Oz Magazine August/September 2014 by Oz Publishing, Inc

film & tv • print • new media • lifestyle august/september 2014

Recognizing Excellence The National Academy of Television Arts and Sciences (NATAS) Southeast is a professional organization comprised of professionals actively engaged in television–executives, producers, performers, announcers, newscasters, writers, craftspeople, cameramen and women, directors, artists, designers, photographers, editors, academics, entertainment attorneys and others. Our members work in broadcast stations, cable and satellite companies, independent television production, marketing, new media and performing arts and creative crafts. The Academy provides a forum for the exchange of ideas and discussion of industry problems and concerns. It affords opportunities to meet colleagues both professionally and socially. It promotes professional development in the industry and the community.

Join Us! Services and Activities include: EMMY® Awards: Awarded for excellence and outstanding achievement in television–locally, nationally and internationally. Education: the National Student Television Award of Excellence, presented by the Foundation of the National Academy of Television Arts and Sciences. Networking: Interact with colleagues in the full range of television disciplines at formal and informal gatherings. Seminars: Informative seminars are presented on a wide spectrum of topics, including cutting-edge technologies. Events such as Student Mentor Connect offer an opportunity for professionals to pass along their knowledge to students and peers. Gold & Silver Circle: Honors television pioneers whose careers have spanned a halfcentury or quarter of a century or more. Cinema Club: Members have an opportunity to see feature films prior to their release. Invitations to Events include Industry discussion, technical presentations, private screenings, and professional development workshops. To become a member, please visit

southeastemmy.com

MAGAZINE

STAFF Publishers: Tia Powell (Group Publisher) Gary Powell

CONTRIBUTORS JESSE BROOKS Jesse Brooks is an entertainment publicist from Atlanta. He works as a video editor by night, cutting commercials, weddings and reels for actors. He lives in Alpharetta with his wife, Ashley, and dog, Maya. (The Distributed Win, p.22 / jessedanielbrooks@gmail.com)

Project Manager: Latisha “Tish” Simmons

Editorial: Gary Powell

RIC REITZ Ric Reitz is a freelance writer / actor / director / producer and partner in Georgia Entertainment Credits, LLC. (The Life Cycle of a Georgia Production Tax Credit, p. 34 / ricreitz.com)

Sales: Gayle Rosier (Sales Manager) Monique McGlockton Kris Thimmesch Martha Ronske

Contributors: Jesse Brooks Ric Reitz Rob Wilbanks Alexandra Cook Andrew Duncan

Creative Director: Kelvin Lee

Production and Design: Nick Cornish-Tomlinson Randy Davis Ted Fabella (Oz Logo Design)

Cover Design: Karla Castaneda

film & tv • print • new media • lifestyle august/september 2014

ROB WILBANKS Rob Wilbanks is a Georgia State University alumnus with a degree in film and video communication. He has worked in PR and communications for more than twenty years in Georgia and Louisiana. (State of the State, p.28)

ALEXANDRA COOK Alexandra Cook is a recent graduate of Kennesaw State University (KSU), where she received a bachelor’s in Communication. While attending school, she worked for the student newspaper, magazine, and radio station. She continues to explore her love for writing, editing & handling social media. (Voices, p. 21 / alexandralauren721@gmail.com)

ANDREW DUNCAN He is known in the motion picture industry as “Drewprops”, has been writing about the craft of filmmaking from the inside out since the mid1990’s. His confusing and often embarrassing stories from behind the scenes provide a unique insight into the craft of filmmaking from the perspective of the shooting crew, artists, and designers who bring your favorite films to life on the big screen. (Behind the Camera with Drewprops, p.40 / www.drewprops.com)

KARLA CASTANEDA Karla is a Savannah based illustrator who believes her work is a fundamental part of everyday life, but never forgets to spend time with the people she loves. (Cover Design / karlacastaneda.com) www.ozmagazine.com www.facebook.com/ozpublishing www.twitter.com/ozpublishing (404) 633-1779 Oz Magazine is published bi-monthly by Oz Publishing, Inc. 2566 Shallowford Road #302, Suite 104 Atlanta, GA 30345 Copyright © 2014 Oz Publishing Incorporated, all rights reserved. Reproductions in whole or in part without express written permission of the publisher is strictly prohibited. This magazine is printed on recyclable paper.

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RANDY DAVIS He has been called creative director, design director, art director, designer and pop over his long career creating memorable campaigns for cause-based organizations. In addition to his studio duties, Randy is a member of Auburn University’s Department of Industrial and Graphic Design, National Advisory Council. (Feature and cover story design / www.randydesigns.net)

CONTENTS 06 OZCETERA

21 VOICES

by Rob Wilbanks

22 COVER STORY: THE DISTRIBUTED WIN GETTING EYEBALLS ON A PROJECT MEANS RETURN ON YOUR INVESTMENT

28 FEATURES: STATE OF THE STATE

THE COMMERCIAL PRODUCTION BENEFITS FROM GEORGIA’S TAX INCENTIVES

34 FEATURES: THE LIFE CYCLE OF A GEORGIA PRODUCTION TAX CREDIT 38 HOW I GOT INTO THE BUSINESS 40 BEHIND THE CAMERA WITH DREWPROPS 42 OZ SCENE 46 DISTRIBUTION PARTNERS 48 LET ME GIVE YOU MY CARD 50 AD AGENCY CAMPAIGNS

AUGUST / SEPTEMBER 2014

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HOLLYWOOD TRUCKS INKS PINEWOOD STUDIOS

ollywood Trucks has signed an exclusive five-year deal to provide production vehicles at Pinewood Atlanta Studios’ worldclass full service film and entertainment complex in Fayetteville, Georgia. Hollywood Trucks’ specialized expertise and success in film transportation services led to their expansion into Georgia with Pinewood Atlanta Studios. “The Hollywood Trucks team is excited and honored to partner with Pinewood Atlanta Studios, a member of the distinguished Pinewood family. Together we can support

Hollywood Trucks has also launched Ecoluxe, the world’s first line of luxury talent trailers fueled by 100 percent clean power. Designed under the direction of Hollywood Trucks CEO Andre Champagne and a team of industry professionals, Ecoluxe incorporates contemporar y design with cutting-edge technology to create the most ecologically friendly talent trailer on the market. The Ecoluxe line is powered by a patent pending 100 percent clean energy system comprised of an advanced combination of solar and thermal technologies. A hybrid backup generator for emergencies utilizes B20 biodiesel or ultra-clean, renewable synthetic diesel. Additional plug in capabilities allow the trailer to run virtually silent at 25-30 decibels, another industr y first. Energy

Brian Cooper VP of Operations, Pinewood Atlanta Studios: “We’re delighted to embark on this exclusive deal with Hollywood Trucks, joining Pinewood’s own venture into Georgia. It’s incredibly important that what’s offered at the studios is not only of the highest standard technologically for our clients, but also that it’s environmentally responsible too. Hollywood Trucks tick all the right boxes for us. We’re looking forward to the next five years of partnership with Andre and the team.”

efficient, low-voltage LED lights illuminate the 3-form® countertops that are made from post-consumer recycled plastics. The huge wrap around couch is covered in eco-friendly fabric and faces massive mirrored walls with embedded flat screens. Large Hehr® privacy windows keep the trailer cooler in any environment by reducing exposure to UVA/ UVB rays. In recognition of its eco-friendly design, Ecoluxe has already received TRA Certification.

speed internet throughout the entire unit. All components are completely wireless and can be controlled from a smart device.

The expertly designed and technologically advanced interior features energy efficient 72” Samsung® 3-D flat screen smart TVs with 3-D surround sound, Apple® iMacs and wireless printers, Nest Co2 and smoke detectors, Apple TV, DirecTV® HD, Sony PlayStation® 4, and Apple Extreme high-

The top-of-the-line 43-foot long 5th wheel model is the largest, most luxurious, and technologically advanced Ecoluxe unit to feature the company’s proprietary 100 percent clean energy system. The Ecoluxe fleet also includes one, two and three room trailers with wardrobe units and hair and make-up models in development. Beta versions of the current Ecoluxe line have been used by stars like Brad Pitt, Sandra Bullock, Will Farrell, Kevin Hart, Bruno Mars, Ryan Reynolds, Omar Epps, Ben Affleck, Sir Anthony Hopkins, Chris Rock, and the entire casts of the hit FX Series American Horror Story and 20th Century Fox’s Fantastic Four among many others.

GOODWILL AND DOLLYWOOD

erschend Family Enter tainment and Dollywood engaged three squared to re-envision master site navigation and home pages for the Dollywood parks and associated properties. This UX/redesign effort is part of an initial phase to re-shape the way the parks more effectively communicate to the public online and offer a more streamlined end-user experience. 6

filmmaking at the very highest level,” said Andre Champagne, CEO of Holly wood Trucks. “Our expansion into Georgia is a key milestone in the history of Hollywood Trucks. ‘Hollywood South’ has seen tremendous growth in recent years, reflected by the record-breaking number of film and television projects developed in Louisiana and Georgia. This environment has enabled companies like Hollywood Trucks and Pinewood Atlanta Studios to partner and innovate.” The entire Hollywood Trucks fleet including Ecoluxe trailers will now be available at Pinewood Atlanta Studios.

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The Rober t W. Woodr uf f Foundation chose three squared for the re-design of multiple Foundation sites linked to the Woodruf f Foundation. Sites include the Rober t W. Woodruff site, the Joseph B. Whitehead Foundation site, the Lettie Pate Evans Foundation site, and the Lettie Pate Whitehead Foundation site. For Goodwill of North Georgia, three squared created a

program to better educate returning veterans about how Goodwill can help them get back to every day civilian life.

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Our people make the difference.

We are PC&E

• Cameras • Lighting • Grip Trucks • Sound Stages • Generators • Expendables

PC&E - an employee owned company Atlanta’s most comprehensive production equipment supplier for over 30 years. www.pce-atlanta.com 800-537-4021 404-609-9001 2235 DeFoor Hills Road, Atlanta, GA 30318

AUGUST / SEPTEMBER 2014

OZCETERA Screenshot of video “Second Son – The Power of God”

THE POWER OF GOD AT NORTH CREATIVE

ongrats to North Creative editor, Sean Brown, who created a masterful concept, wrote a powerful script, had out s tanding direc tion and wor ked diligently in post creating his spot “Second Son – The Power of God.” The work was recognized in a competition held in advance of the March 2014 release of inFAMOUS’ Second Son. The action packed, open world game for PlayStation 4 follows Delsin Rowe as he obtains new powers and becomes good or evil depending on the player’s decisions.

In partnership with Cartoon Network, North Creative’s Jonathan Hayes directed a spot for Goldfish Flavor Blasted Xtra Cheddar crackers. Audio by Kenneth Lovell and edited by Carlton Eden and Hayes, the spot showcases a lone Goldfish cracker’s

adventure through a family’s home, making its way back to the bowl with its counterparts. Also featured in this spot is North Creative’s own celebrity dog, Tikka.

focuses on The Home Depot’s Success Sharing program and particularly one store in Lady Lake, Florida, which has had much success with the program. The video uses interviews, creative b-roll, and timelapse photography to get associates excited about the program. Encyclomedia’s creative partner, Burt Holland, guided the video from production through post.

team of writer Patty Stayer and producer Alison Turner, Encyclomedia created a video for Diebold to highlight the important work done by the Sarahuaro Fundacion. Footage shot onsite at the Sarahuaro Fundacion was uploaded for Encyclomedia and had to be turned around in under 24 hours to be shown the next day at the Diebold conference, and was edited by Encyclomedia’s senior editor, Tim Richardson.

TELLY TIME

ncyclomedia is the proud owner of three new Telly awards. The first project was for Chattahoochee Riverkeeper (CRK) and showcased the winner of their annual River Guardian award, Cox Enterprises, Inc. Encyclomedia shot a series of interviews along the beautiful Chattahoochee and cut together archival footage highlighting Cox’s commitment to preserving a clean water supply and continuing to improve the state of our natural resources here in Georgia and around the world. Encyclomedia is continuing to sponsor CRK this year and is currently filming a video celebrating CRK’s 20th anniversary and the great impact they’ve had on our waterways during this time. Encyclomedia’s second Telly award came from a partnership with producer Joan Karpeles on a project for The Home Depot. This video

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The third projec t centered around the Sarahuaro Fundacion. The foundation’s mission is to educate women and children in their communit y of C abo San Luc as, providing them with opportunities for self development and personal growth. When Diebold traveled to Cabo for their annual sales incentive trip, they also chose to invest in the local community by supporting this great organization. Working with the talented

2014 FUNDRAISER

Members and Guests

Casual Chic

Thursday, September 4th 6:00 pm - 9:00 pm Reception Style French Cuisine and Wine, Cash Bar, The Gwen Hughes Quartet, Silent Auction

Advance Tickets Sales Only - No Ticket Sales at Door

$100/ticket

(limited available)

Petite Auberge Restaurant-Banquet Room 2935 N Druid Hills Rd NE Atlanta, GA 30329

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ACP REVIEW REGISTRATION R

egistration is open for the Atlanta Celebrates Photography 2014 Portfolio Review and Walk. The review offers artists the opportunity to meet with highly respected curators, dealers, editors, and agency representatives from across the United States and beyond. The Portfolio Walk, following the review sessions, gives par ticipating photographers the opportunity to present their work to the general public at an evening reception, open to all. Sponsored in part by Turner Broadcasting and their “Turner Voices” initiative, 17 reviewers and 51 artists will meet in October. Each photographer will meet privately with at least five reviewers for twenty minutes each. Every year ACP has many more applicants than available slots, so each application will be evaluated by ACP and a third party judge to determine if the applicant will participate in the reviews. It is FREE to apply. Once accepted, the cost of the review is only $300.

Atlanta Celebrates Photography 2014 Portfolio Review and Walk.

NICE SHOES FOR KRISTEN ROLAND N

YC-based creative studio Nice Shoes has expanded its network of remote partners with Industry & Co. in Atlanta. With an innovative business model, Industry & Co. is a multi-disciplinary post production studio, offering remote ser vices to film and advertising teams. The shared mission of both companies is to cater to the local Atlanta market with a curated team of the best national talent available.

Kristen Roland launched Industry & Co. to provide depth of creative resources in Atlanta through a unique virtual and remote model. Roland began her career at Propaganda Films, and then was music video commissioner at Elektra before transitioning to the agency side, primarily with BBDO since 2006. Roland relocated to Atlanta after stints in both Los Angeles and New York and brings a long list of clients to the table. After meeting Nice Shoes CEO Dominic Pandolfino, and seeing what his team had accomplished with Remote Viewing in Boston, Dallas, Miami, Detroit and New Orleans; a partnership between the two companies was quickly established. “I am confident that this concept is just what we need for post production. It’s the perfect storm for this business model to launch and I am committed to delivering it. Nice Shoes has an outlet in Atlanta, and Atlanta clients have access to the amazing talent at Nice Shoes - it’s a win-win for everyone,” said Roland. “Atlanta is one of the major hubs of commercial production and creativity. We’ve worked with clients from there for years, but we’ve seen a decline in their ability to travel

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to New York to supervise sessions,” said Pandolfino. “With Remote Viewing installed at Industry & Co, more agency teams will have the opportunity to provide their input during a project.”

Nice Shoes Remote Viewing allows clients to collaborate with artists in New York in real-time, with no delay between New York and Atlanta. Nice Shoes engineers install a secure HD feed and a display calibrated to match exactly with the monitors in New York. Industry & Co.’s clients can work with any of the studio’s artists including colorists Chris

Kristen Roland, principal, Industry & Co.

Ryan, Ron Sudul, Lenny Mastrandrea, and Lez Rudge; creative directors James Coulson and Harry Dorrington; and VFX artists Steve Parish, Vin Roma, Jason Farber, Kevan Lee, and Russ Bigsby.

EXCELLENT MOVIE TOURS A

tlanta Movie Tours has received a TripAdvisor® Certificate of Excellence award. The accolade, which honors hospitality excellence, is given only to establishments that consistently achieve outstanding traveler reviews on TripAdvisor. Establishments awarded the Certificate of Excellence are located all over the world and represent the upper echelon of businesses listed on the website, with only the top 10 percent receiving the prestigious award. “Winning the TripAdvisor Cer tificate of Excellence as such a young company is a true source of pride for us here at Atlanta Movie Tours and we’re overwhelmed by the number of guests who took the time to review us in such a positive light on TripAdvisor,” said Patti Davis, CEO, at Atlanta Movie Tours. “It’s inspiring to be recognized by the very people we serve.”

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BIG PICTURE SHORT FILM FESTIVAL

network and access opportunities for professional development.”

he Georgia BigPic tureCon (GABPC) Film & Technology Conference is accepting submissions for its 2014 Short Film Festival. The festival will take place on Oct 5th at the 2014 BigPictureCon held at Clayton State University, October 5-6. Early entry deadline is Friday, August 15th. “The BigPictureCon Short Film Festival is a component of our conference that we’re ver y proud of,” stated Nancy Howard, the BigPictureCon executive producer. “The festival mission is to allow student and emerging filmmakers a chance to have their work showcased at a venue where professionals and peers are present to evaluate their talent and vision, and where they can

Films will be evaluated by an esteemed jury of industry professionals, such as film festival programmers and established filmmakers, based on judging criteria which takes into account elements such as quality of storyline, creativity, production quality, acting, soundtrack and editing. Anyone can submit a short film on any topic. However, the piece must be family-friendly, with no grotesque violence, nudity, or other inappropriate content. Films cannot be more than 15 minutes in length. An Audience Choice Award will be selected using state-of-the-art technology for smart phones. Final deadline for submissions is September 26, 2014. “The GABPC is a two-day educational summit for professional and emerging filmmakers and those entering the film, technology, and digital media industry in Georgia,” said Nancy Howard.

AUGUST / SEPTEMBER 2014

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CINEVERSE PICKS UP PACE F

ur ther strengthening their strategic commitment to the film and television industry, VER announces the addition of cutting edge motion imaging and production tools innovator, PACE to VER’s global platform. This move complements VER’s recent acquisition of Fletcher Camera & Lenses by integrating PACE’s ingenuity, Fletcher’s service and VER’s logistics, inventory and worldwide reach to create CINEVERSE, a unique and powerful full-service film and digital equipment rental partner.

and technical expertise to the formation of CINEVERSE.

With a highly regarded, worldwide reputation for innovation, PACE has closely supported a broad range of historic enter tainment achievements including three of the last five Oscars® for Best Cinematography. In addition to their widely known CAMERON|PACE Group 3D tool set, PACE also brings many of their exciting advancements to 2D production such as their SLATE2SCREEN™ methodology. The addition of the PACE team, led by Vince Pace, ASC, brings a unique combination of creative

“The synchronization of so much talent, technical tools and exper tise within the CINEVERSE group can only serve to help producers and cinematographers tell their stories in exciting new ways,” states Vince Dundee. “That’s what this is all about.”

CINEVERSE’s current offices in Los Angeles, Chicago, New Orleans, and Miami provide clients an unparalleled depth and breadth of inventory; a dedicated, film rental-minded staf f; and an unequaled technological innovation and production tools expertise, to service the motion picture, commercial and television production industries, regardless of the scope of production.

“In the past most rental houses were able to use a templated approach,” explains Tom Fletcher, “moving forward that will no longer be the case. Each and every production is

different. What truly distinguishes a rental partner is the ability to customize, design, build and deliver in real time to meet the artistic demands of the crew and production. CINEVERSE will enable cinematographers and the entire camera department to achieve their creative visions more effectively with the proper support.” “The creative and technical landscape of entertainment is dynamic which makes the ability to adapt and integrate emerging technologies a key for production success,” says Vince Pace. “Technologies such as higher resolution capture and display, specialty lensing, LED lighting, stereoscopic and high frame rate acquisition require a cohesive workflow as they evolve into production tools. This takes a multitude of resources, technical disciplines, and most importantly, experienced and highly invested people. Our new entity CINEVERSE has those by the score - and we can’t wait to make an impact and see the captivating images our clients will create.”

ANN SIM PROMOTES DEGUIRE GROUP T Ann DeGuire becomes president of The SIM Group’s camera division.

he SIM Group, a supplier of production and post-production equipment and services to the feature and television industry, promoted Ann DeGuire to the newly-created post of president, camera division. Previously general manager of SIM Digital, Atlanta, DeGuire will oversee camera operations and engineering for all SIM locations, which include offices in Los Angeles, Toronto, Vancouver, Atlanta, Halifax and Beijing.

John DeBoer, COO of the SIM Group states “Ann has played an instrumental role in many recent changes to our camera division, and has also led our Atlanta operation from a small niche player to a powerhouse in the U.S. Southeast,” said DeBoer. “Always with an eye to customer service, Ann has made significant contributions to new business development while extending relationships with existing clients. We look forward to benefitting further from her leadership skills and dedication in her new, expanded role.” DeGuire will be based in Atlanta and will continue to oversee SIM Digital operations there. A veteran of the film and television industry, DeGuire joined SIM Digital Atlanta in 2012. Under her tenure, the company’s Atlanta operations have enjoyed considerable growth and currently provide cameras and other gear to such television shows as The Vampire Diaries, The Originals, and Halt and Catch Fire. Previously, she served as general manager of Panavision, Atlanta. She also held a similar post with Plus 8 Digital, Houston.

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RED SKY

OUTSTANDING C

ongrats to Red Sky Production and the team that worked on the documentary “Chattahoochee Unplugged!” The team won two 2014 Southeast Emmy Awards. The first award was for Outstanding Achievement: Television Crafts Achievement Excellence Editor Program (Non-News). The second Emmy Award that was most coveted by the production team - Outstanding Achievement: Te l e v i s i o n P r o g r a m m i n g E x c e l l e n c e Documentary Topical.

THE ONLY ONE FOR ONE C

ongrats to breensmith Advertising, the only Atlanta agency to grab hardware at the annual One Show, taking home an Advertising Merit Award for clients Diageo and Guinness. The collateral/P.O.P and in-store campaign titled “Pub Finder” featured the work of art director, Adam Millman; creative director, Chris Breen; production company Slip Visual / Atlanta; and photographer Ryan Hayslip.

seamless paper, vellum, drawing pads, foam board, adhesives & more!

Sam Flax Art & Design (404) 352-7200 | samflaxsouth.com 1745 Peachtree Street NW Atlanta, GA 30309

AUGUST / SEPTEMBER 2014

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GRANT DESIGN UNDER FOOT G

rant Design Collaborative designed a new collection of handmade area rugs, designed exclusively for Indian rug manufacturer Jaipur Rugs. The new designs include 14 additions to the popular Grant Design collection of indoor/outdoor rugs featuring a range of sophisticated colorways and intricate pat terns. With accessible transitional patterns, the original rug designs make a beautiful addition to any indoor or outdoor setting. Jaipur has also released three new interior wool hand-tufted designs by Grant Design Collaborative that feature intricate carving features. According to Bill Grant, president and chief creative officer for Grant Design Collaborative, “Our continued collaboration with Jaipur Rugs inspires us to push our creative boundaries. Their commitment to exceptional quality, handmade craft and great design continues to drive our partnership forward, and we are excited to begin work on yet another collection for Jaipur.”

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After a successful launch to the design trade at the High Point Furniture Market, the new rugs are now available to the public through various showrooms and rug merchants. The Grant Collection debuted in July during the Atlanta International Area Rug Market® at AmericasMart in Atlanta and later at the Las Vegas Market.

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Anthony Voorhees (left) flanked by Million Dollar Arm producer, Mark Ciardi (right) at the premiere in Atlantic Station.

EVERY EXTRA’S DREAM T

his summer, Anthony Voorhees, an Atlanta resident, made his feature film debut in Disney’s Million Dollar Arm opposite Jon Hamm of Madmen. The Disney film was shot partially in India and in Georgia, taking advantage of Georgia’s Film Production Tax Incentives. Voorhees, a director and trained actor, was on set to gain experience as an extra. Million Dollar Arm director, Craig Gillespie, pulled Voorhees from the crowd to deliver some lines during a heated scene for the film. After a quick trip through wardrobe, makeup, and a rehearsal with a stand in, Voorhees was paired with Jon Hamm and the rest is history. This once in a million opportunity immediately made Voorhees a SAG eligible actor.

AUGUST / SEPTEMBER 2014

OZCETERA THE GAME ON THE GROUND FLOOR 7

0s Game Shows Make Training Fun! Dick Clark would be proud of the work that Ground Floor Video has done for their client, LOMA: a remake of game shows from the 70s and 80s, set to a script training employees on marketing strategies and techniques. Wigs and costumes along with special makeup and hair design pulled the entire project together. Shot in Ground Floor Video’s large studio with green screen and real prop pieces, the game shows came to life. On set for Ground Floor Video’s game show shoot for client, LOMA.

Active Parenting Publishers, a leader in parental education, has worked with Ground Floor Video for over 20 years. They again called on Ground Floor to update their instructional videos. The DVD series took six days of on-location shooting, with over 15 actors and 12 crew members. Another three days of in-studio green screen production with many different characters, themes, and props followed. After that the graphics team gave the entire project a face-lift in the post production process.

LOCATE GOOD!

Your production will help those in need if you set your scene at The Salvation Army’s Ray and Joan Kroc Corps Community Center.

State of the Art, 53,500 sq. ft., LEED Silver certified building; 200-seat Chapel/Theatre; 200-person community meeting room; 8,000 sq. ft. gym with walking track, exercise room, concession stand and café; 650 sq. ft. art studio; nursery and toddler care areas with playground; game room; dance studio; classrooms, conference and green rooms. For facility rental inquiries, please contact Brandon Bragg: brandon_bragg@uss.salvationarmy.org

www.kroccenteratlanta.org

(404) 638-7201 • 967 Dewey St., SW, Atlanta, GA 30310 16

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OZCETERA ECLIPSE ALL OVER S

eason 2 of Swamp Murders, complete with 10 brand new episodes is underway. The reality crime drama is produced by Crazy Legs Productions and posted at Eclipse Post. Eclipse handles editing, color correction and audio mixing with the following pitching in for Eclipse: Jesenko Fazlagic, Will Eccleston, Scott Wiley, Juan Baez, Alex Foege, Nicole Chiulli. Eclipse is also editing for two additional series on Investigation Discovery: Bloodlands and Your Worst Nightmare and completing online color correction and audio for Hotel Amazon on the Travel Channel. From concept to completion, Eclipse created a new spot for Verizon’s website that educates customers on the services that My Verizon has to offer. Greg Ward edited the spots with audio by Juan Baez. Eclipse has also been busy working on upfronts and presentation reels for DIY, HGTV, GAC and The Weather Channel with editing props to Jay Hunt, Brian Simmons, Greg Ward and Alex Foege. And, editor Nancy Rosette, has been working on some branded entertainment spots including one featuring Seth MacFarlane for A Million Ways to Die in the West.

ARRI OPENS IN ATLANTA

RRI CSC has confirmed the strategic expansion of its network with the opening of a camera rental facility in Atlanta, Georgia. The new operation, conveniently located for both studio and location productions, is open for business and will be fully operational starting late summer 2014. “ARRI CSC is very well positioned to make a significant contribution to the Atlanta market,” says president Simon Broad, “and we will ensure that the company’s extensive inventory of digital, film, anamorphic and spherical camera equipment is available to one of the country’s most vibrant production communities along with the level of facility and service that ARRI CSC is known for.”

AUGUST / SEPTEMBER 2014

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The MTWD Entertainment production team on location.

MTWD LAUNCHES CONTEMPORARY LIVING NETWORK T

he award-winning MTWD Entertainment produc tion team (Good Eat s, This American Land, Network Earth, Foul Water Fiery Serpent) sets to launch a new multiplat form projec t, Contemporar y Living Network (CLN) in the Fall of 2014, in response to the rapidly growing demand for digital, mobile-friendly programming. CLN will focus on positive lifestyle edutainment, with audience engagement and real life integration at its core. A continuously expanding library of original programming will be offered, most shot with the industry-leading 4K technology. Chef, Keith Schroeder, will be featured on CLN show Ice Cream Nation.

Says Walter Biscardi, Jr., executive producer, “Contemporary Living Network is designed for today’s digital lifestyle – the viewer decides how, where and when to watch our programming. We offer the inspiration for food, travel, entertainment, home, fitness and more, along with the resources to do what we show on screen, so the viewer can easily re-create what we’re doing or be inspired to indulge in their own, unique variations.” A multi-platform video network, CLN will be distributed through traditional and digital channels, including select US TV markets, streaming video players (Roku, AppleTV, Amazon Fire TV), online video distributors (YouTube, Vimeo, Hulu, Netflix), video on demand (Comcast Xfinit y VOD), mobile applications (Android, iOS, Windows) and

various websites. On the production end, CLN will be managed and supported through Ooyala video technology services, currently used by such channels as ESPN, Universal, and Comedy Central. Utilization of Ooyala will allow CLN’s par tners to share targeted messaging across specific programs or channels, while providing them with real-time granular analytics across all platforms and devices for maximum audience reach. One of CLN’s flagship shows will be Ice Cream Nation that features (drum roll please) ... ICE CREAM! Ice cream entrepreneur and chef, Keith Schroeder, owner of High Road Craft Ice Cream, is traveling the country finding unique ice cream flavors and dessert presentations you can re-create at home! In each episode Schroeder will visit a local joint that features something unique either in an ice cream flavor, the way it’s made or the way it’s presented in a dessert. The show will look at the process and learn more about the folks who make it and what makes the local area fun and interesting. Then in the Ice Cream Nation kitchen, Schroeder will show viewers how to create a version of the flavor and dessert in their own home using a standard home ice cream maker. Viewers will be able to download the recipes and shopping lists directly from the show via show apps and website.

MOTION AT PC&E O

ne of the most important skills modern direc tors and DP’s are required to master is moving the camera in a dynamic and engaging way. PC&E recently hosted Vincent Laforet’s Directing Motion Tour 2014. The workshop taught all levels of filmmakers the cinematic language of motion, and how

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to move not only the camera itself, but also content in front of the camera. Attendees came away with a solid foundation in camera movement, blocking, lensing, and sequencing, and with the ability to direct any crew precisely and effectively to execute the vision.

OZCETERA MOUNTAIN VIEW FINDS FREESTYLE M

ountain View Group filled some awards shelves recently. “Finding Their Freestyle,” a digital short showcasing the Coca-Cola Freestyle machine and accompanying app, was awarded both a Silver ADDY and a Silver Telly. “The People Behind the Power,” a digital documentary series telling the global story of GE’s new Distributed Power business, was awarded a Silver ADDY. Mountain View Group’s motion graphics work was also recognized, winning for the Welcome Wall for the World of Coca-Cola. For their television commercial work, The Albany Ad Club awarded Mountain View Silver ADDYs to both an individual spot and to the entire campaign for the City of Santa Barbara. Mountain View’s work for St. John’s County/MMGY Global also received one Silver ADDY for an individual spot and another for the entire “St. John’s County: Our History” campaign.

BLUE MEDIA SUPPLY, INC.

LAUNCHES NEW WEBSITE T

he website focuses solely on 3D Printing Equipment and Supplies for use by business and consumers. Active online today, the website 3DBlueMedia. com is live and populated with the best 3D printers and filament on the market today. Designed to help customers navigate the new era of 3D printing, the site not only displays products with their specifications, but also offers assistance with comparing and choosing the right printer to meet the customers’ needs. In addition, customers who already own 3D printing equipment can determine on 3DBlueMedia.com which filament supply will work with their particular machines without the guesswork. 3D printing has made major strides in recent years and is showing up in almost every industry and sector in the global economy. Film & television, education, healthcare, architecture and automotive are a few industries of many to lead the way by utilizing 3D printing in costume and set design, education curriculums, modeling and prototyping. By the end of 2014, we will see the second generation filament on the market, which will take the industry to the next level by expanding the possibilities of what can be printed and the capabilities of each printed object.

AUGUST / SEPTEMBER 2014

OZCETERA

FIVE TEAMS COMPLETE FILM PROJECTS T

he Atlanta Film Festival premiered the final work of their Sessions Workshop in July at The Plaza Theatre Midtown Atlanta. The showing featured five shor t films by local filmmakers. The Sessions Workshop, is designed to encourage the growth and development of established artist within the Atlanta film community. Five filmmaking teams consisting of a producer, director, and two actors were selected December of last year. The first three months were spent producing each others’ films, creating new teams each time. “It was rather intense,” said Katharine Taylor who is a director. “You’re making a film every three weeks including pre and post production. Some of us walked into the screenings a little bleary eyed from editing all night.”

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The entire group would come together at the end of each filming session and screen each others’ work. This gave them an opportunity to get valuable feedback as well as observe how other teams interpreted their own projects. “I think it was an advantage for the teams to show their work in an environment that was open to experimenting.” said Nick Hiltgen, who supervised The Sessions Workshop. “Because the screenings were just for us, we weren’t afraid to try new things.” Additionally participants attended a four-part guest lecture series featuring Scott Poythress from Drama Inc, and local filmmakers Bret Wood, Dan Bush, and Linda Burns. The teams also were invited to sit in on a creative conference panel at the Atlanta Film Festival where they discussed the run-and-gun process of the Sessions Workshop. Nancy Thanki, a director who also wrote her script, feels more ready to tackle her project. “It’s been interesting to see how other teams have translated my film. They tried things I didn’t think of, and it has added depth to my own understanding of my script. We’ve all learned so much from the experience.”

VOICES

OICES

very average Joe has experienced annoyances in the office; whether it’s the co-worker who pops their gum or constantly taps their pencil on the desk to spark a thought. Those involved in the film industry are not immune to these annoyances. Now, it’s their turn to let the gloves come off and speak their minds. Cast and crew members have decided to release some steam and share some of their biggest pet peeves.

I hate it when you are carrying (prop) alcohol bottles for a bar scene at 8am and everyone says, “Starting early?!” – props

No one carrying a tape measure on a tech scout then asking me to borrow mine. – art director

As a wardrobe stylist, I am offended when I’m referred to as one of the “vanities,” as though the decision-making, agency/client meetings, craftsmanship, lugging, schlepping, steaming, b ud geting, c reative p ro ble m s olving, managing talent, etc... that my job requires has ANYTHING to do with vanity. Some people even have this as a category on their call sheet. Major pet peeve!!! – wardrobe stylist

Crew members who dunk their fingers into the dip with the chip! I have a “No Dip from Crafty Policy!” – prop master

People yell “points” so often these days that the importance of the danger of running into a dolly track being carried by a grip is being diminished. It’s like the little boy who cried “wolf.” – camera operator

Mine is simple; when people don’t listen. – grip

by: Alexandra Cook

As talent: Being called “the talent.” It makes me self-conscious. Because I realize that I am, but one tiny component in a massive undertaking that is possible only through the work of many people with talent. Granted, I’m the most important person, I get that. So maybe we can change it to “The person who is more talented than you are.” That way we can still acknowledge that other people have talent. I’ll be in my trailer. Seriously, though, being called “the talent” is weird. – show host

Having a rehear sal that is for ever yone other than the actors. “We just want to see where you’re going to say that.” Well... I don’t know because I have n’t ha d t h e chance to rehearse it. I also like to have all my props and wardrobe for rehearsal if possible because it does change how I move and interact with the environment. – actress

As a buyer for set dressing and the one who has to answer to vendors when things are returned-- these are my pet peeves and I see it frequently -- crew members sprawled across expensive rented furniture during breaks and other departments’ equipment on top of the above-mentioned furniture. Set dressing should NOT be used for staging….please. – buyer for set decorator

He’s “stunts,” it’s okay if he gets hurt. Also, being treated terribly until they find out I’m not an extra; “Oh my bad, didn’t know you were crew.” That’s how you treat people? – stunts

I’m AMAZED at how people you’ve worked with for YEARS... DECADES, possibly, have absolutely ZERO idea of what it is you actually do. I remember grips, who’ve been around for a long time asking me if a particular couch was going to be in the sale at the end of show.... I’d be like, “I dunno!!?? I’m a prop guy.” – graphic designer

No one taking notes on a tech scout, then expecting me to have your answers. – art director

Drinks and food on the dolly – it’s a dolly, not a deli. – dolly grip Not parking at crew parking/parking their car at set, and any similarly related skylarkings that become my problem as a result. – assistant location manager

AUGUST / SEPTEMBER 2014

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OZ MAGAZINE

by Jesse Brooks

If a tree falls in the woods, and no one’s there to hear it, does it make a sound? While we’re at it, if a film gets made, and no one sees it, does it tell a story? For many independent filmmakers looking to share their movies with the world, the answer is no. In today’s world of online streaming, cable television, and video on demand, it’s easier than ever to find a distribution channel for your film. Unfortunately, it’s also harder than ever before to see a return on your investment. To do what you love and get paid to do it, you’ll need patience, determination, and a deep, thorough understanding of the film industry.

JUNE/JULY 2014

Figure Out What Makes Your Film Sellable “Before you set out to make a movie, you’ve got two choices,” says Sheldon Schiffer, an Atlanta filmmaker and professor at Georgia State Schiffer

University. “The two are

not mutually exclusive, but one will

it represents their genre through and through.” If you’re making a horror film,

once you’ve got the budget, go out

make sure the genre is represented

and make your film—but keep your

from the very beginning—from the

budget under control. A film made on a

title, to the poster art, to the trailer.

$10,000 budget will more easily recoup

Niche genres like horror have a built-

its costs than one made for $75,000.

in audience, and distributors know it.

You’ll also need a hefty pile of cash to

Drama films are more difficult. “Fans

produce the required deliverables for

of drama are fickle,” Schiffer says. “If

your distributor to sell your film after it’s

there’s no star, they’ll stay away.”

made. Make the best film you can make

take major priority over the other. You

A unique setting is also sellable. If

can either make a film to express your

your film is set in an exotic location or

artistic objective, or you can make a

a popular time period (think Victorian

film to profit. It’s very difficult to do

England or the Biblical Middle East),

both.” Schiffer has done a bit of both

you’ve got a unique hook: your film

over the course of his career, producing

becomes a destination. Similarly, an

award-winning documentaries and

unusual structure (like the nonlinear,

narrative films that have travelled the

disjointed narratives of Pulp Fiction and

festival circuit and won deals with

Memento), if done well, will make your

distributors. His first narrative feature

film an attraction.

film, Transmigration, successfully made

Lastly, a film based on an existing

a distribution deal and is making its way to television—and is available for DVD and video on demand via Amazon.com.

10,000 fans—but they’re fans who are

marketable. There are a number

proven to support the book and spend

of elements that can make a film

money—then distributors know they

marketable. The first is star power. Your

have a marketable film.”

have to be George Clooney; A-list film actors, minor television stars, and former athletes alike bring a certain familiarity with their names, providing a valuable tool to convince the consumer

safety.

Head To The Festivals

“If you’ve got a film based on a book,”

Schiffer explains, it’s got to be

attached to the project. It doesn’t

do not cut corners when it comes to

sellable if you can prove its audience. says Schiffer, “and that book has even

film if there’s a name they recognize

on the smallest budget possible—but

franchise or known property is instantly

If you want your film to go anywhere,

audience is far more likely to view your

being part of a film production. Then,

“Before you show a film to distributors, you’ve got to prove its merit. A film that no one’s seen will be completely overlooked by distribution companies,”

Now that you’ve narrowed down your

says Schiffer. His advice: submit to

film’s sellable features, it’s time to

festivals. The title of “Official Selection”

sell it. If you’re seeking investors, it’s

carries serious weight, and an award

important to be honest with them—

is even better. Additionally, this is

no matter how much the truth may

your chance to get your film in front

hurt. Your investors need to know that

of the right audience. By choosing

your film might not profit. A misled

a festival appropriate for your film’s

investor will not invest in films again,

genre, you’re giving your film a chance

shrinking the marketplace of potential

to find the niche group of fans that

funding for the filmmaking community.

will support and demand your film.

science fiction and horror films are

Instead of promising big profits, sell

You might even find a few buyers in

more likely to watch a film with no

your investors on your passion for the

the audience. Almost every genre

recognizable stars,” says Schiffer, “if

project, as well as the excitement of

imaginable has a festival of its own

to buy your film. Your next chance is genre. “Fans of

OZ MAGAZINE

$10,000: average cost to produce deliverables for distributors. You must account for

these costs when creating your budget from the very beginning if you want to succeed.

to cater to fans. For example, visit

venues, beginning at $215 for digital

made with a low budget, is a much safer

biglistofhorrorfilmfestivals.com to

video. If you’ve got the funds, and

investment than a big-budget film that

browse an extensive list of American

you believe your film has enough

falls apart.

horror film festivals.

commercial appeal to attract multiple

Don’t wait too long to enter your film into festivals—and don’t spend too much time there. “It may take roughly two years to generate some real buzz for your film through festivals,” says Schiffer. “A film more than two years old will quickly lose steam at festivals.”

bids from a variety of buyers, this is a great chance to put multiple eyes on your film simultaneously and build clout. If you’re going to screen your film at a market, choose wisely. Pick the market that makes sense for your film—for example, if you feel your film will strike a chord in Asian markets, screen at

Finding A Distributor Once you’ve put your film through the festival circuit and gotten the awards and selections you need to adorn your poster art, it’s time to approach distributors. One of the most popular paths to distribution is shopping your

the Hong Kong International Film & TV Market. Screening in the right market will attract local sub-distributors. Although they won’t buy your film directly from you, they will buy it from your distributor when it’s brought to them later in the process.

movie at film markets—annual industry

If you can’t afford to take your film to

events where film buyers mingle with

a buying market, or you can’t make

production companies to find their next

the trip, you can always approach

films. Bring your wallet.

distributors directly. But be warned:

The American Film Market is the largest annual gathering of film distributors in the world. Each fall, 1,500 buyers from

you won’t be the only one. “We receive nearly one hundred submissions a year through direct solicitation,” says Zeke Flatten, president

around the world meet in Santa Monica,

of Atlanta-based

California to find their next films. For a

distributor Afterlight

$250 day pass, you’ll get access to the

Pictures. “We’ll

show floor, screenings, and lectures

also consider ten to

from industry veterans. You’ll also get up close and personal with buyers who may want your film. (All of this information, and more, is available at

twenty films per year Flatten

through film festivals

and markets like the AFM.” Out of

Let’s Make A Deal! If your film has the right sellable elements—star power, a reliable genre, or just dependable suspense—you’ll find a distributor interested in making a deal. This is where you’ll want to exercise caution. Don’t just say yes to the first deal you get. Do your research and make sure you’re getting a fair shake. Read the contract presented to you. Distributors may offer you a percentage of profit only after your film has earned $50,000, or else they may charge you a fee up front. They may offer a fifteen-year contract. “Work to bring this down,” says Schiffer. “You want a contract that’s as short as possible (but no shorter than three years) to give yourself more freedom.” Make sure the distributor works in the territories that make the most sense for your film. If they don’t, find one that does. If you can, bring a neutral, objective partner to help you negotiate without emotional attachment. And don’t lose sight: as special as you believe your film to be, it’s just one film in an already crowded market of movies. If you want a deal that’s advantageous to you, you’ll have to fight hard to prove your film is worth it.

americanfilmmarket.com.)

those hundred-plus films, Afterlight will typically license two to five. How do they

Make sure your film’s most sellable

It’s important to reach out to potential

sort through the wave of submissions

assets are clearly presented, from the

buyers before you go. Approach

to find their picks? “First, we go with

poster to the trailer to the press kit. As

distributors you’re interested in, send

our gut,” Flatten explains. “Do we like

petty as it may seem, the possibility

your film to their assistant, and ask to

the film?” Next, they consider the use

of violence, sexuality, and comedic

set a meeting. You can even purchase

of genre and recognizable names (if

situations are extremely valuable to

screening times at market screening

any), as well as the budget. A great film,

potential buyers. If you can prove that

AUGUST / SEPTEMBER 2014

Piracy has damaged independent filmmaking in ways you wouldn’t expect—making it nearly impossible to secure foreign distribution if your film has been torrented worldwide.

your film offers those elements, you’ll

you’ll end up with a finished film and

to VUDU and Netflix, gives films a

have an easier time fighting for a fair

nowhere to go with it.” If you can

chance to be seen instantly by millions.

deal. Once you’ve got an offer, your distributor will ask you for a long list of expensive deliverables, costing as much as $10,000 in total fees. Most important of all is the master—the full and final version of your film’s video and audio, with each audio track kept separate to allow for remixing and dubbing. You will also need to include copies of your film in a wide variety of formats, ranging from DVD to Digital Cinema Package (DCP—what you’ll find playing at your local chain theater). They will need these formats to accommodate every viable platform for selling your film: foreign countries with limited technology, video on demand, and broadcasting. You will most likely need to provide a press kit containing synopsis, production

provide your distributor with all the

However, the breakdown of distribution

materials they need to sell your film, you

channels into multiple platforms has

stand a better chance at making your

also spread thin a film’s ability to

film available across platforms to a wide

profit. “In the era of Blockbuster Video,

audience.

distributors had a sort of guaranteed gain that doesn’t exist anymore,” says

Running With The Ball

Flatten. Blockbuster provided a reliable

At this point, it’s time for your distributor

copies of a film per store could result in

to do its work. Think of the distributor

a million-dollar deal for the distribution

you’ve struck a deal with as a super-

company. Now, that money is stretched

distributor, selling your film to smaller

across more than twenty digital outlets,

buyers worldwide. Distributors will

each offering a smaller slice of the pie.

often package your film with others of similar genre to sell in bulk—making a more desirable package to local buyers. These buyers will then sell these films to exhibitors across a variety of markets: television, theatrical, and video on demand.

notes, technical specifications, and

To do this, your distributor may work

biographies. Trailers, production stills,

with you to put your film’s best foot

and key artwork are also vital. “But

forward. This could be as subtle a

the most often-overlooked items of all,

change as providing suggestions

especially by independent filmmakers,”

to poster artwork, and as drastic as

says Flatten, “are music release forms

changing the name of a film. “Your film’s

and the proper Errors & Omissions

title is the first asset you have to pull

insurance.” Be certain—and have the

in viewers,” says Flatten. When you’re

paperwork to prove—that you have

competing with over two hundred other

the rights to use all creative material

titles in a video on demand market, a

in your film. Without the proper rights,

title beginning with the front end of the

you severely limit where your film can

alphabet stands a much better chance at

be shown, and leave yourself (as well as

success—as much as twenty percent—

your distributor and content provider)

simply because it will appear first when

open to litigation.

browsing.

“You have to begin thinking about deliverables in the pre-production process,” Flatten says. “If you raise $25,000 to make your independent film, but you don’t account for deliverables, 26

OZ MAGAZINE

source of sales: even purchasing five

Competing With The Masses The digital age has ushered in an

The new digital landscape has also cultivated an extremely crowded market: over one million films are currently available to purchase, says Flatten. To stand even the slightest chance at being seen, you must stand out. “Make the absolute best film you can make,” Flatten says. Workshop your script, and pay a professional screenwriter to provide coverage. Then, take the time to make the film you intended to make. No matter how good a spontaneous idea may sound on set, it will not result in the film you wanted. Do your best to make all creative decisions, from script to storyboards, before you ever roll cameras, making the production process simply an exercise in execution. Keep marketing in mind from the very beginning. Don’t chase trends (by the time you finish your film, they’ll have changed), but know your market and cater to it. Most importantly, have fun— if you don’t, it will show!

era of simultaneous opportunity

No matter what you do, it’s important

and restriction. The advent of online

to keep your expectations—and your

streaming, from iTunes and Amazon

ego—under control. Don’t go into

filmmaking expecting to make a profit

recognizable. “Quote what’s expected,

where they find their films. Read trade

off your first film. Realistically, it won’t

and mutate what’s unexpected.” Case

magazines like Hollywood Reporter and

happen. “It really takes three films to

in point: Quentin Tarantino. As a young

Variety. Follow deadline.com. The more

figure out if this is the career for you,”

filmmaker, Tarantino watched over 200

you know who you’re selling to (and who

Schiffer says. “Each of those three films

films a year, learning the tropes of his

you’re up against), the better prepared

is its own learning experience.”

favorite genres—kung fu films, car

you’ll be to sell your film. And know your

If you’re looking to eventually find a return, each film should follow a clear path. Schiffer’s advice: pick a genre and completely absorb it. Watch as many films as possible, read as much theory as possible, and learn every convention. Know where to put the camera and what tropes to include. “Put yourself in a box with your sellable elements,” he

chase films, and exploitation flicks. He

audience. Find out who they are, where

learned what was expected (and in fact,

they are, and how they digest their

demanded) of certain genres from their

films: Are they still going to theaters, or

fans, and gave those tropes a nod. Then

streaming online?

he mutated them, blending multiple genres in a way that preserved their essence—still delivering a recognizable, marketable archetype—but creating something new and unique.

continues. Don’t make a carbon copy of

It’s also crucial to know the industry.

what’s been done, but do make sure it’s

Learn who the distributors are and

Don’t let your ego get the best of you. Be realistic. “The distribution process will drive you to insanity and depression either way,” says Schiffer. “But if your ego is in check, at least you’ll be in control of that insanity.”

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The Commercial Production Benefits from Georgiaâ&#x20AC;&#x2122;s Tax Incentives

AUGUST / SEPTEMBER 2014

Georgia’s tax incentives for film, television, and commercial production took effect in 2008 at the outset of the nation’s deepest recession in more than a generation. The Georgia Entertainment Industry Investment Act, passed by the legislature and signed into law by Governor Sonny Perdue, offered incentives that provide a 20 percent tax credit for qualified productions. Then they are eligible for an additional 10 percent tax credit if they include an animated Georgia promotional logo within the finished product. The incentives apply not only to qualified films, TV series, commercials, and music videos, but also to video game productions. At the time, the new law put Georgia in the top five states in the United States as far as incentive programs for media production. The goal wasn’t just to get our name and logo into credits—rather, it was to spur growth in high-paying, highly skilled jobs at a time when the state’s economy was struggling. Georgia’s nonfarm industrial sectors, such as transportation, logistics, services, and one of the country’s few remaining manufacturing bases, were hit hard by the recession at the same time that a drought was impacting agriculture.

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Competing Regionally and Nationally It was a visionary piece of governance that helped put Georgia on par with its biggest regional rival, Louisiana, who

backlot location sites such as rivers, forests, and open areas. It’s safe to say that these two projects would not have come about had Georgia not passed the incentives legislation back in 2008.

had a six-year head start with its own tax incentives program. The states are

Tax Credits Have Created a New Community “The tax credit has had a very positive impact on the film community here in Georgia,” said Owen. He stresses the word “community,” reflecting on both the direct jobs created by the

Commercials and Series Figure Large In Georgia

incentives, and the indirect jobs that

company Film Production Capital.

The glamour productions in Louisiana and

increased activity in production, we’re

Louisiana has leveraged its aggressive

the celebrities who make their homes

seeing more jobs and opportunities for

incentives with its historic and rustic

in New Orleans tend to garner the

not only crew, but also vendors, hotels,

locations to become the number-three

now the only two in the country given a five-star rating by tax credit brokerage

benefit from productions. “With the

headlines, but anyone in the industry

restaurants … the list goes on and

location in the country for feature films

knows that it’s in areas other than

on. Our state is now at the forefront

behind only California and New York.

features that have made Georgia an

for feature, episodic, and commercial

However, even the New Orleans film and

entertainment leader. Commercials,

production, and that can’t be anything

TV office will tell that you that they can’t

series television, and digital media help

but positive.”

compete with the facilities and human

to create the more than 25,000 jobs

resources available in Georgia.

related to the industry in the state,

The question may be, did the incentives create the industry, or was the infrastructure already in place and simply waiting for a competitive

11,000 of which are estimated to be fulltime. It’s fair to say that without these areas, those employment numbers would be considerably smaller.

It should be noted that the tax credits are transferable—part of what makes the process so lucrative is that through brokers, productions can sell the credits to other companies operating in Georgia who wish to offset their tax

advantage with Louisiana? If one looks

What do some of those who owe their

burdens. They can also be broken into

at numbers like the growth in skilled

jobs to commercial production have to

pieces and sold to smaller businesses

tradespeople in the film and television

say about the Georgia Entertainment

that might not otherwise be able to

industry in Georgia, the incentives

Industry Investment Act?

program would seem to have created a demand that simply wasn’t there before 2008. The striking number, however, is the $3.3 billion that productions invested in the state in FY 2013.

In 2004, twenty-year industry veteran and UGA alumnus Glen Owen founded Atlanta’s State Line Films, a studio specializing in network promos, branded content, and commercials. Owen’s

This number only reflects the amount

dream was to work “in the film industry,”

spent on productions, and doesn’t

and he has made a very successful

include the massive investments made

access the benefits of the program. Combined with the impact that the production industry has had on the “community” that Owen referenced, it’s clear that the incentives program is having a positive influence on Georgia’s economy. Nine Mile Circle’s

career in the area of commercials and

Erika Feldstein

by Jacoby Development in Gwinnett

promos. State Line produces some of

agrees. “Production

County and UK production company

the country’s best-known and most

in Atlanta has

Pinewood Shepperton in Fayetteville.

innovative spots and has become

skyrocketed since the

Jacoby’s project will eventually total

Discovery’s go-to company for events

incentives came into

around $1 billion, creating Georgia’s

such as “Shark Week.” Owen has seen

largest production facility and the

firsthand the impact of the production

nation’s fourth largest. Pinewood Atlanta

credits on his business and on the

covers almost 300 acres and includes

industry as a whole in Georgia.

Erika Feldstein

place, bringing more crew into the area to augment the already

extremely talented Atlanta talent pool,

AUGUST / SEPTEMBER 2014

and has also grown the businesses of

production. I think they’re really

the many suppliers and vendors that

understanding us now as the

support our production community.”

homegrown and home-growing industry

Like Owen, Feldstein also uses the

we’ve always been, led by Georgia-based

word “community.” Another seasoned

companies and staffed almost exclusively

professional in the Georgia industry

with Georgia workers.”

who is now primarily involved in post-

Tolleson continued, “Historically,

production, she sees the impact of the

Brian Tolleson, BARK BARK

tax credits on local companies who have been able to win jobs over those from

stages, with so much large budget

Getting The Picture In the ten years since Brian Tolleson

it strengthens our community as a

founded BARK BARK, a branded

whole and shows that Atlanta is on par

content agency and production

with Los Angeles and New York as far

company headquartered in Atlanta, he

as serious production goes. At Nine

has observed changes in the way that

Mile Circle, we have seen ad agencies

governing bodies view commercial

who might previously have brought

production. “The Georgia Department

production to out-of-state companies

of Economic Development’s support

that are instead staying in Atlanta

for commercial production has

utilizing the top rate local talent on both

certainly waxed and waned since the

the production and post-production

establishment of the Georgia film tax

fronts. We love that for our clients—and

credit, just because we’re a smaller

for us.”

piece of the entertainment business pie.

helped create new jobs and had an impact on many support industries, it has also leveraged existing benefits unique to the state such as HartsfieldJackson International Airport and film and video production schools such as Georgia State University. GSU professor of communication Kay Beck estimates

Despite commercial production alone being a $5 billion plus global industry, and local commercial producers having been key champions of the actual legislation, we’ve had our challenges convincing folks of our true value and potential economic impact.” Tolleson’s agency has additional offices in Los Angeles and New York, and he

that nearly half of all the individuals

personally brings more than twenty

working in the film and television

years of industry experience and insight

industry in the state are either alumni

to BARK BARK, including a stint at

of the school or are currently enrolled

Viacom Networks. He hasn’t always

in the undergraduate or graduate

seen eye to eye with the state’s officials,

programs. Georgia also has a long-

either.

standing film commission, of which Dr. Beck is a member, that has worked hard with the Georgia Department of Economic Development, the entity that oversees the tax incentives program.

continued support, we’ll continue to be

feature and television work happening,

While the tax incentives program has

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really built Georgia’s first production community and infrastructure, and with

outside of the state. “With all the new and current sound

commercial production was what

“However, this year already, I have personally seen much more effort on the part of the Georgia Film Office and GDEC to support commercial

a driver for economic growth in Georgia for years to come. Overall, I think the entertainment tide is raising all boats as more film and TV companies, and infrastructure, make Georgia their home too. The entire entertainment industry, and all Georgians, benefit from more resources, more experienced employees and a rich infrastructure in our state.” The tax incentives program seems to have been both chicken and egg for commercial production in Georgia. Created when a group of dedicated industry professionals took the idea to the legislature, there’s no doubt that it wouldn’t exist in its current form without their efforts and continued support. Yet it also is clear that the industry has grown exponentially since 2008, attracting infrastructure investment and some of the most talented professionals in the business to Georgia during an economic downturn. A decade ago, Georgia was seen as a good location for productions that wanted to save on budgets by being able to employ non-union crews and avoid fighting for resources. Six years after the implementation of the Georgia Entertainment Industry Investment Act, business is booming, and the commercial production industry is both thriving and helping to lead the way.

th C elebrating 40 Y ears as G eorgia’s F oremost Entertainment Association In Support of Women

omen in Film & Television Atlanta (WIFTA) is turning the big 4-0 this year! To insure its staying power for another 40 years, WIFTA has launched Operation: Executive Director, which is comprised of a series of fundraisers over the course of WIFTA’s 40th year. These fundraisers will help fund the hiring of an Executive Director who will oversee the organization’s day-to-day operations. By having an Executive Director at the operational helm for WIFTA, the organization’s operations and ability to execute its strategic plans for all areas--especially those of fundraising, program development / training, marketing and public relations--will be more streamlined. Monies raised will also be used to support WIFTA highlevel programming for TV / film production professionals, the organization’s PSA initiative and its internship / externship and mentorship programs.

WIFTA’s 40th Anniversary Celebration November 8, 2014 SAVE THE DATE & COME CELEBRATE WITH US! Sponsorship Opportunities Currently Available Contact: Karen Ceesay, SpecialEvents@WIFTA.org OPERATION: EXECUTIVE DIRECTOR Donate NOW at www.GoFundMe.com/WIFTA COMING SOON... Dine Out With WIFTA August 26, 2014 @ Jason’s Deli (Buckhead) September 16, 2014 @ Chick-fil-A (downtown ATL) September 23, 2014 @ Chick-fil-A (downtown ATL) October 14, 2014 @ California Pizza Kitchen (Atlantic Station) Details: www.WIFTA.org/DineOut

www. WIFTA. org

AUGUST / SEPTEMBER 2014

Itâ&#x20AC;&#x2122;s easy to get caught up in the glamour and impact of the film and TV production industry in Georgia. Far less sexy, but just as important, are the front and back-end execution of the entertainment tax credits, particularly in states like Georgia where tax credits may be transferred from the production entity that earned them to the general public. Most readers know that Georgia offers a 20% base production tax credit and a 10% uplift to a total of 30% with the inclusion of a Georgia branded logo.

OZ MAGAZINE

But, how does the tax credit program really work? The ultimate goal is for a production to sell earned tax credits at a discount to Georgia taxpayers that can offset their Georgia income taxes. Here is a handy-dandy guide to the life cycle of a tax credit.

Know Which Expenditures Qualify for Tax Credits

Know what qualifies for the tax credit

preferably within 90 days of the start of

and what doesnâ&#x20AC;&#x2122;t. 30% of every

principle photography.

qualified dollar spent will come back to

Complete a simple, 5-page, interactive online application that includes questions about the parameters of

the production as a tax credit that can be sold to any individual or company with Georgia income tax liability.

the production, the production team,

Obtain current guidelines plus rules and

distribution, and information about

regulations online from the Georgia

including the Georgia logo if requesting

Department of Economic Development

the stateâ&#x20AC;&#x2122;s full tax credit of 30%.

and Georgia Department of Revenue.

Submit a full line-item budget, or

Use proper due diligence to determine

budget top sheet, and a script.

if a production expenditure qualifies

Obtain a pre-certification letter from the Film Office, which registers your production and assigns a tracking number.

for a tax credit. For example: travel only counts when using a Georgia travel agency, bonding and production insurance only counts when using Georgia agencies, production rentals only count when engaging a proper Georgia vendor, not a pass-through corporation.

ozmagazine.com | 35 AUGUST / SEPTEMBER 2014

Post Production Counts As Well Post in Georgia. Post production elements are included as qualified expenditure s if it is done in the state. This includes image and sound post, music scoring and production, and any supporting digital visual effects.

Trust, But Verify Know your stuff and contact a professional. Since the inception of transferrable entertainment tax credits in Georgia, both the buying public and sellers have gotten savvy, and the sales process has become sophisticated. These steps are not required by law, but most credit buyers require them.

it is customary for producers to indemnify and guarantee their credits to remove risk from the buyers. If errors are discovered after the transaction that reduce the volume of credits, a

offset their own Georgia income tax

buyers.

liability and employee withholding

Consider an audit by the state. The only way to eliminate “recapture” as a possibility, and therefore risk to both the buyer and seller, is for the producer

taxes. Productions must also complete Georgia Form IT-FC and submit it to the Department of Revenue when filing taxes.

to have a state audit prior to sale. The

Broker and Sell. Left over credits may be

state audit is a very effective tool and

sold to taxpayers with Georgia income

costs can be comparable to a third

tax liability, but always at a discount.

party CPA review, but it may affect the timeliness of a credit’s delivery to

the price of credits for buyers and

state to review production books

improve the net amount back to the

prior to the sale, an expense borne by

producer/seller.

entity in a couple of ways.

penalties and interest on behalf of the

independent, third party CPA’s or the

OZ MAGAZINE

credits may be used by the production

company can use their tax credits to

common. The state audit may increase

the state to convey to buyers.

quantified and verified, earned tax

to the producer to pay any back taxes,

tax credits, buyers will demand

CPA or an Audit Acceptance Letter from

Once production expenses are qualified,

File and Offset. The production

market. Backlogs in state audits are

Letter of Comfort from the reviewing

‘Tis the Season

situation called “recapture,” it is up

Conduct an audit. Before buying

producers. This will result in either a

Guarantee your credits. In addition,

Watch the Calendar. Beyond the savings derived from buying tax credits, nothing compels a buyer to jump into the market faster than a tax deadline, making March 15, April 15, September 15, and October 15 the deadline dates for most tax credit transactions. If one is prepping credits to sell, having them ready weeks or even months prior to these dates is preferred. Of course, credits are being sold in the soft seasons between these

dates, but transactions can drag without the pressure of an imminent deadline. It is also important for producers to know that credits earned in one calendar year (2014) will not be fully in demand until the following year (2015), when taxes for 2014 will become due for buyers.

The Bottom Line Happy production company. Happy taxpayers. Happy state. Like any business venture, the Georgia entertainment incentive program was designed so that numbers could be reconciled and measured against

Memorialize and Record. Whenever

a bottom line. The bottom line for

the tax credit exchange does become

producers. The bottom line for buyers.

final, it needs to be memorialized via

The bottom line for the state. The good

contract. Buyers should receive a copy

news is that the Georgia production

of the seller’s IT-FC, the form the seller

tax credit system is working for all the

filed when their Georgia tax returns were

parties involved with the tax credits, and

filed. The seller must also file Georgia

for the citizens of Georgia.

Form IT-TRANS with the Department of Economic Development and Department of Revenue. The buyer is also required to attach a copy of the IT-TRANS to their income tax return. The purchaser “pays” their Georgia income tax with this tax

Include the Georgia Production logo in your project to get the state’s full tax credit of 30%

credit form.

AUGUST / SEPTEMBER 2014

HOW I GOT INTO THE BUSINESS DAN CORNWALL

How did you get into the business? I was very interested in photography as a kid. I spent many hours in darkrooms working on black and white prints. I thought I would be a still photographer and carried a camera at all times. I was also a big fan of movies. Stanley Kubrick was my hero. My older brother, Paul was a film student in the 80’s and would have me help him with projects. In the late 80’s we both worked as electricians on a movie called “Modern Love.” This started my career and I have been in the lighting department ever since. If you had to do it all over again . . . I wouldn’t change a thing. I feel so fortunate to have been a part of this unique business. My lovely wife and 3 children were able to travel the world with me. I have made so many friends around the globe.

What do you love the most about your job? The job has an ever-changing environment. I have worked in caves 20 miles into the earth, underwater locations, military vehicles, 40 below zero in the snow and 120 degrees in the desert. A film crew is a group of creative and diverse specialists. We use our skills to support a story and performance of actors. If we do our jobs correctly, the audience will not know we did anything. To add so much without being noticed is a unique skill that we possess. What have you worked on recently? “Fast 5” “Fast & Furious 7,” “Need for Speed,” and “Term Life.”

GAFFER / CHIEF LIGHTING TECHNICIAN

JESSICA ZAPPIA &

DONNA KREAM

How did you get into the business? The stars aligned! We both had a small part on the set of “Franklin and Bash” and immediately clicked. A few weeks later, I (Jessica Zappia) received a call from my friend Patrick Rofoli, who was the executive assistant to executive producer, Tim Bourne, for the remake of “Footloose,” which was filmed in Atlanta in 2010. Knowing my background in marketing/advertising/PR, Patrick reached out to me asking if I’d be interested in helping them find promotional background extras for two big-crowd scenes in the film. After making a post on Facebook related to the film, Donna & I reconnected and the rest is history.

and give them incentive to participate by raffling off prizes in between takes. It’s like playing Santa Claus on set! What have you worked on recently? “42,” “Devil’s Knot,” “The Walking Dead,” “Million Dollar Arm” and “Term Life.”

What makes your job cool and fun? We get to make people’s dreams come true when we cast promotional background extras. Unlike regular extras that are hand-picked by casting directors, promotional background extras give the “average Joe” a chance to participate in a movie. We reward SOUTHERN HOLLYWOOD EVENTS (S.H.E.): SPECIALTY ADVERTISING / FOUNDERS/ MANAGING PARTNERS

MICHAEL SCORTT

How did you get into the business? It came out of a need for the teleprompter/speech prompter equipment/services for our own use in special events/commercials/television production. Then we discovered and responded to a demand outside of our own needs. Best advice to young people in your profession? A strong skill set in writing, public speaking, debate and drama. I cannot recall the many occasions when a client has provided substandard copy and we have been asked to “jazz it up,” rewrite it or create the entire message. If you had to do it all over again . . . I would have done it sooner. What do you love the most about your job? Helping others deliver a message or presentation as best they can. That’s why we offer rehearsal periods and classes to those who may use them as a part of their job.

TANDEM PRODUCTIONS: OWNER / PRODUCER / DIRECTOR / TELEPROMPTER OPERATOR

OZ MAGAZINE

WWW.FACEBOOK.COM/SOUTHERNHOLLYWOODEVENTS

What are the highlights of your career trek? I have met many people that I would not have otherwise and, in many cases, helped them to look/ sound better. This includes two sitting US Presidents, Cabinet members, and Fortune 500 CEOs. Do you have a word or quote or mantra you live by? “Being on time is late” and “This is Show Business, not Show Friends.” What makes your job cool or fun for you? Learning something new on every project. What are your three most recent projects? 1. Helping prepare a speaker for his presentation of a National Award as the Most Outstanding Young Executive in the US. 2. Working with a nationally known spokesperson that I cannot divulge due to a confidentiality clause. 3. Writing and providing services for a National Hall of Fame Induction ceremony. WWW.TANDEMPRODUCTIONS.COM

DAWN DYER

How did you get into the business? I have been designing in some form since I was a child. My mother introduced me to sewing around age nine. I can remember rearranging furniture in our home on a regular basis. When I decided I did not want to share a bedroom with my two sisters, I designed my own bedroom out of our upstairs landing. As an adult, I merchandised store displays. I studied Fashion & Architecture Design at Western Michigan University. I started my company, Dyer Studio, as a result of working at IKEA Atlanta as a Kitchen Planner. Customers were always seeking my help and encouraged me to start my own company and in 2007, I decided to make it happen.

DYER STUDIO: OWNER / INTERIOR DESIGNER

RICK SQUERI

HERB KOSSOVER

RICK@HESSENANTIQUE.COM

What have you worked on recently? I had the opportunity to design for Spray Studio Atlanta; which was recently voted as the Best Spray Tan in Atlanta by Jezebel Magazine.

Antique has provided military uniforms and gear to dozens of productions, several right in Atlanta. Best advice to young people in your profession? Look for opportunities. There is always room for people with military experience in film. Many productions don’t think about it until it’s too late. You see it all the time in films where the uniforms and insignia are wrong, bad haircuts or the actors are not doing something “correctly.” If the script involves anything military, a military advisor should be a part of the crew. What have you worked on recently? “Generation War,” “White House Down” and “Naked Among Wolves.”

WWW.HESSENANTIQUE.COM

How did you get into the business? I started making films in high school in Long Island, New York. They were mostly related to the new James Bond films that were a big hit. We used a friend’s Piper Cub and shot out the window. It was very effective and gave a new dimension to the films we made. It was also a great way to get to kiss the prettiest girls, and use resources previously not available. Cameras were primitive, but still I could change focal lengths and over-crank a bit. We had to wait a week for the 8mm reversal film to get back from Kodak and hear what people would say. In 1989, Wescam and Spacecam came about, and we started to shoot high-end aerials with these gyro systems. We developed a library of aerials that were sold by The Image Bank, now called Getty Images. Since then, we have shot footage used in over 200 commercial spots and 20 feature films, not to mention many political campaigns and corporate image productions. Aerials

AERIAL PHOTOGRAPHY: DIRECTOR / DP

What makes your job cool or fun for you? Meeting and collaborating with so many wonderful people, designing great spaces for them. It’s always exciting to see one of my designs come to fruition.

WWW.DYERSTUDIO.COM

How did you get into the business? In 1991, I was stationed at a large US Army training area in Hohenfels, Germany. My unit was tasked to support the training of some actors for the WWII film “Stalingrad.” The director, Josef Vilsmaier, was impressed with how I trained and coached the actors, and so he requested that I join the crew for filming in Prague. While in Prague, I made several contacts in the business and everything else followed from there. Every few years I would get a call, but I couldn’t do much because I was still in the Army. In 2002 my wife, Iris, and I started a small business selling antiques we were importing from Germany. The business grew as we started to concentrate on military antiques, uniforms and equipment. After I retired from the Army in 2007, I started working in the company fulltime. Since then, I’ve served as a military advisor and consultant on five films and our company Hessen

HESSEN ANTIQUE: MILITARY ADVISOR

Best advice to young people in your profession? First, try working for someone else in the business to get your feet wet and see if this is what you really want to do for a living. Second, once you find your niche, I say go for it; gain the experience you need, focus, network and set realistic goals.

aren’t all we do, but I can tell you it’s some of the most rewarding. It’s great to fly over large cities and get a bird’s-eye view, or follow a speeding car over the Golden Gate Bridge in San Francisco. What words do you live by? Do it simple, make it memorable. Best advice to people in the industry. Make this more than a business. Pick a niche; study and develop techniques that will help you create something dif ferent. Be persistent, it’s not for everybody. But don’t fool yourself, it’s not an easy road. Study filmmakers whose work you admire and use that as an influence.

HERBKOSSOVER@ME.COM

AUGUST / SEPTEMBER 2014

BEHIND THE CAMERA WITH DREWPROPS

I’ve been pretty lucky when it comes to screen credits over the years. On my very first movie (Robocop 3, shot in 1991) they I’ve been pretty lucky when it comes to screen credits over the featured my entire name, which moved it to its very own line years. On my very first movie (Robocop 3, shot in 1991) they instead of mushed onemoved of several columns with featured being my entire name,into which it to its very own lineall the other interns. instead of being mushed into one of several columns with all the other interns.

The publishers of this magazine couldn’t possibly give me enough The to publishers of this magazine couldn’t possibly givemy mename space adequately describe the experience of seeing enough space to adequately describe the experience of seeing listed in the credits of a movie for the very first time. Suffice to my name listed in the credits of a movie for the very first time. saySuffice that it’s an incredible feeling to feeling watch to your firstyour credit to say that it’s an incredible watch firstmake that longmake slowthat crawl thecrawl screen toward heaven, credit longup slow up the screen towardknowing heaven, that knowing that everybody theseen theater has seen and must everybody in the theater inhas it and mustit now concede now concede that you are indeed a legitimate member of the that you are indeed a legitimate member of the motion picture motion picture industry! industry! Except of course that audiences in most theaters aren’t sticking

Except oftocourse thatstupid audiences most theaters around read the credits.inThey’re too busy aren’t racingsticking to around to read to theempty stupidtheir credits. They’re toobladders busy racing the restroom soda-bloated of theto the twelve-dollar, 32-ounce Coke that occupied every restroom to empty their Diet soda-bloated bladders their of the twelvewaking thought during the climactic finale of the movie. dollar, 32-ounce Diet Coke that occupied their every waking thought during the climactic finale of the movie. Your official debut as a motion picture professional might be a thanklessly lonely experience were it were not customary

Your debuttoashost a motion picture professional for official productions crew screenings where most might of the be a thanklessly lonely experience were not to customary people who worked on a project can it getwere together see the for fruits of their effort. Most crew screenings lowproductions to shared host crew screenings where most ofarethe people keyworked gatherings local theaters, and there’s rarely sort who on aat project can get together to see theany fruits of their of official post-screening party, and you certainly won’t read shared effort. Most crew screenings are low-key gatherings at about it in the newspaper. local theaters, and there’s rarely any sort of official post-screening party, and you certainly won’t readentertaining about it in the newspaper. Crew screenings are especially if the crew is feeling peppy. It’s not unusual to hear someone shout out an

inside joke that are relates to the scene currentlyif on Crew screenings especially entertaining thescreen, crew isand feeling a lot of areunusual so engrossed in someone viewing our own department’s peppy. It’susnot to hear shout out an inside joke work that we don’t even really pay attention to the story or the that relates to the scene currently on screen, and a lot of us are so performances. At the end of the screening we look forward to engrossed our own department’s workasthat the creditin rollviewing and often call out each others’ names theywe rolldon’t even to the story or the performances. At the intoreally view –pay it’sattention a lot of fun. end of the screening we look forward to the credit roll and often call out each others’ names as they roll into view – it’s a lot of fun. 40

OZ MAGAZINE

But it’s not always fun and games. During the credit roll for Remember the Titans, one of the set dressers who had been on But it’s not always fun and games. During the credit roll for the film for the entire run realized that his name had been left Remember the Titans, one of the set dressers who had been out of the sitting right inthat front me had andbeen I heard on the credits. film for He the was entire run realized his of name him left mutter under his breath andsitting then slump hisof seat, out of the credits. He was right in in front me his andwife I heard him mutter under breath and then slump indismay. his seat,The leaning in to comfort him inhis that moment of shocked his wife leaning comfort him in that moment film industry is built in ontoego and bragging rights and of theshocked omission dismay. The film industry is built on ego and bragging rights of a screen credit can feel like an enormous insult for people who and the omission of a screen credit can feel like an enormous haveinsult devoted months of their to amonths project.of their lives to a for people who have lives devoted project.

My friend Katrina Rice was an eager beaver on the show My friendgoing Katrina Rice and was beyond an eagerthe beaver theduties show as Zombieland, above call ofonher Zombieland, going above and beyond the call of her duties prop assistant to develop a vegan replica of that famous junk food as prop assistant to develop a vegan replica of that famous junk icon,food the icon, Hostess Twinkie, for a pivotal scene featuring Woody the Hostess Twinkie, for a pivotal scene featuring Harrelson. much After trial and error upon WoodyAfter Harrelson. much trial she and hit error she ahitrecipe upon that a recipe and were her Twinkies the were film and worked andthat herworked Twinkies used inwere theused film inand even were even on The Tonight Show, although mentioned onmentioned The Tonight Show, although WoodyWoody did not did not mention Katrina by name. Worse still, after all the effort mention Katrina by name. Worse still, after all the effort that she that she put into that show they somehow managed to leave put into that show theycredits somehow name her name out of the for themanaged first majorto hitleave of herher career. out of the credits for the first major hit of her career. But botched and missing credits happen far more often than

people realize. But botched and missing credits happen far more often than people realize. When producer Day Permuy was a production coordinator,

sheproducer spent the Day very Permuy last day of her awrap from the movie We When was production coordinator, Are Marshall sitting on the floor of her office keying her crew’s she spent the very last day of her wrap from the movie We Are screen credit information into a sample file that the studio Marshall sitting onfrom the floor of her officefilm keying her crew’s screen had provided a much smaller project. Gathering creditscreen information a sample that the studiojust hada provided credits isinto actually a veryfile low-tech process, simple or a text offeringGathering the very real chance that is fromspreadsheet a much smaller filmfileproject. screen credits somebody along the line might accidentally omit one simple actually a very low-tech process, just a simple spreadsheet or a line of information, throwing everything else out of whack. text file offering the very real chance that somebody along the line That might accidentally omit one simple for linesome of friends information, seems to be exactly what happened on the crew of the comedy LastofVegas. throwing everything else out whack.At the crew screening they were confounded to discover the company that created the

That seems to be exactly what happened for some friends on the crew of the comedy Last Vegas. At the crew screening they were

credit sequence for the movie had missed a line somewhere, throwing the credits entirely out of kilter. The script supervisor was listed as a camera operator, the art director and his assistant were listed as video assists, the decorator was listed as the art director, and on and on it went. Sometimes screen credits can surprise you. My friend Erica Hornung is a Hollywood visual effects artist who literally wrote the book (a textbook) on a technique known as “match moving” (making computer animated elements fit realistically into a live motion scene). Back in the early 2000s, Erica did a few shots for the Tim Burton film Big Fish. She considered it to be a fairly small job and wasn’t even sure that she’d get a credit on the film, but when it hit the theaters she quickly found out that her name was featured far more prominently than she had ever anticipated, prompting excited phone calls from her friends. Of course she’s been left out of the credits of films where her contributions were much more significant, including SpiderMan and The Lord of the Rings: The Two Towers. In a few cases her lead would tell her late in the game that there were a limited number of slots for credits and that she hadn’t made the cut. This was the case for Two Towers, but when she saw the movie and sat through the credits she was astonished when it got to her section because “There was a hole where my name could have gone. A HOLE!!” With as many people as it takes to produce big budget, effectsladen movies, and as close as they shave the delivery of these films to the release date, it’s likely there’s a predetermined margin for errors in the credit sequence. The Theatrical and Television Motion Picture Area Standards Agreement with the IATSE states “Title credits may be given to all department heads and key employees in accordance with standard industry practice. The form in which screen credits are given need not conform to an employee’s classification and no presumptions shall flow from the form of such credit.” - so credits are never guaranteed. Fortunately, the crews who build and paint the fabulous sets you see in these films are often spared from these errors by never being considered for receiving credits in the first place, which I understand makes them all quite relieved. After you’ve been in the business for awhile you begin to sit through the credits of your friends’ films, even if they’re half a world away, because there’s something very special about seeing someone’s name that you know up there on the silver screen. It makes you feel connected to something bigger and more wonderful than yourself, and even if you never work with those people again, you can follow their careers through their film credits. Or at least you could, until something easier came along.

A screen credit is perhaps the most lasting mark that you may ever leave in this world. It’s part of that same cinematic immortality that movie stars possess, and we all want a piece of that magic. All the effort and angst that goes into fretting about screen credits may seem like a waste of time because people outside of the industry don’t give a tinker’s damn about credits unless they know there’s going to be a “stinger” buried in there. A stinger is an extra scene that works as an epilogue to the film or as a teaser for the next installment in the series. Some of the best-known stingers in recent memory have been sequences featuring actor Samuel L. Jackson as the character Nick Fury, recruiting super heroes to his team called “The Avengers”. Hollywood knows that people will stay put to see more Samuel L. Jackson. So it shouldn’t be surprising that crews love it when producers choose to embed these sorts of sequences into the closing credits because it makes audiences sit through those credits (as a kid, I enjoyed seeing Dom DeLuise cracking up and being repeatedly slapped by Burt Reynolds in the closing credits for The Cannonball Run, or the film crew from The Blues Brothers singing “Jailhouse Rock”). Still, very few movies include these sorts of “Easter eggs” for their viewers so nobody cares about them. In the 2000s, NBC started the trend of credit-crunching to keep people from switching channels much to the horror of film crews everywhere. These days we’ve all become accustomed to seeing movie credits squished flat at the bottom of the screen, or jammed down into a tiny box that nobody can read, or sped up to a seizure inducing 700 miles per hour. As a crew member, this practice is insulting, as a television viewer it’s way more convenient. I mean, who really wants to sit through all those names?

By the year 2000 the Internet Movie Database (IMDb.com) had really started to catch on with crews and today it’s the de facto place to look up people’s film credits. The site has become so important that when Erica was telling me about the closing credits she’d been left out of, she stopped to say “But I don’t really worry about my screen credits now… as long as it’s on IMDb, I’m happy!” So what good are screen credits in the year 2014? They’re expensive to produce, they’re never entirely correct and nobody even sticks around to watch them, except for film crews and their proud parents. Well, the one thing I can tell you is that they’re still powerful motivators for people who work in the business.

AUGUST / SEPTEMBER 2014

OZ SCENE:

THE 10TH BLACK WOMEN FILM FESTIVAL

Workshop attendees asking questions.

Black Women Film Festival

The

10TH

June 13th - June 15th

Hosted by Black Women Film Network T he Black Women Film Network (BWFN) presented its 10th Annual Black Women Film Festival in June in Atlanta, Georgia. During the three-day festival, films were shown to uplift and entertain, workshops on the craft of film and the film industry were provided, and a networking affair with REVOLT TV’s Jaunice Sills gave attendees an insight into the new network.

Good Girls and 72% won the Audience Buzz Awards; Janlate Mullin won Best Director; The Helen Lindsey Story won the Audience Participation Award, Audience Award and Best of Festival. Films were shown at Spelman College and workshops were held at Atlanta Technical College. The Reel Networking Affair and Black Women Film Festival Awards were presented at Adrienne’s Boutique in Buckhead.

The 11th Annual Black Women Film Festival and “Untold Stories Awards Luncheon” will be held March 4th-6th, 2015 in Atlanta, Georgia.

GA Department of Economic Development Project Manager, Asante Bradford.

OZ MAGAZINE

REVOLT TV’s Jaunice Sills speaking to group at “Reel Networking Affair.”

Author Chiquita Lockley signing book.

Jaunice Sills, Best Director winner, Janee Mullin, Sheryl Gripper.

Jaunice Sills and Sheryl Gripper presenting Audience Buzz Award to Rhavnynn Drummer for Good Girls.

Producer Diane Ashford, 11Alive’s Sherry Armotrading, Swirl Films’ Eric Tonosumas, BWFN Founder Sheryl Gripper, Attorney Breyunna Williams and 11Alive’s Evelyn Mims.

ASPIRE’s lead editor, Deanna Nowell.

Maria Howell and Mike Ray were presented with the Black Women Film Festival, Best of Festival Award for The Helen Linsey Story.

AUGUST / SEPTEMBER 2014

OZ SCENE:

MARCH ON WASHINGTON FILM FESTIVAL

The Historic Ebenezer Baptist Church Choir and soloist Ryan Bolton.

March on Washington Film Festival June 23rd - June 26th

he March on Washington Film Festival made its Atlanta debut this year. The festival began in the summer of 2013 as a way to commemorate the 50th anniversary of the March on Washington. There were over 1,000 people in attendance at the inaugural Washington, D.C. event. This year the festival expanded to Atlanta and New York City. The tour was in Atlanta from June 23 to 26 with four free film screenings: Freedom Summer at the Georgia Tech Research Institute, Crisis: Behind a Presidential Commitment, Sam Cooke: Legend, and Nothing But a Man at the High Museum. Post-film discussions

and performances were held following the screenings. These included Dr. Raphael Warnock, Senior Pastor of the Ebenezer Baptist Church; Rev. Cameron Pennybacker; Sharon Malone, sister of Vivian Malone who integrated the University of Alabama; lawyer Don Siegal; HLN’s Keith Brown; Georgia State professor, Jonathon Gayles; and the Ebenezer Baptist Church Choir. Mayor Kasim Reed stated, “Atlanta is undoubtedly one of the most diverse and dynamic cities in the nation.” He described how the individuals featured in the films influenced the City of Atlanta.

Nothing But A Man, Directed by Michael Roemer.

Crisis: Behind a Presidential Commitment Directed by Robert Drew.

Photos courtesy of: Butler Street Community Development Corporation & March on Washington Film Festival

OZ MAGAZINE

HLN’s SVP of Programming Keith Brown, Dr. Sharon Malone & Lawyer, Don Siegal.

Professor at Georgia State University, Jonathan Gayles.

Civil Rights Congressman, John Lewis & Publisher and Founder of Written Magazine, Michelle R. Gipson.

Audience viewing.

Council Member, Michael Julian Bond.

Sam Cooke: Legend, Written by Peter Guralnick and narrated by Jeffrey Wright.

AUGUST / SEPTEMBER 2014

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Limited Edition

Industry

19 7 3

The

202 1 0 3 1 3

Yearbook

40 years of Georgia Filmmaking & the people who made it happen History SIDEBAR, TOP:

Annette Stilwell, producer, Jayan

Films. Bart Patton and

SIDEBAR, TOP: The early days:

SIDEBAR, BOTTOM:

Unshackled (2000).

2013.

ads featured Governor Carter sitting in a

watched the video and did change his mind. Over the next few years, Wayne would return

efforts paid off. Movie producers began

to Georgia many times to scout locations for future films. Other film companies followed

was about. Once crews arrived, Spivia and

suit, and before long, the film office had so

his five-person staff would actually go out to

many prospects, it was hard to keep up. Some

help scout locations. Sometimes producers

producers and actors kept coming back. One

came to the state with the singular goal of

of them was Burt Reynolds. In 1974, Reynolds, who had starred

film; other times, they were simply here on

in Deliverance just two years previously,

other business – in which case Spivia and his

returned to Georgia to film

team had to be a bit more creative in putting

The Longest Yard . The

Georgia on the producers’ minds.

movie was about a football

Case in point: John Wayne. In 1973,

LA Albarracin 1990: Hairstylist 2013: Hairstylist

Mark Apen 1987: Production Assistant 2013: Producer

Dwight Benjamin-Creel 1985: Special Effects Technician 2013: Property Master

Robert Bock 1989: Camera Tech - Atlanta film Equip. Rentals ( AFER) 2013: Camera Technician - PC&E

Kelsey Lane 2011: Actor 2013: Actor

Curtis Bryant 1985: Music Composer 2013: Music Composer

Linda Burns 1992: Production Assistant 2013: Production Manager

Paula Rose Castronova 1991: Wardrobe Stylist & Buyer 2013: Wardrobe Stylist & Buyer

Pat Cooksey 1985: Camera Operator 2013: Director of Photography

Stephen Crocker 1992: Production Assistant 2013: 1 st Assistant Camera

Sara Bess Norton 2011: Actor 2013: Actor

Brennen Dicker 1986: Production Assistant 2013: Director of Sales for Creative Services - Crawford

Andrew Duncan 1991: Prop Assistant 2013: Graphic Designer

Dawn Dye 1990: Receptionist - Post Prod. (VTA) 2013: Receptionist - PC&E

Mike Pniewski 1983: Actor 2013: Actor

Mercedes Sanders 2006: Actor 2013: Actor

Shay Latte 2000: Actor 2013: Actor

Charles Orr 2011: Actor 2013: Actor

Randi Layne 1983: Actor 2013: Actor

Geoff McKnight 1987: Actor 2013: Actor

Debra Nelson 1981: Actor 2013: Actor

John Osgood 1988: Production Assistant 2013: On Air Talent

Brenda Pauley 1993: Talent Agent 2013: Talent Agent

Ric Reitz 1977: Actor 2013: Actor

Robert Robinson 2011: Music Composer 2013: Actor

Linda Rutledge 1987: Talent Agent 2013: Talent Agent

Heather Smith 2004: Actor 2013: Actor

Pamela Smith 1993: Actor 2013: Actor

Tihirah Taliaferro 2011: Actor 2013: Actor

Patricia Taylor 2006: Actor 2013: Actor

Jay Pearson 1990: Stunt Performer 2013: Actor

who organizes a team of

It was scheduled to film

in the state. Spivia says, “An aide came

at a prison in McAllister,

in with a bottle of bourbon and poured a

Oklahoma, but three days

glass. John Wayne drank it down and said,

before the shoot, prisoners

‘Let’s get down to business.’ So, I played a

burned it to the ground.

tape in the VCR.” The video showcased the

Reynolds called Spivia for

diversity of the Georgia landscape – coastline,

help finding an alternate

mountains, and forests. Even though Wayne

location. Spivia recalls,

had previously filmed a movie in the state

“He said, ‘Can you get us

– The Green Berets in 1968 – he didn’t

a prison that looks like

seem convinced that the varied topography

this, real quick? If you can,

showcased on the TV screen was, in fact, in

you’ve got the film.’”

the state of Georgia.

The film commissioner

Guy D’Alema 1989: Stills Photographer 2013: Stills Photographer

came through and

banging his hand on the table,” Spivia says.

arranged for production

“He said, ‘You can’t tell me this is Georgia.

to begin at the Georgia

Georgia is just hot and flat and dry.’”

State Prison in Reidsville shortly after. The Longest

a few minutes to finish my presentation, I

Yard would go on to net more than $43

do believe I’ll change your mind.’” Wayne

million in domestic gross sales.

It would

Recess (a) Operator Allen Facemire on the set of Moonrunners (1975). (b) The Duke boys encountering the Sheriff on The Dukes of Hazzard (1979). (c) Script supervisor Charlene Webb on the set of The Dukes of Hazzard (1979). (d) A young Paul Varrieur (on right) was a member of the camera department on the pilot Six Pack (1983), which was based on a film by the same name. (e) Allen Facemire rigging a camera for a stunt se quence on The Dukes of Hazzard (1979). (f) Paul Varrieur, Allen Facemire, and Billy Sherrill on the set of a commercial in the mid-1980s.

Ellis Edwards 1985: Stunt Driver 2013: Stunt Coordinator

Jack English 1983: Production Assistant 2013: Producer

Brenda Findley 1989: Set Dresser 2013: Art Department Coordinator

John Findley III 1991: Production Assistant 2013: Location Manager

Jeff Fisher 1992: Production Assistant 2013: Director

Terry Fitzpatrick 1985: Mixer/Location Sound 2013: Mixer/Location Sound

Carrie Gibbs 1989: Assistant Location Manager 2013: Location Scout

Thom Gonyeau 1986: Production Manager 2013: Principal/ Executive Producer - Mountain View Group, LTD

Chris Hamilton 1991: Stills Photographer 2013: Stills Photographer

Fred Houghton 1983: Warehouse/Generator Operator - PSA 2013: Shop Maintenance & Repair - PC&E

Sarah Reagin 2011: Stunt Performer 2013: Stunt Performer

Rebecca Shrager 1983: Talent Agent 2013: Talent Agent

Chuck Shropshire 2010: Actor 2013: Actor

David Spencer 1992: Set and Sign Painting 2013: Actor

Laura Steele 1998: Actor 2013: Actor

Donna Summers 1978: Talent Agent 2013: Talent Agent

Production & Support Companies

(g) 2nd Unit from The Dukes of Hazzard (1979). (h) Allen Facemire catching a high-speed drive-by with his camera on top of a pair of good old-fashioned ‘sticks’. (i) Gordon Siefferman, camera assistant on Moonrunners (1975). (j) Don Shisler and Doug Smith taking care of Boss Hogg’s infamous white Cadillac for The Dukes of Hazzard (1979). (k) Director Steve Rash and his camera crew in a bucket lift for The Buddy Holly Story (1978). (l) Gy Waldron, producer of The Dukes of Hazzard and Six Pack , taking a look at the framing for a shot, in the days before directors had the convenience of video monitors.

Companies

Year Started

Founder/CEO/Officers

Companies

Year Started

Founder/CEO/Officers

Electric Transfer Inc.

1987-2010

Joseph Donini, founder

Sirius Images Corporation

1990-2001

Marshall Peterson, founder

The Computer Studio

1988

Anita M. Critz

Imagic

1990-2005

Joe Huggins, founder

APC Studios

1988-2006

Salvatore Nappo, founder

Comotion Films

1991

Sheryl Myers, founder

Creative Edge

1988-2007

Beth Goodwin, founder

Comprehensive Technical Group, Inc.

1991

Steve McCormick, Jim Wile, co-owners

Baird Camera Cars, Inc.

1989

Greg Baird, founder; Wilma Jean Baird, CEO

Rob Rainey Video, Inc.

1991

Jo-Thor’s Dog Academy

1989

Joan Lask, founder

Telltale Films, Inc.

1991

Peachtree Prompters

1989

Lauri Plesco, founder

Feature Systems South Inc. (Atlanta)

1991-2008

Bob Bailin

Riverwood Studios (DBA Raleigh Studios)

1989

Paul Lombardi, founder; president

Atlanta Rigging Systems, LLC

1992

Rick Rushing, president; Dave Gittens, VP/GM

Casting Connection, Inc.

1992

John Culbreth, founder

SaltRun Productions

1989

Crossover Entertainment Group, Inc.

1992

Luther Randall III, GM;

Encyclomedia

1992

Lance Holland, founder

Gypsy Grips Georgia

1992

Danny “DJ” Haizlip, Chunky Huse, co-founders

Triple Horse Entertainment

1992

Karl and Amy Horstman, founders

Artisan Pictureworks

1992-1999

Joe Gora, founder

Barbizon Atlanta

1993

Damian Vaudo, branch manager

Broadcast Equipment Rental Company (BERC)

1993

Tony Foresta, GM

ImageMaster Productions, Inc.

1993

Dan Johnson, founder

Inertia Films, Inc.

1993

A. Troy Thomas, founder

Synergy Films

1993

George Watkins and Lyn Toll, founders

Whoa! Films, Inc.

1993

Bill Orisich, founder

Brick House Editorial

1993-1997

Cindy Garguilo, Kevin Garguilo, co-founders

First Light Entertainment, Inc.

1993-2002

Video Progressions, Inc.

1993-2012

Atlanta Dogworks

1994

Greg Tresan CEO; Carol Tresan, CFO

Blue Moon Productions, Ltd.

1994

Susan Kanellos, CEO

Bootleg Island Entertainment

1994

Mike Coolik, founder

Carlisle Production Services

1994

John Carlisle, founder

Scott Tigchelaar,

Allen Facemire, CFO; Susan Satterfield,

Georgia Industry Yearbook

110

111

Georgia Industry Yearbook

CEO

162

Staging Directions

1989

Nick D’Allen, president

The Propper Source

1989-2006

Hilary Henkin, owner

Savannah Production Group Inc.

1989-2010

Mickey Youmans, Tim Rhoad, Maria Rhoad

Southern Animal Talent Agency

1989-2012

Senia Phillips, founder

Atlanta Films, Inc. (Get-A-Grip Atlanta)

1990

Mark Henderson, founder/president

Bob Shelley Special Effects International Inc.

1990

Bob Shelley, founder

Houghton Talent, Inc.

1990

Gail Houghton, founder

Magick Lantern Studios

1990

Bill VanDerKloot, founder

Neverland Film Services

1990

Tim McCabe, founder

Payroll South (Crew)

1990

Annette Stilwell, founder

Peachtree Post

1990-2002

Jeff Blauvelt, owner

Phelanx, Inc.

1990

Mark Phelan, founder

Powell Group, Inc., The

1990-2004

Tia Powell, founder

ShowPay

1990

Annette Stilwell, founder

Spotchex (union)

1990

Annette Stilwell, founder

Xchex (nonunion)

1990

Annette Stilwell, founder

Effigy Film and Video

1990-1993

Toni Colley Lee and

Dick Cross Special Effects

1990-1999

Richard (Dick) Cross and Gayle Cross, founders

William Hudson

Danny Boy Services, LLC

1994

Rob Rainey, founder Tom Luse, CEO

Billy Johnson, COO

Vivian Jones, CEO/producer Adair Simon, founder

Dan Philipp, founder

Eagles Cry Productions, LLP

1994

J. Robert Russell, CEO; Karen Russell CFO

Entertainment Design Group, Inc. (EDG)

1994

Steven L. Guy, CEO

Get your copy of the limited edition ($60 plus tax): Call OZ:

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Georgia Industry Yearbook

“And I said, ‘If you’ll give me just

Jody Danneman 1989: Camera Operator - Video 2013: Producer

Georgia Industry Yearbook

inmates to play against a team of prison guards.

meeting to convince Wayne to make a movie

Georgia Industry Yearbook

In 1975, The Lewis Family founded Lightnin’ Production Rentals, Inc., in Atlanta. The company began renting production trucks to the motion picture industry in 1979 – everything from star trailers and honey wagons to camera trucks. Lightnin’s first feature film was 1980’s Little Darlings , starring Kristy McNichol and Tatum O’Neal.

Melva Akens 1990: Set Decorator 2013: Wardrobe Stylist & Buyer

player–turned–convict

Cattleman’s Association meeting. When Spivia found out about it, he arranged a

“About thirty seconds in, he started

Lightnin’ Production Rentals in

heading to Georgia to see what all the talk

the veteran actor came to Georgia for a

Bart

Tatum O’Neal on

Rentals’ truck (1980).

director of photography Paul Varrieur on the set of

finding the perfect location for their next

Crew & Talent

the set of Little Darlings with a Lightnin’ Production

SIDEBAR, BOTTOM, L-R: Director

director’s chair. Before long, the group’s

Harold Morris, an inmate at Reidsville Prison, also worked as an extra in The Longest Yard Originally sentenced to two life terms, Morris was later pardoned. When he was released, he wrote a screenplay about his life. Filmed as Unshackled , it was directed by Patton and released in 2000.

40 Yea & th e P e rs of Georgia F op le W h 40 Yea o a d e ilmmaking it & th e P e rs of GeoM pen o p l e W h rgia FilmHap o M a d e making it H a p p e n

Georgia Industry Yearbook

In 1974, North Carolina native Annette Stillwell moved to Atlanta and, one year later, founded what would become a very successful cast and crew payroll company. By 1980, Stilwell would become an Emmy award-winning producer and one of the premier casting directors in the Southeast.

In uusstr Ind d Y toyoykk Yeeaarb rboor

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