Mi 2 14 by Media Index Publishing Group

CONTENTS

VOLUME 26 • ISSUE 2 2014

PUBLISHER

James R. Baker ASSOCIATE EDITOR

Katie Sauro SALES MANAGER

Katie Higgins SALES

Steve Joseph PRODUCTION MANAGER

John Rusnak DESIGNERS

Dawn Carlson Beth Harrison Christina Poisal WEBMASTER

Jon Hines

FEATURES 12

18 20

22 8 10 16 28

THE WILDERNESS OF JAMES: OREGON-SHOT FILM PREMIERES AT SXSW LIVE FROM FREMONT, IT’S THE [206]!

WHY NOT US? NORTHWEST PRODUCTION COMPANY GETS NATIONAL ATTENTION INCENTIVE BREAKDOWN

MEDIA INC. WELCOMES TWO NEW EDITORS EVENT CALENDAR VINCE PORTER DEPARTS OREGON FILM OFFICE

THE LIBRARIANS SERIES RUMORED TO BE IN PRE-PRODUCTION

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OFFICE MANAGER

SEE AND BE SEEN: COMMERCIALIZE SEATTLE FEATURES NEW WORK

Audra Higgins INFORMATION SERVICES MANAGER

Lois Sanborn

THE INLAND EMPIRE: A Q&A WITH RICH COWAN OF SPOKANE’S NORTH BY NORTHWEST

FAST & FURIOUS: ON SET WITH NW STUNT PROS

SIFF TURNS 40: FOUR DECADES OF MEMORIES AT SEATTLE INTERNATIONAL FILM FESTIVAL

38 40 54

8TH ANNUAL NFFTY THAT’S A WRAP: EOFF 2014 FULLY EQUIPPED

MEDIA INC. INDUSTRY LISTS 42

PRODUCTION AND POST EQUIPMENT RENTAL

SUPPORT EQUIPMENT RENTAL

COVER

Blue Plate Digital captures Seahawks star Richard Sherman for a CenturyLink campaign. ERNIE SAPIRO PHOTOGRAPHY

Media Index Publishing Group 14240 Interurban Ave. S. Suite 190 Tukwila, WA 98168 (206) 382-9220 (800) 332-1736 Fax (206) 382-9437 Email: media@media-inc.com www.media-inc.com 1219 SE Lafayette Suite 201 Portland, OR 97202 Display Advertising. Call Media Index Publishing Group for a current rate card. Discounts for frequency advertising. Advertising confirmation deadline is the 30th of the month prior to issue publication. Advertising mechanicals are due the 5th of the month of issue. All submitted materials become the property of Media Index Publishing Inc. and will not be returned. Subscriptions. Annual subscriptions to Media Inc. (4 issues) are $25 (+$2.20 if sent to WA address); two-year subscription is $37.50 (+$3.30 if sent to WA address). Send check or money order to Media Index Publishing Inc., or call (206) 382-9220 with VISA or M/C. Back issues of Media Inc. are available at Media Index Publishing Inc. offices at the cost of $5 plus tax. Copyright © 2014 Media Index Publishing Group. All Rights Reserved. No part of this publication may be copied by any means, electronic or mechanical, including photocopying or recording by any information storage or retrieval system, without the express written permission of the publisher. Printed in USA

Media Inc. Welcomes Two New Editors edia Inc.is pleased to announce that we have hired two new editors, George Riddell and Susan Haley. Riddell will serve as Washington executive editor, and Haley as Oregon associate editor. Together, the two will lead Media Inc. to new heights as the preeminent resource for film, television, commercial and digital production news in the Northwest. George Riddell is president and producer/director at BigHouse Production in Seattle. BigHouse works with clients like Pacific Science Center, Point Defiance Zoo, Microsoft, University of Washington, Premera Blue Cross, Starbucks, Association of Washington Business and numerous advertising agencies to create TV commercials and corporate films. Riddell is past-president of AAF Seattle and serves on the national board of directors of the American Advertising Federation and as national chairman of the American Advertising Awards Committee. He spent seven years as VP of Marketing and Senior Producer at Seattle’s Victory Studios. Prior to that, he oversaw the marketing and creative services efforts at affiliate TV stations in Seattle, Denver and several markets in California. Riddell received his Bachelor’s degree in film and television from the University of Michigan and studied for his Master’s degree in Telecommunications and Film at San Diego State University. He lives in Seattle with his wife Beth. His son Jake is a senior finance major at Washington State

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University. Susan Haley is a University of Oregon graduate with a Bachelor’s degree in Political Science. Haley has more than 14 years working with Oregon’s media industry. Haley worked at the Oregon Governor’s Office of Film & Television for 10 years, where she served as the Marketing and Administrative Manager. Her focus was on operations and administration of the incentive programs, and outreach to the independent filmmaker community. Haley has worked for the past four years at her own payroll and accounting business serving commercial and feature film clients in Oregon, Washington and California. She has served as a Legislative Aide in the Oregon House, and has volunteered as an advisory board member for ITT Technical Institute, The Art Institute of Portland, Clackamas Community College, the SabinSchellenberg Technical School, POW Fest, the Film Action Oregon Board, the Oregon Media Production Association, the Ashland Film Festival, North Portland Media Training Center, and is Treasurer of the Board for the Portland Chapter of Women in Film. Haley has also served as a juror for POW Fest, the 48 Hour Film Challenge, Tacoma Film Festival, Youth Visions Film Challenge and the International Short Docs Competition. Please join us in welcoming the two newest members of the Media Inc. team!

EVENTCALENDAR

pring has arrived, and with it a blossoming slate of film festivals and production-related events. Here are some upcoming highlights:

APRIL 24-27

8-9

15-June 8

Portland Documentary Summit (Portland, OR) www.documentarysummit.com

NFFTY (Portland, OR) www.nffty.org

8-11

Seattle International Film Festival (Seattle, WA) www.siff.net

Translations: The Seattle Transgender Film Festival (Seattle, WA) threedollarbillcinema.org/programs/ translations/

Film + Music + Interactive Happy Hour (Seattle, WA)

9-11 Film + Music + Interactive Happy Hour (Seattle, WA)

www.fmihappyhour.com

MAY 2

Rainier Independent Film Festival (Ashford, WA) www.rainierfilmfest.com

Northwest Film Forum Gala (Seattle, WA)

9-11

www.nwfilmforum.org

The Archaeology Channel International Film and Video Festival (Eugene, OR)

2-10

www.archaeologychannel.org/ events-guide/international-filmand-video-festival

Seattleâ&#x20AC;&#x2122;s True Independent Film Festival (Seattle, WA)

JUNE 15-29

Portland Jewish Film Festival (Portland, OR) www.nwfilm.org/festivals/ jewishfestival/

www.trueindependent.org

14 & 16 6-7 Film + Music + Interactive Happy Hour (Seattle, WA) Southern Oregon University Student Film Festival Central Oregon Film Festival (Madras, OR) www.centraloregonshowcase.com

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(Ashland, OR) emda.sou.edu

www.fmihappyhour.com

Kodi Smit-McPhee plays the title role in The Wilderness of James, filmed in Portland.

The Wilderness of James OREGON-SHOT FILM PREMIERES AT SXSW Photos by Scott Patrick Green

aking on the three-headed beast that is South by Southwest can be daunting, especially for first-time feature filmmakers. With the festival’s enormous amount of music, film and interactive talent, it’s easy to get swallowed up and forgotten.

But with The Wilderness of James, Portland native Michael Johnson won the battle handily, earning rave reviews from media outlets like The Hollywood Reporter, as well as filmgoers. “It was definitely an honor to screen at South by. We had some really good screenings and we got really good feedback from audiences,” says Johnson. “I think everyone feels really good about it.” James is indeed writer/director Johnson’s feature film debut. It’s a coming-of-age story about an isolated teenager, James (played by Kodi Smit-McPhee), who is struggling to deal with the loss of his father. His bizarre fascination with death begins to worry his mother (Virginia Madsen), who forces him to see a psychiatrist (Danny DeVito). As tensions mount with his mother at home, James begins to explore the wilderness of an intoxicating city, Portland. The film started out as a short story penned by Johnson, entitled Charm. 12

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“I don’t think I was planning on turning it into a feature script,” he says. “I started with a short story about James and then became fascinated with him—why he behaved the way he did. I wanted to flesh it out further, and it became the screenplay.” After finishing the script in 2011, Johnson handed it off to his friend Glenn Howerton, an actor best known for his role as the narcissistic “Dennis” on It’s Always Sunny in Philadelphia. “Glenn read it and really responded to it,” explains Johnson. “It was something very different for him and he wanted to be a part of it.” Howerton became an executive producer on James, and he and Johnson immediately got to work putting the film together. “The first thing we did was get the lead, Kodi, before any production company was involved,” says Johnson. “That was the most important thing to us.” Johnson describes Smit-McPhee’s audition: “Kodi grasped and latched onto the material like I couldn’t believe. We were all so impressed by his thoughtfulness and perspective at such a young age. After meeting Kodi it was done; nobody else could play James. Kodi was the first onboard, a major help in giving the project credibility and a life.” The next step was to shop the script out to production companies. They received an immediate response from several companies, including eventual partner Super Crispy. For the next five months, Johnson, Howerton, and Super Crispy producers Jonathan Schwartz and Andrea Sperling worked and reworked the script, “making it as good as it could possibly be,” says Johnson. James was shot over 22 days in Portland, where Johnson grew

D N A L T R O P N TI

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(all photos) Director Michael Johnson (hat) works with his cast on the set of The Wilderness of James.

up (he now splits his time between Portland and Los Angeles). Although he had never shot a feature here before, Johnson had done music videos and a lot of commercial production when he worked at Portlandbased company Kamp Grizzly, so he knew who to call to get the job done. “It’s a really small production community here in Portland; we all know each other,” explains Johnson. “I was able to get hooked up with the right people fairly quickly and get on track. I talked to a lot of people who have made great movies in Portland, who have helped pave the road for how to get something done here.” The city itself plays a major role in the film, as James explores the eccentricities and wilderness of his surroundings. “Portland is such an integral part of the story,” says Johnson. “We had to shoot it here.” It also helped that the production was able to utilize the Indigenous Oregon Production Investment Fund (iOPIF), an incentive program that provides rebates of 20 percent of goods and services and 10 percent of Oregon labor. “Vince (Porter) at the film office was extremely helpful from the beginning,” says Johnson. “He really walked me through the steps to apply for iOPIF. He was great—nothing but helpful.” Johnson also credits his Portland-based crew—some of whom he’d worked with before and some of whom he hadn’t—with making the entire experience a success. “They are all people that I’d work with on future features,” he says. “Independent films are tough because people aren’t getting paid a ton, not like commercial work. But people really get behind the project; they really rally behind it.” All those crewmembers rallying around James were certainly cheering the film on at South by Southwest in March, and are, like most of us, eager to see what’s next for hometown hero Michael Johnson. 14

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Vince Porter Departs Oregon Film Office A

fter more than five fruitful years at the Oregon Governor’s Office of Film & Television, Vince Porter has left his post as executive director. In mid-March, Governor Kitzhaber named Porter as his senior policy advisor on jobs and the economy. Porter’s last day at the film office was April 4, and he began his new position on April 7. “These past five and a half years at the film office have truly been some of the most rewarding years of my professional life,” said Porter in a statement. “There are many reasons why I feel that way, but one big reason is because I’ve had the chance to work with so many of you over the past years. It’s because of all of you that I leave the office knowing that Oregon’s film, TV, and digital media industry has yet to see its best days.” In his role as executive director, Porter has helped strengthen Oregon’s film and television industries, recruiting record amounts of production spending in the state over a two-year cycle. He was also instrumental in helping to enhance the tax incentive program, which has attracted television series and feature films alike. In fact, just a month after Porter started at the film office, he helped land the TNT series Leverage, which was followed by

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NBC’s Grimm and IFC’s Portlandia. Most recently, the tax incentive brought Reese Witherspoon’s Wild to the state. Prior to joining the film office, Porter was vice president of production for Showtime Networks, supervising the production of over 160 episodes of television series and more than 32 television movies. For the last two years of his twelve-year tenure at Showtime, he was in charge of the production department for Showtime’s award-winning original programming. Series under his supervision included Dexter, Californication, and The Tudors. A native of Indiana, Porter graduated from Ball State University in 1992 with a B.S. degree in Telecommunications. Prior to his tenure at Showtime, he was manager of production at ABC Productions. At press time, Porter’s replacement had not yet been named. However, business is continuing as usual, with the film office staff handling daily operations.

ISSUE TWO 2014 MEDIA INC.

Live From Fremont, It’s The [206] ! MEDIA INC. GOES ON SET OF THE SEATTLE-SATIRIZING SKETCH COMEDY

Jim McKenna, producer of The [206], warms up the crowd before the live taping.

Photos by Regan MacStravic

ong-time Seattleites will fondly remember Almost Live!, a sketch comedy series that aired on KING-TV in the slot ahead of Saturday Night Live from the late ‘80s through the ‘90s. The show, led by writer-turned-actor John Keister and radio/TV personality Pat Cashman, ribbed Seattle-area sports teams and celebrities, riffed on local stereotypes, and even spawned spin-offs like Bill Nye the Science Guy. The show was canceled by KING in 1999, citing lack of profit.

Although Almost Live! has been off the air for well over a decade, fans of a good-natured Seattle-skewering can rejoice. Sketch comedy—led once again by Keister and Cashman, along with Cashman’s son, Chris—has returned to the Emerald City. Now in its second season, The [206] picks up where Almost Live! left off, joking about all things Seattle—from legalized marijuana and Bertha, the stalled tunnel boring machine, to sketches spoofing Downton Abbey and Duck Dynasty, entitled “Renton Abbey” and “Geoduck Dynasty,” respectively. 18

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Jim McKenna, an associate producer on Almost Live!, serves as producer on The [206], along with Erren Gottlieb and Ryan Craig. His explanation for this new incarnation of Seattle sketch comedy is simple: “We missed doing a comedy show in front of a live audience, so we created The [206].” The idea for the show was hatched in 2012, when Chris Cashman pitched it to his dad, Keister, McKenna, and Gottlieb. The team knew they couldn’t rely on KING or any other station to fund the show, so they decided to develop it themselves. They first produced a few teaser clips and posted them to YouTube and Facebook to gauge audience interest. Response was immediate, with Almost Live! fans flooding the social media pages with “Likes” and comments. This piqued KING’s interest. And after a sold-out live show proved that an audience was indeed on board, the team made a deal with KING to air two pilot episodes in January of 2013. The [206] was a hit from the beginning, with viewership already built in. The team seems a bit baffled by this phenomenon. Producer Craig explained, “We flipped the switch and the audience was there. It’s been the model of consistency.” The success of those first two episodes launched a full season, and as the show and its audience continued to grow exponentially, the production moved to a much larger space—Fremont Studios—in the spring of 2013. “I knew Jim from before and said, ‘Hey, why don’t you do it here?’” recalled Scott Jonas, owner of Fremont Studios. His studio specializes in audience-based productions, such as TV shows,

Pat Cashman: Seattle’s Favorite Funnyman Chats with Media Inc.

concerts, and other live events. Although the facility is busy— “We’re booked out two years,” says Jonas—they made room on their schedule for The [206]. “Scott called after he saw the two pilot episodes in January 2013,” said McKenna. “We shot those in an abandoned firehouse in Bellevue. Scott invited us over, and the firehouse really wasn’t set up for an audience, so we moved for episode 5 and 6 of the first season.” McKenna added, “Scott was an early mentor of mine when we did remote sports television. He is also an artist, thinks big and knows how to put on a show. He has made me look good on a number of productions, including The [206].” Jonas gave Media Inc. a tour of the impressive 50,000-squarefoot facility, including the two soundstages, edit suites, green room and mobile video unit. The show films on Soundstage A, which is the largest and only audience-rated, acousticallydesigned, environmentally-controlled production studio north of Los Angeles in the United States. And not only does Fremont Studios provide the production with the use of both its soundstages—they film on Stage A and host a pre-party for their studio audience on Stage B—but they also provide equipment, operators, and even in-house catering. “The look and presentation of the show has significantly improved because we now shoot on a real soundstage, as opposed to a firehouse,” said McKenna. “We went from an audience size of 55 to 60 people to now around 450 people per taping. Now, we have room to really swing a Jib, we have great sound, room for side sets. The goal is to make a network quality show disguised as a local show. The viewers seem to appreciate the effort.” This certainly seems to be the case, as the show consistently brings in more than 100,000 viewers a week and the waiting list to watch live tapings continues to swell. On this rainy Tuesday evening, the weather couldn’t deter an enthused audience from lining up at 6:15pm for the 8pm show. Jonas opened the doors early so the crowd could get out of the rain, and they were welcomed with free drinks and appetizers— and of course major laughs from, as Craig calls them, a “merry band of fools.” The [206] airs weekly after Saturday Night Live on KING-TV. When SNL is new, The [206] airs a new episode, and when SNL is a repeat, so is The [206].

Pat Cashman (second from right) on the set of The [206] with (l to r) Chris Cashman, John Keister, and Jim McKenna.

How would you say The [206] compares to Almost Live!, in terms of style, production, content, etc.? I think The [206] mostly compares to Almost Live! in the same way it compares to any other TV comedy show: sketches, live bits, guests, studio audience. Of course, it’s the local humor that seems to resonate best, and while we try not to lean on that exclusively (nor did Almost Live!), there’s no denying that it’s our “go-to pitch”—and the thing that our hometown audiences seem to savor most. What do you enjoy most about working on the show? Most people might assume it’s the chance to work with John again—and most especially, my son, Chris. But, in fact, it’s the beer and cold cuts. What is your favorite sketch from the current season? While we may not all cop to it, everybody’s favorite sketches are likely the ones they wrote or are featured in. Topics like legalized weed and gay marriage stand out personally, because they were unimaginable when Almost Live! was on the air. These changed times have added lots more to the palette. As was the case with Almost Live!, my personal favorite moments on The [206] are always those performed live in front of the studio audience. Taped pieces are edited in advance—they are what they are—but live bits get one chance to work or fail. That challenge is a blast. The sketches are so relatable - what’s the secret to capturing Seattle’s oh-so-polite wackiness? The secret is to be an equal opportunity rib-poker. When we parody local TV, neighborhoods, politics, troubled tunnel projects, etc.—we’re not doing it from the viewpoint of an outsider. We live here. This is our home. And, on those occasions when we hopefully get it right, we serve up stuff other local people can identify with. When you approach something in that way, people don’t get their feelings hurt—they laugh, because they know it’s done with affection. ISSUE TWO 2014 MEDIA INC.

Blue Plate Digital captures Seahawks star Richard Sherman for a CenturyLink campaign. Blue Plate crew member Nicolas Davis is pictured holding the slate. ERNIE SAPIRO PHOTOGRAPHY

Why Not Us? NORTHWEST PRODUCTION COMPANY GETS NATIONAL ATTENTION By Brian Pelzel & Doug Cooper

t’s so nice to be in the Pacific Northwest! For too long, the rest of the country has basically forgotten about the upper left-hand corner. Sure, they know that it’s the home of Boeing and Microsoft and that it has an unparalleled obsession with coffee. But this February, like it or not, people took notice.

The Seattle Seahawks did the unimaginable. In just two short years, they stripped the team down to the second youngest in NFL history. They focused on integrity, winning one game at a time, fundamentals, competitiveness and flawless execution. They said things like, “The Separation Is in the Preparation” and “Why Not Us?” They simply walked the walk. And they walked right into the national spotlight and completely manhandled the team that was “supposed” to win. That kind of spirit has been alive in the Northwest for some time now, especially in the production community. And it seems like in the last few years, many from across the country have taken notice. Almost a year ago, Blue Plate Digital was referred to a very large Chicago ad agency that 20

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ERNIE SAPIRO PHOTOGRAPHY

handles CenturyLink. They needed a local solution to shoot Richard Sherman for their upcoming TV, outdoor and print campaign. It was a fateful day in July when we descended upon CenturyLink Field, and we had one great shoot. Our job was to capture it all, and turn the assets over to the agency for editing back in the Windy City. For many years, it has been our attitude that a shoot should be a positive experience for everyone involved. We nurture a culture of positive energy, laughter and fun while providing a high level of creative and professional execution. The shoot went so well that the agency also awarded us the post-production. It was an honor to provide this service. We offered a fair estimate to create the spots and moved full speed ahead. Of course, the editing hours in the estimate were light based on the learning curve of working with a new client, but we stuck to the original number and gave them a deal. It was fair; after all, we were not even in the running for the post work. Then, not even two months pass when we receive a call from a different producer at the same Chicago agency. Word got around about our abilities and positive attitude on the CenturyLink project, and they wanted the same team approach for a new Boeing PR campaign. Six months later this project is wrapping up and everyone connected to the project is thrilled. So there it is. Being nice, listening to the clients’ needs, under-

ERNIE SAPIRO PHOTOGRAPHY

standing and honoring value, providing positive and flawless execution. That’s what sets us apart in the Northwest, and why the rest of the country is beginning to take notice. Go Hawks! Blue Plate Digital is a unique full service “hybrid” production company offering state of the art production tools with unique and affordable creative solutions. Visit www.blueplatedigital.com for more.

ISSUE TWO 2014 MEDIA INC.

Aubrey Plaza and Mark Duplass star in Safety Not Guaranteed, a Washington incentive film. PHOTO COURTESY OF FILMDISTRICT AND BIG BEACH

Incentive Breakdown oth Washington and Oregon offer tax incentive packages for attracting outside production, as well as encouraging homegrown projects. We asked the folks at Washington Filmworks and the Oregon Governor’s Office of Film & Television to give readers an overview of the incentive packages available in their state.

WASHINGTON Washington Filmworks (WF) is the private non-profit organization that manages the state film and the Motion Picture Competitiveness programs. WF’s mission is to create economic development opportunities by building and enhancing the competitiveness, profile and sustainability of Washington State’s film industry. WF offers funding assistance for qualified in-state expenditures of up to 30% for motion pictures and episodic series with less than six episodes and up to 35% for episodic series with at least six episodes. WF offers funding assistance for qualified in-state expenditures of up to 15% for commercials. Commercial applicants who have not worked in Washington State previously and who are using a Washington-based production company are eligible for a one-time return of 25%. In order to qualify for funding assistance, the production company must meet the following in-state spending thresholds: • $500,000 Motion Pictures • $300,000 Episodic Series (per episode) • $150,000 Commercials Some non-resident labor may qualify for a return of up to 15% if the production meets all eligibility criteria as detailed in the full Guidelines and Criteria, including but not limited to, utilizing at least an 85% Washington Resident labor force. The Board of Directors of WF may allocate up to $350,000 annually to support Washington resident filmmakers and filmmakers 22

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using new forms of production and emerging technologies. This funding is allocated through the Filmworks Innovation Lab. For further information about eligibility requirements please refer to the Filmworks Innovation Lab Guidelines and Criteria. Financial contributions to WF raised by the tax credit mechanism in 2ESSB 5539 are currently capped at $3.5 million per calendar year. For a full list of requirements and eligibility, please review WF’s Guidelines and Criteria at www.WashingtonFilmworks.org. Additional incentives A few more reasons why filming in Washington makes sense (and dollars): • State sales and use tax off rental equipment, services, and vehicles • Hotel/motel tax exemption on 30-day stay • Seattle Permit $25/day including city-owned property

Chloe Grace Moretz and Keira Knightley in Laggies, a Washington incentive film from Seattle director Lynn Shelton.

OREGON Oregon offers a host of generous incentive programs to help your bottom line. The incentive programs rebate: • 20% of your Oregon-based goods and services

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(l to r) Fred Armisen, Carrie Brownstein and Olivia Wilde in Portlandia which received OPIF funds. AUGUSTA QUIRK/IFC

• An additional cash payment of up to 16.2% of wages paid to production personnel Unlike other states’ programs, these incentives are cash rebates as opposed to tax credits. This enables us to deliver you a check quickly and efficiently. Additionally, Oregon’s lack of any sales tax on goods and services can immediately save you 7 to 8%. The Oregon Production Investment Fund offers qualifying film

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or television productions a 20% cash rebate on production-related goods and services paid to Oregon vendors and a 10% cash rebate of wages paid for work done in Oregon including both Oregon and non-Oregon residents. The labor portion of this rebate can be combined with the Greenlight Oregon program for an effective labor rebate of 16.2%. A production must directly spend at least $1 million in Oregon to qualify. There is no per production cap.

Incentive Film Highlights he tax incentive programs in Washington and Oregon have been widely successful, attracting feature films, TV series and commercials to both states. Here is a small sampling of some of those projects:

OPIF project Portlandia. AUGUSTA QUIRK/IFC

The Greenlight Oregon Labor Rebate offers productions that spend more than $1 million in Oregon a cash rebate of up to 6.2% of Oregon-based payroll. This rebate can be combined with the Oregon Production Investment Fund incentive for an effective rebate of 16.2% on qualifying production payroll. The “Indigenous Oregon Production Investment Fund” (iOPIF) provides the same rebates of 20% of goods and services and 10% of Oregon labor for films produced by Oregon filmmakers who spend a minimum of $75,000, up to the first $1 million of their spend. Other requirements will apply. The program is now in effect and applications are being accepted. In addition to the savings associated with the incentive programs listed above, filming in Oregon can save you money in the following ways: • No Sales Tax • Fee-free State Parks, Cities and Counties • Lodging Taxes Waived

• The Boxtrolls (Oregon) • Eden (Washington) • Grimm (Oregon) • Laggies (Washington) • Leverage (Oregon) • Lucky Them (Washington) • Portlandia (Oregon) • Safety Not Guaranteed (Washington) • Touchy Feely (Washington) • Wild (Oregon)

For full details, visit www.oregonfilm.org.

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ISSUE TWO 2014 MEDIA INC.

The Librarians Series Rumored to be in Pre-Production lectric Entertainment and TNT are rumored to be in pre-production on a 10-episode series, tentatively titled The Librarians, in Portland. Although there has been no official announcement from either party, the production seems to be moving forward, with several local crewmembers confirmed to be working on the project, and Electric executive producer Dean Devlin posting photos on Twitter of sets being built in Oregon.

The series would be an offshoot from TNT’s The Librarian original movie franchise, which starred Noah Wyle as Flynn Carsen, a librarian who protects a secret collection of artifacts. According to sources, the series would revolve around four young men and women who have been selected by Flynn to become his successors. Although Wyle currently works full time on another TNT series, Falling Skies, he would likely appear in at least a few episodes. The Librarians would be produced by Electric Entertainment, which also produced the three original movies—titled The Librarian: Quest for the Spear, The Librarian: Return to King Solomon’s Mines and The Librarian: Curse of the Judas Chalice—as well as the Portland-filmed TNT series Leverage. According to a February article by Deadline.com’s Nellie Andreeva, “I hear Devlin and Wyle met with the Governor of Oregon to personally lobby for a tax credit on the project, which they were successful in landing. If everything goes according to plan, I hear The Librarian would air in late 2014, likely in TNT’s popcorn entertainment/adventure Sunday slot where Falling Skies currently airs.” Media Inc. will continue to report on this story as it develops.

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SEE BE SEEN Commercialize Seattle Features New Work wo Seattle-based companies, Green Rubino and Urban Legend Productions, were recently added to the ‘Latest Work’ section of the Commercialize Seattle website. Commercialize Seattle is a business development campaign designed to drive more production and advertising to the region. The Latest Work section of the Commercialize Seattle website showcases some of the very best work coming out of Seattle and greater Washington.

URBAN LEGEND PRODUCTIONS Client: Pagliacci Commercial: Art of the Toss Website: www.UrbanLegendProductions.com Explain yourself, Urban Legend: Urban Legend Productions is a full-service, live action and editorial production company. We specialize in television commercials, branded content, and branded industrial films. Urban Legend Productions is based in Seattle, and was established in 2001 by Jack Barrett, a 17-year veteran of the film industry. Integrating his skills as both a director and editor, Jack brings a unique sensibility to the process of storytelling. We think you’ll find this “director/editor” methodology not only a sensible approach, but also refreshingly efficient.

GREEN RUBINO Client: Washington State Ferries Commercial: Go Somewhere. Company Website: www.GreenRubino.com Explain yourself, Green Rubino: We’re a truly integrated agency. Truly being the key differentiator. We deliver concepts with a unique, clear and complete perspective to each story we tell. Our point of view is clear. Marketing isn’t about selling. It’s about connecting. Pushing out content isn’t enough. We create success by establishing and sustaining connections and conversations through well-crafted stories told by smart people who’ve honed their expertise in the most relevant way possible—helping clients succeed again and again.

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WHY SHOULD YOU PARTICIPATE IN COMMERCIALIZE SEATTLE? This campaign highlights locally made commercials and it is the first place brands and agencies look to find talent. Washington production companies and agencies should begin by registering with Commercialize Seattle. Once you’re onboard, learn more about How to Submit work so we can show it off. You get to talk about your company and show people your commercials for free. What could be better? Remember, the commercials we make today shape the world we commercialize tomorrow! This article originally appeared on Washington Filmworks’ blog (blog.washingtonfilmworks.org).

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The Inland Empire A Q&A WITH RICH COWAN OF SPOKANE’S NORTH BY NORTHWEST By Tim Robinson Director of Communications & PR, Visit Spokane Photos courtesy of North by Northwest

f there’s a gravitational pull in the film industry, you could say that North by Northwest Entertainment, located in Spokane, Washington, has the gforce of the sun. This 24-year-old company has risen (and risen) from humble beginnings to being a major player.

Recently, we sat down for five questions and answers with company co-founder and partner Rich Cowan. Rich’s creative career started early—while he was in high school, he directed some productions for Seattle’s KING 5 Television. A bit later in life, he started working for KHQ in Spokane as one of its key production folks. Eventually, he wanted more and he thought Spokane was just the place to find it. What is it about Spokane that made you think, “I can start a film company here!”? Rich Cowan: There are so many reasons, but one that stands out in my mind is the locations. This is such a great, diverse place and we have so many natural and man-made gifts. Deserts, mountains, lakes, the Palouse—and it’s all within such an easily commutable distance. We can do East Coast here. We can do Midwest and, of course, West Coast. Very few regions have as much diversity.

Recent North by Northwest productions include At Middleton and Different Drummers, both filmed in Spokane.

got the Civic Theater, Interplayers, for just a couple of examples. For a community of our size to have the kind of talent we do is impressive. And getting back to the diversity of locations here: you can shoot farm scenes, forest scenes, you can shoot inner city. We’ve done films set in New York City—all shot here. That’s because of the great architecture and our parks and everything else. And because the film business is a relatively small industry, people know about Spokane.

Is there a difference between doing a production on the east side of the state versus the west side of Washington? RC: There are awesome locations all across Washington, but I think the logistics that go into making a film work really well over here. You don’t have to fight traffic or parking, things like that. Those two aspects alone can make a shoot so much more efficient. It’s a very accommodating area that really makes it easier to do all the work that goes into a production. Because it’s easier, you get a longer shooting day, which means fewer shooting days, which means you save money.

What’s the latest production that you’ve done? RC: We did a film called West of Redemption. It’s in post now. It stars Billy Zane and is directed by Cornelia Moore. The shoot went great.

Looking at North by Northwest’s impressive resume of films and productions, some people might be surprised that you’re so successful in a relatively small town. RC: The size of the area and the population actually work in our favor. We’ve got an extremely talented pool of production people and actors throughout the region and they are veterans because they’ve been tapped to work in so many productions. Spokane’s

And what’s on the horizon for North by Northwest Entertainment? RC: We’ve got some very exciting projects on tap that, we think, will be great for the region. Even though it’s still early, 2014 is shaping up to be a fantastic year for us and we look forward to sharing more with this terrific community and the great filmmaking community throughout Washington.

MEDIA INC. ISSUE TWO 2014

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LOCAL STUNT MASTERS TAKE YOU BEHIND THE SCENES OF SOME RECENT ACTION-PACKED PRODUCTIONS.

Dominic Cicero www.dominiccicero.com

james august smith www.skicarstunt.com 34

MEDIA INC. ISSUE TWO 2014

ISSUE TWO 2014 MEDIA INC.

SIFF Turns 40 FOUR DECADES OF MEMORIES AT SEATTLE INTERNATIONAL FILM FESTIVAL his year marks the 40th anniversary of the Seattle International Film Festival. Recognized as one of the top film festivals in North America, SIFF is the largest, most highly attended film festival in the United States reaching more than 150,000 annually. The 25-day festival is renowned for its wideranging and eclectic programming, presenting over 250 features and 150 short films from over 70 countries each year.

Forty years of films means forty years’ worth of memories, from film screenings and discussions to parties and awards. Here are some highlights: 1976 – Founded by Dan Ireland and Darryl MacDonald, the first annual festival kicks off at the Moore Egyptian Theater, which was an independent cinema at the time and now functions as a live concert venue under the name the Moore Theatre. The festival, which lasts two weeks, features films from Germany, Italy, France, Egypt, Switzerland and the U.S., among other countries. 1978 – In its third year, the growing festival features a director tribute/retrospective, honoring Stanley Kramer (It’s a Mad, Mad, Mad, Mad World and Guess Who’s Coming to Dinner), who had recently moved to Seattle. 1979 – Ridley Scott’s Alien holds its world premiere screening at SIFF. Other selections include George Romero’s Dawn of the Dead and the Australian film Picnic at Hanging Rock. 1980 – For the first time, SIFF begins hosting post-screening discussions with filmmakers. One of the biggest film screenings of the event is the world premiere of George Lucas’ The Empire Strikes Back. 1985 – After losing their lease at the Moore Theatre, Ireland and MacDonald found the Egyptian Theatre in a former Masonic Temple on Seattle’s Capitol Hill. New festival features include midnight screenings, retrospectives, all-night movie marathons and short film competitions. The Egyptian remains a prime festival venue to this day. 1985 – SIFF announces the first-ever Golden Space Needle award, which is voted on by the audience and presented to the event’s most popular film. The inaugural award goes to Brazilian-American drama Kiss of the Spider Woman. 1988 – This is SIFF’s 13th year in existence, but the festival’s directors are a bit superstitious, so they call it the 14th annual event instead. (If you did the 36

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math, you would have noticed that 2014 is only 39 years!) 1995 –Mel Gibson’s Braveheart makes its world premiere screening. Also, SIFF is the first festival to broadcast an entire film (Party Girl, featuring Parker Posey) over the Internet. 1996 – British film Trainspotting, starring Ewan McGregor, holds its U.S. premiere, and wins the Golden Space Needle award for best film. Director Danny Boyle wins Best Director. 1998 – Based on a short story by Seattle’s Sherman Alexie, Smoke Signals is screened as SIFF’s gala film. The all-Native American production, directed and co-produced by Chris Eyre, is also honored at Sundance this year. 2004 – Although Donnie Darko had a limited theater release in 2001, a director’s cut of the cult classic is released back into theaters in 2004, following the wildly successful sales of the DVD. SIFF is the first venue to screen the new version of the film. 2005 – The North American premiere of Gus Van Sant’s Last Days closes out the film festival. The controversial film is a fictionalized account of the last days of Nirvana frontman Kurt Cobain. 2008 – This year’s opening night film is Battle in Seattle, based on the WTO riots of 1999. The film marks Stuart Townsend’s directing debut. 2012 – Seattle dominates this year’s festival, as both SIFF’s opening night and closing night films (Your Sister’s Sister and Grassroots, respectively) are local productions. Megan Griffiths’ film Eden also screens this year, and the film’s star, Jamie Chung, wins Best Actress. 2014 – What’s in store this year? You’ll have to wait until May 1, when SIFF announces its slate of films, events, parties, and more. Information courtesy of SIFF (www.siff.net) and HistoryLink (www.historylink.org).

SIFF 2014: SAVE THE DATE! This year’s event takes place May 15 - June 8, kicking off with an opening night red carpet gala. Passes and ticket packages for the festival are now on sale, with individual tickets going on sale May 1. For more information, visit www.siff.net.

8th Annual NFFTY WORLD’S LARGEST FILM FESTIVAL FOR EMERGING FILMMAKERS COMING APRIL 24-27 PHOTOS COURTESY OF NFFTY

Filmmakers and the press arrive on opening night 2013.

Red carpet interviews on opening night 2013.

he 2014 edition of NFFTY (National Film Festival for Talented Youth) will be held April 24 – 27 in Seattle. NFFTY is the world’s largest and most influential youth film festival, showcasing work by filmmakers 22 and younger from around the globe. Out of nearly 800 entries, programmers selected 214 films representing 30 U.S. states and 15 countries to screen at NFFTY 2014. “NFFTY showcases the world’s best new filmmakers and this year is no exception. NFFTY alumni have been breaking into Hollywood as commercial directors, independent film directors, animators and more. This is the festival where you NFFTY's closing night 2013. get to meet tomorrow’s Martin Scorsese and Kathryn Bigelow,” said Stefanie Malone, managing director of NFFTY. “The quality of films at this year’s festival is incredible.” NFFTY features a variety of genres, including narrative, documentary, experimental films and music videos. “The NFFTY programming team and I are thrilled by the range and depth of our film submissions. The films submitted this year represent the most authentic batch of storytelling we’ve ever received,” said Kyle Seago, NFFTY co-founder and lead programmer. After breaking attendance and submission records in 2013, NFFTY is entering its eighth year stronger than ever. More than 12,000 attendees are expected at NFFTY 2014, including young directors from Australia, Germany, Egypt, South Africa, Singapore, India and more.

New To NFFTY NFFTY seeks opportunities to encourage and promote the world’s best new filmmakers. This year, NFFTY is launching efforts to address the issue of gender inequality in film. “In an industry where only 9 percent of directors and 25 percent of producers are women, NFFTY wants to provide opportunities where emerging female filmmakers can feel supported to pursue their passions,” said Malone. This year’s festival represents a stride towards greater gender equality in film, with 40 percent of films coming from female directors. Additionally, NFFTY will launch its “Best Emerging Female Filmmaker” award on Closing Night and is actively forging partnerships and programs to support these efforts to support females in film. Additionally, this year’s festival will premiere the first NFFTYproduced documentary, A Supporting Role, which will screen at Closing Night. This documentary features the work of three NFFTY alumni—Alex Bohs, Joel McCarthy and Caleb Slain—who traveled around the world to tell the story of Vitamin Angels, a nonprofit seeking to combat the issue of undernutrition. A Supporting Role will screen at the SIFF Uptown Theatre on Sunday, April 27. Presenting Sponsors of the 2014 festival include: Volvo Cars of North America, LLC and vitaminwater®, as well as Premier Sponsor ID@XBOX and The Cinerama.

For the full schedule of NFFTY 2014 film screenings and filmmaking panels, visit www.NFFTY.org. 38

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THAT’S A WRAP!

EASTERN OREGON FILM FESTIVAL AWARD WINNERS AND OVERVIEW

bands, carefully selected from the cities, towns, nooks and crannies of our beloved, abundant Northwest music scene. The festival featured a total of 13 acts, including HillPhotos by Cody Gittling/EOFF folk Noir from Boise, Sad Horse from Portland, and the uplifting experimental pop group AU. Killer after-parties at the Art Center or three days in Eastern Oregon, people bounced between at the Old Library gave attendees an intimate show with powerfilm screenings, round-table discushouse musicians, and opportunities to work sions, Skype Q&As, steel bending, beer with interactive visuals, preview a curated art This year’s gardens, and dance parties in celebration of show, and partake in Eastern Oregon craft beer award-winning the fifth annual Eastern Oregon Film Festival maker Terminal Gravity’s finest new flavors. films were: Best Short — YEARBOOK (EOFF), set in La Grande—within the counThe festival experienced its fifth consecutive Best Documentary Feature — try’s largest fully enclosed valley (The Grande year of growth, adding more seats and hosting BENDING STEEL Ronde Valley). more filmmakers, musicians and general festivalBest Dramatic Feature — Visiting artists presented discussions, works goers than ever. La Grande’s historic downtown DOOMSDAYS and ideas to the festival population. Nandan received a needed economic boost and the Rao, Brandon Harris, Paul Sbrizzi, Jim community has strengthened their investment in Cummings, Ryan Scarfuro, Zach Weintraub, Tony Yacenda, Ben this emerging arts and cultural event in Eastern Oregon. Petrie, and EOFF’s Benjamin Morgan and Ian Clark helped bring EOFF has plans to move dates for 2015 to the spring. Check an artistry and driven conversation to a new level. the website and social networks to submit your film or plan to EOFF2014 hosted an unprecedented cast of musicians and attend EOFF2015. Visit www.eofilmfest.com for more.

MEDIA INC. ISSUE TWO 2014

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Pacific Grip & Lighting; Portland, OR office • 503-233-4747 Seattle, WA office • 206-622-8540 www.pacificgrip.com

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PNTA; Seattle, WA 206-622-7850; fax 206-267-1769 rcarlson@pnta.com www.pnta.com

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Seattle Grip & Lighting; Seattle, WA 206-285-0840; fax 206-285-9503 jknapp@seattlegrip.com www.seattlegrip.com

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VER - Video Equipment Rentals; Tukwila, WA 866-837-9288/206-242-3860; fax 206-2423859 rentals@verrents.com www.verrents.com

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Victory Studios; Seattle, WA 206-282-1776; fax 206-282-3535 info@victorystudios.com www.victorystudios.com

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Visual Imagery Production; Portland, OR 503-201-4631 timmyjib@gmail.com www.vipjib.com

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Voda Brands; Seattle, WA 206-441-8158 info@vodastudios.com www.vodastudios.com

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Westside Camera Crane Co.; Lake Oswego, OR 310-345-2919 1denniskw@gmail.com

Dennis Wilson, president

Rick Wiley Camera Cars; Shelton, WA 360-426-3904; fax 360-426-3904 rwileycc@hcc.net www.imdb.com/name/nm0928867

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Air Systems Sales & Rentals; Lake Oswego, OR 503-635-9670; fax 503-675-0278 chasprowland@comcast.net www.airsysrent.com

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Doug Boss

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The west coast's most experienced communications company, Emmy award winning Event Communications has more than 25 years of experience. 24-hour support and thousands of radios ready when you are.

jay@eventcomm.us www.eventcomm.us

ISSUE TWO 2014 MEDIA INC.

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VER - Video Equipment Rentals; Tukwila, WA 866-837-9288/206-242-3860; fax 206-242-3859 rentals@verrents.com www.verrents.com

Steve Daniels Anthony Routh

Victory Studios; Seattle, WA 206-282-1776; fax 206-282-3535 info@victorystudios.com www.victorystudios.com

Conrad Denke Saul Mitchell Brent Sharp

Voda Brands; Seattle, WA 206-441-8158 info@vodastudios.com www.vodastudios.com

Josh Courtney, chairman/CCO

Water Buffalo Inc.; Bonney Lake, WA 253-863-8883; fax 253-447-3826 waterbuffaloinc@netzero.net www.waterbuffaloinc.com

Phyllis M. Brown

Water Truck Service; Wilsonville, OR 503-682-2723; fax 503-570-0779

Bob Jonas

Westside Camera Crane Co.; Lake Oswego, OR 310-345-2919 1denniskw@gmail.com

Dennis Wilson, president

WorldWind Helicopters, Inc.; Renton, WA 425-271-8441; fax 425-271-8442 info@wwheli.com; www.wwheli.com

Michael O’Leary

Zarr Studios; Portland, OR 503-477-7050 sophia@zarrstudios.com www.zarrstudios.com

Sophia Bilyk

MEDIA INC. ISSUE TWO 2014

EQUIPMENT RENTED

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Y L L U F Equipped here are myriad reasons to bring your production to the Northwest—from diverse locations to helpful film offices to a solid crew and talent base. Here’s one more thing to add to the list that often goes overlooked: Equipment. Washington and Oregon’s equipment rental companies have everything you need to get your production done on time and on budget. Read on . . .

PRODUCTION & POST EQUIPMENT Glazer’s Camera 206-233-0211 www.glazerscamera.com Calling all independent filmmakers! Glazer’s Camera rents video gear for your production needs, including cameras, audio, lighting, grip, and support. Sales and rentals available for camcorder-style and DSLR-style cameras. Featuring Black Magic, GoPro, Panasonic GH4, Nikon D4s, Canon Cinema EOS C100, EOS-1D C and cinema lenses from Canon and Zeiss. We also rent Canon Cinema EOS C300 and so much more. Download our rental list at glazerscamera.com/rentals. Call to make your reservations at 206-233-0211. Glazer’s Camera, independent spirit in Seattle since 1935.

Oppenheimer Cine Rental, LLC 206-467-8666 www.oppenheimercinerental.com Oppenheimer Cine Rental is one of the oldest film industry businesses in the Pacific NW, currently celebrating 35 years of service. Since OCR was founded in 1979, the goal has always been to be on the forefront of cine camera rental, both in terms of technical equipment quality and responsive customer service. We have typically been first in the region with the newest, most reliable gear. OCR has been the camera supplier to many commercial, feature and corporate productions over the past 35 years. Clients have included Boeing, Weyerhauser, Mariners, Seahawks, Microsoft, Infinity, Dodge, Ford, Chevy, Northern Exposure, Men of Honor, Sleepless in Seattle, Hand That Rocks the Cradle, 10 Things I Hate About You and 21 And Over. Koerner Camera Systems, Inc. 800-377-1132 / 855-285-7334 www.koernercamera.com Koerner Camera Systems rents the most sophisticated motion picture cameras and lenses in the world, including the Arri Alexa XT, Red Epic, the Vision Research Phantom Flex High Speed Camera, Canon C300; along with a full 54

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line-up of Sony and Panasonic HD cameras, all backed by renowned technical support. Since 1996, Koerner Camera has been a name for high end cameras and film equipment. Today, Koerner has grown to become the largest digital camera rental house in the Pacific Northwest with two locations in Portland and Seattle. Thanks to increased business from shows such as Grimm, Leverage and Portlandia, Koerner has been able to expand their inventory for long-term rentals and provide access to cutting-edge technology to other productions in the Northwest. Professional Video & Tape, Inc. 800-833-4801 www.provideoandtape.com Vic Gamble started his video career while working for Sony USA back in the ‘80s, while attending California State University, Northridge. A new division was starting called Business and Industrial Video. Gamble decided that the technology and clientele was headed in a direction that he wanted to follow. After many years of hard work, he finally pulled the trigger. He and his wife relocated to Portland and opened Professional Video and Tape, Inc. (PVT) in 1991. For over 20 years, PVT has prided itself on offering great value. The company has a full demo floor with tons of gear available for demo, rental and purchase, and offer a hands-on experience before you buy. PVT not only sells and rents gear from the simplest of camcorders to the high-end Canon Cinema EOS line, but they also service and integrate what they sell. Picture This Production Services 503-235-3456 www.pixthis.com Now celebrating 30 years in business, Picture This is Oregon’s largest rental house. We rent professional Sony, Panasonic, Canon, ARRI, Zeiss, lenses/primes, follow focus, studio config, matte boxes, filters, storage, 3D/HD monitors, tripods, risers, specialty mounts, Steadicam, Fisher dollies, prompters, audio, track, grip, lighting and more. We also offer a 3,000-square-foot stage with 40’ x 50’ two wall coved corner cyc, full lighting grid at 18’ with dimmer package and in-house distro. 5-ton truck drive on, Fisher dollies, grip gear, huge greenscreen backdrop, kitchen, craft services area, production office, wardrobe/makeup room, bathrooms and shower. Film and video equipment available or bring your own. Second stage available for casting, products shot, pre-lit.

VER 866-837-9288 www.verrents.com VER – Video Equipment Rentals has one of the largest inventories and latest technologies of broadcast, Digital Cinema, AV, Creative LED display and lighting equipment. Located throughout the U.S. (including in Seattle), Canada and Europe, VER carries an extensive inventory to serve your project, whether it’s a live or taped event, post production project, studio, episodic or film shoot. Our inventory encompasses a full line of products and formats including Hi-Def, multi-camera systems, custom flypaks, high speed and 4K camera systems, tape or file based players and recorders, fiber, monitors (all sizes) converters, switchers, signal processing and terminal equipment. VER also carries a broad range of creative solutions in indoor/outdoor LED Display, automated, LED, digital lighting, along with a full line of professional audio, projection, AV equipment, lenses and film style accessories to complete any project, anytime and anywhere. Gearhead Production Rentals 503-542-3990 www.gearheadgrip.com Gearhead Grip & Electric is now Gearhead Production Rentals. We have a new name and a new location to serve you better. At Gearhead we want your next shoot to be a success! Since it began in 2000, Gearhead has been the Northwest’s fastest growing rental house and in November we moved into a new 15,000square-foot building. The new facility sports expanded office space and a larger retail showroom. There is something for every department in our expendables store. The new larger yard makes it easy to get trucks in and out and provides secure parking for driver and the larger warehouse makes loading out your show a breeze. At Gearhead we want to be your creative problem solving partner. Come see us for all of your production needs. Sasquatch Lighting and Grip 503-332-7937 Portland-based Sasquatch Lighting and Grip has been in business since July 2013, providing equipment packages to regional and national productions alike. The company is owned and operated by Scott Walters, who has 27 years of experience in the lighting and grip industry working on feature films, MOWs, commercials, web projects and more. Recent projects include Wild, Journey to the Center of the Earth 2, Extraordinary Measures, Grimm, as well as projects for ESPN, TNT, and CBS. Sasquatch currently offers a Sprinter with a split liftgate with HMI, Tungsten, and Hybrid lights that go both daylight and tungsten such as Kinos and LEDs. Lighting stands are also included—a variety of baby stands as well as combo stands. The grip offerings on the Sprinter rival a 3-ton and more. Extensive 6x, 8x and 12x rags sets and a 5’-1¼” cheeseplate slider. Sasquatch also has a 140kva Litepower tow plant.

Pacific Grip & Lighting 503-233-4747 / 206-622-8540 www.pacific-grip.com With offices in Portland and Seattle, we offer the largest selection of lighting and grip equipment in the Northwest. Knowledgeable employees with a passion for customer service are here to answer questions, work with your budget and make sure you have the most successful shoot possible. We offer the largest selection of tungsten, HMIs, dollies, generators, grip and electric trucks and a long list of grip equipment in the Northwest. We provide expendables from the brands you trust. Rosco, Arri, Kino Flo, Matthew’s Studio Equipment and American Grip are a few of the companies we work with. Our Seattle location offers a 4,400-square-foot stage with a 2,500-square-foot camera prep area, production offices, and a precabled, 19-1/2’ grid stocked with lights for illuminating our three wall cyc. In Portland, we are in the midst of building a stage and production offices so that your organization can be close to the action. Brad McCormick/Jibnorthwest.com 541-285-6366 www.jibnorthwest.com My goal is to deliver the shots my clients envision—by being creative, efficient, safe and professional. I am based in Western Oregon but serve clients throughout the region. I work on many projects for national companies and local businesses from commercials, company profiles to safety videos and live sports. Contact me so we can discuss how to make your production a success. Northwest Camera Support 877-799-9128 www.northwestcamerasupport.com Northwest Camera Support provides solutions for commercials, music videos, feature films, television productions, industrials, sports coverage and concerts. No matter what specialty camera platform your project calls for, the use of our equipment will save you time and production costs, while greatly enhancing your creative choices and production values. As an Oregon-based company, we are a qualified vendor for the 20% rebate on in-state goods and services through the Governor’s Office of Film and Television incentive programs. Our inventory includes: 30’ Supertechnocrane from Panavision Remote Systems, the Glidecam Gold System and the Power Pod, the most versatile and reliable remote head available in the film industry. Visual Imagery Production 503-201-4631 www.vipjib.com Visual Imagery Production is located in Portland, Oregon, and specializes in Jib Arm shots for film, video or print. The Triangle Jimmy Jib features 8 different arm lengths (from 30 feet to 6 feet), 4 wheel base and 3 wheel base, Honda generator, full remote head, ISSUE TWO 2014 MEDIA INC.

BarTech wireless focus system, and lots of accessories to get the most out of the jib. The package arrives in a truck – just choose what you need. Rick Wiley Camera Cars 360-426-3904 www.imdb.com/name/nm0928867 Camera car is a term for a vehicle built on a heavy duty truck chassis engineered for the mounting and operation of cameras, lighting, and sound equipment for filming and still photography from a moving vehicle. Rick Wiley Camera Cars is proud to be the premier source for camera cars and support equipment in the Pacific Northwest for over two decades. With a vehicle mounted on the process trailer in tow (a low, 14’ wide by 30’ long moving platform), or attached to an ultra low tow dolly, actors focus entirely on their performance while being transported safely. Recent projects: Fifty Shades of Grey, Hello My Name is Frank, Laggies, Toyota, and Infiniti. red jet films 206-282-4534 www.redjetfilms.com red jet films is a creative team with the ability to make your vision fly. We have worked with a wide variety of clients across the globe. Whether it’s local or global, red jet films provides startto-finish 4K high-definition video production with the talent and the tools to take your ideas and turn them into reality. We are located in the Lower Queen Anne neighborhood of Seattle. We have invented an atmosphere that encourages and inspires artistic creativity from the moment our clients step into our studios. At red jet films, each project starts with an idea and a desired outcome. With your end goal in mind, we customize a plan to visually take your story where you want it to go. It is our mission to create videos that are not only entertaining and effective, but gorgeous as well. Fremont Studios 206-838-9080 www.fremontstudios.com Fremont Studios is a world class, full service, audience rated, cinematic soundstage and event facility located about three miles north of the Space Needle and major downtown hotels. Like no other in the country, the 50,000-square-foot facility’s overall design, in addition to commercial production and live broadcasting, has an audience occupancy for events just shy of 3,000. More formal events occupancy averages around 1,800 2,000 and for served dinner, Studio A alone can seat about 650, making Fremont Studios one of the largest special event facilities in the city. We are proud to offer a wide variety of media and event services to local and visiting agencies, production companies, event planners and entertainers from around the world. Cine Rent West 503-228-2048 www.cinerentwest.com Cine Rent West is Portland’s turnkey soundstage production facility, offering all of the amenities 56

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needed for a successful commercial campaign or still shoot. The completely soundproofed 71’ x 72’ production studio is one of Oregon’s largest. The studio floor is well equipped with professional-grade lighting and grip equipment, a complete distribution package, and 1800 amps of power—all flanked by makeup rooms, a green room, an on-set client lounge, and fully equipped production office. The studio is TV and film ready for commercial campaigns, still shoots, and live events. Producers can utilize in-house grip & lighting packages, as well as streaming capabilities. Cine Rent West is located in the heart of NW Portland near Montgomery Park. This location has convenient freeway and airport access and is close to many amenities a client may need.

SUPPORT EQUIPMENT Five Star RV 425-741-9600 www.fivestarrvs.com Five Star RV Super Center offers RV sales, service and rentals in Everett, WA—just 30 minutes north of Seattle! Our dealership is stocked with one of the largest selection of pre-owned RVs for sale and RV rentals in the state of Washington. We offer a full line of luxury and standard motorhomes and travel trailers, ranging from 23’ to 45’ with plenty of options: Multiple slide-outs, generator, wardrobes, large flat panel TVs, satellite dish, air conditioning, refrigerator, washer/dryer, outdoor kitchen, awnings, full spacious bathrooms, wireless internet, and more. On site pickup or we can deliver, setup, and pickup to your location. We also have RV technicians available for standby. Redline RV Productions 866-720-1930 www.redlinervp.com Redline RV Productions has been providing superior RVs on hundreds of productions over the last six years. Projects include catalog, music videos, commercials and fashion shoots in locations in Washington, Oregon, and across California. Northwest Helicopters, Inc. 360-754-7200 www.nwhelicopters.com Experienced camera pilots in motion picture and television production, with various camera mounts including CINEFLEX HD and Tyler. 27 aircraft available for story ships or camera platform including: UH-1H Hueys, AH-1 Cobra attack helicopters, Bell 206B JetRangers, Hughes/MD-500D helicopters. Vintage airplanes include: P-51 Mustang, T-6 “Tora” Zero replica, A-1E Skyraider, and more flying museum aircraft available. Painting available. SAG pilots available. Recent work: Man of Steel, The Host, Aerial America, Finding Bigfoot, Dual Survival, 12 Rounds. Charter services for location scouting. Water Buffalo 253-863-8883 www.waterbuffaloinc.com Water Buffalo is the most diversified water trucking company

in the Pacific Northwest. From top contractors to private homeowners, we are the company that they trust and turn to for their water trucking needs since 1996. Receive great customer service from the moment you reach our office till your job is complete. Our drivers have experience working closely with production crews and our trucks carry a whopping 4,000 gallons per load, keeping the truck on site where it’s needed. We are ready to go anywhere, anytime to accommodate those beautiful Northwest shots, from street wetting to rain effects. Our trucks have many spray heads, hose reels, nozzles and pumps. We can work with the local water companies to secure water accessibility to make your job easier. You can also call us for drinking water, dust control, pool fills, landscape watering or just filling a dunk tank at your company picnic. Water Truck Service 503-682-2723 Water Truck Service strives to provide quality service. With over 20 years experience, we have a fleet of trucks and skilled operators ready to serve your needs. Our professional services include current water permits for the city of Portland and most surrounding areas. Experience includes all phases of watering in the film industry. Will travel statewide and into SW Washington. Cascade Video Systems 503-381-7640 www.cascadevideosystems.com Cascade Video Systems, based in Portland, OR, has provided

Video Assist and Tele-prompter services to clients throughout the Pacific Northwest since 1995. We provide the latest industry standard equipment including Qtake HD, a software platform that has transformed our industry and capabilities. It supports 3D video assist, real-time effects, on-set editing, color correction, frame line generation and network streaming to on-set devices. We offer multiple camera systems using the latest Panasonic displays in various sizes: 26”, 17” and 9”. We have High Definition Transmitters, providing reliable HD video in almost any location. We offer hand-held monitors and digital disk recorders capable of recording hours of HD content. We have QTV Tele-prompter systems that support any camera size and manufacturer that can be used on multiple camera jobs with ease. Our battery-powered systems and numerous display sizes allow us to work in any location. We also offer ‘Interrotron’ or interview systems. Day Wireless Systems 503-659-1240 www.daywireless.com Day Wireless Systems is the largest, full-service wireless integrator in the West. We provide design, construction, licensing, sales, service, rentals, installation, and maintenance for a wide range of wireless voice, data, and video applications. Founded in 1969, today we have 26 locations and 300 employees in California, Oregon, and Washington. Day Wireless has the skill, range of services, stability, and resources to be your long-term communications partner. Although we are proud to offer the best possible solution from a variety of world class

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vendors, we have the distinction and honor of being the largest Motorola Outlet in the USA. Event Communications 800-283-2666 www.eventcomm.us Event Communications is a supplier of communication solutions that include Motorola digital two way radios, portable repeater systems and portable Wi-Fi and Internet distribution systems. We have over 30 years of experience with on-site communication systems for production companies, sporting events, music festivals and other large gatherings up to 250,000 attendees. We provide these services throughout the United States. All of our employees come from a production background and understand the meaning of “show time” and we have an Emmy to prove it. Anyone can rent you equipment. It is the implementation and the solutions that really make the difference. Air Systems Sales & Rentals 503-635-9670 www.airsysrent.com Air Systems Sales & Rentals provides shortterm and long-term rentals of portable and temporary air conditioning and heating equipment for stages, locations, studios and all venues. We have extensive experience with most major NW film and TV productions including Feast of Love, Untraceable, Twilight, Extraordinary Measures, Leverage, Portlandia, Grimm & Wild. We will promptly deliver, set up, install, monitor and remove our cooling and heating equipment 24/7/365 with an unparalleled level of service. Alexander Party Rentals 206-282-1987 www.alexanderpartyrentals.com Alexander Party Rentals specializes in event merchandise and décor. Our rental inventory includes, but is not limited to, tenting, tables and chairs, catering equipment, staging and dance floors, and decorative décor. We are a family owned and operated company that has been in Seattle for over 25 years and are excited to be broadening our scope of services to work in the media industry. Recent projects have included work with the television shows Restaurant Impossible and Grey’s Anatomy and a commercial and advertising event for Intuit Software. Our experienced staff will go the extra mile to ensure we are providing the perfect items for your rental needs. Zarr Studios 503-477-7050 www.zarrstudios.com Zarr Studios is more than just a beautiful, all inclusive studio. We offer 50x50 double cove cyclorama with 35’ high ceilings, large rollup door, greenroom, bathrooms, kitchen, screening room, casting and rehearsal spaces, conference room with wireless internet and 15 production offices – we are here to fulfill all your production needs! With almost 16,000 square feet of space, we can accommodate almost any size production. Conveniently located in the inner SE Portland off of I-5 and I-84, we offer competitive rates and professional staff to accomplish all your goals. Come join Portland’s best studio today! 58

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Island Station Media Lab 503-901-4202 www.isml.info Island Station Media Lab is modest sized multimedia studio facility located five miles south of Portland on Hwy 99e. The Lab has an open production floor, 24’ 180° cyclorama, photography studio, isolation booth and ADR, hair and makeup station, visitor lounge, changing room, production office, roll up door, in-house lighting kits, props, gaffers tree, and a friendly staff. Our space accommodates everyone from the largest entertainment company to the smallest podcaster or freelance creative. Our indie creator rates are ridiculously low, and even our highest commercial rate can’t be beat. Stageright2 Inc. 503-287-0361 www.stageright2.com Stageright2 Inc. is a scenery and prop construction company in Portland, Oregon. This year we celebrate 25 years of being in business. Our experienced carpenters, scenic artists and designers has a strong reputation for artfully crafting specialized scenery, photo props, exhibits, models and displays. Recently we’ve worked with Portland Art Museum to create an elaborate set to help celebrate the arrival of their Venice exhibit. We worked closely with the museum to build something that truly brought Venice to Portland. There were a lot of great details that tied it all together, such as a bridge, beautiful period lighting, and wrapping their stage’s existing stairs with balconnades and stone banisters to give it a great Italian feel. Intersect Video 971-224-4808 www.intersectvideo.com Intersect Video specializes in professional video production, audio production and motion graphics, as well as multimedia localization and professional post production for corporate, business, and industrial customers. We service clients in the Pacific Northwest, across the United States, and worldwide.We work with a variety of organizational stakeholders, such as product promotions, training, public outreach, marketing, and advertising. Acting as a specialty subcontractor to various translation-only providers, Intersect Video also provides multimedia post-production services to some very large national and international corporations across a variety of industries. In addition, Intersect Video maintains a 3500 square foot sound stage with a 16' x 32' two wall curved white screen cyc to 16' tall and a 24.5' x 45' three wall curved green screen cyc to 23' tall. The sound stage is available for rental and comes complete with a full studio grip and electric package, powered hoist lighting grids, and 850 AMPs of power. For more information, please visit our website.