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OREGON MEDIA PRODUCTION ASSN Oregon’s Resource for the Media Production Industry
The party is at the OMPA CLASSIC Golf • Croquet • Fundraising Party
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President’s Letter
Dear OMPA members,
This year, I took on the role of OMPA Board President and am excited by the opportunity to serve you, our membership. Together with the board of directors, the OMPA staff, and volunteers, we are working hard to ensure our members are supported, promoted and connected. Today, I’d like to acknowledge where we are now and look forward to where the organization is headed. Where we are now ● OMPA Chapters are spearheading networking opportunities in various regions throughout the state. OMPA Chapters hosted 3 directory release parties and in June the Portland Chapter hosted an awesome tour and celebration on the Librarians stage. With OMPA chapters, we are truly moving towards statewide representation and finding more ways industry members can connect with one another. ● OMPA continues to help our members get work. We connect professionals in the industry with one another and share industry news and events. We advocate for out of state production to come here and in-state producers to stay here. We provide a vetted statewide directory. OMPA means jobs and we continuously strive to create those working relationships and resources for our members. ● OMPA’s current Board of Directors is strong and diverse. We have representatives from many industry sectors including producers, production companies, an actor, educator, editor, attorney, crew and more. The board is working hard to act on behalf of the membership and I’m excited to be on the same team as this motivated and passionate group of people. Looking forward ●One of the priorities for this year is a re-design the OMPA website. It will be easier to find information about upcoming events, industry news and member profiles. Many thanks to ProspectPDX who is donating their time to this effort. We expect the new site to be rolled out early fall and we’re very excited about how it’s coming together. ●We are planning a new, fun, “confidential” event in December. Stayed tuned for details on that one but it’s bound to be a good time! ●OMPA will roll out a membership survey within the next few weeks. The results of that survey will be drawn on for future programming and areas of focus for the organization. We do this work for you, our members, so please make sure your voice is heard and fill out the survey. How can you be part of the exciting developments at OMPA? ● Continue to support us with your membership. We cannot do any of this important work without you. ● Join a committee and share your time and talents with us. ● Feel free to reach out to me or the board or the staff if you have thoughts, questions or concerns. The board is listed in the Callsheet and online and contact information is in SourceOregon. Thank you to the staff, the board, the volunteers and our members who continue to work hard and to move the media production industry in Oregon forward. Lisa Cicala OMPA Board President
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OREGON MEDIA PRODUCTION ASSN
07.2014 Board of Directors
Mission OMPA is a 501(c)6 non-profit trade association dedicated to the development, growth and enhancement of the film, video and multimedia industry in the state of Oregon.
Board of Directors
Lisa Cicala, President Nathaniel Applefield, Vice President & Gov’t Affairs Chair Dennis Gleason, Vice President & Chapters Chair Jamie Johnk, Secretary/Treasurer Slater Dixon Aaron Douglas, Fundraising Chair Jacqueline Gault, PR/Communications Chair Stefan Henry-Biskup Dennis Noreen Thomas Phillipson, Scholarships Chair Michael Ratoza Dave Spraker Christopher Toyne, Talent Committee James WilderHancock, Nominating Committee Chair
Volunteer Liaisons
Dayan Morgan-Sylvaen Portland Capter Chair Jeff Johnston Mid-Oregon Chapter Chair Stephanie Strahan Jobs Liaison Megan Drennen, Christian Henry Office Assistants Jennifer Kelley & David Freedman Talent Committee Chairs Martin Vavra Membership Committee Chair Sibyl Lazzara PR Liaison Gretchen Mille & Roland Gauthier Post-Production Chairs Enrique Arias Regional Gov’t Coordinators Chair
Industry Directory
www.SourceOregon.com
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OMPA members Jessica Vint and Ilia Zavialov playing chess.
OMPA member Jesse Vint reports: “CHESS last night at KACHKA, the Russian restaurant in Portland. Ilia Zavialov, owner of Zarr Studios in Portland, is a tough competitor -- challenging my 1988 win of the World Celebrity Chess Championship (still the reigning champ) held at the Century Plaza in Los Angeles in 1988. I’m still ahead, but he is by far the
toughest competitor I have played in years. Well ... he is a Russian, and chess is their national sport. Ilia is the main sponsor of the terrific OMPA Festival held in Welches, Oregon (at the foothills of Mt. Hood on hwy 26) on July 11th. It’ll be golf, croquet, and a gathering of terrific people -- just like last year. For info go to OMPA on Facebook or visit www.ompaclassic.com.”
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MOPAN: DIVA’s Behind the Lens Seminar Films for Summer of 2014 at the UO Baker Center in Eugene The class is going great with at least 50 regulars but there is room for more. We are so fortunate to have Tom Blank in our midst to host the series. This info sheet lists the films and the affordable fee breakdown. PARTNERS IN CRIME: Hitchcock and his imitators The “master of suspense” was held in international esteem, and that “esteem,” in the tradition of the film industry, resulted in other filmmakers trying to copy his style and subject matter. Francois Truffaut tried to duplicate the Hitchcock touch in a pair of films, The Bride Wore Black and Mississippi Mermaid; Brian de Palma was criticized as being a Hitchcock copycat, particularly in Obsession; and Psycho was remade, shot-for-shot and using the original script, by Gus Van Sant. None of these films was particularly distinctive. Also, there were *two* different directors promoted as “the French Hitchcock.” While others tried to copy his style, the master himself tried awfully hard to vary his output. This summer we look at some of the more interesting films in “the Hitchcock style.” Tues. July 8 - The Third Man [1949] Dir. Sir Carol Reed (104 min) Tues. July 15 - Diabelique [1954] Dir. George Henri Clouzot (116 min) Tues. July 22 - The Trouble with Harry [1955] Dir. Alfred Hitchcock (100 min) Tues. July 29 - Purple Noon [1960] Dir. Rene Clement (119 min)
Tues. Aug. 5 - Charade [1963] Dir. Stanley Donen (113 min) Tues. Aug. 12 - Mamie [1964) Dir. Alfred Hitchcock (130 min) Tues. Aug. 19 - This Man Must Die [1969] Dir. Claude Chabrol (110 min) Tues. Aug. 26 - Le Boucher/The Butcher [1970] Dir. Claude Chabrol (93 min) Tues. Sept. 2 - Frenzy [1972] Dir. Alfred Hitchcock (106 min) Registration Information By phone: Call 541-346-4231 Online: http://bit.ly/1nUa60H In person: Academic Extension front desk at the Baker Downtown Center, 975 High Street Suite 110, Monday through Friday between 8AM and 5PM. Registration is also available onsite 30 minutes in advance of each program. Fees: $15 non-credit for entire term $5 for Current Osher Lifelong Learning Members for entire term Prorated Fees: Through July 15, the registration fee is $15. From July 16 through July 29, the registration fee is $12. From July 30 through August 19, the registration fee is $9. Free parking during Behind the Lens screenings is available behind the building in the lot marked “Academic Extension Student Parking.”
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Women in Film Accepting Submissions for 2014 Women’s Vision Grant Women in Film Portland is pleased to announce the 2014 Women’s Vision Grant call for submissions. Applications will be accepted online through August 31, 2014. The Women’s Vision Grant provides financial support to women creating media in Oregon and SW Washington (Clark County). This $4,500 projectbased grant aids in a current production, while fostering the artist’s professional and personal development. Founded by Vikki Mee in 2005, the grant is funded through The Faerie Godmother Fund of the Oregon Community Foundation. Since 2010, the grant has been offered annually through Women in Film Portland, a nonprofit, 501(c) 3 organization dedicated to elevating women in film, communications and media through education, outreach and professional development. “There just aren’t enough women in
the industry in positions of clout, making big strategic decisions,” says Vikki Mee. In 2013 and again this year, Susan Haley of Paydogs LLC provided additional funding to the Women’s Vision Grant to increase the impact of this exceptional opportunity. Women in Film Portland members are eligible to apply at no cost. For nonmembers, the application fee is $25. Join Women in Film Portland for just $50/year and the application fee will be waived. For more information on membership, please visit wifpdx.org/join. Applications can be submitted for any genre as well as short or feature-length projects. All applicants must live in Oregon or Clark County, WA and be 18 years of age or older. Eligible projects will have a female director or co-producer and a budget under $300,000. For additional guidelines and online application form, please visit wifpdx.org/grants.
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Digital One Honored for Sound Design at AICP Show Award-winning film to be permanently archived at MoMA Last time we checked in, Digital One’s work for MasterCraft had made the shortlist of contenders at the AICP Show: The Art & Technique of the American Commercial. Now it’s official; sound designer Chip Sloan has been honored once more by the Association of Independent Commercial Producers for his work on one of the “best commercials of the year.” The award-winning web film for the 2014 MasterCraft ProStar, titled “Mission 04: History Is History,” was revealed at the AICP Show at the Museum of Modern Art in New York, NY, where it will also be archived in the Department of Film at The Museum of Modern Art until the end
of time. Following its premiere at MoMA, “Mission 04: History Is History” will tour museums and cultural institutions around the world as part of The AICP Show Reel. Produced by Nemo Design and shot, edited and directed by Bump Films, the threeminute film features the ProStar in Phantom slow Digital One sound designer Chip Sloan began working on the project early in preproduction. Says Sloan, “[Director] Mark Bame came to me early on wondering if we could capture the feeling of being out on the water without using a music track. Just the growl of the engine and the sounds of skiers carving through the water.” It was a challenge Sloan was happy to tackle.
Click to view the MasterCraft spot: “Mission 04: History Is History.”
07.2014 Sloan began with high-quality location audio. “We talked through how best to mic the boats, both the vintage one and the new ProStar, to really capture the signature sounds.” To this, Sloan then added precise sound design to create an intimate, layered experience. “In the slow-motion section, I augmented the thrum of the hull on water with a kind of multi-part drone that I could control, dialing up or down various voices to subtly change the mood.” The result is a shining example of how good planning, strong partnership, and a lot of careful craft can result in stellar sound design that becomes part of the storytelling in a subtle, natural way.
9 In addition to being honored by the AICP for work completed in 2013, Sloan also received an AICP Award for Sound Design in 2012 for his work with Nike.
Digital One sound designer Chip Sloan honored by AICP
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The Northwest Film Center, the Oregon Historical Society and Netflix present: The Battered Bastards of Baseball July 11, 2014 at Whitsell Auditorium in Portland Hot on the heels of its celebrated premiere at this year’s Sundance Film Festival, the Northwest Film Center is proud to present a special screening of THE BATTERED BASTARDS OF BASEBALL, co-presented by the Oregon Historical Society and featuring special guests in attendance. A lively chapter in Portland’s indie, “keep things weird” history is the unheralded story of the renegade Portland Mavericks baseball team. When Portland lost its longtime AAA team, the Beavers, Hollywood actor Bing Russell (Clem on “Bonanza” and father of Kurt), bought the minor-league affiliate rights and formed a new single-A team to operate independently of major league baseball’s farm system. Russell was in it for the love of the game, not the business, and when his team of castoffs—mostly assembled from open tryouts—took the field in 1973,
the spirit of baseball was alive in Portland in a special way. Setting attendance records, the quirky Mavericks managed to whip the professionally stocked opponent teams, and today, in an era when professional sports seem ever more driven by cynicism and commerce rather than ideals, the Way brothers’ affectionate remembrance is more than just colorful local history. (73 mins.) Directors Chapman and Maclain Way, along with baseball writer and broadcaster Rob Neyer, will introduce the film. Screening details: July 11 – Friday 8pm Northwest Film Center’s Whitsell Auditorium at Portland Art Museum 1219 SW Park Avenue Admission: $9 General; $8 Students, Seniors; $6 Child Advanced Tickets: http://bit.ly/Toag67
The Northwest Film Center, the Oregon Historical Society and Netflix present The Battered Bastards of Baseball at the Whitsell Auditorium in Portland on July 11, 2014. Click to watch the promo video.
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The Northwest Film Center presents Cardboard July 3, 2014 at Whitsell Auditorium in Portland The Northwest Film Center’s continuing commitment to highlighting cinematic works produced in the Northwest region is housed within its Northwest Tracking series. On Thursday, July 3, the Film Center is thrilled to present CARDBOARD, the latest work by Seattle-based filmmaker Matt Longmire. Encountering panhandlers with their rumpled cardboard signs asking for help is an everyday occurrence in Seattle. Many are veterans, many have issues with mental illness, and most make between $10 and $60 a day. Longmire was inspired to interview many of them to understand the corrugated trails that led to these street corners. What is their
background? How do they survive? Seattle’s mayor, Mike McGinn, who made the highly controversial decision to veto the city’s ban on panhandling, offers political context balanced with countless other outlooks from Seattle’s citizens. (89 mins.) Director Matt Longmire will introduce the film. Screening details: July 3 – Thursday 7pm Northwest Film Center’s Whitsell Auditorium at Portland Art Museum 1219 SW Park Avenue Admission: $9 General; $8 Students, Seniors; $6 Child Advanced Tickets: http://bit.ly/1lf59zX
Click to view the trailer for Cardboard by Seattle-based filmmaker Matt Longmire.
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48 Hour Film Project Returns to Portland Aug 1-3, w/ screenings Aug 6-7 & “Best of” on Aug 20 The 48 Hour Film Project, the largest filmmaking competition in the world, returns to Portland, OR on August 1. Each year some of the area’s most daring and creative filmmakers take the challenge to make a film in 48 hours. Will you be among them? Filmaking: August 1 - 3 World Premiers: August 6 & 7 at The Hollywood Theatre Best of the PDX48HFP: August 20 at The Hollywood Theatre In a wild, sleepless weekend, you and your team will make a short movie from scratch that is: writing, shooting and editing - all in only 48 hours! On Friday, August 1, you’ll get a character, a prop, a line of dialogue and a genre to include in your movie. By Sunday, August 3, the movie must be complete. Each completed film will have its world premier at The Hollywood Theatre.
Registration is now open at www.48hourfilm. com/portland_oregon and is $160. Register between now and July 11 to save $20 off the regular rate. Space is limited, so mark your calendars today! For more information, contact Rob Hatch, Portland, Oregon Producer of the 48 Hour Film Project at: rob@48hourfilm.com Why Make A 48 Hour Film? You’ll meet other local filmmakers, spend 48 hours in intense movie making, have your film screened at the world renowned Hollywood Theatre, and compete to represent Portland, OR against other 48HFP cities from around the world! All city winners will screen at FIlmapalooza, which is in fabulous Hollywood, CA this year, and the 10 top films of 2014 will also screen at the Cannes Film Festival again this year.
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Call for Entries: Fresh Film Northwest Deadline: Aug 1, 2014
The Northwest Film Center’s Fresh Film Northwest 2014 (formerly the Young People’s Film Festival) is a free-to-enter festival that celebrates the next generation of regional filmmakers by showcasing their work and circulating it around the region and beyond. It is one of the oldest and largest youth film festivals in the nation and is open to students from Oregon, Washington, Idaho, Montana and Alaska. The purpose of the festival is to provide recognition for individual talent, to showcase model examples of how media arts can be taught in schools, and to engage youth, parents, educators and our community partners in building the Northwest regional youth media community. The festival works in partnership with a range of youth-focused community partners to solicit entries,
generate audiences, and circulate outstanding selections. Submissions are judged by a jury panel of professional filmmakers and educators. Individual and group submissions from youth ages 13 to 19 are accepted. The annual deadline is August 1. There is no entry fee. In addition to accepting submissions by mail, we are now accepting online submissions through Submittable. The festival is made up of two components: a free public screening presented in November in the Whitsell Auditorium as part of the Northwest Filmmakers’ Festival and an online version, which makes offerings available yearround. More info, including submission forms, can be found here: nwfilm.org/festivals/freshfilm.
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SuperGenius Recruits and Cultivates Talent while Continuing to Grow Projects Oregon is known for many things: trees, rivers, craft beer, tall bicycles, mustaches, dark coffee, UFOs, Big Foot, weed, that show with that girl from that band and that guy from SNL; but what Oregon is not known for its thriving game industry, and by association, neither is Oregon City. When we put the SuperGenius flag in the ground (yes, it is a rainbow flag) we knew challenges lay ahead. Because the SuperGenius brand represents the highest quality and luxury in its class, we can’t just add people and grow. We need the right people. If you or anyone you know has what it takes to be a SuperGenius, we want to hear all about it. Along with recruiting the best existing talent we can find, we are aiming our efforts locally to cultivate a new generation of game developer. We call this project the SuperGenius Academy. It will take a few years before we see the results, but classes are already underway. Click to learn more. We just finished up production on Skylanders: Trap Team with Activision and
Toys for Bob. We are very proud of our work on this game. It was the biggest animation effort SuperGenius has ever seen inside these walls and the result is amazing. We can’t wait to see this game hit the streets. That’s where all the kids are, right? The streets? Meanwhile, the teams have been hard at work on a number of super-cool games with some super-cool developers. We continue to produce DLC for Marvel Super Hero Squad: Online with Gazillion. The Winter Soldier DLC was a huge success and we are getting ready to release some timely characters you may find familiar. Hint: they come from space. The 2D Team just finished up a whole lot of card illustrations for the soon-to-bereleased Outcast Odyssey, with Magic Pixel and Bandai Namco. We continue to grind away on Depth, a shark-infested PvP game with our friends at Digital Confectioners (Divers Vs Sharks!), and we are starting and neck deep in a few more yet-to-beannounced games, including those from our friends at Telltale and Double Fine. It’s shaping up to be a summer to remember, so stay cool, stay in touch, and watch out for those sharks.
Card illustrations developed by SuperGenius’ 2D Team for the soon-tobe-released Outcast Odyssey
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BENT Image Lab Takes Manhattan BENT Image Lab, the internationally award-winning animation and visual effects company, has opened a new office in New York City. Coming on the heels of its expansion into Spain, the thriving studio specializes in all forms of animation including CG, stop motion, 2D as well as VFX for TV and film, live action projects and post production. The growth is fueled by BENT’s strong commercial roster, its move into long form programming, and its expansion into the digital markets. “We are thrilled to be opening an office in New York City,” says BENT CEO and Executive Producer Ray Di Carlo. “With our increasing workload we felt this was the right time to expand. New York is one of the most important cities in our industry and building a presence there will allow us to cement partnerships with the leaders on the forefront of advertising, technology and entertainment.” BENT’s Executive Producer and Vice President of Production Tsui Ling Toomer will head the New York office with a focus on commercial work and long form programming development. Toomer, who was recently promoted to oversee new business at BENT, will split her time between New York and BENT’s headquarters in Portland, Oregon. BENT will collaborate and share its office space with the music and audio post production wizards at Big Yellow Duck, located on the 12th floor at 62 W. 45th Street in New York.
“BENT’s ability to produce great work and our creative diversity have helped us to thrive in this volatile industry,” says BENT Partner and Director Chel White. “Our motto is never twice the same creative solution, which allows us to be comfortable working outside of the box, growing into areas that might normally intimidate. We attract and produce projects in new fields we couldn’t have dreamed of ten years ago.” The studio’s slate of projects has flourished to include a long form computer animated pilot for Hallmark Channel, an augmented reality R&D project for long time client Taxi 2, promotional webisodes for networks MTV and CMT and an original animated web series from Director Rob Shaw. In addition BENT has expanded its artistic prowess by developing an in-house design group headed up by Designer/ Director Josh Cox. In connection with its digital services, the studio has been developing photo-real food animation and adding to its technical repertoire with a new photogrammetry stage. This facilitates precision accurate 3D models/textures of people and objects, most recently used to create CGI fruits and vegetables for the Raley’s Family of Fine Stores campaign https://vimeo. com/88703846 and CGI people and elements for a Coca-Cola Olympics spot https://vimeo.com/87625429.
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Red Door Films Announces Children’s App Books: Tryger Tales Where’s the high road go? It goes where people do the right thing, help others, and act out of kindness, tolerance and respect. It’s where children learn about the dozens of virtues that can help make our world a better place. And it’s what Tryger Tales are all about. Created for kids 5-10, Tryger Tales are app books for the iPad and iPad mini, about an exuberant young cat whose comical misadventures take him where
the high road goes. We’re so excited about launching Tryger Tales that gave it away this Father’s Day to dads (and their kids) everywhere. We think kids will love Tryger Tales — its wonderful characters, interactive and engaging stories, excellent learning tools — but the quickest most sure-fire way to find out why is to click iTunes and get your Tryger Tales app and stories today.
Registration Still Open for Northwest Documentary Summer Workshops Northwest Documentary, a mediaarts non-profit based in Portland OR, is still registering students for our Summer 2014 workshop term. Whether you are a filmmaking novice, video hobbyist, or simply have a story to tell, NW Documentary has something for everyone. Our classes are taught by award winning filmmakers and seasoned instructors in a fun and supportive environment. In July and August, we are offering the following classes: 7/7-8/4, 6-8:30pm Editing 101: Final Cut Pro X 7/9-8/6, 6-8pm Editing 101: Adobe Premiere 7/10, 6-8pm Legal Issues for Filmmakers
7/24 & 7/31, 6-8:30pm Recording Audio for Video 8/2, 12-3pm Camera & Gear Basics 8/14, 6-8pm From Fundraising to Film Fests Visit us online to learn more about our programs and download our Summer catalog, and register for classes. Consider becoming a member and you will support our operations and also obtain discounts on classes, equipment rental and have access to our free library and open lab. For more information please contact us at 503-227-8688 or info@nwdocumentary. org.
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Upcoming workshops at Northwest Film Center GET YOUR WORK INTO FILM FESTIVALS Wednesday June 18, 7p-9p Fee: $10 Hear from the Northwest Film Center’s Regional Services Manager and the coordinator of the Northwest Filmmakers’ Festival on navigating the festival submission world. Get a practical overview of the festival submission process, from research to press releases to writing synopses. Walk through the Northwest Filmmakers’ Festival entry form step by step.
GRANTWRITING FOR FILM Wednesdays, July 9-23, 6:30p-9:30p Instructor: Courtney Hermann Develop the components needed for a competitive grant application, from creating a fundable idea to class and instructor feedback on work-in-progress grants. Learn how to prepare a logline, synopsis, outline, treatment, one sheet, artist statement, budget, and filmography. Discuss successful grant samples and learn how you can make your grant application the best that it can be! Register now! Questions? Contact Anna Crandall anna@nwfilm.org
Ashland International Film Festival Invites You: Daedalus Film Fest & Varsity World Film Week Daedalus Film Fest: August 15-17 at Varsity Theater in Ashland Join us for the 2nd annual “Daedalus Film Fest,” in partnership with the Oregon Shakespeare Festival, the Ashland Independent Film Festival and Coming Attractions Theatres. A selection of films examining the global HIV/AIDS crisis past and present will be screened. Join Ashland’s premiere cultural institutions at the Varsity Theatre for a slate of thought-provoking, haunting, celebratory, maddening and inspiring original documentaries. Stay tuned for complete program details!
Varsity World Film Week: October 3-9 at Varsity Theater in Ashland The AIFF and Coming Attractions Theatres bring you a week-long celebration of independent cinema from around the world. The program is curated by the AIFF and will include a selection of documentaries and features from around the globe. And be sure to mark your calendars for our internationally inspired, locally produced fall fundraiser, REEL to ROGUE, on Thursday, October 2nd. Event details and complete film program available soon!
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Visual Effects Supervisor Adam Sager Reports on “Lessons Learned” A new generation of puppet film storytellers emerges as Toby Froud partners with Heather Henson to create “Lessons Learned”. Director Froud, son of Brian & Wendy Froud (LABYRINTH & DARK CRYSTAL) and executive producer Heather Henson, daughter of Muppet creator Jim Henson, present “Lessons Learned” a short film about a young boy receiving an intriguing birthday gift from his grandfather, a gift that will stay with him for the rest of his life, a gift layered in trials and danger within a magical box. OMPA Member Adam Sager was Visual Effects Supervisor on the film. Sager reports on his specific involvement: Last July, I met with Toby to walk-thru the script, identifying ways in which visual effects could enhance the story as well as absorb some of the workload, and in October, I consulted with Toby and Scott Tebeau (DP) on the stages during set construction to ensure VFX could compensate for some of the practical limitations they had run into due to budget and time restraints. In November (just a couple weeks prior to principle photography), I walked with Toby thru the script yet again (this time on set) to take inventory of any additional VFX needs that had arisen during set and prop construction. Throughout the week and a half of shooting, I was present on the set to offer
VFX solutions to production problems, as well as ensuring that the primary VFX scenes were staged and shot correctly. I also supervised the data wrangling of footage, taking a clone of the master RAID home with me each night for safe keeping… and everyone’s peace of mind. Of course it was after production that my real work began. ... I undertook all of the visual effects and compositing work myself, with … an incredible matte painter named David Manuel. Editor Margaret Lily Andres and I utilized XML as a means of passing her edits onto me; and since we each had a clone of the original RAID, it saved us both the time and bandwidth it normally takes editorial to output shots to VFX. After a few months of late nights and lots of midnight coffee breaks, I did bring on two digital paint/roto artists, Vince Mascoli and Curtis Darwin Zinn, to assist with some of the time intensive tracking and cleanup that still needed to be addressed. In April/May, once the visual effects were completed, Toby and I worked together to grade the film, and I animated and polished both the main titles and end credits during this time as well. … Toby, Margaret and I sat in on the final sound design and mixing at Digital One with the Ryan Mauk. And lastly, I’ve been encoding and compressing the film for the varied and strict festival submission requirements.
Toby Froud, Adam Sager and lead puppeteer William Todd-Jones on the set of the big visual effects scene in “Lessons Learned”
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A Glimpse into the Life of a Crew Member By Hollie Fee
The Oregon film community has always had room for big names, flashing lights and outstanding blockbuster hits. How often is it that we pay recognition to our “behind the scenes” teams that are often at the core of a successful production? Recently, I sat down with Cine Rent West Stage Manager, Jon Woolf. While his current position brings a decent amount of responsibility to keep him on his toes and in the biz, from what I learned in our two days together, it almost feels like retirement. Jon is a true soldier in our world and has a million, add a few extra, stories to prove it. He began his career back in 1966 on a small film in his home land of New Zealand. Too embarrassed by the outcome, he doesn’t dare share the film’s name. He also doesn’t share a lot of names. Which I find to be extremely humble in an industry filled with name-dropping and one-upping. Instead, he reminisces about his lifelong friends, the invention of the Tulip Crane and the films it supported, such as ET and Back to the Future, working with lions in Brazil and being the Shop Pop/Den Mother for three years during the filming of Lord of the Rings. The Key Grip veteran fell into the business. After working on the un-named foreign flick, and several in Australia, including Mick Jagger’s “Ned Kelly,” he found himself married to a woman from the Midwest and living in New Orleans. Eventually it would be Los Angeles that would become Jon’s home and where he would truly build a name for himself.
As with many lifelong professionals, the business took its toll. In 1994 he was in as deep as it gets, running an equipment house that was constantly being undercut by the big players in Hollywood, renting the cranes at a steady rate as well as keying numerous movies, commercials and rock videos. Sadly, he would lose his first wife to a prolonged illness, survive as a single father, eventually remarry, and suffer himself from stress-related illnesses. It was that year, 1994, the same year as the riots, earthquakes, fires and flash floods that Jon would call it quits in the US. He sold up the works and moved the family back to New Zealand. HF: Why did you feel you needed to leave the country immediately versus waiting to sell all of your stuff? JW: God was tapping me on the shoulder telling me, “slow down.” So I did, I sold everything, right then and there. I would have died in the process had I not sold everything straight away. Returning to the homeland was blissful in the beginning; they bought a small farm and raised exotic pigs, a true turnaround in life. He recalls watching his child run off to the school bus and being surrounded by the “idyllic and beautiful spot.” There were factors (lack of finances, ailing family in the states, deeply missing his eldest son) that would bring them back. As they struggled to find the best approach--and just when the farm sold--he was invited into a small meeting, which eventually would change his world again. During the three years spent on the
07.2014 crew of Lord of the Rings he saw within the company relationships begin and end, marriages and divorces, births, deaths and everything in between. HF: What was one of your most memorable experiences from LOTR? JW: I find it common that people think of film miniatures as a few inches or feet tall. But we are talking about towers in the movie that are hundreds of feet tall, for example, so we were building towers to scale that were 30ft tall. Big stuff. Not to mention this was film, not digital. Some days, we were lucky if we got 24 frames in a day. We had to get it perfect. After the wrap of Lord of the Rings Jon and family returned to the U.S., which is where we find him today. Nestled in a beautiful home surrounded by lush forest with his lovely wife and only nine minutes from Cine Rent West. HF: What do you think the biggest challenge is facing our industry? JW: Well there isn’t anyone teaching film students what it’s actually going to be like once you get out there. There isn’t anyone saying how to market themselves, how to do the work and how to network at the same time. It’s two jobs really, anyone that has survived in the business knows. It’s an intense competition, there are far more jobseekers than positions available. One thing I always recommend is that when you get on a set learn peoples’ names. Know the rules of the game. Know who to talk to and when not to talk. HF: How do you feel OMPA could support issues facing our industry?
21 JW: Education, having these networking events where we are learning about the industry and how things work. Teaching young professionals how to market themselves and giving them the tools to be successful. HF: What advice would you offer a new G&E crew man or crew woman? JW: Having personally encountered a lot of different things on a set I tell people to be aware of their surroundings. Know what needs to be done and do it, if it’s within your job description. When you see something that might work to the advantage of the project, know who, when and how to approach and earn trust with a few quiet words. Maybe bring them a coffee and tactfully mention your idea. Be respectful. Always do your homework before the day begins, know what the job is about. Anticipate. Always look up, things fall and gravity always wins. Never run unless you see flames. HF: What are you most proud of? JW: My family. But I also survived the politics of Hollywood for 25 years as a Key Grip. I’m pretty proud of that as well.
Cine Rent Stage Manager Jon Woolf, working with a lion in Brazil.
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Meet OMPA’s Chapter Leaders Currently, the Chapters are being led by a small but dedicated group of volunteers. Dayan Morgan-Sylvaen, Chair Portland Chapter Dayan comes from a background in fundraising, event planning and nonprofit management. Pulling from this past experience, she is doing all she can to get the Portland Chapter off to a strong start. Although she has been doing makeup since the early ‘90s, she viewed makeup a fun hobby. It wasn’t until 2008, that she decided to take the leap to become a fulltime Makeup Artist and she never looked back. She is certified in beauty, theatrical, moulage, airbrush and f/x makeup – but she admits that her favorite projects have required that the talent be made to look older, tired, strung out, etc…the bigger the transformation, the better. Working primarily with independent productions, she is used to working within any time restraint or any budget.
Martin Varva, Co-Chair Portland Chapter Martin comes to us with a degree in Wildlife Management and Rangeland Ecology. He spent nearly fourteen years in natural resource management, most of that time as a fire ecologist for the US Government. He received my Masters of Arts in Teaching and taught middle school science for two years prior to moving to Portland to pursue film work. He is the owner of Galaxy Sailor Productions, a full service video production company offering every aspect of production services. From concept, writing, through all of production, to 3D, compositing, and motion graphics, they have it all under one roof. Martin believes that this community and this industry are only as good as any of us make it. For every experience level and every skill level, we all have the opportunity to build something that is solid and sustainable. It is up to all of us to participate and make it so.
07.2014 Erica Risberg, Outreach Coordinator/Treasurer Portland Chapter Before moving to Portland, Erica produced films in Maine; worked with Maine Public Broadcasting, both as an announcer and sound operator for remote broadcasts; was a sound preservationist for the Maine Folklife Center; and contributed to the design of the Maine State Museum’s “At Home in Maine” permanent exhibit. Since leaving Maine, she has pursued a voiceover career and worked as a researcher for the company History Associates. Erica runs two companies that allow her to best use her unique skill set: Shared Context Consultants, which is a consulting firm that enables museums to use a variety of technologies to connect with their audiences and stay relevant in the 21st century; and Voices by Erica, where she uses her skills to narrate audiobooks, documentaries, corporate and educational videos, commercials, audiobooks, and voicemail systems. Erica is strongly committed to building long-term relationships within the film community. She demonstrates this by representing the Chapter within Portland’s non-profit community. She is working to bring “out-of-the-box” networking opportunities for OMPA members.
23 Jeff Johnston, Chair Mid-Willamette Valley Chapter Jeff Johnston has been writing stories and shooting photos for automotive, fourwheel-drive vehicle, light truck, recreational vehicle (RV) and non-automotive publications, including model railroad hobbyist and railroad / timber industry history and modeling magazines, since 1978. His enthusiasm and passion for his subjects, and in-depth knowledge in these areas, give his writing the kind of integrity his readers appreciate and seek out.
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Announcing Josh Edward
503-481-1706 optionmodelandmedia.com Actor represented by Option Model & Media
Eisen Laucik
323-419-8313 elaucik@gmail.com www.bleidu.com/EisenThomas Student studying Architecture and Environmental Geology at PSU
3DV Corporation Kurt Macey, President
Portland Chapter Brent Bailey
503-423-7349 brent.bailey@rocketmail.com Student studying film and digital media at Baylor University
Simon Bauer
503-367-9524 shbpdx@yahoo.com Student in Cinema Studies program at University of Oregon
Kelly Butler
503-867-7725 kbutler256@gmail.com www.kellybutler.net Student studying at Communication Arts & Theology at Franciscan University of Steubenville
Ryan Cassella
909-418-4633 ryancassella@gmail.com ryancassella.tumblr.com Student
503-644-6000 kurt@3dv.com www.3dv.com 3-D animation and digital software re-seller
Ben Olson
503-432-7768 benolson3000@gmail.com Student studying Sociology at Portland Community College
JShagamauw Productions, Inc. Gillian Richardson, CFO/Secretary-Treasurer 805-680-9173 gillianrichardson@centurylink.net shagamauwproductions.com Special creature effects, film and television production
Milt Ritter
503-708-3668 milt@miltritterprod.com miltritterprod.com Post production, editor
07.2014
25 Eileen Tom
971-645-8158, 503-761-9754 eileen.tom32@gmail.com Student studying film and business administration at Portland State University
Jeremiah Flores
310-256-7890 jeremiah.f.flores@gmail.com jeremiahflores.com Commercial director, writer, editor, documentary filmmaker
Bryan Tosh
301-997-5137 bryantosh@ymail.com Student studying Digital Film and Video at Art Institute
Perspica Media Company Micah Vanderhoof
734-649-5750 mvanerho@gmail.com www.micahvanderhoof.com Does camera operation, cinematography, videography, editing, direction, and photography
Elizabeth Williams
248-312-8070, 503-922-2283 elizabethwilliamsld@gmail.com ElizabethWilliamsLD.com Student studying Theatrical Design and Production, Lighting Design at University of Michigan
Provenance Hotels of Portland Dayna Zeitlin
503-241-2135, 503-241-2115 dayna.zeitlin@provenancehotels.com www.provenancehotels.com/portland Hotel
MOPAN Chapter James Barton
503-560-0318 jbarton@willamette.edu Student studying Biology at Willamette University
Justin Gallagher
206-383-3493 justingallagher@mac.com Production assistant, camera operator, truck driver, work with set and props
Richard Kenyon
541-414-3205 trey@treykenyon.com Student who studied media and communications
Renee Tyler Music Renee Tyler
541-921-0551, 541-614-0687 renee.tyler4@gmail.com reneetylermusic.com Music composer for film and television. Can compose and produce original scores as needed
Eastern OR Chapter Eli Pyke
719-200-8457 eli@zionpictures.com zionpictures.com Director of photography