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OREGON MEDIA PRODUCTION ASSN Oregon’s Resource for the Media Production Industry
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Photography: By Submission
Page Layout: Duck Up Productions
jay@duckupproductions.com 503.701.7926
OMPA BOARD OF DIRECTORS
Michael Bard President
Golf Chair Studio Bard, LLC
Lisa Cicala Vice President
Membership Chair Mercy Corps
Christopher Toyne Vice President Talent Chair
Tim Troester Secretary/Treasurer
Hays Companies of Oregon
James WilderHancock Past President
WilderHancock Productions
Nathaniel Applefield
Government Affairs Chair AFTRA
Ryan Crisman
Sockeye Creative, Inc.
Susan Haley
Scholarships Co-chair Paydogs LLC
Stefan Henry-Biskup Liquid Development
Janet McIntyre
Scholarships Co-chair Mt. Hood Community College
Jeanna Minshall Minshall Group
Dennis Noreen
Strategy Insurance
Mike Ratoza
Bullivant Houser Bailey PC
Dave Spraker
PR/Marketing Chair Advanced Broadcast Solutions
OMPA EXECUTIVE DIRECTOR Tom McFadden info@ompa.org OMPA ADMIN. MANAGER Jessica Beer jessica@ompa.org
The CALLSHEET is published monthly by the Oregon Media Production Association, a 501c(6) non-profit representing Oregon’s film, video and multimedia industry. © 2012
OMPA
901 SE Oak, Suite 104 Portland, OR 97214 503.228.8822 / FAX:503.228.7099 info@ompa.org • www.ompa.org
Director’s Letter Community Building As OMPA, we work towards a common goal of increasing work and business opportunities for ourselves, our companies, and fellow professionals in Oregon’s film, television and multimedia production community. This work includes promoting Oregon’s resources, keeping our professionals networked, and celebrating the high caliber of crew, talent and resources Oregon has to offer. We did that this past month by doing what we do best – celebrating Oregon’s excellence with various communities that represent our industry. In alliance with McMenamins, the Northwest Festival of Animation, the Oregon Cartoon Institute, and the City of Portland, OMPA launched the “Great Northwest Film Tour,” and promoted screenings of a movie about legendary Oregon animator Bill Plympton in theaters around the state. The tour kicked off in a celebration with Oregon’s rich professional animation community, and was capped with a public celebration of Bill Plympton Day. We look forward to working with more filmmakers to promote profitable promotional tours through the McMenamins theaters. (Those interested in having their projects considered should be in touch with the OMPA office by phone or email, or by using the “Tracking” link at www.ompa.org.) We were also welcomed by MOPAN and SOFaT last month to celebrate the SourceOregon directory as a way to promote Oregon’s incredible resources and positive reputation as a place to do world-class production business. Directory events in Medford and Eugene followed our very successful party at Koerner Camera in Portand. For world-class community building, there is no better place to do so than the OMPA Golf Classic, now powered by Mac Pac, who, as an Avid preferred reseller, will bring their technological clout to make this year’s tournament as memorable as ever. It’s not just golf – this year we add the “Lost Lake Bike Challenge” to the popular wine tour and golf offerings. Pick your pleasure and sign up at www. ompa.org/golf. Do so by May 31 for discounted rates.
Tom McFadden, OMPA Executive Director
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The New Source for Oregon By Anne Marie DiStephano SourceOregon has a new look. The annual directory, which lists film, television and new media professionals in Oregon, has been around for 30 years. It started as a small pamphlet, growing to become a thick, wire-bound guidebook and, later, a website as well. This year, for the first time, the print directory has the look of a glossy magazine. It contains articles and photos, as well as the listings which remain its core. “It’s vitally important to have a comprehensive listing of talent, crew and resources when we market and recruit projects to Oregon,” says Vince Porter, the executive director of the Governor’s Office of Film & Television. “All producers want to know what’s really available and ready to be used in Oregon.” With the state hoping to build on its recent success in attracting out-of-state productions, the guide becomes ever more important. Productions based in L.A., for instance, need to know where they can find a specific resource, whether it’s a Steadicam or a caterer. Also, more generally, they need to know that Oregon does indeed have those resources. SourceOregon lists everything from actors and directors, to animation and special effects houses, to legal and financial services. It lists appropriate permitting agencies state-wide, as well as county chambers of commerce, many of which have been trained as film liaisons by the state. Although the Oregon Media Production Association (OMPA) takes the lead in creating the guide, it’s also the directory for members of Southern Oregon Film and Television (SOFaT), the Mid-Oregon Production Arts Network
(MOPAN), and the Central Oregon Film Alliance (COFA). To create the guide, OMPA now works with the Oregon Governor’s Office of Film & Television; the two unions, IATSE and SAG-AFTRA, and other trade groups; and in cooperation with business groups, labor groups, government groups and public and private higher-level education. Unlike the directories in many states, SourceOregon vets its listings. In order to be included, listers must provide references proving that they are qualified and experienced. This makes the directory particularly useful to anyone who is not a long-time member of Oregon’s mostly freelance network of media professionals. As a whole, the directory serves as a demonstration of the depth of talent available in the state. Hence the redesign — rather than stick with the format used by most states, which is essentially a less-handy version of the website, why not make a directory that does more to promote Oregon? The new magazine-style format offers more for those who don’t know the state intimately. The cast of “Grimm” poses on the cover, and inside are articles on the benefits of filming in Oregon (“free money”), Oregon’s legacy of successes in animation, and the history of cinema in Oregon, going back to the very beginning — “The Fisherman’s Bride,” filmed in Astoria in 1908. But the greatest innovation might be the simplest: the new magazine has a spine, with the words SourceOregon 2012 clearly visible. Lined up in a bookcase with directories from other
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states, which are generically wire bound, it really stands out. It’s also much more likely to be picked up casually from a desk or waiting room table. Seeing the value of this, the Governor’s Office of Film & Television distributed 500 copies of the magazine to top advertising agencies around the country. (Although less high profile than movies or a TV series like “Grimm,” commercials account for the bulk of the production money coming into the state, bringing $400 to $500 million a year.) The magazine also goes out to the members of OMPA and the three other Oregon media production trade associations, and OMPA makes sure it
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gets to the heads of the departments of all the productions that are working in the state. They really do use it, too. In Portland, representatives from “Leverage” and “Grimm” acknowledge the value of the directory. And as business continues to grow, SourceOregon becomes more valuable, as well, to people who have been working in the local industry over the long term. That production coordinator or boom operator or sound mixer that you’ve always relied on may already have a job — SourceOregon provides a trustworthy way to fill the gap. The magazine and the directory are online at www.SourceOregon.com.
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MacPac Selected as the Northwest’s AVID Preferred Reseller The MacPac is a locally owned Apple specialist providing Apple authorized service, sales and support in Portland, Ore. A friendly team of video professionals with years of industry experience, MacPac prides itself in offering best-practice postproduction solutions to a broad array of clients. The MacPac’s Pro Video team can be by your side every step of the way, from deciding on the most suitable technology for your purposes, to providing expert advice on your workflow, to our industry-leading
after-sales support. In addition to Apple products and accessories, Final Cut Pro and Adobe Creative Suites, MacPac is proud to have been chosen as an AVID Preferred Reseller. The MacPac can now offer AVID’s full line Pro Video products. From powerful and creative video capture and offline editing tools, to high-performance online finishing and graphics systems, (plus the ISIS storage solutions), Avid offers a range of comprehensive multi-format solutions to fulfill your film/video needs and budget.
Avid Offers Unprecedented Limited-Time Symphony 6 Crossgrade Promotion MacPac is excited to offer Avid’s new Symphony 6 Crossgrade Promotion for only $999. Final Cut Pro (excluding Final Cut Pro X), Media Composer (any version), Xpress Pro, and Xpress DV owners can purchase Symphony for $999 USD. This limited-time offer expires June 15, 2012. For additional eligibility requirements and more information, please visit www.macpac.com or call George at 503-256-5210.
This offer is designed to provide a way for Final Cut Pro, Avid Media Composer® Avid Xpress Pro, and Avid Xpress DV users to crossgrade or upgrade to Avid’s industryleading professional editing, color correction, and mastering solution at a significantly reduced cost. Adam Green, senior director of post and professional segment marketing at Avid, says, “Our current and new customers can now take advantage of the same industry-leading editing tools found in Media Composer to advance their storytelling, plus benefit from finishing and color correction capabilities in the same suite, eliminating their time spent on conform or media transfer. This opens up even more creative opportunities for them.”
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Faerie Godmother Production Grant WIF-PDX is now accepting applications for the 2012 Faerie Godmother Production Grant! Deadline for receipt of complete mailed applications is July 31, 2012 at 5:00 p.m. Application and full grant guidelines are available on the WIF-PDX website. The purpose of the WIF-PDX/FG Production Grant is to support women working in media in Oregon and SW Washington (Clark County.) The goal of this grant is to provide financial support aiding in the production or completion of a consequential piece of work, while helping to advance the artist’s vision and craft.
The awardee will receive: • $3000 Cash Award • Legal services with Entertainment Attorney Candice E. Jackson • A complimentary screening venue (200 seat capacity) for your completed film, including light catering. • Two full festival passes to the 2013 POWFest and the 2013 Ashland Independent Film Festival. • Two Patron Level (includes VIP reception) passes to one of the 2013 Voices lecture series, celebrating women’s leadership around the world. • WIF-PDX support of your project through our newsletter, website, and Facebook page.
A Place Called Home: Documentary The Dill Pickle Club series “A Place Called Home: Lectures on Filmmaking in Portland” concludes in June with a lecture on documentary filmmaking. The program takes place on Sunday, June 24 at 1PM at the Northwest Film Center’s Whitsell Auditorium (1219 Southwest Park Ave). Admission costs $5/ members, $10/ general. Tickets can be purchased online. Speakers include Tom Chamberlin, Dennis Nyback and Tom Robinson (copresented with the Northwest Film Center). Tom Chamberlin will address the community of 16mm filmmakers who worked in Portland between 1969-1979 and their extraordinary level of cooperation and mutual support. He’ll also discuss his approach to making documentaries, and the opportunities and challenges facing documentary makers. Chamberlin began making film in the mid-1960s, made commercial work for Encyclopedia Britannica and Lucas Films in the ’70s and
’80s, before spending most of the 1990s doing community-based documentary video projects for nonprofits and social justice groups. Dennis Nyback will give a short lecture “Filmed in Portland Before Sound,” on Jesse Sill, Lewis Moomaw, Lew Cook and others. Nyback will explore the wild film scene in Portland in the Teens and Twenties before “sound entered the picture and screwed things up”. Nyback houses his archive of thousands of rare short films at Marylhurst University. He has been a featured guest at film festivals around the world, and has taught at PSU, NW Film Center and Marylhurst. Tom Robinson will talk about the relationship of home movies to documentary, drawing from his collection of historic Oregon home movies. Robinson is an archivist, writer, photographer and master photographic printer. Robinson’s library of original film and glass negatives and transparencies is the largest collection of Oregon original film negatives in the world.
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golightlyfilms, inc. Produces Video for NWFC Anniversary Kenneth Luba, Director of Photography, and Kaja Zaloudek, Executive Producer, of golightlyfilms, inc. were honored to be chosen by the Executive Committee of the Northwest Film Center to write, produce, direct, shoot and post the opening video for the Northwest Film Center’s 40th Anniversary Gala event “Lights, Camera, Auction.” The video premiered at the event on the evening of May 12th and will be used on the NWFC website and for fundraising events for years to come. golightlyfilms gives special thanks to all the amazing friends, craftspeople, filmmakers, companies, talent and NWFC staff who helped make the video “SEE THE FUTURE” a success. They could not have produced this special video without them. Thank you: Keith Cook, Cal Scott, Aaron Cohen, Eric Macey, Lenny Hoffman, Jonathan Woolf, Paulius Kontijevas, Brian Grubb, Reuben Nisenfeld, Anthoney Baker, Connie Crabtree, Chris Crever, Michael Koernor, Paul Nelson, Wayne Woods, Perry Loveridge, Greg Farina, Danny
Director/Director of Photography Kenneth Luba on the set of the NWFC shoot “SEE THE FUTURE”
Stoltz, Robert McKeehen, Kelley Baker, Chris Borges-Silva, Bingo Lewis Editorial and Mission Control. A special thanks also goes to all the veteran filmmakers, NWFC teachers and students who shared their passion and historic insights on camera for the video. Thank you: Kelley Baker, Dan Ackerman, Sue Arbuthnot, Dan Biggs, Richard Blakeslee, Laura Ditrapani, Brenda Grell, Don Gronquist, Liz Lewis, Brian Lindstrom, Ted Mahar, Lucas Powers, Susan Shadburne and Chel White. To see more of golightlyfilms, inc. international award winning work, go to: www.golightlyfilms.com.
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Persephone: A Live-action, CGI-infused Short Film During the turn of the 19th century, in a tiny town nestled somewhere in the Netherlands, a husband and wife once ran a very unsuccessful candy shop. Desperate, broke and starving they decided to trade their souls to a demon in exchange for a recipe for the most delicious chocolate in the world. Much to their dismay, the next morning a basket was discovered on their doorstep, and inside – a young, living child made of chocolate. And so begins the tale of “Persephone,” a live-action, CGI-infused short film written by Mark Roush and animated and designed by the talented people at Animation Dynamics. OMPA member, Animation Dynamics, or ADi, is a Portland-based animation company that was founded in 1996 and is currently owned by Kate Ertmann. ADi works in visual communication for business-to-business marketing, consumer advertising, direct response television, education and entertainment. Their clients range from Fortune 500 hightech firms to independent film producers. Over the past few months, Mark has worked alongside Kate’s creative team to create the atmosphere in which
Persephone preparing chocolates to be sold
Persephone exists. Imagining the world initially fell to Mark, who researched period architecture, wood patterns, designs, etc. When the production footage was handed over to the team at ADi, they delved deeper into the time-period in which the story takes place, including period art, architecture and design. The world that encompasses the “living” actors of the film is made of mist and clouds, continually flowing and shifting in order to create a more ethereal, impressionistic atmosphere. These aesthetics honor the flow and pace of the project as a noncutting, morph-based edit. This fluid dynamic is also meant to support the underlying message in the story, relating to issues of identity and acceptance of inner/outer appearance, especially as experienced by young adults. “This story must move as dynamically and flow as complexly as the life of a young adult does; not in black and white but in various shades of every color in the spectrum,” says Mark. Animation was scheduled for completion in April, 2012. Mark has begun the social media campaign, which will include chocolate giveaways, contests and drawings.
Discussing the removal of Persephone’s legs.
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We Grew Wings in Final Post, Premiering June 30 in Eugene Eray Motion Media in conjunction with Sirena Pictures and Executive Producer Ellen Schmidt-Devlin are in final post of their new film We Grew Wings, the story of two eras of Oregon Track and Field... the female variety. Over the years the “Men of Oregon” have been been immortalized, from Bowerman to Prefontaine to Phil Knight and the birth of Nike. This is an untold story of a team of women in 1985 who set marks in track and field that have yet to be matched. Narrated by Katharine Ross (The Graduate, Butch Cassidy and The Sundance Kid, Donnie Darko), We Grew Wings also tells the story of the contemporary women who are now ranked number one in the nation. Through the eyes of these athletes from two different eras, we examine the contrasts and progression of women’s sports since Title IX gave women equal opportunities in sports in 1972. We Grew Wings premieres at the McDonald Theater in Eugene on June 30, during the height of the US Olympic Trials for Track and Field sponsored by The Oregon Bach Festival. The debut film will also run key dates at the Hollywood Theater and KINK Bing Lounge in Portland, July 15-29th. Co-directed and produced by Sarah Henderson and Erich Lyttle, executive produced by Ellen Schmidt-Devlin with music score by John Askew, editing by Ben Meader and Melissa Henderson, and music by such artists as Radiation City, Obo Addy and Swansea.
Photo by Sarah Henderson, Sirena Pictures
Can’t Stop the Serenity Returns with “Out of Gas” Can’t Stop the Serenity returns for its 7th year in Portland, sponsored by the PDX Browncoats, Dark Horse Comics, Things From Another World and McMenamins’ Bagdad Theater. Joss Whedon’s fan favorite, Serenity, will be on the big screen again, joined by an episode from the original Firefly series, “Out of Gas.” This year’s screening will be Sunday, June 24th, 2012 at the historic McMenamins Bagdad Theater. Can’t Stop the Serenity (CSTS) is a unique opportunity to indulge your geeky side while doing some good. Since 2006, fans have organized worldwide screenings of Joss Whedon’s Serenity to raise funds and awareness for Equality Now in their work for the protection and promotion of the human rights of women around the world. This year’s event will also support Raphael House of Portland, a multi-faceted domestic violence agency dedicated to ending intimate partner violence for good. For more information on how we will be supporting these organizations, please visit the PDX Browncoats website. Doors open at 12:30 pm for presale ticket holders. The event begins with an opening show with the local musical duo, The Doubleclicks. Day of ticket sales begin at 1:30 pm at The Bagdad Theater. Tickets are $12 in advance and $15 at the door and can be purchased online.
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The Northwest Film Center presents Alex Ross Perry’s The Color Wheel Where: Portland Art Museum’s Whitsell Auditorium (1219 SW Park Avenue in Portland) When: Friday, June 1 - 7 and 9 p.m. Saturday, June 2 - 5, 7, and 9 p.m. Sunday, June 3 - 4:30 p.m. How much: $9 General; $8 Students, Seniors Tickets: Purchase online.
Watch the trailer The brother/sister combo in Alex Ross Perry’s chaotic and ambitious The Color Wheel behave closer to escaped convicts sharing handcuffs than your conventional sibling rivals. JR, an aspiring news-anchor and flagrant opportunist, is a comically indulgent and clueless narcissist whose rabid self-importance kept her from receiving invites to both a family vacation and a funeral. Colin, her younger brother, a man-child dog-paddling for gratuitous affection from a woman no longer charmed by his frank groveling for explicit sexual favors, has a bottomless agility for cute banter but is emptied for a direction of his own. After a failed romance with her professor, JR recruits Colin on a road trip designed to retrieve her belongings, and along the way, from a queasy motel clerk to a doomed party, prove capable of hating every minute of each other’s company. However, it is often in between our destinations that we find where we are going. In JR and Colin’s case,
it is one as sweet as it is unsettling. Topping Indiewire’s 2011 Critics’ Poll of “Best Undistributed Films” (since picked up), The Color Wheel is not a film eager to take its audience on a scenic ride of self-discovery with sunsets and singalongs. Instead, it paves a surprisingly brave path right in the middle of two unresolved souls determined to bicker and banter their way around the delicate and disquieting truths they share.
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Lighting Workshop with Cinematographer
Gary Nolton Lighting is about more than providing enough illumination for a good exposure; it is a vital element of the art of filmmaking. Artfully applied light adds texture, depth and shape to everything within a scene. With the DSLR revolution, filmmaking is becoming more about imagination and less about expensive equipment. Yet while these cameras require far less light than their film counterparts, if the cinematography is not enhancing the story, then a major piece of the film making equation is missing. This workshop will equip you with a practical understanding of how to use light in all it’s beautiful forms to support the mood of a scene, maintain continuity and control what nature provides you. It will be most useful for the still photographer who is adding filmmaking to their skill-set or anyone who wants to gain a better understanding of lighting for moving subjects. Professional gear, HD cameras, live talent & scene settings will all be on hand at this highly useful workshop taught by one of the Northwest’s most experienced Directors of Photography.
This class covers: • Drawing the Form; how to determine where the light should come from • When & Why to use or mix different types of light; tungsten, fluorescent, LED or HMI • Controlling, shaping and altering light using both professional and poor man’s tools • Using color to support mood and emotion...the love affair between production design and cinematography Price: $195.00 Schedule: June 14th 6pm-9:30pm Registration: To keep this workshop productive, attendance will be limited to the first 15 registrants. To register, email orianna@limbofilms.com
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Professional Makeup School Opens in Southwest Portland Renown professional makeup artist and Portland resident Celena Rubin is launching Art of Makeup, School of Professional Makeup Artistry, Oregon’s first school exclusively dedicated to makeup artistry, and is enrolling students now for summer courses. According to the Oregon Media Production Association, “The film and TV production industry in Oregon hit a milestone last year with over $100 million dollars in production spending from out-of-state projects” (OMPA.org). Celena Rubin says, “This is an exciting time to launch such an endeavor while offering Portland and surrounding communities an opportunity and destination to establish professional makeup training, especially for burgeoning young makeup artists who can’t afford or are unable to travel to places like Hollywood or New York, where traditionally such careers begin.” Celena reflects on the thought of going full circle with her career, “I have always loved makeup, and after actualizing my dream of becoming a professional makeup artist and becoming fortunate enough to work with top celebrities and talent throughout entertainment, starting this school and teaching what I have learned to others with the same dream has become a passion.” Keith Zenobia, owner of Los Angeles’ Zenobia Agency, which proivdes artists to the advertising, publishing and entertainment industries internationally, has added, “Celena is a very talented makeup artist and I look forward to seeing her succeed in this exciting new venture. We are always looking for talented makeup artists to represent, and with Celena’s background we will certainly be keeping
our eyes open in the Northwest.” Art of Makeup employs local Portlandbased artists who have well respected professional credentials and a passion for teaching the art, science, techniques and secrets of the trade. Examples of courses offered include: Corrective Beauty, Fashion/Bridal/Retail, Period Makeup, Film/TV/Stage, Hair Styling, Airbrush Makeup, and Special FX. A complete 6 1/2 week course as well as individual classes are offered. Celena and her professional team will also discuss the rewards and challenges of a free-lance lifestyle, as well as the marketing tools and networking skills needed in a competitive environment to excel and thrive in a life long career as a professional makeup artist. For more information about Celena Rubin or Art of Makeup, visit www. artofmakeup.com.
Art of Makeup founder, Celena Rubin, at work.
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Upcoming Classes at the NW Film Center’s School of Film The Creative Virtues of Electronic Cinema #912,
Short Film Production Intensive #204
Bring whatever video camera you might have on hand: an oldie with lots of digital effects (e.g. strobe, solarizing) or your smartphone, cell phone, tablet, or other image-recording device. This is a hands-on workshop addressing the nature of digital video as a medium and how it alters the manner in which one makes “cinema.” From camera use to using the computer as an aesthetic tool, this workshop will touch on a wide range of filmmaking practices that have been (or can be) fundamentally altered by the qualities inherent in electronic image-making. In all genres (narrative fiction, documentary, experimental), working with digital media shifts the terms of the process in many ways, small and large. This workshop explores all of these terms, from aspects about directing actors, to shooting documentaries, to thinking holistically about the entire process. Using examples from Jost’s work (and that of others) in a practical manner, the workshop will demonstrate how, technically and aesthetically, digital mediamaking should alter how one approaches the entire practice of making cinema of any kind. Most digital filmmaking of the last year has been little more than attempting to make celluloid cinema with electronic tools; this workshop will try to help open the participant’s eyes to the far richer and wider aspects of electronic cinema. All skill levels and backgrounds welcome, including the uninitiated. This class is two sessions from June 2 to June 3, For more information and to register, visit http://www.nwfilm. org/school/classes/term/207/
This intense boot camp takes everyone through the exciting and exhausting process of making an entire short film in only six days. The experience is designed to be powerfully immersive. Step by step, the class directly models how to get a quality product at lowbudget prices. A script and actors will be provided so that production can start rolling out on the very first day. Class members will immediately be immersed in everything from securing locations and props and dealing with releases to making sure that everyone gets fed and that all of the necessary equipment is there and ready to go. Each individual will serve in at least two crew positions (based on student interest/skill and instructor discretion), ranging from camera/lighting/grip to editor and sound designer. Visiting industry professionals will talk candidly about what their jobs really entail and what is expected when you work on a larger-budget production. By Friday, the film will be in edit in the Film Center’s Final Cut Pro lab. On Saturday morning, it will be sound-mixed at a local post-production house, and at 3 PM, a free public screening will be held in the Whitsell Auditorium for cast, crew, families, friends, and the curious general public. Everyone’s name and crew position(s) will appear in the credits. After you catch up on your sleep, it’s time to make your OWN short film. Call the Film Center’s Equipment Room (503-221-1156 x30) to find out about rental packages and availability. Your student discount is good through July 8. The completed film will be uploaded to a special boot camp online video album, along with bloopers and behind-the-scenes footage. This class is six Sessions from June 11 to 16. For more info or to register, please visit http://www.nwfilm.org/school/classes/ term/178/
a Visiting Artist Workshop
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Announcing KC Cowan 503-853-4484 kccowmic@gmail.com Producer, voice talent, on-screen talent Inkwell Creative Connie Orson 503-224-0825 connie@inkwellgroup.com Interactive/multimedia video developer; creative agency Robert Del Valle 818-212-4044 eglscout@aol.com Production manager, producer, line producer Sarah Chellis 503-720-4888 sarahchellis@gmail.com Student at Santa Fe University of Art & Design Laurie Sutton 503-816-8183 suttonlaurie@yahoo.com Student studying video production at Portland Community College Kelly Kendziorski 503-453-4548 kelly.kend@gmail.com Documentary director, shooter, editor Subtext Tore Gustafson 503-475-8860 tore@entersubtext.com Digital marketing agency Reginald Dechard 626-297-3010 reggiedechard@mac.com Props assistant, lead man and driver
Limbocker Studios Lance Limbocker 503-318-8447 llimbocker@mac.com Sound, design, mix, foley, ADR Famous Dave’s BBQ Julie Walls 503-493-9000 Portland@davescatering.net Catering D. Cicero Motorsports & Media Dominic Cicero 360-901-0308 dominic@dominiccicero.com Precision driving, actor Dustin Wise 503-709-0916 dbobwise@gmail.com Recent graduate from Univ. of Texas at Austin in Radio/Television/Film
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May 15, 2012 A great day for democracy! OMPA hosted a ballot box at its Portland office last month and submitted votes as a block for the 2012 primary election in support of Oregon’s creative economy.