Oz Magazine Dec/Jan 2011-12

film & tv • print • new media • lifestyle dec/jan 2011-12

Straight from the Gut: Documentaries, p. 16

Romancing the Day Rate, p. 30

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DEC/JAN 2011-2012

in t h is iss u e

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FE AT UR E S Cover Story - Straight from the Gut: Documentaries

p. 16

Feature Story - Mr. Peepers School of Infectious Acting

p. 22

Feature Story - Romancing the Day Rate

p. 30

C O LU M N S Ozcetera

p. 8

34

Bring Your Camera - The Secret Life of A-List Celebrities p. 24 Voices - Married to the Job

p. 29

Per Diem - East Atlanta & Little Five Points

p. 34

How I Got into the Business

p. 38

Oz Scene

p. 42

Let Me Give You My Card

p. 48

Unconventional Art - Character Illustrations!

p. 50 (Left to Right) Travis Overstreet, Chris Palmer, Conroy Williamson, Jim Bowhall, Bianca Gee

O Z M A G A Z I N E S TA F F Publishers: Tia Powell - Group Publisher, Gary Wayne Powell - Publisher

CO V ER A RT

© Crawford Media Services, 2011 Concept Art and Modelling – Travis Overstreet CG Modeling, lighting and rigging – Chris Palmer and Bianca Gee Render and Composite – Conroy Williamson Creative Director - Jim Bowhall

Editorial: Gary Powell - Ozcetera Editor Contributors: Nichole Bazemore, Andrew Duncan, Scott Tredeau Sales: Latarsha Pace, Mukari Butler, Diane Lasek, Monique McGlockton IT/Database Administrator: John Cleveland Sherman, III Distribution Coordinator: Chet Knight Design: Christina Wills, Art Director & Designer Sarah Medina, Production Artist & Designer Ted Fabella, Logo Design

Visit us on the web at www.ozmagazine.com, www.ozonline.tv, www.facebook.com/ozpublishing Oz Magazine is published bi-monthly by Oz Publishing, Inc • 2566 Shallowford Road • #302, Suite 104 • Atlanta, GA 30345 • (404) 633-1779 Copyright 2011-2012 Oz Publishing Incorporated, all rights reserved. Reproductions in whole or in part without express written permission of the publisher is strictly prohibited.

This magazine is printed on recyclable paper.

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contri b u tors Nichole Bazemore is a freelance writer and blogger. She is also the host of the show, Say It With Style, on Blog Talk Radio. Her company, Simply Stated Solutions, provides marketing materials for coaches, consultants, and small businesses. Learn more about Nichole and her company via her website, www. simplystatedsolutions.com, or connect with her on Facebook or Twitter @nicholebazemore.

Cover Story, p. 16

Andrew Duncan, known in the motion picture industry as “Drewprops”, has been writing about the craft of filmmaking from the inside out since the mid-1990’s. His confusing and often embarrassing stories from behind the scenes provide a unique insight into the craft of filmmaking from the perspective of the shooting crew, artists, and designers who bring your favorite films to life on the big screen. www.drewprops.com Feature Story, p. 22

Andrew Duncan, known in the motion picture industry as “Dre out since the mid-1990s. His confusing and often embarrassing of filmmaking from the perspective of the shooting crew, artis

There are times when a man has to step forward to sometimes the right thing to do is to get weird. And sticks around longer than it ought to. And sometimes it Scott Tredeau is owner and creative director of Tredeau Design, a small graphic design business that he runs with his wife, Meredith. They live in Social Circle with their two children, Noah and Fern, their dog, Marvin, and fish, Nemo. When he’s not working, he enjoys reading, playing the guitar, and blazing trails on his four-wheeler in their backyard woods.

Voices, p. 29

Crawford Media Services - Two years ago Crawford Media Services entered into a partnership with SCAD Atlanta in an effort to grow our animation department. This partnership began as a co-sponsored short-film animation class in which a select team of Crawford Artists acted as clients, collaborators, and consultants to the students. One of the finished films, entitled Cold Country, recently screened at the Savannah Film Festival. Upon completion of the course - Travis Overstreet, Chris Palmer and Bianca Gee officially joined our animation team. The animation group’s work is highly collaborative, remarkably detailed, and incredibly inspired. We are extremely excited about the future possibilities of this amazing new team.

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ARTISTRY TECHNOLOGY & GLOBAL REACH

cetera

Lights! Action! Camera Ready!

Georgia Governor Nathan Deal with representatives of newly designated Camera Ready Communities.

Governor Nathan Deal and the Georgia Film, Music & Digital Entertainment Office, a division of the Georgia Department of Economic Development (GDEcD), designated 23 Georgia counties Camera Ready at the annual Governor’s Tourism Conference. The state’s Camera Ready Community Program supports the growing film and television industry and now includes 112 counties across the state.

The 23 Georgia counties that received the ‘Camera Ready Community’ designation during the Governor’s luncheon were Chattooga, Catoosa, Dade, Johnson, Troup, Polk, Jackson, Liberty, Bartow, Union, Bacon, Clinch, Murray, McIntosh, Sumter, Evans, Cook, Colquitt, Spalding, Randolph, Wayne, Clarke and Putnam.

Georgia had 327 productions shot in Georgia from July 2010 through June 2011, bringing in “Our aggressive tax incentive, new infrastructure and expanding crew base make Georgia the leading lady for film and televi- more than $683.5 million in investment to Georgia. sion production,” said GDEcD commissioner Chris Cummiskey.

These projects have generated an economic impact of $2.4 “At any given time you can find multiple productions providing jobs and investment in numerous communities across the state.” billion. Georgia-filmed movies slated to hit theatres include a remake of “Footloose,” and “Wanderlust” starring Jennifer Aniston Camera Ready was put in place by the state to offer film and and Paul Rudd. Georgia can also be seen on television sets across television production companies access to local resources and the world with multiple television series now calling Georgia information. Local economic impact from productions can be home. Season 3 of the CW’s “Vampire Diaries” and AMC’s recordsignificant, including hiring of local residents, hotel stays and breaking “The Walking Dead” started new seasons this fall. purchases of goods and services. A Camera Ready Community must designate one point person who can assist film and television production companies on a local level.

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Picture Picks Affix

Affix Music’s Michael Weeman and Simon Horrocks.

Warner Brothers Pictures recently chose “Amante Del Vino” by Michael J. Thomas from the Affix catalog for the new Matt Damon action-thriller “Contagion.” The Steven Soderberg directed film centers around the threat from the outbreak of a deadly disease and the CDC team chosen to deal with problem. The starstudded film includes Lawrence Fishburne, Jude Law, Gwyneth Paltrow and Kate Winslet.

Good Cause for Directorial Debut

Local actor and student with Atlanta Workshop Players, Kaitlyn Siddle; DP Steve Ingold, and director, Jaye Jackson-Pniewski.

VoiceToday.org shot two PSAs last month in Atlanta to launch the VOICE Movement – vowing to break the silence of child abuse. VoiceToday.org, based in Marietta, GA and founded by Angela Williams, is a non-profit organization and grass roots movement to break the silence and cycle of child sexual abuse through awareness, prevention and healing programs. Jaye Jackson-Pniewski, a veteran make-up artist and actor in Atlanta and Los Angeles, directed the PSAs. This is Jackson-Pniewski’s directorial debut. Director of Photography was Steve Ingold of INGO Studios, a full-service HD production company. The PSA was shot with the Canon 5D MKII and post was completed at INGO. Casting was held with Houghton Talent and Atlanta Workshop Players. The campaign launched in the fall. www.ozmagazine.com OZ MAGAZINE

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Gold Davey for Timbuktoons Rompel Joins Kilgannon

Timbuktoons was awarded a 2011 Gold Davey Award from the International Academy of the Visual Arts for creative excellence in the commercial category. “The Davey Award honors creative work from small firms with big ideas. That fits us perfectly,” said Timbuktoons owner and founder, Todd Hampson. This year’s Davey Awards competition had nearly 4,000 entries from the US and around the world. The judging is by the International Academy of the Visual Arts, a “who’s who” in media, marketing and advertising.

Kilgannon hired Katie Rompel as senior art director. She will supervise and execute layout, design and concepts for a number of Kilgannon’s clients, including: Cleaver-Brooks, Manheim, NYCM Insurance and SouthernLINC Wireless, a Southern Company.

Most recently, Rompel was a designer at Moxie Interactive where she worked on a number of high-profile brands, including: Coca-Cola, Cartoon Network, Maybelline and Verizon. Prior to that, Rompel served as an art director at JWT where her client list included: CDW, Texas Instruments, BMC Software, Citrix, and Brother. Rompel is a graduate of the Portfolio Center and Michigan State University. She has earned several awards for her work, including a One Show Bronze Pencil and an Addy Bronze award.

SOMETHING FISHY ABOUT AWARD The Association of Zoos and Aquariums (AZA) awarded the Georgia Aquarium with the Excellence in Marketing Award, which recognizes excellence in marketing campaigns developed and executed by its AZA member institutions. The Aquarium’s campaign, Where Imaginations Go to Play, took home top honors in the $175,000 budget or higher category.

The campaign was brought to life through a full integration of the new brand look onsite at the Aquarium and carried throughout all advertising. The campaign’s messaging and creative focused on new and returning animals, new experiences and new activities for guests to enjoy.

Congrats to Ames Scullin O’Haire, Georgia Aquarium’s advertising and marketing agency, and to Georgia Aquarium Senior Vice President of Marketing and Communications, Carey Rountree.

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Characters from the Timbuktoons award-winning “Fuzz Feud.”

PC&E Needs Full-Time Shelf Stocker PC&E now offers the Sony RGB 444 software upgrade for the Sony PMW-F3. It enables S-Log gamma mode, Dual Link 444 RGB video output, 3G-SDI output, and includes four pre-loaded LUTs (look up tables) along with five custom user LUTs. The firmware allows the F3 to output full RGB video in S-Log opening up the true potential of this camera. S-Log ups the dynamic range of the camera to 800%, effectively increasing the ISO to 1600. Dual-Link SDI or 3G-SDI (dual-link on one cable) gives you full RGB 444, and the LUTs allow you to monitor video normally while shooting in S-Log. Finally, the five custom LUT options mean that you can create your own looks in the same manner. The firmware upgrade is now available for rent at PC&E as a great addition to the PMW-F3.

The camera, lighting and grip firm added Mole-Richardson 2K Spacelites to its inventory. This smaller version of the popular 6K spacelite comes equipped with two hubbell plugs that can be plugged into the wall, and the smaller size makes it perfect for smaller stages and spaces with less ceiling height.

Hit the easy button with their increased inventory of Easy Rigs. These rigs cover cameras weighing 33-44 pounds such as the Arri Alexa and most 35mm motion picture cameras, as well as for cameras weighing 17-22 pounds such as the Sony PMW-F3 and RED ONE. PC&E’s 30” JEM Ball replaces a conventional paper lantern for a durable, soft surround lighting effect with fewer shadows than conventional lights. This one comes with a tungsten lamp as well as an adapter for Jokers. The kit includes three different covers: rip stop, bleached muslin, or unbleached muslin, as well as a black skirt.

The camera department now offers a Mac Pro Cart stocked with two 2.66GHz 6-Core Intel Xeon Processors, Dual Channel 4Gb Fiber Optic Channel, and an Atto Express SAS H680 Card. That’s topped off with a stunning 27” LED Cinema Display, battery backup, rain cover, 10” wheels, and a lockable drawer for cables or paperwork. While this cart is designed to travel in conjunction with the Codex Desktop Download station, it can be used for any production with onset downloading or coloring.

OZ MAGAZINE www.ozmagazine.com

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Placement Music Garners Music in Media Nomination

Trends with Benefits on North Avenue

FOX Sports commissioned Placement Music to create an original instrumental composition for its global Super Bowl salute to U.S. Soldiers that aired right before kick-off. “Declaration Anthem,” became the soundtrack that led directly into what would become the biggest event in television history with 162 million viewers worldwide.

The team at North Avenue Post has completed shooting 10 segments for the Trends with Benefits series. The first segment, Chocolate Pairing, aired during Tin Cup on TBS. North Avenue Post also partnered with Luminary Artists, LLC to produce the video montage that was shown at the 19th Annual Ronald Reagan “Victory” Celebration Dinner this year. The team has also been busy over the past few months on some turnkey projects. They are also currently working with Children’s Healthcare of Atlanta, Disney, National Geographic, CNN, and J. Walter Thompson.

Right after kick-off, the full version of “Declaration Anthem,” as well as a radio edit and ringtone were made available as a charity download on iTunes and Amazon.com. A portion of the proceeds goes directly to Wounded Warrior Project, a non-profit that helps the hundreds of thousands of U.S. soldiers who were wounded during duty and are now recovering back home. ”Declaration Anthem” was composed by Placement Music creative team member Steve Dancz, co-produced by Tammy Hurt, founding partner, and engineered by multiple GRAMMY-winner Leslie Ann Jones.

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www.ozmagazine.com OZ MAGAZINE

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Second Voiceover Studio and Expanded Staff at CSA Creative Studios of Atlanta added another voiceover studio while expanding the staff and its array of diverse classes. CSA now boasts five top voice coaches and producers.

Producer and voice coach Deborah Richards has made a huge splash since joining CSA, producing daily for The Weather Channel, producing demos for local talent and training new talent to work in the voice industry. With so many actors booking jobs as they learn the business and the techniques of voiceover, the studio time was quickly booked up, creating a need for another studio and more producers and teachers.

Recently, voice talent/producer/teacher Eileen Kimble joined the staff to produce in the new studio as well as train the voiceover for audio books class. September Day-Carter and Bob Carter teach the Intro to Voiceover class monthly, a 6-hour, intensive day about the business of working in the industry. Day-Carter also teaches a workshop on how to navigate voice123.com, an online voice casting services with voice jobs from all over the world. And Adam Drescher, formerly of

KABC in Los Angeles, teaches audio editing, produces auditions and runs the voiceover support teams, where actors come in weekly to work in the voice booth to practice their copy interpretation and presentation. Beginning in January 2012, Bob Carter will add his animation and gaming classes.

Even the youth, kids and teens are learning the craft. One talented 10-year old, Brett Cooper, who drives in from Tennessee to train specifically with Richards, booked a voiceover job. 9-year old Morgan Burch has booked multiple voice jobs since starting voice training 2 months ago.

In May of 2012, CSA welcomes Bob Bergen back to the studio, a voice animation teacher from Los Angeles. Bergen voices Porky Pig and Tweety Bird and has worked in many major animated projects including, Cars, Finding Nemo, Lilo and Stitch, Curious George, Tarzan, Wall-E and more. Bergen will teach an advanced intensive class for animated voice actors in a working 2-day class for a very small group of experienced voice actors.

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Jen Kelley, a talent agent for the last 19 years and Rita Harrell, a former Fox casting associate, team up to create a premier casting company, Big Picture Casting, Inc. Georgia now ranks in the top five for film and TV production, necessitating new casting resources to service both existing clients and incoming productions. Big Picture Casting offers a fresh professional perspective to the Atlanta and regional markets.

Says Kelley, “We have broad knowledge of the talent pool and strong relationships with top talent agencies. New York and Los Angeles affiliates extend the reach of our clients for particular roles.� A full-service casting company, Big Picture Casting handles union and non-union film, television, commercial, industrial and print projects. BPC leverages cutting-edge technology to deliver high-quality auditions at competitive rates.

Take Your VCS Daily In the world of film and television production, dailies are one of the most important parts of a shoot, and delivering them has historically been an arduous task. The need for dailies to be delivered quickly and efficiently, often to different places around the globe, has been a never-ending challenge.

With the increase in Georgia film and episodic TV production, VCS was seeing a great increase in calls for dailies solutions. VCS President George Helms and Clark Cofer, Vice President of New Business Development, agreed that finding a dailies solution seemed to be a natural fit with the VCS mission to provide content solutions. To resolve their dailies issue, Helms and Cofer began travelling directly to the place where dailies began: Hollywood.

“Clark and I went to Los Angeles in September of 2010 to meet with Disney, ABC, Paramount, as well as other studios,” says Helms.

“We wanted to see what type of dailies work flow was being used as well as what solutions were available.” In June of 2011, during their sixth visit to Los Angeles, VCS learned of a company called Light Iron and their new dailies system: the OUTPOST Mobile System®.

“After meeting with the folks at Light Iron, seeing how OUTPOST works and learning of the impressive credit list it has already,” says Cofer, “we knew this was the ONLY dailies solution for our customers.” In fact, the team at VCS was so impressed with the system they negotiated to become Light Iron’s East Coast Affiliate for the OUTPOST. OUTPOST Mobile System® is a full-service on-site data laboratory made mobile as compact wheeled carts placed on-set or in a near set office. It is designed for the most efficient turn-around

Clark Cofer, VP of New Business, VCS

of dailies and available in 2D and 3D configurations. OUTPOST Mobile System® enables all departments, regardless of location, to have same-day accessibility to dailies. In addition to serving as the primary data download and backup station, OUTPOST delivers verified data back-up in triplicate, audio syncing, color correction, 3D convergence, transcoding, editorial deliverables, PIX/DAX streamable dailies and iPad-based Todailies®.

Hollywood is embracing OUTPOST, as proven by its use on the hit CBS series “Criminal Minds”, Columbia Pictures “Total Recall”, “The Amazing Spider-Man” and “The Green Hornet”, along with Walt Disney’s “Pirates of the Caribbean 4” and “The Muppets”.

VCS quickly invested in four systems to rent to productions in Georgia -- two of which are currently in use on the Robert Zemeckis film “Flight,” starring Denzel Washington, which is currently in production in Atlanta. Helms adds that everyone at VCS is excited about being able to extend their 25 plus year history of service and solutions to Georgia’s growing film, motion picture and television production industry.

www.ozmagazine.com OZ MAGAZINE

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Of Champions and Awards Ada Hatzios has been awarded the Chapter Champion award of the Georgia Chapter, Public Relations Society of America, in recognition of her outstanding volunteer work for the chapter.

Hatzios is a senior account executive with Cookerly Public Relations, a multi-disciplinary PR firm celebrating 20 years in Atlanta.

She has been involved with the Georgia Chapter for several years, serving on the College Relations Committee for the past four years; she co-led the Student Recruitment effort for the Chapter’s Shadow Day program for two years and the Professional Recruitment effort three years ago. She was also on the Student Relations Sub-Committee for the annual Real World for four years and is an active participant in the Young Professionals Special Interest Group.

PRSA|GA also honored its top local public relations professionals and programs for 2011, presenting a record 155 awards for outstanding public relations work in 86 program and project categories from some 210 entries. The Awards Celebration drew 370 persons at the Cobb Energy Center in suburban Atlanta.

Mickey Nall, APR, Fellow PRSA, and managing director of Ogilvy Public Relations Worldwide in Atlanta, was inducted into The Order of the Phoenix, the Chapter’s highest honor, and thus also enters the PRSA|GA Hall of Fame at the Grady College of Journalism and Mass Communication at The University of Georgia. At the induction, the 25th anniversary of The Order of

PRSA Chapter Champion Ada Hatzios

the Phoenix was observed including recognition of the living charter members. Nall was also just elected to be PRSA’s 2013 chair and CEO at the national organization’s conference in Orlando, FL. The individual awards below recognize outstanding Chapter members: - Judy Wicks, APR, vice president of Fiserv Inc.; Radiant Star Award in memory of Dyar Massey.

- Don Rountree, president of Rountree Group Integrated Communications; Luminary Star Award, for a member with 13 to 19 years of experience in public relations.

- Neil Hirsch, APR, manager, North American Communications at Novelis, Inc.; Shining Star Award, reflecting six to 12 years of experience in public relations.

- Morgan Sapp, an advancement associate at the Swift School; Rising Star Award, given to a member with five or fewer years of experience.

-Julie Ralston, communications director of the Atlanta Regional Commission; George Goodwin Award. This award recognizes a Chapter member for significant contributions to the community through volunteer service.

The Best of Phoenix award, judged from the four highest-scoring entries, went to Primrose Schools and its agency Jackson Spalding for the “Primrose School Family Dance-off” campaign.

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Work is BERRY Yummy Gena Berry has been busy staging food scenes for films shooting in Atlanta. She and her Culinary Works team’s work can be seen on the big screen in Life as We Know it, and three new films coming soon: The Odd Life of Timothy Green (Disney), The Three Stooges (20th Century Fox) and Parental Guidance (20thCentury Fox). Berry is also wrapping up a major recipe editing project with former “Top Chef ” competitor Chef Kevin Gillespie of Woodfire Grill.

Tube Squeezes Out App Tube just finished up a few rounds of projects with TNT and TBS, working with Senior Producer Nick Pride to release instructional videos for the networks’ TNT and TBS apps.

Creative director Chris Downs worked with freelancer Ben Frank to rebuild mock-ups of the apps in After Effects. They then reanimated the apps within a 3D model of an iPad in Cinema 4D and accented them with three-dimensional kinetic typography. The videos will be posted on the networks’ websites, YouTube channels, and supporting cable provider’s websites to be used as an online tutorial for the use of the app.

Good Stuff for a Good Cause

Developing People, Changing Lives, Building Communities. Amanda Lister, Angie Blackmar and Susan Solomon accept IABC Silver Flame Awards.

Goodwill Industries of the Southern Rivers in Columbus’ 2010 Goodwill Annual Community Report won two Silver Flame Awards from Atlanta’s Chapter of the International Association for Business Communicators. The Golden Flame Award ceremony was held at the Fox Theater. Goodwill Industries (GWISR) was recognized along with large public relations firms and well known businesses, including: Edelman (Public Relations), UPS (We love logistics!), General Electric, Turner Broadcasting, Children’s Healthcare of Atlanta (Casting Light on a Heavy Issue: Childhood Obesity) and many others. www.ozmagazine.com OZ MAGAZINE

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straight from the gut Documentary is one of the most vivid, powerful formats available for telling a story. But it’s also rife with hurdles—obtaining funding, getting licensing and clearances, and compared to other types of projects, it’s not terribly lucrative. Still, there are the few who stare adversity in the face and trudge ahead, all for the love of telling a story, and the hope of making a difference.

by: nichole bazemore

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Michael Lines, Abiyoyo Productions “It’s more than a vocation and a job. It’s a calling.”

When a friend told Michael Lines about a children’s prison in Uganda, the Creative Director of the Atlanta-based production company, Abiyoyo Productions, booked the first flight bound for the East African country. “It’s the dumping ground for orphans in Uganda,” he recalls. “We wanted to see it for ourselves.”

The rickety sign outside the facility read, “M: Rehabilitation Center for Children,” but Lines would soon learn that it was the furthest thing from a rehabilitation center. It was much closer to hell on earth.

‘M’ is a facility the Ugandan government created for the country’s unwanted children—the street beggars, handicapped and mentally disabled youth, and unwanted orphans, the latter mostly a result of the AIDS epidemic that has ravaged the African continent. Despite its government affiliation, the facility never received federal funds, and children suffered the effects—dozens were locked in the same room, some were chained to windows, many were severely malnourished, and all were forced to live in their own filth and waste. The squalor and neglect were far worse than anything Lines and his friend had imagined. “It was gutwrenching,” Lines remembers. “There were infants and children up to 18 years old. Some had been there for ten years. Children were treated like cattle. They were eating off the floor. When I saw it, I knew I was going to make a film. We didn’t know who would see it, but we felt compelled to take action,” he says.

A native Atlantan, Lines started his company in 1996. He named it Abiyoyo, after a popular children’s folk tale he listened to as a child. But it wasn’t until high school, when he produced his senior video, that Lines fell in love with film. “I remember watching people in class watch the story,” he recalls. “They were laughing and crying, and I knew then that film was a powerful medium. I was hooked.”

Humble and reluctant to talk about his accomplishments, Lines says he often feels compelled to focus his lens on people and stories that can impact how others see the world. “You think about statistics. You hear things like, ’there are 20 million displaced children in the world.’ But it’s hard to have compassion for that because it’s hard to put a face on that. My goal was to capture what I saw at ‘M’ and recreate the empathy that I felt for others,” Lines says.

That empathy was conveyed in Bereaved: The Abandoned Children of Uganda, the documentary Lines self-funded and produced about the facility. The film has been viewed in private screenings throughout the United States, as well as in Canada and China. It even spawned the non-profit organization, Sixty Feet, whose mission is to bring attention to the plight of children at ‘M’ and improve their living conditions. Since the organization was founded in 2010, signs of hope have begun to emerge where for so long there was only darkness. “The most amazing thing that happened, is that 20 of the youngest children there were rescued,” Lines says. “With government permission, two children were adopted by board members and are now living in a loving, caring environment.” Sixty Feet continues its work to rescue more children from the facility, a goal it hopes to achieve by 2012. www.ozmagazine.com OZ MAGAZINE

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Rhett Turner, Red Sky Productions “It’s a dream job, but it’s hard won to be here.”

While Michael Lines was bringing attention to the neglected youth of Uganda, Rhett Turner and his team were going where no other journalists had gone before: to the rural, practically inaccessible northern part of that African country.

Traveling with a team from The Carter Center, Turner, president and videographer at Red Sky Productions, followed medical professionals around the countryside as they delivered medicine to victims of Onchocerciasis, or river blindness. The illness, which is spread through black flies which breed in fast-moving waters, causes extreme skin depigmentation, severe itching, and eventually, blindness. Turner recalls his visit to the region: “There had been a 25-year civil war in the country and health care officials couldn’t get to the area. You’d see these whole towns where young kids and adults were blind.” Turner’s work with The Carter Center team will be presented in the film, Dark Forest, Black Fly, and is scheduled to be released in 2012.

Rhett Turner on location in Columbus, GA.

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Turner also partnered with The Carter Center on another project in Africa, this time as videographer for the documentary, Foul Water, Fiery Serpent. The film chronicles The Carter Center’s work to eliminate Guinea worm disease, which infects people who drink water that has been contaminated by the parasite’s larvae. Filmed from 2006 through 2009, Turner follows health care crews through remote villages in Ghana and Sudan, as they take steps to prevent the spread of the disease. The documentary, produced by Cielo Productions and narrated by Sigourney Weaver, has won ten awards, including the Los Angeles Reel Film Festival Award, in 2010.

An environmentalist at heart, Turner developed a love for documentaries as a child when he would watch them with his father, media mogul Ted Turner. As a teenager, Turner traveled along the Amazon River with Jacques-Yves Cousteau, the marine explorer and environmentalist.

Turner indulged his love of important stories and developed his storytelling ability as a sound tech and editor at CNN in the 1980’s and 1990’s. He served as an editor in Jordan during the Gulf War and later at CNN’s Tokyo bureau. But eventually, he returned to environmental documentaries.

The one of which he says he’s most proud is Chattahoochee, the 2010 documentary that chronicled the twenty-year disputes between Georgia, Florida, and Alabama and their shared water systems. The film examined the need for conservation and the economic ramifications of failing to do so. Chattahoochee went on to win an Emmy.

Turner continues to make environmentally-focused documentaries. He’s currently working on a project with the International Crane Foundation in hopes of bringing attention to the plight of fifteen different species of the birds. He’s also working to bring attention to issues affecting America’s heartland through the PBS documentary series This American Land. Turner works as videographer for the series, which is co-produced with Biscardi Creative Media.

Walter Biscardi, Biscardi Creative Media “I don’t take myself seriously, but I take my word very seriously.”

Stepping into the lobby of Biscardi Creative Media is a bit like being transported into a 50’s-style diner. Actually, it is a diner, something the firm’s owner, Walter Biscardi, said he always wanted.

But get past that, and your attention is diverted to the oversized, flat-screen TV in the same room. Or, to the vintage soda machine and nine edit bays, all thematically decorated and named after popular movies like Mulan and The Final Frontier. There’s a screening room, color-enhancement suites, an old-fashioned popcorn machine, all the coffee you can drink and all the candy you can eat. And of course, frequent guest appearances by Biscardi’s sandcolored Labrador/Greyhound mix, Molly, aka The Wonder Dog. “I want people to be comfortable, to kick their shoes off, relax, and stay awhile. Television is supposed to be fun,” says Biscardi.

But don’t be fooled by the whimsical atmosphere. Biscardi Creative Media, a full-service production entity housed in an impressive 6,000 sq ft space just a stone’s throw from Lake Lanier, produces some of the most important, hard-hitting documentaries and environmentally-focused programming on the airwaves today.

The winner of 13 Emmys, more than 20 Telly Awards, multiple Peabody’s and an Aurora and Cable Ace Award, Biscardi began working on documentaries more than 20 years ago as an editor at CNN’s Environmental Unit in Atlanta. That was when his love of storytelling took off. “That was one hell of a group.

I learned so much about editing and storytelling from that group, because they were telling stories that no one else was.

The message was, ‘take care of your little world and that helps everyone around you,’” Biscardi says.

In 2005, Gary Streiker, former CNN international correspondent and African bureau chief, approached Biscardi about doing some editing work for him. That conversation marked the beginning of an ongoing partnership, and the two have collaborated on dozens of projects since. One of those projects: the awardwinning documentary, Foul Water, Fiery Serpent.

Biscardi’s firm also handles all of the post production for Streiker’s global health projects and documentaries, many of which air on CNN, CNNI, the Weather Channel, PBS, Univision, and Al-Jazeera International. Their most recent collaboration is This American Land, a weekly documentary series that examines

environmental issues impacting American landscapes, water, and wildlife. The series is widely distributed on PBS stations around the country.

Biscardi is also Managing Producer and Post-Production Supervisor for Streiker’s program, Science Nation, a project they started working on three years ago for the National Science Foundation. Right now, his firm is also performing rough-cut stages of the documentary, Dark Forest, Black Fly, which chronicles the Carter Center’s campaign to end river blindness in the African nations of Ghana and Sudan.

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Suzanne Jurva, Independent Filmmaker “Stories find the form they need and the person that needs to tell them.”

Suzanne Jurva is that rare combination of right-brained creativity and left-brained analytical thinking. Trained as an engineer, Jurva realized almost immediately after college graduation that she wasn’t cut out for that work. “When I was done with the program, I said, ‘This isn’t me.’ My teachers all said I was a good writer, but I didn’t know what to do with it.” So, she headed to Los Angeles and started volunteering as a production assistant at the American Film Institute, where she says she “climbed the ladder the old fashioned way, rung by rung.”

Eventually, Jurva headed to Wisconsin to hone her skills in small market television. She worked for WPTV where she learned how to put documentaries together. She made seven. “There were no adults. I could do what I wanted, and they said, ‘ok.’” She headed back to LA and eventually got hired by Steven Spielberg’s DreamWorks Studios.

same question, Jurva began to investigate.

For more than 20 years, Billy McLaughlin had mesmerized audiences with his masterful command of the acoustic guitar.

At his peak, McLaughlin played more than 200 shows a year and even made the Billboard Top 10. But for more than three years, McLaughlin had been harboring a secret: an incurable neuromuscular condition, focal dystonia, prevented him from using his left hand—the one he used to play the guitar.

By the time Suzanne met him, the musician had not only lost the ability to play his music; he’d lost everything, including his recording contract, publishing deal, and his family. “He was practically living out of his garage,” Jurva remembers.

But he had also had his guitar restrung for his right hand and was relearning how to play, note by note. A natural storyteller, Jurva wanted to be part of that journey. So for the next four years, she followed McLaughlin as he retaught himself how to play. One day, the guitarist had an idea: he would book a date for a concert, but he wouldn’t promote it, unsure whether he would be able to play or not. “That story went counter to everything I ever knew documentaries to be, because we didn’t know how it would turn out,” Jurva remembers.

It turned out that in 2007, after six years of learning how to play his songs from scratch, Billy McLaughlin made a comeback.

Jurva chronicled his journey in her documentary, Changing Keys, which began airing on PBS stations around the country in 2010. That film won the Platinum Remi Award at the Houston International Film Festival in 2009, beating 4,300 other films that were submitted.

In 2010, Billy McLaughlin received the American Academy of Neurology’s Public Leadership Award, an award previously given to celebrities, including Michael J. Fox, Janet Reno, and Julie Andrews. Currently, McLaughlin is touring the country and speaking about his battle with focal dystonia, in hopes that he’ll inspire other musicians who suspect they have the disease to get treatment.

McLaughlin’s dramatic turnaround and her ability to capture that via documentary solidifies Jurva’s respect for the medium.

“That’s why the documentary format is good to me. You can tell a story and do some good with it,” she says.

Frederick Taylor, Tomorrow Pictures “We’re not making a movie. We’re trying to change lives. Bipartisan or partisan, that’s it.”

“I am a storyteller, not a technical person,” Jurva says. But it was her technically-trained brain that got Spielberg’s attention. She eventually became head of research for DreamWorks, validating the historical accuracy of films like Saving Private Ryan, Amistad, and Gladiator.

But it was an off-the-cuff comment by her brother-in-law that would change the course of her life forever. “One day he said, ‘I wonder whatever happened to Billy McLaughlin. He was one hell of a musician.’” When someone she worked with posed the

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For Frederick Taylor, advocacy and activism started at an early age. Perhaps it’s only fitting, then, that documentary is his preferred method of storytelling. The son of a professor and jazz musician and pianist, Taylor says his mother exposed him to feature-length films and journalism at an early age. “The Lincoln Conspiracy, Beyond and Back--my mother would make me take her to see these films. I developed an appreciation for that type of media,” he says.

Taylor studied journalism at Temple University, but switched to documentary journalism halfway through. He launched his professional career by directing music videos. That showcased his skills and gave him leverage, but he burnt out. “I grew up in the 80’s and 90’s, when everything was about the bling. I never saw the value in it, and I couldn’t get with the program,” Taylor says.

In 2005, he started the internet TV channel, tomorrowpictures.tv, to show programming he thought was relevant. Then, in 2008, Taylor’s company began feeling the effects of the recession. With clients drying up and his company on the verge of bankruptcy, Taylor began making radical decisions. He started to mingle in political circles where he eventually met a producer who had been Bill Clinton’s AIDS czar. She asked Frederick to go to the city of Mukuru, a slum in Nairobi, Kenya, to film a documentary to raise awareness about international efforts at AIDS relief. “It was the worst abject poverty I’ve ever seen in the world,” Taylor recalls. The film, titled HIV FREE GENERATION, was sponsored by the U.S. President’s Emergency Plan for AIDS Relief.

In short succession, requests for documentary work kept coming. Taylor was tapped to go to Romania to produce a documentary about survivors of a pediatric AIDS epidemic that surfaced in 1989. The film, After the Fall: HIV Grows Up, is a riveting story about teens and young adults, long-term survivors of the pediatric HIV/AIDS epidemic that swept Romania after the fall of communism.

In 2008, Taylor was working in India on the day Barack Obama was elected president. “I was talking to homeless kids living on the beach who were helping me, and I was asking them how they felt about Obama. That’s when I realized the importance of what I was doing,” he says.

Since then, Taylor has produced several micro-documentaries in places like New Delhi, Mumbai, and South Central LA. The work is a welcome change of pace for the long-time, go-to producer for corporate projects for companies like the Georgia Lottery. “I pinch myself every day and wonder, ‘why me?’ You want to be able to make a contribution to humanity and leave a mark and say, ‘I mattered. I did something,’” he says.

Lance Lipman, Video Assets, Inc. “We made the film we wanted to make.

That was important to us.”

Sometimes, you pick the story that needs to be told and sometimes, it picks you. That was the case for Lance Lipman, who directed, edited, and supervised post-production of the documentary, Dying to Live. Shot at Piedmont Hospital in Atlanta and the subjects’ homes, the film follows four people for a year-and-ahalf as they wait for organ transplants.

In the film, you see the patients’ health deteriorate; you see their families break down; you see the patients as they prepare for and emerge from surgery. You feel your heart break when all but one, a father of two young children, receives a new organ. And you learn how incredibly bureaucratic the process of getting a new organ is, and that an estimated 100,000 people are waiting for a transplant at any given time. “There were very emotional portions of the interviews. We were deeply affected by then and were emotional. It reinforced the fact that this was a worthwhile project,” Lipman says.

Lipman, President of the Atlanta-based firm, Video Assets, Inc., was contacted about the film by its writer, veteran scriptwriter, John Robbins. Robbins got the idea for the film after his brother died of organ failure. “In the process of doing the film, I learned that 20 people a day die because not enough of us are donors. I doubt too many people know that,” Robbins says.

Lipman started his career in public television after graduating from Ithaca College in the 1970’s. He worked for the PBS station in Wilkesbury-Scranton, PA before he started his company, which focuses mostly on corporate, HR, and financial projects.

After getting clearance from Piedmont Hospital and the patients’ families, Lipman says the team ramped up production pretty quickly with the goal of the piece being “accurate, compelling storytelling, not investigative reporting.”

The documentary, which Lipman and Robbins funded themselves, aired on Georgia Public Broadcasting on Labor Day 2011. It is also airing on public TV stations around the country, and thanks to a non-broadcast distribution agreement, can now be used as a teaching or education tool in universities, teaching hospitals, and for patients waiting for organs.

“This is the largest, most important independent project of my career,” Lipman says.

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feature

Mister

Peepers

School of Infectious Acting

by Andrew Duncan

When pantomime becomes plague, film crews are entertained.

A

few weeks ago, I was visiting some friends on the crew of a Disney television movie about an aspiring musical artist. They were in the middle of a scene about the production of a music video, so a lot of the extras had been dressed as film crew. At one point, in the deep background of the scene, a couple of young men playing electricians sauntered over to a pair of coiled extension cords (referred to on a real film set as “stingers”). Unlike reallife movie electricians, these two extras examined the extension cords like cavemen trying to figure out how to eat a Lamborghini.

One rubbed his chin in thoughtful contemplation while the other pulled out his iPhone and started typing something. He may have been tweeting about it… you know, because maybe that’s what real movie electricians do?

In their defense, it’s not easy being an extra. The AD team doesn’t always tell the extras what they should be doing during a scene and more often than not they spend more time telling them the things that they shouldn’t be doing (things like: “Get out of the Director’s chair!!” and “Don’t stare at the camera during the take!!” and “Don’t actually talk during this scene, you moron!”).

The next time you watch a scene in a restaurant, turn down the sound and pay attention to the people at tables near the main actors. If it looks like they’re actually having a conversation, they did a good job because in reality they were only pretending to talk; a lot of the time extras don’t even know what their table mates are pretending to say because extras aren’t even allowed to whisper during a scene. The sound mixer is only interested in one thing: recording the actors’ dialogue.

Of course some extras can take things to the other extreme.

Extras should be like ninjas.

They should never stand out and they should never make noise.

They’re only included in a shot to add movement and a sense of normality to a public setting.

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While my friends on the Disney crew were wracked with silent giggles at the inauthentic actions of their fake electricians, I was reminded of a similar situation that occurred back in 1999 during the filming of a very powerful scene starring Denzel Washington in the feature film “Remember the Titans”.

We were shooting a scene in which Washington’s character, Coach Herman Boone, is loading the school’s recently desegregated football team onto two school buses bound for football camp. In the story, the first time the teams load onto the buses all the black players got into one bus and all the white players got into the other bus. Realizing that this was a bad start toward building a unified football team, Coach Boone ordered all the players to exit the buses and right there in the parking lot, in front of their parents, he split the boys into their defensive and offensive units. Black boys and white boys, mixed together, then loaded back aboard the newly christened “defensive” and “offensive” buses.

What you may not have noticed in the background of this scene is that the extras portraying the parents of the players were placed beside their parked cars, and some of the white parents were instructed to express open surprise and disapproval of Coach Boone’s improvised integration of their children’s football team.

As the camera guys worked out a final rehearsal, I walked over and gave Washington his character’s prop wristwatch and then headed over to the craft service cart to grab a snack. As I rounded the back end of a stakebed truck parked behind video village, I noticed my friends Rhea and Darryl standing off to the side, in front of an unattended video monitor. They were laughing their heads off.

“What’s going on??” I asked, as I stepped over to look at the monitor.

“Watch this guy,” said Rhea, jabbing at the monitor to point out a balding man with glasses. The man was one of the extras playing the parent of a white kid and he was extremely animated. As more of our crew stepped up to watch the monitor someone absentmindedly referred to that extra as “Mister Peepers”.

Now there is, without a doubt, a caste system in film production and like it or not, film crews do derive a lot of entertainment from the more outlandish characters who show up to work as extras.

This particular extra was a real doozy. Like my friends on the current day Disney show, we stood there, back in 1999, reeling with gales of silent laughter at his antics.

At one point this animated extra turned and said something to a couple of nearby extras. They looked at him as if he’d grown two heads, and politely eased back toward their designated car, watching him from over their shoulders.

My curiosity got the better of me. I had to know what Mister Peepers was telling the other extras, so as soon as the 1st AD called “cut” I strolled to the back of the line of period 1970s cars, pretending to inspect our fake license plates along the way. The vehicles were turned sideways to camera, and the plates could have never been seen in the shot, but nobody was really paying attention to me anyway.

As I reached the next to last car I squatted down and pretended to adjust its license plate, but my real intent was of course to eavesdrop on my new favorite extra. I had to suppress a huge grin when I spotted Mister Peepers because he was coaching nearby extras on the finer points of expressing their outrage at Washington’s character.

“You’ve got to gesture… GESTURE!” he scolded, holding his hands in front of his face, palms turned skyward. Each time he said “gesture” his neck would sink down and his hands would push up. His physical expression of outrage looked more like a Monty Python skit about an inept recruiter for the Marcel Marceau Academy of Exaggerated Pantomime.

Concealed from the camera by the car, I stopped trying to hide my grin and stayed crouched down, watching the action unfold from up close as we rolled on the scene again. The initial misgivings of the other extras were apparently giving way to acceptance because one of the women nearest to Mr. Peepers began bobbing her head up and down like she had a chicken bone stuck in her throat, and an older man one lane over started scowling and waving a fist in the air in a figure 8 pattern… and I could have sworn that he was saying “Robble, Robble!!!” over and over again, like a crazed Hamburgler from a 1970s McDonald’s commercial.

Mister Peepers was proving to be quite an effective coach. His style of “acting” was catching on like the Bubonic Plague, and it was infecting the other extras.

We finally had to rat out our favorite extra to an assistant director, who checked with camera to make sure that this expressive extra was sufficiently buried in the background of the scene to prevent the editors from being forced to abandon any important footage featuring our main actors. Nobody likes to do a reshoot.

But don’t feel bad for Mister Peepers. He showed up again a few weeks later, this time as a photographer for a press conference scene at Grady High School. Waving his giant press camera around in the air, he began to extol the virtues of physical mannerisms to the other fake reporters gathered around him.

When the second assistant director finally realized what was happening he instructed me to swap Mister Peeper’s big shiny camera for a small reporters notebook and a worn down pencil, then they quickly moved him to the back row.

“Mr. Peepers” illustration by Andrew Duncan

Our time with Mister Peepers had been all too brief, but it was fun while it lasted. Over the years I’ve wanted to thank him for the entertainment he provided us on that very tough project, so I’d like to dedicate this article to him wherever he might be. Consider it my gesture of appreciation.

I’m doing it with my hands and my neck.

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Bring your camera

The Secret Life of A-List Celebrities

Make-up Artists Dish About the People That Keep A-Listers Looking Fab. Intro by: Nichole Bazemore It’s no secret that most celebrities have a team of experts whose job it is to make sure they’re always camera-ready…meticulously manicured and model-perfect. After all, those chiseled bodies, perfectly straight pearly whites, natural looking weaves, and flawlessly made-up faces don’t create themselves.

But what is secret, are the names of the people who are responsible for all that celebrity glam.

Until now.

Here, four celebrity makeup artists break their silence and give you the dish on their clients’ most coveted consultants; the plastic surgeons, cosmetic dentists, weave stylists, nail technicians, and more; who are responsible for helping them create some of the most stunning, talked-about celebrity looks around.

Browse their list of “who’s who.” And smile, knowing the next time you eye a Hollywood A-lister with envy and think, maybe she’s born with it, you know the truth, and very likely, her dentist’s or weave technician’s name and number, too.

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Atlanta Center of Dermatology and Medi Spa, PC www.atldermmedispa.com Dr. Gloria Campbell-D’Hue, MD 404/349-7440 2950 Stone Hogan Connector Rd SW #4 Atlanta, GA 30331

Patrice Coleman

Patrice G. Coleman Enterprises, LLC www.patricegcoleman.com

Unique Face Options, Inc. www.uniquefaceoptions.com Lisa Clinkscale Porter 678-344-3223 4051 Stone Mountain Highway, Suite E-109 Lilburn, Ga 30047 Mark Tunac - Massage Therapist (Travels to you) 770-310-8800 Bowers Dental Center, Inc. Family & Prosthetic Dentistry www.Bowersdentalcenter.com Dr. James Bowers 770-469-4555 4416 A-2 Hugh Howell Road Tucker, GA 30084 Nekesa’s Natural Radiance Hair Loft www.nekesanrhairloft.com Nekesa 404-835-2117 3829 Main St. College Park , Ga 30337

A Few of Patrice’s Past Projects: Footloose; Fast and Furious 5; Mean Girls 2; The Leo Frank Story; Get Low; We Are Marshall; The Big Fish; Angel in Montgomery; Glory Road; A Stroke of Genius.

Sabrina Rowe and Sharlinda Rowe-Parker Two La 2 Nails and Company 375 Pharr Road, Suite 212 • Atlanta, GA 30303 678-698-7301 or 678-698-8917 www.tula2nailsalon.com Twins, business partners and celebrity nail artists Sabrina Rowe and Sharlinda Rowe-Parker have built a signature brand of service amongst celebrities and executive professionals by simply being the best. 20 years of experience combined with an ability to stay abreast and above industry trends keeps Sabrina and Sharlinda’s valued customers returning. They are the “go-to” source for celebrities like Demi Moore, Sean “Diddy” Combs, Katherine Heigl, Beyonce, Tyler Perry, Dolly Parton, Ben Stiller and many more. In addition to their master expertise, Sabrina and Sharlinda are known for their warm professionalism, ability to maintain client privacy, and mobile convenience (home or hotel, on set, location, etc.). A one of a kind signature service and experience is why Sabrina and Sharlinda remain in high demand with an expanding clientele.

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the secret life of a-list celebrities

Pat Segers www.Patsegers.com

Glorieus Hair in Buckhead Contact: Lorie Grisham 404-869-9383 2981 N Fulton Dr NE, Atlanta, GA 30305 Mai Nguyen - Pedi’s / Manicures 770-833-1954 THAY Lashes & Skin www.experiencethay.com Thay Carmichael 770-833-5671 110 E. Andrews Drive, Suite #210 Atlanta, GA 30305

Institut ‘DerMed - Facials www.idermed.com Lyn Ross 770-454-7788 3726 Roswell Rd. Atlanta, Ga. 30342 Dentistry At Vinings www.dentistryatvinings.com Dr. Ronald Wand, DDS 770-434-2181 2814 Spring Rd., Suite 126 Atlanta, GA 30339 Paces Plastic Surgery www.pacesplasticsurgery.com Dermatologist- Dr. Susan Hurt Plastic Surgery- Dr. Rod Hester 404-351-0051

A Few of Pat’s Clients: Stephen Humphrey Bogart, Andrea Bocelli, George W. Bush, Mariah Carey, June & Johnny Cash, Bill Clinton, Dalai Lama, Tom Glavine, Carrot Top, Newt Gingrich

Cary Goldstein, DMD Goldstein Dental Center 4320 Roswell Rd. • Atlanta GA 30342 Office: 404-869-7711 www.goldsteinonline.com Dr. Cary Goldstein of The Goldstein Center believes that it is best to have everything under one roof. So, the Center has four specialists providing all aspects of dentistry from kids’ care through adulthood. Dr. Goldstein and the other doctors keep up with the leading techniques and technology.

Their support team does also. They can be confident that they are offering the highest standards of dentistry to all their patients. Dr. Goldstein is the senior author of Imaging in Esthetic Dentistry, a textbook on the use of computerized imaging in esthetic dentistry. He lectures frequently on this subject as well as teaching the functional and esthetic aspects of cosmetic dentistry to other dentists. His speaking invitations have taken him to Europe, Mexico, South America and Asia, as well as throughout the United States. Even though the cast and crew working in Georgia and across the states know Dr. Goldstein, his practice provides care for anyone in need at almost any financial level. Not only does his team have big hearts, dentistry is their passion! Private entrance offered.

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Rhonda Barrymore

Help Me Rhonda Inc.® www.HelpMeRhonda.com

Paramount Plastic Surgery www.paramountplasticsurgery.com Keith Jeffords, MD, DDS Skin Care & Laser Center, Inc., 3964 Atlanta Rd., Smyrna GA 30080 678-370-9854 Belle de Jour Salon www.bdjsalon.com Vanessa Vinci - Hair Stylist Mount Paran Walk 5290 Roswell RD NE Atlanta GA 30343 404-250-9100

Ageless Remedies of Roswell www.agelessremediesbuckhead.com Jessica Jauregui - Esthetician 625 W. Crossville Rd, Suite 128 Roswell, GA 30075 (P) 770-587-0101 mobile: 678-612-6881

A Few of Rhonda’s Past Projects: Hair & Makeup Department Head for 7 Olympic Games: 1996-2008; Good Morning America (ABC); The Today Show with President Jimmy Carter (NBC); Stardust - The Bette Davis Story (TCM); Dave Matthews: Live from the 10 Spot (MTV); Charlie Rose - A Conversation with Gloria Steinem and Jane Fonda (PBS); Inside the NFL (HBO); Sir Elton John’s 60th Birthday Party/Billy Joel; Christmas at the White House with Hannah Storm and Laura Bush (CBS/The Early Show).

Harold J Brody, MD Hailey, Brody, Casey & Wray, M.D., P.C. 1218 West Paces Ferry Road, Suite 200 • Atlanta, GA 30327 404-525-7409 www.atlantadermatology.com Harold J. Brody, MD is a dermatologist and dermatologic surgeon in Atlanta. Not only has Dr. Brody worked on many VIP faces, he has been interviewed extensively on a variety of topics by the CNN, NBC, CBS, PBS, ABC and Fox networks. He has contributed print articles on topics in dermatology and dermatologic surgery in many major periodicals, including Town and Country, Vogue, Allure, and Atlanta Magazine. He has appeared in online articles on Web MD. Town & Country selected Dr. Brody as one of the Top Cosmetic Surgeons in the U.S. Self chose him as one of 32 “flawless dermatologists” nationally. Atlanta Magazine has featured him as one of their “Top Doctors.” His peers also selected him as one of the 2,000 Best Doctors in America. Dr. Brody prides himself on being a great listener and on his ability to make patients feel at ease. Dr. Brody’s ability to perform his work and maintain his clients’ natural look is widely noted.

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the secret life of a-list celebrities

Ransom www.ransombeauty.com Cohen and Drescher DDS - Cosmetic Dentistry www.midtownatlantadentists.com 404.892.3545 1201 Peachtree Street 400 Colony Square Suite 1515 Atlanta, GA 30361 Polished Nail Salon polishednailsalonllc.com Tola Mak – On-Set Nail Technician 770.211.1827 4788 Sugarloaf Parkway Suite 104 Lawrenceville, GA 30044

A Few of Ransom’s Past Projects: Key, features: American Reunion, LOL; Hall Pass; The Blind Side; Zombieland; Sweet Home Alabama.

Key, television: Drop Dead Diva (pilot); Jeff Foxworthy’s Big Night Out. Commercials: Ford; Nike.

Martha Hense, R.N. Laser Works Atlanta 1170 Grimes Bridge Road, Suite 400 Roswell, GA 30075 678-313-6230 www.laserworksatlanta.com Martha Hense has been a registered nurse for over 20 years.

She was trained as a surgical nurse in plastic surgery, providing the highest standard in skin care and anti-aging. She believes in continuous education to stay abreast of industry trends and maintain the highest level of technology for a clientele that changes and is constantly expanding. Hense is no stranger to celebrities; her clients fly from all over the continent to obtain the specialized care and attention to detail provided by her at Laser Works Atlanta. Client privacy is key. Services offered: BOTOX and facial fillers, laser hair removal, sun damage repair, spider vein removal, skin rejuvenation and tightening, microdermabrasion, peels, body sculpting and size reduction. Laser Works Atlanta is a sponsor and service provider for Miss Atlanta and the Miss America Pageant system.

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voices

MARRIED TO THE JOB FOR BETTER OR FOR WORSE

illustrated by Sarah Medina

By Scott Tredeau (with help from his better half, Meredith Tredeau)

Have you ever felt like you spend more time at work than you do with your spouse? Are you, as the old cliché goes, married to your job? Not me! I am married to my job, but not like the cliché. I’ve got the opposite problem (just kidding, dear) . . . I work with my spouse, and we spend the majority of our time together, both on the job and off. My wife, Meredith, and I are fortunate enough to work together running a small graphic design business, which we’ve been doing for most of the time we’ve been married.

We started working together in 2003, following my unsuccessful job search in a bad economy after college. I started freelancing, and over time, built my own steady client base. As business grew, so did my need for help, and I found myself relying on Meredith’s consulting background and business talents more and more. We decided to make it official (she doesn’t like to work for free), and Tredeau Design was born.

When we tell people that we run a business together, they either say “wow, that must be awesome,” or “wow, that must be hard.” The truth is, it’s both, depending on the day. But what marriage or business doesn’t have its ups and downs, right?

I t's Not for Everyone

Running a business as a couple probably isn’t for everyone. Marriage offers plenty of sources of conflict and compromise as it is, without adding shared work stresses into the mix. The constant contact, balancing and juggling of home and work responsibilities, and the financial risks, can be taxing. Having all your eggs in one basket can indeed be precarious; if the business or the marriage fails, everything could collapse.

W h y i t Wo r k s f o r U s

For me, knowing that we had a good marriage to begin with was a big factor in the decision to run our business together. Our personalities and the characteristics that make us good marriage partners are probably the same that make us good business partners. I knew that we would be able to compromise and work through any conflicts with the business the way we do in our marriage. Really, the business is just an extension of the relationship – the trust, communication and commitment – we already have.

It was very important for us to establish clear roles and boundaries right from the start. At work, like we do at home, we each have our primary roles and duties. I cut the grass, Meredith cleans the bathrooms; Meredith manages the business side of Tredeau Design, and I handle the creative side. We also have some collaborative and complementary roles. At home, it’s decision-making and disciplining the kids. At work, it’s conceptualizing and having face time with clients. Her left brain and my right brain make a good team.

We enjoy the togetherness and the flexibility that running our business gives us and our family; but to quote another cliché, we realize absence does make the heart grow fonder. We make a point to get regular breathing room, from work and each other. I think we both take pride and find comfort in knowing we have a business partner we can fully trust, who has the same vision and commitment to the company. It’s also nice to be able to talk about your day at work with someone who really gets it. Though, we do have to remember to turn it off sometimes and stop talking about work!

We both want the same thing, we want it to succeed, and we both put our heart and soul into it. We’ve built the business together and we nurture it, and each other, every day. www.ozmagazine.com OZ MAGAZINE

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feature

Romancing R omancing the Day Rate

A

career in Georgia’s visual communication industry can be extremely rewarding. It is an industry that rewards creativity and individuality. Many people tend to romanticize jobs in the industry. However, it is called a job for a reason.

Hard work, perseverance and an impeccable creative product culminate in a lucrative, fulfilling career.

The subjectivity of the industry can lead to difficulty. What is “fair” and how much one should charge for your creativity? What does an illustrator bill? What about an art director, account manager, or web designer?

When evaluating a job, a “day rate” can be used as an objective measure of pay.

The following list reflects comparative day rates for an eight-hour workday. The rates do not include overtime.

For many purchasers and sellers of creativity, the question is not, “What is fair?”

The question many times is, “What will the market bear?” Creativity is a commodity. It is bought and sold, subject to the market laws of supply and demand, the seller’s ability to accurately adjust volume and margin, and a purchaser’s market savvy. It is important to realize that most jobs require practical experience and education, and all require a willingness to work hard. Market forces, experience, and availability cause rates to fluctuate. The low end of the scale represents pay for a creative with minimal experience, while the high end describes compensation for a specialist in the field. Specialists usually have many years of experience, technical expertise, and excellent reputations and references.

Special thanks to the industry professionals who provided this valuable information and brought objectivity and fairness to a highly subjective topic for your use. And remember,

creative talent in Georgia means business, no subjectivity there.

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Low to High Day Rates

Low Owner, Partner, or Principal $240 .00 Solo Designer $160.00 Chief Design Officer $295.20 Strategy Director or Design Strategist $283.20 Creative or Design Director $280.00 Design Manager $260.00 Account Services Director $280.00 Operations Director 235.20 Marketing/New Business Director $200.00 $204.00 Account Manager Head of Production $260.00 Production Manager $200.00

Executive Producer $280.00 Writer/Copywriter $180.00

High

$560.00 $320.00 $400.00 $525.20 $500.00 $388.00 $496.40 $465.20 $405.20 $320.00 $460.00 $300.00 $430.00 $288.00

PRIMARILY PRINT Senior Designer, primarily print Designer, primarily print Junior Designer, primarily print Project Manager, primarily print Producer, primarily print

$205.20 $160.00 $128.00 $200.00 $168.00

$300.00 $220.00 $174.00 $288.00 $290.40

$260.00 $280.00 $180.00 $211.20 $180.00 $148.00 $192.00 $180.00 $208.00 $200.00 $200.00 $159.20 $240.00 $260.00

$440.00 $400.00 $390.00 $300.00 $260.00 $200.00 $300.00 $280.00 $360.00 $388.00 $300.00 $278.40 $448.00 $360.00

$220.00 $220.00 $200.00

$326.00 $320.00 $300.00

$211.20 $160.00 $128.00 $200.00

$300.00 $220.00 $180.00 $304.00

INTERACTIVE Information Architect User Experience Designer Mobile Interface Designer Senior Designer, web/interactive Designer, web/interactive Junior Designer, web/interactive Motion Graphics Designer/Animator Motion/Video Editor

Producer, web/interactive Project Manager, web/interactive Web Content Strategist Social Media Manager Usability Analyst/Researcher/Engineer Mobile App Developer Web-based Rich Media & Motion Graphics Developer Web Programmer/Dev. (back-end) Web Programmer/Dev. (front-end) PRINT, WEB, & INTERACTIVE

***These rates reference the 2011 AIGA/Aquent Salary Survey***

Senior Designer Designer Junior Designer Producer

P RINT WEB & INTERACTIVE

ROMANCING THE DAY RATE

photography by Christina Wills

per diem

BLISHING, INC.

EAST ATLANTA VILLAGE & LITTLE 5 POINTS East Atlanta Village (EAV) Little 5 Points (L5P) is the city’s “melting pot” of different interests – funky, indie, hippie, eccentric – you name it. Both offer unique shops, services, pubs and restaurants in a mini downtown setting.

Stephen Pruitt, Principal and Executive Producer, Mountain View Group

So Ba. I’m crazy about it. Whether it’s after a long shoot or a late night at the office, I eat at So Ba. Try the #23. It’s killer: Com Dac Biet – Pork chop, shredded pork, steamed omelet and sunny side up egg over broken rice, add some fish sauce and hot sauce and WOW!

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-------E AV -------529 529 Flat Shoals Ave Atlanta, GA 30316 (404) 228-6769 www.529atl.com Australian Bakery Cafe 463 Flat Shoals Rd Atlanta, GA 30316 (404) 653-0100 www.australianbakerycafe.com The Basement 1245 Glenwood Ave Atlanta, GA 30316 (404) 662-8686 thebasementeav.tumblr.com Burger Win 1181 McPherson Ave Atlanta, GA 30316 (404) 525-2255 www.burgerwin.com Delia’s Chicken Sausage Stand 489 Moreland Ave Atlanta, GA 30316 (404) 474-9651 www.thesausagestand.com East Atlanta Village Farmer’s Market 561 Flat Shoals Ave Atlanta, GA 30316 www.farmeav.com The EARL 488 Flat Shoals Ave SE Atlanta, GA 30316 (404) 522-3950 www.badearl.com East Side Lounge 485A Flat Shoals Ave Atlanta, GA 30316 (404) 521-9666 www.eastsidelounge.net The Flatiron Restaurant & Bar 520 Flat Shoals Ave SE Atlanta, GA 30316 (404) 688-8864 www.facebook.com/flatironbar The Glenwood 1263 Glenwood Ave Atlanta, GA 30316 (404) 748-1984 www.glenwoodatlanta.com Grant Central Pizza 1279 Glenwood Ave SE Atlanta, GA 30316 (404) 627-0007 www.facebook.com/GrantCentralEast Graveyard Tavern 1245 Glenwood Ave SE Atlanta, GA 30316 (404) 622-8686 www.graveyardtavern.com

Gravity Pub 1257 Glenwood Ave SE Atlanta, GA 30316 (404) 627-5555 Happy Donuts 380 Flat Shoals Ave SE Atlanta, GA 30316 (404) 893-0088 Holy Taco 1314 Glenwood Ave SE Atlanta, GA 30316 (404) 230-6177 www.holy-taco.com

Tomatillos 1242 Glenwood Ave Atlanta, GA 30316 (404) 622-9448 www.facebook.com/EastAtlantaTomatillos Urban Cannibals Bodega and Bites 477 Flat Shoals Ave SE Atlanta, GA 30316 (404) 230-9865 www.facebook.com/urbancannibals

iLounge 1287 Glenwood Ave SE Atlanta, GA 30316 (404) 627-9339 www.iloungeatl.com Joe’s East Atlanta Coffee Shop 510 Flat Shoals Ave SE Atlanta, GA 30316 (404) 521-1122 Mary’s 1287 Glenwood Ave Atlanta, GA 30316 (404) 624-4411 www.marysatlanta.com The Midway Pub 552 Flat Shoals Ave Atlanta, GA 30316 (404) 584-0335 www.themidwaypub.com Ms. Betty’s House of Ribs 1281 Bouldercrest Dr Atlanta, GA 30316 (404) 243-8484 My Sister’s Room 1271 Glenwood Ave Atlanta, GA 30316 (678) 705-4585 www.mysistersroom.com N’awlins 1271 Glenwood Avenue SE Atlanta, GA 30316 (678) 705-4585 Olivia’s Cafe 543 Stokeswood Ave Atlanta, GA 30316 (404) 215-3444 www.oliviascafeatlanta.com So Ba East Atlanta Village 560 Gresham Ave Atlanta, GA 30316 (404) 627-9911 www.soba-eav.com Thai and Sushi East Atlanta 467 Flat Shoals Ave SE Atlanta, GA 30316 (404) 522-5992 www.eavthai.com www.ozmagazine.com OZ MAGAZINE

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per diem

BLISHING, INC.

Tanisha Coffey, Producer/Script Supervisor/Writer

Working in production, days and hours can be hectic. So, one of my favorite spots to frequent in the Little Five Points area is Sevananda. Why? ‘Cause they’ve always got something hot to eat that I can grab on the go…and that’s nutritious, which we all know is a necessary change after all the snacks we gorge on on-set!

-------L5P -------Ali Baba’s Turkish & Mediterranean Delight 1099 Euclid Ave Atlanta, GA 30307 (404) 681-3997 www.alibabaatlanta.com Arden’s Garden Juice & Smoothies 1117 Euclid Ave NE Atlanta, GA 30307 (404) 827-0424 www.ardensgarden.com Aurora Coffee 468 Moreland Ave NE Atlanta, GA 30307 (404) 523-6856 www.auroracoffee.com Brewhouse Cafe 401 Moreland Ave NE Atlanta, GA 30307 (404) 525-7799 www.brewhousecafe.com Corner Tavern - LITTLE FIVE 1174 Euclid Ave Atlanta, GA 30307 (404) 521-0667 www.thecornertavern.com El Myr 1091 Euclid Ave NE Atlanta, GA 30307 (404) 588-0250 www.elmyr.com Euclid Avenue Yacht Club 1136 Euclid Ave NE Atlanta, GA 30307 (404) 688-2582 www.theeayc.com The Five Spot 1123 Euclid Ave NE Atlanta, GA 30307 (404) 223-1100 www.fivespot-atl.com Front Page News 351 Moreland Ave NE Atlanta, GA 30307 (404) 475-7777 www.frontpageatlanta.com

Java Lords 1105 Euclid Ave Atlanta, GA 30307 (404) 477-0921 Little Five Points Pizza 422 Seminole Ave NE Atlanta, GA 30307 (404) 525-2530 Luna Nueva 1148 Euclid Ave NE Atlanta, GA 30307 (404) 521-3555 www.lunanuevarestaurant.com Niramish 1138 Euclid Ave Atlanta, GA 30307 (404) 917-0106 www.niramish.com OMG Taco 1126 Euclid Ave Atlanta, GA 30307 (404) 343-3860 www.ohmmgogi.com Planet Bombay 451 Moreland Ave NE Atlanta, GA 30307 (404) 688-0005 www.planetbombay.com The Porter Beer Bar 1156 Euclid Ave Atlanta, GA 31136 (404) 223-0393 www.theporterbeerbar.com Savage Pizza 484 Moreland Ave NE Atlanta, GA 30307 (404) 523-0500 www.savagepizza.com Sevananda Natural Foods Market 467 Moreland Ave NE Atlanta, GA 30307 (404) 681-2831 www.sevananda.coop

Star Community Bar 437 Moreland Ave NE Atlanta, GA 30307 (404) 681-9018 www.starbaratlanta.com Starbucks Coffee 506 Moreland Ave NE Atlanta, GA 30307 (404) 230-9085 www.starbucks.com Wrecking Bar Brewpub 292 Moreland Ave NE Atlanta, GA 30307 (404) 221-2600 www.wreckingbarbrewpub.com Stir it Up 1083 Euclid Ave Atlanta, GA 30307 (404) 963-2384 www.stiritupatl.com Tijuana Garage 351 Moreland Ave NE Atlanta, GA 30307 (404) 475-8888 www.tijuanagarage.com Variety Playhouse 1099 Euclid Ave NE Atlanta, GA 30307 (404) 521-1786 www.variety-playhouse.com Village Coffee House 420 Seminole Ave NE Atlanta, GA 30307 (404) 688-3176 Vortex Bar & Grill 438 Moreland Ave NE Atlanta, GA 30307 (404) 688-1828 www.thevortexbarandgrill.com Zesto 377 Moreland Ave NE Atlanta, GA 30307 (404) 523-1973 www.zestoatlanta.com

Kate Crosby , Video Production Coordinator, CARE

Flat Iron is my favorite bar in East Atlanta. The staff is friendly, beers are cheap, and the patio provides some of the best people watching in East Atlanta. They have an extensive vegetarian menu and recycle, which are both a must for me! Flatiron also has a great brunch, which they just extended to Saturdays as well. My favorites are the vegetarian biscuits and gravy, jalapeno white cheddar grits and those killer bloody marys!

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Jerem y R ay , A rtist / Designer / Musici a n

I often find myself beginning and ending my evenings at the Flat Iron.

You can’t beat $6 dollar pitchers of Pabst! So, next time you’re planning an evening in the Village, hit up the Earl for dinner and a show. Then walk down Flat Shoals for a shot of Jameson at the 529 and a night cap at the Flat. Cheers!

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how i got into the business

Rich Shepard

Camera/Jib operator richshep66@yahoo.com

How did you get into the business?

I switched majors midway thru college (SUNY Cortland, NY), from English to TV/Radio communications.

I interned at a small UHF TV station on eastern Long Island (WLIG-TV55, Riverhead NY).They allowed me to operate a studio camera shooting the sportscaster during their nightly newscast.

When I graduated, WLIG hired me to be a studio camera operator. When an ENG camera operator quit, I was promoted! I worked in news as an ENG camera operator, microwave truck op and videotape editor for the next 10 years, working for News 12 Long Island, and several NYC stations including WNBC & WPIX. In 1995 I was hired to operate 7 robotic cameras for the Howard Stern show on the E! channel. It was my 1st staff talk show job and I loved it! I laughed every day, saw some great actors, comedians and musicians at their funniest and occasionally got invited to Scores parties. It was probably the funnest job I’ve had, with the wackiest cast and crew I’ve had the pleasure to work with.

Over the past 10 years I have worked regularly on nationally televised shows in NYC , including the Peoples Court, Maury Povich, Regis and Kelly , Good Morning America as well as the soap operas: One Life to Live and All My Children.

I learned how to operate the jib camera for the ESPN show Quite Frankly, and after a year there, was hired

by ABC Network to be a staff jib cameraman for The View in 2006.

I love working in television, meeting and working with interesting people and listening to their stories.

I also love the thrill of pulling off a complicated shot, especially when its live TV, and you only have one chance to do it right. I look forward to continuing my career here in Atlanta.

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Nelda Mays

Commercial Photographer www.neldamaysphoto.com

How did you get into the business?

When I graduated from art school, I quickly discovered that there was not a huge market for art photography. I got hungry very fast and quickly learned how to shoot commercially. One of my first projects came via a woman I waited tables with during college. I shot a calendar for her sorority (note – this was a charity calendar, not the pin-up kind!). Another early gig was shooting caulking tubes for an Atlanta company.

This was long before the advent of digital technology, so 2-3 days a month, I set up the studio and photographed caulking tubes… It wasn’t glamorous, but I was grateful for every caulking tube that I shot.

Since those early days, I’ve gone on to shoot for major companies and organizations such as FedEx, Emory Healthcare, the CDC and Children’s Healthcare of Atlanta. I shot one of the first websites for webmd.com.

About 13 years ago, I landed a job shooting an inhouse magazine for Southern Regional Medical Center.

I discovered that I loved shooting for healthcare, and I’ve since shot for hospitals all over the Southeast. I’m drawn to projects that allow me to capture people’s stories, and healthcare photography fits right in with that passion.

What’s the best lesson you’ve ever learned on a shoot?

When my son was about 6 years old, he picked up head lice at school. I was horrified. The next day, I had my first shoot in the cancer ward at Children’s Healthcare of Atlanta. I walked into a room of bald children playing games together. Midway through the shoot, I called my husband and said, “I’m on my knees thanking God that all we have is lice.”

Do you have any advice for someone getting into the business?

Minor in plumbing.

OZ MAGAZINE www.ozmagazine.com

PAULA ROSE CASTRONOVA

Stylist for Film, Television, & Commercials

How I Got into The Business I always wanted to be in film. The chance happened. I jumped in. At a dinner party that was being given by one of the editors of Rolling Stone. I had the pleasure of meeting the production designer of a ‘Friends’ type show. It turned out that a key costumer was ill and they were looking for someone to fill in. I was asked if I could start the following week. At that time I was working in Fashion as a designer but said Yes Definitely, and quit my job! A true ‘Baptism By Fire’. I survived the dirty looks from the first AD when I was late getting a star ready or the cutting remarks from the make-up girls and actually did my job very well. After that, they called me back to offer me a permanent position as coordinator in the costume department much to the chagrin of the other key costumers on the show.

Want to Work in Wardrobe and become a Costume Designer?

The best advice I can think of is ‘Never Give Up’. No matter how many calls I made when I decided to start out on my own they would say we have nothing, or sorry who are you again and hang up. It was tough but once I did my first job the offers rolled in and I started my Art Direction and Costume Design company, specializing in giving a production more of a cohesive look.

LessonS LearnED on-Set: Don’t stand in front of the lights. People get very annoyed.

My Best Time Ever: When I got the call from the head of a network to develop the costume department for a new cable television network and that they would pay me full freelance rates. Not to mention the experience of being the creator of 14 presenters styles on 10 shows. I certainly worked for it! One of my favorite experiences was that, while having a break from shooting in Australia, I went swimming with Laura Dern and the Dolphins.

Continues on p. 40

PAUL GLICKSTEIN

how i got into the business

Freelance Copywriter paulglick@mindspring.com www.forumfolios.org/portfolio/PaulGlickstein

HOW DID YOU GET INTO THE BUSINESS?

Jeannie Rochelle

Nothing too exotic here – intrigued with iconic advertising campaigns of the 1960’s and 1970’s, I made my career decision in high school and went to college to pursue it. Two journalism degrees later (BA UNCChapel Hill, MS Northwestern), both with specialties in advertising, I was a copywriter, and I’ve been in the business ever since. My career has included promotional writing positions at a mid-market daily newspaper and at a regional banking group, and as a copywriter/ contact at an ad agency. In the mid-1980’s, I left the agency (okay, it left me), and I’ve been freelancing now for more than 25 years.

Producer / Production Supervisor

HOW DID you GET INTO THe BUSINESS?

It’s been a circuitous path, starting from childhood when my mother and I watched vintage films with Jon Downs, who taught theater and directed plays at DeKalb Community College. Jon has a vast archive of classics.

That’s when I began tuning into the craft behind motion pictures. There were years of classical dance training with the Atlanta Ballet that introduced me to the discipline of art, along with the enjoyment of it. In my teens I was a principal in a TV series for a PBS nutrition program.

After high school, I studied a year in Paris and flirted around with architecture, photography, dance, theater, language. After earning a BA in French Lit at GSU, I took a production-related job at a post facility, worked as a production assistant, then coordinator, and now freelance produce and supervise commercials.

WHAT’S SOME OF THE BEST ADVICE YOU COULD GIVE SOMEONE LAUNCHING A FREELANCE CAREER?

ramon engle

Scariest or proudest moment?

Steadicam Operator

A memorable project was a hush-hush Apple iTunes shoot. At 2 PM on a Monday, an LA producer friend called asking for my avail for a Wednesday shoot with a celebrity musician touring somewhere in the Southeast. I was to find a guitar virtuoso stand-in in his 60s, scrawny build... oh, and a 60s acoustic Martin guitar, besides pulling together a crew and vendors from all over the country, set up a location, and more. I, of course was thinking about Wednesday the following week. Alas, she meant 36 hours from our call! Miraculously, 36 hours later, Bob Dylan arrived on the dot for an exhilarating day of work. Many jobs are exciting, and most are assuredly exhausting.

How did you get into the Business?

Best advice or suggestions to get in THE biz/ Lessons learned?

Build stamina, maintain humor and perspective, always observe and listen. Be flexible. Don’t procrastinate. Pack lightly.

3+ fave or latest projects:

The stand-out jobs featured Olympic athletes, Derby race-horses, black rhino, gorgeous locales, but mostly, exceptional people of every representation.

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I was a broadcast and film major at the University of Alabama and worked on local productions in Tuscaloosa: Network football games, local commercial production. One of the production companies in Birmingham convinced me to move there after graduation and work as a PA. What advice would you have for an aspiring Steadicam operator?

When I speak with people that express an interest in Steadicam I always mention that mechanics and the physicallity of the craft are only a small part of what it takes to be proficient. You have to be able to frame, accomodate and justify camera movement. Not to mention you will also need to know what it takes for your department to support you and make sure they have the time and tools to do that. In otherwords, be a camera operator first and a steadicam operator second. In 1990 I worked on “The Long Walk Home” as a grip. Roger Deakins was the cameraman on the show.

I would love the opportunity to work for Roger as an operator. I truly respect his story telling skills.

OZ MAGAZINE www.ozmagazine.com

1. You’re not just a contract writer (or designer or whatever); you’re a business.

2. When it comes to clients, it’s always “we,” not “I” (an invaluable lesson I learned at the ad agency).

3. When it comes to clients’ work, it’s about their business, and not about your ego. When it comes to clients’ money, treat it like it’s your own.

4. “No” really is okay; it’s better to excel on one project than turn in mediocre work on two.

5. Spec work is never okay.

WHAT’S YOUR FAVORITE KIND OF PROJECT TO WORK ON?

At the ad agency, I frequently worked on consumer promotions for retail clients; my job was to come up with fun ideas – literally – and then help make them happen. Sometimes I thought I should pay them for the fun I was having.

3 MEMORABLE PROJECTS:

Atlanta International School Admissions Brochure (Every word of that brochure had to advance the school’s unique mission) Divorce Innovations Web Site (Fascinating to learn and write about alternatives to traditional litigation) Worthmore Jewelers Retail Ads (I co-developed Worthmore’s edgy style and brand, still working to this day)

    

www.thelemonsbook.com

scene

AICP awards night @ THE HIGH 2

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(L-R)

1. Steve Colby, Pogo Pictures (AICP NEXT Panel Speaker); Ben Callner, Pogo Pictures (AICP Show Award Winner); Joe Przedwiecki, Pogo Pictures; Ruth Brown, Pogo Pictures 2. Molly Baroco, Jam Edit; Steve Colby, Pogo Pictures (AICP NEXT Panel Speaker); David Blackburn; Ruth Brown, Pogo Pictures

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3. Kelly Andrews, Jayan Films; Terre Love, Jayan Films 4. Kara Krohn, Wolff Bros. Post; UNKNOWN; Kati Weller, Turner Broadcasting 5. Soraia Callison, Company 3 6. UNKNOWN; Buddy Hall, RIOT Atlanta

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7. John Stapleton, 22squared (AICP NEXT Panel Speaker); Carolyn Hill, CarolynReps (AICP NEXT Panel Speaker); Brian Tolleson, BARK BARK / AICP SE President 8. Tom Gibney, The Buntin Group; UNKNOWN 9. Bruce Lane; Sheryl Myers, Comotion Films; Guy Tucker, Ask Guy Tucker 10. Brian Tolleson, BARK BARK / AICP SE President; Ruth Brown, Pogo Pictures

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PC&E’s PIG-A-PALOOZA

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(L-R)

1. Josh Olds, Fred Houghton, and Bill Villarinho of PC&E. 2. Greg Morse and Bobby Earnhardt of Atlanta Motion Pigtures preparing ribs.

3. David Hulsey rocks the house!

4. Jerry and Susan Pece 5. Steve “Angus Young” Sonsini and Cait “Lady Gaga” Rockwell of PC&E 6. Stage One at PC&E was transformed into an intimate music room for the party.

7. El Cheapo channeled KISS for the party 8. John Kelly makes an important announcement.

9. Costume Contest Winners Sonny and Cher (John Crow and Amy Giroud) 10. Mark Wofford and Jon Omps of PC&E.

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scene

Company 3 opens in atlanta 2

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1. Andres Perez Duarte of Method Design

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2. Mike Richardson, Armando LaHoz, Gary Gee of Team Retail First 3. Noel Dowd & Mike Richardson of Team Retail First 4. Beth Helmer of RIOT, Rich Guglielmo, & Mike LaGattuta of Luckie

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5. Marcelo Gandola of CO3 & Brian Tolleson of Bark Bark 6. Jeff Boortz & Lauren Fundora of Method Design 7. Billy Gabor, Alex Brownley, & Jill Brownley of CO3 8. Mike Wardner of RIOT

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9. Chris Schlegel, friend, & Rick Ender 10. Craig Chupinsky of Method Design, Brandon Danowski of RIOT, Lauren Fundora of Method Design, & Chuck Brock of RIOT

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Where will you be

Feb 17-18, 2012 Imagine over 160,000 square feet of creative genius, movie sets, fabulous food, fashion, props, technology, amazing performances and the entire creative community coming together to celebrate and promote all of the next cool things in Georgia.

Imagine being a part of it.

Now is your chance.

THE NEXT COOL EVENT tickets are available at

TheNextCoolEvent.com be part of the movement.

.com

scene

b ronze l ens film festival 2

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The 2nd Annual BronzeLens Film Festival drew more than 3100 attendees to its 38 screenings and 15 workshops and panels over the course of 4 days – November 1013, 2011. Created to promote Atlanta as a destination for film and film production by people of color, BronzeLens attracted attendees and film submissions from all across the US as well as the Caribbean, France, Spain, India, and several countries in Africa. See video, film clips and more at www.bronzelens.com.

1. Actor/ Director Mario Van Peebles premiered his “We The Party” film. L-R: Deidre McDonald, BLFF artistic director; actor Patrick Cage II, actor Nicole Ari Parker, BronzeLens Film Festival Co-Chair; Kathleen Bertrand, BLFF founder/executive producer; Sheryl Gripper, BLFF executive director; actor Mandela Van Peebles; actor Maya Van Peebles.

2. BronzeLens Film Festival attendees give their full attention to presenters in the “Alternative Careers” panel presentation, which was led by CEO of Bobbcat Films, Roger Bobb

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3. Almost 300 persons packed the Atrium Ballroom of the Atlanta Marriott Marquis for the 2ndAnnual Women SuperStars Luncheon, a signature event of the BronzeLens Film Festival, honoring women in the film and television industries for their achievements both in front of and behind the lens.

4. Women SuperStars Luncheon Honorees: L-R Kathleen Bertrand, BLFF Founder/Executive Producer; actor Eugenia Yuan; Actor, activist, and original “Dreamgirl” Sheryl Lee Ralph; media mogul Paula Madison; Actor Ziah Colon; actor, director and choreographer Jasmine Guy; singer and original “Dreamgirl” Jennifer Holliday; BLFF executive director Sheryl Gripper

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5. At the BronzeLens Closing Night screening, L-R BLFF Artistic Director Deidre McDonald, Carol Scipion – Cultural Attaché with the French Consulate; BLFF Founder/Executive Producer Kathleen Bertrand; filmmaker Joel Calmettes whose film ”Mandela in Freedom’s Name” was screened at BronzeLens as only the second screening in the US outside of the United Nations.

6. BronzeLens Co-Chairs actor Nicole Ari Parker, and Bobbcat Films CEO Roger Bobb 7. BronzeLens “Legendary Behind the Lens SuperStar” and media mogul Paula Madison accepts her award 8. Nicole Ari Parker interviews actor Eugenia Yuan, and her director Jerry Davis, whose film “The Shanghai Hotel” won the 2011 BronzeLens Best Feature Award, and stars Yuan.

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9. The Horne Brothers ( L-R: Tyson Horne, Sidney Peterson, Ryon Horne, Byron Horne) talking to the full-house audience in attendance at the BronzeLens Closing Night screening of their film “The Start of Dreams, which won the 2011 BronzeLens Best Documentary Award, as well as the 2011 BronzeLens Audience Award.

10. BronzeLens “Rising SuperStar” and co-star of “Footloose” Ziah Colon

Paparazzi line up to shoot the BronzeLens Women SuperStars

We are the premier camera rental house in Atlanta!

[And the Southeastern United States) For 36 years Cine Photo Tech, Inc. (CPT) has been recognized as Atlanta’s premier motion picture equipment rental company providing feature films, commercials, TV programming, and music videos with Film and Digital cameras from ARRI, Sony, Phantom, Panasonic, Moviecam, Aaton and Photosonics. In addition to Codex Digital recorders and STwo OB-1 recorders.

www.cinephototech.com

1240 Oakleigh Drive Atlanta, GA 30344

Tel. 404-684-7100 Fax 404-684-7080

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let me give you my card

Happy Holidays!

Love,,

RJR Props www.rjrprops.com

(404) 696-4995 We have thousands of props in stock, and we can custom design anything you might need.

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character illustrations Timbuktoons - www.timbuktoons.com Dave Clegg - www.daveclegg.com

Cinema Concepts - www.cinemaconcepts.com

Bill Mayer - www.thebillmayer.com Dave Clegg - www.daveclegg.com Josh Thompson - joshthompsonillustrator.tumblr.com Bill Mayer - www.thebillmayer.com

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OZ MAGAZINE www.ozmagazine.com

JAY marsh

illustration ____ Translating passionate ideas into compelling imagery.

404.408.8647 - jay-marsh.com - jmarsh@jay-marsh.com