Oz Magazine March/April 2015 by Oz Publishing, Inc

film & tv • print • new media • lifestyle march/april 2015

Join us on March 5-7, 2015. At the Atlanta Marriott Marquis. The Black Women Film Summit is Back!! This three-day event will celebrate black women in the fields of arts and entertainment. It’s a great way to connect with key players and aspiring entertainment professionals. Guests include director/producer, Will Packer; Why Did I Get Married, Actor, Lamman Rucker; Vice President of Talent & Casting, Robi Reed. This is a just a few of many A-list attendees.

DON’T MISS OUT! GET YOUR TICKET(S) AT WWW.BLACKWOMENFILMSUMMIT.ORG

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STAFF Publishers: Tia Powell (Group Publisher) Gary Powell Michael Garland (Assistant to the Publisher)

Project Manager: Latisha “Tish” Simmons

Editorial: Gary Powell

Sales: Monique McGlockton Kris Thimmesch Martha Ronske

Contributors: Christine Bunish Andrew Duncan Stephanie Hotchkiss Princess Monique Allen Rabinowitz

Creative Director: Kelvin Lee

Production and Design: Randy Davis Kelsey Waugh Ted Fabella (Oz Logo Design)

CONTRIBUTORS CHRISTINE BUNISH Christine Bunish has been a writer and editor covering the professional film, video, broadcast and advertising industries for more than 25 years. She was a writer at Broadcast Management/ Engineering and World Broadcast News and an editor at Millimeter before going freelance. ( Welcome to Atlanta p.22 / cbunish@gmail.com) RANDY DAVIS He has been called Creative Director, Design Director, Art Director, Designer and Pop over his long career creating memorable campaigns for cause-based organizations. In addition to his studio duties, Randy is a member of Auburn University’s Department of Industrial and Graphic Design, National Advisory Council. ( My Mostest, Bestest, Favoritest Gadgets feature story design p. 30, www.RandyDesigns.net) ANDREW DUNCAN He is known in the motion picture industry as “Drewprops,” has been writing about the craft of filmmaking from the inside out since the 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. ( Behind the Camera with Drewprops p.38 / www.drewprops.com) STEPHANIE HOTCHKISS Stephanie Hotchkiss is a senior at the University of Georgia and will receive a degree in Mass Media Arts in May 2015. She has a passion for commercial editing, trailers & unscripted television. After graduating, she will further her career as a film editor. ( stephaniereneehotchkiss@gmail.com) BILL MAYER Bill Mayer is an award-winning illustrator who has worked with numerous Fortune 500 companies. He works in illustration, advertising, design, character development, editorial, consulting and has won hundreds of national and international awards. ( Cover Artist / bill@thebillmayer.com)

Cover Design: Bill Mayer film & tv • print • new media • lifestyle march/april 2015

www.ozmagazine.com www.facebook.com/ozpublishing www.twitter.com/ozpublishing (404) 633-1779 Oz Magazine is published bi-monthly by Oz Publishing, Inc. 2566 Shallowford Road Suite 104, #302 Atlanta, GA 30345 Copyright © 2015 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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PRINCESS MONIQUE Princess Monique is a film/TV director. She recently produced movie, Seasons of Love, with executive produced Taraji P. Henson aired on Lifetime Television in December 2014. She is currently in development for a feature film as well as a television series. ( Voices p.21 / www.princessfilmsproductions.com) ALLEN RABINOWITZ A contributor to Oz since 1993, covering advertising, cinematography, graphic design and photography. One of the first chroniclers of the Punk Rock scene in his native New York, Allen’s work has appeared in local, national and international media including Communication Arts, How, Photo District News, Shoot, Folio, Agence France-Presse and Georgia Trend. (My Mostest, Bestest, Favoritest Gadgets p. 30) KELSEY WAUGH Kelsey Waugh is a Graphic Designer currently enrolled at Kennesaw State University. She looks to combine her light-hearted style with her illustrations and designs, creating a unique and quirky type of style. After graduating, she hopes to transition into the animation industry, creating cartoons and voice acting. ( Voices design p.21, Welcome to Atlanta cover story design p.22, waugh.kelsey@gmail.com)

CONTENTS 06 OZCETERA

40 OZ SCENE:

40 An Evening with Bill

42 Bloomingdale’s Atlanta

21 VOICES: Famous! 22 COVER: Welcome to Atlanta!

42 Old Fashioned

43 15th Annual Atlanta Jewish Film Festival

30 FEATURE: My Mostest, Bestest, Favoritest Gadgets 44 3rd Annual GA Entertainment Gala

36 HOW I GOT INTO THE BUSINESS 38 BEHIND THE CAMERA WITH DREWPROPS: Sweet Grease Alabama

47 AD INDEX 48 LET ME GIVE YOU MY CARD 50 THE NEXT GENERATION

MARCH / APRIL 2015

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AMY WINTER JOINS UP TV

P announced that Amy Winter joined the network in February as executive vice president and general manager, a newly created position. She will oversee and creatively guide the network’s brand and programming, including development and production of scripted series and movies as well as non-scripted series. Winter will also oversee scheduling and acquisitions marketing and public relations and digital and social media properties. Winter will be based in UP’s Atlanta headquarters and will report to Charley Humbard, president and CEO.

Winter, a 24-year television executive, joins UP from Discovery Communications, where she most recently was EVP/general manager of TLC. In 2013, Winter led TLC to a record 32 series averaging one million P2+ viewers or more, including 11 freshman series and seven series that averaged two million P2+ viewers or more, the most ever in a year: Here Comes Honey Boo Boo, Sister Wives, Long Island Medium, The Little Couple, Who Do You Think You Are?, Breaking Amish: Brave New World and Breaking Amish: LA. Humbard said, “Amy Winter is a one of a kind media executive. She combines an intuitive sensibility for understanding what viewers like to watch and how to communicate with them, with a strategic operational discipline for focusing on what drives ratings and revenue. She is a proven winner having created some of the most memorable and noteworthy series and marketing campaigns in cable’s recent history. Amy is the right person to lead our content and marketing areas and to further shape our distinct brand identity which promises to always uplift you and your family.” Winter said, “I am thrilled to join UP, a network that offers a unique promise to an audience searching for content they can enjoy and feel good about, whether they are seeking stories that matter and add meaning to their lives, or simply want to exhale with something fun. I look forward to working with the talented team at UP to create new series and movies for our viewers and their families.” Winter, consulting with UP since May 2014, has already refreshed UP’s on-air look and brand,

including the logo mark. In addition, she has green lit two new UP original series, UP’s new break-out reality series Bringing Up Bates and the network’s first scripted series Ties that Bind, which is currently in pre-production. As general manager of TLC, a Discovery Communications network, Winter oversaw all aspects of programming, production, development, digital, branded entertainment, marketing and communications. Under her leadership, TLC was a top 10 cable network for women and solidified itself as a distinctive brand featuring buzz-worthy programming. Winter’s marketing background further enabled her to lead a highly nimble cross-discipline team that maximized ratings, engagement and revenue generated around the network’s hit shows.

Upon becoming general manager of TLC in February 2011, Winter green lit series in new genres with a serialized approach to build appointment viewing. Whether tackling relationships (90 Day Fiancé, Secret Princes, Alaskan Women Looking for Love), exploring subcultures (Breaking Amish, Gypsy Sisters, The Sisterhood), or family shows from the comedic (Here Comes Honey Boo Boo, Leave It to Niecy) to poignant (Family SOS with Jo Frost, My 600lb Life) or a little of both (Long Island Medium), her brand of story-telling comes with heart and humor. She also strengthened and expanded key tent-poles in programming by adding hits I Found the Gown and Something Borrowed, Something New to pair with toprated Say Yes to the Dress on BrideDay, TLC’s Friday night habit for women and a perennial ratings winner. Winter joined Discovery Communications in 2005 as TLC’s vice president of creative during a period of tremendous change at the network both on and off the screen. Winter led the creative charge for TLC’s rebrand, taking the channel from its Learning Channel roots into its lifestyle focus under the tagline “Live and Learn.” During this era, TLC and The Martin Agency collaborated on the Life Lessons brand campaign, winning many prestigious awards including a Gold Effie, CTAM Mark Gold, BDA Gold and the 2006 AAAA Jay Chiat Planning Award. Winter’s creative and brand leadership helped contribute to unprecedented growth

Amy Winter joins UP TV as executive vice president and general manager.

in their ratings and drove record revenue in earned value with branded entertainment partnerships. In 2008, Winter took the marketing creative lead on the award-winning brand launch of Discovery’s Planet Green network, which the New York Times called “the highest-profile cable channel introduction of the year.” After that successful launch, Winter returned to TLC as senior vice president of marketing, creative/ operations, where she drove record numbers to a new mega Monday night for TLC with Jon & Kate Plus 8 and 19 Kids and Counting, while launching successful new series such as Cake Boss, Four Weddings and Sarah Palin’s Alaska. During this era, she also master-minded the TLC Summer strategy in which TLC became the first cable network to effectively market an all new, all season-long summer approach. Winter began her career as a freelance promotion producer at TBS in 1994, where she stayed until 2005, becoming vice president/ creative director of on-air promotion. She led creative direction over all on-air marketing initiatives, played an instrumental role in the network’s “Very Funny” rebranding, and created the successful Movie and a Makeover branded entertainment franchise. Winter is a graduate of the University of Notre Dame and resides in Atlanta.

ALL ABOUT PROPS ADDS SPACE

ll About Props has been working to make nonstop improvements. What they build or acquire now occupies a 26,000 sq. ft. warehouse space. To accommodate the growth, they make weekly updates to their website with new pictures and content.

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MARCH / APRIL 2015

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A SEMINAL MOMENT IN BLACK HISTORY A

tlanta’s Coffee Bluff Pictures is completing production of the documentary Olympic Pride, American Prejudice. History remembers one African American hero, Jesse Owens, from the 1936 Olympics, but this film shines a light on his other 17 accomplished teammates. Set against the strained and turbulent atmosphere of a racially divided America that was torn between boycotting Hitler’s Olympics or participating in the Third Reich’s grandest affair, the film tells the incredible but largely unknown story of 18 African American Olympians before, during and after their heroic turn at the Summer Olympic Games in Berlin in 1936. The 16 men and two women stood up against discrimination with intelligence, grace and honor, setting an important precursor to the modern American Civil Rights Movement. The film is set to release in 2016 to commemorate the 80th anniversary of their historic feats at the 1936 Olympics.

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This story is complicated, triumphant and unheralded. The role of these African American heroes is a vital part of history and is as relevant today as it was then. To celebrate Black History Month, the film’s producers partnered with the Southern Documentary Fund and Seed&Spark to launch a crowdfunding campaign to raise the $50,000 necessary to complete production. The Southern Documentary Fund fiscally sponsors the film. Contributions to the crowdfunding campaign are tax-deductible. Writer/director Deborah Riley Draper says, “Black history is American history. These 18 African American heroes defied racism and Nazi Aryanism, and created a powerful springboard for the American blacks to rethink the notion of second-class citizenship. Their unheralded story deserves its place in the annals of history and we are honored to tell this chapter.”

The project has completed extensive research and has shot over a dozen interviews, including Dr. Harry Edwards, Ralph Metcalfe, Jr., son of 1936 Olympian Ralph Metcalfe, Olympian Anita DeFrantz, Olympian Nelson Vails, 1936 Gold Medalist Adolph Kiefer and 100 year-old 1936 Olympian John Lysak. “I have a gold medal, but in history it is not as important as their gold medals. For me, there is something that is so special about what they did, and whom they did it in front of, “ adds Coach Joanna Hayes, 2004 Olympic Gold Medalist in the 100 meter hurdles. Stuttgart-based Mouna Studios has signed on as the international co-production partner for the film.

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Partial Credits:

ROSCO EXPANDS EAST COAST BUSINESS R

osco, a global leader in products for film and television, announced an expansion of its North American rental facilities for its award-winning backdrops. Rosco Backdrop’s rental inventory will now be stored and shipped from Stamford, Connecticut as well as the existing Sun Valley, California facility, minimizing the shipping time and cost to customers working in the eastern part of the region. As in the Sun Valley location, Rosco Backdrops are also available for same-day pick up from Stamford.

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YOU’LL NEED MORE SHELVES FOR THOSE

rketi Group earned a total of five MarCom Awards for exceptional work in B2B integrated marketing, branding, web development and public relations. The MarCom Awards is an international creative competition for any individual or company involved in the concept, writing and design of print, visual, audio and web materials and programs. The 2014 MarCom Awards received more than 6,500 entries from corporate marketing and communication departments, advertising agencies, PR firms, design shops and production companies around the globe. Arketi Group won awards in the following five categories: Platinum award for Marketing/Promo Campaign/Integrated Marketing – Aptean; Platinum award for E-Communications/E-mail Campaign – Aptean; Platinum award for Media Relations/Publicity/ Publicity Campaign – NCR Silver; Gold award for Business to Business Website – Aptean; Gold award for Marketing/Promo Campaign/ Branding Refresh – Brightree.

“We work closely with our clients to develop and execute strategic marketing campaigns that generate tangible results by building brand awareness, thought leadership and, most impor tantly, revenue,” said Mike Neumeier, APR, principal at Arketi Group. “All three of these clients worked extremely close with our team to drive forward exceptional campaigns rooted in delivering bottom-line business results.” Areketi was also recognized for its exceptional work in B2B PR and marketing, earning four awards at the PRSA Georgia Phoenix Awards Celebration. The Phoenix Awards is a competition designed by the Georgia Chapter of the Public Relations Society of America (PRSA) to recognize projects and programs that demonstrate excellence in the public relations profession in Georgia. Arketi and its clients received the following four awards:

Phoenix Award for Research/Evaluation for Arketi’s thought-leadership research campaign for PMG, a provider of business process automation software. Phoenix Award for Websites - External for Aptean, a provider of enterprise software solutions, which engaged Arketi to redesign and launch the company’s website. Award of Excellence for Integrated Communications - Business to Business for Arketi’s integrated communications plan with Aptean. Award of Excellence for Direct Mail/Direct Response for Arketi’s demand generation campaign for Aptean.

ROBERT PRESLEY JOINS PANAVISION

obert Presley, SOC, has joined Panavision as a marketing executive covering the southeastern U.S. territory, including Atlanta, where he’ll be based. Presley brings a wealth of valuable experience and industry relationships to Panavision, having spent 28 years as a camera operator and Steadicam specialist. His inside perspective of motion picture and television production will be an asset to Panavision customers whether in pre-production or finding a solution for an impromptu scenario. His credits include Ride Along 2, Flight, Pearl Harbor and Castaway, among others. Presley has also served as director of photography on such features as Beowulf, Disney’s A Christmas Carol and The Polar Express.

“We are excited to have Robert join the Panavision team,” says Kim Snyder, CEO and

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is also deeply integrated with the filmmaking community in the southeast, having begun his career on productions that shot in Georgia and Louisiana, and returning several times to work in the region over the years.”

Robert Presley, SOC joins Panavision as it’s marketing executive in the Southeast.

president of Panavision. “His feature film and television production experience uniquely positions him to serve our customers. Robert

Panavision’s Atlanta facility is the largest supplier of camera rental equipment in the southern U.S., with a full staff of prep technicians and camera service experts. The Atlanta team has provided equipment and services to productions such as The Hunger Games: Mockingjay Part 1 and Part 2, Fast & Furious 6, Furious 7, Ride Along 2 and The Walking Dead, among others.

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TUBE CELEBRATES 15 YEARS T

he Jewish Family and Career Services is a community based social services organization located in Atlanta. Offering a variety of aid and assistance programs to people within the community, JC&fS chose Tube to create a series of videos spotlighting stories from each of their areas of service. For one segment, Amy Robinson came to the Tube insert stage to tell the story of her late sister who fell victim to domestic violence in 2011. Robinson now acts as a spokeswoman for Shalom Bayit, JC&FS’s domestic violence assistance program. With the help of key grip, Luc Bonneson, they created a lighting look that would match the mood of the piece. Tube called in producer Adam Hirsch to produce the segment. Owner and creative director Chris Downs, acted as director of photography. After capturing Robinson’s story, they handed the footage over to senior editor Greg Partridge to piece the story together. Motion artist Rodney Johnson’s graphic effects put the finishing touches on the story. Happy 15th anniversary to Tube from music videos for friends, broadcast commercials for Macy’s, major presentations for UPS conferences, to behind-the-scenes content for The Weather Channel, and motion graphic ads to show in Times Square. They’ve worked with some incredible clients, vendors, freelancers, and everyone in between.

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ATLANTA AGENCY HITS BIG FOR VEGAS CLIENT

ouse of Current has been recognized with a Silver Award in the 2015 Graphis Advertising Annual. “Graphis,” the international journal of visual communication known around the world for publishing the best talent in design, advertising and photography, selected the new branding campaign created for the Grand Canal Shoppes in Las Vegas. “The Grand Canal Shoppes have been a valued client for over a decade, and it was a thrill to develop this vital re-branding campaign,” states Lisa Maloof, partner, client services at House of Current. “Naturally, this campaign wouldn’t have been possible without excellent collaboration with our client, and we’re very happy that they are receiving this recognition from such a pres tigious international publication.” The campaign was developed after The Grand Canal Shoppes merged with their luxurious sister property, The Shoppes at The Palazzo. The photography featured in the campaign

was shot by noted Atlanta photographer and frequent House of Current collaborator, Scott Lowden. “House of Current helped achieve a sophisticated and timeless campaign that speaks to the luxury retail and celebrity chef dining available at our shopping destination while setting us apart within the highly competitive Las Vegas market,” stated Janet LaFevre, senior marketing manager for Grand Canal Shoppes. “We needed to meld the two different personalities of each center into one cohesive brand identity that could appeal to locals and tourists alike,” explains Wendy Lowden, partner, creative director at House of Current. “Bringing this campaign to life took a lot of hard work and determination by a group of very talented people – we’re extremely grateful for the wonderful photographer, model, crew and stylists who made it all possible.”

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MARCH / APRIL 2015

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ON TRAILERS, MADONNA AND CRUISES CARNIVAL

News from StreetLevel Madonna, Carnival, Trailer News from StreetLevel – Madonna, Carnival, Trailers News from StreetLevel – M–adonna, Carnival, Trailers

GJepson markets K yle S hearer big in K yle S hearer Paul Shearer treet Level Sound composer/producer 2012 Greg S G hearer reg S hearer hit the pop with S hearer P aul reg S hearer K yle S hearer Paul Shearer Greg Shearer, won the music and post “Call Me Maybe.” Kyle also produced a track for new Swedish artist Tove Lo’s CD “Queen of the as signment for Duquesne Universit y’s upcoming media campaign for TV, radio, and Clouds.” He also collaborated with Canadian the web. The spots were shot and edited by producer Billboard (Mathieu Jomphe), Animal East, of Pittsburgh, PA. Shearer also contributing a guitar track for Madonna’s song Composer/producer Greg Sher hearer wins the music and post assignment for Duquesne Un “Ghost Town” for release. recently signed a production agreement with Composer/producer Greg Shearer wins upcoming the music and post assignment for Duquesne University LA’s Spider Cues for movie trailer production. upcoming media campaign for TV, radio, and the web. The spots were shot and edited b upcoming media campaign for TPaul V, radio, isaheading nd the The spots were shot and edited by Anima Producer offw to eb. Miami The first two out of the chute are currently East of Pittsburgh, Ptechnical A. GShearer reg also forrecently signed a production agreement with LA’s Spide being used on upcoming movie trailers. to act as advisor Carnival Cruise’s East of Pittsburgh, PA. Greg also rofecently signed a production agreement with LA’s Spider Cues movie trailer pproduction roduction. The Will first 2 oYou,” ut of their the chute are currently being used on upcom “We Rock movie t railer p roduction. T he f irst 2 o ut o f t he c hute a re c urrently being used on upcoming mov shipboard tribute to the rock group Queen. Composer/producer Kyle Shearer has been trailers – more info coming! The show kicks off in Q1 2015 in Europe and burning it up lately; he just completed trailers – more info coming! production on four new tracks, including the uses all vintage gear to recreate their iconic title cut for Carly Rae Jepson’s upcoming CD. sound. Composer/producer Kyle Shearer has been burning it up lately: he just completed produ

Composer/producer Greg Shearer wins the music and post assignment for Duquesne Univ upcoming media campaign for TV, radio, and the web. The spots were shot and edited by East of Pittsburgh, PA. Greg also recently signed a production agreement with LA’s Spider movie trailer production. The first 2 out of the chute are currently being used on upcomin trailers – more info coming!

Composer/producer yle SKhearer has been up lRiately: he just cpcoming ompleted production n four new tK racks, iyle ncluding the itle b ut, fb or Cit arly Jepson’s CD. Jepson hit oth Composer/producer Shearer htas bcurning een urning t ae up lately: hue just completed produc four nfour ew tnracks, i ncluding t he t itle c ut, f or C arly R ae J epson’s u pcoming C D. J epson h it t he p op markets big in 2012 wthe ith t“itle Call cM e M aybe.” KRyle produced a track or Jnepson ew Swedish ew tracks, including ut, for Carly ae aJlso epson’s upcoming CfD. hit thea markets b ig i n 2 012 w ith “ Call M e M aybe.” K yle a lso p roduced a t rack f or n ew S wedish a rtist Lo’s CD f the Clouds.” And a late breaking development – Kfor yle ncew ollaborates markets big in “2Queen 012 woith “Call Me M aybe.” Kyle also produced a track Swedish wT aitro Lo’s Lo’s CD “Queen of the Cf louds.” And a A lnd ate development – Kyle –c aK ollaborates ith Mw poroducer B illboard (Mathieu omphe) contributing gyle uitar track wfor adon CCanadian D “Queen the Clouds.” ab lreaking ate bJreaking din evelopment collaborates ith Canadian p roducer B illboard ( Mathieu J omphe) i n c ontributing a g uitar t rack f or M adonna’s s on Ghost T own f rom h er u pcoming. r elease. Canadian producer Billboard (Mathieu Jomphe) in contributing a guitar track for Madonna Ghost Ghost Town Tfown rom fhrom er uh pcoming. release. er Shearer upcoming. release. Producer Paul is heading off to Miami to act as technical advisor for Carnival Cru

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YUMMY! C

ongrats to chefs Cody Taylor and Jiyeon Lee. Their restaurant, Heirloom Market BBQ, was recently featured on an episode of The Food Network’s Best BBQ Ever. Whether in front of the camera or behind the camera, they are serving yumminess for film and television production projects in the Atlanta area.

TV-47 REBRANDS T

v47 Atlanta is re-branding and re-tooling to provide programming to Georgia TV, film and entertainment business pros and enthusiasts. The updated website reflects the changes with added links and images on the home page to lead visitors to the new offerings. Additionally, they are adding a service to allow local media pro’s to air their productions on their station. The mission is to use the medium of TV – over the internet – to tell production professionals worldwide that Georgia is the place to be for the best offerings and accommodations in TV, film, and entertainment production.

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MARCH / APRIL 2015

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STATHOPOULOS LEADS BENNETT THRASHER INTO NEW YORK B

ennett Thrasher LLP has been approved by the Empire State Development Corporation (ESDC) to perform agreed upon procedures to help entertainment companies claim New York tax incentives. Bennett Thrasher is already performing such procedures for film and television productions in the state, including productions with budgets over $150 million dollars. Bennett Thrasher is one of 15 firms selected nationally to perform such procedures. New York offers film and television production companies refundable tax credits up to 35% of qualified production expenditures for production and post-production activities in the state. Previously, applicants for such credits

had to wait for ESDC to review and confirm their qualified production expenditures. Effective January 1, 2015, ESDC elected to allow certain pre-qualified, independent accounting firms to perform agreed upon procedures (AUP) in verification of qualified production expenditures for applicants claiming film production credits. In addition, ESDC announced that the new outside CPA procedures are available for applications for credits submitted in prior years. In such cases, applicants must contact ESDC to notify them that the prior application for credits is being withdrawn in order to take advantage of the new outside CPA procedures.

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ou are ready to offer your tale nts, business an energy to Georg d iaâ&#x20AC;&#x2122;s booming fil m and TV prod industry and w uction ant to know whe re to begin, ho back the layers w to peel of the onion. Th is is your compa comprehensive ct and guide to breaki ng in, and stay production biz. ing in, the For all crew, ve ndors, actors an these three issu d actresses, es give you the know-how, and know-who, for the working in feat ure films, episod series, reality TV ic TV , and commerci als.

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VOICES

famous! By: Princess Monique (Director/Producer) Photo Credit: Laura Lee Moreau

The

one thing that is constant about the entertainment industry is an obsession with fame. There is not one person today who would say, “No” if I gave them a TV show about any subject matter they wanted. Would you? They would answer a resounding YES! I know I would. Why? Money, Power, Happiness, Fame and Success. Would that be your answer? There is a yearning in the world to be seen, acknowledged and accepted. We want to be famous because it appears to be the way to fulfill the craving inside of us to leave a mark in this world that can’t be erased. It doesn’t matter if we are talented, gifted or hard working, we just want it. As the great Oprah Winfrey once said, “Do you see me? Can you hear me?” Some people may disagree, but I’d urge you to look deeper. I can almost guarantee that you will find that it’s in you, just like the rest of us. If you don’t believe me, just look at your own facebook, twitter or Instagram accounts.

of the “in crowd.” Always the loner, I felt most comfortable spending time alone. Movies and TV became my best friends. I have always just been amazed by the powers of visual media. It can change my mood from happy to sad in seconds. I realized at the age of six that the big screen and the little box was going to be in my future. I started out focusing on various other occupations in my early years, but I realized very quickly that the “biz” wouldn’t stop calling me. I wasn’t sure where I would make my mark, so I just tried everything. Acting, modeling, casting, you name it and I can almost guarantee when it comes to cinema production, I’ve done it! But, finally in an acting class my instructor said to me, “You know Princess, I think if you keep training you can be a good actor, but I think that you would make a great director.” I thought to myself, how are people going to see me if I direct? Then, I started to realize I didn’t care what people thought. I just want to live my purpose, so I decided to give it a shot. And I found the food of my soul. The longing had subsided and true fulfillment had begun that this was and is my path. Not for the fame, but for passion.

Ask yourself, is the entertainment business your calling and your purpose? If so, Why? Are you willing to work at your best and give everything to an industry that will chew you up and spit you out before it ever gives anything to you? Are you willing to do this if you’re never paid, given credit or acknowledged in anyway? If you can honestly say, I’d risk being homeless, losing time with family & friends, and willing to be in this world alone in order to do this work, then maybe it is for you. The entertainment industry requires that and more. Growing up, I’ve personally never felt apart

It concerns me how many people are pushing toward a path that may not be for them. I believe that we all have a purpose in life, but it’s not for us all to be famous. I don’t consider myself as a famous person at all, but I do understand that the possibility is there and when or if it comes, I have to be prepared. I mentor young girls through my non-profit organization, La Princessas Inc. and I see the hope in their eyes to be famous. I see it everyday, everywhere I go. When choosing a career in the entertainment industry, examine the pros & cons and be honest enough to answer the tough question, “Why do I want to be famous?”

If you can honestly say,

I’d risk being homeless, losing time with family & friends, and willing to be in this world alone in order to do this work,

then maybe it is for you.

MARCH / APRIL 2015

Welcome to

Atlanta

OZ MAGAZINE

We hope you have a smooth shoot. We’re sure you’ll enjoy your stay! By Christine Bunish

With nearly 100,000 hotel rooms in metro Atlanta and the highest occupancy growth in the nation, plus an enviable rental roster of homes, condos and apartments, above-theline and below-the-line talent are spoiled for choice when they come to town to shoot motion picture, television and music projects. “Atlanta has always had a good hotel base because of all the corporate headquarters and convention business,” says Pam Swofford, who heads Production Housing in Atlanta. “The production market has taken it to a new level,” bringing clients to high-end and luxury properties across the city for stays that typically last several months. Accommodations also qualify for Georgia production tax rebates: Stays of more than 30 days don’t get charged occupancy tax and those of more than 90 days don’t have to pay sales tax.

OCTOBER MARCH / NOVEMBER / APRIL 2015 2014

Southern Hospitality

Swofford is in the business of extending the famed southern hospitality to production clients whether they are looking for luxury hotels or beautiful residences to call their own. She partners with hotels and directly with owners of desirable vacation rentals and investment properties to make sure that above- and below-the-line talent make the perfect lodgings’ match. At first, production clients were a new breed for many hotels, but they have become welcome guests, Swofford reports. “Hotels love to have them because they’re quiet, appreciative and good profit makers. They stay a long time and pay quickly, so they provide a good cash flow for hotels.” The same is true for residential property owners. Swofford, whose husband is an on-set medic, knows the production business from the inside. She works with budgets and shooting schedules to find accommodations that best suit each project. Convenience is a major factor, she says, to minimize travel to the studio or locations. Clients work long, tough days – and nights - so some are looking for 24-hour room service, private spas and the personal attentions of a well-trained hotel staff. Others want the freedom to get away on their own in a home or condo – and the extra space and privacy those properties might afford visiting families. Whatever options they choose, Swofford remains in close touch for personalized follow through. “I don’t just book their rooms and leave them; I’m there if any issues arise. The hotels, property owners and clients I work with know that I’m there for them,” she says. Swofford’s clients have included Family Feud, the first season of The Walking Dead when cast and crew resided in town, and the reboot of Footloose, the latter via ties she maintains with smaller hotels across Georgia.

Pam Swofford

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Greta Sanders

Amber Garrison, a partner in Stay LLC Amber Garrison property management, specializes in finding short-term housing for the production market. She formerly lived in LA where she pursued careers in acting and production, which she believes give her an edge in understanding clients’ needs. “This is a new market, and most landlords don’t realize how it works so I hold their hands through the process staging properties and taking care of all the paper work. I take all their headaches away,” she explains. Garrison got into the market by renting one of her own properties to a production client. She assured her husband that they’d be “perfect tenants – they work 16-hour days every day until they leave. They’re not here to party.” High up on clients’ wish lists are a convenient location with restaurants within walking distance, plenty of fresh air and balconies. Home theaters are a nice bonus. Privacy is also important for above-the-line talent, so gated driveways or security cameras may be requested. Furniture can be swapped out to meet clients’ particular tastes. Garrison has helped major motion pictures, TV series, executive producers and stunt performers find great places to stay. She’s currently working on locating properties for ten films; one big feature coming to town this spring will need hotel accommodations for 400 and private housing for another 100 people, she reports. “The potential for growth in the housing market is happening right before our eyes.” Stay LLC’s properties are listed online on airbnb.com, vacationrentals.com, homeaway.com, vrbo.com and flipkey.com.

Inner-G Hospitality specializes in commercial real estate but has discovered a new market in short-term production housing for above-the-line talent. “Landlords are able to profit significantly from production clients if their space is move-in ready and in a good location,” such as Midtown, Downtown, Buckhead and Sandy Springs, says broker Greta Sanders. Corporate relocations, with six- to 12-month leases, are more common when it comes to temporary housing, she notes. Typically, the production industry looks for three- to four-month terms and a fully-furnished space with utilities provided. “These properties are difficult to find,” Sanders says. “Atlanta has not caught up with demand for this type of housing yet. Landlords or homeowners’ associations require a one-year lease to secure a place to live.” Nevertheless, property owners who were once reluctant to work with production clients are now “coming around” to the market, she reports. “They’ve found these clients to be really good tenants who will care for their investments.” Lately, she’s been recruiting investors to purchase locations that fit the requirements of the production market. “These properties are top quality and well furnished, utilities are generally included and housekeeping is sometimes offered,” says Sanders. She has already found accommodations for motion pictures, game shows and such TV series as The Walking Dead and Vampire Diaries. “Most everyone in the film industry says they love Atlanta,” she notes. “The landscape is so green and different from LA. Clients love the niche neighborhoods and Atlanta restaurants. Many of them tell me they’d like to have a second home here.

MARCH / APRIL 2015

The Intercontinental Life:

Gwen Goodman

InterContinental Buckhead

In her seven years working with the production industry at the InterContinental Buckhead Atlanta hotel, Gwen Goodman has seen “substantial growth” in bookings for this market. So much so that the area director of entertainment sales now concentrates all her efforts on the industry. “We’re a production-friendly hotel,” she says. “We typically host above-the-line casts, but we have nine brands under the InterContinental Hotel Group and we are able to reach out to other sister properties to accommodate belowthe-line talent and crew.” The InterContinental Buckhead Atlanta hotel hosted the cast from the acclaimed film Selma who also chose to have their wrap party at the hotel’s restaurant, Southern Art. Casts working on shows for Tyler Perry Studios, BET Network, Bravo and VH-1 have been guests. They frequently host casts of feature film and TV productions in various stages of prepro, production and post. Goodman also works closely with location scouts and managers on feature films and TV series requesting to film at the hotel. Its redressed front drive doubled for a California hotel in Need for Speed, and Bravo used parts of the hotel as a location for I Dream of NeNe: The Wedding. When dealing with entertainment clients, hotels need to be flexible about arrival and departure times, Goodman notes. With schedules often in flux, “we expect arrival and departure dates to change.” Apart from that, guests working in the industry do not demand a great deal of attention. “They work such long hours that once they check in we don’t see them often,” she notes. But on the other hand, “They spend so much of their time in hotels over the course of a year, that it’s important to give them a home away from home. Our staff gets to know them

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during their stay and can anticipate their needs. The more comfortable they feel here, the more they’ll want to return.” Most production clients stay in Deluxe guest rooms, although some opt for our 599 square-foot Executive Suites with a separate living rooms and hardwood floors. The Grand Suite, with a connecting double guest room, is a popular choice for above-the-line talent with families. Two larger Royal/Ambassador Suites have the option of two connecting guest rooms. The Presidential Suite, which hosted a Fast & Furious cast member, tops the chart with 1,895 square feet, a full kitchen, dining room, living room and two fireplaces. All of the hotel’s large suites have Bose surround sound and all guest rooms have one or more 47-inch LCD televisions. In-Room Dining is available around-the-clock. In addition, guests may choose to dine in the regional-inspired Southern Art and sample bourbons and southeastern charcuterie in the Bourbon Bar and Ham Bar, respectively. The hotel’s Fitness Center offers 24-hour access so “guests can work out at 3:00 a.m. if they choose,” says Goodman. “We have converted guest rooms into a private fitness area for above-the-line casts.” Goodman often gets requests for office space, especially if a production hasn’t set up its permanent offices at a studio or facility. “During pre-production, we may convert a smaller meeting space for table reads and production meetings,” she explains. “If a production is shooting at the hotel they may need a room for equipment and monitoring near the filming area.” “Our guests love staying at the InterContinental Buckhead Atlanta hotel. It’s ideal for casts looking to stay in a full service luxurious property with privacy and comfort,” she says.

A Rich Tradition in The Biz: Loews Atlanta Hotel

With a family heritage in the film industry, the Loews brand is uniquely positioned to provide housing for production. Its Loews Atlanta Hotel property, which marks its fifth anniversary in April, has quickly established “a strong rapport” and favorable word of mouth with the production community, says Jay Heiskell, national sales manager for entertainment. The hotel’s Midtown location is considered “the new epicenter of Atlanta,” with Piedmont Park two blocks away, fine dining options within walking distance and a thriving artists’ quarter. It has convenient access to the airport and MARTA rapid transit and is a five-minute drive from Downtown and fifteen from Buckhead. Loews Atlanta Hotel has hosted several “blockbuster” productions simultaneously, some returning to stay for their sequels, and “endless TV series,” says Heiskell. Its proximity to Tyler Perry Studios, Turner Entertainment, VH-1 and Viacom make it a top choice for anyone doing business with those powerhouses. The hotel, including its Presidential Suite, also has been used as a location for shoots. “We try to anticipate the needs of every guest, but we know this market particularly well and our team will move heaven and earth to provide for a production’s needs,” says Michael Kochie, director of sales and marketing. “We want to make our entertainment guests feel as at home as possible.” Many guests opt for the hotel’s Premium rooms, which offer key floor access for extra privacy. All rooms and suites have floor-to-ceiling windows, Keurig coffeemakers, safes with charging outlets, and integrated AV packages, which enable guests to display various video sources on their rooms’ big-screen LCD TVs.

Jay Heiskell

Suites boast living rooms and dining rooms and have optional connector King rooms, which are in demand for family visits. At 1,753 square feet, the Presidential Suite is the hotel’s largest; it features a separate kitchenette. Guests enjoy 24-hour room service, the lobby’s vibrant Bar eleven, light fare and a grab-and-go menu from Market eleven, and the new Saltwood restaurant, which is open for all meals and has private dining space for up to 80 people. The 14th floor is devoted to 40,000 square feet of conference space with 15 breakout rooms, all hard-walled and with sweeping views of the city. A spacious, furnished outdoor terrace can accommodate 300 for receptions and special events. “It’s a favorite of our production guests,” Kochie reports. On the seventh floor is the flagship Exhale spa plus a 7,000 square-foot fitness area whose size alone delivers a “real wow factor,” says Kochie. It boasts Pilates and yoga studios, a spin studio, free weights and the only Turkish hammam, for men and women, in town. Loews Atlanta Hotel is pet friendly, too – it has a reputation for pampering pets with an exclusive menu and a contingent of dog walkers. No wonder the hotel ranks #2 out of 188 Atlanta hotels in guest satisfaction on Tripadvisor, according to Heiskell. The hotel can easily refer guests to all of the other Loews properties.

OCTOBER / NOVEMBER 2014

The Opulent Boutique: Mandarin Oriental

Vildana Kurtovic

OZ MAGAZINE

Vildana Kurtovic, public relations manager for Mandarin Oriental, has seen an uptick in entertainment guests in the 18 months since she joined the hotel. “In the last six months to a year [that business] has grown so much more,” she says. “Our sales team is part of the Georgia Production Partnership and other local organizations, and I tend to meet with at least one location scout per week.” The hotel is used for shoots as well as accommodations: Its ballroom hosted a multi-day shoot and the Mandarin (Presidential) Suite – with fireplace – doubled for a home in a recent major motion picture. The luxury boutique-sized hotel – it has 127 rooms – has a residential feel and Asian vibe that above-the-line talent appreciates. Its Buckhead location means fine dining and shopping options abound. It’s adjacent to a MARTA stop, and convenient to the airport, Midtown and Downtown. Several top actors from The Hunger Games franchise have stayed at the hotel, as have Lady Gaga and cast members from the Starz series, Survivor’s Remorse, produced by LeBron James. Mandarin Oriental boasts “some of the largest rooms in the city,” according to Kurtovic. Deluxe and Mandarin rooms have double sinks, prestigious Shanghai Tang personal care products, 55-inch LCD TVs, Rivolta linens and twice daily housekeeping. The 2,300 square-foot

Mandarin Suite has a fireplace, two terraces, a dining room and kitchenette and optional connecting bedroom. A two-bedroom family suite accommodates four people in more than 1,100 square feet. The hotel offers 24-hour room service, The Café and Bar for dining and drinks, and the speakeasy-style Taipan Lounge, open Friday nights only for jazz; at other times the lounge is available as a catering space. The third and fourth floors have fitness and yoga studios with yoga instruction by the well-known Elizabeth Rowan. The large, top-rated spa sports 14 treatment rooms, including a VIP couples suite, and a 60-foot lap pool overlooking the English Garden – a popular venue for al fresco dining and parties. The entire second floor is comprised of meeting rooms and the Oriental Ballroom; these venues meet the business needs of production clients and have been used as locations for shoots, too. Mandarin Oriental is “kids and pet friendly,” Kurtovic adds. It welcomes dogs under 25 lbs. with exclusive bedding, menus and hoodies bearing the words, “Keep Calm and Carry Treats.” Children get a plush panda mascot upon arrival and are invited on a hotel-wide scavenger hunt with prizes. After all, “its not just the space but the service” that keeps guests coming back, Kurtovic reminds us.

Alison White

A Legend in Luxury: Ritz-Carlton, Atlanta, Buckhead & Lake Oconee

Both of Atlanta’s Ritz-Carlton properties, The Ritz-Carlton, Atlanta (Downtown) and The RitzCarlton, Buckhead, are equally in demand by abovethe-line talent shooting commercials, episodic TV and features, says senior sales manager Alison White. At first, these guests clamored for the tony Buckhead location, but they have also discovered the Atlanta hotel’s proximity to studios on the south side of the city, freeways and the airport. “We can barely keep up with the [production] market,” says White. “It’s a fantastic problem to have!” With 444 rooms Downtown and 510 in Buckhead, the hotels “are larger than people think,” she points out. The Ritz-Carlton, Buckhead boasts 58 suites. “With that many in the inventory it’s easy to make things happen on a short notice” to meet the production needs.

The Buckhead suite is especially attractive for talent with its two connecting bedrooms. “It’s amazing for children or one of the rooms can be converted to a private fitness center,” says White. The Ritz-Carlton Suites in both hotels have full kitchens. The Ritz-Carlton, Atlanta has a tier of Deluxe Suites with living rooms and bedrooms separated by French doors. Since living rooms are outfitted with conference tables and a wet bar, they are perfect choices for “pop-up meetings and scouting conferences,” White says. Meeting spaces large and small also can be put to use for table reads and kick-off parties. Most production guests book rooms at the Club Level so they can take advantage of the Club Lounge with its dedicated concierge and continuous food and beverage service. All rooms have userfriendly jack packs to display video sources such as iPads and Xbox game stations on 42-inch LCD TVs. A Technology Butler is on call to help with any tricky equipment needs. The Ritz-Carlton, Atlanta’s fitness center was renovated two years ago; Buckhead also has an extensive fitness center with sauna and indoor pool. Buckhead also has an intimate spa, voted amongst the Top 5 within the company. Guests can choose to stay in Spa Level rooms with special health and wellness amenities, such as aromatherapy and spa menus. Room service is available around the clock at both hotels. The Café at Buckhead is open for three meals and a famed Sunday brunch; Buckhead’s Lobby Lounge is “the place to see and be seen” in the neighborhood serving afternoon tea and cocktails. The Ritz-Carlton, Atlanta has the southern-style Atlanta Grill restaurant with veranda; its bar has live entertainment on weekends. The Lumen lounge also offers live entertainment on weekdays, and the hotel is the site of the first Jittery Joe’s coffeehouse in Atlanta. While the two city hotels have less space to accommodate location shoots, The Ritz-Carlton Lodge, Reynolds Plantation is about 90 minutes east of the city on 30 acres of picturesque shoreline on Lake Oconee. It has hosted two feature films. White says that stays at other Ritz-Carlton hotels and resorts, including brief getaways during downtime, are easily arranged.

MARCH / APRIL 2015

OZ MAGAZINE

It’s almost part of the job description: To work in the camera

cameras because there’s a camera in the center of the rig

department of a production, you must have an inclination

looking straight down at the table top. Because of the

towards gadgets, gizmos and tricks of the trade which help

multiple angles, it’s something of an editing nightmare, but

make your task run smoother and the product pleasing to

the end result is really cool.

the eye. Whether you’re a veteran director of photography,

assistant cameraman, camera operator or any other job

to keep the rig lighter. But when we shot the next time, we

whose primary function is capturing imagery, you’re always

beefed the whole thing up and outfitted it with a bigger

The first time we used the rig, we shot with iPhones

on the lookout for what you hope will become your new

motor, bigger gears and heavier-duty poles because we

favorite toy.

wanted to shoot with heavier cameras.

Says shooter Mark Phelan, “My wife accuses me of

being a ‘gadget guy,’ but I guess every photographer alive is

Kelly Pun: Seeking Stability

one.” With that in mind, we spoke with a number of Atlanta gadget guys and gals to discover what new technologies have captured their fancies.

Dewayne Bontrager: The Hover

For the sake of stability: camera op and Steadicam op Kelly Pun controls the Alien Revolution.

system, made by MKV, a UK company. It’s very specialized

My new favorite toy is the Alien Revolution stabilizing

equipment. I’m one of three people in Atlanta who have it.

It can hold either kind of camera, film or digital. It can be

mounted on a dolly or mounted on you without changing

from a regular Steadicam. Before this gadget you had to re-set the Steadicam from regular mode to low mode. This is

For twins Dewayne and Lawayne Bontrager, table talk is a breeze with their four-camera rig holding one camera above and three cameras around the shot.

You can go from really low to really high without switching

anything. It saves time and gives a smooth, continuous

We built a rig that hangs from the ceiling and suspended

one continuous motion — like wearing a body crane system.

over a table. Ascending from this rig, three poles shoot out.

move in a tighter space or interior location, an apartment

Descending from each of those poles is another pole that

or bar. You may not have the space to set up a dolly track,

drops down to camera height, and each one of those poles is

but now you can get a nice smooth tracking shot and do

holding a camera. So, there are three cameras shooting into

a continuous shot.

the center of the table and this rig rotates. The final product is a single shot showing three different angles all rotating at the same speed. Each camera is strategically located so that

John Kelly: Up, Up and Away!

it doesn’t see the other two cameras. This rig allows me to use a very unique split screen.

We wanted to do a dolly shot around a table, and we

I want my new favorite gadget to be a camera drone. It

thought, “How cool would it be to do a split screen?’ We

could do everything I ever wanted a moving camera platform

originally were going to use two cameras, but then we

to do. I would use it for concerts, stadium events or indie

thought ‘Let’s push the envelope and do three cameras.”

films. I want to capture movement because movement drives

Then we decided to push the envelope more with four

emotion in a film, and it is the important part of the

MARCH / APRIL 2015

language of a film. This is a whole new vocabulary added

them since he got them. It has two native ISOs, one at 800,

to the language of moving shots.

which is pretty standard, and one at 5000. It pretty much sees

in the dark and the image quality is phenomenal. I can shoot

I’ve tested them out at trade shows, seen many

demonstrations and been on jobs with other shooters.

in available light both inside and outside. It’s a game changer

There is a fairly steep learning curve, but for a person who

in the sense that you can work in much lower light levels,

knows what the shots are supposed to look like, your shot

whether it’s a night exterior or just about anything you

selection is already sorted out. You can make this easier by

want to do.

getting yourself an experienced pilot. Quite often, these are

two man operations where one is piloting the small aircraft

exteriors in the woods. We had to light everything, but we

I shot a feature film last summer that was all night

and the other is doing pan, tilt, zoom, focus. It’s the splashiest

would have been able to do it with a lot less lighting [with

things that have come along in camera movement maybe

this camera]. It has the same dynamic range as the Arri

since the Steadicam.

Alexa—so you’re looking at 14 or more stops of latitude at 5000 ISO. Combine that with a fast lens and you can take

Christopher Campbell: Radio Cam for Chris Cam

very good pictures at very low light levels. You can also light it with very small instruments using batteries or very small generators. It shoots all lenses and formats, like any other high-end camera. It’s great if you want to shoot something

As a Steadicam operator, the innovations in wireless

video transmission – in particular wireless HD video

out in the street, like an alleyway at night, something really down and dirty.

transmission – have been a huge plus for my line of work. My new favorite wireless transmitter is the Paralynx Tomahawk, advertised as transmitting wireless HD video up to 1,000 feet, a wild overestimation, but it does do 200 to 300 feet extra sharp with zero latency which is critical for pulling focus. It allows for fewer personnel on the set getting into the actor’s eye line. It’s easier to get in and out of tight places and easier

Darkness does not prevail: Mitchell Lipsiner shows off a screen grab from his new toy: a Panasonic Varicam 35 4K @ native ISO 5000 at .05 foot candles of light.

to get Steadicam shots that go in and out of multiple rooms.

Ben Mayo: Sound Portability

My favorite gadget is the Zoom Sound Recorder. It’s

Herb Kossover: The Alexa Flyby

small and portable and keeps a lot of files, which you can

organize any way that you want. It’s allowed me to record

York was doing a revamp of their visuals package, I went up

Aerials are my specialty, and when WABC news in New

sounds for the promo of a forthcoming independent film. It

in a helicopter and used an Alexa to take the aerials. This

gives me the advantage of one SD card and not having to

particular camera and the lens we used made New York look

carry a computer everywhere, allowing me to focus on other

like I’ve never seen it before. The night stuff we shot was at

aspects of the project.

800 ASA and there was no grain at all. Just what the sensor

Mitchell Lipsiner: The Panasonic Sandbox

picked up was incredible, it was gorgeous. It was the best New York you could imagine. The Alexa allows me to shoot in 4K which is what a lot of people are asking for now. It’s more information and more space, but I can see some of the

My latest favorite gadget is a Panasonic Varicam 35. A

buddy of mine has two of them and we’ve been playing with

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reasoning behind why they’re asking for that.

Edwin Myers: Enough To Be Dangerous

them. That said, I love my Gearhead because it allows operating to be so smooth and flat. It allows the operator to do smooth pans and hard stops without overshooting; it’s a

What with a major change in image capture that has

occurred in the last couple of years, it really is a whole new ballgame. I don’t have any items or new procedures that I would say that I’m excited about. The truth is: now that film

very clean operating tool. It gives you cleaner movements on your pans and tilts. It takes it back to the classic movements of filmmaking. It goes well with my Alexa XT, which is a workhorse and my camera of choice.

is pretty much going away I’ve lost some enthusiasm for the whole “film” making process.

When it was film- beautiful soft pure emulsions smooth

as a baby’s butt; a fresh canvas 24 times a second; there

Randall Miller: Sometimes the Golden Oldies

was a sense that you were involved in a real art form. Silly, I guess. It’s not called “show art,” but “show business,” and

business dictates that which saves money and time will

dolly. They only made 250 of them from 1968 to 1972. It does

One of my favorite toys is a Colortran Mini Crab camera

prevail. Somewhere I read that the industry was spending

a lot of the same things a Chapman dolly does in that you

$700 million a year shipping those heavy prints all over the

can steer all four wheels (crabbing) or you can steer with the

country. There are still a few prints being made and shipped

front or the back wheels. It’s an elaborate little camera dolly.

but digital projection is now becoming the standard. Delivery

It’s light enough so that two people can pick it up and put it

can now be made over the phone line.

in a vehicle. It can go through doorways and has a hydraulic

piston that moves the camera up and down. The hydraulics

The new digital cameras are really quite amazing. But

what a mess of wires and little boxes they’ve become. I would

are pushed by CO2, and it has an elaborate chain system

say the Arri Alexa is my favorite camera. It’s very simple

that allows you to steer the wheels.

and straightforward. It’s user friendly and gives you a pretty

good picture. [The Alexa] allows you to record so you won’t

business are aware of the benefits of using a dolly as

More people in the commercial and feature film

paint yourself in a corner. You can record in Arri Raw and

opposed to having the camera on a tripod. If you’re

make changes later on. With many other cameras, you have

shooting in one location, but you’re changing the shots a

to decide how you’re going to record. When it comes to video

lot or moving around, a dolly makes more sense. Especially

and digital in general, I know just enough to be dangerous.

one that’s hydraulic.

DP Herb Kossover will take the Alexa over a parachute any day.

He likes his Alexa, but film is still da’ bomb for camera op and DP Edwin Myers.

Richard Campbell: Flexing My Light Muscle I’ve been using the Westcott Flex Light a lot. It’s a small

LED panel that’s flexible. You can bend it, move it and shape it into the kind of things you want it to do, within reason, because it’s not totally flexible. It’s waterproof so you can

Alfeo Dixon: The Gearhead I Love

use it in wet places and situations like that. It’s fun because I don’t have to do a lot to it. It’s small and light weight so I can put it anywhere: I can tape it to the roof of a car or hide it

I like to call them tools instead of gadgets or toys,

under a counter. It allows you to put some good looking light

because most of the time they’re things needed for

in places you’d normally have to spend a lot of time rigging.

production, and they make our jobs easier. When you call

I’ve used it on reality shows, some behind-the-scenes stuff

it a toy or a gadget, producers are less likely to let us have

and also on the Today show, where I lit the whole on-camera

MARCH / APRIL 2015

interview with two flex lights. Instead of a large diva light, they gave me all the light I needed. These flex lights weigh

Jerome Fauci: Slide On Over

As a Steadicam operator, I have access to a lot of fun

less than half a pound each, so why carry a bunch of heavy stuff around? I can set them up quick and easy and I don’t break my back. You can carry four of these panels around and they weigh less than one light.

toys. Everyone is always overwhelmed by the fun that we Steadicam operators have and I’ve been doing it for almost two decades now. My favorite “toy,” however, is nearly a 4-foot long camera slider. The first time I saw one was when I worked on The West Wing, there were camera sliders everywhere. The problem on The West Wing was that the actors were pretty old and they used some long Steadicam shots some as long as a reel of film between five and twelve minutes long. It became an unwritten rule that the camera operators couldn’t talk to the older actors because they had

TV Shooter Richard Campbell flexes his camera muscles and likes to flex a little light in the process.

enough to think about.

After they did the Steadicam shots, they did over-the-

shoulder shots and on those, the operator has to talk with the actors. To solve that, they set-up these sliders on either a

James Bridges: Fade to True Black

tripod or dolly and the camera would slide and give you that extra inch in case the actor missed his mark or leaned on one foot. The slider was amazing in that role. I found out later if

I’ve been really enjoying the Convergent Design Odyssey

7Q Plus Monitor/Receiver. It’s a 7-inch LED monitor so it

you were shooting on a practical set, which are never really “practical,” you could put the slider anywhere you want, even

captures true blacks. It records up to 4K video, which we’ve

if it was a narrow hallway.

been doing more of lately. The monitor is low wattage so that

it’s not wearing down the battery all day. I can mount it on

the best ones are still British made. I have one that’s quite

the camera or give to a client. It does a little bit of everything.

pricey, because you want the quietest made. You’re so close

I’ve had it a few months and it has been a real life saver.

to the actor and the sound that you don’t want to hear is the

The slider was originally a British hood mount, and

crunching of bearings. You can put sliders together and make

John Sharaf: A Sexy Little Set Of...

I’ve been enjoying Cineo Match Stix. They’re mini LED

them as long as you want.

Mark Phelan: No Extra Tubes

lights that come in 3, 6, and 12 inch. They come in a pelican

case with six units, and it’s a very sexy little set. They employ

special remote phosphor technology so they have a very high

Celeb LED light. I was at a conference a few years ago and

color reproductive index, and very accurately replicate colors.

Kino had just come out with this light. I looked at them and

What makes them fun is that they’re small and handy to use

became one of the first guys in the country to use it. It’s a

One of my favorite things to work with is the Kino Flo

while giving you very stable color, which is unusual with LED

great light. You can dial in the light in a percentage from zero

lights. I’m able to mount these miniature lights in very tiny

to 100%. It’s a soft light and a nice compact unit, perfect for

places like car interiors or in little nooks and crannies or

interviews of which I do a ton. Being that it’s LED, it’s going

even use them as a camera light. This gives me the ability to

to last forever. Unlike the traditional Kino Flo lights, you’re

dial in small amounts of light on the occasions when I really

not carrying extra tubes for tungsten or daylight, so you can

need it dark.

dial it in anywhere.

OZ MAGAZINE

Steven Panayioto: Mini Boom, Big Result

can get this fisheye shot along with the regular shot; it’s an additional option in post. It’s a fun little tool to play with and super simple to operate. It’s just one button; it does all the operations with one button.

Several camera support tricks that compliment my

DSLR shooting techniques have come from the world of photography and engineering. I never thought these two differing worlds would be a good match, but a recent challenge to capture some very detailed video for a client’s small device led me down this unusual path. The challenge included showing the top, side and front of an object at the same time. This required a way to hold the item in 3D space and not flat on a tabletop.

To get this point-of-view micro shot, I took a

photographer’s camera flash mounting rig into a “mini-

Ignore the alligator clips behind the curtain! Steven Panayioto’s homemade rig got the big picture for a tiny product.

Piers Bath poses with his Polaroid Cube and Fifty Cent.

boom.” Specifically I used a Goldphoto tripod and Vanguard multi-mount 6 for my DSLR mounting system. The light weight of my camera allows this rig to capture the unusual

Rob Rainey: The World on My Shoulder

point of view. And for video, it allowed rock solid stability, and it could be shot and re-shot for extended lengths of time. I then added an engineer’s tool for soldering, called the

Velleman’s Helping Hands to support the item in midair. This

super 35mm video camera that also records in 4K and HD.

My new favorite toy is my Sony PXW FS7, which is a

tool offers numerous ways for angling the item.

It shares a super 35mm sensor with the Sony FS3 and FS5,

Of course, I had to find a way to hide where the alligator

but it was specifically designed for documentary and hand-

clips were attached to the object from the camera’s point

held work. It’s a very versatile little camera that gives you a

of view. I was able to set up the small object for macro shots,

gorgeous picture and the 35mm look.

and it allowed repeated takes of the fine details. My client

loved the results.

my shoulder it’s like going back to an old 16mm film camera

This camera weighs 16 pounds, and when it’s sitting on

from back in the 70s. They put a lot of thought into the

Piers Bath: Jailhouse Polaroids

functionality of this little devil: it’s laid out in a more logical way than the competitor’s camera. The controls are more intuitive. It’s a terrific little camera and a great value for the

My new favorite toy is a Polaroid Cube. It’s a miniature

1080p fisheye lens camera that is the size of a half dollar. It

money. I figure it will give me more years of doing this until I retire. Taking 10 pounds off my shoulder is a big deal!

has a magnetic base and built-in audio. It’s an amazing tool for mounting anywhere and everywhere. You can park it on a car hood or a grip clip, or clamp it somewhere without any additional rigging.

It gets me into places that would otherwise require

additional rigging. It’s convenient. I’ve even used it handheld: I position it between my thumb and forefinger and just walk with it. I do a lot of filming in jails, so you can stick your fingers between the bars and take them out with incredible visuals, which you couldn’t do with a larger lens. You can also take a washer and attach the Cube to a larger lens hood. You

Rob Rainey believes in a Sony HD world that does not get bogged down in weighty matters.

MARCH / APRIL 2015

HOW I GOT INTO THE BUSINESS How did you get into the business? My interest in the daring life as a stuntman began in the 5th grade. I was watching the movie, How the West was Won, and I saw a stuntman jump off a moving train onto a cactus and then rolled onto the ground. At that moment, I knew I wanted to do that for the rest of my life. I still have my 5th grade report card, where my teacher wrote to my mom, “Cal has great insight, but seems to lack common sense.” I keep that framed next to a picture of me falling over 100ft on fire. Best advice to young people in your profession? Have patience; this business is a marathon, not a sprint. Work hard, train hard, be nice and professional at all times, listen to those that came before you, they just might actually be able to teach you something, and when it’s your moment, take it.

CAL JOHNSON

2ND UNIT DIRECTOR/ STUNT COORDINATOR/ STUNTMAN

If you had to do it all over again... I’d do it just the same. All the hard work, commitment and sacrifice pays off in the long run. It isn’t a profession for the timid as there are so many ups and downs, it’s enough to make you queasy, but if you hold on long enough, believe in yourself, and be prepared, you can make it. My recent projects include... 7 seasons of Army Wives; 3 seasons of the awardwinning Showtime series, Homeland; currently stunt coordinator for the hit NBC series, Constantine; WE TV series, South Of Hell; and 2 other films. Find me on facebook: www.facebook.com/pages/ Calculated-Risks-Inc/121238347978856?ref=aymt_ homepage_panel

Calculated Risk

How did you get into the business? I had no idea what I wanted to do for a living when I started college. During my sophomore year, I took a communications class and aced it; I didn’t even buy the textbook. I interpreted this as, “I might have something here.” Eventually, I worked as an intern at a local television station and it all snowballed from there.

If you weren’t doing this, what would be your dream job? I would either be a farmer or a missionary; both are very appealing to me for different reasons.

Best advice to young people in your profession? Find someone you admire and respect that has the type of job you would like to have in the future and spend as much time with him/her as you can. Surround yourself with people who are better at their job than you are at yours. Eventually, you will catch up. Excellence breeds excellence.

STEPHEN OSTRANDER PRODUCER/ LINE PRODUCER/ PRODUCTION MANAGER Prodo LLC stephen@stephenostrander.com www.stephenostrander.com

V. CLAIRE PAPEVIES 2ND AC

claire.papevies@gmail.com

OZ MAGAZINE

How did you get into the business? I traveled the world and learned the ropes of the industry through multiple internships. From my time in Australia interning with Travel Oz to landing an internship in the content department of the Travel Channel, then to Costa Rica when I landed a job on The Bachelor. The camera department is where I found my true calling. Working as a prep tech for a rental warehouse allowed me to learn the inner workings of the camera. I introduced myself to the directing manager of ARRI Australia and he offered me an internship to train with their line of cameras. I moved from LA to Sydney to work with them. I then moved to Atlanta, joined the Local 600, and started working on feature films as a 2nd AC.

Best advice to young people in your profession? People say that the industry is all about who you know, but if you have no connections then get out and make yourself known. Get to know people in the department that you want to work in. Offer to help them out and show them how eager you are to work and learn. Be humble, be aware, and give it your absolute best. I wouldn’t be where I am today without the people I know, but they didn’t find me, I went and found them. What do you love about your job? I love working on set with the fast pace life of production, it never gets boring. I love the people I work with and the memories that we build. It’s exciting to face challenges, troubleshoot problems, and it’s rewarding when you make it through the day with ease. It gives you a great sense of accomplishment.

How did you get into the business? After graduating FSU Film School, I loaded my Subaru Justy (“just a car, nothing else”) with my meager possessions, my German Shepherd and $1,000 in cash. Then I headed west, eventually running out of money in San Francisco. While crashing with a friend, I found this cool film co-op listing projects looking for crew. An indie needed people to build sets for free, so I called and after cleaning the office toilet (my first job in the biz), they put a screw gun in my hand. I built sets until the AD offered me the key PA position on the shoot. Still working for free, I learned more on this film than four years of college. At wrap, I was stupid broke, but the producer took pity on me, liked my work ethic and hooked me up with a paying gig on the MGM film, Getting Even With Dad.

J.D. TAYLOR

DGA DIRECTOR/ FIRST ASSISTANT DIRECTOR Teen Wolf - MTV TV Series

Highlights and low points of your career? Highlights: Taking The Signal to Sundance and directing episode 410 of Teen Wolf. It came so natural, I should have been directing all along. Low points: Letting down a director by making a decision for time rather than story. That’s the hardest juggling act for an AD, balancing getting it done with getting it done right. If you weren’t in film, what would be your dream job? Author. Pilot.

If you had to do it all over again... Direct, direct, direct.

Your three most recent project? Second unit 1st AD, USA Net work’s T V series Complications; 1st AD, promo for VH1’s TV series Hindsight; 1st AD, commercial for CNN Heroes / Subaru.

How did you get into the business? I got a degree in Radio-Television-Film from the University of Texas and then interned on an MTV show shooting in Austin. I moved to Los Angeles and worked for Spelling & Hallmark, then moved to Atlanta and worked for Cartoon Network for five years.

How did you end up as a location manager? I went from Cartoon Network to a career in real estate. After six years in real estate, I missed the entertainment industry and found myself uniquely qualified for locations because I know production and I know real estate.

Best advice to young people in your profession? Show up on time, be open-minded, and stay in contact with everyone you meet in the business.

He sent two pics

DAVID WARREN

LOCATION MANAGER ATL Locations www.atllocations.com

How did you get into the business? I attended a high school in Indiana that had a broadcast PBS affiliate TV station, WCAE. While in high school, I took related classes and worked for the TV station. Later, I was lucky enough to find Western Kentucky University. They offered a degree in Broadcast Engineering Technology and had a fullsized television studio, production facility and even a remote truck. I worked there as an engineer/editor, by the time I graduated I had edited a special for PBS.

JOHN YANCEY

SENIOR COLORIST Crawford Media Services jyancey@crawford.com www.crawford.com

Our credits include 5 seasons of The Walking Dead, Zombieland, The Hunger Games: Catching Fire, Dumb and Dumber To, Prisoners, and commercials for Delta, DirecTV and the Georgia Lottery.

Best advice to young people in your profession? First, try to work under or apprentice with someone who is well established. There is a lot to be learned from the experience of others. Second, take time to understand what the job is and what needs to be accomplished.

You are an interface to get the client what they need from a project. Effective communication is important. What do you love about your job? I have worked on many different projects from commercials to films, industrials, promotions and even archival. I can always add something positive to a project and the diversity of the work keeps it fresh. It is also nice to be focused on the look – either to give a creative image or to smooth out various sources or correct problems. It is rewarding to fulfill a client’s vision and to offer possibilities previously not considered. How do you see the business evolving? Technology, with lowered equipment price, has made most professions accessible. It is important to keep up with advancements and never stop learning. Experience is good but you can’t be too comfortable. A more level playing field means every job is of equal importance and you must pay attention to both the creative aspect and bottom line.

MARCH / APRIL 2015

BEHIND THE CAMERA WITH DREWPROPS

IIremember my first Festival like it was yesterday. Creek’s decorating remember my Catfish first Catfish Festival like it Pigeon was yesterday. Pigeoncommittee Creek’s had outdone themselves they really went all out. Man–Totten Coach Pisani decorating committeethat hadyear out– done themselves thatOld year they and really went all out.closed Old Man Totten andto Coach had closed the baitsole shop to string China had up the bait shop stringPisani China lanterns acrossup the town’s intersection. In the Lanternsit across theatown’s sole intersection. In the daytime looked a golden bunch daytime looked like bunch of garbage hanging from a wire, but atit night thelike warm of garbage hanging from a wire, but at night the warm golden glow was magical. glow was magical. The eastern end of main street had been blocked off with the old fire engine and on the west side of town the police had put up he eastern end of the main had been a roadblock to route people around old street courthouse, along off with theVirgie’s old fire engine, and on Commerce Streetblocked to the north side of Café. the west side of town the police had put up Meanwhile, me and my gang spent the night hanging out in front a roadblock to route people around the old of the old corner courthouse, store, which was across from theStreet big stage and along Commerce to the catty-corner fromnorth the pony just up Monument Street from side rides, of Virgie’s Café. the cooks were busymy deep-frying thethe haul of catfish from where Meanwhile, me and gang spent night hanging the previous out in front weekend’s of the old fishing cornertournament. store, which was across from the big stage and catty-corner from the pony rides, just up I still remember all where the tongues in town Monument Streethow from the cooks werewere busywagging deepabout Melanie Smooter’s return after a long absence frying the haul of catfish from the previous weekend’sfollowing fishing her divorce from Jake. I have to say that she looked pretty good, tournament. skinny even.remember All her baby fat all must meltedinaway there I still how thehave tongues townupwere while she was busy becoming a Big Deal in the Big Apple. wagging about Melanie Smooter’s return after a long absence following her divorce from Jake. I have to say that she looked There was a rumor going around the craft service table that pretty good, skinny even. All her baby fat must have melted Melanie had run off and married Candice Bergen’s son while away up there while she was busy becoming a Big Deal in the she was in New York, but I knew that couldn’t possibly be true Big Apple. because I had read the very latest version of the script 4 or 5 times There was a rumor going around the craft service table (including the pink revisions) and there wasn’t a wedding scene that Melanie had run off and married Candice Bergen’s son listed in our shooting schedule. After a few months out on the while she was in New York, but I knew that couldn’t possibly road making this movie the script was becoming blurred with real be true because I had read the very latest version of the script life in my mind. 4 or 5 times (including the pink revisions), and there wasn’t aJust wedding in end our shooting schedule. a few like anyscene otherlisted job the of the working day After is something months out on the road making script was to be celebrated, and people whothis workmovie, in thethe movie business becoming with real life in mind. are treatedblurred to that most famous of my quitting-time phrases: “That’s a wrap!” Just like any other job, the end of the working day is something to be celebrated, and people who work in the movie business are treated to that most famous of quittingtime phrases: “That’s a wrap!”

OZ MAGAZINE

On a typical shoot the crew begin putting away as much as they can well before the 1st Assistant Director calls wrap, because On a typical thelonger crew than begin puttingataway as nobody wants to stay ashoot moment necessary the end asYou theycan can well before theapproach 1st assistant director ofmuch the day. always sense the of wrap thankscalls to a wrap, because nobodyfilling wants stay a moment than thousand telltale sounds thetomoments betweenlonger takes: from necessary at the endofofstakebed the day.liftYou can the high-pitched whine gates to always the low sense rumblethe of approach of wrap thanksc-stands, to a thousand carts filled with sandbags, coils oftelltale electricsounds cables, filling fabric the wire moments between from the high-pitched whine flags, screens, racks oftakes: clothes, directors chairs and camera of stake bed lift gates to the low rumble of carts filled with gear no longer needed on set. sandbags, c-stands, coils of electric cables, fabric flags, wire On this particular ourdirectors propmaster, Dwight Benjamin-Creel, screens, racks ofnight, clothes, chairs and camera gear no called meneeded over toon the catfish-frying area to help him break down longer set. the setup and load night, it all into rear of our gator, a cooking On this particular ourthe propmaster, Dwight small gas-powered called all terrain finished loading Benjamin-Creel, me vehicle. over to As thewe catfish-frying areathe to gator turned to the me,cooking glancedsetup at theand pileload of cookware helpDwight him break down it all intoand the gestured toward theaother of town, saying, “Findvehicle. Elliott and rear of our gator, smallend gas-powered all terrain As take this stuff downthe to the carwash hoseto the grease off, we all finished loading gator Dwightand turned me, glanced okay?” at the pile of cookware, and gestured toward the other end of town saying, “Find Elliott and take all this stuff down to the Jamming deepoff, into his front pocket, Dwight car washhis andhand hosedown the grease okay?” pulled out a fistfulhis of hand quarters and deep pushed them mypocket, hands, Jamming down into hisinto front saying, “Here’s some letquarters me know if pushed this isn’tthem enough. Dwight pulled out achange, fistful of and into” Then he turned and headed up the street to check in with the my hands, saying, “Here’s some change, let me know if this rest of our crew. isn’t enough.” Then he turned and headed up the street to check in with the rest of our crew. It took less than 30 seconds for me and our dayplayer, Elliott It took less than 30 seconds for me and our dayplayer, Boswell, to motor down to the other end of town to the car wash, Elliott Boswell, to motor down to the other end of town to which turned out to possess two tiny bays attached to the side of a the car wash, which turned out to possess two tiny bays small brick building. Fortunately for us, Crawfordville was the seat attached to the side of a small brick building. Fortunately for of Georgia’s least-populated county so it was unlikely that we’d us, Crawfordville was the seat of Georgia’s least-populated encounter a line of drivers waiting to wash their cars, especially county, so it was unlikely that we’d encounter a line of drivers since it was ass o’clock at night and freezing cold outside. waiting to wash their cars, especially since it was ass o’clock

at an angle made the water ricochet up into your buddy’s face. Spraying sideways would do both and would enshroud within 30 point feet with a fine coat“whoop of greasy mist. I’meverything pretty sure that at one we were making whoop Elliottnoises swore greasy was to freeze onto whoop” likethe Curly, and amist cream piebeginning may have been thrown everything before it was allaround over. us. I’m pretty sure that at one point we were making “whoop I’m pretty sure that at one point we were “whoop whoop Wewhoop had making only driven down to the car wash twopie towels whoop” noises like Curly, and awith cream mayfor have whoop” noises like Curly, and a cream pie may have been thrown drying the pans, and those hadall long ago become saturated with been thrown before it was over. before it was all over. grease and wereonly nowdriven doing adown rathertomagnificent jobwith of spreading We had the car wash two towels thefor stuff to other surfaces, most notably the sloped floor of saturated the car the two pans,towels and those had long ago become Despite its small town setting, this car wash was fairly standard. It the car drying We had only driven down to wash with for at night and freezing cold outside. wash ongrease which we were standing. We of acourse didn’t realize ourjob with and were now doing rather magnificent featured floors that sloped down todrying big metal grates, centered in and those had long agountil become saturated withto call for help. One moment we danger it was farstuff too late the middle Despiteofitseach small town setting, thisthe carpans, wash was fairly ofmagnificent spreading theof to other surfaces, most notably the bay. There was grease a coin-operated selector dial and were now doing a rather job spreading were standing and laughing and stacking the nextWe standard. It featured sloped down to bigfrom metal sloped floor offloor the carthe wash on whichand wespraying, were standing. mounted on each wallfloors and a that wand-tipped hose hung an notably the stuff to other surfaces, most the sloped of carflailing we were desperately our arms to keep our feet grates, centered in the middle each bay. There wastoarotate coin- moment all town setting, this car wash was fairly standard. It of of of course didn’t realize our danger until it was far too late to armature mounted to the ceiling each bay, rigged wash on which we were standing. We slip-sliding of course didn’t realizeunder our us and threatening to send out from us selector dial mounted on eachyour wallvehicle and awithout wand- from that sloped downoperated to that big metal grates, centered so you could walk all theinwaydanger around call for help. One moment we were standing and laughing until it was far too late tocartwheeling call for help.off One we lagoon at the center of the bay. and intomoment the greasy each bay. There was a coin-operated selector dial tipped hose hung from an armature mounted to the ceiling of snagging the hose under a tire. stacking and spraying, were standing and laughing and stacking and spraying, the the nextnext moment we were desperately each wall and a wand-tipped hose to hung fromsoan each bay, rigged rotate that you could walk all the way flailing our arms to our keep our feet from slip-sliding out from moment we were desperately flailing our arms to keep feet unted to the ceiling each bay, rigged to rotate around your vehicle without undershuttling a tire. Weofparked our gator outside ofsnagging the outer the bay hose and began under us and threatening from slip-sliding out from under us and threatening to send usto send us cartwheeling off into ould walk all the way around without We parked our vehicle gator outside implements of the outer in the wideyour selection of cooking thatbay hadand beenbegan used the greasy lagoonofat bay. It’s instances like cartwheeling off into the greasy lagoon at the center thethe bay.center of the when you find hose under a tire. shuttling to deep fry for the Catfish Festival scenes. Pots and pans, in food the wide selection of cooking implements that It’s instances like this, this, when you find yourself serving chafing big warmers, little warmers, ladles, yourself running in place had beendishes, used to deep dishes, fry food like a Hannarunning in place like a Hannagator outside of the outer bay and began shuttling strainers, nets, levers, pulleys, possibly a few pieces of an outboard for the Catfish Festival scenes: Barbera cartoon character ection of cooking implements that had used motorboat. There wasbeen a LOT of stuff and it was all encased in two Barbera cartoon character, trying not pots and pans, serving dishes, trying not to fall on your butt, It’s instances like this, when you find od for the CatfishorFestival scenes. Pots and pans, three dishes, days worth the oil that had been used to fry up the to fall on your butt, that you begin to chafing big ofwarmers, that you begin to reconsider chafing dishes, bigcatfish warmers,the little warmers, ladles, like athe Hannafestival scenes. little forwarmers, ladles, yourself running in place reconsider life decisions that the life decisions that led led you levers, pulleys, possibly a few pieces of an outboard strainers, nets, levers, pulleys, Barbera cartoon character, trying not to this point in time. here was a LOT of stuff and one it was two Neither ofall usencased dared toin use our “good” gloves to touch all those you to this point in time. possibly a few pieces from an We eventually lost worth of the oil that had pots beenand used to fry tobarehanded fall onor your butt, that you begin to greasy pans, so up we the worked with rubber outboard motorboat. our fear of falling into the festival scenes. gloves, slowly assembling a giantreconsider pile on the inward-sloping the life decisions that led whirling oily vortex at the There was a LOT of stuff floor of the carwash. This was made doubly difficult because a and it was all encased inalltwo or us dared to use our “good” gloves touch those toboth this point time. eventually lost our fear of fallinggrease-slicked into the whirling oily of vortex center the car cold front had to been moving in andyou we had bundled up inin We threebarehanded days worth or of with the oil that nd pans, so we worked rubber at the grease-slicked center of the carwash drain basin and began wash drain basin, and began our cold weather gear, making it difficult to bend over without had pile been used to fry up the assembling a giant inward-sloping because were now andand down thecold pots grunting.on By the the time we were finished, the entire floor of the car counting down the pots and pans counting catfishdoubly for thedifficult festivalbecause scenes. a arwash. This was made that this stuff was because we going were tonow wash had been filled to overflowing with shiny metal cookware. tired and greasy. We finally realizedpans eventually lost our of falling into the whirling vortex Neither onepieces of us dared useWe our “good” gloves tofear touch been moving in and we hadeven both bundled up to in along soaktired in a and sinkoily somewhere for several days to convince coldtoand greasy. We finally realized that this stuff There were perched a short brick wall along the need center of thethe carwash drain andwe began beyond caring about finishing those pots pans, at sothe wegrease-slicked worked barehanded her gear, making all itouter difficult to over and without grease toto letbasin go, and was going need to soakwere in a sink somewhere for several days sidegreasy of bend the bay. counting adown pots because were now cold and or withthe rubber giantthe pile on and the pans he time we were finished, entiregloves, floor ofslowly the carassembling theto job. convince the grease to let go, and we were beyond caring tired and greasy. We finally realized that this stuff was going to inward-sloping floor of the car wash. This was made doubly n filled to overflowing with shiny metal cookware. We spent several minutes debating the best setting to cut through about finishing the job. need to soak in sinkwe somewhere for several to convince voicedays exploded to life again on the radio, demanding en pieces percheddifficult along a short brickawall along the because front had been moving inaand had the grease. Would itcold be regular soap, engine de-greaser or tire Dwight’s Dwight’s voice exploded to life again on the radio, grease to letsoap go,it and we weretobeyond caringwas about finishing know what taking us so long. Many curse words were he bay. both bundled up in ourdecided cold weather gear, making difficult cleaner? We ultimately onthe using regular because demanding to know what was taking us so long. Many curse the job. explored out loud, and they carried remarkably well on the chill to over without grunting. webend didn’t want to risk spraying harsh chemicals on containers that words were explored out loud, and they carried remarkably ral minutes debating theBybest setting towe cutserve through air, aided no doubt by the molecules of grease swirling might time were finished, the entire floor of the night bethe used later to food. wellon onthe theradio, chill night air, aided no doubt by the molecules of Dwight’s voice exploded to life about. again demanding ould it be regularcar soap, engine or to tireoverflowing wash hadde-greaser been filled with shiny metal grease swirling about. to know what was taking us so long. Many curse words were ltimately decidedcookware. on usingthat regular soap because Around timewere Dwight checked in with us on the walkie to There even piecesexplored perched along a short brick Our howls of laughter way to dark mutterings out loud, and they carried remarkably well on the chillhad Our howls of laughter had given waygiven to dark mutterings and we t to risk spraying harsh chemicals on containers that see how longerside we’dofbe, he had several other things for wall alongmuch the outer theasbay. and we finally jammed all of the (still greasy) cookware back night air, aided no doubt by the molecules ofallgrease swirling finally jammed of the (still greasy) cookware back into the gator. later to serve food.which he needed help putting away. I told him we were about to We spent several minutes debating the best setting to into the gator. Then we slipped and stumbled back up into the about. Then we slipped and stumbled back up into the seats and drove startthrough spraying the and grease. that we Would shouldn’t be there too much longer. cut me Dwight checked in with us onabout the walkie to it be regular soap, engine away, seats andtoward drove the away, back lit toward cheerily lit streets back cheerily streetsthe of the fictional city of of Boy was I wrong that. de-greaser or tire cleaner? We ultimately onhad using Our howls decided of laughter givenPigeon way dark mutterings and we h longer we’d be, as he had several other things for thetofictional city ofabout Pigeon musing theperson slippery Creek, musing theCreek, slippery fate of about the next regular soap because we didn’t want to risk spraying harsh finally jammed all of the (still greasy) cookware back into the gator. ded help putting away. I told15 him we were about tobeen lifted straight out of a Three The next minutes could have ofthat thecar next person to enter that car wash. to fate enter wash. chemicals on too containers that improbable might later to serve Then be we used slipped and stumbled into up theCrawfordville seats and drove and that we shouldn’t be there Stooges short, withmuch each longer. highly disaster stacking on back up Call in Google Maps, switch into Google food. back toward thestraight cheerily lit streets of the fictional city of Maps, Call up Crawfordville in Google intoend Google Street ng about that. top of the previous. Spraying a jet ofaway, high-pressure water Street View, and move down to theswitch eastern of downtown Pigeon musing about slippery of the nexttoperson down Around that time Dwight checked in with us on thethe View, andfate move down the eastern downtown into a metal dish would redirect theCreek, stream straight back (along Broad Street). Look for a end littleofbrick store (along with the nutes could have walkie been lifted straight out spraying of longer a Threedown to be, enter that car wash. toyour see howand much we’d asangle he had several other Broad Street). Look a little store with the letters “A & P” over up into face, at an made the water letters “A & P” for over thebrick entrance. If you examine the front with each highlythings improbable disaster forupwhich he stacking needed help I toldwould him we entrance. If you examine the front right side of the building ricochet into your buddy’son face.putting Sprayingaway. sideways do theright side of the building you’ll see where the little car wash Call up Crawfordville in Google Maps, switch into Google Street vious. Spraying a jet of high-pressure water straight were about to start spraying and that we shouldn’t be athere where the little car wash has been in, forever both and would enshroud everything within 30 feet with fine you’ll hassee been in, forever sealing awaybricked the dangers of the View, and move down to the eastern end ofbricked downtown (along metal dish would redirect the stream straight back sealing away the dangers of the Maelstrom of Grease. too much longer. Boy was I wrong about that. coat of greasy mist. Elliott swore the greasy mist was beginning to Maelstrom of Grease. Broad Street). Look for a little brick store with the letters “A & P” over ce, and spraying down atonto annext angle the water freeze The 15made minutes could everything around us. have been lifted straight out entrance. If you examine to your buddy’s face. sideways would of a Spraying Three Stooges short, withdoeachthe highly improbable disasterthe front right side of the building you’ll see where the little car wash has been bricked in, forever ld enshroud everything within fine stacking on 30 topfeet of with the aprevious. Spraying a jet of highsealing away the dangers of the Maelstrom of Grease. mist. Elliott swore pressure the greasywater mist was beginning to straight down into a metal dish would redirect erything around us. the stream straight back up into your face, and spraying down

MARCH / APRIL 2015

OZ SCENE: AN EVENING WITH BILL

Bill Thompson & Nena Thompson.

An Evening With Bill Thompson F

our years ago, when GA Film Commissioner Bill Thompson left the Film office, little did anyone know about the journey he was embarking upon. In the local film and TV community, it was as if he disappeared. Now we know. After two years of difficult testing, Bill was diagnosed with “Early Onset Alzheimer’s”. Bill and his wife, Nena, were relieved to finally have an answer, but horribly devastated by the news. They are aware of what this disease brings with it and have vowed to focus their energies on simply loving each other and supporting one another as best they can. When Eric Albright heard the news, he decided it was time to do something to “give back” to Bill. Eric and Bill shared a long history and worked together for over 30 years. With a desire to organize a party with close, production industry comrades, Eric contacted Nena. Eric, along with Bill’s shooting posse, also produced a tender video describing their journey with Alzheimer’s so far. They were both interviewed separately to share their own perspective and how they are coping. It was time to begin sharing their story. Eric and friends hosted a celebration for Bill recently at OakCliff Studios. The video was shared prior to Bill and Nena’s arrival, which told the story of their two-year struggle to find a diagnosis and what that entailed. When they arrived to a studio full of eager guests, Bill’s face lit up with joy and surprise. It was a celebration night of Bill’s accomplishments in the television and film industry, his generous spirit in mentoring, and his guiding so many people within the Georgia film and television community.

OZ MAGAZINE

January 28th

Later, friends offered heartfelt, sweet, funny, and kindhearted speeches, after which Bill and Nena added some commentary of their own. The entire evening was recorded so that Bill and Nena will have stories to enjoy as Bill’s illness progresses. The festivities were donated by so many – OakCliff Studios Terry Fitzpatrick, AFR Furniture Rental- Cindy Southwell, Michons Smoked BBQ- Gaye Alexander, and the fabulous lighting, sound and video crew. From Nena: “To everyone who donated services and/or their time, please accept our heartfelt thanks. The night was magical and overwhelming in love and affection toward Bill. It meant the world to him.”

David Lyman & Terry Fitzpatrick.

If you would like to reach out to Bill and Nena, please see the link below…. Please keep them in your thoughts and prayers!

http://youtu.be/IWO2Xxi486E

Bill Thompson & LuAnn Greene.

Bill Thompson & Eric Albright.

Lance Lipman, Jeff Jeffries, Randy Horenstein.

Bill Thompson & Asante Bradford.

Kathy Gray & Pat Webber.

Nena Thompson & Steve Carlisle.

Bill Thompson & Stan Fyfe.

Rohan Backfisch & Candace Alger.

Mark Ramsey, Rob Horne, & Chris Carroll.

Regina Kelly.

Dan Philipp.

Nena Thompson, Bill Thompson & Spencer Thorton.

MARCH / APRIL 2015

OZ SCENE: BLOOMINGDALE’S ATLANTA LAUNCHES STUDIO SERVICES / OLD FASHIONED

Bloomingdale’s Team: Tom Abrams, Tony Pohlig, Theo Tyson, Julie Roberts, Derek Reid & Alex Davis.

Bloomingdale’s Atlanta Launches Studio Services B

loomingdale’s Lenox celebrated the launch of their new Studio Services division with a “Behind the Scenes” experience like no other. Industry guests including wardrobe and fashion stylists, location scouts, photographers, and producers mingled to the sounds of DJ Camille - infamous from a stint on Drop Dead Diva. They sipped signature cocktails inspired by Georgia

filmography and learned screen siren secrets from Dior. Southern style craft services catering from Bantam + Biddy, custom cupcakes from Sprinkles and a Nespresso café allowed comfortable networking. General Manager, Tom Abrams, officially welcomed everyone and introduced the Studio Services team of Theo Tyson & Tony Pohlig.

Renay Jackson & Matty Townsend.

DJ Camille.

Photo Credit: @avialevon | #trinityproductions

Zach Gray, Nathan Nazario, & David George. Big Picture Film & Video Foundation Reps: Joe Howell, Tricia Milo, Nancy Howard, Rik Swartzwelder, Elizabeth Ann Morris, & Nathan Nazario.

Old Fashioned T

he Atlanta premier of the faith based indie surprise hit, Old Fashioned, was held on February 9, 2015 at the Landmark Theatre. The advance screening was attended by the film’s director and lead actors Rik Swartzwelder and Elizabeth Ann Roberts. Old Fashioned

February 9th

opened on Valentine’s Day weekend. Despite playing on fewer than 300 screens around the country, the film managed to sell out in several markets around the country. The South Lake Press noted it for its contrast to the Hollywood blockbuster Fifty Shades of Grey. Photo Credit: APEX / Joseph Walker

OZ MAGAZINE

Tricia Milo, Elizabeth Ann Morris, & Deronte Smith.

OZ SCENE: 15TH ANNUAL ATLANTA JEWISH FILM FESTIVAL

The Cobb Energy Performing Arts Center.

15th Annual Atlanta Jewish Film Festival T

he 15th annual Atlanta Jewish Film Festival began with an Opening Night Gala on Wednesday, January 28th. The Gala, held at The Cobb Energy Performing Arts Center, featured a screening of Above and Beyond as well as a Q&A with film producer, Nancy Spielberg, Steven Spielberg’s sister. “Paint the Town Red,” the pre-show gala, included delicious food tastings by local chefs, live entertainment, and a mix-and-mingle between AJFF sponsors and VIP attendees. This

January 8th

year’s 23-day festival featured 65 films from 26 countries. The audience was impacted through their contemporary storytelling. The stories took audiences across the globe with comedic and dramatic elements. Screenings were held at several different theatrical venues throughout Atlanta with closing night at the Rich Auditorium for the second year in a row. Though the festival revolves around films, hearing from filmmakers and actors helped round out the experience. Photo Credit: Courtesy of the Atlanta Jewish Film Festival.

Kenny Blank.

John Roberts & Nancy Spielberg.

Steve Labovitz.

Luci Sunshine, Martha Jo Katz, & Sugar Eisenberg.

MARCH / APRIL 2015

OZ SCENE: 3RD ANNUAL GA ENTERTAINMENT GALA

Phoenix 4 Productions crew.

3rd Annual GA Entertainment Gala

January 10th

he 3rd Annual Georgia Entertainment Gala was a night of immaculate elegance showcasing all the talent that Georgia has to offer within the entertainment industry. This black-tie event included live entertainment, complimentary cocktails and an awards ceremony created to honor the excellence of

Georgia’s high-acheiving professionals. While the night was designed to peak your senses, it was also intended to advance an excellent cause; a portion of the proceeds will benefit two non-profit organizations, Hosea Feed the Hungry and Serv International. Nicole Beyser, Arielle Chappelle Liberman, & Nicole DeLeone.

Actress, April Bogenschutz Omohundro & Guest & Actress, Stephanie Stevens & Guest.

Errol Sadler Actor/Producer & Joy Pervis of J Pervis Talent.

OZ MAGAZINE

State Tax-Credit exchange Sponsors.

Autumn Bailey Ford & Rashad Ford.

Candy Christian, Martin Chuck Powers, & Gail Thomas Gentry.

Jasmine Burke & Ozzie Areu.

Naturi Naughton

Angelique Chase

Black Women Film Network, Jeff Gripper & Sheryl Gripper.

Art Director/Set Dresser, Alvin Eric Vazquez & friend. Reigndrop Lopes, Ali Ford & Stevie Baggs.

MARCH / APRIL 2015

DISTRIBUTION PARTNER

General

Membership Meeting

Members Only Media Mix Networking Event

THE VOICE OF THE INDUSTRY SINCE 1995 46

OZ MAGAZINE

AD INDEX

AD INDEX 13 American Music Company, Inc.

49 Georgia Stage, LLC.

02 Black Women Film Summit

12 Glenn Hotel Atlanta

09 Animal Casting Atlanta

15 Blue Media Supply

09 Braves at Turner Field

49 Get-A-Grip Atlanta

15 Production Housing

16-17 Global Lighting and Production, Inc.

18 Props South

12 Clubesque

47 Industry Yearbook, The

Cover

49 Law Office of Deborah Gonzalez, Esq., LLC.

49 C&M Backdrops, Inc

48 Help Me Rhonda

Back Camera Copters™ - GA

51 Ku’she

49 Day-1 Production Services

13 Professional Photo Resources (PPR) 14 & 48 RJR Props

12 Barbizon Lighting Company

11 Helicopter Express

48 Cases for visual arts, inc.

20 Oz Magazine Special 3 Issues

18 Rifleman, The 48 Ryder

13 Sam Flax

48 Sherwin-Williams

03 St. Regis Atlanta, The

49 Lights! Action! Company

48 Designated Drivers

07 Superlux

11 Magick Lantern

19 Flot

49 Willy’s Stuff

48 Matthews Studio Equipment

46 Georgia Production Partnership (GPP)

49 WPA Film Library

48 Medicalprops.com

Rentals’ truck (1980). SIDEBAR, BOTTOM: Lightnin’ Production Rentals in 2013.

ads featured Governor Cartera sitting in

watched the video and did change . his mind

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

Over the next few years, Wayne nwould retur to Georgia many times to scout rlocations fo

heading to Georgia to see what k all the tal was about. Once crews arrived, d Spivia an many prospects, it was hard to keep e up. Som help scout locations. Sometimes s producer

producers and actors kept coming e back. On

came to the state with the singular f goal o

of them was Burt Reynolds . In 1974, Reynolds, who had d starre inDeliveranc e just two years previously ,

9'%

In 1975, The Lewis Family founde d Lightnin’ Production Rentals, , Inc. in Atlanta. The company n bega renting production trucks e to th motion picture industry– in 1979 everything from star trailers d an honey wagons to camera trucks .

9<:

Production & Support Companies

(%2

/-(5

4%8!:

-2,!=

1980’ s Little Darling s , starrin g Kristy McNichol and Tatum O’Neal .

2>?

other business – in which case sSpivia and hi

Case in point: John Wayne. In ,1973

The Longest dYar . Th e movie was about a footbal l player–turned–convic t

the veteran actor came to Georgia a for

who organizes a team f o

Cattleman’s Association meeting. n Whe

inmates to play tagains

Spivia found out about it, he a arranged

a team of prison .guards

meeting to convince Wayne to make e a movi Harold Morris, an inmate t a Reidsville Prison, worked also as an extra in The Longest Yard . Originally sentenced wo lif to e t terms, Morris w as later pardoned . When hew as released, he awrote screenplay about his life. s Filmed a Unshackle d , it was directed by Bart Patton and released .in 2000

in the state. Spivia says, e“An aide cam

at a prisonMcAllister in ,

in with a bottle of bourbon a and poured

Oklahoma, but three s day

glass. John Wayne drank it down , and said

before the shoot, prisoner s

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

burned it to the .ground

tape in the VCR.” The video showcased e th

Reynolds called Spivia r fo

diversity of the Georgia landscape , – coastline mountains, and forests. Even though e Wayn

location. Spivia, recalls

– The Green Beret s in 1968 – het didn’

a prison that looks e lik

seem convinced that the varied ytopograph

this, real quick? If , you can

“He said, ‘Can you s get u

Georgia Industry Yearbook

showcased on the TV screen was, n in fact, i the state of Georgia .

do believe I’ll change your mind.’” e Wayn

“About thirty seconds in, d he starte

Year Started

Companies

Year Started

Electric Transfer . Inc

1987-201 0 Joseph Donini, founde r

Sirius Images Corporatio n

1990-200 1 Marshall Peterson, rfounde

APC Studio s Creative eEdg

arranged for productio n tobegin at the Georgi a

1988

1990-200 5 Joe Huggins, founde r

Comotion Film s

1991

1988-200 7 Beth Goodwin, founde r

Anita M. zCrit

Comprehensive Technical Group, . 199 Inc 1 Rob Rainey Video, . Inc

1991

Telltale Films, . Inc

1991

Peachtree Prompter s

1989

Lauri Plesco, founde r

Feature Systems South Inc. ) (Atlanta 1991-200 8 Bob Baili n

Paul Lombardi, founder; Scott Tigchelaar , presiden t

Atlanta Rigging Systems, C LL

1992

Rick Rushing, president; Dave Gittens, M VP/G

Casting Connection, . Inc

1992

John Culbreth, founde r

Riverwood Studios (DBAh Raleig 1989 Studios ) 1989

Staging Direction s

1989

The Propper Sourc e

1989-200 6 Hilary Henkin, rowne

Southern Animal Talenty Agenc

Yard would go on to net more3 than $4

Nick D’Allen, presiden t

1989-201 2 Senia Phillips, rfounde

Atlanta Films, Inc. (Get-A-Grip ) Atlanta 199 0 Mark Henderson, founder/presiden t

million in domestic gross . 5 It sales woul d

1990

Bob Shelley, founde r

International . Inc

Georgia Industry Yearbook

History 162

Steve McCormick, Jim Wile, sco-owner

Greg Baird, founder; Wilma Jean O Baird, CE Joan Lask, founde r

Savannah Production Group . Inc 1989-201 0 Mickey Youmans, Tim Rhoad, Maria d Rhoa

State PrisonReidsvill in e shortly after. The Longes t

Sheryl Myers, founde r

1989 1989

CEO

came through dan

banging his hand on the table,” . Spivia says

Imagi c

1988-200 6 Salvatore Nappo, founde r

Baird Camera Cars, . Inc Jo-Thor’s Dog Academ y

SaltRun Production s

“He said, ‘You can’t tell me this . is Georgia “And I said, ‘If you’llt give me jus

Companies The Computer Studi o

Houghton Talent, . Inc

1990

Gail Houghton, founde r

Magick Lantern Studio s

1990

Bill VanDerKloot, rfounde

Neverland Film Service s

1990

Tim McCabe, founde r Annette Stilwell,rfounde

Payroll South )(Crew

1990

Peachtree tPos

1990-200 2

Phelanx, .Inc

1990

Powell Group, Inc., e Th

1990-200 4 Tia Powell, founde r

ShowPay

1990

Spotchex (union ) Xchex (nonunion )

Mark Phelan, founde r Annette Stilwell,rfounde

1990

Annette Stilwell,rfounde

1990

Annette Stilwell,rfounde

1990-199 3 Toni Colley Lee William and Hudso n 1990-199 9 Richard (Dick) Cross and Gayle , Cross founder s

Crossover Entertainment Group, . 199 Inc 2 Encyclomedi a

ited

Edi

tion

!"#

Indu $#% stry &'( ! (

1992

Rob Rainey, founde r Tom Luse, OCE

Luther Randall III, Billy GM; Johnson, O CO Lance Holland, founde r

Gypsy Grips Georgi a

1992

Danny “DJ” Haizlip, Chunky Huse,s co-founder

Triple Horse Entertainmen t

1992

Karl and Amy Horstman, s founder

Artisan Picturework s

1992-199 9 Joe Gora, founde r

Barbizon Atlant a

1993

Damian Vaudo, branch manage r

Broadcast Equipment lRenta Company (BERC )

1993

Tony Foresta, M G

ImageMaster Productions, . Inc

1993

Dan Johnson, founde r

Inertia Films, . Inc

1993

A. Troy Thomas, founde r

Synergy Film s

1993

George Watkins and Lyn Toll, s founder

Whoa! Films,. Inc

1993

Bill Orisich, rfounde

Brick House Editoria l

1993-199 7 Cindy Garguilo, Kevin Garguilo,s co-founder

"#!$ 3!45 %&'(!) *!+ %!6% )6/% %)',-& !75 )!0 !.-/00 & &8% !-4!5 1-2,! &66 %2

First Light Entertainment, . Inc 1993-200 2 Vivian Jones, CEO/produce r Video Progressions, . Inc

1993-201 2 Adair Simon, founde r

Atlanta Dogwork s

1994

Blue Moon Productions, . Ltd

1994

Bootleg Island Entertainmen t

1994

Carlisle Productions Service

1994

Danny Boy Services, C LL

1994

Eagles Cry Productions, P LL

1994

Entertainment Design Group, )Inc.199 (EDG 4

Greg Tresan CEO;

Carol Tresan, O CF

Susan Kanellos, O CE Mike Coolik, founde r John Carlisle, rfounde Dan Philipp, founde r J. Robert Russell, CEO; Karen O Russell CF Steven L. Guy, O CE

Georgia Industry Yearbook

Georgia on the producers’ . minds

Georgia Industry Yearbook

team had to be a bit more creative g in puttin

19 7 3

SIDEBAR, TOP: The early days: Tatum O’Neal on the set of Little Darling s with a Lightnin’ Production

SIDEBAR, BOTTOM, L-R: Director Bart Patton and director of photography Paul Varrieur on the set of Unshackle d (2000).

Lim

)

20 1 3

SIDEBAR, TOP: Annette Stilwell, producer, Jayan Films.

YEA RS

19 7 3 - 20 13

In 1974, North Carolina ve nati Annette Still well oved m to Atlant a and, one year late r, founded wha t would becomevery a successfu l cast andewcrpayroll compan y. By 1980, wStil ell would becom e an Emmy aw ard-winning produce r and one of the premier g castin directors in the Southeast .

()

40 Years of Georgia Filmmaking & the People Who Made it Happen

I# ndu stry $#% ! &'(

Industry Yearbook

The

163

Get your copy of the limited edition ($60 plus tax): Call OZ: 404.633.1779

MARCH / APRIL 2015

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WILLYSWIDGETS.COM

leveling heads pipe dolly wheels rotating offsets camera risers mini pipe dollys ball head adapters ... and a bunch of other neat stuff

MARCH / APRIL 2015

THE NEXT GENERATION

Within Me

Together in Death

LEAH CLEMONS Leah Clemons is a mixed media artist currently pursuing a Bachelor of Fine Arts degree in photography and sculpture with a minor in film studies. She is an artist that often explores the relationship between the natural world and man, the push-and-pulls of intimate relationships as well as environmental and economical issues. She is best known for her narrative self-portraits and short films. Sunbathing

Website: leahclemons.com

Genesis

Introspection

RAINEY RAWLES Rainey Rawles is an Atlanta based artist who explores subtle expressions of intimacy and voyeurism within the figurative content of her work. Apart from painting, she also creates various woodcraft and furniture pieces. She is the current president of Visions Student Art Society, the certified art organization at Kennesaw State University, and teaches painting classes in the metro Atlanta area. Her work is regularly featured in local exhibitions and publications. Website: raineyrawles.com Monogamy

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