Oz Magazine - November / December 2018 by Oz Publishing, Inc

film. tv. entertainment.

NOVEMBER 3, 2018 9:00 AM – 3:00 PM Perimeter Center 1151 Hammond Drive Northeast, #240 Atlanta, GA 30346

dekalbentertainment.com/expo

REGISTER NOW FOR OUR SECOND ANNUAL ENTERTAINMENT EXPO uniting top entertainment professionals from the Film/TV, Music and Digital industries in one space offering: n n n n n

PANELS

WORKSHOPS

PITCH SESSIONS

MENTOR MEET UP SESSIONS

SECURE YOUR TICKET NOW! EARLY BIRD BEFORE OCTOBER 12TH STUDENTS: $10 | PROFESSIONALS: $15

INDUSTRY VENDORS

The Expo will go in-depth on the latest industry trends, provide opportunities to walk away with tangible items to enhance your portfolio as well as provide guidance on how to speciﬁcally get in the entertainment business in Georgia.

MUSIC GAMING FILM/TV SPONSORED BY

To request sponsorship information please email: sponsor@dekalbentertainment.com

MAGAZINE

NOVEMBER / DECEMBER 2018

STAFF Publishers:

CONTRIBUTORS Hannah Li

Tia Powell (Group Publisher) Gary Powell

Hannah Li is an illustrator who was born in Changsha, China. After graduating with a Bachelor of Fine Arts Degree in Oil Painting in China she headed to the United States and began studying illustration at the Savannah College of Art and Design. She is currently living in New York City. Her work has been recognized by American Illustration, The Society of Illustrator LA, 3x3 Illustration Competition and more. www.hannahliart.com

Editor-in-Chief: Gary Powell

Sales:

Kris Thimmesch Martha Ronske

Contributors:

Laura Miller Christopher Campbell Christine Bunish Neal Howard Nicola Breslauer

Cover Artist

Laura Miller

Cover Story: Get With The Program, p.30 Laura Miller is a freelance writer from Atlanta, GA who has been scribbling away in her home office since 2012. From small community newspapers to national publications, Laura enjoys writing features, reviews, profiles, or good old-fashioned opinion pieces. Find her online at OmniaWriting.com.

Creative Director: Michael R Eilers

Production and Design: Ted Fabella (Oz Logo Design) Madeeha Ahmad

Christopher Campbell

Feature Story: The Brass Ring, p.36

Christopher Campbell is a writer specializing in nonfiction film and television. He is the creator of the documentary review website Nonfics and an editor for Film School Rejects and Movies.com. He has also contributed to Indiewire, MTV News, Paste, New York magazine and Documentary Magazine. He has a Masterâ&#x20AC;&#x2122;s degree in Cinema Studies from NYU and now resides in Georgia with his wife and children. www.nonfics.com

Cover Image: Hannah Li

Christine Bunish

Feature Story: By The Truckload, p.44

Christine Bunish has been a writer and editor covering the professional film, video, broadcast and advertising industries for more than 25 years. She was a writer at Broadcast Management/Engineering and World Broadcast News and an editor at Millimeter before going freelance.

film. tv. entertainment.

www.ozmagazine.com www.facebook.com/ozmagazine www.twitter.com/ozpublishing www.instagram.com/ozmagazine (404) 633-1779 Oz Magazine is published bi-monthly by Oz Publishing, Inc. 2566 Shallowford Road Suite 104, #302 Atlanta, GA 30345 Copyright ÂŠ 2018 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.

Oz Magazine - film. tv. entertainment.

Neal Howard

Talent Q & A: Njema Williams, p.52 A Word on Burt Reynolds, p.58 Neal Howard is a veteran feature writer, editor and interviewer whose credit list includes sit-downs with A-list entertainers such as Zac Brown and Chloe Grace Moretz; popular sports figures like Mark Richt and Will Muschamp; and prominent politicians from the Georgia State House to the halls of Congress in D.C. He first arrived in Atlanta as a student at Georgia Tech, where he studied for three years at the School of Public Policy before succumbing to his love of journalism and transferring to the College of Charleston. In 2005, Howard created V3 Magazine in Rome, Ga., where he served as editor-in-chief until 2014. He now covers the Georgia entertainment industry for several Atlanta-based publications.

Nicola Breslauer

Editorial Contributor

Nicola Breslauer is an avid fan of the big and little screen. Her writing skills took shape while getting her Masters in clinical mental health counseling from Mercer University. While she pursues a career in the mental health field by day, by night she delves into the world of media. In addition, she is credited with running our social media platforms to keep us in touch with our fans between issues.

NOVEMBER / DECEMBER 2018

CONTENTS

Ozcetera

Talent

A compilation of recent news and hot projects, from and about industry leaders.

30 Cover Story

58 Godspeed Bandit: A Word on Burt Reynolds

Get With The Program When it comes to gaining entry-level knowledge and skills to work in front of or behind the camera, Georgia schools, mentors and coaches offer a wide range of options.

The Shot List: Q & A with Njema Williams

60 Oz Scene

The Ninth Annual Bronze Lens Film Festival 2018

Feature Story

62 Pop-Pop Is Dead 63 Cinema Park Studios Hosts Art Sims

The Brass Ring Georgia has all the infrastructure necessary to c ontinue for decades as a production powerhouse. The next and biggest step: Investment in original content creation.

Let Me Give You My Card

Feature Story By The Truckload Life is good for Georgiaâ&#x20AC;&#x2122;s lighting and grip companies. From small operators to major players, the gear is moving by the truckload.

November / December 2018

OZCETERA

“Advancements in technology and the emergence of streaming have fundamentally changed how consumers watch and discover content.”

Panavision and SIM are Merged By Nicola Breslauer

amera systems giant Panavision and post production and equipment company SIM Video International will merge under Saban Capital Acquisition. When the merger takes place next year, Panavision and SIM will be a subsidiary of SCA, and all three companies w ill go by t he new moniker Panav ision Holdings. At that time, the current CEO and CFO of Panavision, Kim Snyder and Bill Roberts respectively, will maintain their roles in the new company. Snyder is reported to also take on the role as chairman of Panavision Holdings. According to a press release from SCA , “The transaction reflects a valuation for the combined entity of $622 million (inclusive of debt) or approximately 5.9x fiscal year 2018

estimated Adjusted EBITDA.” All parties have agreed to the merger, pending approval from SCA stockholders. The merger could take place as soon as first quarter of 2019. The goal of the merger is to create a company that can provide all produc tion and pos t produc t ion ser v ice needs. A s a combined entity they will be able to take advantage of a growing entertainment market and offer a one stop shop for projects. SCA founder Haim Saban has a history with media acquisitions such as Univision, Celestial Tiger Entertainment, and Partner Communications. Saban explains, “Advancements in technology a n d t h e e m e r g e n ce of s t re a m i n g h ave fundamentally changed how consumer s

watch and discover content. This is driving significant growth in the market for production and post production services. This secular trend creates a tremendous opportunity for Panavision to leverage its leading technology and pursue oppor tunistic acquisitions to grow in a manner that is agnostic to the content creator and distribution channel.” “Combining the talent and integrated services of SIM with two of the biggest names in the business, Panavision and Saban, will accelerate our strategic plan...the resulting scale of the new combined enterprise will better serve our clients and help shape the content- creation landscape,” said James Haggarty, president and CEO of SIM.

True grit at the Martin Street Foundry.

Make it Gritty

tlanta real estate professional Tyler Edgarton, along with partners Rob Fennell and Mark Bloniarz, has opened the Martin Street Foundr y as a ready-made location

Oz Magazine - film. tv. entertainment.

for f ilm and photography production. The factory and warehouse facility is being kept “as is” to facilitate gritty scenes worthy of any production in need of an authentic industrial

backdrop. Original machinery, tall and wide open warehouses and outdoor areas provide a multitude of backdrops and textures.

November / December 2018

OZCETERA

Georgia Chamber Launches Entertainment Coalition

h e G e o r g i a C h a m b e r of C o m m e rce has launched the Georgia Screen Entertainment Coalition (GSEC), a statewide advocacy group focused on Georgia’s film & television industry. “The founding members of GSEC represent Georgia’s top industry and private sector leaders, coming together in a unique collaboration with Georgia’s deep crew base, united by their commitment to protect and promote the screen entertainment industry in our state,” said Chris Clark, president & CEO of the Georgia Chamber. “With the incredible economic impact this industry has on our state, we’re proud to introduce GSEC as the unified, cohesive voice of the industry at the capitol.” “Georgia’s f ilm & television industr y has become one of the most competitive

Dundu Dole’ premieres at the 17th Annual Urban Mediamakers Festival.

ow proud we are of executive producer, Oz a l u m a n d m o s t- f avo re d - p e r so n Monique McGlockton and producer/editor Maisha McKinney after completing their feature

Oz Magazine - film. tv. entertainment.

in the world, thanks in large par t to the leadership of Governor Deal and the General A ssembl y,” said Frank Pat ter son, GSEC chair and president of Pinewood Atlanta Studios. “GSEC’s ultimate goal is to serve as the exper t resource for policymakers as they steward the state’s successful tax credit program and develop legislation that will impact this industry and our partners.” GSEC will advocate for policies that strengthen infrastruc ture and suppor t workforce development within the screen entertainment industry. GSEC will also serve as a voice and resource for the Georgia owned and operated local businesses who provide services and products to the industry. “We’re proud to be part of the leadership shaping the

future of this industry in Georgia,” said Steve Mensch, vice-chair of GSEC and president and general manager of studio operations at Tyler Perry Studios. “The scale of private investment in production infrastructure in Georgia is indicative of the enormous potential for additional job creation and positive economic impact for all Georgians.” The screen entertainment industry has contributed to the relocation or expansion of more than 300 new businesses within the state since 2010. Other media platforms such as esports, video game development, digital animation, virtual reality/augmented reality and mobile app development continue to round out and contribute to the overall success of Georgia’s film & television industry.

Our Heroes film documentary Dundu Dole’. The film follows an Urban African Ballet Dance company and its founder, Jai Hinson, who for over 25 years has inspired thousands through West African

culture and dance. The film premiered at the 17th Annual Urban Mediamakers Festival to an excited and very receptive audience. Way to go, Monique!

SUMMIT 2019 І MARCH 89

Connect with writers, producers, & ﬁlm industry inﬂuencers!

A 2 day event held in March to connect, prepare & preserve the voice of African American women through lm and educational programs. FILM SCREENINGS, BOOK FESTIVAL, AND CLASSES AVAILABLE!

A Cultural Celebration of Black Women in Arts and Entertainment

Check out our website for more event details and deadlines:

November / December 2018

OZCETERA The new stage at Big South.

Artes Builds Big South

he Big South Conference tapped Artes, LLC to create and build its new Big South Network Studio as part of a recent eight-month renovation and expansion of the league’s headquarters office in Charlotte, N.C. The studio provides new video content for the conference and its membership, as well as live show capabilities designed to showcase the league’s student-athletes and athletic programs. The new space features three functioning areas: a main interview anchor

Oz Magazine - film. tv. entertainment.

set, a smaller one-on-one interview set, and a green-screen set. “As they say, ‘Content is King’”, stated Big South Commissioner Kyle Kallander, “And with this studio the Big South will be able to maximize the distribution of our compelling content through programming in our new par t ner ship w it h ES PN , and on digi t al and social media p lat form s .” Added Emily Dassel, director of digital media at Big South Conference, “The Big South

Network Studio was a unique project with the goal of creating a professional studio with multiple suites in a compact space. Working with Chuck Whited from Artes on the set design, building and installation made the process easy and efficient. We are very pleased with the finished professional aesthetic and have received a lot of positive feedback from our Big South Conference membership.”

November / December 2018

OZCETERA

VER Emerges from Bankruptcy

ER, rental equipment provider to clients in TV, cinema, live music, sports and the corporate world, has emerged from Chapter 11 bankruptcy. Led by Jere Harris and controlled by The Jordan Company, GSO Capital Partners and PRG Management, VER will maintain its focus as a traditional business-to-business subrental platform, renting to AV staging companies and industry professionals. Fullservice solutions will transition to become a part of PRG. PRG and VER will operate as two separate companies focusing on their resp ec t i ve areas of ex p er t ise. Step han Paridaen will be president and COO of the combined company and Bob Krakauer will serve as CEO of VER.

Oz Magazine - film. tv. entertainment.

“For more than 20 years PRG has been diligent in offering its clients the best production service and equipment in the entertainment industry. Growth across disciplines, markets and geographies has always been a key part of our strategy,” said Jere Harris, PRG’s chairman and CEO. “ Now, our abilit y to support all types of entertainment productions globally will take on new meaning, raising an already high bar to an unprecedented level.” PRG is already well established in concert touring for its lighting, video, media servers and staging innovations. Combining that with VER’s tour audio gear and exper tise, the company can now provide a complete suite of services for tours, festivals and events.

Further, PRG can enhance its long history in television production and expand its work in the film industry as VER brings world-class expertise in the video camera market, lighting, display and a robust suite of cameras. VER customers will benefit from PRG’s scenic and automation expertise, vast lighting inventory and its position as the exclusive rental house for PRG’s patented proprietary lighting products. VER and PRG will have approximately 70 locations across six continents. Clients will have improved access to an extraordinary array of equipment from all major manufacturers as well as specialized and proprietary equipment.

OZCETERA

November / December 2018

OZCETERA Exterior shot of NuGround Studios, just opened in Decatur.

Purrfect Cat Lady

elcome to Atlanta, Samantha Martin. The animal trainer has worked for film and advertising over twenty years through her talent agency Amazing Animals. Her dogs and cats, parrots and chickens, have been in everything from commercials to Animal Planet programs, documentaries, and films from production companies like New Line Cinema. Not only does she have an interesting niche in the film industry, but her background in animal performances is very entertaining. For the past 12 years sheâ&#x20AC;&#x2122;s been touring the country with her cat circus, the Acro-Cats. Martin relocated to the metro Atlanta area to train more cats to work in Georgia productions.

NuGround Hangs the Open Sign

uGround Studios has opened. Just 20 minu tes eas t of At lant a, N u G round features 54,000 sq. ft. of productions space including 19,000 sq. ft. of stage, 17,000 sq.

ft. of mill and construction space, and 16,000 sq. ft. of office space and conference rooms. NuGround officially launched with their open house in September.

EVOLVE YOUR WORKFLOW

Complete Color Control In The Palm Of Your Hand MIX technology is the first to bring true Rosco color to cutting-edge LED fixtures. The myMIX app allows technicians to MIX, save, and share colors and offers a unique feature to capture a color from an image on their phone or tablet. Control your color, evolve your workflow.

WWW.DMGLUMIERE.COM WWW.ROSCO.COM

Oz Magazine - film. tv. entertainment.

OZCETERA

November / December 2018

OZCETERA When it comes to Preeminence, Jackson Spalding’s Glen Jackson wrote the book.

Students at Clayton State sharpening their on set skills.

Clayton State Encourages Voices in Your Head Glen Jackson Pens Preeminence

len Jackson’s new book, Preeminence, outlines seven foundational pillars to achieve preeminence in the business world. It explains the importance of trust, the value of building strong and authentic relationships, the impor tance of focus and the innate power of resiliency. Frank Blake, the former chairman and CEO of The Home Depot wrote the foreword. The book has been reviewed and recommended by the likes of Jo Kirchner, CEO, Primrose Schools; Steve Sear, president, international and executive vice president, global sales, Delta Air Lines; and Kevin Smith, chief marketing officer, Rollins, Inc. Jackson is the co-founder of Jackson Spalding, a leading marketing communications agency in the U.S. The agency’s clients include Delta Air Lines, Rollins, Chick-fil-A, The Coca-Cola Company, Primrose Schools, Mattress Firm, Toyota and Interstate Batteries.

Oz Magazine - film. tv. entertainment.

layton State University’s Film and Digital Media Center (FDMC) has launched miniseminars for writing, production, and post. These seminars stand outside of FDMC’s already successful Certificate Programs. For four hours a week, for four weeks, students will focus on special topics in film and digital media creation. “The Voices in Your Head” focuses on how writers develop distinct character vo i ce s . “ I nve s t i g a t i n g a S i tu a t i o n” a n d “Investigating a Person” address writing short-

subject documentaries. “Directing Comedies” shows students how serious (but exciting) the business of comedy can be. For the more practical minded, “The Art of the Interview” and “The Art of Sound” challenge students to get the job done with finesse. Finally, “Pictures without Words” takes up specific questions of purposeful action and camera placement to create meaning minus dialogue. Seminars began in October.

C&S Expands Concierge Services

&S Film Concierge has expanded to a second location at Blackhall Studios. The arrangement allows C&S to provide concierge services to Blackhall’s on-the-lot film guests. C&S specializes in wrap gifts, crew gifts, wrap parties for productions and all types of 5-star concierge for production guests..

C&S is in its f ifth year of operation at Pinewood Atlanta Studios and owners Sally Herman and Cyndi Plunkett are excited about this new opportunity to interact with additional productions.

OZCETERA

November / December 2018

OZCETERA SIEGE keynote speaker James Portnow.

Marty Fuchs Joins SmartSource

Successful SIEGE

his year’s Southern Interac tive Entertainment and Game Expo (SIEGE) was a success. SIEGE supports the rapidly-growing game development industr y in the South and its global influence. “This year we really focused on how to make your career soar,” SIEGE conference director Andrew Greenberg said. “We increased the number of hands-on workshops, added sessions on the hottest new areas like esports and streaming and provided even more opportunities for all our attendees to share information and insights.”

Highlights included a career fair and esports day, the return of the International G ame Develop er s A ssociat ion t rack on industry leadership, a refocused IndieCluster that showed off the best indie games in the Southern United States, and in-depth looks a t g a m e a r t , p ro g r a m m i n g a n d d e si g n . This year’s keynote presentations included a look at how game developers can make the most of their careers, featuring James Portnow, one of the creators of the award-winning Extra Credits YouTube channel.

martSource® Computer & Audio Visual Rentals has hired Mar t y Fuchs as solutions architect. Fuchs will be responsible for providing technical and customer service expertise for audio visual solution installations and working closely with the sales team to prepare RFPs. He brings extensive experience across key disciplines of audio visual and technology management. F u c h s l a s t w o r ke d a s a f r e e l a n c e production manager, stage manager and technical director managing and coordinating corporate meetings and special events. His event experience includes: the Siemens Smart Grid Tour, Bentley Automobile GTC USA Tour, ShowEast, Meredith Publishing Annual Meeting with President and Mrs. Bush, and Florida Hospital’s 100th Anniversary. Other clients have included Walt Disney World, Good Morning America, Daytona Speedway, Bayer Pharmaceutical, George H.W. Bush and the National Association of Workforce Boards. He has also managed audio visual equipment for a wide variety of leading entertainment acts from The Beach Boys and Rod Stewart to Howie Mandel and George Burns.

Xtra Pair Of Hands Staﬃng to Simplify Your Life

Personal Assistant to the Stars Xtra Pair of Hands is a full service personal assistant agency that provides discreet employees, quality service, and individual attention.

ATLANTA (888) 609-3317

NEWPORT BEACH (888) 609-3317

xtrapairofhands.com info@xtrapairofhands.com 18

Oz Magazine - film. tv. entertainment.

OZCETERA Brent Jennings and Wyatt Russell from Lodge 24.

AMC’s Lodge 49 Features Crafty Apes and Moonshine

eorgia studios Crafty Apes (visual effects) and Moonshine Post-Production (post ser vices) collaborated on AMC Networks’ o r i g i n a l s e r i e s , Lo d ge 49. C r a f t y A p e s handled on-set supervision and visual effects. Moonshine Post handled real-time playback, dailies and other key deliverables.

Shot almost entirely in Georgia, Lodge 49 is a modern fable set in Long Beach, Calif. about a disarmingly optimistic local ex-surfer, Dud (Wyatt Russell), who’s drifting after the death of his father and collapse of the family business. Crafty Apes and Moonshine Post have become two of Atlanta’s go-to post production

vendors in the feature, episodic and commercial post production arenas. They offer an end-toend “digital pipeline” from script breakdown to f inal deliverables for Georgia’s studio production needs.

Atlanta Doppler’s Studio A.

The Doppler Effect

or many years and until 2016, Doppler Studios was an icon in Georgia music and film and TV production circles. The brand has been resurrected, in the same location on Piedmont Circle. Atlanta Doppler Studios

(ADS) builds on the rich history of recording for film, TV, radio, and more. ADS is now leasing offices, studios, and a flex space (dance floor, green screen, move viewing). Studio A features a control room, live room and vocal booth.

Recently renovated and re-envisioned, they have kept the acoustical quality of the George Ausgerger designed studios and provide a clean, safe, non-smoking environment in which to create and work. November / December 2018

OZCETERA

Moonshine Looks Good on the Small Screen

oonshine looks good on the big screen . . . and the small screens. Sony Interactive Entertainment (SIE), in collaboration with Ideas United and its creative collective, We Make, released five pilots produced for the PlayStation Emerging Filmmakers Program. Each original episode was created as part of an initiative aimed at harnessing the creativity and diverse talent of budding f ilmmakers. All five pilots are available now to stream on PlayStation™Store and will also be available on PlayStation™Vue. And for all five, Moonshine Post-Production was the post production partner, handling all post including creative

Oz Magazine - film. tv. entertainment.

offline editing, color finishing, sound design and mixing. The PlayStation Emerging Filmmakers Program began last summer with an invitation for writers and f ilmmakers in We Make to submit their best concepts for an original telev ision program. Out of hundreds of submissions, 10 concepts were chosen, and their creators got the opportunity to pitch their ideas directly to PlayStation executives and film industry professionals. From there, five concepts were greenlit for pilot production. The pilots were filmed in Atlanta, with backto-back productions taking place over just

five weeks. Ideas United served as executive producers on the project, providing up-andcoming creative professionals the opportunity to work on large-scale productions. “We’re thrilled to introduce the winners and their pilot episodes, which showcase their incredible talent and unique creative vision,” said Eric Lempel, SVP of worldwide marketing, SIE. “We’re delighted that PlayStation is part of their journey and hope our audience enjoys the episodes as much as we enjoyed working with these talented filmmakers to develop these productions.”

OZCETERA Matt Westmoreland and Louis Gossett, Jr.

WELCOME TO WHERE HOSPITALITY MEETS AMERICA’S PASTIME

DELTA SKY 360˚ CLUB

HANK AARON TERRACE

INFINITI CLUB

KONICA MINOLTA CONFERENCE CENTER

Louis Gossett Honored

tlanta City Council member Matt Westmoreland, along with co-sponsoring fellow Council members, honored actor and philanthropist Louis Gossett, Jr., 82, with a proclamation during a meeting of the Atlanta City Council. Gossett was also awarded with the Phoenix Award, the City of Atlanta’s highest honor, by Atlanta Mayor Keisha Lance Bottoms in the City Hall atrium during a public ceremony emceed by longtime Atlanta news anchor, Monica Pearson. Special guests included Olympic gold medalist Edwin Moses, among others. “Louis Gossett Jr. is an American icon and a treasure to the city of Atlanta,” said Westmoreland. “His involvement in the Civil Rights Movement, unwavering stance on social justice and the many ways in which he has impacted film and entertainment make him a legend. Atlanta is truly proud to be a second home to this amazing man. I’m also looking forward to viewing his current Atlanta productions, and I’m grateful for the ways in which he’s contributing economically to our city.” Gossett has been a pioneer in the film and entertainment industries for more than six decades, with his best-known roles including Gunner y Sergeant Emil Foley in An Of f icer and a Gentleman (1982) and Fiddler in the ABC television miniseries Roots (1977). Gossett won an Academy Award for Best Supporting Actor, the first African-American to accomplish this feat, for his portrayal in An Officer and a Gentleman and an Emmy Award for Out s tanding Lead Ac tor for his per formance in Roots. Gossett’s entertainment credits also extend to Atlanta: he will soon join the cast of HBO’s drama series Watchmen, based on a graphic novel of the same name, and he has been filming On Smoother Dirt, the story of American icon and baseball legend Ernie Eubanks. He is also executive producer of the upcoming documentary Ali’s Comeback: The Untold Story, chronicling the 1970 match between champion heavyweight boxer Muhammad Ali and Jerry Quarry.

For more information regarding holiday events, please call 404-614-2363 or visit

/SPECIALEVENTS

Luxury Waste

ntegrated Waste Ser vices, a waste management solutions provider for many film and TV productions, has added luxury restroom trailers to its offerings. The sparkling new fleet features a state-of-the-art odor reducing system for those with shy noses. The restroom trailers are equipped with solar panels for lighting. The trailers also have AC, heat, generators, and all necessary hook ups. The pump truck is certified clean idle. IWS services are state certified and have all the proper DOT and insurance requirements.

November / December 2018

OZCETERA

A full control room for the RetroRave at 24ATL, celebrating the rebranding and re-launch at Oakcliff Studios. Hex Mortis and DJ Zardonic mix it up on camera while Terry Fitzpatrick controls over 100 unique screens during the music video filming.

RetroRaves and TechLairs

erry Fitzpatrick’s 24frameATL and Oakcliff Studios rebranded and re - launched as 24ATL. As part of the re-launch, 24ATL hosted a RetroRave Party to christen the new of ferings including the totally remodeled sound s t age morp he d f rom an 8 0 s er a studio into one of Atlanta’s only ‘black box’ sound stages. Re-imagined as a collection of working vintage and modern control rooms, the RetroRave unveiled a massive display of technology, collectively called the TechLair™. Used in film, TV, spots and music videos the TechLair features decades of original working tech, re-engineered, and hybrid creations all with original graphics to support numerous storylines. Of course, live shots and custom

Oz Magazine - film. tv. entertainment.

imagery can also be utilized for an infinite variety of outcomes. As Control Room Specialists, the 24ATL team has contributed to Stranger Things, Sully, I Tonya, Killing Reagan, Valor, and currently in production, The Doom Patrol and American Soul. Musically, a New York team, flew in to utilize the TechLair™ for an ESPN and PUMA spot featuring the rapper Meek. How else do you christen a new and unique space? Easy: you get a post-apocalyptic cyborg, Hex Mortis, over for a play date at the TechLair with Zardonic, a heavy metal DJ with an international reputation for crushing it. Nothing short of musical world domination . . . or at leas t a good t ime had by all!

H ex M o r t i s c re a to r J o s h C o l e, w h o has worked on Marvel Movies and TV like Constantine and Preacher, saw where things could go: merge the Hex Mortis character and an expanded vision for DJ Zardonic, including a custom mask Cole designed and built for him. Commissioned by Sony executive James Jeda, the vision and resulting music video pulled together an impressive team of collaborators under the careful direction of Micah Moore. Moore finished principal filming in three days at 24ATL, and completed post soon after. Upon international release, the video immediately went viral.

OZCETERA

WOMEN IN FILM & TELEVISION ATLANTA

Gale Anne Hurd

Connie Orlando

PRESENTS

2018 WIFTA GALA Join us for a spectacular evening celebrating the contributions of successful and talented professionals from all facets of the film and television industry.

Sallie Patrick

NOVEMBER 10, 2018 | 6:30PM

Paula Wallace

103 WEST

103 West Paces Ferry Rd Atlanta, GA 30305

Michele Caplinger

COMPLIMENTARY VALET PARKING HEAVY HORS Dâ&#x20AC;&#x2122;OEUVRES FESTIVE COCKTAILS & SPIRITS UNIQUE SILENT AUCTION ITEMS DJ & LIVE MUSIC

Brennen Dicker

November / December 2018

OZCETERA (Left to Right) Moderator LaRonda Sutton guided a discussion celebrating women in the entertainment business with panel members; Beth Talbert, Deborah Riley Draper, Karen Ceesay and Angi Bones.

#SheMeansBusiness

a ce b o o k p a r t n e r e d w i t h Wo m e n i n Film & Television Atlanta (WIFTA) and the Alliance of Women Directors to host a #SheMeansBusiness event celebrating the value of female representation behind and in front of the camera with some of Atlanta’s most accomplished leaders in film. Four females in film shared their experiences, tips and firsthand knowledge of the entertainment industry as panelists. They were Deborah Riley Draper, award -winning f ilmmaker and executive director at Oglivy & Mather, Karen Ceesay, actor, writer and director, Angi Bones, executive vice president of Bobbcat Productions and Beth Talbert, vice president of operations at

Eagle Rock Studios. LaRonda Sutton, president of WIFTA was the moderator. After the panel discussion, Sutton continued with a fireside chat with Michelle Sneed, president of production and development at Tyler Perr y Studios. The event was held at the Switchyards Downtown Club where attendees also learned about Facebook’s tools for filmmakers and got a f irst look at SEEN - a movement to celebrate underrepresented narratives, to connect audiences to the stories that shape our communities, and to talk about the tangible ways for more films by women to be seen. In 2016, Facebook launched its #SheMeansBusiness initiative, a reaffirmation

of Facebook’s commitment to help promote and recognize women owned and run small businesses. “Representation matters and especially in film, where representation in front and behind the camera has the power to shape how we see ourselves and each other,” said Jen Louis Barrett, head of entertainment, Facebook Creative Shop. “Being able to bring Facebook’s SEEN program and event for independent f ilmmakers from diverse backgrounds to Atlanta was an honor. Connecting with this community, sharing ideas and hearing from these incredible female filmmakers and their powerful stories was incredibly inspiring.”

Videoshoot at MPS.

Media Production Studios Opens

edia Production Studios is owned and operated by 25 year old entrepreneur, DaRika Harris. The newly opened 4,500 sq. ft. production studio is 17 minutes from Downtown Atlanta. The stages are equipped for photography as well as video recording

Oz Magazine - film. tv. entertainment.

spaces with high ceilings and a private dressing room with hair and make-up stations. MPS is also equipped with make-up artists and editing rooms. Prop rentals available too. MPS has three stages, three client lounges, a large hair and make up room, conference/

editing room, and on-site produc tion equipment rentals. Stage One is a large area with over 20 backdrops selections. Stage Two features a 20 x 20 x 30 green screen cyc wall. Stage Three has a 20 x 30 x 40 white cyc wall with vehicle access.

OZCETERA

KEYNOTE SPEAKER Mr. Rodger Bobb President/CEO Bobbcatt Films

STEP UP & PITCH IT SUMMIT 1.0 November 2-3 | Atlanta, GA

Atlanta Technical College 1560 Metropolitan Pkwy SW, Atlanta, GA 30310

PITCH YOUR PROJECT TO FILM, TV, AND PODCAST PRODUCTION COMPANIES, AGENTS AND MANAGERS

FRIDAY SATURDAY

Mainstage Panelists, Workshops, and Reception Vendors Fair and Pitch Sessions

$1,000 SCHOLARSHIP

AWARDED TO STUDENT WINNER ON FRIDAY

CONTACT NUMBER: 404-308-6505

WWW.STEPUPANDPITCHIT.COM

November / December 2018

OZCETERA New Women in Film and Television Atlanta executive director, Jennifer Long.

Jennifer Long Welcomed to WIFTA

PC&E’s Doug Smith Retires

t r u e i co n o f G e o r g i a’s f i l m a n d T V production industry is putting down the clapboard after 35 years. Doug Smith, founder and CEO of PC&E, recently announced his retirement as CEO in a personal letter to PC&E employees. In 2013 Doug sold his interest in the company to the employees in an Employee

Stock Ownership Plan (ESOP), remaining as CEO. With his retirement, Smith will remain as chairman of the board and will guide the board of directors in assessing the overall direction and strategy of the company. PC&E recognized Doug’s career at their 35th anniversary party in October.

Tara Ansley Goes to Beast Mode

l e c B al d w in ha s co me o n b oard a s executive producer for feature film, Beast Beast. It is an adaption of Krista, a short film that won the first annual Vimeo Staff Pick Award at this year’s SXSW. Danny Madden wrote Beast Beast and will be in the director’s chair. Beast Beast is filming in Georgia. Casey Bader joins Baldwin as executive producer under their

El Dorado Pictures banner. Producers are Jim Cummings, Matt Miller, Tara Ansley, and Benjamin Wiessner, the team behind Thunder Road, the SXSW Grand Jury prize-winning film. Madden, Cummings and Wiessner’s Ornana and Miller’s Vanishing Angle are the production companies behind the project.

Our Furniture Has Been Used in Over 150 Movie, Cable & Television Productions

Atlanta'a Largest Selection of Office Furniture Available/or Rental & Purchase

John Skelley

Sales & Design Production Furniture Specialist

5385 Buford Highway Doraville, GA 30340 john@ofexpo.com

Oz Magazine - film. tv. entertainment.

Tel (770) 455-0440 Fax (770) 458-9541 www.ofexpo.com

omen in Film and Television Atlanta welcomes new executive direc tor, Jennifer Long. Long has held management positions in Affiliate Sales and Marketing for brands like STARZ Entertainment, The Weather Channel, MTV Networks, and NUVO TV. She has also held leadership roles in education and not-for-profit organizations. She has a BA in Mass Media Ar t s from Hampton University and MBA in Strategic Management and Marketing from Pepperdine University. Says Long, “I’m a strong believer in the power of your voice.” Long layers her experience in sales and marketing, editing, interviewing, voiceovers and hosting with a technical knowledge of analytics and cross-platform distribution. Building on that combination of experiences, she’s learned that being willing to challenge the status quo in service of great ideas is required. Long is passionate about the future of media and her evolving role in it.

OZCETERA

DMG and Rosco Release the MIX

MG Lumière by Rosco formally released LED product, MIX. The color LED lighting innovation is the result of Rosco’s acquisition of LED lighting specialist DMG Lumière, combining true Rosco color inside a cutting-edge, portable and durable LED fixture. Available in the SL1 and MINI fixture formats, MIX features three different functionality modes. The white mode offers a wide range of tunable white light from daylight to tungsten, along with precise green/ magenta correction. The color mode enables users to adjust color hue, saturation—with the ability to de-saturate colors to either daylight or tungsten—and intensity, including a fine dimming curve. The gel mode allows users to select a Rosco gel from a vast gel library and even modify the gel’s hue, saturation, and green/magenta shift as needed. Also launched: the myMIX app allowing users to mix, save and share colors. Users can capture a color within a mobile phone photo, save the color and push it wirelessly to the MIX fixture. The app controls MIX fixtures wirelessly and contains all of the onboard control features, along with the ability to name and save colors within project folders, and share colors instantly with colleagues. instantly with colleagues. “With MIX technology we’ve completely revolutionized on-set workflow, making it faster and easier for lighting technicians to create, modify, and share colors within their LED fixtures,” said Nils de Montgrand, vice president of DMG. “Technicians can now have complete control over their color, right in the palm of their hand. It’s no longer necessary to stop everything to adjust color on-set. It’s all done automatically at the push of a button. And, colors can be save and shared between colleagues, meaning precise colors can be repeated again and again, regardless of who is controlling the app.” MIX technology uses the same popular ultra-thin, yet highlydurable form factors as DMG’s Swith series of LED fixtures. Power sources can be easily mounted onto the fixture, or can be used off the fixture, making this a uniquely versatile light. MIX builds on DMG’s expertise in LED lighting panels, which have been used to light award-winning films and TV shows including Game of Thrones, Valerian and the City of a Thousand Planets, and Jackie.

CFO Firm Opens in Atlanta

ccounting firm, The CFO Firm, has expanded from Houston, Texas to Atlanta, Ga. Offering a custom suite of financial and accounting services tailored to growing businesses, the firm will be diving head first into Atlanta’s film and TV industry. CFO Firm services include accounting for any production, post production, and residual payments.

November / December 2018

OZCETERA Girls on the Run Atlanta participants show off their star power.

Good Works in Brownieland

rownieland Pictures participated in the Atlanta Walk to Defeat ALS, the ALS A ssociation of Georgia’s larges t annual f undraiser. I n honor of Famil y Day, t he Brownieland team organized a donation drive

for the Atlanta Children’s Shelter to support homeless families striving to become selfsufficient. Brownieland principal Robyn Kranz returned for another season as a volunteer coach with Girls On The Run Atlanta. And last

but not least, Brownieland wrapped filming with their Brownieland #10in10 Volunteer Campaign winner, Literacy Action, just in time to celebrate its 50th anniversary.

Michael Thurmond speaking at last year’s expo.

DeKalb’s Entertainment Expo Set

he DeKalb Entertainment Commission (DEC) will host its second Annual Entertainment Expo on Saturday, November 3, 2018 at ROAM Innovative Workplace at Perimeter Center. The event will feature information and resources for entertainment professionals, students, individuals seeking to learn more, or those interested in pursuing 28

Oz Magazine - film. tv. entertainment.

a career in the film, music or digital industries. The Expo will feature: Panel Sessions; Hands-On Workshops; Pitch Opportunities; One-on-One Meetings with Industry Professionals; and Industry Related Vendors. The E xpo will go in - depth on the latest industry trends, break-in guidance, and tools on how to become a part of the entertainment

business in Georgia. Whether you are a seasoned professional, just starting out in the industry, looking to make a career change or in school, all attendees will gain knowledge and steps to be successful in these industries. To buy tickets or for fur ther information: ht tps://dekalbenter tainment.com/ entertainment-expo/.

OZCETERA

November / December 2018

Oz Magazine - film. tv. entertainment.

November / December 2018

uesday evening, downtown Atlanta, and the sun is just starting to touch the tops of the trees. The block is filled with students in jeans and yoga pants, business people in suits and dress shoes. The scene is varied, however. It’s clear that there is an abundance of adults going back to school. With the advent of the movie business in Georgia, more and more working adults are quitting their 9-5 jobs and going back to school for degrees and certifications, all so they can make a new career in the blossoming movie business. In 2017, Georgia saw a $9.5 billion economic impact, and the state is only growing in popularity. Large-scale studios are opening left and right and major producers and directors are targeting the state for franchises, blockbusters, and television series’. This means more jobs and a strong need for qualified people to fill those openings. Luckily, local colleges and universities have picked up the torch and are offering an ever-increasing number of classes in all sorts of fields pertinent to the business. Technical colleges, unions, and workshops also offer a wide array

Oz Magazine - film. tv. entertainment.

" If you're start ing out and can t rade money for creat ive cont rol, do it, " of options for movie-business bound individuals. Gregg Easterbrook knows this process well. He’s been in the movie business for 19 years and works as a camera operator and cinematographer, but he didn’t start out there. After a fulfilling career in marketing, Easterbrook couldn’t shake the feeling that he could be doing something more. So, he enrolled in a graduate

program and received his MFA in Film. Growing up, Easterbrook had always had a camera in his hands, beginning with his little 16mm. “If you own a camera, work comes to you,” he said. And while he set his creative work aside for a time, he couldn’t really stop thinking about what could happen. After obtaining his MFA, he landed a job as an assistant cameraman, initially gaffing on commercials. In 2001, he shot his first feature. Easterbrook is convinced that the opportunities that were available to him in 1999 and 2000 have only increased for those looking to jump into the business. “Georgia has embraced and accepted the industry in a way no one else has,” he explained. The broad industry and governmental support have combined to make Atlanta, and all of Georgia, a hotbed of film and television activity. Add to that the number of studios being built and the level of monetary investment being made, and you really can’t go wrong, as a newbie or a veteran. Still, the film and television business is still a business. One has to get that first break before capitalizing on the opportunity here. Easterbrook realizes

that, and as an adjunct professor at a local art school, he regularly gives his students advice. “If you’re starting out and can trade money for creative control, do it,” he said. He went on to explain that, early in his career, he had the opportunity to shoot a short film for a company. There was little to no money involved, but he felt inspired by the premise and confident that his vision would work. That short film catapulted him into a different career level; while he was paid next to nothing, the experience was invaluable. “If you can place your artistic vision in a film, feed it. Take the opportunity to brand yourself in the marketplace and find out how you see things.” James Tripp-Haith, line producer and unit production manager, followed a more old-fashioned route. In the business for more than 40 years, Tripp-Haith began as a local DJ in Pittsburgh. He eventually moved on to WQED, a local PBS station, where he set his sights on something more than radio. The move led him to a local training program and an array of jobs, including assistant director, production assistant, and producer/director and a stint on Mister Rogers Neighborhood. Tripp-Haith always wanted to be in the entertainment business, in some form or another, and the steps he took seemed a logical way to take him where he wanted to go. In fact, it’s the same advice he would give anyone just starting out. “Keep in mind that it’s a business,” he said emphatically. “It requires human skills. Rely on things that you learn.” Tripp-Haith is a huge proponent of learning something new from each job and building your future on that newfound knowledge. “I encourage people to learn - ask questions understand how it works,” he said. “Understand how your job contributes to the whole. If you’re a cameraman, figure out how your work relates to the sound engineer and how it affects the producer and the director. Take what you learn from that job and apply it to the next job. Collect knowledge. Grow.” Tripp-Haith encourages both formal schooling and working, as doing both can contribute to a career in different ways. “No job is too small,” he declared. “Learn and build for each job.” Jen Farris, location scout and assistant location manager, did just

that. “I started positioning myself at film festivals, taking refresher classes through the Atlanta Film Festival, and volunteering with Bronzelens Film Fest,” she said. While there, she met location pros and really learned the ins and outs of her career, building on her past to produce her future. “After awhile, I began to get calls from location managers and unit production managers from Los Angeles and New York who liked the work I was doing on the ground here in Georgia.” Farris has been in the entertainment business, first in music and then movies, since the 90s. After getting her degree in broadcast journalism and media management, she moved to Atlanta and got her first job as an audio technician for the 1996 Olympics, covering the gymnastic competitions. She transitioned to a national record label and stayed in the music industry until 2011, when she location scouted her first project for BET Networks. She knew from the beginning that location scouting was for her, mainly because of the way a location can tell a story. “The visual piece is as much a part of the story as the script. My initial goals have always been to be a creator of content and stories,” she explained, and her passion is obvious. In fact, it was the cinematography that first drew her into the film business. “I watch movies in frames,” she said. “From angle to angle. I have always been impressed with cinematographers that capture emotion inside of a small frame of time.” Farris, like many movie professionals, relied on a mix of classes and jobs to learn the ropes; she recommends the same strategy for anyone trying to break into the business. “You are never too smart to refresh your knowledge,” she said. And she also encourages always being in the moment. Go after what you want, do anything you can, and sharpen your skills. “Be extremely thorough and pay extreme attention to detail,” Farris advised. “Anyone can get a job. Be an asset.”

"If you own a camera, work comes to you,"

November / December 2018

Also. “Never make enemies. Those bad bridges will come back to haunt you.” Nesha White, wig maker and make-up artist, agrees wholeheartedly. A 20-year veteran of the industry, White firmly believes that her work ethic and kindness towards everyone she met in the business got her where she is today. She began by volunteering to assist the make-up artists on different sets, confident in her skills because she had worked as a session stylist and had done video and tour work. “I did a lot of industry networking events, I applied to jobs like crazy. I made sure I got the best training in the industry,” she explained. Eventually, her hard work, talent, and determination landed her an official industry job offer. Would she recommend the same course of action for those looking to become stylists? Definitely. “Properly plan, keep positive energy and those that have a positive energy around you, give back and NEVER give up,” she said. Michael Hofstein, producer/writer/ cinematographer, never did give up, and today he is living the dream. Currently, he and his wife are in Greece, relaxing, before attending a film festival in eastern Europe. Later, he’ll fly to Budapest on business. With a career spanning almost 50 years, Hofstein has done it all. He produced IATSE 479 training.

Oz Magazine - film. tv. entertainment.

his first feature film in 1997. He founded EuroPacific Films and produced each of their features. He’s been a director of photography at 20th Century Fox, directed commercials both here and abroad, and has had his hand in numerous blockbusters including Rush Hour, Mask of Zorro, M.A.S.H., and Star Trek. However, his beginnings were humble; his first job out of college was a runner for a camera rental company in LA. He progressed quickly through the ranks. “I was hired as a PA at a commercial production company where I was taught the basics of being a camera assistant by Pat Omara, and my career developed from there,” Hofstein explained. He worked awhile in commercials, spending time at all the best commercial production companies, learning the ropes, honing his craft, and making connections. He transitioned to low and medium budget movies, and then Paramount Studios came calling; he worked as a camera assistant on several television shows, including Taxi, Happy Days, Laverne and Shirley, The Mary Tyler Moore Show, and more. Eventually, with years of hard work, he made his way from camera assistant to camera operator to director of photography as well as a director. Hofstein broke into the business in a very determined way - moving to LA

and being persistent. “I wrote resumes, and rewrote resumes. I worked on any project that would hire me - usually for long hours and little pay,” he explained. “I practiced assembling cameras at camera rental houses during the day and worked as an assistant editor at night...I never took ‘no’ for an answer.” This included a stint with Wakeford/Orloff, one of the top commercial production companies during the 1970's.

"I Never Took 'No' for an Answer." Hofstein routinely worked any odd job he could that would get him into the studios so he could see things first hand. This determination paid off. “One day while at W/O I overheard a production manager say he needed an additional PA

to the office receptionist,” he recounts. “I walked over and told him that he would never find a better PA than me. I further said that, I’d work hard and would always be available for him.” Hofstein was hired on the spot, and thus began his long and illustrious career. That’s why networking is one of the main ways he recommends people first step into the industry. “Networking is so important! I enjoy networking, making new friends, learning about others and their careers. It’s enjoyable being with people who work hard and play hard. I absolutely appreciate those who go for broke in all that they do, people who are not afraid to take responsibility, people who put themselves on the line to protect others who need protection, people who understand how to be a leader as well as a follower.” According to Hofstein, it’s most important to adapt, to learn, and know when you’ve made mistakes and how to fix them. Add to that the experience gained by working inside the film business. “I learned my lessons within the film business at the major studios in Los Angeles from those who came before me, mentored by those whose names are today synonymous with professionalism and creativity in the motion picture industry,” he explained. While he admits film school provides a certain knowledge, he values experience over all, and much like Tripp-Haith, Hofstein realizes that this is a people-oriented business. “Always be respectful, kind, and learn to work hard. When you think you are working as hard as you can, stand up straight and push yourself even further. Listen, be watchful and anticipate the needs of your department head...work hard. When you’ve convinced yourself that you are working hard, try to work harder, concentrate more, anticipate what will be needed next, be curious, speak when asked, learn not to offer your opinion when you’ve only been working for a short while, learn to respect those who have come before.” Come December, those school programs will be finishing up the semester and sending newly graduated students out into the movie and entertainment business. Trade schools, unions, and technical colleges will start back in January, classes filled to the brim with eager students. Whether coming straight out of high school into the workforce or embarking upon a new career at age 35, Georgia is ripe with opportunity.

KEYNOTE SPEAKER Mr. Rodger Bobb President/CEO Bobbcatt Films

STEP UP & PITCH IT SUMMIT 1.0 November 2-3 | Atlanta, GA

Atlanta Technical College 1560 Metropolitan Pkwy SW, Atlanta, GA 30310

PITCH YOUR PROJECT TO FILM, TV, AND PODCAST PRODUCTION COMPANIES, AGENTS AND MANAGERS

FRIDAY SATURDAY

Mainstage Panelists, Workshops, and Reception Vendors Fair and Pitch Sessions

$1,000 SCHOLARSHIP

AWARDED TO STUDENT WINNER ON FRIDAY

CONTACT NUMBER: 404-308-6505

WWW.STEPUPANDPITCHIT.COM

November / December 2018

Oz Magazine - film. tv. entertainment.

nvestment for the booming production business, however, still flows primarily from New York or L.A., Georgia’s investment class has made some moves into infrastructure, studios being the prime example, but they are yet to make meaningful investment in content creation. Some sharp, local minds are out there, trying to educate investors about the risk and potentially high rewards from investing in original content. “We haven’t reached a self-sustaining industry yet,” reminds Peter Stathopoulos, a partner with the consulting firm Bennett Thrasher who specializes in advising entertainment companies on production incentives. “It's still heavily dependent on the film credit. If we can fill in some of the gaps of the industry here besides production than, yes, it might become self-sustaining. We're not going to have a vertically integrated entertainment industry until some of these pieces fill in.” One of those gaps is certainly in the area of equity and debt financing for film, television and other entertainment content creation. Georgia has become a popular place for production because of its lucrative tax breaks. That has led to the creation of an infrastructure to support all the film and television business coming to the state and an influx of people and companies serving the needs of both visiting and homegrown projects. But is this foundation strong enough to hold up the local industry if we no longer attract the outsiders? “If Georgia really is going to be sustainable in the long term, we have to expand outside of just producing films, and we've got to create the content locally,” suggests Jim Andersen, AVP of commercial lending at Bank OZK. “In order to really curate that content locally, the general investment community needs to come here. The guys who put up the risk capital need to put it in film so that these guys are able to take their ideas and make something out of it.” Or perhaps it could build from within, and there’s good reason why the local investment community has a vested interest already. “We have to figure out as a community, as a whole, how to protect the infrastructure that we've been investing a great deal in,” says Bernadette Boas of Ball of Fire Media. “There are a lot of people who are dependent on the

"we have to expand outside of just producing films, and we've got to create the content locally," tax incentives being there. If they ever go away, we will have a lot of empty buildings and a lot of people out of work. If we could keep them busy by getting local content created and financed and produced, we'll be protecting that infrastructure. When it comes to that cause, it's going to take local people. I just think it's a tragedy we don't have an entertainment investment community like we do with healthcare technology.” Fortunately, there are a number of people who have already started pushing to fill in the gap. Solutions to the problem of Georgia’s film industry ecosystem range from the more traditional to the bold and ambitious, and it’s not going to take just one idea to crack the nut of in-state investment. The first step, understandably, involves education. Not just for the investors to better understand the film industry but also for the filmmakers to better understand finance. "The idea is to educate and cultivate an indigenous population of producers and financiers that don't necessarily need to rely on the West Coast or New York to green-light, produce and ultimately distribute content,” says Don Mandrick, Managing Director of Georgia Production Finance. “The goal is to create and to build and be part of a community that can do that all from the great state of Georgia." Educating isn’t just about providing information, however. All sides involved need to have an awareness, a familiarity even, of their counterparts’ involvement in this sort of investment. And for that to happen, both the producers and the investors together need either a translator or, better yet, the capability for multilingual communication. “We speak different languages,” says Andersen. “The gap between traditional finance and film is that we are accustomed to speaking business talk; creatives are accustomed to speaking creative talk. Meshing those together can be difficult at times. Creatives don't want to give up control. Investors want control. How do you marry those two together?” One preferred sort of mediating

Jim Andersen educator would be a veteran of the film industry who has a history with such deals. “There are a lot of producers who live here in Atlanta who have a lot of experience with making feature films or television,” Stathopoulos acknowledges. “Ideally, we would create some way for some of them to volunteer to educate the investment community on the soup to nuts of how do you go from a screenplay to a finished movie to money.” For Boas, the key is to hold events throughout the year for both creatives and investors to learn the other half of the picture and eventually bring them all together. “We're taking a two-prong approach. The creators in town are not very well educated on the business side of things. They're not quite sure what to do. My mission is to get them that training.” So far, she’s mostly worked with the creative side, consulting on what is needed to attract investors. Her next event, held this fall, is a workshop for the DeKalb Entertainment Commission specifically for productions with a financial package -- a budget, attachments, distribution, etc. During this annual expo, filmmakers can pitch their project, receive feedback and potentially win awards. She admits that it’s been a slow process so far. “The question people ask is, so how much money have you raised for people? And I will say to anybody: that has not happened to date. Again, we're still continuing to search for those individuals with money that are willing to write the checks,” she explains. Still, she’s confident in her strategy and has seen progress in the relationships made through her efforts. “There are tons of people who have gotten people connected, gotten people attached to their projects, gotten people brought onto their projects in a producer role or in some other capacity. It's been very successful in making those connections and networks." “This business is all about relationships,” agrees Kendall McKnight, Chairman and CEO of the firm KEGFinancial. “I think what I've found is a November / December 2018

“The guy who gets burned is going to be 10 times more vocal about his film experience than the guy who didn't get burned,”

Bernadette Boas

Tyler Morehead

Oz Magazine - film. tv. entertainment.

lot of people, the production companies and producers here, like to work with someone they can talk to, meet with. If you go out of state and try to find somebody, you won't have that close relationship. It's mostly just phone calls and emails. You don't have a chance to build that close relationship.” As for the potential investors in town, "There are a lot of deep pockets that come to me talking about how they'd love to be involved in film,” Boas adds. “They just don't know anything about it. Or they don't know about how to vet out a film project opportunity as easily as healthcare technology or something else. As much as I'm like, ‘Well, it's the same -- the same due diligence,’ for whatever reason they just find it very different and confusing." Another deterrent is supposedly the wait for a return on investment. “The reason people don't do it is the life cycle of taking a project from start to finish and then getting it out and hoping it makes money is so long,” Boas claims. “And I'm like, ‘Then you've never invested in healthcare technology.’ They always complain, ‘Well, there's no product with a film.’ There's a script and there's a pitch and a deck and a budget, and those are all the things that any other industry, product or service is going to pitch to somebody with money, So if we can open up that dialogue on a consistent basis, we could be building up a pool of folks with money and then maybe attract other folks, even companies, wanting to put money into the community and build out a production industry here.” But film finance is also thought to be too risky, and for some investors there’s a good reason for that. "There are a couple of heavy hitters in the angel investor community who share their devastating story of the one time they invested 10-15 years ago and lost all their money,” Boas reveals. “We have that to overcome."

And going further, there’s trepidation on all sides to make sure that doesn’t happen, because more bad experiences will further deter investors. “The guy who gets burned is going to be 10 times more vocal about his film experience than the guy who didn't get burned,” Mandrick explains. “To [their] entire world of people, they say, ‘Don't do it!. I got burned. I got screwed.’ But are they to blame a little bit, because they didn't do what they were supposed to do? Absolutely.” The local money community needs to become more comfortable with film financing. “No one is going to care about protecting the infrastructure in Georgia unless they live in Georgia. When it comes to that cause, it's going to take local people,” Boas states. “But trust me, Georgia creatives are not sitting around waiting on Atlanta money to be made visible. They're going where they can find the money.” And that might mean an exodus of talent, because there’s just not much lending or equity funding available in Georgia for independent productions. “If I'm a young filmmaker and I live in Atlanta and I can't raise money where I live, in my community, I have to go to New York or London or somewhere else,” Stathopoulos explains, “but it's unlikely as a young filmmaker that I'm ever going to get financing for my project. Obviously if you're a really experienced producer and have a track record in this business, then yes, you can go to New York or LA and other places to raise money, but if you're an up and coming filmmaker, young writer/producer/director in Atlanta, it just makes it hard for you to get much content made because you're not going to have access to capital sources outside of Georgia.” Andersen proposes there need to be more intermediaries. “Where somebody can translate the needs of the filmmakers with the needs of the bank and put together business plans for the filmmakers,” he says, “and then also be able to pitch those to the banks and be able to speak the bank's language.” McKnight is one consultant who acts as a go-between, though he sees more help needed on the creative side. “The investors are looking at things from a business standpoint,” he says. “‘How

am I going to make my money back and make some money?’ It has to make good business sense for the investor. The creators of the project are looking to create a wonderful experience for the audience to come see their movie. They're looking at it from a creative sense. A lot of times I have to be the mediator and decide: is this product that you want to put out there going to make good business sense?” One area that McKnight stresses in his education of creatives is the need to budget for print and advertising financing. "That is what makes a film,” he claims. “If you don't have a great budget for picking an account to have P&A financing, it won't make a difference if you have an A-list cast or a great script. I've seen people have ok scripts but they had great P&A financing and the film did well, and that's what you're going to need to get people to come back and invest more on your projects." Mandrick is another one of these intermediaries doing his part, and not just for building relationships and making promises for dreams come true. “In many cases, not intentionally, it's me talking them out of investing,” he says about consulting potential financial partners. “Because it's not satisfying their expectation. Nine times out of ten, the project probably wasn't what was pitched to them just in terms of viability. A lot of my time is educating people on the questions they should be asking and the information that they should be requesting.” When the right fit does happen, though, a first wave of successes will really get the ball rolling. “What's best for investors is that if the first few investments are around experienced producers who have a good track record at knowing how to monetize their content,” says Stathopoulos. “There are ways to mitigate risk associated with feature film investments, and experienced producers know how to mitigate that risk.” Stathopoulos sees promise in the amount of experienced creatives emigrating to Georgia who could be a part of that necessary first wave of success stories. “Producers moving here, writers moving here, showrunners moving here. Or at least living here part time. Buying condos here. I continue to see Atlanta

becoming kind of a haven for creatives,” he says. And on the other side, “There are folks here in Georgia who are taking a very hard look at this. Who will hopefully serve as tastemakers,” Mandrick assures. “Hey, those guys are doing it, there must be something to this. Hopefully, it just takes a handful of these bigger ticket investments to be made to where their advisor team then becomes part of the brain trust. Those guys travel in circles. If ‘John Smith’ is going to put a $10 million investment into the space, there's a good chance his friend, his neighbor, his country club buddy, his golf buddy, his church partner will. Those men and women are paying attention to what that guy is doing, and if that guy does it intelligently and experiences a return financially but also a great experience emotionally and spiritually, that will become the foundation of more financial partners coming to the table.” Also on the intermediary front, Tyler Morehead and Cody Tellis are part of a newly formed team at Merrill Lynch

“Working in LA, I didn't like seeing guys in suits. They were just intimidating to me.” that is also looking into film financing in Georgia, firstly by shedding light on what’s possible and what’s not possible and providing alternative, out of the box ideas. “In a nutshell, we can be both a financial planner and private bankers for these individual companies,” Morehead says of what they’re doing for people making films in the state. “We're finding new answers and solutions, daily. And as we work closer with industry in Georgia, we're discovering more and more ways that we can be an asset.” What makes their team so strong as advisors is it’s made up of both sides of the equation. Morehead is a jeans-and-t-shirt kind of guy, a producer transplanted from Los Angeles with 25 years experience in the entertainment industry, while Tellis

represents the suit-and-tie financial world. “We've been able to put our heads together and come up with some creative ways to tackle a lot of the obstacles that are there in the industry specifically in Georgia,” Morehead says of the team’s approach with local production companies. “We're just finding ways to get people to work around things that weren't traditionally known as being workaround-able.” "In helping to build deal structure,” Tellis adds, “one of the things that we've found to be very helpful is to provide better alternatives rather than to just sit on money in a zero-interest or some sort of trust operation. Where there are a number of financially secure investments, and by that I mean a money market that's paying 2% as opposed to just sitting on cash that's doing nothing. We also have on our side here at Merrill our structured lending department where assets can be lent against and/or multiplied. We're going to interface on the bank level for the lending but we're also going to interface and be useful on the deal structure side with my legal background and tax planning perspective; we're going to be a lot more useful than a typical advisor." Morehead understands that for the creatives, dealing with money people isn’t the most fun part of the process. “Working in LA, I didn't like seeing guys in suits,” he admits. “They were just intimidating to me.” Tellis acknowledges that artists and businesspeople do clash. “There's just a sense of inequality that goes with that sometimes,” he adds. “So a big part of what we do is,” Tellis explains, “even if we don't ultimately close the deal or we're not the ultimate financier, is to help people understand what the right deal is that they should probably work with. And if that's not with us, that's not with us, but then at least we can get people pointed in the right direction to what's best for them in the hope of getting the deal done.” Another option is to invest in more than a single independent project. There’s been suggestion of a film fund in Georgia that could spread the wealth around to a varied production slate. But even that might not appeal enough to potential partners, especially in the beginning. "I don't think a pure content fund is diversified enough,” argues John Adcox,

November / December 2018

Cody Tellis

Ken McKnight

Peter STATHOPOULOS 40

Oz Magazine - film. tv. entertainment.

the CEO of Gramarye Media. “I think it's got to touch other elements. So having the real estate component, having the distribution component -- distribution is first-money out, so obviously that's going to be very attractive to investors.” Gramarye is an Atlanta-based cross-media startup looking to disrupt the Hollywood model by financing the development of their projects and other components of their mini movie studio as well as a publishing outlet and virtual reality production facility through a Security Token Offering, which has been likened to cryptocurrency but is more a kind of tradable digital share in the company and pays out dividends. It’s a fresh form of capital fundraising that is also fully regulated. “You have to disrupt from without,” Adcox says of what his company is doing. “And Georgia is probably the only place on the planet where we can do something of this scale and disrupt to this degree." While this state is the best place for Gramarye, Adcox also believes that his company’s aim to produce universally appealing and therefore profitable original homegrown content will be the best for Georgia in the long run to balance against all the visiting productions. "Right now, Georgia is the Chinese factory where stuff gets outsourced for cheap labor and cheap cost of business,” he conveys. “The true winners are the ones who actually own the [intellectual property]. That's what we have to be. And that's what Gramarye is about.” Having a method of de-risking original content is the strategy for Adcox. “Everybody's afraid of original content, because it doesn't have a known brand,” he says. “Our job is to make original content have a known brand and mitigate that risk of green-lighting. And then spreading that over other companies with their own revenue stream is great for the investors because it further mitigates their risk, and it also creates an ecosystem that's stronger than the sum of its parts." Speaking of brands, another alternative involves product placement and brand integration. Chris DeBlasio’s Agency 850 is leading the charge on connecting content creators with businesses looking for a different sort of return. “It's a little bit different than traditional investing,” he states.

“The people who I deal with are CEOs or business owners of a lot of major corporations to whom these are advertising dollars. I can be in prefinancing mode or I can be that last leg to finance a film to completion. We're connecting advertising dollars with some of the things that are shot out here." DeBlasio points out that even a local brand can benefit from national and international attention. Just because a project aims for a broader reach, a Georgia-specific restaurant or shop will reap the rewards of the exposure on a regional level. Of course, it’s also especially beneficial to smaller productions looking for narrower distribution. “It's all relative,” he explains. “If somebody is shooting a local microbudget film and they need a location that's a coffee shop, why not shoot it at the actual coffee shop, using their logos and showing that this place really does exist, come check it out. The amount of local traffic -- people go to that store just because that movie was shot there. On a local level it still can be done.” The only real challenge is apparently getting the creatives aware of this kind of opportunity. “It's an eye opener. Filmmakers don't really think of this stuff,” DeBlasio acknowledges. “They're so focused on trying to go after the person with the money. Instead they can contract a company like ours where we already have advertisers on retainer. We can very easily plug those people in and create another revenue stream for the production or offset more costs. We're essentially bringing in free money.” And while filmmakers could try to do this themselves, DeBlasio doesn’t recommend it, especially for anyone looking to steer clear of seeming like they’re selling out. “I know how to navigate those waters,” he confirms. “If you try doing it yourself, you've got an advertiser willing to give you money, but they could turn your entire project into one giant commercial. Which is going to take away from the entertainment value. We're the go-between, that arms length where you don't have to worry about it. We're the ones making sure that we get the advertiser the most bang for their buck without taking away from the integrity of the script.”

"you've got an advertiser willing to give you money, but they could turn your entire project into one giant commercial." Why not just focus on the big brands and big movies? DeBlasio is passionate about the local industry and believes that’s where the future is for Georgia. "The studio stuff is great, it's feeding people. But let's focus a little bit of the energy on some of these smaller independent productions, because that's who your people are. That's your infrastructure. If Georgia is smart they're also going to find ways to keep the independents going here.” And DeBlasio isn’t alone in being optimistically focused on Georgia. “I really do have a lot of hope for Atlanta,” Morehead professes. “I think that it's really set up well. Georgia is very well positioned for a major stake in this industry: the infrastructure is there; the creatives are there; the locations are there. What the leaders in Georgia have done is really strong. The state just needs to continue to look at the big picture. "If the entertainment community here can come in and not only look at film as an art form but look at it as a business, that will be the game changer for Georgia because then they'll say, hey Georgia knows,” McKnight adds. “For film producers or production companies to know how to make great films that are profitable, with the tax credit, that makes more gravy on the dish. And that'll make Georgia stand out amongst other communities.” So many others are hopeful that Georgia will reach the goal of self-sustainment, too. “I've never in my life met a group more passionate and more interested in the exact same outcome as the film industry in Georgia,” Andersen professes. “Everybody is trying to help one another. Everybody is committed to making Georgia the leader in this space. And it's really exciting. These people are extremely hard working and extremely passionate. I think it's going to be very exciting to see where Georgia is in the next 5-10 years. I think film's going to be here. I'm very confident in that. It's just going to take some time.”

Chris DeBlasio

YOU

TAX & ACCOUNTING SOLUTIONS FOR THE FILM INDUSTRY

THE CFO FIRM, YOUR RIGHT ARM THROUGH THE PRODUCTION PROCESS.

Services: Payroll Production Accounting: On & Off Site

Specializing in Bookkeeping, Tax, & Audits for Film Professionals & Production Companies. ORGANIZING LLCS & CORPORATIONS

Residual Payments Locations: Houston | Atlanta 1-800-930-0996 | WWW.THECFOFIRM.COM

ATLANTA 7702162227

PEACHTREE CORNERS 7702162227

MARIETTA 7704220564

WWW.FRICKECPA.COM

November / December 2018

Oz Magazine - film. tv. entertainment.

November / December 2018

rip and lighting equipment is moving out by the truckload throughout Georgia as rental houses and production services companies fill orders for commercials, feature films, episodic television and content for emerging streaming platforms.

Oz Magazine - film. tv. entertainment.

Humphrey Doubles Services In the last decade the lighting and grip business has grown so much in Georgia that Jarrod Humphrey now owns two grip rental and expendables companies, Atlanta Rigging Grips, Inc. and Anchor Rigging and Goods, LLC. Humphrey started as a best boy in 2008 and began working as a key grip in 2010 “before it was really busy here in the local market,” he recalls. “Then a lot of bigger features started coming in, beginning with the Fast and Furious series, and I developed contacts with people doing the larger productions.” He opened Atlanta Rigging Grips, Inc. around 2011 and invested in his first 48-foot grip trailer with full studio grip package. He added a second 48-foot trailer to meet growing demand, and in 2015 launched expendables company Anchor Rigging and Goods, LLC., which also offers a 5-ton grip truck with full grip package. Humphrey believes his approach

demonstrates how “independentlyowned, small business made in Georgia” can thrive as a result of “tax incentives, entrepreneurship and a little hard work.”

Rope Access Technician using his SPRAT skills to hang anchor points in downtown Atlanta when heavy equipment was not an option because of the weight loads on the parking structures below.

The two trucks at Atlanta Rigging Grips are available with standard packages and customized with add-ons. The equipment is typically used by feature film and TV productions such as the third season of Star on FOX, the first season of the live-action Doom Patrol, which will stream on DC Universe in 2019, and the recently-released feature Mile 22, starring Mark Wahlberg. Humphrey makes his own rags in custom sizes and fabrics and has a metal fabrication shop, Carver Iron, run by Neil Carver, for custom set carts and truck builds. He also provides productions with certified rope access technicians, who are members of SPRAT (Society of Professional Rope Access Technicians), when productions need to rig hard-toreach areas where heavy equipment can’t be used. “Big features use this service,” he says. “We come in as stand-bys on a hot set and can deploy rope access to rooftops and other areas overnight or on the day of a shoot – it saves them money.” November / December 2018

“Productions & Events are our Speciality, Customer Service is our Pleasure.”

Power & Equipment Rentals:

100 ton and 200 ton Chillers Generators (Sound Attenuated) & Studio Units Power Distribution Temperature Controls Light Towers/Globugs

Services:

Turn Key Service - Power & Climate Controls Tech Support Available 24/7 Staffed Licensed Electricians-Electrical Permits Power & HVAC Logistics-Pre-Site Consultation On Site Diesel Fuel Service (Diesel & Bio-Diesel) Stand-by Electricians & Experienced Techs “We are Local and Family owned & operated”

200 Ton Chiller

NEW

500 amp Studio Mega - Quiet Generator

230 Summerhill Rd., Dallas, GA 30132 (Main Office) 770-445-8722

Rick Harris (c) 404-550-6432 Owner & Sales / Service / Licensed Electrician Delores Harris (A/P Office) 770-794-6668 Owner & Bookkeeper Lindsey Harris Morrison (C) 770-722-6669 Office Manager / Film Accounting 46

Oz Magazine - film. tv. entertainment.

www.harrisdiversifiedllc.com

Eco - Light LED Light Tower

Anchor Rigging and Goods’ 5-ton truck, available with a standard grip package and add-ons, is used by feature film 2nd units as well as TV productions. It’s currently on season two of the YouTube Premium series, Cobra Kai, which follows the original Karate Kid saga. According to Humphrey Anchor is the only company in the world making digital green screen and blue screen rope rated for fall protection and lifeline applications. “My contacts had been working the big Marvel features as rope access technicians and found a need for lines and overhead diffusion rigs that didn’t have to be painted out in post production,” he explains. He had a light bulb moment and, working with his friend’s company, Highline Ropes, developed an undetectable green screen and blue screen rope rated to high industry standards. He took samples to productions and started selling the rope by the spool. Humphrey believes that the market for “episodic television and streaming series will continue to expand in Georgia – streaming in particular is gaining momentum. Everything is here for them: the crew base, facilities and vendors.”

Quixote Fills Client Needs at Blackhall Studios Quixote is the exclusive provider of grip and electric, production supplies, communications and expendables for all productions at Atlanta’s Blackhall Studios. “Our main focus is to service the lot,” says Quixote vice president Haryl Deason, although productions shooting around

Atlanta and in Savannah, Brunswick and elsewhere in Georgia have also tapped Quixote’s extensive inventory. The company caters to feature films, episodic TV and streaming series. Quixote fills client orders for cable and distribution gear, lighting fixtures, lighting support and, through third parties, truss, grids and rigging. Quixote’s lighting roster features a wide array of LEDs as the industry migrates to LED technology. “There’s still a demand for HMIs and tungsten, although they are not the focal points they used to be,” says Deason. “There’s a high demand for the newer LED fixtures.” On the LED side Quixote offers versatile ARRI SkyPanel S60s, S30s and the larger S360s; Sourcemaker Blanket lights; and LiteGear Mirage Hybrid panels. Specialty lighting includes LRX robotic fixtures such as higher-output 18K HMIs and 12K tungstens. RatPac’s Americanmade wireless dimmers are also popular rental items. This year Quixote has filled lighting and grip orders from the Dwayne Johnson adventure film, Jungle Cruise, which asked for a large assortment of LRX fixtures; Sony’s new superhero film, Venom; and Warner Bros’ Dr. Sleep, Stephen King’s sequel to The Shining, all of which were tenants of Blackhall Studios. Quixote has also serviced both seasons of the YouTube Premium series, Step Up: High Water. “It’s our first streaming series,” Deason notes. “Their needs are similar to smaller-scale feature films.” Lighting and grip inventory at Quixote's Atlanta location

24 Legacy utilizing Anchor Rigging & Highline Ropes' undetectable green screen.

Quixote strives to keep up with “changing technology to meet the needs of gaffers who are more savvy about using new technology,” he says. Deason sees business remaining steady as “Georgia continues to draw and maintain the film and television industry. The stage infrastructure has grown quite a bit along with services like rental companies. That’s all a good sign of building a strong, longlived industry here.”

High Output Joins Savannah Scene

High Output, Inc. was founded in 1986 in New England and has become a leading supplier of production services and equipment for film, TV, theater and events. “The original Boston location was literally started in a garage by owners John Cini and Jim Hirsch,” notes Marty Bluford, southeast regional manager for High Output. The company opened its Charleston, South Carolina office in 1996 and enjoyed steady success for the first ten years due primarily to commercials shot on location, documentaries and photo shoots. The Charleston office truly took off with the debut of Army Wives in 2007, which ran for seven seasons on Lifetime. An office in Savannah launched twoand-a-half years ago after the Charleston branch had “worn a rut in the road” servicing the area from across the state line. “We watched production explode in Georgia and felt we needed to open there,” says Bluford. High Output is located five minutes from downtown Savannah and next door to SCAD’s Savannah Film Studios. It maintains a commercial lighting and grip inventory along with a full line of expendables. The Savannah and Charleston offices share a small fleet of grip trucks, vans and generators High Output trucks & generators that constantly move between the two venues. "Whereas commercial clients usually prefer pre-loaded grip trucks and grip van packages,

November / December 2018

feature and television clients ask us to bid run-of-show orders separately for each department such as construction, grip, electric, locations or transportation,” says Bluford. When it comes to lighting, “it’s all about LEDs and wireless control these days,” says Bluford. "ARRI’s SkyPanel line is king of the roost currently, while other key brands in our inventory include Quasar, Fiilex, Litepanels and Electronic Theatre Controls (ETC). On the dimming and control side we're seeing steady requests for gear from RatPac. But LEDs still have their limitations, which is why we pride ourselves on offering the latest in M-Series HMIs from ARRI: the M18, M40 and M90. “We also pride ourselves on carrying professional camera dollies from Chapman/Leonard and J.L. Fisher, along with important camera support items, including field monitors, tripods and camera carts. Meanwhile the production and locations departments will use us for walkies and WiFi J-Boxes, make-up mirrors, work lights and tents. It's all part of being a one-stop shop,” Bluford explains. “Even if we don't see rental activity for certain departments, they all need expendables: We are stocking dealers for Rosco and Lee Filters, endless flavors of tape, rope, sash, as well as lamps and electrical supplies from Ushio, Osram and Marinco,” he adds. "We also sell Savage Seamless background paper, which is an

“LEDs are now on almost every list we see...“ 48

Oz Magazine - film. tv. entertainment.

important reminder that we rent a complete line of Profoto strobe packs, heads and modifiers for still photographers." According to Bluford, Savannah “has never been busier and is really experiencing a lot of success” with its recent roster of film and TV projects. New in town is the Walt Disney Studios’ feature, Goodbye Stranger, PC&E's five ton load out. purportedly a liveprospects for Savannah” and believes action sequel to Lady and the town has “an Austin-like flair for indie the Tramp, which is using production.” He also cites the dollies, grip equipment, growing amount of programming for expendables and WiFi streaming and other emerging media junction boxes from platforms and channels. High Output. Soon to shoot at the Savannah Film Cinelease Serves Southeast Factory is Hulu’s The Act, a streaming true crime anthology series; it has asked Cinelease, Inc. opened in 1977 and now High Output for dollies and professional boasts 12 locations nationwide for lighting photographic supplies. Also upcoming and grip equipment, power distribution, this fall is the new comedy series, Florida grip trucks and expendables. In Atlanta Girls, for cable and satellite TV network Cinelease has its home base on Southwoods Pop. In the past 18 months High Output Parkway and another office at Eagle Rock also provided lighting, grip, trucks and Studios in Norcross; the offices service the generators for indie features, including entire Southeast although Cinelease also Galveston, The Peanut Butter Falcon has locations in New Orleans and Charlotte, and Backtrace as well as The Hallmark North Carolina. Channel’s original feature, The Beach “Our second-largest location is House. Atlanta,” notes Gannon Murphy, director Bluford is “very excited about the of business development, an Atlanta native who has returned home after working in Los Angeles. “We maintain inventory at both Atlanta offices, and we adjust the fleet constantly since it changes over time and is dictated by the shows. Cinelease is the only lighting and grip company with over 40 years of experience so we stand head and shoulders over others in terms of longevity.” In Atlanta, the company services primarily feature films and episodic TV providing lighting and grip packages for clients’ trailers. Commercials and indie films Cinelease headquarters take advantage of the Cine

RED camera rig from JML Productions, which is not often seen on micro-budget features.

Mini fleet of Sprinter vans, which require no specialty driver’s license and may be outfitted with a standard grip package and a la carte lighting. The move to LED lighting has “accelerated” in the last five years, Murphy reports, thanks to the fixtures’ versatility, wlight weight and low power consumption. “LEDs are now on almost every list we see. We’re constantly re-evaluating our inventory and adjusting stock to meet current demands.” Cinelease has invested in LED lighting from most major manufacturers, including ARRI’s SkyPanels. It has also teamed with Cineo Lighting to introduce the proprietary Quantum 120 LED fixture, billed as the brightest soft source LED in the world, and the new C80, which has a smaller form factor and full RGB functionality. “The second season of the Dynasty reboot has a sizeable quantity of C80s as their workhorse lighting,” says Murphy. Grip brands include Matthews Studio Equipment and American. Clients for grip packages number shows from “all the major networks” and feature films. Recent customers are the second season of the Netflix crime drama Ozark, the second seasons of FOX’s medical drama The Resident and musical drama Star, last year’s ABC series Kevin (Probably) Saves the World, YouTube’s new Cobra Kai, the 2019 feature edition of Shaft and the upcoming Melissa McCarthy feature Superintelligence. “We aim to keep up with changes in technology and in content, and we’re excited about embracing those changes,” says Murphy. “The dynamics of traditional networks have changed with the advent of

streaming services and other content delivery systems. More content means more work for all of us.”

PC&E Offers Unique Perspective Thirty-five-year-old PC&E, a one-stop shop for camera, lighting and grip gear, expendables and soundstages, has its roots as a lighting and grip company. “We’re celebrating our fifth year as an employeeowned company, which is unique,” says general manager Mark Wofford. “Customer service is one of our core values, and that’s even more meaningful with an employeeowned company.” PC&E’s 18,000-square foot lighting and grip rental warehouse is located within Atlanta’s DeFoor Hills Complex where the company maintains grip trucks, generators, lighting fixtures, grip equipment, expendables and camera support. Rolling stock features a 10-ton grip truck; four 5-ton trucks, two each for CDL and non-CDL customers; five 3-ton cube trucks; and two 1-ton grip vans, including a new Dodge RAM ProMaster. “We’ll typically outfit the trucks with a basic grip and electrical distribution package then add on as needed,” says Wofford. “Lighting is provided a la carte, but typically goes out with grip packages.” PC&E offers an array of HMI, tungsten and Kino Flo lights plus a growing selection of LED fixtures, including ARRI SkyPanels, LiteGear LiteMats, Litepanels, Quasar LED tubes and Kino Flo Celebs. “LED fixtures are almost like cameras with their continual firmware updates,” Wofford notes. “We have two of the bigger ARRI SkyPanel

S360s; 18 S60s, which are standard with every job; and two of the smaller S30s. Every year SkyPanels have new firmware updates that give the lights even more capabilities. The gel and color correction looks, the wireless DMX control have made LEDs such flexible tools. They allow DPs to experiment and be more adventuresome.” Indie film Only, which shot in and around Atlanta earlier this year, utilized PC&E’s 5-ton grip truck, and NFL Films is a frequent client for lighting and grip packages. Local ad agencies and LA and NY production companies shoot myriad commercials in town; spots for Home Depot, Delta and Gold Bond have used PC&E’s lighting and grip packages, and a Dwayne Johnson spot for Siri last year required the 10-ton package. “We’re unusual in having a dolly inventory, and we compete well with it in the features market,” Wofford adds. “We have a total of 22 Fisher and Chapman dollies. The latest season of Dynasty has four Fisher 10s for the run of the show. “We also have Fisher 23 jibs, which are hard to come by; there aren’t any others in town, and they rent for long periods of time. The show Legacies, a spinoff of The Originals on The CW, has one through the end of the year. Our Weaver Steadman jib is great for shooting tabletop commercials.” Although Wofford believes business in 2018 has been slower than the “spectacular” 2017, he’s seen orders increase over the summer and expects that pace to continue for the rest of the year. “It’s hard to try to predict the market, but Georgia’s incentives are firmly supported by those in politics and a lot more vendors have moved here,” creating a strong long-term production hub, he observes. “More vendors mean more competition but also more opportunities.”

JML Stretches Budgets in Savannah Savannah-based JML Productions LLC is owned by Jean-Marc Lavigne, a 2016 graduate of the Savannah College of Art and Design’s (SCAD) film and television program. A self-described “classic gear head,” Lavigne began renting his collection of film equipment to fellow students. Now JML boasts 3 and 5-ton grip trucks, a 2-ton trailer and an impressive array of lighting November / December 2018

and grip gear as well as specialized items like the O’Connor 2575 fluid head, car rigging and speed rail. As a hands-on production services provider Lavigne is a big asset to his rapidly growing company. “Since I work in the industry I understand the value of passion projects and am willing to work with low-budget and micro-budget productions to give them the best value for money on their packages,” he says. “I want to help customers stretch their budgets as much as they can.” A perfect example of JML’s ability to work with minuscule budgets is The Silent Beat, an indie feature shot in Eatonton, Georgia that involved his DP best friend and other SCAD graduates. The intimate superhero origin story used a full grip and electric package out of his 16-foot trailer, a RED SCARLET M-X camera package and full camera support, Honda generators, and specialty rigging for car work. “I built a custom hood mount to run two REDs for cross-coverage with leveling heads,” Lavigne explains. He says the production “made the most of the flexibility of the trailer package by having everything on wheels.

It was an easy package to work with; it wasn’t too much truck. Too much gear can hinder a production as much as not having enough.” JML’s Honda Pioneer UTV proved to be “an absolute life saver” to the production for its ability to “be nimble and drive lights and a generator wherever needed,” including to a remote grain silo. “It’s great for limited-access locations or when you’re working away from base camp,” says Lavigne. JML’s lighting inventory includes ARRI HMIs, larger tungsten ellipsoidals, Quasar LED tubes, and Litepanels Astra 1x1 LEDs. He’s looking at offering “topend ARRI M-Series HMIs and SkyPanel LEDs,” and also has his eye on Flowcine’s Black Arm vibration isolation arm for car rigging. Lavigne just bought his own facility, which will allow JML to expand to include Avid editorial, color correction and a small production space for interviews or tabletop shoots. “We’ll be able to integrate the whole turnkey concept for ourselves and our customers,” he says. This year JML has serviced regional commercials, a number of corporate

projects and CNN’s HLN national news network for documentary interviews. Corporate customers enjoy the company’s “all-in-one package, including camera, LEDs and a 1-ton grip package – it makes it a lot easier for them to travel,” Lavigne reports. His own circle of friends and fellow SCAD graduates are “trying to grow grassroots filmmaking,” he adds. “Georgia has been a fantastic place for big-budget productions, now we’re looking for low-budget and independent films to grow. When there’s such a talented pool of creative resources here it only makes sense to bring to your own content to life.”

Filmmaker Adds Expertise to Atlanta Market Filmmaker Production Services Atlanta, a subsidiary of NBCUniversal, opened in 2011 in response to the growing demand for high-quality set lighting and grip services in the region, says Jamie Crosbie, vice president of studio services at NBCUniversal. The company offers feature films, TV series, streaming content, commercials and independent productions a full range of standard grip equipment with specialty gear including truss, motors and steel deck. “Over the past two years we have supplied equipment to Little, The Act, Ride Along 2, Night School and First Man,” Crosbie notes. In addition to stocking a complete inventory of set lighting products, Filmmaker also carries the innovative NBCUniversal LightBlade LED production lighting line. “All LightBlade fixtures – the new Edge, the LightBlade 1K, the Ladder Light, and the LB800 – use proprietary phosphor-converted white light LEDs, as well as phosphor-converted saturated color LEDs, to create a balanced, naturallooking spectrum,” Crosbie explains. “The modular fixtures provide enhanced user functionality and easy rigging features.” He says that, “Filmmaker Production Services is proud to be part of the Georgia production community. We look forward to continuing to support the talented creatives that choose Georgia and the Southeast for their locations.”

"Too much gear can hinder a production as much as not having enough."

Oz Magazine - film. tv. entertainment.

Only one company does it all under one roof. Serving the community since 1983, we are Atlanta’s only one stop shop for all of your production needs

• CAMERAS

• DOLLIES

• LIGHTING

• GENERATORS

• GRIP TRUCKS

• EXPENDABLES

• SOUNDS STAGES

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

An employee owned company

November / December 2018

Oz Magazine - film. tv. entertainment.

TALENT

ever one to settle, Lodge 49’s NJEMA WILLIAMS explains why succumbing to your “niche” is the cousin of death.

OZ: Full disclosure: I’ve only made it through episode three of Lodge 49 so far, but one thing I can say for sure is that it’s extremely trippy and obscure. Can you peel back the layers with regard to the alchemy, the fraternal order, the “seekers” who congregate at the Lodge? NW: Trust me, I get it. It’s so bizarre, but once it starts to connect, the depth is amazing. It’s almost like string theory: It’s so out there, yet it’s still connected to the everyday working man. These are not glamorous people. These are real people with everyday problems, and the show is about how we interact with our band, our group, our “Lodge” to make it through the day. It reminds me of a modern-day Friends, in a sense. There is an alchemical component, there is a mysterious component, but it’s not the overarching theme. There’s enough dragons and wizards and [expletive] on TV; the lane we compete in is actual human connection. The flaws of people, the triumphs of people, be they big or small. I think Lodge 49 shows that, and I think a lot of people want to see that mirror.

November / December 2018

TALENT Speaking of the everyday working man, as a blue-collar actor yourself, how did you feel about the way Geoffrey Owens was treated recently when he was publicly shamed for having a regular job? [Editor’s note: In late August, veteran actor Geoffrey Owens, best known for playing Elvin Tibideaux on The Cosby Show, was ridiculed on social media after someone posted a photo of him bagging groceries at a New Jersey Trader Joe’s.] I respect anybody, especially somebody who’s experienced that level of success, who is able to humble themselves and do what needs to be done to pay the bills. I know some people who haven’t done [expletive] compared to what he’s done, and they’re like, ‘Nah, I’ve been on TV, I can’t work a regular job.’ Do you eat regular food? Do you need regular gas? Then you’ve got to do what you need to do, as a man, for your family. The other thing that it highlights is the way people think about the finances behind being on television. Like Goodie Mob said, ‘You might see me on TV, but it’s almost like I’m rapping for free. That little

Oz Magazine - film. tv. entertainment.

money be gone.’ People see you on TV and think you’ve got a million dollars. No, player. I’m out here struggling just like everybody else.

"Do you eat regular food? Do you need regular gas? Then you’ve got to do what you need to do, as a man, for your family." That’s just the top whatever percent. The vast majority—the day players, the weekly contract folks—they hustle. They’re out there driving Ubers and Lyfts, doing classes, doing films, doing whatever they can to make it in between those times. I nerded out a little when I was researching for this interview, because I was quickly reminded that you were in a hilarious scene from one of my favorite shows of all time, Eastbound &

Down (HBO). Is it just me, or is Danny McBride (a.k.a. Kenny Powers) one of the funniest people making television today? Yeah man, it was really dope to work with that cat, Danny McBride. He’s a really cool

cat. His style is so free-flowing that he really lets you play a little bit. That was in conjunction with a movie I did called Masterminds (Zach Galifinakis, Kristen Wiig), which was directed by the cat who did Napoleon Dynamite, Jared Hess. Lorne Michaels was an executive producer on that, and Danny McBride was a producer. I was supposed to be on Vice Principals, too, but we couldn’t work out the schedule. Now he’s got a new HBO show coming out called The Righteous Gemstones, and it’s gonna be funny as [expletive]. Clearly you’ve found your niche in comedy. You’re working with several of the most innovative people in the genre. Aw man, yeah. I love comedy, but I really want to sink my teeth into something dramatic. That right project just hasn’t come along yet. When you’ve been doing so many comedies, in order to transition, you’ve really got to break through with a solid performance. But finding a niche like you have can make for a nice living. Does your itch to land a dramatic role just come from a personal drive to be well rounded, or…? Well, I actually got my start doing theater. I did Fences, Raisin in the Sun, so I come from dramatic acting. I didn’t do a lot of comedic acting coming up, but it just seems that comedy is where I’ve flourished in my professional career. It’s not bad! (Laughs) It’s fun. But you just want to be diverse; you want to do other things. Where and when did you get your start in theater? My very first start was in church, but through high school I got introduced to theater with regard to actually studying the different forms and dealing with the deeper stuff. At Baton Rouge Little Theater—Baton Rouge, La. is my hometown—one of my earliest teachers was Pam Day, and she knew how to redirect my energy in a positive direction. I would get into all this trouble, and she’d be like, ‘You need to come to my drama class.’ From then on, I had the bug. Then I went to Florida State for performing arts and did plays there. Then I went into the Marine Corps. Not much theater in the Marine Corps. (Laughs). Njema Williams in a scene from Lodge 49.

November / December 2018

TALENT But the Marines will definitely give you some visceral, emotional material to draw from.

speaks differently than the east side; east side speaks differently than the south side.

Hey, listen; I got a lot to draw from.

Was I right when I pegged it as a southwest accent in the county-jail scene with Donald Glover?

So, my research wasn’t entirely accurate then: You are a Southern guy after all? Because your IMDb bio says you’re from Las Vegas, which surprised me given your spot-on depiction of a southwest Atlanta accent when you played Buck in season one, episode two of Atlanta. Man, thank you. But knowing Southern accents like I know—wait, are you from the South? I’m from Georgia, yeah. Then you know that, as you travel, the Southern accent changes from Georgia to Florida to Louisiana, and so on. I picked up an ear for it just paying attention to accents growing up. Then I was a Russian linguist in the Marine Corps., and learning language from that perspective was really cool. The west side of Atlanta

Oz Magazine - film. tv. entertainment.

I’d say more west side, Bankhead. It’s such a rapid-fire delivery, that pattern of speech.

"I just love this city, period. Atlanta is a beautiful smash of cultures, just a beautiful place." Man, I love it. And you have to develop an ear for it. Because if you don’t listen quickly, or if you’re not used to it, you’re gonna be like, ‘What?!’ When I looked at some of the comments online afterward, some people

had no idea what I was saying. Then other people were like, ‘Man, I know exactly what he’s saying!’ I just love this city, period. Atlanta is a beautiful smash of cultures, just a beautiful place.

Revive

Achieve visibly younger looking skin

Refresh Because you need time for yourself

renew

With the latest technologies & treatments for anti-aging

Atlanta’s Premiere Plastic Surgeon

“When only the BEST will do!” • Botox

• Sculptra

• Halo

• Juvederm

• Body Sculpting

• Dermal Infusion/Silk

• Voluma

• CoolSculpting

Peel

• Vollure

• Restylane Silk

• Skin Tightening

• Kybella

• Medical Facials

• Dermaplaning

• Dysport

• Ultherapy

• Peels

• Restylane

• BBL Forever Young

• Acne Treatments

• Defyne & Refyne

Treatments

• Resurfacing Lasers

After hours and on location available upon request for all injections and most services. 5505 Peachtree Dunwoody Road Suite 220 Atlanta, GA 30342

404-312-3878

WWW.JCPLASTICSURGERYATL.COM November / December 2018

TALENT

Godspeed, Bandit: A Word on Burt Reynolds By: Neal Howard

Say what you will about Burton Leon Reynolds, Jr. (February 11, 1986 – September 6, 2018), but if not for the highly ambitious boy from Lansing, Mich., it is entirely plausible that neither the magazine you’re reading, nor the booming Georgia film industry from which many of us make our livings, would exist.

Oz Magazine - film. tv. entertainment.

as he purportedly, at least for a time, emblematic of pre-#MeToo Hollywood’s most dismal behavior? It’s been alleged. (Repeatedly). Was he a mercurial man whose ego could render him ‘prickly’ to the point of offense? It too has been alleged. (Although who among us hasn’t been guilty of this without the entire world watching)? But was Burt also somehow magnetically, inexplicably, outwardly in love with the State of Georgia at large? You’re damn straight. In fact, he gushed endlessly about us to any news outlet that would afford him the airtime, and was still doing so right up until his passing on Sept. 6. “Every time anybody wants to make a movie with me, I ask, ‘Can we shoot it in Georgia?’…” he told myself and a roomful of fellow journalists during a press conference last November while out promoting one of his final projects, The Last Movie Star (2017), a pseudo-life-meets-art film about a washed-up Hollywood legend who bristles at the fact that his heyday has faded over the horizon. “I just love coming here. I love the people here. That’s what I mean, that’s what it’s about.” As part of the Movie Star press tour, Reynolds had made it a point to stop by the sleepy hamlet of Rome, Ga., about 60 miles north of the Atlanta, for the Rome International Film Festival. There, hunched behind the press table in a black sequined suit, rose-tinted sunglasses, and black cowboy boots shiny enough to see one’s nose hair in the reflection,

he iterated time and again his genuine affinity for the town and others like it, scattered otherwise anonymously across the Peach State. “The people here are so nice,” Reynolds’ wavering, octogenarian voice rattled with sincerity that afternoon. “They have always been so welcoming and kind. And my movies I filmed here have always been a success.” Touché, Mr. Reynolds. We so deeply appreciate you, sir, for both your endorsement and your recognition of what we could become. On this note, let’s make it a point to remind ourselves, particularly for those of us who grew up here: Outside of music, the Georgia of the early 1970s was a veritable desert for the arts before Burt Reynolds arrived. Deliverance (1972) put us on the map. The Longest Yard (1974) ran with the baton. Then Smokey and the Bandit (1977) more or less blew the doors off—better yet, down. And in the

decades since, the lot of us have staggered through them with little homage to the godfathers—Reynolds, Ed Spivia, et al— who mustered the chutzpah to mine our potential. When the ghost of Jim Crow had barely been shooed off our back porch, when the headlines from an abysmal, humiliating pushback against Civil Rights had hardly begun to fade from the front page, Burt and a handful of other filmmaking elites saw past our darkest demons and helped usher in a new era of light. Today, this forward-looking act of grace has blossomed into a revolutionary reshaping of Georgia’s image. We are now a place where arts and culture, as well as the talent that it takes to cement and profligate both, are revered as first class. With the six highly successful films he made here during the ’70s—Smokey and the Bandit alone raked in $126.73 million at the box office—Burton Leon

Reynolds, Jr., son of Fern and Burton, Sr., certainly delivered on his notion to spearhead a new wave of motion pictures made, as he put it, “in the South, about the South, and for the South.” Little did he know, but how proud he clearly was, of the way in which we piggybacked his vision and parlayed it into the nearly $10 billion powerhouse that Georgia’s film industry boasts today, some 36 years after Deliverance debuted in theaters nationwide. As his life so beautifully illustrated, who we are should never be narrowed to our occasional lapses in judgment. Our lives amount to so much more than our momentary fits of ugliness, especially when we leave behind a legacy that exponentially improves the lives of so many. Godspeed, Bandit. Wherever you are, I hope there’s a fully gassed Trans-Am and a CB radio tuned to eternity.

"Every time anybody wants to make a movie with me, I ask, 'Can we shoot it in Georgia?'..."

November / December 2018

OZ SCENE Actor Joseph Benjamin accepted BronzeLens Best International Feature Award for Isoken

Rodger Bobb In Conversation with producer Samantha Vincent

Fahamu Pecou, Sheila Pree Bright, Cora Atkinson and Dr. Dwight Andrews BET Vice President Connie Orlando

9th Annual

BRONZELENS WOMEN SUPERSTARS LUNCHEON HONOREES AND HOST COMMITTEE By Terri Vismale-Morris

Imara Canady

BronzeLens Women Supstars Luncheon Host Committee

Audience at 2018 BronzeLens First Glance Friday screening of The Bobby Brown Story Actress Priah Ferguson

Kathleen Bertrand and Palmer Williams

Victor Jackson received Best Music Video Award

Oz Magazine - film. tv. entertainment.

Avril Speaks on stage with Nijla Mumin

OZ SCENE 2018 BronzeLens Awards Honorees

Tina Lifford, Ayoka Chenzira and Omar Dorsey

Ray Cornelius, Mykelti Williamson, Alan Maldonado and T.C. Carson

ronzeLens presented an interactive experience that stimulated ideation and fostered collaborations over the course of five days, August 22-26, 2018. Programming was comprised of a diverse mix of cutting-edge panels, workshops, master classes and signature festival events such as BronzeLens Women SuperStars Luncheon, BronzeLens Awards and Brunch with the Brothers.

This year BronzeLens received submissions from 23 countries and a total of 85 juried films were screened. Narrative fiction, documentary, webisode, music video and short film screenings coupled with the who’s who of the film industry are the core components that have established BronzeLens as one of the nation’s most substantive film festivals. BronzeLens Film Festival Highlights: • SUNDAY, AUGUST 19 BronzeLens hosted the pre-festival Atlanta premiere of Nollywood’s Isoken a feature film written, produced and directed by Jadesola Osiberu. Gladys Edeh’s documentary Mr. Gele: The Man.The Story. The Craft., was also screened. • WEDNESDAY, AUGUST 22 All Shorts, All Night presented by BET Networks returned and was hosted by Screening Room ATL Creator Khalimah Gaston. • THURSDAY, AUGUST 23 All Shorts All Day presented by BET Networks continued the free screenings of 2018 BronzeLens short films selections. Opening Night at BronzeLens kicked off with screenings of Nijla Mumin’s Jinn and Brian

Jenne Kang accepts 2018 BronzeLens Best Actress Award

Actor Mykelti Williamson Banks directed by Tom Shadyac. • FRIDAY, AUGUST 24 Women SuperStars Luncheon BronzeLens Women SuperStars Luncheon presented by BETHer celebrated the accomplishments of women of color in the film and television industry. Honorees included Actress Tina Lifford (Queen Sugar, Scandal, Criminal Minds: Beyond Borders), Producer, Director, Ayoka Chenzira (Hair Piece: A Film for Nappy Headed People, Alma’s Rainbow, Queen Sugar), and Samantha Vincent (The Fate of the Furious, XXX: Return of Xander Cage, Riddick). First Glance Friday Feature Presentation:. AA BronzeLens Exclusive to all festival Screening Pass holders. Attendees got a “First Glance” of The Bobby Brown Story presented by BET Networks. • SATURDAY, AUGUST 25 BronzeLens Awards Show A celebration during which the ‘Best of Festival’ filmmakers in their perspective categories were honored at SCADshow. Categories include the best in Features, Documentaries, International Films, Shorts, Student Films, and Webisodes, as well as Best Actress and Best Actor. • SUNDAY, AUGUST 26 Sunday Brunch with the Brothers generated insightful and revealing conversation with actors TC Carson (Star, The Quad, Greenleaf, Black Lightening), Alan Maldonado (The Last O.G., Black-ish) and Mykelti Williamson (Canal Street, Fences, Forest Gump).

Tony Hightower Cinema and Social Justice Sunday Screenings for 2018 were Fahamu Pecou’s Emmett Still and Max Power’s Don’t Be Nice. Post screening talkback included Dr. Dwight Andrews, Don’t Be Nice producer Cora Atkinson, fine art photographer Sheila Pree Brightand interdisciplinary artist Dr. Fahamu Pecou. • Closing Night at BronzeLens featured screenings of United Skates produced by Dyana Winkler and Tina Brown, and Canal Street directed by Ryan Lamar at Georgia Pacific Center Auditorium.

About the BronzeLens Film Festival BronzeLens Film Festival of Atlanta, Georgia, is a non-profit organization, founded in 2009, that is dedicated to bringing national and worldwide attention to Atlanta as a center for film and film production for people of color. Its mission is two-fold: to promote Atlanta as the new film mecca for people of color; and to showcase films and provide networking opportunities that will develop the next generation of filmmakers. Since its inception, BronzeLens producers have brought national and worldwide attention to Atlanta, helping to showcase the city as a leader in the thriving film industry. In 2017 the Academy of Motion Picture Arts and Sciences approved BronzeLens as a qualifying festival for the Short Film Awards category. The short film that receives the BronzeLens Best Short Award may now be eligible to enter the Academy’s Short Subject competition for the concurrent season.

November / December 2018

OZ SCENE

Film composer, Corey Campbell, performing the Pop-Pop Is Dead Original Soundtrack

Hank Denson opening the main show

Musician Jenna Desmond performing the original Pop-Pop Is Dead Original Soundtrack

August 28

Pop-Pop Is Dead

Baton Bob in the exclusive Pop-Pop Is Dead VIP Lounge

op-Pop Is Dead premiered at LiveNation’s Buckhead Theatre on August 29th. Though this wasn’t your traditional premiere: this was the only show in Atlanta to include film, stand-up, improv, and music from Atlanta’s top up and coming artists. This one-of-a-kind show showed off the best comedic talent in Atlanta all in one night. Why go to LA when Hollywood is right here in Atlanta? Hosted by Hank Denson (Barbershop 3, All Eyez On Me), the event included

Madison Hatfield and Randy Havens

stand-up comedy from Lace Larrabee (FOX, Viceland, and Weather Channel) and Jarrod Harris (Comedy Central, TBS, FOX, and NBC), musical performances by composers of the original Pop-Pop Is Dead score & soundtrack (Corey Campbell, Jenna Desmond, and The High Divers) and the exclusive world premiere of the film along with drinks, tasty treats inspired by the film, and a free photobooth sponsored by Cricket Wireless.

Photos courtesy of: Lola Scott and Chase Anderson Cast of Pop-Pop Is Dead takes the stage to standing ovation

Comedian Lace Larrabee warming up the crowd before the screening Catherine Dee Holly & Fray Forde walking the red carpet during the exclusive VIP experience

Oz Magazine - film. tv. entertainment.

OZ SCENE Meet and greet with the artist and attendees

Movie poster artworks on display at Cinema Park Studios by the legendary Art Sims

August 28

Attendees enjoy cocktails and catering

Cinema Park Studios Hosts Art Sims at Summer Mixer

The DJ is set up and doors open for the Summer Mixer Event

ndustry professionals and enthusiasts alike gathered at Cinema Park Studios on August 28th for a Summer Mixer and announcement. Guests enjoyed music and cocktails as they were treated to catering by Sampler Entertainment Group and a presentation on film finance by The CFO Firm. Surrounded by famed movie poster artwork, with artist Art Sims of 11:24 Design in attendance.

Bernard Bronner of the Bronner Bros. enterprise and Art Sims pose for a photo on the red carpet

Art Sims entertaining Q & A from the audience

Sampler Entertainment Group owners & staff pause for a photo November / December 2018

LET ME GIVE YOU MY CARD

ATLANTA STUDIO OFFICE 1785 Ellsworth Industrial Boulevard Atlanta, GA 30318

STORYBOARDS & VISUAL CONCEPTS FOR TV & MOVIES

millsartillustrations.com | pat@millsartillustrations.com

678.614.0993

PROVIDING QUALITY PRODUCTION MAPS FOR YOUR CREW

WWW.REELMAPSATL.COM We are Atlanta-based production folk who understand the need for quality location maps and are here to provide just that for you! Looking for competitive prices and a fast turn-around?

Reel Maps of Atlanta Atlanta, Georgia 786-354-0699

Oz Magazine - film. tv. entertainment.

I N T E G R AT E D WA S T E S O L U T I O N S AT YOUR

DISPOSAL

E.K.G. SECURITY, INC. SECURITY OPERATIONS FOR THE ENTERTAINMENT INDUSTRY

SERVICE-DISABLED VETERAN-OWNED SMALL BUSINESS Integrated Waste Solutions (IWS) is a leading provider of full service waste and recycling, luxury restroom trailers, roll-off and plumbing services.

FILM FRIENDLY CEM (JIM) DRAKE P.O. Box 1250 Fairburn, GA 30213 cem.drake@iws-waste.com

PHONE: 678-854-8169 FAX: 866-256-8859 CELL: 678-251-6668

WWW.IWS-WASTE.COM

We train our Entertainment Security Oﬃcers in the diﬀerences between traditional security assignments & the unique nature & sensitivity of the entertainment industry.

(770) 531-3326

info@ekgsecurity.com

Film Friendly! Private appointments available for Film & Television Crew

Multimedia Production Makeup Artists Stylists & Designers

Rhonda Barrymore, Founder

ekgsecurity.com

Office/Studio (877-HelpMe2) 877-435-7632 Mobile/Text (404-HelpMe2) 404-435-7632

queeniesconsignment.com

Rhonda@HelpMeRhonda.com

queeniesconsignment@gmail.com

2755 Lavista Rd. Decatur, GA 30033

(404) 670-2226

Queenies’ specializes in high-end women’s fashion and accessories, trendy furniture and home accents. Over 2,000 wonderful consignors who bring new inventory daily!

@queenies_consignment @Queenies Consignment

www.HelpMeRhonda.com

November / December 2018

LET ME GIVE YOU MY CARD

Ph: (770) 794-8106

Email: ayardforyou@fabricsandfringe.com

2440 Canton Road Marietta, GA 30066 WWW.FABRICSANDFRINGE.COM

Luxury Performance at Every Price Point Jim Suss, REALTOR® 678-357-7683 770-422-6005

Jim.Suss@HarryNorman.com www.JimSuss.HarryNorman.com

FURNITURE | PIPE & DRAPE | LIGHTING & AV EVENT RENTALS & MORE! Full Service Event Rentals with Creative Support /pohpevents

/pohpevents

@pohpevents

POHPEVENTS.COM | 7708177647 | INFOPOHPEVENTS.COM

Risk Management of Atlanta Security & Investigations

COSTUME RACKS

Z RACKS

HANGERS

RMA has been providing security for the Television and Film industry since 1997. 24/7 monitoring and protection of the location, equipment, and cast/crew. Our guards are trained to handle crowds on location and react to any suspicious activity.

info@rmagainc.com www.rmagainc.com

Oz Magazine - film. tv. entertainment.

CONYERS

EATON

Oct 16 (6:00pm - 9:00pm) Media Mixer Manuelâ&#x20AC;&#x2122;s Tavern Members Free | Guests $10

Nov 3rd - Nov 4th (all day) PA Academy

Nov 6th (12pm)

Monthly Meeting Plaza Theater Members Free | Guests $20

November / December 2018