERMAN STOCK FOOTAGE
info@footagefirm.com www.footagefirm.com
SOURCE STOCK FOOTAGE
818-556-6080 WILDERNESS VIDEO
THE FOOTAGE STORE
info@footagestore.com www.footagestore.com
520-290-4810 requests@sourcefootage.com www.sourcefootage.com
SOUTHEAST STOCKFOOTAGE
512-267-4668 WILDVISIONS INC
THESTOCKTANK.COM
info@thestocktank.com www.thestocktank.com
404-685-2806
contact@southeaststockfootage.com www.southeaststockfootage.com
SPORTS CINEMATOGRAPHY GROUP SPORTS CINEMATOGRAPHY GROUP
THIRD MILLENNIUM FILMS THOMAS HORTON ASSOCIATES
STOCK VIDEO
978-449-0065 stockvideo@aol.com www.stockvideo.com
STORM VIDEO
262-443-0352 randy@stormvideo.com www.stormvideo.com
STORMSTOCK
817-276-9500
info@stormstock.com www.stormstock.com StormStock, founded by Cinematographer Martin Lisius, is recognized as the highest quality collection of storm footage in the world. The majority of StormStock originates on 35mm motion picture film and HD video. Topics include hurricanes, tornadoes, lightning, storm clouds, stormy seas, winter storms, and exceptional
Markee 2.0 |
May/June 2010
805-646-7866 jean@ojaimedia.net www.ojaimedia.net
360-598-4152 info@stillhopeproductions.com www.stillhopeproductions.com
212-675-8500 maria@thirdmillenniumfilms.net www.thirdmillenniumfilms.net
212-744-5333
sportscinema@earthlink.net www.sportscinematographygroup.com
STILL HOPE PRODUCTIONS INC
realpeople@thinkstockfootage.com www.thinkstockfootage.com
310-785-9100
sportscinema@earthlink.net www.sportscinematographygroup.com
888-353-9930 WINGS WILDLIFE PRODUCTIONS
THINKSTOCK FOOTAGE
THOUGHT EQUITY MOTION
866-815-6599 sales@thoughtequity.com www.thoughtequity.com
TIMESTEPS PRODUCTIONS INC
973-669-1930 info@timesteps.com www.timesteps.com
TRAILWOOD FILMS & MEDIA TRAVELVIEW INTERNATIONAL
877-874-3456
520-751-9964 251-665-5565 617-300-3939 816-872-3456 info@wideawakefilms.com www.wideawakefilms.com
541-488-9363 bob@wildernessvideo.com www.wildernessvideo.com
623-516-1975 mike@wildvisions.net www.wildvisions.net
949-830-7845 info@wildlifelibrary.com www.wildlifelibrary.com
800-777-2223
sales@wpafilmlibrary.com www.wpafilmlibrary.com WPA supplies high-quality footage on topics as diverse as history, pop culture, politics, celebrities, landmarks, home movies, Americana and more. Highlights include the entire British Pathe Newsreel Library, WETA’s coverage of political events, over 6,500 exclusive rock 'n roll, soul and classic country music performances a growing HD collection and historic auto racing. WPA offers FREE expert research and free screeners, competitive pricing and a fully searchable online database with more than 30,000 viewable clips.
WREN PRODUCTIONS LLC
212-875-1507 wrenprods@aol.com www.wrenvideo.com
WRIGHTWOOD.COM
702-257-8822 info@wrightwood.com www.wrightwood.com
281-679-7619 jimcoulter@travelview.com www.travelview.com
TRIANGLE IMAGES
WPA FILM LIBRARY
502-647-9966 trwood@att.net www.trailwoodfilms.com
808-959-3885 lava@volcanovideo.com www.volcanovideo.com
stock_sales@wgbh.org www.wgbhstocksales.org
866-777-9354 WIDE AWAKE FILMS
THE FOOTAGE FIRM
917-470-9104
donald@silvermanstockfootage.com www.silvermanstockfootage.com
WGBH STOCK SALES
info@thefilmvault.com www.thefilmvault.com
323-666-7968 info@showpoppers.com www.showpoppers.com
323-656-4330 vtl@videotapelibrary.com www.videotapelibrary.com
info@weatherthings.com www.weatherthings.com
clipjoint4film@aol.com
THE FILM VAULT
954-474-7368 jim@venturemedia.tv www.venturemedia.tv
junk5@weatherstock.com www.weatherstock.com
imagelicensing@boeing.com www.boeingimages.com
THE CLIP JOINT FOR FILM
818-777-1273
roni.lubliner@unistudios.com www.universalclips.com
813-884-5963 contact@stockvideofilm.com www.stockfilmvideo.com
28
UNIVERSAL STUDIOS FILM LIBRARY
307-734-8192 VOLCANO VIDEO PRODUCTIONS 206-662-1551
323-466-8559 footage@ucla.edu www.cinema.ucla.edu/footage
stock@tetongravity.com www.tetongravity.com
305-394-6000
SF.V INTERNATIONAL
UCLA FILM & TV ARCHIVE
970-729-0122 VIDEO TAPE LIBRARY INC
TETON GRAVITY RESEARCH
205-348-6210 trieland@cpt.ua.edu www.cpt.ua.edu
customersupport@telluridestock.com www.telluridestock.com
619-466-2002 THE BOEING COMPANY
mike@ultimatechase.com www.ultimatechase.com
U OF AL/CNTR FOR PUBLIC TV
800-828-4545 VENTURE MEDIA
TELLURIDE STOCK
212-774-8657 mnicholson@imgworld.com www.twiarchive.com
yourfriends@superstock.com www.superstock.com
seaphototapelibrary@cox.net
SEVERE WEATHER
TWI ARCHIVE
studio1@studio1productions.com www.studio1productions.com
402-874-9229 SUPER STOCK
sava@savafilm.com www.savafilm.com
404-622-0300 marc@tsunamifilms.com www.tsunamifilms.com
decroix@streamlinefilms.com www.streamlinefilms.com
rachel@sagebrushvideo.com www.sagebrushvideo.com
SAVAFILM
808-935-5557 redhotlava@hawaii.rr.com www.tropicalvisions.com
212-925-2547 TSUNAMI FILMS
dpeck@reelininthe years.com www.reelinintheyears.com
ROBERT BERNING PRODUCTIONS
TROPICAL VISIONS VIDEO INC
WTTW PBS STOCK FOOTAGE
773-509-5410 digitalarchives@wttw.com www.wttwdigitalarchives.com
info@triangleimages.com www.triangleimages.com
Film • Video • Animation • Audio • Locations • People
aMAR2503_MayJune2010
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3:53 PM
Stock Footage Libraries continued from p.20
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[Right] Artbeats captured the city of Honolulu along Waikiki Beach. Photo courtesy of Artbeats
Overall a rights-managed footage house, Global ImageWorks has been experimenting with royalty-free footage to meet varying needs. “We have some royalty-free materials, and some filmmakers have asked us to offer their material royalty-free, so we’re giving it a try,” she explains. As its name implies, Oddball Film + Video makes a business of seeking out the strange. While he recognizes the need for large footage libraries, Parr says Oddball doesn’t “try to be all things to all clients. There’s so much footage available on the Internet that people are always saying, ‘We don’t want the same footage we always see, we want something different.’ So I look for B roll, news outtakes, home movies, unique things that fill in the cracks.” With holdings of over 50,000 archival and contemporary 35mm, 16mm and HD media elements, many digitized for immediate online distribution, Oddball has filled a need for the nuanced for over 25 years. Its international client list includes major networks, commercial projects and famous directors who seek shots that “encompass a global vision of pop culture.” Its comprehensive collection of archival and contemporary footage of India and the subcontinent includes Hindu spiritual festivals and bizarre rituals in which ancient traditions and modern influence collide in a compelling juxtaposition of iconic imagery. When military footage is needed, particularly of a historical nature, Lou Reda Productions (www.redafilms.com) is usually the name producers turn to. Having developed relationships with all five branches of the US military and collected armed-services footage for 35 years, Lou Reda has transferred and archived over 17,000 hours of footage from 1897 to the present, garnering the designation of the largest, privately-held library in the [Above] world. Because military museums are generally understaffed, under-equipped and under- Sunset-flamed trees from budgeted, valuable footage often sits around in cartons, unable to be viewed even by mili- FootageBank HD were licensed for the ABC pilot, Off The Map. tary archivists because of lack of playback technologies. As a service to the museums, Lou Photo courtesy of FootageBank Reda has long cleaned and logged archived films, transferred them to HD inhouse, and then returned the original films to the museums along with a digital copy and a • TODAY’S WISH: detailed log. In exchange, Lou Reda is allowed to keep a SONY XDCAM EX PMW-350 copy for licensing. The newest wow. Such an arrangement puts the library in an ideal posiRENTAL tion to discover hidden jewels that sometimes have not SALES seen the light of day for decades. Because of Lou Reda’s SERVICE unique expertise, franchises like The History Channel rely SYSTEM DESIGN heavily on the company to research and pull footage for & INTEGRATION their programs. Managing director Scott Reda estimates the library has provided footage for 300 History Channel productions alone. So when the cablenet was considering a color HD production on World War II, it naturally approached Lou Reda. The two-year effort had a Lou Reda researcher working at the National Archives for six months and international researchers looking for color footage that had never been seen before. A prize find came from a box obtained from the Navy, which had no idea of the contents: film footage taken by a soldier, the first reel of which contained a whole new angle on the Japanese surrender on the U.S.S. Missouri. The material became a key shot in a History Channel production which Unsurpassed in technical premiered last November. support & customer service Framepool’s Carstens believes that “the stock-footage since 1984. industry has a big growth potential” because of its role as a cost-efficient and time-effective tool in the creative process. “Collections which can offer a great variety of contact us for a free camera demo high-quality footage, short reaction times and great cus800.232.4564 / 305.669.1117 / miami / www.midtownvideo.com / 24/7/365 tomer service are best positioned.”
HD WISH FULFILLMENT, MADE EZ.
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Setting the Stage(s) for Production Coast to Coast
BY MARK R. SMITH [Above] Full Sail University (www.fullsail.edu) in Winter Park, Florida recently unveiled the 22,000 square-foot Full Sail Studios Gateway Project which includes an illuminated main archway that serves as the official entrance to the school’s Hollywood-style film backlot. The backlot, which totals 2,078 linear feet and offers 19 different outdoor scenic environments, is available to industry professionals and is used daily for student class projects. It features such iconic locations as the Seattle Fish Market, New Orleans French Quarter, Amsterdam and New York City brownstone neighborhoods as well as generic locations like a gas station, multiple urban and suburban storefronts, a Venetian-style bridge and studio water tower.
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It’s been a challenging economy for just about everyone in every industry, including the companies that set the stage(s) for the country’s movie and TV output. But major stage complexes nationwide are staying profitable by catering to new markets, investing in infrastructure and offering new capabilities while promoting those oh-so-crucial tax incentives that progressive states offer. That translates to more prospects, more work, more expansion and more content on a screen near you. Film • Video • Animation • Audio • Locations • People
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RALEIGH GOES INTERNATIONAL
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aleigh Studios (www.raleighstudios.com) is, in a word, huge, in stature and dimensions: In Hollywood, it offers 12 stages,
ranging from 2,000 square feet to 16,320 square feet in size; in nearby Manhattan Beach it runs 14 stages from 18,000 square feet to 25,350 square feet; and in Playa Vista it has six stages starting at about 10,000 square feet, with two tallying more than 75,000 square feet. The company bills them as the country’s largest. But that’s just in California. Down South, Raleigh also operates Celtic Media Centre in Baton Rouge, Louisiana, where eight stages range from 4,125 square feet to 29,000 square feet, and it just entered a management deal with Atlanta-based Riverwood, a four-stage studio that doubles as a backlot for classic Americana-type productions. Then there’s the new facility, Raleigh Studios Budapest, featuring nine stages, including a 45,000 square-footer, and inspired by strong Hungarian production incentives. Raleigh also has plans to break ground by the end of summer for the approximately 600,000 square-foot Motown Motion Picture Studios at the Pontiac Centerpoint Business Campus. It’s expected to employ more than 4,000 workers in the Detroit area and draw incentivized producers to another turnkey studio complex.
Activity in each location varies. Hollywood is all TV programming, including Castle and Private Practice for ABC and The Closer for TNT; Manhattan Beach, the headquarters of Marvel Studios, hosted Iron Man 2 and now Thor plus Beverly Hills 90210 for FOX, and CSI: Miami and Medium on CBS. The Playa location, once business tycoon Howard Hughes’s airplane hangar, “is home to any shoot that requires a lot of space,” says Michael Newport, director of marketing and client development for Raleigh. The Transformers series was shot there, with more shows on the way. Business on the West Coast has been good, as those credits would suggest. “We’re at 100 percent capacity in Hollywood and Playa, and we almost are [there] at Manhattan Beach,” notes Newport. He’s looking for an upswing elsewhere, too. “There’s considerable interest in tax-credit areas [where] we have our footprint. Louisiana is probably the most established, and I would call it a good model for the rest of the country,” he says. Credits include Battle: Los Angeles from Sony and the upcoming Battleship for NBC Universal. But it’s Budapest, which will host the feature Monte Carlo from FOX, that’s garnering the attention these days. “It’s probably our most impressive studio,” Newport says. Linked to Fotokem’s Burbank lab facility, it offers total postproduction capabilities. “This is a game changer because it brings everything people are used to doing in LA to Budapest.” In response to “Why Budapest?” his answer is simple. “They have a great incentive plan, and we are hoping that the same thing that happened in Canada during the ’90s will happen there, too.” www.markeemag.com
[Left] Prepping a shot on the set of Beverly Hills 90210 at Raleigh’s Manhattan Beach studio.
[Middle] Raleigh Studios Budapest just opened in the Hungarian capital.
[Right] Rendering of Raleigh’s planned Motown Motion Picture Studios in metro Detroit.
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AUSTIN STUDIOS IS TEXAS-SIZED
T
[Left] Austin Studios hosted the Make Watch Love Film Party when infrastructure improvements were complete.
[Right] Austin Studios’ Stage 3 cyc wall is believed to be the country’s third largest.
here’s nothing like having a huge Hollywood movie in town, such as the Coen brothers’ remake of True Grit, to create fan interest and provide
a healthy infusion to a state’s bottom line — which is the whole idea, isn’t it? That’s what makes Catherine Parrington a happy camper. She’s director of operations for Austin Studios (www.austinstudios.org), a 20-acre facility operated by the Austin Film Society. It offers 100,000 square feet of production space in five stages that range between 29,000 and 16,000 square feet and houses the largest cyc wall in Texas, 87x23 feet on each side. “As far as we know, it’s the third largest in the nation,” she says. Although Austin Studios originally opened 10 years ago and has hosted 55 films, it held a grand reopening about 18 months ago after a city bond issue for the arts was approved. “That gave us $6 million to upgrade the facility,” Parrington reports. “We fully sound-proofed Stages 3 and 5, which each have 50 tons of silent HVAC; the whole campus is now digital infrastructure and wireless; plus we enhanced the cyc wall.” The campus also provides support services and vendors onsite, including Chapman-Leonard, Rhino Grip and various rental companies. Currently, the 28,000 square-foot Stage 4 is being remodeled to create seven rehearsal studios for a newlysigned, long-term tenant, Soundcheck Austin, which provides band support services — and hopefully more movie production. While there was some controversy in the local film industry about sacrificing the soundstage to a music company, Parrington calls the decision a success. “We’re gaining continuing business that might bring production with it,” she says. “The funny thing is that [Soundcheck Austin] just opened and their first [space] rental was to Paramount’s True Grit.” True Grit is delivering big economic clout to all of Austin Studios these days. It has taken up “every available space on the entire campus since before Thanksgiving,” according to Parrington. Before November 2009, the stages hosted two films by Texas native Robert Rodriguez: Predator from FOX and the lower-budget Machete from Hyde Park Entertainment. Efforts are underway to find new bookings after True Grit vacates in June. “The campus has been booked solid for a year,” Parrington says. “It’s been our best in our 10year history, and we have continuous holds coming up from another Hollywood feature and perhaps a series from FOX TV.” The next push for Austin Studios comes in 2012, when the adjacent National Guard building becomes available and expansion begins. “The expansion won’t cost anything initially,” she says, noting that the facility is on land leased from the city and the lease has been renewed to include the Guard building. “All we have to do is the upkeep, but we’re getting ready for fundraising efforts to repair and renovate the entire facility,” which is estimated to cost about $4 million.
NORTHSTAR IS REVAMPED ’N READY
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hile the occasional indie film visits NorthStar Studios (www.northstarstudios.tv) in Nashville, its market is primarily TV production.
The facility encompasses four large stages (A through D) that span the 125,000 square-foot campus and are approved for audiences of up to 300. They each measure about 65x65x24 feet and form a giant square with partitions separating them; space may be allocated as required by moving the partitions.
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Then there are three smaller stages that are typically used for cooking shows, including 21x29-foot Studio E that has single cameras for stand-ups. The big news is NorthStar’s $4 million-plus HD studio upgrade for the seven stages. It entailed adding five Sony PDW-F800 cameras connected via Telecast Fiber Systems’ CopperHead 3200 camera-mounted fiber-optic transceivers “so we have complete control of the cameras from our video control area,” says Mike Arnold, vice president of engineering. The reason NorthStar chose the Sony HD cameras “was the flexibility they give us to shoot in a multi-camera studio environment or a 24p film-style shoot,” says president Grant Barbre, citing projects such as pilots for cable outlets RFD-TV and BizTelevision and shows for Knoxville-based Scripps Networks properties, including Food Network, HGTV and DIY Network. The facility also updated its three control rooms with Miranda Kaleido-X systems that feature multi-image monitors with an unlimited ability to display any source at any size. In addition, NorthStar upgraded the audio in these rooms. “Since we’re in Nashville, we do a lot of music, so we installed Digidesign Venue systems in all three control rooms,” Arnold reports. “They’re set up with a stage rack in each studio with up to 48 mic inputs. So basically, we can connect any studio to any control room with the flip of a switch.” NorthStar also added a full-service postproduction facility with three Apple Final Cut Pro HD suites fully networked through Facilis TerraBlock. So clients at NorthStar can “shoot and post [their] HD production in a tapeless environment,” says Barbre.
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[Left] On the set of HGTV’s Design Star at NorthStar Studios.
[Right] Taping Gospel Dream for the Gospel Music Channel at NorthStar Studios.
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Soundstages Recent projects include the new season of Country’s Family Reunion, which features titans of the country music industry reuniting for live performances. The program is syndicated nationally, as is Writer’s Showcase, which brings up to a dozen country songwriters together to discuss their art. Also in the mix are 13 episodes of Gospel Dream, which airs on Gospel Music Channel, 13 shows for the HGTV Design Star series’ last season plus business-to-business and news programming for FOX News Channel, such as FOX News Sunday with Chris Wallace. Business has been tougher than usual for the last year, of course, but Barbre reports that NorthStar has been “keeping competitive with pricing this year and holding our own. Otherwise,” he notes, “we wouldn’t have invested in our infrastucture.”
KAUFMAN ASTORIA BUILDS ON HISTORY
N [Left] Kaufman Astoria Studios just unveiled 18,000 square-foot Stage K which will host Men In Black 3 this fall.
[Middle] New York City’s historic Kaufman Astoria Studios.
[Right] Sesame Street is a longtime resident at New York City’s Kaufman Astoria Studios.
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ew York City’s historic Kaufman Astoria Studios (KAS) opened its doors in 1920 and was a hub for silent and sound films for two
decades before the Army took it over in 1942. It functioned as the Signal Corps Photographic Center until 1970; production returned in 1975 and KAS (www.kaufmanastoria.com) was officially reborn in 1980. Today, it offers seven turnkey soundstages with the largest, Studio E, occupying 26,000 square feet. President Hal Rosenbluth notes that “energy-filled” New York always got its fair share of film and television work until business shrank in the aftermath of the September 11 attack and unfavorable production cost comparisons with Canada, Eastern Europe and other states that began to introduce tax incentive programs. “The cost gap grew to a point where even a star-driven concept wasn’t enough to keep the project in New York,” he notes. Things began to turn around in 2004 when New York State launched a 10 percent tax credit on below-the-line expenses. That was enough “to allow creatives [pitching shooting in New York] to have a fair shot in the argument with financial people,” Rosenbluth reports. Two years later the pool supporting the tax-credit program was increased, and in 2008 the credit was upped to 30 percent (New York City offers another 5 percent tax credit). Despite state budget woes, the pool grew again last year, and a five-year, 30 percent program has been proposed. “There’s enough data today to show the tax-incentive program delivers a positive return to New York State,” says Rosenbluth. “Film and television production has been one of the few growth industries in the state in the last few years.” For its part, KAS recently opened Stage K, an 18,000 square-foot soundstage with 22,000 square feet of support space and offices. It has already hosted a roster of commercials and is prepping for the arrival of the feature, Men In Black 3, this fall. Other stages are currently servicing The Smurfs Movie, season three of Showtime’s Nurse Jackie, and the iconic Sesame Street, which has been a resident since 1994. The company’s K/A/S Lighting division has “quickly grown to serve productions here and on location,” Rosenbluth reports. “It also services productions not utilizing our studios, including the Vancouver Olympics.”
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KAS Music & Sound is also gaining recognition. “It’s probably the finest recording facility in New York if not on the East Coast,” says Rosenbluth. “Its acoustics are pretty nearly perfect” as clients like Placido Domingo would attest, and productions requiring ADR are happy to be accommodated on the lot. KAS is home to a number of tenants from independent producers to VFX and titling companies. The complex has “changed the dynamics” of its neighborhood as well, attracting new restaurants and fast-food chains and reinvigorating area shopping. With stages now flanking both sides of KAS’s 36th street location in Astoria, Queens, a secure area Rosenbluth calls an “outdoor blackbox theater” is on the drawing board. It would act as a slightly unconventional backlot. “Producers come to New York to shoot New York, but sometimes it’s easier not to take the whole army onto the streets of Manhattan,” he explains. The secure area would give producers an alternative to closing off streets in Manhattan for an effects shoot, for example, or accommodate shots that would require a long stay on site. “It will add another dimension to our services here,” Rosenbluth declares.
ALBUQUERQUE IS BRACED FOR RECOVERY
W
ayne Rauschenberger is three months into a job that most anyone in the production business would love.
After all, the COO of Albuquerque Studios (www.abqstudios.com) works in a modern facility that launched three years ago in New Mexico, a state renowned for it generous production incentive program. Within the last year the studios have hosted the features The Book of Eli, Due Date, The Resident, Let Me In, and Passion Play. While all systems are ‘go’ under its roof, business has
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[Left] Albuquerque Studios’ facilities host numerous features and TV series. Photo courtesy of and © Albuquerque Studios 2010
[Right] Stage interior at Albuquerque Studios. Photo courtesy of and © Albuquerque Studios 2010
been slow this year, but Rauschenberger sees more production gearing up as the economy starts to recover. Albuquerque Studios “has had a lot of interest from studios, as far as holding stages goes, for various projects. But we don’t have down payments yet,” he says. Columbia, FOX, Dreamworks and Paramount have all inquired about space. “This is not uncommon, however. They’re just covering their bases. Fluctuating schedules cause a bit of a juggling act here, so a lot needs to happen before the idea gets kicked off, and the studio starts moving sets. But you play the odds and hope that you get one or two” of the pending productions. On the TV front, AMC’s critically-acclaimed Breaking Bad is shooting season three on Albuquerque Studios’ lot, but the show is currently on hiatus; Scoundrels, a Disney/ABC series starring Virginia Madsen that debuts this summer, also shot at the complex. The facility is home to ReelzChannel, an independent cable channel that reviews movies and trends in the industry. It produces programming in the studios, including shows with famed critic Leonard Maltin. Albuquerque Studios boasts eight soundstages, including four measuring 24,000 square feet each; the other four each have dimensions of 18,000 square feet. All were built in pairs with fullyoperational, soundproof walls to facilitate greater production flexibility; all of the larger stages can be paired off and combined as can two of the smaller ones. Each pair includes offices. The facility also offers about 100,000 square feet of mill space, plus considerable open space to work around the stages. Rauschenberger notes that New Mexico is “probably doing better than most states with location shoots,” citing ongoing production for Hollywood flicks like True Grit and Cowboys and Aliens. “Yet, those productions have not called for heavy stagework.” But when they do, he knows where to direct them. “There are some smaller warehouses and conversions elsewhere in New Mexico, but we’re the big place that was built for movies,” he says. “Producers cut corners during a bad economy, but when they need a shot and the cameraman is 50 feet in the air panning, he needs the additional space we offer. We get some business for that reason only.”
SECOND LINE GREENS NOLA
A
new player in the nation’s soundstage market officially opened in March, nestled near the banks of the Mississippi River in New
Orleans’s tony lower Garden District. However, by then, Second Line Stages (www.secondlinestages.com) — the first green studio in the country — had already passed its first screen test with a ‘thumbs up’ from Hollywood. The facility initially opened it stages toward the end of 2009 for the major feature Mechanic and by January was occupied by the crew of the Warner Bros. feature, The Green Lantern. The latter commitment “should extend to August,” says Kevin Murphy, director of studio operations, who notes that the production has taken all of Second Line’s approximately 250,000 square feet of stage and support space, as well as the parking lot.
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Second Line is metro New Orleans’s only studio facility built with the production industry in mind, as well as the only LEED-certified green film studio in the U.S. The facility’s accommodations encompass three soundstages: the largest, 18,000 square feet, has a catwalk system, which no other facility in Louisiana can offer; the other two large stages, with dimensions of 12,500 and 7,500 square feet, are also built to industry standards. And all three are NC-25 soundproofed. Also under the roof is an additional 50,000 square feet for mill, staging and support services. “In addition, we’re aligned with several vendors,” says Murphy. The largest, TM Motion Picture Equipment Rentals, is Second Line’s lighting and grip vendor. As shooting for The Green Lantern wraps toward summer’s end, Murphy and crew are “talking to several companies about [rentals] when the space becomes available. If a feature comes to New Orleans that requires [a] first-class facility, we will fill that bill,” he says. “Warner Bros. would have had to go elsewhere to shoot The Green Lantern if this facility did not exist — even with the generous tax credits that Louisiana has in place.” Murphy notes that the district where Second Line was built is “one of the last unencumbered areas in the city” that is close to the river and easily accessible to the airport and the city’s amenities. “That’s important,” he says, “because when people come to shoot a movie, you need hotels, support services and quality restaurants and entertainment. You need the ancillary support services to tie up the whole package. That’s where our tourism comes in. This is really another big convention.”
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[Left] Second Line Stages’ office building jazzes up the New Orleans night.
[Right] Entrance to Stage 2 at Second Line Stages.
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Spotlight
MidAmerica
[Above] Cretaceous chalk formations at Monument Rocks in western Kansas. Photo by Meredith Corporation©/John Noltner
[Right] Des Moines skyline and downtown Blue Bridge. Photo by Colby Clark
MidAmerica
Heartland Serves Up Big Slice of For a region that’s often identified with broad sweeps of flat land, the states that comprise America’s
BY MARK R. SMITH
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Heartland actually offer a range of landscapes and cityscapes that the production community knows can help make a production. What the states in MidAmerica lack in incentives – Missouri has the fullest till at $4.5 million – they make up for in looks, from the beauties of The Great Outdoors to the charms of small-town America. Film • Video • Animation • Audio • Locations • People
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[Left] Mount Rushmore National Memorial, South Dakota Photo by South Dakota Office of Tourism
[Middle] On the set of Meet Bill in O’Fallon, Missouri.
[Above] The Convincer shot in and around the Twin Cities for 30 days in February and March; Dick Pope was the DP.
Minnesota Looks to Build on Snowbate, 3D Prospects While Minnesota has been limited in what it can offer the production community in the way of incentives, Lucinda Winter is hoping that the rising stereoscopic 3D market will help propel Minnesota’s strong production and postproduction base toward the forefront of the industry. The executive director of the Minnesota Film & TV Board thinks that “eventually, some percentage of TV series and spots will be acquired and produced in 3D. And that will be a wide-open market. We’re trying to get everyone on board before the wave hits. That way, producers can come here to find people who are experienced in lighting, shooting and posting in 3D. Major League Baseball just announced that it will broadcast a game on our local CBS affiliate, WCCO, in 3D, so that’s already happening.” Winter hopes for more incentive money after the state’s administration changes in November. The Snowbate rebate program offers a reimbursement of 15-20% of Minnesota production expenditures. The incentive is available to feature films, national television or Internet programs, commercials, music videos and documentaries. Funding for the current fiscal year is just $1.25 million, available until expended. “We would like to build on what we have and increase the funds available for Snowbate,” she says. Minnesota’s metrics point to the value of film and video production. The state’s most recent report on revenues, from June 2009, reveals a $15 million direct spend; during www.markeemag.com
Splice Dishes Up Edwards Ice Cream Minneapolis-based post house Splice (www.splicehere.tv) recently edited “Awards Show,” a national :30 spot for Edwards Ice Cream’s Singles Hot Molten Lava Chocolate Cake from agency Brew/Minneapolis. Peter Chelsom of Independent Media directed in LA with DP Barry Peterson manning two Sony F35s and a RED camera. “Just about every single shot has some type of effects work,” notes executive producer Kel Nelson. “We did everything on the post side — but I was the agency’s producer and our VFX designer, Tom Reiner, assisted.” Splice did the edit and color grading on Apple’s Final Cut Studio 3 tapping Adobe After Effects, CS4, Imagineer Systems’ Mocha, Syntheyes and CINEMA 4D for the extensive effects. The commercial airs this summer, when viewers will see how Splice “made a small-scale food idea more cinematic.”
Cinequipt Supplies Geek Squad Among recent work for Cinequipt (www.cinequipt.com) in Minneapolis is a corporate project for locally-based Best Buy’s Geek Squad service. The company supplied two Panasonic AGHPX500 cameras, a tungsten lighting package, several Panasonic BT LH17-10 monitors and a studio grip package for the threeday shoot. “Best Buy has been a consistent user of the company throughout the past couple decades,” says Cinequipt general manager Greg Meyers. Billed as the #1 source for film, video, lighting and grip equipment rental in the Upper Midwest, Cinequipt also rents the Canon 5D Mark II and EOS 7D Digital SLRs, “which have made a strong entry into our market,” Meyers reports. The company is
adding a 3-ton grip truck with another tungsten package, has acquired two 1800-watt Arrimaxs and a wider variety of LED lighting, and has two ARRI Alexa digital cameras en route.
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that same period the state picked up the equivalent of 349 full-time jobs. The most recent feature to shoot in Minnesota wrapped in March and had “a good indie-sized budget” in the $4-5 million range. The Convincer tells the story of a salesman’s search for a rare musical instrument that triggers a series of dramatic consequences. The Midwestern crime drama starred Greg Kinnear, Alan Arkin, Billy Crudup and Leah Thompson, and was financed and produced by the Minnesota company Werc Werk Works. A fall release is planned. Next will come Stuck Between Stations, an indie film inspired by a song by Minneapolis rock band The Hold Steady. Starring Sam Rosen, it was written and directed by Brady Kiernan and concerns a couple thrown together by the whirlwind of a strange evening’s events. Minnesota also hosted some cable TV series, including The History Channel’s Monster Quest, The Sportsmen’s Channel’s Born to Be Wild, Food Network’s Diners, Drive-Ins & Dives and segments for Travel Channel’s Bizarre Foods With Andrew Zimmern. The state does a considerable amount of spot work, says Winter, “because we have a number of large corporate headquarters here,” including Best Buy (which last year spent $18 million through its Yellow Tag Productions), Target and Buffalo Wild Wings. Also, the four major sports leagues have franchises in Minneapolis/St. Paul, which keeps superstars such as Joe Mauer of the Minnesota Twins in demand for commercial appearances.
Iowa Struggles to Overcome Scandal Iowa governor Chet Culver has suspended the state’s film incentive program until 2013 in the wake of allegations of abuses by former Iowa Film Office manager Tom Wheeler and others. Wheeler has been criminally charged with nonfelonious misconduct in office, and two filmmakers have been charged with firstdegree theft. Prosecutors say more than $1.85 million in tax credits were fraudulently obtained for the movie The Scientist; another incident charges other filmmakers with attempting to turn tax credits into luxury-vehicle purchases. Also at issue is the state’s liability to reimburse the producers of projects completed in Iowa last year. Nineteen films that wrapped before the September suspension are presumably due tax credits. To date, more than half of 99 active projects in various stages of preproduction and Shot in spring 2009 with the RED camera and five Nikon lenses, the show is being edited production have either been halted, lack fundon an Apple Final Cut Pro HD system with RAID ing or moved to another state, reports Becky array; the RED Rocket accelerator card expeGruening, director of the Greater Des Moines dites posting RED RAW files. Also underway: the low-budget indie, Fortnight, with Newman Film Commission. She notes that just six major serving as DP. film productions are likely to proceed with
Preserving Iowa’s Land at Full Spectrum The mention of Iowa conjures up bucolic landscapes, and Full Spectrum Productions of Des Moines (www.fullspectrum productions.com) addressed those musings by producing The Land Remains, a one-hour program for Iowa Public Television on conservation and stewardship options for landowners. The project “invokes the spirit of Aldo Leopold, author of A Sand County Almanac,” says president Kent Newman (at left in picture), and includes interviews with Tom Vilsack, former Iowa governor and current U.S. Secretary of Agriculture. “Iowa has some of the richest soil in the world. It’s the # 1 producer of corn and soybeans in the country — but we’re losing soil and they are not making any more of it.”
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MediaWork Tells Diverse Range of Stories
filming in Iowa in 2010 “if their tax credits are honored at the percentage rate that they It’s the contention of Davenport, were given, which was 50 percent of the Iowa’s MediaWork Productions (www. mediaworkproductions.com) that “every total (cost of production) before September person and every company has a story” 18. Today, the producers are being offered and the company can “help them tell it,” less.” says co-owner/president Rich Webster (pictured seated with Joe Brown). The Film commissions in Des Moines, southfull-service video production house east Iowa and the Quad Cities are still waitshoots a wide range of stories in HD, ing to hear about “the status of 14 projects DVCAM and Beta SP and edits in its Media 100 suite. and if their agreement/contracts will be honMediaWork does fund-raising videos ored as written in 2009,” Gruening says. for non-profits and healthcare-educaFilmmakers are lobbying to delay the suspention programs such as surgical demos which mix footage of procedures with physician interviews and commentary. “We’ve sion of Iowa’s incentives until Jan. 1, 2011. gotten good at having a small footprint and staying out of the way of people doing jobs “That would give us a year to put a much more important than ours,” says Webster of shooting in the OR. The company recently stronger program together and prevent the completed a shoot for America’s Most Wanted and enjoys repeat business from Montel Williams and FOX News. In addition, every four years MediaWork sees “a spike” in state from losing two full seasons of filming,” political work as presidential hopefuls flock to the state. she points out. A number of state legislatures want to revisit the issue in January to create a better program, too. In the meantime, the Iowa Film Office remains open under interim director Jessica Montana. While Iowa currently has no incentives to offer to producers, Gruening says, “We are still selling what we always sell here: our diverse landscapes, such as flat lands, hills, cliffs and rivers, plus small-town America and rural communities. That’s how The Bridges of Madison County and Field of Dreams came to be shot in Iowa in the days before our film incentives.”
Missouri Shows Producers the Money Missouri has a little more money in its incentive fund than many of the smaller players in the Hollywood sweepstakes: The state’s fund is set at $4.5 million, with $3.3 million left for calendar 2010. “We’re trolling for a Hollywood feature now,” says Jerry Jones, director of the Missouri Film Commission, who explained the state’s offer. “A film with a $10 million budget typically spends $6 million on location for qualifying expenses. So that would earn the production about a $2 million credit, since we reimburse 35%.” Missouri also counts out-of-state wages as part of the local spend, and applies them toward the tax credit. “So if the DP comes here from out of state and Missouri income tax is withheld, that counts,” says Jones. Like many film office heads nationwide, Jones feels fortunate that Missouri has the same amount in its till as it did last year. “The legislature was contentious on the subject, due to the economy and because our state has numerous tax credit programs,” he says. “So that made it tougher to get more money for our program this year.” Recent shoots in Missouri include Paramount’s Up In the Air, which shot in St. Louis for seven weeks, and Winter’s Bone, a winner at Sundance in the dramatic competition category, which shot in Branson and Forsyth. Directed by Deborah Granik (a prior Sundance winner), Winter’s Bone was picked up by distributor Coming Attractions and is set for release in June. Missouri’s TV credits include a segment for The History Channel’s Life After People, shot at Bonne Terre Mine, which encompasses the largest underground lake in the world; part of an HBO doc about St. Louis Post-Dispatch founder Joseph Pulitzer, which shot in that city; and a segment for CBS’s 48 Hours about Josh Keezer, who was www.markeemag.com
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Spotlight
MidAmerica
Healthy Market for Avatar
wrongly incarcerated in the Missouri State Penitentiary. From its St. Louis home Also in the mix are Branson, a soon-to-be Avatar Studios (www.avatar-studios.com) has kept busy with Illireleased doc from producer David Wilson nois-based Christie Clinic, the about the entertainment mecca, the “Money subject of a three-spot camTalks” music video from St. Louis native Nelly paign shot and posted by Avatar via agency Jones & and various spots. Thomas/Decatur, Illinois. Avatar With the sesquicentennial of the Pony Express shot in its studio on greenscreen approaching “and a group of indie filmmakers then lensed footage in and around St. Louis using the Sony already on hand to make a doc,” Jones has XDCAM EX camcorder, Pro35 upcoming productions to look forward to. But Zeiss lenses, Fisher 11 dolly and what he wants for Missouri is something most Jimmy Jib. The offline was done on Apple’s Final Cut Pro with the filmmakers want, too. online, compositing and graphics performed on the Avid Nitris DS. Avatar owner Bill Faris “Producers from Up In the Air have told me was the campaign’s director and Doug Hastings its DP. that, from the executive producer’s standpoint, a Faris says the company is expanding its global reach through Avatar International working on projects “such as content, distribution and display on big HD boards” for clients like state should have a pool of $30 million” in its Anheuser-Busch Satellite Network. incentive fund, “because that way there are no worries that the money will be gone by wrap time. And while no one would take (incentive) money away (from a production already shooting in the state), that’s the reality vs. the perception.”
House of Motion Finds Itself in Sin Bin
St. Louis-based House of Motion’s (www.motionphotography.us) owner/operator Dave Rutherford recently relied on the G-70 Steadicam equipped with an ARRI Lite 35mm with anamorphic lenses to shoot an indie comedy in Chicago, Sin Bin, from director Billy Federighi. “It’s interesting shooting anamorphic lenses since they’re so wide,” says Rutherford (pictured shooting Steadicam for the action flick The Tournament), “but you have to watch your horizon levels a little more, plus the lenses are heavier than the camera and the magazine combined.” His rig also consisted of an MK-V four-post sled used to shoot taller actors. Lately, Rutherford’s biggest client is the Four Seasons hotel chain. He’s been
Kansas Pitching to Resume Funding Peter Jasso is feeling the pain that many film office directors around the country are also experiencing — Kansas had its relatively small $2 million incentive fund suspended by the state’s legislature for 2009 and 2010. What to do? “We’ll be working within the industry to make our pitch at the start of the 2011 legislative session,” which starts in January, says Jasso, the director of the Kansas Film traveling nationwide shooting its Commission, who now works as a solo act. customized TV program, Luxury Explorer, on the Sony F-900 Still, some indie films shot in the state during the past HDCAM. In addition he’s shootyear. One was a “Bollywood”-style Telugu-language film ing MonsterFish for National called Afterlife (or Maro Charitra), a romance directed by Geographic Channel on Panasonic’s VariCam and AJ-HDX900 Indian cinematographer Ravi Yadav. It included an Indian cameras. cast and crew that visited various locations in Kansas and other states. Almost ready for the marquee in Kansas is the horror film Nailbiter which was still in production at press time. From local filmmaker and horror vet Patrick Rea, the movie tells the story of a mother and her daughters taking cover from a tornado and discovering they’ve sheltered with a terrifying creature. The Only Good Indian, a period drama directed by University of Kansas professor, Kevin Willmott, also wrapped within the last year. Shot in various Kansas locations, including Lawrence and Wichita, it starred Channel. He typically hires crew and Wes Studi and is airing on Starz cable. shoots with Panasonic HD cameras, One popular attraction in Kansas is Western “from VariCams to P2s,” and edits on Frontier Adventure, a combination tourist and proApple’s Final Cut Pro. Henson is also in demand to write, produce and direct for duction locale in the town of Easton. It’s often others. His long-term goal is “to make employed for projects ranging from movies and documentaries of substance and interest spots to cable programming, including several scenes to me,” and to that end he has several docs in development. for The History Channel’s America: The Story of Us.
ObliquityHD’s Full-Service Capabilities Prove Advantageous Diversity reigns at ObliquityHD (www.obliquityhd.com) in Lenexa, Kansas where owner Scott Henson (pictured, left, with jib) writes, produces and directs a wide range of projects originating in the Kansas City, Missouri metro area. In the current economic climate “everyone is trying to figure out what they can do to move forward,” he says. “My ability to do a number of things works to my advantage.” Henson’s production company creates high-end corporate marketing and web videos, regional and local spots and documentaries, including Inside the Presidency, about the Eisenhower-Nixon relationship, which aired on The History
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Speaking of television, promos for Kirstie Alley’s A&E reality show, Kirstie Alley’s Big Life, were shot in Wichita. John Deere produced a long-form spot in the Lawrence area. While its tax incentives are on hold, Kansas (a right-to-work state) does offer a break on its hotel occupancy tax for stays of longer than 28 days. Jasso is looking at other avenues to promote the industry, too, such as working with the University of Kansas’s film department to stage programs and workshops and maximizing PR opportunities at the Kansas City FilmFest, Kansas International Film Festival and the Tallgrass Film Festival.
Nebraska Showcases Strong Indie Presence
Wichita’s Intake Studio Launches Kansas City Division Intake Studio (www.intake studio.com), the Wichita-based motion graphics, VFX, animation, editorial and production company, has opened a satellite division in Kansas City, Missouri, reports president Troy Lott (pictured, left, with fellow principals Heath Balderston and Todd Schwartz). The new space expands the company’s offerings for commercials, cross-platform advertising and interactive media and provides a centrally-located creative resource for agencies in the region. Earlier, Intake Studio’s flagship office doubled its size and talent roster. It netted a dozen wins at this year’s Wichita and Tulsa ADDYs, including Best of Broadcasting honors for its animated Tulsa Health
Nebraska is another MidAmerican state that does not offer film incentives, yet film officer Laurie Richards of the Nebraska Film Office says the locals are tuned into the fact that the industry is a big moneymaker. While she doesn’t foresee getting any incentive money anytime soon, “the Nebraska Film Association has been coordinating an effort to promote incentives, and there have been several senators that are interested in film legislation,” she reports. Nevertheless, the indie film industry has made its presence felt in Nebraska with recent productions such as April Showers from director Andrew Robinson, which shot in Plattsmouth; Lovely, Still, directed by Nik Fackler, which lensed in Omaha; and For Love of Amy, directed by Ted Lange, which shot in Omaha and Council Bluffs, Iowa. And in mid-spring, there was a casting call from LA for the suspense/mystery thriller, Geocachers. Directed by David Willnerd, shooting commenced in June in the town of Western, Nebraska. Another indie, Trunked, is slated to lens at the same time in Lincoln. The only Hollywood movie to visit in recent years was Up In the Air, which spent just one day in Omaha where the story was set. If Nebraska had film incentives would the producers have shot in state? “Absolutely,” Richards says. “The director, Jason Reitman, and the producers made it known that they would have spent a lot more time in Omaha if we had been able to offer film incentives.” While there isn’t much TV production in Director partners Rod Jensen Nebraska, the state does have an active spot and Steve Thiesfeld enjoy “the market. “The locals know where they want to best of both worlds,” says Jensen, working independently shoot and it is beneficial that there is no permitor with the support of Omaha’s ting process necessary in the state,” Richards The Great Plains Motion Picture reports. Company (www.thegreatplains .com), which they opened 20 One location hotspot is the Old Market in years ago. The company offers an early 20th-century building in Omaha’s a 5-ton grip and lighting truck warehouse district. There are a plethora of plus three HD editing suites, one with an Autodesk Smoke. prairies and interesting geological features in Jensen and Thiesfeld shoot coast to coast, the area, like Chimney Rock, Jail Rock and often lensing spots for fast-food, Courthouse Rock. banking/financial and healthcare clients. Jensen recently directed and shot a “We have little pockets of activity here and promotional video from Ervin Integratwe have all of the basics, just not the incened/Omaha for Sacramento-based Barrier tives,” says Richards. “I would say that we’re a Systems, which makes movable concrete barriers for traffic management. He gathwell-kept secret.”
Department campaign. “Intake Studio is like the little engine that could – steadily building a reputation and brand that reflect our philosophy and commitment to our craft as we gain momentum, attract more challenging work and maximize the production value our clients get out of every dollar,” says Lott.
Great Plains Motion Picture Company Zips Through Traffic
www.markeemag.com
ered six additional DPs and mustered two RED cameras, a Canon 5D for timelapse and HD stick cameras on Philadelphia’s Ben Franklin Bridge and a stretch of the I-30 in Dallas. “They were very challenging locations. No camera cars were allowed, and we couldn’t pose any traffic hazards while we captured the Zipper machine moving the barriers.”
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Video Arts Delivers National TV Programming Art and Mary Ann Phillips are the married co-owners of Fargo’s Video Arts Studios (www.videoartsstudios.com), but this is no mom & pop business. The company has produced radio and TV commercials, corporate presentations and TV programming around the world since 1982; Hired Gums (www.hiredgums.com) is their national voiceover service. Video Arts shoots HD or SD on location or on its 2,000 square-foot greenscreen stage. The John Storyk-designed facility features two audio studios and a pair of HD online edit suites; a 1-ton grip truck is also available. Continued work in the commercial and corporate arenas is Video Arts’ mainstay, but general manager Art Philiips notes that “it is exciting to be working with Discovery Health, The History Channel and other networks producing television programming.” The company’s most recent “delivery” was Births Beyond Belief, a one-hour show that aired on Discovery Health (Troy Parkinson, Mitch Lee and Zach Marion pictured, left to right, shooting in Hawaii).
Dakotas Offer Own Cost Savings
While North Dakota doesn’t offer film tax incentives and sticks to assisting producers with scouting through referrals from its tourism division, the effort is more focused south of the border, where the South Dakota Film Office does offer incentives. To qualify, a production must exceed $250,000 in taxable costs incurred within the state; at that point, 100% of the sales and excise tax can be refunded. That typically amounts to about 6% of the total spend, according to spokesperson Katlyn Richter. Also, if production crew (or anyone else) rents a hotel room in South Dakota for 28 consecutive days, the production is exempt from the city and state tax. The only caveat is that productions must apply 30 days before a shoot, and then send in receipts for the refund within 60 days after completion of the project. Richter says shooting in South Dakota actually has more to do with what the state promotes as its “built-in” incentive — that is, no income tax on its citizens and corporations. “That makes for a bigger bang for the buck and has proven to be a good bargaining wedge.” Richter also notes that obtaining products and services is very cost effective in the state, since its cost of living is relatively low compared to most of the country. “And we also have a talented crew base that’s willing to travel the entire 400-plus miles across the state to work on productions,” she says. Another part of the equation is that the state is home to several universities offering arts programs with film classes. “All of those factors help, as do our various landscapes, from agricultural Midwest to mountains for that rugged, western look to the endless, wide-open spaces with roaming buffalo and rolling prairies,” Richter notes. Recent productions include a BBC doc about “Wizard of Oz” author L. Frank Baum, most of which was shot on location in the central part of South Dakota last spring. On the indie front, Ephraim Media’s Courageous Hart was shot 100% in the state. Written and directed by Tim Appel, it’s the story of a young boxer who uses the talents he learned from his boxer-father to rise from poverty and pay for an operation for his childhood sweetheart. Also of note is You Don’t Know Bertha Constantine, an indie short that illustrates the beauty of love and the outrageous acts it inspires. Written, directed and produced by Andrew Kightlinger, it’s set in the Badlands. Sara Coleman, director of the North Dakota Tourism Division office, says there has been some indie film activisecutive days, which paid off with ty in the state in recent years but has no way to track it. six episodes that aired last fall. She reports more calls to her office and more interest in What’s next? “More of the same shooting in North Dakota in the last six months than in next season,” reports Chris. Plus spot work for the Black Hills Playhouse the past several years. Not having to get permits from the and the Black Hills Film Festival and state is a big advantage for producers, she notes, although the indie film, You Don't Know Bertha some cities do require permitting. Constantine, in the Badlands.
Crow Ridge Grip and Audio Go Full Throttle The reality TV phenomenon has been a revenue generator for Rapid City-based Crow Ridge Productions (www.crowridgeproductions .com), which offers professional services for film and video as well as western South Dakota’s only grip truck. Husband and wife Rick and Chris Van Ness provided the grip truck to TruTV’s Full Throttle Saloon set in Sturgis, South Dakota at “the biggest biker bar in the country,” says Chris. As one of a crew of five, Rick also provided production sound, recording with a 5-channel Wendt mixer and Lectrosonic wireless lavaliers. The show’s California-based production concern, A. Smith & Co., had five crews going 24/7 for 10 con-
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Camera Copters, Inc.
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AMERA COPTERS’ TURNKEY AERIAL PRODUCTION UNITS ARE UNIQUE IN THE WORLD. The custom-built 53-foot transport/production trailers, dubbed Big Rig 1 and Big Rig 2, are self-contained mobile units designed to house the company’s Hughes/MD500D helicopters on the road. Modeled after a NASCAR race truck, each Big Rig carries a helicopter, camera gear and jet fuel to job sites in the US, Canada and even Mexico in some cases. “Other companies move helicopters on flatbed trucks, but nobody else has a totally turnkey unit fully outfitted with equipment plus a lounge, rest room and sat Internet service,” says president Paul Barth. “Our Big Rigs are designed to be a customer’s base of operations on location.” With production budgets shrinking and filmmakers looking to stretch production dollars by taking advantage of attractive state incentive packages, Barth believes “there’s never been a better time” to offer his Big Rig concept for on-location aerial support. Since the Big Rigs come complete with gyro-stabilized film or HD camera systems, FAA-approved camera mounting brackets, recording and monitoring gear, crew, plus helicopter and pilot, customers are spared the expense of shipping in resources from various locations, arranging crew transport and ferrying in the helicopter saving thousands of production dollars. Having bases in Florida, New York and California, Camera Copters also maintains a Louisiana corporation and keeps one of the Big Rigs in that
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state when the pace of production is heavy. This enables producers taking advantage of Louisiana’s lucrative production incentives to get tax credits for using Barth’s Big Rig as well. Camera Copters’ second Big Rig hit the road in early 2008 and is identical to the original truck except for its completely black exterior. “Its unmarked exterior means it can be used as a prop in a production,” Barth explains. He’s developing, with producers in LA, a TV series and possible feature in which the unit plays a starring role. Meanwhile, the Big Rigs were used for the Florida aerial segments of the feature Get Smart, and they have traveled to many other states, including Michigan for corporate projects, including one for Sea-doo, and Missouri for PGA golf. The Discovery Channel also tapped a Big Rig for back-to-back shows in its Ways to Save the Planet series. “We traveled across the country with
them to each location which guarantees a continuity of production,” Barth points out. The trucks have been on hand for The Amazing Race at multiple US locations and followed several 3,000-mile races of The Bull Run, including one for Spike TV. “It’s very cost effective to bring a Big Rig to any part of the country, especially areas without aerial resources of their own,” emphasizes Barth. “One phone call does it all.” Barth himself recently served as aerial coordinator and pilot for Jonah Hex in Los Angeles and Earthbound in central Florida, for the hang gliding sequences, and New Orleans. He is currently heading out on the road to shoot ocean racing in Newport for ESPN Sports, Discovery Channel’s Curiosity Retreats in Gateway, Colorado and a Word War II dog-fight sequence in Atlanta as well as prepping for the feature The Green Lantern shooting in New Orleans.
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Inside View
Offhollywood | by Christine Bunish
Mark L. Pederson CTO/Cofounder Offhollywood, New York City • www.offhollywoodny.com Markee: Your company was an early adopter of the RED ONE camera, and you’ve said Offhollywood is committing to stereoscopic 3D in the same way it embraced RED technology. Mr. Pederson: “We made the commitment to 3D when we saw the new rigs Element Technica was developing last summer; we told them to call us when they were ready. In the meantime, we continued to research the 3D production and postproduction workflow, so when Element Technica released their production models in October we immediately started work on the (independent) feature, The Mortician 3D, an urban gangster film written and directed by Gareth Maxwell Roberts.” Markee: What was that experience like? Mr. Pederson: “We learned a tremendous amount from that first film. We brought in Keith Collea as stereographer, and we did a substantial amount of prepro, testing and demos with DP Mike McDonough. It was a tough shoot in New Orleans because there were a lot of locations, and the film had a 2D budget and schedule but it got finished on time and on budget. “We used a pair of RED cameras mounted on an early production version of the Quasar rig and two Silicon Imaging SI-2K mini cameras on a very early prototype rig by Element Technica for Steadicam and handheld shots. Element Technica has since released their compact Neutron rig for this purpose. “Aesthetically and creatively, 3D is a whole other format with a fun, almost empowering vibe to it. You really need to dig into it and understand how convergence and interocular work, how to adjust and manipulate 3D space in production and post. To make something that 48
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stands out and excels takes commitment and play time. “We found using RED cameras and SI-2Ks made for a very efficient system. I think we’ll see a lot of RED/SI-2K 3D combos at least until the new, small form-factor RED Epic gets here. Epic should combine all the new technologies into one dangerous cocktail: shooting in extreme high-resolution and in 3D so you can get the same 2D deliverables plus stereo 3D motion and print elements. That technology will sell itself.” Markee: Does Offhollywood also offer stereo 3D postproduction? Mr. Pederson: “We have established a post system that works extremely well using a DVS Clipster 3 and the new stereo tools in Assimilate’s Scratch as our front-end tools. We also use The Foundry’s Ocula 2, CineForm Neo3D and Tim Dashwood’s Stereo 3D plug-in, and we continue to push RED’s stereo tools and software utilities. There are still some features we want to see, and we’ll be testing more tools.” Markee: Has Offhollywood done other 3D shoots since The Mortician 3D? Mr. Pederson: “We’ve done a tremendous amount of presentations and demos evangelizing 3D. And people have asked us to staff their entire 3D camera crew for them, to create a turnkey 3D solution. “We shot a number of fashion spots for Europe that are destined for all kinds of deliverables; they’re definitely ahead of us over there in 3D production. We’re doing a project with the Newseum in Washington, D.C. that’s, in part, a proof of
concept for a new lens technology. We’re also talking to three countries – one of them is India – that want us to provide 3D services because no one there has embraced the technology yet.” Markee: What’s the short-term potential for stereo 3D and what role will Offhollywood play in it? Mr. Pederson: “We know there will be a huge opportunity in the next six to nine months to shoot content for 3D digital signage, cinema spots and the new cable channels that are launching. And now’s the time to get that TV show transitioning from 2D to 3D: As a producer you want your content to have more value in the media marketplace. Some major cable networks are working aggressively to flip their shows to 3D. “3D is a very new, fast-moving technology whose tools and solutions are changing by the week at this point. Everyone’s racing hard and fast to it. We knew that having the best-in-class 3D rig and a solid 3D post pipeline would work well with our RED technology. We figured we’d dive in with both feet and see what happened – that’s how we do everything. We’re lucky that our business model, with a camera rental and postproduction facility under our roof, enables us to learn faster than a lot of companies. We can try new technologies and tools in stereo 3D and immediately see the results.”
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connect the shots consolidate your acquisition options. sacrifice none. Unifying all your video sources and cameras has never been easy — until now. The AJ-HPM200 P2 Mobile is the key workflow tool on any production because its HD-SDI connectivity lets you record from any camera or device in 10-bit, 4:2:2 independent frame AVC-Intra100 or DVCPRO HD/50/25 and, simultaneously* in long GOP AVCCAM.** So no matter how many sources you have, you can bring them all into one portable unit. With the new HPM200, you can play P2 and AVCCAM footage, as well as full frame rate P2 playback from a disk drive. You can also archive
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