2015 SourceOregon Magazine by Oregon Media Production Association

SOURCEOREGON A PUBLICATION OF THE OREGON MEDIA PRODUCTION ASSOCIATION

Film | TV | Commercial | Interactive

50 2015

Production Directory

Oregon crew, talent, production companies, and resources P. 35

u o y s n o i Product

t s u M This ar e Y See

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2015 Contents FEATURE

On the set of the commercial for Alienware X51 Gaming System by Quango and Lyon Films. This 30-second feature-film style commercial took advantage of all Oregon could offer.

4 | Green-lighting Oregon 1 With a modest budget, Portland fit some of Green Room’s most ambitious ideas.

FILMING IN OREGON 10 | Welcome To Oregon

6 SourceOregon 2015

Photo Courtesy of Levy Moroshan

12 | Why Oregon? Seven reasons why filming here has never been better.

SOURCEOREGON published by the Oregon Media Production Association (OMPA) Film | TV | Commercial | Interactive

SOUND PROOFED 2 WALL CYC COMMERCIAL CAMPAIGNS STILL SHOOTS IN-HOUSE LIGHTING & GRIP PACKAGES PRIVATE EVENTS LIVE STREAMING CAPABILITIES

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Contents PRODUCTION REVIEW

17 | MORE THAN GRIMM TERRAIN Beyond the Black Forest of Germany, Oregon is rich in environmental diversity, perfect for a TV shoot. 18 | Political Reaching past film and TV, Oregon is capable of many facets including political campaigns. 20 | Creating a Moving Illusion Discover digital storytelling. 20 | The Ultimate Animation Frontier See how one Oregon company met the ultimate animation challenge.

CONTINUED

21 | Nature of Industry Oregon Filmmakers find the American dream alive with these corporatesponsored films. 22 | Listening to the Millennium Did you hear the new video?

26 | Cut To Commercial How we make 30 seconds count. 28 | More than Fun at Home Development that has moved past the game console. 30 | The Reality of Human Nature Discovering more than small towns and big cities. These documentaries look at people, places, and music that make Oregon unique.

23 | Not-So Mainstream How Oregon is helping free-spirits make great movies. 24 | Indie Innovation How Oregon helps find budget.

ON THE COVER Patrick Stewart plays Darcy Banker in the new movie Green Room, also from left to right: Brent Werzner,  Colton Ruscheinsky, Mason Knight, and Samuel Summer; written and directed by Jeremy Saulnier and produced by Neil Kopp, Anish Savjani, and Vic Moyers. After stumbling upon a horrific act of violence, a young punk rock band find themselves trapped in a secluded venue, fighting for their lives against a gang of skinheads intent on eliminating all witnesses. Photo courtesy of Scott Patrick Green.

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8 SourceOregon 2015

Portland

Welcome to Oregon

SOURCEOREGON Eugene

Bend

FILMING IN OREGON. Ashland

Welcome to this year’s issue of SourceOregon Magazine. This is the best place to start your discovery of why Oregon has become such a destination for creativity and discovery – not to mention the crew, the talent and location, location, location. Here you will find a comprehensive list of companies, crews, equipment and support services – all with a wide portfolio of experience needed to make all of your projects a success. Whether it is Ashland being named the #1 Town to Live and Work as a Filmmaker by MovieMaker Magazine, or the beauty of Bend as seen in Wild, or the cinematic history of Eugene and the mid-Willamette Valley, or the diversity of Portland seen in Grimm and Portlandia – from end to end, Oregon is about great quality of life, beautiful surroundings, and of course, commitment to film, TV and media makers. Check out the OregonConfluence.com to share news and events from around the state’s thriving industry throughout the year. And thank you for checking us out.

TIM WILLIAMS, EXECUTIVE DIRECTOR OREGON FILM

Oregon has quietly been putting together a very long history of filmmaking and filmmakers for more than a century. Starting with The Fisherman’s Bride in 1908 and moving through Buster Keaton’s The General, Paint Your Wagon, One Flew Over The Cuckoo’s Nest, Animal House, Stand By Me, The Goonies, and the many films of Gus Van Sant and Kelly Reichardt, this state has been featured in such uniquely different ways. The talent-base and infrastructure which now support an industry fed by the success of Grimm, Portlandia and, more recently, The Librarians – and grown through the feature films like Wild, Night Moves and The Boxtrolls – are represented here in SourceOregon. This state’s media industry has the ability to move from animation to studio features, national commercials to world-class VFX without skipping a beat – as you will see in these pages, Oregon has just about everything, not to mention the access to equipment, accommodations and amazing food & drink – there isn’t really a reason not to bring your next project here. SourceOregon is just the beginning of what media production is here in Oregon, so I hope you will use it to find your incredible crew and all your production needs for your film, series or short – and then come here to experience it all in person. You’ll probably want to come back after you’re done.

DAVID CRESS, PRESIDENT OMPA

Make the Governor’s Office of Film & Television your first call www.oregonfilm.org 971.254.4020 10 SourceOregon 2015

published by the Oregon Media Production Association (OMPA)

Film | TV | Commercial | Interactive Contributors Writer Jay Horton Story Editor Jeff Johnston Proofreader David Freedman Web Developer Greg Jorgensen Data Processor John Reinhold Advertising Sales Melanie Rose Design and Print Production Richer Design

Publisher Oregon Media Production Association Portland Chapter 901 SE Oak St, Ste 104 Portland, OR 97214 info@ompa.org • www.ompa.org Willamette Valley Chapter (MOPAN) 1430 Willamette St #111 Eugene, OR 97401 info@mopan.org • www.mopan.org Advertising and Circulation 503.228.8822 Listings www.sourceoregon.com/getlisted

Contributing Organizations City of Eugene Municipal Film Permit Assistance www.eugene-or.gov Clackamas County Business and Economic Development www.clackamas.us/business/film.html Governor’s Office of Film & Television www.oregonfilm.org IATSE Local 488 www.iatse488.com Portland Film Office www.pdc.us/film SAG-AFTRA www.sagaftra.org/portland Southern Oregon Film and Media www.filmsouthernoregon.org Oregon Media Production Association (OMPA) assumes no liability for content, errors, or omissions of any listing or advertisement beyond the cost of said listing or advertisement, whether the result of accident, negligence, or any other cause. Product and company names mentioned herein may be the trademarks of their respective owners. No part of this publication may be reproduced by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without the express written permission of the publisher.

Made in USA. Produced in Oregon.

Welcome to Oregon

SourceOregon 2015

Oregon Benefits

Why Oregon?

magine producing with no permitting hassles… friendly, accessible contacts at all levels of city and state government… financial incentives that support your bottom line. You’re not dreaming – you’re in Oregon!

Oregon has a well-deserved reputation as a center for creative business and technology where talent and producers serve up engaging entertainment and enlightening business solutions. The Oregon Production Investment Fund (OPIF) makes rebate opportunities available to many types of projects. From film and television production to world-renowned animation, VFX, digital media and post production, Oregon has all the resources and talent that you need to make your next project a success.

20% CASH REBATE ON GOODS & SERVICES AND UP TO 16.2% REBATE ON LABOR

offered through the Oregon Production Investment Fund and the Greenlight Oregon Labor Rebate. Enjoy a no per-production cap cash rebate on any cost related to production that is paid to an Oregon-based company. Labor rebate applies to production payrolls for work done in Oregon. It covers all employees for any film, television or television commercial production company spending $1 million plus over a calendar year (subject to availability). Call the Governor’s Office of Film & Television for the latest incentive information: 971.254.4020

2 LOCAL CAST & CREW

Behind the Scenes of WILD—Reese Witherspoon hiking at Oregon’s Crater Lake. (Photo: Anne Marie Fox/Fox Searchlight Pictures)

Oregon is proud of our strong, professional and growing number of talented cast and crew who work year-round on feature films, TV and commercial production. Oregon is also home to a number of local talent agencies ready to provide a full range of talent services.

12 SourceOregon 2015

Oregon Benefits

3 FEE-FREE CITIES

With 27 cities and 3 counties around the state of Oregon charging no permitting fees, Oregon takes “film-friendly” to a whole new level.

READY FOR THE FUTURE

Oregon’s tech and creative industries are collaborating more than ever, resulting in new innovative digital storytelling companies and initiatives like the Oregon Story Board.

NO SALES TAX

No waivers to fill out. No paperwork. Oregon simply has no sales tax on anything! That means no up-front costs for your production, no additional records to keep and no administrative hassle trying to get a sales tax refund.

CLOSER THAN YOU THINK

We’re conveniently located close to LA, with four Oregon cities (Eugene, Medford, Redmond/Bend and Portland) providing direct service to the LA area. We’re a mere two-hour flight away.

LOCATION. LOCATION. LOCATION.

Oregon offers the diverse locations other regions can only dream about. We have the mountains, beaches, ghost towns, deserts, lakes, rivers, streams, small towns, modern cities and lava flows to prove it. Check out our extensive online location database to see how we can help make your vision a reality. Check out more locations online at www.oregonfilm.org/locations

Green-lighting Oregon

Notable Local Crew and Vendors

“For me, having this film in town was a dream come true.” A Veteran producer and native Portlander Neil Kopp had overseen his share of homegrown productions – Meek’s Cutoff and Night Moves, notably – but buzz-driven indie Green Room faced long odds for a local shoot. Not only had Jeremy Saulnier set his original screenplay along the Eastern seaboard, the writer/ director had never even visited the Pacific Northwest. “Early on in this process,” Kopp said, “talking about where we wanted to make this movie, my producing partner Anish Savjani [Savjani, Green Room producer and Kopp’s longtime partner in filmscience ] floated Oregon because of numerous reasons – the crew base, the incentive program, the right story – and [Saulnier] got excited and started Googling the Oregon Coast. It just became this thing that he really wanted to do. The fact of the matter is, it’s the little things that blow people’s minds – to people who didn’t grow up with them, just the sight of a tree can drop somebody’s jaw.” As Saulnier’s follow-up to Blue Ruin, the convention-bending revenge yarn that won the 2013 Fipresci award at Cannes’ Directors’ Fortnight, Green Room would’ve already been among the state’s highest-profile indie productions, but the addition of Patrick Stewart to an already impressive cast (including Anton Yelchin, Imogen Poots, and Macon Blair) spiraled anticipation among a far wider audience. Even as local Twitter accounts suddenly filled with gossip about Picard taking in a Timbers game and Professor X dining at Noble Rot, the national media took a special interest once the first stills highlighted Stewart’s newfound menace. Clearly relishing the opportunity to embody a character far darker than his typical fan-favorite roles, the screen legend plays the leader of a white supremacist cadre 14 SourceOregon 2015

Photo Courtesy of Jeremy Saulnier

With a modest budget, Portland fit some of Green Room’s most ambitious ideas

Thanks to a great Oregon crew: • Production Designer: Ryan Smith • Costume Designer: Amanda Needham • Oregon Casting Director: Simon Max Hill • Locations: Peter Hurteau and Roger Faires • Production Coordinator: Liz Brandenburg • 2nd AD: Pete Dowd • Art Director: Benjamin Hayden • Prop Master: Drew Penniger • Set Dresser: Jennelle Giordano • Costume Supervisor: Tanya Smith • Make-Up Department Head: Jessica Needham • Hair Department Head: Emie Otis • Key Grip: Bruce Henderson • Sound Mixer: Paul Maritsas • Stunt Coordinator: Kent Luttrell • Special Effects Supervisor: Wayne Eaton • Construction Coordinator: Dean Roberts • Script Supervisor: Tracy Cutts • Animal Trainers: Lauren Henry and Roland Sonneberg at Talented Animals • Camera Package: Koerner Camera • Grip Equipment: Pacific Grip & Lighting • Lighting Equipment: Gearhead Grip & Electric • Sound Stage: Electric Entertainment

controlling a small Oregon town through violence and bloodshed. When members of a touring hardcore combo accidentally catch sight of a moment’s savagery, they’re followed to a far-off gig by skinhead enforcers determined to clean up all loose ends by any means necessary. Taking full advantage of Western Oregon’s diverse terrain, the late autumn shoot encompassed locations ranging from Astoria’s time-swept coastal hub to the teensy Mt. Hood community of Rhododendron, and Kopp couldn’t have been prouder of his home town’s burgeoning resources. “We were pretty ambitious

with a modest budget, trying to do a lot with what we had, and Portland’s just a really comfortable town to film in. The city’s easy, locations are great and relatively affordable, and there’s a huge super-experienced crew base. You really need professionals and specialists in the film industry: animal trainers, special effects supervisors, prop-masters. The ferocity of the television market in the past five or ten years developed an infrastructure that wasn’t entirely here before. We brought in some people – the cast, of course – but there really was no position that we couldn’t find locally. Portland just has this unique chemistry. It’s kinda perfect, especially for what we needed.”

Photo Courtesy of Christopher Carroll

“…there really was no position that we couldn’t find locally. Portland just has this unique chemistry. It’s kinda perfect, especially for what we needed.”

Astoria

Portland Mt. Hood …Talking about where we wanted to make this movie, I [Kopp] floated Oregon because of numerous reasons – the crew base, the incentive program, the right story – and [Saulnier] got excited and started Googling the Oregon Coast.

SourceOregon 2015

Photo Courtesy of Levy Moroshan

Made in Oregon

The Creative Spirit Oregon Production: In Review

The Oregon spirit - creative, independent, adept - shines throughout its digital storytelling landscape. The following are some of the top recent - and upcoming - Oregon projects from all categories of commercial, interactive and entertainment production. 16 SourceOregonÂ Â 2015

Photos courtesy of Mike Lobban, Richer Design (2), Levy Moroshan (2)

TELEVISION

More than Grimm

Grimm terrain

Although setting a horror procedural within the nation’s least scary community might have originally surprised network executives, Grimm now feels inextricably linked to its Portland base. The creators of NBC’s popular thriller recognized the dramatic landscapes civic fathers assembled by building islands of urbanity within untouched woodland, and, for a series that so emphasizes Western Oregon’s similarities to the Black Forest of classic folklore, the atmosphere of underlying menace nearly films itself. Blending chills–with visual effects by both Hive-FX and Bent Image Lab –and laughs, the series has continued to weave new layers within the surrounding mythology of manimal creatures known as “Wesen” whose inner natures can only be observed by the centuries-old family of Grimms, but the heart of the program remains the relationships developed among our central characters as they fight against the foreign machinations and homegrown disturbances threatening our fair city.

Combat Report

Produced by One-Eighty Films (page 59)

Grimm isn’t the only program to take advantage of our local terrain’s natural resemblance to the forests of Western Europe. The six-episode first season, Combat Report, produced by  One-Eighty Films follows the exploits of elite GIs tasked with halting the Nazi war machine in this forgotten chapter of the greatest generation. Under FDR’s direct command, Lt. Dwight Dakks (Oregon native  Bob McKeehan ) leads a proto-special forces squad on daring commando raids to rescue threatened Allied officers and take out vital German assets. Although the thrilling missions behind enemy Behind the Scenes of Combat Report lines hurtle the narrative forward, in Portland Combat Report never shirks from an honest depiction of battlefield carnage and its emotional repercussions. “Combat As the first scripted series produced for Tuff TV, Combat Report debuted to both critical acclaim and the approval Report is of veterans who commended the historic portrait for the the result of stunning visual accuracy of its respectful simulation of perfect locamilitary service overseas. Despite daunting budgetary tions, the most restrictions, creator  Thad Smith (director of 2010’s gripping Battle of the Bulge re-creation Everyman’s War filmed authentic in Oregon) made the most of limited resources for a captiprops and set vating evocation of the occupied Western Front. Shooting design, and a on location around McMinnville, Warren, Scappoose, and an unrecognizably transformed SE Portland, the program hard-working delivers kinetic action across believably time-swept crew.” settings without ever losing focus of the richly observed —Thad Smith, Creator interplay between comrades-in-arms at the story’s heart.

Camera crew filming on location of Combat Report. SourceOregon 2015

POLITICAL Watching the Money For You Employing homespun animation to tell the story of a small garage business passed down from his grandfather, Jim Bernard’s re-election ad by ProspectPDX charmingly emphasized the Clackamas County Commissioner’s community roots and ingrained fiscal resolve. Produced by ProspectPDX (page 60)

Inaction Figure Aelea Chrisofferson’s Congressional candidacy won national recognition from this satirical ProspectPDX toy commercial hawking a doll of incumbent Greg Walden—“legislation sold separately.” Produced by ProspectPDX (page 60)

18 SourceOregon 2015

On Feb. 10 it was announced that IFC had picked up Portlandia for a 6th and 7th season

Photo credit: Augusta Quirk/IFC

TELEVISION

Produced by David Cress (page 52) for Broadway Video

Portlandia returned for its fifth season on January 8th, featuring a new bevy of guest stars – including Steve Buscemi, Greta Gerwig, Matt Groening, Olivia Wilde, and Oscar the Grouch. For better or worse, the show that firmly entrenched the Rose City as a global phenomenon has no end of sharply-rendered cultural micro-trends and damning societal observations to skewer. The creators promised a newly heightened focus upon the backstories and relationships of their iconic characters through extended episode-length narratives, which should further stress both the protean charms of stars Fred Armisten and Carrie Brownstein and the resourcefulness of the entire production. Portlandia shoots only on location, and the crew has done a masterful job at arranging even the most difficult makeshift sets, such as the hospital needed for a recent health care-themed episode (served by a vacant ward of Vancouver’s PeaceHealth Southwest Medical Center). The crew does a great job finding affordable facsimiles for whatever the writers imagine. They even managed to approximate 90s New York City during the elongated origin story of feminist bookstore owners Toni and Candace. If the show’s primary attraction lies in conveying the wonders of Portlandia to the world at large, the true magic of the production, produced by David Cress, might just be re-creating that world within the bounds of metropolitan Portland.

TELEVISION “One of the best things about shooting here [in Oregon] is the talent pool— both the crew and the local actors.” – Rachel Olschan, The Librarians series co-executive producer

The Librarians Produced by Paul Bernard (page 52) for Electric Entertainment

On set of The Haunting of Sunshine Girl book trailer, photo courtesy of Mercedes Rose.

The Haunting Of Sunshine Girl Produced by Coat Tale Productions (page 57)

With more than a quarter million subscribers since its debut on YouTube, The Haunting of Sunshine Girl has far surpassed the wildest expectations for web programming. Portland’s Coat Tale Productions harnessed the digital medium to explore the deepening mysteries of a teen girl’s connection to paranormal events. The Weinstein Company announced that the indie blockbuster studio would adapt the web series into a book series for young adults and a film franchise starring  Paige McKenzie.

Rollin’ on TV Hosted by Jeff Johnston (page 83)

It’s all about outdoor recreation in an RV. The weekly cable broadcast show about RVs and RV lifestyle is in its fourth year and is carried by a variety of stations and distributors nationwide. The production staff is split between Massachusetts, where show producer Jose Moniz and editor Michael Riley are located, and Oregon, where show host and associate producer  Jeff Johnston lives. The program features new RV products and accessories, RV-appropriate destinations, road-ready recipes for mobilefriendly meals, people with interesting RV stories to tell, and industry-related news in the Northwest and across the country. While the show is on a modest budget they hire locally when crew or talent are needed for special projects.

Insofar as Grimm and Portlandia delved into their own singular tweaks upon the existing perceptions of Oregon’s largest city, The Librarians headed just slightly east with help from Deep Locations to exploit the vast emptiness of Clackamas County and create other worlds all their own. The TNT series, which debuted to excellent ratings, follows along the plotline of several top-rated features in which Noah Wyle defended the greatest treasures of human history, many made by Oakley Design Studio, from massed villains ever scheming to overwhelm the magical library. Within the new program’s slightly altered parameters, a litany of familiar faces (John Larroquette, Rebecca Romijn, Christian Kane) are charged with defending the natural order from storybook fates. With help from Portland prop studio, DOA, to properly manufacture such fanciful backdrops, such as the climactic episode’s “Camelot,” Dean Devlin’s production company Electric Entertainment continued the stage expansion begun with Leverage – four fully functioning sound stages just a stone’s throw from Portland.

The Digits Produced by The FUNDA Organization (page 57)

Scotty Iseri, creator of popular web comedy Scotty Got an Office Job, developed The Digits as a downloadable series for mobile devices – each “appisode” unfurls a playful narrative leading to an eventual numbers-based problem that viewers are then asked to solve. With an ever-increasing fanbase of older grade-schoolers (as well as parents and teachers delighted to find quality educational programming), PBS will begin broadcasting a separate television show later this year.

Ready to help a gang of spacefaring rockers best the Intergalactic Battle of the Bands and learn a few math concepts along the way? SourceOregon 2015

ANIMATION

Creating a Moving Illusion Polariffic Produced by Bent Image Lab (page 53)

Around the same time Bent Image Lab revitalized Rudolph for a series of CBS spots last yuletide, the Portland studio premiered another original holiday creation on the Hallmark Network. The computeranimated short Polariffic introduces four adorable Arctic creatures and teaches a valuable lesson when they run across a young yeti.

A Tale of Momentum of Inertia Produced by HouseSpecial (page 53)

This festival hit illustrated the comic travails of a rock giant straining to hold back a boulder from leveling an ungracious kingdom. Directed by Kameron Gates, the animated short rolls out the wit and poignancy in just under a minute.

Kubo and the Two Strings Produced by LAIKA (page 45)

The ultimate

animation

frontier

Kahramaa Awareness Park Produced for R&S Production Services by Wallace Creative Inc. (page 54)

Producing art and animation for commercial broadcast (from Sesame Street to King of the Hill), games, music videos, documentaries, theatrical film, the Internet, ebooks and print, Wallace Creative took on their most challenging project to date–design and produce animation for an amusement park ride in an educational/science park in Qatar. They were contracted to handle all the art and animation design, special effects, video editing/timing, sound effects, voice track creation, and music score coordination and to top all that, the animation “lip-sync” all had to be in Arabic. It was a year-long production from concept to final delivery– 16 animated movies incorporated into the 7-8 minute “dark-ride”.

“The ride car timing had to be synced while traveling through 7 rooms and 16 screens, requiring all visuals, special effects, sound and voice tracks to be coordinated and all working in constant unison.” 20 SourceOregon 2015

Now that LAIKA has garnered Oscar nods for its first three feature films–Coraline, Boxtrolls, and ParaNorman–expectations are high for this upcoming release and boasts Matthew McConaughey and Charlize Theron among the vocal talents. The story of a child’s quest to find an enchanted samurai armor incorporates elements of traditional Japanese folklore within Laika’s distinct stop-motion/CG animated technique.

Photo courtesy of Red Door Films

CORPORATE

NATURE OF INDUSTRY Oregon Filmmakers find the American Dream alive somewhere between Raw Materials and The Trembling Giant

Raw Materials

The Trembling Giant

Directed by Red Door Films (page 55)

Produced by Kamp Grizzly (page 56)

For a veteran industrial filmmaker whose previous long-form projects for corporate clients incorporated elements of genre parodies, local director David Poulshock chose a more serious approach – examining the lives of three employees of a Winchester, Virginia manufacturing plant – to create Raw Materials’ stirring investigation into the changing face of the American dream.

Members of Kamp Grizzly spent over a month traversing the Flat Tops Wilderness area to follow three different groups hunting the elusive wapiti in the shadow of the Rocky Mountains. The feature-length documentary, made for Danner Boots and GORE-TEX, focuses on the landscape’s rugged beauty and the varying motives of the hunters.

SourceOregon 2015

Listening to the Millennium Crisis and Vices

urceOregon - January 2015 I Don’t Know You Anymore Alicia J. Rose’s second video for modern rock legend Bob Mould leans heavily on a vicious satire of 21st century music industry trends as outlined by a faux-fatuous (Decemberists frontman) Colin Meloy in an introductory skit. Filmed at iconic Portland indie retailer Music Millennium amidst National Record Store day mayhem, the Funny Or Die clip juxtaposes the jubilant throngs of actual fans with brand-obsessed iLemmings queuing for gadgetry.

Highlight of upcoming concert DVD Moistboyz At The Doug Fir, the “Crisis and Vices” video imposed pro production techniques to document the legendary PA punkers’ breakneck romp through Portland’s signature nightclub. With six cameramen encircling the stage, director (and local indie film vet) Timothy Levine assembled the air-tight visuals of an arena concert while maintaining the pungent atmosphere and explosive dynamic a more intimate setting allows. Produced by Timothy Levine (page 60)

Directed & Produced by Alicia J. Rose (page 60)

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Alicia J. Rose photo courtesy of Needmore Designs Timothy Levine photo courtesy of Photo courtesy of Daniel Goldman of Island Station Media Lab

MUSIC VIDEO

Photo courtesy of Scott Patrick Green

INDIE FILM

Not-So Mainstream How Oregon is helping free-spirits make great movies on budget.

All the Wilderness Directed by Michael Johnson (page 50)

A moving, thoughtful, deceptively-simple coming-of-age story, All The Wilderness illuminates the interior life of its young protagonist with the same quiet loveliness and hidden bursts of magic that writer-director and PDX native Michael Johnson brought to his feature debut’s visual celebration of greater Portland. Australian actor Kodi Smit-McPhee (X-Men: Apocalypse) – an Oregon-locationshoot vet from 2009’s The Road – plays an achingly-sensitive teen loner sublimating grief over his

father’s recent death through macabre fixations that raise questions at school and further distress his mother (Virginia Madsen) before unlikely connections with a caustic Voodoo Doughnut salesgirl (Isabelle Fuhrman) and skate rat libertine (Evan Ross) inspire new hope. Since finishing the screenplay in 2011, his friend Glenn Howerton (It’s Always Sunny In Philadelphia) attached himself as executive producer soon after and the film was largely edited at the series’ facilities. Johnson only envisioned filming All The Wilderness around his hometown (Portland),

and the surrounding environment to create an integral storytelling technique dependent upon tone and texture for emotive weight. Shot in 22 frenetic days over a diverse set of locations ranging from the Burnside skatepark to the scenic vistas of the West Hills, cinematographer Adam NewportBerra (originally from Oregon) captures the delicate beauty, electric street-life, and haunting remoteness all swirling about the Rose City for a fully-realized portrait as singular and distinct as Smit-McPhee’s portrayal of misunderstood desperation.

SourceOregon 2015

Subtext Produced by Pander Bros. Studios (page 51)

Brother In Laws

Klamath

Falls

Produced by Broadway Video

In this Broadway Video production, Rita Wilson (Sleepless In Seattle, Runaway Bride) and Bill Pullman (Independence Day, While You Were Sleeping) play beloved parents hosting an annual family gathering to which their daughters bring their completely opposite new husbands – a career camp counselor and a squeamish urbanite – who are hoping to make a good impression. Described as a gently absurd comedy in the mold of What About Bob? or Meet The Parents, the presence of Lorne Michaels (Portlandia) as producer likely indicates a potential star turn for Taran Killam after several seasons on Saturday Night Live. Despite the Instagrammed snapshots of the cast enjoying the sundappled comforts of a resort locals nicknamed “Lake of the Holly-Wood,” the studios’ premier bug-wranglers intimated Killam would wind up covered in ants, and there was evidently a set piece extravagant enough to effectively shut down Klamath Falls for a week last September. The Klamath Basin has proven an increasingly attractive location for feature films in recent years (including Jesse Eisenberg’s Night Moves), though this hotly anticipated farce, marks a notable leap forward for the region.

Oregon Casting Directors of Grimm, Wild, Leverage, Twilight, and more.

Although Arnold and Jacob Pander have spent the past few years concentrating on film work (notably, awardwinning 2008 feature Selfless), the brothers first found fame through visionary collaborations on groundbreaking graphic novels. Their short Subtext, which premiered last summer and is traveling the festival circuit through 2015, brings the specialized iconography of comic books to filmic realms for this almost-dialoguefree tale of an aborning ménage a trois told largely through cell texts. Together with D.P. Kevin Pham, the Panders impart the cinematic speech bubbles with a kinetic urgency beyond literal meanings. A series of messages between ad exec Scott ( Kc Guyer ) and stylist Claire ( Cora Benesh ) urge forward his desires to enjoy an open relationship and, moreover, for his apparent girlfriend to meet her all-too-friendly competition (C.C. Sheffield) at a nightclub whose volume precludes normal conversation. The Portland natives shot on location around their hometown utilizing local friends and colleagues – Dandy Warhols frontman Courtney Taylor-Taylor (a comics creator himself ) served as executive producer – and the familiar grounds lend an assured elegance to Subtext’s arch whimsy.

Chroma Fund After developing an app for indie video distribution only to realize how few episodic programs were actually available, PDX firm Chroma set their sights upon facilitating new projects by taking advantage of recently loosened regulations for crowd-sourced financing. Chroma Fund offers production companies a means of verifying investors and then parceling out revenue when available.

Oregon Story Board Following the tech industry blueprint for encouraging local start-ups, the Oregon Story Board’s inaugural class graduated five worthy candidates. These came from the fields of gaming, filmmaking, video production, and new media development to receive guidance through assigned mentorship programs and preliminary funding from the statesubsidized Acceleration program. See page 48

FORMERLY LANA VEENKER CASTING CSA, ICDN, ATAS Whitney (C.C. Sheffield) in Subtext, photo courtesy of Pander Bros. Studio 24 SourceOregon 2015

INDIE INNOVATION

Photo courtesy of Steven Silton, Herald and News

:)):

INDIE FILM

Photo courtesy of Mark Arinsberg

INDIE FILM

Black Road funded nearly half of the project’s budget through Kickstarter.

Black Road Produced by Joma Films (page 51)

Shot in Southern Oregon’s Rogue Valley, the futuristic action-drama has a slightly different setting – Jefferson City, rough-hewn capital of the independent State of Jefferson. By 2049, the federal government has fallen, a lawless society struggles to survive, and developing technologies have enabled the robotic enhancements of the feature’s cyborg protagonist. Produced and directed by Ashlanders, Anne and Gary Lundgren, they veer away from their other two features’ character-driven portraits, Calvin Marshall and Redwood Highway. The atmospheric thriller centers around an enlightened tweak of genre thrills in hopes of attracting a wider audience while reflecting the best traditions of science fiction and film noir. Amidst the nods to next-gen tech both borrowed (the locally-made Brammo Empulse electric motorcycle) and imagined, Black Road drives down issues of romantic mistrust, threatened freedoms, and the most timeless of concerns.

Tracktown After their feature debut Tall as the Baobab Tree took Alexei Pappas and Jeremy Teicher halfway around the world to capture the portrait of arranged marriages, the team (both write; Teicher directs) looked a little closer to home for follow-up Tracktown. A former member of the University of Oregon’s championship track squad and a 2016 Olympic hopeful, Pappas herself stars as young athlete Plumb Marigold. Marigold’s single-minded dedication to her parents (Saturday Night Live’s Rachel Dratch and The Office’s Andy Buckley) and training suddenly wavers once she’s swept off her feet by a local baker. While Tracktown focuses upon Marigold’s romance, the film is also a love-letter to the Oregon city that lent its nickname, and, with help of producer Jay Smith (fellow U of O alum and Portlandia vet), Pappas’ ties to the area sparked a production with authentic local values far greater than the picture’s million-dollar budget would ordinarily enjoy.

Cabin Fever: Reboot Directed by Travis Zariwny (page 51)

This 2014 locally filmed indie production seeks to re-create the 2002 cult classic by utilizing a script unchanged from the original by Randy Pearlstein and director Eli Roth. Send five college students on vacation at a remote woodland shack, sprinkle with aggressive townspeople to foster paranoia, amp up the hormonal urgency, add a flesh-eating virus, and flood the screen with gore and flourishes of macabre wit. Unlike the poorly received sequel and prequel, the current version was developed with the creators’ blessing. Executive producer Roth delegated directorial duties to a hand-picked replacement, Portland native Travis Zariwny, in hopes the fresh staging would energize the concept. Zariwny, who’d previously helmed Intruder around Oregon City, was chosen to carry on the legacy, and the new cast began work last autumn on location in Molalla, which equally served the practical requirements of a feature shoot and the stark isolation at the story’s heart. SourceOregon 2015

COMMERCIAL

CUT TO COMMERCIAL Massan Barrage Cargo To showcase the new Chrome Industries Barrage Rolltop backpack, Kamp Grizzly strapped the messenger bag to a track cyclist. Filmed in crisp black and white with ample use of fisheye, the hypnotic clip follows Massan Fluker on a breakneck ride down the hills of Portland and through surrounding farmland. Produced by Kamp Grizzly (page 55)

7 Wonders of Oregon In this spot for Travel Oregon, a rustic narrator highlights our local landscape, boasting a natural beauty rivaling any of the traditional wonders of the world. From the breathtaking vistas of Mt. Hood to the Painted Hills’ rugged terrain, a 15-member crew headed by agency producer Katie Reardon and line producer Jill McBride, with photography by Chantal Anderson, traveled across three thousand miles to film this minutelong P.O.V. portrait of our state’s scenic treasures. Produced by Katie Reardon (page 52) for Wieden + Kennedy

Mission 04: History Is History Nemo Design took to the water behind MasterCraft’s recently re-engineered ProStar performance ski boat. With Clio and Rosey-award-winning audio design by Digital One emphasizing the roar of the engines (and without the use of music or extraneous sounds), the spot thrillingly captures the aquatic acrobatics through Phantom slow-motion. Produced by Nemo Design (page 55) and audio by Digital One (page 122)

Alienware: Area-51 To showcase Alienware’s new gaming-driven PC, Lyon Films detailed the adventure of a sci-fi heroine whose space suit, weaponry, and eventual treasure all seem suspiciously of the desktop computer’s signature ‘triad’ design. For this thirty-second spot, the Portland production company took full advantage of both the area’s multi-varied terrain (location shoots required barren desert and rock-walled canyon) and homegrown technical wizardry. Produced by Lyon Films (page 55)

26 SourceOregon 2015

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GAME Contraption Maker Twenty years after Jeff Tunnell started kids constructing outlandish devices with The Incredible Machine, the acclaimed designer has updated his original blueprint. Continuing along his original vision, Contraption Maker allows players to build fantastical multi-layered gadgets in order to accomplish a simple task in the most extravagantly daft method imaginable, and, unlike the Rube Goldberg machines of everyday life, these mechanisms are likely to involve an alligator, bomb, and rocket ship as integral components. Developed by Eugene company Spotkin and released on the Steam digital marketplace, the rigorous problem-solving scenarios may have placed the game safely within the educational market, but the sheer dream logic of clicking together such oddball parts into a working apparatus remains a delight for inventors of all ages. Developed by Spotkin (page 134)

NumberShire

Gone Home

By combining the interactive play of video games with an elementary mathematical education, Thought Cycle has drawn rave reviews from educators who praise NumberShire’s attention to underlining the conceptual underpinnings of whole numbers. Richly-imagined visuals create a storybook atmosphere within the fanciful simulation of a village populated by barnyard animals. NumberShire, developed in conjunction with the University of Oregon’s “Center On Teaching and Learning,” allows children to help characters by solving a variety of number problems and follow the right answers to select new wardrobes and other rewards.

A deceptively simple first-person exploration of an unfamiliar family house in mid-90s Oregon, Gone Home conjures up the same atmospheric menace and vein-tightening chills as its genre counterparts. It invites players to open drawers, unfold crumpled letters, and peer behind furniture in search of clues as to what’s happened to the unseen lead character’s vanished parents and sister. Originally something of a niche curiosity from The Fullbright Company, the small Portland indie studio has seen its fortunes soar alongside the success of its signature production. Over the past year, they’ve expanded to bring home the immersive thrills by issuing a Retail Special Edition – available for PC, Mac, and Linux in their webstore – with designer’s notebook, fauxzine poster, vintage Nintendo packaging, and a DVD copy of the game with Lisa Frank-styled box.

Developed by Thought Cycle (page 134)

Fun at Home

“Skullduggery!”

Since the only constants of modern existence seem to be death, taxes, and cell phones, Portland indie studio ClutchPlay has at last combined the constants into their new popular app. Set to a bouncy original score by a local composer, the game mimics the urbane fantasia visuals of Max Fleischman’s jazz-age cartoons for a fresh approach on a beguiling theme. You control the floating skull of an Infernal Revenue Service agent, propelling forward by pulling back on brain matter to slingshot yourself through levels and ricochet off various baddies amidst a vast netherworld that shifts from darkened alleyways to buried pyramids to a school of the damned. The responsive functioning and ingenious displays made “Skullduggery!” one of 2014’s hottest apps. Developed by ClutchPlay (page 134) 28 SourceOregon 2015

Developed by The Fullbright Company (page 134)

PROSPECTPDX.COM

The Battered Bastards Of Baseball Cartoon misadventures, outlandish characters, and the gritty, garish 70s kitsch of out-sized mutton chops and “streetwalker red” uniforms all collided in last year’s Sundance standout. Soon to be a major motion picture, with casting directed by Simon Max Hill, this rollicking history of the Portland Mavericks’ independent minor league team is pieced together from wild-eyed interviews, help from the Oregon Historical Society, and disintegrating game films scavenged by the founder’s grandsons.

n Pendleto d n la t r Po

LeRoy ‘Critter’ Wolfinger People can do evil things. Sometimes they are evil, but sometimes they are victims. Directed by Nancy Bowers, this documentary tells the story of LeRoy ‘Critter’ Wolfinger and his journey from a troubled boyhood and a life of vicious crime, to a story of redemption. Produced by Passing Thoughts Productions (page 59)

The Reality of

Unity

Human Nature

Discovering more than small towns and big cities. These documentaries look at people, places, and music that make Oregon unique. Round-Up Abandoning dialogue, introductory titles for characters or scenes, and just about every other narrative technique intended to guide viewer attentions, Round-Up’s artful reduction of Oregon’s biggest rodeo encourages a drifting focus. Edited down to a beguiling 75 minutes from the more than 60 hours of signature extreme slow-motion footage Alex and Aaron Craig shot around Pendleton, with help from the Pendleton Chamber of Commerce, the brothers’ cyclical visuals mesh perfectly with the meditative unAmericana of indie composer Sufjan Stevens’ original score commissioned by BAM.

30 SourceOregon 2015

Heaven Adores You Director Nickolas Rossi garnered unprecedented access to fallen star Elliott Smith’s family, his dearest friends, former bandmates and, crucially, the whole of his songbook. Smith’s boyhood recordings still seethe with the emotive charge of familiar progressions, and, ceding long stretches of screentime to idly roaming around Smith’s old neighborhoods. Rossi thankfully gives the music the last word with help from sound mixer and boom op Creed Spencer.

Welcome To Unity The tiny Eastern Oregon flyspeck of Unity raised eyebrows nationwide for fielding a high school football team comprised almost entirely of foreign exchange students from across Eurasia—struggling to understand both the game and the language amidst unreconstructed cattle country. Katharine Mahalic’s new doc was recorded mostly by the people living in Unity and lovingly savors the boundless comedic potentials.

Photo courtesy of Netflix and Jon Chia

DOCUMENTARY

HELPING HANDS Film Friendly: Oregon’s state and local permitting offices There’s one thing our Oregon cities and counties have in common: They all want to help make it easy for producers to shoot film and video projects in their areas. From the smallest incorporated community to the largest metropolitan center the permit office personnel are there to smooth the way and make your job less complicated. Our largest permitting office in Portland is naturally the busiest with the TV series Grimm, Portlandia and The Librarians, working locally along with international projects, explained Shelley Midthun, the Film, Television & Digital Media Industry Liaison for the Portland Film Office. Locations out of town are handled by the county offices like ClackamasCounty with a broad reach across the area. Our smaller communities lack dedicated permit staffers but they can all help with your projects. Philomath, Klamath Falls, and Eugene, for example, have personnel who cover permits part time. Pam Berrian, Telecommunications and Cable Program Manager for the city of Eugene, explained that she directs the production representative to the correct city staffer to handle permit requests. Umatilla Public Works Director Russ Pelleberg also covers film production permits, location, aid and so on. It’s the same story in most of our Oregon cities. Large location or small, Oregon’s permit people are here to help. 32 SourceOregon 2015

5 1. Aerial view of Heppner. 2. High above Astoria-Megler. 3. Looking toward downtown Fossil. 4. Ski Village at Government Camp. 5.  Tillamook Forest. 6.  Jacksonville Museum.

1. By Bill Johnson, U.S. Army Corps of Engineers - U.S. Army Corps of Engineers Digital Visual Library. 2. WikiCommons. 3. By Finetooth. 4. By EncMstr. 5. Richer Design. 6. Geographer at en.wikipedia

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SourceOregon 2015

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SPECIAL EDITION: FESTIVALS

n o g e r O ivals t s e F

PHOTO COURTESY OF PORTLAND INTERNATIONAL FILM FESTIVAL

2015-2016

Oregon Festivals May

September

Feb. 2016

April 2016

May 12-16

Sep 1-7

Feb

April

WebVisions explores the future of web and mobile design, content creation, user experience and business strategy in an event that inspires learning, collaboration and entrepreneurism. Portland

May 15-19

The Archaeology Channel International Film and Video Festival explores the wonderful diversity of human cultures and promotes the genre and their filmmakers. Eugene

June June 14-28

Portland Jewish Film explores themes of spirituality and Jewish identity throughout all parts of the world, especially how American Jews perceive themselves in a larger social context. The films, in their abundance, touch on tragedy, embrace humor, and recount the emotional and tangible gains and losses of a people. Portland

August July 31 - Aug 2

48 Hour Film Project is a wild and sleepless weekend making a movie. All writing, shooting, editing and scoring must be completed in just 48 hours. Screen movies Aug 5-6 and see Portland’s Best of at the Portland Film Fest. Portland

Aug 7-9

Willamette Writers Conference provides helpful advice and keen insights with nearly 100 workshops conducted by seasoned pros in all writing areas from ideas to self-promotion. Portland

Portland Film Fest is a weeklong event jam-packed with networking, workshops, guest speakers, film premieres, financing talks, and director Q&As. Come be a part of what MovieMaker Magazine calls, “one of the coolest film festivals in the world.” Portland

Sep 14-30

Portland International Film Festival explores not only the art of film but also the world around us. The cultural diversity, the extraordinary range of subjects, genres, and experiences explored—for all ages and from matinee to midnight—invite exploration and discovery. Portland

Oregon Independent Film Festival features over 75 films from over 14 countries, screened over two weeks in independent cinemas across the great state of Oregon. Throughout Oregon

Feb

October

March 2016

Oct

March

Astoria International Film Festival is an event that draws upon the outstanding talents of the northwest and the world, is becoming a magnet for international filmmakers. Astoria

Oct 8-11

BendFilm Festival has a relaxed festival atmosphere where the next venue is a block from the last and the words “velvet rope” apply to fashion choices. Bend

November Nov

Eugene International Film Festival offers unique networking opportunities with key players, production workshops and the EIFF Screenwriters’ Retreat. Eugene

Nov 12-17

Northwest Filmmaker’s Festival is the premiere showcase of new work by regional filmmakers. Portland

Portland Black Film Festival hosts a collection of films that are either directed by African Americans, or deal with being black in America. Portland

Portland Oregon Women’s Film Festival (POWFest) places a spotlight on women directors by showcasing their work and strengthening the community of women in film. Feature the work of today’s top women directors, honoring the true pioneers while providing support and recognition for the next generation of leading women filmmakers. Portland

Cinema Pacific is a five-day festival of screenings, live multimedia performances, and art exhibitions. Eugene

April

DisOrient Asian American Film Festival is a social justice film festival dedicated to deconstructing the media stereotypes of Asians and Asian Americans as “Orientals.” We believe in the power of film-as-art to educate, heal and improve the lives of people by giving voice to our experiences. Eugene

April

Portland EcoFilm Festival Northwest’s premier showcase of films about the environment, nature conservation, outdoor adventure, agriculture, and community wellness. Portland

April 7-11

Ashland Independent Film Festival is five days of the highest quality indie film. Documentaries, feature and short filmmakers from around the world come to engage with the audience after each screening and at the opening and closing celebarations. Ashland

bendfilm.org

This Will Be Our Biggest Year Yet! October 8-11, 2015

Join the party in Oregonâ&#x20AC;&#x2122;s premiere playground and cultural destination!

Film Submission Regular Deadline: May 25, 2015

VOTED ONE OF FILMMAKER MAGAZINEʼS 25 COOLEST FILM FESTIVALS

The 42nd

November 12-17, 2015

SUBMIT A FILM • NO ENTRY FEE ENTRY DEADLINE: AUGUST 1 CONTACT: THOMAS@NWFILM.ORG

nwfilm.org

THE 4TH ANNUAL

PORTLAND BLACK FILM FESTIVAL COMING FEBRUARY 2016

WWW.HOLLYWOODTHEATRE.ORG

PORTLAND OREGON WOMEN’S

FILM FESTIVAL

FEST

MARCH 2016 THE POWER OF WOMEN IN FILM

WWW.POWFEST.COM Thanks to OMPA for their continued support of POWFest

The Northwest's premier showcase of environmental and nature films festival every april,

with semi-monthly screenings year-round www.portlandecofilmfest.org

15TH ANNUAL • APRIL 7–11, 2016

“There’s such a wonderful sense of community present at the AIFF. The thoughtful, engaged Q&A’s brought me to tears and reminded me the Sara Dosa, Producer, Elena

“AIFF is a must attend event which makes you laugh, cry and expands your horizons in so many arenas!” Festival Attendee

2015 Art by Gabriel Mark Lipper

Ashland, Oregon #1 Town to Live and Work as a Filmmaker MovieMaker Magazine

The Experience Everyone is Talking About DisOrient is a social justice film festival dedicated to deconstructing the media stereotypes of Asians and Asian Americans as “Orientals”. We believe in the power of film-as-art to educate, heal and improve the lives of people by giving voice to our experiences.

BIJOU ART CINEMAS EUGENE, OREGON

DISORIENTFILM.ORG DisOrient is a program of the Chinese American Benevolent Association (CABA)

nwfilm.org

39 TH PORTLAND INTERNATIONAL FILM FESTIVAL

COMING 2016

The Northwest Film Center’s annual showcase of new world cinema. Like the Northwest Filmmakers’ Festival, which surveys outstanding new work by our region’s media makers, the Portland International Film Festival explores not only the art of film but also the world around us, no matter the place or the language spoken.

Oregon Industry Standards & Practices

The guidelines presented here are for the purpose of providing predictability and consistency to the production process. While adherence to the guidelines is voluntary, they shall, in the absence of any negotiations which result in alternative guidelines, be presumed to be in effect on productions carried by Oregon industry members. It is the responsibility of the parties involved to come to an agreement prior to the commencement of production concerning situations not covered in these guidelines. Any alternative guidelines must not fall below the standards set by state and federal statutes. These guidelines were endorsed in 1991 by OMPA and SOFaT.

It is incumbent upon all parties involved to be aware of the fact that there are federal and state wage and hour statutes that cover situations not directly addressed in these guidelines. Statutes of importance cover the definitions of: minimum hourly wage, minimum weekly wage, rest periods, “work” time and meal periods.

PRODUCER AND TECHNICIAN 1. Employer/Employee It is assumed throughout the body of this section that an employer/employee relationship exists between the producer and the technician. If it is believed that this is not the case, there is appended at the end of this document both state and the federal guidelines to aid in determining whether an employer/employee or an independent subcontractor relationship exists.

2. Rates Rates are based on a 10-hour day and set by the technician. “Work time,” that part of the day in which the technician may charge for his or her time, shall begin at the call time (or under conditions discussed in Section 3) and shall end when the technician has discharged all duties for the day. Minimum call, 5 hours or less of work time, shall be billed at 60% of the day rate. Hourly straight-time rates are determined by dividing the technician’s daily rate by 10. Overtime Rates. Monday-Saturday: 10-12 hours=hourly x 1.5; 12-18 hours=hourly x 2.0; over 18 hours=hourly x 3.0 Sunday: 1.5 x Monday-Saturday rates Holidays*: 1.5 x Monday-Saturday rates * New Years Day, Washington’s Birthday, Memorial Day, Independence Day, Labor Day, Thanksgiving Day, Day after Thanksgiving and Christmas.

If the workday commences between the hours of 2pm and 12 midnight and extends beyond midnight, or if it commences between 12 midnight and 5am, the technician shall be paid an additional 15% of his or her gross wages. Those required to work a split shift shall be paid straight hourly time for the period between those shifts; however, only those hours actually spent in production shall be counted toward overtime. “Prevailing rate” shall be defined as the technician’s applicable daily rate with the addition of any penalties for overtime.

3. Scheduling Postponement of Confirmed Days. Postponements will not be charged providing the technician is given notice of such postponement at least 12 hours prior to the intended call time and the project is rescheduled within 10 calendar days. If insufficient notice is given or rescheduling does not take place, cancellation policy will apply. Cancellation of Confirmed Days. Cancellations made less than 48 hours before shoot time will be charged a minimum call for labor and 50% of the day rate for equipment for all confirmed days, not to exceed 10 confirmed days. Additionally, the technician shall be reimbursed for all out-ofpocket expenses. Weather/Contingency. Work held up due to weather, illness, absence of irreplaceable production members or other conditions beyond the control of the production company shall be billed as follows: a. Minimum call if technician is released for day (or night). b. Time spent by the technician who is required to wait for weather/contingency situations to change shall be considered as work time and be billed at full rates. c. All direct and out-of-pocket expenses shall be reimbursed. d. Equipment held under such conditions shall be billed at full rates. e. If work is not resumed at the end of the contingent situation, postponement and/or cancellation conditions apply.

4. Travel time Travel to and from work in the area within a 25-mile radius of City Hall shall not be considered as work time. Travel outside the 25-mile radius on a day when no production occurs: • Shall be billed at the straight hourly rate set by the contractor, • Shall begin upon commencement of travel and • Shall not constitute less than a minimum call (see Section 1).

Travel time outside the 25-mile radius on a day in which production does occur shall be considered as work time. Such work time will commence at the 25-mile point and cease upon re-entering the 25-mile zone. The prevailing rate shall be applicable until the 25-mile zone is re-entered. Personnel required to drive production vehicles, regardless of what that vehicle is or who is the owner, shall have their work day begin at the commencement of travel in said vehicles and end when all duties have been discharged for the day.

5. Distant locations At a distant location (one outside the 25-mile zone and where the technician is lodged for the night), lodging shall be provided to the technician by the producer. When available, single room accommodations shall be required. The producer shall provide meals or a per diem commensurate with the standard of living in the area.

6. Meals The first meal break shall commence no sooner than 4 hours and no later than 6 hours from the beginning of the workday. There shall be no less than 4 nor more than 6 hours from the end of the preceding meal break and each subsequent meal break. A meal break shall be no less than 30 minutes, nor more than one hour in length. If the meal break occurs in less than 4 hours, the whole meal period shall be considered as work time. No employee shall be required to work during a meal break. If restaurant facilities are not reasonably available when on location, the producer agrees to provide a wellbalanced meal at no charge. The meal period shall not be considered as work time. A grace period of 15 minutes to complete the shot in progress shall be allowed so long as all department heads are notified in advance. If no meal break occurs after this grace period, penalties shall continue to accrue from the point at which the 6 hour period was exceeded. The producer will be assessed a penalty according to the following schedule for each 30 minute period (or fraction thereof) of work exceeding the 6 hours between meals: first half hour $7.50 second half hour $10.00 third & subsequent half hours $12.50 SourceOregon 2015 37

If more than one meal occurs in a work day, then all additional meals shall be hot meals.

7. Turnaround There shall be no less than 10 hours between the completion of the work time on one day and the commencement of work time on the next day, for the same project. Commencement of work time in less that 10 hours shall result in a penalty, in addition to the prevailing rate, according to the following schedule: 0–5 hrs. $50/hr. 5–10 hrs. $25/hr.

8. Payment Invoices submitted within 5 (five) working days of completion of technician’s work will be paid within 10 days of invoice. A penalty of 1.5% per month (or maximum allowable by law) will be assessed against all overdue balances. Minimum penalty is $1.00 (notice must be printed on invoice for this to apply). A cash draw is requested for technician’s out-ofpocket expenses within 24 hours of expenditure. Because of the variety of accounting procedures, alternative arrangements may frequently be negotiated. It is strongly recommended that an agreement be reached prior to the commencement of production.

PRODUCER AND CLIENT 1. Billing 50–50 Plan. The following is based on the National Association of Independent Commercial Producers Guidelines. a. First billing: 50% of the contract price will be billed by the production company within 10 days of job confirmation. Since job confirmation has almost always been a verbal order, this first billing will be issued whether or not the production company is in receipt of a written contract, purchase order or letter of agreement. (Note: This provision reaffirms the verbal order to commence production and signifies that all proper agency and client authorizations have been attained and the production company is to begin spending time and money on the job). b. The remaining 50% will be billed upon approval of film or tape dailies (this applies only when contract does not include editorial completion), or upon approval of final edit. 1

⁄3-1⁄3-1⁄3 Plan.

a. The first 1/3 will be billed by the production company upon verbal confirmation to proceed. b. The second 1/3 will be billed upon completion of principal photography. c. The final will be billed upon approval of final edited program (this would be the cut work print in film, the offline edit in tape or the final assembly in multi-image production). 1/3

2. Payment First payment is due and payable within 10 days of receipt of invoice. All subsequent payments will be due and payable within 30 days of receipt of 38 SourceOregon 2015

subsequent invoices. A penalty of 1.5% per month (or maximum allowable by law) will be assessed against all overdue balances.

3. Scheduling Postponement of Confirmed Days. Postponements will not be charged providing the project is rescheduled within 10 calendar days. If not rescheduled, cancellation policy will apply. Any out-of-pocket or non-recoupable expenses due to postponement shall be billed in addition to quoted job costs (e.g., equipment rentals, shipping costs, etc.). Cancellation of Confirmed Days. Cancellations made less than 48 hours before shoot time will be charged all out-of-pocket expenses plus mark-up plus all appropriate in-house expenses incurred by the production company. Cancellations made less than 48 hours before shoot time will be charged all out-of-pocket expenses plus a minimum call for all scheduled crew for all confirmed days, not to exceed 10 confirmed days, 1.5 day rate for equipment, plus all appropriate in-house expenses and markup. Weather/Contingency. Work held up due to weather, illness, absence of irreplaceable production members or other conditions beyond the control of the production company shall be billed as follows: a. Minimum call if contractor is released for day (or night). b. Time spent by the contractor who is required to wait for weather/contingency situations to change shall be considered as work time and be billed at full rates. c. All direct and out-of-pocket expenses shall be reimbursed. d. Equipment held under such conditions shall be billed at full rates. e. If work is not resumed at the end of the contingent situation, postponement and/or cancellation conditions apply.

4. Bid Forms The nationally accepted AICP bid form should be used in all competitive bidding situations.

5. Travel Time Travel to and from work in the area within a 25-mile radius of City Hall shall not be considered as work time. Travel outside the 25-mile radius on a day when no production occurs shall be billed at the straight hourly rate set by the contractor, shall begin upon commencement of travel, and shall not constitute less than a minimum call (see Section 1). Travel time outside the 25-mile radius on a day in which production does occur shall be considered as work time. Such work time will commence at the 25-mile point and cease upon re-entering the 25-mile zone. The prevailing rate shall be applicable until the 25-mile zone is re-entered. Personnel required to drive production vehicles, regardless of what that vehicle is or who is the owner, shall have their work day begin at the commencement of travel in said vehicles and end when all duties have been discharged for the day.

6. Production Insurance OMPA recommends that viable production insurance coverage be obtained by both the producer and the client and that the cost be openly discussed and confronted in the bidding of new work. We also recommend that the agency and/or client should share the liability equally with the producer. A waiver of liability should be obtained by the producer if the client is not willing to assume fair responsibility. This insurance can provide coverage on faulty film and/or tape stock, lab failures or damage, equipment failures, loss or damage of exposed original, weather days, etc.

PERFORMER AND AGENCY The following standards reflect common practices among talent agents and performers in the professional industry. They have been developed based on both California and New York state law and endorsed by a community of Talent Agents, Performers, Producers and the OMPA.

1. Definition A Talent Agent works to procure employment for performers.

2. Payment Professional Talent Agencies shall only be paid when their performers are booked to work. These payments take the form of a commission, and are detailed in a performer’s contract with their Agent. They take the form of a percentage of gross earnings, and only once the work has been performed and paid for by the client.

3. Fees A Talent Agent may advise performers about opportunities that will better their career. Professional services such as headshots, workshops, lessons, show reels, online casting support sites, etc. may be required by a Talent Agent. However, fees for such services either to the Agent or specific vendors must not be mandatory in exchange for representation or procurement of employment. A Talent Agency website has certain maintenance costs that may be passed on to performers in order to be included online, however website fees must not be required in exchange for representation or procurement of employment.

4. Casting It is considered standard that a Talent Agency does not direct casting in their usual course of operations.

5. Employment Opportunities Professional performers should never pay for the opportunity to work. In other words, genuine work opportunities come with an offer of fair pay for fair work. Whether solicited by an agency, producer, or anyone else, professional employment does not come with requirements to pay in advance for the opportunity to work.

Children’s Employment Guidelines DEFINITIONS Minor: Anyone under the age of 18. Minors under the age of 15 days (babies/newborns) shall not be employed. Workday: Fixed period of 24 consecutive hours. Workweek: Fixed and regularly recurring period of seven consecutive workdays. Long-term Employment: Employment lasting or contemplated to last more than five working days. Short-term Employment: Employment lasting or contemplated to last five working days or less.

GENERAL PERMIT INFORMATION Five days or more Entertainment industry employers who plan to hire non-union minors (14 to 17 years of age) for long-term employment must obtain and file an employment certificate form. (For union rules, consult the specific union contract.) Minors 14 to 17 no longer need a work permit; minors under 14 need a special under-14 permit. Necessary forms are available at all Bureau of Labor and Industries offices and State Employment Division offices.

Five days or less In the case where an employer is hiring 10 or more minors for temporary short-term employment, a short-duration permit can be obtained through the the Bureau of Labor and Industries.

More than one film a year In circumstances involving the employment of minors in short-term employment, and when the employer plans to film more than once a year, application may be made for a registration certificate. All registration certificates expire on June 30th, at which time application to renew the certificate should be submitted. Registered employers are then required to notify the Wage and Hour Division no less than 24 hours prior to the employment of minors for short duration. It should be noted that as soon as a production company makes the decision to film in Oregon and wishes to hire minors, the wage and hour division should be contacted. Necessary paperwork could cause delays if this is not taken care of early in the production schedule. 39 SourceOregon 2015

The following is a brief interpretation of the Oregon Administrative Rules regarding the employment of minors. The Governor’s Office of Film & Television recommends contacting the Oregon Bureau of Labor and Industries, Wage and Hour Division, for a packet containing complete information. Write to or call the Oregon Bureau of Labor and Industries office.

Brad Avakian, Oregon Labor Commissioner P 971‑673‑0761

800 NE Oregon St #1045; Portland, OR 97232 mailb@boli.state.or.us • www.boli.state.or.us

WORKING CONDITIONS 1. Hours No employer shall employ minors to work more than the maximum hours listed below or more than six consecutive days, including days when the minor attends school. Exceptions may be made if a special hours variance is applied for by addressing a letter of application to the Portland BOLI office. Work (production) hours are defined as hours when a minor is directed by any member of the production company to travel, makeup, wardrobe, rehearse, light, stand-in, etc.

2. Working Hours for Minors in the Entertainment Industry Ages 14–17: 11 hours a day including rest & meal breaks. Ages 10–13: 10 hours a day including rest & meal breaks. Ages 6–9:

9 hours a day including rest & meal breaks.

Ages 4–5:

7 hours a day including rest & meal breaks. Up to 8 hours a day if the minor is transported.

Ages 2–3:

6 hours a day including 3 hours of rest & meal breaks.

Ages 1–2:

5 hours a day including 21⁄2 hours of rest & meal breaks.

Ages 6 months to 1 year: 4 hours a day including 2 hours of rest & meal breaks. Ages 15 days to 6 months: 2 hours a day, no more than 20 minutes of which shall be spent as work time. Under 15 days: Cannot be employed.

3. Wages State minimum wage for minors is the same as that required for adults and will automatically be raised when the adult rate is raised. The present rate is $9.10 per hour.

worker’s compensation insurance coverage in accordance with laws of the state, transportation available to the nearest medical facility providing emergency services, and on-location return transportation must be provided promptly upon dismissal. The employer must also provide appropriate care and supervision of each minor at all times during the minor’s employment. As a general rule, one supervisor for each nine minors employed is considered adequate.

5. Meal Periods and Rest Periods Except where otherwise indicated in state regulations, an appropriate meal period consists of not less than 30 minutes; an appropriate rest period means a period of rest of not less than 15 minutes for every 4 hours worked.

6. Education When school is in session and the minor is in first grade or above, an average of 3 hours of instruction must be provided. The employer must obtain a release from the Superintendent, or designee, of the school district in which the minor’s school is located when the employment requires the minor’s absence from school for more than five days. The employer must provide minors under 16 years of age with no less than three hours of instruction per day, excluding Saturday and Sunday. The instruction must be provided by a teacher certified to teach in Oregon. Since neither the Wage and Hour Division nor the Bureau of Labor and Industries has authority to certify persons to teach minors, interested persons should contact the Oregon Teacher Standards and Practices Commission, 465 Commercial St. NE, Salem, OR 97301; (503) 378-3586. Requests for waiver of stated regulations should be addressed in writing to the administrator of the wage and hour division, setting forth the reasons for the waiver request.

4. Safety and Comfort The work area provided must be sanitary and safe with room for both rest and play. It must have adequate lighting, ventilation, washrooms and toilet facilities. Other safety considerations include SourceOregon 2015 39

If you provide the call time then you have

Employees NOT Independent Contractors It's that simple… know the law! Contact these agencies for questions and help:

U.S. Wage and Hour Division

Oregon Bureau of Labor & Industries (BOLI) —> Technical Assistance for Employers (971) 673-0824 —> Employee Wage & Hour Division (971) 673-0844

US Department of Labor Wage & Hour Division (503) 326-3057

IATSE (503) 232-1523

Employee vs. Independent Contractor FEDERAL Under common law rules, every individual who performs services that are subject to the will and control of an employer, as to both what must be done and how it must be done, is an employee. It does not matter that the employer allows the employee discretion and freedom of action, so long as the employer has the legal right to control both the method and the result of the services. An employer must generally withhold income taxes, withhold and pay social security taxes, and pay unemployment taxes on wages paid to an employee. An employer does not generally have to withhold or pay any taxes on payments to independent contractors. The 20 factors listed below have been identified to help indicate whether sufficient control is present to establish an employer/employee relationship. The degree of importance of each factor varies depending on the occupation and the context in which the services are performed. 1. Instructions. An employee is required to comply with instructions about when, where and how to work. Even if no instructions are given, the control factor is present if the employer has the right to give instructions. 2. Training. An employee is trained to perform services in a particular manner. Independent contractors ordinarily use their own methods and receive no training from the purchasers of their services. 3. Integration. An employee’s services are integrated into the business operations because the services are important to the success or continuation of the business. This shows that the employee is subject to direction and control. 4. Services rendered personally. An employee renders services personally. This shows that the employer is interested in the methods as well as the results. 5. Hiring assistants. An employee works for an employer that hires, supervises and pays assistants. An independent contractor hires, supervises and pays assistants under a contract that requires him or her to provide materials and labor and to be responsible only for the result. 6. Continuing relationship. An employee has a continuing relationship with an employer. This indicates that an employer/employee relationship exists. A continuing relationship may exist where work is performed at frequently recurring although irregular intervals. 7. Set hours of work. An employee has set hours of work established by an employer. An independent contractor is the master of his or her own time. 8. Full-time work. An employee normally works full time for an employer. An independent contractor can work when and for whom he or she chooses.

41 SourceOregon 2015

9. Work done on premises. An employee works on the premises of an employer, works on a route or at a location the employer designates. 10. O rder or sequence set. An employee must perform services in the order or sequence set by an employer. 11. Reports. An employee submits reports to an employer. This shows that the employee must account to the employer for his or her actions. 12. Payments. An employee is paid by the hour, week or month. An independent contractor is paid by the job or on a straight commission. 13. Expenses. An employee’s business and travel expenses are paid by an employer. This shows the employee is subject to regulation and control. 14. Tools and materials. An employee is furnished significant tools, materials and other equipment by an employer. 15. Investment. An independent contractor has significant investment in the facilities he or she uses in performing services for someone. 16. Profit or loss. An independent contractor can make a profit or suffer a loss. 17. Works for more than one person or firm. An independent contractor gives his or her services to a multiple of unrelated persons or firms at the same time. 18. O ffers services to the general public. An independent contractor makes his or her services available to the general public. 19. Right to fire. An employee can be fired by an employer. An independent contractor cannot be fired so long as he or she produces a result that meets their contract specifications. 20. Right to quit. An employee can quit his or her job at anytime without incurring liability. An independent contractor agrees to complete a specific job and is responsible for its satisfactory completion, or is legally obligated to make good for failure to complete the job.

STATE Section 1. As used in various provisions of ORS chapters 316, 656, 657 and 701, an individual or business entity that performs labor or services for remuneration shall be considered to perform the labor or services as an “independent contractor” if the standards of this section are met. 1. The individual or business entity providing the labor or services is free from direction and control over the means and manner of providing the labor or services, subject only to the right of the person for whom the labor or services are provided to specify the desired results. 2. The individual or business entity providing labor or services is responsible for obtaining all

assumed business registrations or professional occupation licenses required by state law or local government ordinance for the individual or business entity to conduct the business. 3. The individual or business entity providing labor or services furnishes the tools or equipment necessary for performance of the contracted labor or services. 4. The individual or business entity providing labor or services has the authority to hire and fire employees to perform the labor or services. 5. Payment for the labor or services is made upon completion of the performance of specific portions of the project or is made on the basis of an annual or periodic retainer. 6. The individual or business entity providing labor or services is registered under ORS chapter 701, if the individual or business entity provides labor or services for which such registration is required. 7. Federal and state income tax returns in the name of the business or a business Schedule C or Farm Schedule F as part of the personal income tax return were filed for the previous year if the individual or business entity performed labor or services as an independent contractor in the previous year. 8. The individual or business entity represents to the public that the labor or services are to be provided by an independently established business. An individual or business entity is considered to be engaged in an independently established business when four or more of the following circumstances exist: a. The labor or services are primarily carried out at a location that is separate from the residence of an individual who performs the labor or services, or are primarily carried out in a specific portion of the residence, which portion is set aside as the location of the business. b. Commercial advertising or business cards as is customary in operating similar businesses are purchased for the business, or the individual or business entity has a trade association membership. c. Telephone listing and service are used for the business that is separate from the personal residence listing and service used by an individual who performs the labor or services. d. Labor or services are performed only pursuant to written contracts. e. Labor or services are performed for two or more different persons within a period of one year. f. The individual or business entity assumes financial responsibility for defective workmanship or for service not provided as evidenced by the ownership of performance bonds, warranties, errors and omissions insurance or liability insurance relating to the labor or services to be provided. SourceOregon 2015 41