Oz Magazine May/June 2016 by Oz Publishing, Inc

film. tv. entertainment.

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MAGAZINE

STAFF Publishers:

Tia Powell (Group Publisher) Gary Powell

Publishing Coordinator: Hilary Cadigan

MAY / JUNE 2016

CONTRIBUTORS Christine Bunish

Truckin’, p.32

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. cbunish@gmail.com

Assistant to Publisher:

Zachary Vaudo

Editorial: Gary Powell

Sales:

Kris Thimmesch Martha Ronske Kristina Foster Greg Savage

Contributors:

Christine Bunish Fran Burst-Terranella Hilary Cadigan Kelly Nettles

Creative Director: Kelvin Lee

Production and Design:

Kelvin Lee Michael R. Eilers Ted Fabella (Oz Logo Design)

Cover Image: Martin O’Neill

Fran Burst-Terranella

From Script to Screen, p.38

Fran Burst-Terranella is an EMMY-winning independent film and television director and producer whos work spans four decades and totals more than 700 productions. Her documentaries have aired nationally on ABC, TBS and PBS and her work has garnered more than 100 honors including Tellys, CINE Golden Eagles and recognition at film festivals from Chicago, New York, Los Angeles, Houston and Atlanta to Australia, Scotland, Spain and Canada. A multi-faceted director with the ability to quickly build rapport with everyone who appears in front of her camera, her newest project is The 12 Lives of Sissy Carlyle–a darkly comic indie feature film.

Hilary Cadigan

From the Apple to the Peach, p.28

Hilary Cadigan is Oz’s publishing coordinator. She recently returned to Atlanta after three years living and working in Chiang Mai, Thailand as managing editor of local magazine Citylife. Hilary holds a BA in English and Creative Writing from Emory University. Her work has appeared in numerous publications including Salon, The Huffington Post and Tricycle. www.hilarycadigan.com

Kelly Nettles

A Screenwriter’s Helpful Hints, p.48

Kelly Nettles is an Atlanta-based writer and actress. Her most recent writing credit is a locally shot feature, Santa’s Boot Camp, starring Eric Roberts and local child actress, Erika Bierman, and is close to distribution. She is currently producing one of her scripts titled Minerva & Maude, to be shot in Atlanta.

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 © 2016 Oz Publishing Incorporated, all rights reserved. Reproductions in whole or in part without express written permission of the publisher is strictly prohibited. This magazine is printed on recyclable paper.

OZ MAGAZINE

Martin O’Neill

Cover art

London-born, Irish-bred artist Martin O’Neill creates unique handmade collages from a vast archive of found ephemera and photography. A constantly moving array of processes and media drive his creative practice which includes typography, writing and experimental filmmaking. Clients include Aston Martin, British Airways, Grolsch, Sony, GQ and UNICEF. www.cutitout.co.uk

MAY / JUNE 2016

CONTENTS

Ozcetera

Voices

Feature Story

03-26-2015

From the Apple to the Peach

Cover Story Truckin’

From Script to Screen

44 45

Distribution

Let Me Give You My Card

46 Selfless Premiere 47 The Georgia Film Academy Soundstage Ribbon-Cutting Ceremony

54 56

Oz Scene

44 Black Women Film Summit’s Untold Stories Awards Luncheon

Fletcher and Adcock Create Camera Comparison Chart

Feature Story

45 Athens Jewish Film Festival

How I Got Into The Business

42 The 40TH Annual Atlanta Film Festival

A Screenwriter’s Helpful Hints

Next Generation

JANUARY / FEBRUARY 2016

OZCETERA 3D digital rendering of completed Third Rail Studios

Atlanta’s Third Rail Studios On Track for August Opening

hird Rail Studios, Georgia’s newest production facility, will be open and fully operational by August 31st. The facility will include the adaptive reuse of a bakery built by General Mills in the mid-1950s, and later purchased by General Motors, as well as a 60,000 square foot purpose-built soundstage. “We’ve been able to save the character of the 1950s building, half of which will be used for production offices, mill space, and vendor space,” notes Third Rail Studios President Steve Mensch. Named for its proximity to the three rail lines that previously served General Motors, Third Rail Studios will feature 30,000 square feet of production office space and 40,000 square feet of mill and flex space, in addition to the vast soundstage, which measures 40 feet to the steel. The stage will be divided into two separate spaces with the option to divide further into three, depending on a production’s specific needs. With a prime North Atlanta location just inside the perimeter and just off Interstate 285, the studio sits adjacent to the Doraville MARTA Station and offers easy access to downtown and Buckhead. Poised to capture a significant chunk of Georgia’s ever-growing film and television market, Mensch says that production companies have already shown significant interest in the project, and that Third Rail Studios’ world-class amenities are expected to attract a wide range of content creators. “We built the studio not just for today’s technology but for the future,” he adds. “We’ve done everything we can think of to future-proof the studio for the direction production is going.” This future-proofed technology includes a 30-gigabit fiber optic internet cable for the property, and at least two “super horsepower”

Oz Magazine - film. tv. entertainment.

“We built the studio not just for today’s technology but for the future.” production offices outfitted with enough bandwidth for lightning-fast file transfers and digital imaging. Third Rail Studios will be conveniently positioned within Doraville’s forthcoming redevelopment project known as Assembly. The studio will act as the cornerstone of the mixeduse development’s entertainment-oriented district, The Yards, and benefit from an array of onsite shopping and restaurant options, as well as food markets, office space, and multi-family homes. “The spirit of what we are creating is an area that will be collaborative with the studio, and that will be one of the unique parts of our facility,” says Mensch. “It will be a magnet for people in and around our industry to come

work here, live here if they choose to, eat here, all of those things. For instance, when you wrap, there’s a restaurant you can go to.” Despite disagreements amongst city and county officials that have held up the Doraville Assembly project, Mensch says that the devel-03-26-2015 opment of Third Rail Studios has continued unaffected. Their August 31st opening is a certainty, with some production offices slated to open even sooner on July 1st. As a 25-year veteran of the Georgia production community, Mensch is a solid choice to lead the project forward. “I was here in the good times, in the terrible times, and now in the great times,” he says. After nearly a dozen years in the lighting and grip business and nine more with Turner Broadcasting, Mensch spent a year in China building and designing the Qingdao Oriental Movie Industrial Park, which, when it opens in 2018, will be the largest film studio in the world. While Mensch relished his experience abroad, he is thrilled at the opportunity to help build his home state’s production infrastructure. “My heart has always been in Georgia,” he says. “I’m glad to be back.”

Third Rail Studios’ construction is currently in progress

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May / June 2016

OZCETERA

Chapman Heads To HEXXU VR

WWW.ANIMALCASTINGATLANTA.COM

CREDITS The Walking Dead Seasons 1- 5 Identity Thief Lawless The Three Stooges Neighbors 2

CONTACT Fist Fight The Night Before Prisoners Billy Lynn’s Long Halftime Walk Hunger Games 2, 3, & 4

Vacation Live By Night Table 19 The Nice Guys Road Chip: Alvin & the Chipmunks

Greg Tresan dogworks@aol.com (404) 786-6400 Carol Tresan happy_horses@hotmail.com (404) 786-4232

tlanta-based tech company HEX XU recently launched its innovative Live Action Virtual Reality (VR) capture technology for live and scripted content. To help define and steward the strategy for this revolutionary technology, HEXXU added long-time media veteran William Chapman to its leadership team. Named HEX VR, short for William Chapman joins HEXXU as Holographic Entertainment eXpeSenior Director of Live Content. rience, this new technology is a giant leap beyond 360° videos. The viewer is no longer pinned to the spot where the camera rig is located. Instead, HEX VR delivers VR with live action content, putting the viewer in control of his or her own personalized camera view, moving around a real 3D space with real people in it. “Once we realized how big this is for both live and scripted content, I approached an industry luminary with an established history of experimenting with new technology for broadcast, William Chapman,” says Richard Oesterreicher, CEO of HEXXU. “I was hoping he would consider being an advisor for HEXXU. But when he learned about HEX VR, he immediately wanted to come onboard and join the team.” Chapman, now Senior Director of Live Content for HEXXU, brings 25 years of experience in film, television and digital media. Formerly VP of Emerging Technology for Turner Broadcasting, he has earned multiple Emmy awards for technical achievement, including the first VR studio for NFL on TNT. “I’ve been a part of the sports evolution—from traditional broadcast to total immersion within the game, from unique camera perspectives to the fantasy and eSports phenomena,” Chapman says. “HEX VR is the technology that will take us to a whole new level of fan engagement.” With decades of cutting-edge experience at the highest levels of live media productions and development, content creation and technology advancements, the team at HEXXU is poised to deliver the next monumental shift in immersive multimedia—true live action VR.

Busmax Launches Production Division

usmax Rent-A-Bus has created a new division with a supporting URL dedicated exclusively to production. Busmax rents 15-, 25-, 33- and 44-passenger “people movers,” SUVs, nine-passenger conversion vans, mini vans, pickup trucks, cargo vans, cars, and 15’ lift-gate box trucks, and offers one of the lowest production rates on 15-passenger van rentals. Busmax has three locations to serve the production industry: North Atlanta, Rome, and Cartersville. Busmax’s production division also offers a private collection of more than 30 classic picture cars and a lot full of filler-cars available for filming. The company handles location rentals for a historic college campus in Northwest Georgia, as well as a 20,000 square foot building in Norcross that easily converts to a city bus station, train station, or airport terminal.

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“The entertainment industry’s premier “The entertainment industry’s premier studio&&equipment equipmentrental rentalcompany” company” studio -Los Angeles Times -Los Angeles Times

May / June 2016

OZCETERA The Atlanta Jewish Film Festival is presenting its annual Icon Award to Lawrence Kasdan.

Atlanta Jewish Film Festival Honors Lawrence Kasdan

n May 22, the Atlanta Jewish Film Festival will present its inaugural Icon Award for Contributions to the Cinematic Arts to screenwriter-director Lawrence Kasdan, the filmmaker behind some of Hollywood’s biggest blockbusters and critically-acclaimed character dramas. Kasdan will accept the Icon Award at a ceremony at Atlanta’s Woodruff Arts Center, along with a reflection on his filmography and life experiences in an intimate conversation

with Catherine Fox, co-founder of ArtsATL. Kasdan is best known as co-writer of Star Wars: The Empire Strikes Back, Star Wars: The Force Awakens, and Raiders of the Lost Ark. He is also an accomplished director whose credits include such diverse works as Body Heat, The Big Chill, Silverado, and The Accidental Tourist. He has been nominated for four Academy Awards, and has received numerous other industry awards and accolades.

Presented in partnership with ArtsATL, the Icon Award for Contributions to the Cinematic Arts will be awarded annually to honor exemplary artists who have upheld the tradition of artistic excellence in film, informed directly or indirectly by a Jewish subject or sensibility, and who inspire preeminence in filmmaking worldwide.

The Arbalest Wins SXSW Grand Jury Prize

tlanta-made indie film The Arbalest made its world premiere at this year’s SXSW Film Festival, taking home the narrative grand jury prize. The Arbalest tells the fictional tale of “the inventor of the world’s greatest toy,” and follows his unhealthy obsession with a woman who despises him. The film stars Mike Brune (Blood Car, Van Wilder: Freshman Year) and Tallie Medel (Stinking Heaven, Abby Singer/ Songwriter). It was produced by Alex Orr (Your Pretty Face is Going to Hell, Atlanta, Blue Ruin) and written, directed, and edited by Adam Pinney. Created, cast (by Atlanta’s Big Picture Casting), and shot in Atlanta, The Arbalest created a rift in the indie film community at SXSW, with many criticizing its deadpan and disconnected approach. “I know it isn’t for everyone,” said writer-director and Atlanta native Pinney. “And that’s okay. For me, it never starts with ‘oh, what’s something that’s going to provoke the audience?’ It comes from ‘I have this idea and it’s interesting to me, and I don’t even know if it makes a lot of sense, but wouldn’t it be fun to

Oz Magazine - film. tv. entertainment.

Still from SXSW Grand Jury Prize winner, The Arbalest.

explore?’ The awareness of how different this was coming out only happened very late in the filmmaking process.” After debuting and winning the award, The Arbalest returned to Atlanta for t wo screenings at the Plaza Theater for the Atlanta

Film Festival and won the Special Jury Prize for Production Design in the Nashville Film Fest’s New Directors category. The film has been scheduled for the Little Rock Picture Show and the Montclair Film Festival this summer.

OZCETERA Shawnee Smith and Pamela Reed in Savannah Sunrise.

Crazy Legs Productions and their The Prancing Elites Project are up for a Realscreen Award.

Crazy Legs Nominated

INSP Films Completes Savannah Sunrise

ro d u c t io n co m p a ny I N S P F i l m s h a s wrapped production of Savannah Sunrise, the newest in a slate of family-friendly movies the company is producing in 2016. A dramatic comedy celebrating the often complicated relationship between a woman and her motherin-law, Savannah Sunrise finds straight-laced, type-A personality Joy Miles forced to take an unscheduled road trip with her forgetful yet opinionated mother-in-law, Loraine, from Louisville, Kentucky to Savannah, Georgia. “During filming, we drew on our own experiences dealing with various seasons of life,” says Gary Wheeler, producer for INSP Films. “Loraine is facing the challenges of aging and the difficulties of losing a spouse, whereas Joy is trying to build a successful business while

missing out on the relationships that matter the most. Even the actors became involved, refining the script to reflect their own experiences.” Joy Miles is played by South Carolinaborn actor Shawnee Smith (Becker, Anger Management, The Stand, Saw, Who’s Harry Crumb?) while her mother-in-law Loraine is played by Pamela Reed (Parks and Recreation, NCIS, CSI, Criminal Minds, Kindergarten Cop, Proof of Life). Additional cast include Shawn Christian (Days of Our Lives, CSI, Becker) and Clare Carey (Coach, NCIS, Chuck). Distributed by Imagicomm Entertainment, the theatrical premiere for Savannah Sunrise is scheduled for late spring 2016.

tlanta-based Crazy Legs Productions is nominated for a 2016 Realscreen Award in the Reality – Docusoap category for the show, The Prancing Elites Project. The awards, which recognize the best in unscripted and non-fiction programming from around the world, will be presented during a ceremony held at the Fairmont Miramar in Santa Monica, California, in June, in conjunction with the upcoming Realscreen West conference. “We’re honored to be nominated,” says Scott Thigpen of CLP. “Fingers crossed until June 9!” Crazy Legs Productions also produces Swamp Murders, Hidden City, Your Pretty Face is Going to Hell, and more.

May / June 2016

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HD Planet Cameras Becomes Full Frame Digital

haking things up in 2016, HD Planet Cameras has changed its name to Full Frame Digital. The company is still owned by film veteran Tom Jordan, but will now be divided into two sister companies. Full Frame Rentals will continue to offer the same quality cameras, lenses, and expertise in a friendly and knowledgeable full service motion picture rental house. Alongside these services comes the new Full Frame Studios, housed at the same West Midtown location in Atlanta. The space features two brand new, pre-lit cyc walls with three LED space lights on the 30’ long, 25’ wide, and 15’ high main wall. The second wall is a corner cove, with two 20’ wide walls that are 15’ tall, perfect for additional tabletop photography while filming on the main stage, taking still photography or doing smaller shoots.

Oz Magazine - film. tv. entertainment.

Crawford’s Media Management Featured at NAB

rawford Media Services, a leading provider of turnkey electronic media solutions for television, film, and archival clients for over 35 years, showcased its wide-ranging portfolio of media solutions at this year’s NAB Show in April at the Las Vegas Convention Center. Services on display included the game-changing metadata writing service Metaforce, the web-based MAM, Engage, and Crawford’s industry-leading digitization offering. Crawford experts were on hand to discuss the company’s motion picture film lab and related services. Metaforce is a unique metadata writing service providing high quality and low cost. It leverages a cloud-based writing platform and a distributed online workforce. Writers are based in the U.S. and are trained and tested in the specific content and schema for each project. This allows Metaforce to tackle daunting metadata projects in a fraction of the time and

cost. “Maximizing reuse opportunities is vital for content owners in this competitive climate, and metadata is the key,” says Lance Kelson, Crawford’s President and COO. “Crawford Media’s Metaforce generates quality descriptive metadata quickly and cost effectively, unlocking the value of media collections.” Also shown was Crawford’s web-based MAM, Engage. Engage is a hosted MAM enabling searching, viewing, and clipping service with access to assets from anywhere and nothing to install. The Engage toolset includes frame-accurate logging and SoundSearch for phonetic search of spoken word.

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May / June 2016

OZCETERA Brownieland founders Robyn Ellis Kranz and Randy Frostig.

The ATL Airport District Launches

Brownieland Rebranded

espite being a staple in the Atlanta production industry since 2007, the folks at full-service production company Brownie Landscape Pic tures were being inundated with LinkedIn connection requests from horticulturists, greenskeepers and nurserymen. In an effort to clear up the constant confusion, co-founders Robyn Ellis Kranz and Randy Frostig rebranded their company to Brownieland Pictures. For a company that cites relationship development as its biggest marketing plug, and works almost exclusively with nonprofits, the new name is just clerical. “Our goal is to be the preferred vendor for all nonprofits in the Southeast,” says Kranz. “When people think of nonprofits, I want them to think of Brownieland. We want to be the company that helps them tell their stories.”

Oz Magazine - film. tv. entertainment.

he cities of College Park and East Point, Georgia, have banded together to rebrand their of f icial destination marketing organization as The ATL Airport District. The new brand allows its representatives to more simply and productively market the areas’ unique attributes and amenities to filmmakers, meeting planners, and visitors. The mission of the all-encompassing organization (formerly known as Meet College Park before incorporating East Point) is to generate economic development for the cities by effectively marketing the community as a preferred tourism, convention and meeting destination. Going hand-in-hand with the launch of the overarching brand, ATL Airport District has created a convention services department, a comprehensive website redevelopment, and implementation of new client familiarization events in key markets. The organization hosted its inaugural ATL Airport District Restaurant Week in March.

Throughout the year, ATL Airport District aims to fuel economic growth by increasing hotel room bookings and convention center bookings within its territory, partner with key neighboring businesses to develop a broader network of resources, and capitalize on the area’s proximity to the city of Atlanta—one of the top U.S. travel destinations— and Hartsfield-Jackson Atlanta International Airport. Home to the world’s busiest airpor t, Georgia’s second largest convention center, more than 8,000 hotel rooms, an eclectic mix of acclaimed restaurants, and located just minutes from downtown Atlanta, the ATL Airport District area including College Park and East Point has earned its spot as one of the South’s premiere destinations for business meetings and tourism.

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May / June 2016

OZCETERA Interior of the prop plane

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JR Props has purchased the interior of an AirTran passenger plane complete with windows, walls, seats, overhead baggage compartments and more. There are three different seat options to choose from: two different coach styles as well as blue leather business class. Careful planning and construction has allowed for four 10’ sections of interior. Productions can choose from a complete 20’ interior with left and right aisles or one huge 40’ run for one side of the aircraft.

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Act Tactical in New Digs

ct Tactical for Film, LLC has relocated to Buford Highway in Doraville. The new location at 5725 Buford Highway will host private lessons and local classes, such as the six day Act Tactical for Film intensive courses. “Within the next year, we plan to grow and move the location to another space nearby that’s three times the size,” says founder Matt Clanton of future developments. “That space will have a small structure built within it to simulate approaching and clearing/searching a small home or building.” Act Tactical for Film trains actors and filmmakers in weapons and tactics for on-screen representation. Students have served as principal and stunt actors in projects such as True Detective, Into the Badlands, The Walking Dead, and more.

Tube lensed Sheila G’s Brownie Brittle national broadcast commercial.

Tube Gets A Sweet Gig

ube Creative cast, hosted, and produced the national broadcast commercial for baking aficionado Shelia G’s famous Brownie Brittle. Following a West Coast marketing venture, Sheila G tapped Tube Creative for a national commercial “to add a human element to the spot.” Tube hosted the casting call and shot the commercial on its insert stage, handling the production and editing entirely, including on-set special effects. “We even wrapped our multi-talented motion artist Rodney Johnson’s arm in green cloth so it looked as if the Brownie Brittle Bags were levitating,” said a spokesperson for Tube. The up-dated Sheila G’s Brownie Brittle commercial is currently airing nationally.

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May / June 2016

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Sundance’s Film Forward Visits Georgia

Acclaimed indie films Dope and Umrika were among Sundance’s screenings and offerings.

xpanding ongoing efforts to engage the next generation of filmmakers and film lovers, Sundance Institute hosted free film screenings, a filmmakers’ roundtable, discussions, and master classes in Atlanta and Macon in March, in collaboration with Sticky Toe Pads (producers of Atlanta’s 48 Hour Film Project and DecaturDocs). Sundance Film Forward is an initiative of Sundance Institute and the President’s Committee on the Arts and the Humanities, in partnership with the Institute of Museum and Library Services and the National Endowment for the Arts. The program, designed for 18- to 24-year-old students and artists, offers film screenings and discussions to excite and cultivate new audiences for independent film. The initiative brought acclaimed independent films Dope and Umrika to multiple universities in Atlanta and Macon, along with guided discussions with filmmakers Mimi Valdes (Dope) and Prashant Nair and Swati Shetty (Umrika). “By bringing Sundance Film Forward to Atlanta and Macon, we hope to interact with students and artists from all over the cities,” said Meredith Lavitt, Director of Sundance Film Forward. “We look forward to creating inspiration and cultivating dialogue around the art of storytelling among our next generation of filmmakers and movie lovers.”

Big Zombie Tour Launches In May

tlanta Movie Tours begins its new Big Zombie Tour 3, a zombie/horror themed tour inspired by AMC’s The Walking Dead, in May. A select group of fans received a special preview in April with an exclusive tour hosted by The Walking Dead’s Beth Keener. Expanding from the previous zombie tours, Big Zombie Tour 3 highlights numerous Walking Dead season 6 locations throughout the cities of Griffin and Hampton, the famous Esco Field Mill from the series’ opening credits, and more. Spanning three hours, the tour includes trivia games, onboard video screens to view every tour location in action, and a group photo.

Oz Magazine - film. tv. entertainment.

Carrie Sagel Burns, Atlanta Movie Tours’ cofounder and chief movie buff, commented, “While Atlanta Movie Tours is much more than just The Walking Dead, we are big fans and if we want to see more, our fans want to see more! With the addition of this tour and the consistent updates to the Big Zombie tours 1 and 2, there’s no shortage of locations! We start in Haralson, and now Hampton and Griffin get to be part of the mix. These cities have experienced the same filming boom as the rest of the state, with hundreds of productions choosing them as their backdrop, and we are thrilled to get to bring fans of The Walking Dead to see their spots!”

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May / June 2016

OZCETERA

ACP Gets A New Look

ACP’s Festival Guide is accepting entrants.

016 is shaping up to be Atlanta Celebrates Photography’s biggest year yet. To kick it off, they have introduced a brand new look and logo along with a refreshed website. Local digital agency Look-Listen led the redesign, helping ACP encapsulate the friendly, professional, bold and inviting nature of their organization. ACP has also opened its listings for the 2016 ACP Festival Guide, a program of over 100 events and exhibitions in the metro Atlanta area. ACP invites artists, photojournalists, photographers, and potential venue spaces to submit their details for listing. A portion of all listed events must occur in October, as the guides will be printed in September and online promotion will cease at the start of November. Submissions close in June 2016.

BET Honors Morehouse Grad

“B

e dif ferent. Be great. Never stop.” This has been the motto on which Brandon Frame, Chief Visionary Officer of TheBlackManCan and Director of Partnerships of High School Inc., has built his dreams. A graduate of Morehouse College, Frame launched TheBlackManCan in 2010 as a digital platform for actively promoting a positive image of black males around the world. Today, his blog gets millions of views and TheBlackManCan Institute includes a volunteer network of over 200, with 24 institutes in 11 different states impacting over 2,000 young men.

In March, the BET Honors recognized Frame’s achievements as “Next In Class” for Education, an award celebrating young leaders, innovators, and influencers who are rising stars in their fields. “I’m incredibly humbled and blessed that BET chose me to honor me and the work I do in education,” says Frame. “I feel that this award is bigger than me and represents a larger movement that has transformative power in our current generation and those to come. I will continue to be so reminded of Martin and Malcolm, yet so inspired to sketch my own path.”

Brandon Frame is different, great, and never stops!

Live The Moment

PROFESSIONAL PHOTO RESOURCES

Eric Goins and Vince Pisani will be hosting improv workshops.

Oz Magazine - film. tv. entertainment.

ompass Actor Ser vices is conducting an improv workshop at their Atlanta location in late June. The workshop, titled “Live the Moment - Scripted and Unscripted Improvisation,” will be presented by Eric Goins and Vince Pisani. According to Goins, the workshop will focus on “building on the foundations of our Improv for the Actors Workshop

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to extend improvisation to living the moments in scripted work and finding your individual authenticity, whether the moment is scripted or improvisational.” The upcoming workshop follows Compass’ previous improv workshop in February, presented by Goins and Lauren Revard.

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May / June 2016

OZCETERA Timothy Perez in costume for Sony PlayStation Networkâ&#x20AC;&#x2122;s Powers.

Atlanta Tough Guy Snags Recurring Role

tlanta-based actor Timothy Perez will be a recurring guest star in the second season of the superhuman detective show, Powers, which will be airing soon on the Sony PlayStation Network. He also has a supporting role in Adam Sandlerâ&#x20AC;&#x2122;s upcoming feature film, The Do-Over, and has acted in several net work shows on FOX, USA Net work and Sundance TV.

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Sync Or Don’t Swim

he Howling Tongues are syncing their way to the top. The Atlanta-based rock band has seen their music placed in the hit TV series Hawaii Five-0, the NASCAR video game, and various other sports TV broadcasts, culminating in an opening slot for roots rocking radio favorites, Train. Not too long ago, bands would be accused of “selling out” when their music was used on TV or in a video game. Today, it’s one of the primary ways new artists are getting discovered by fans, said a spokesperson for the band. Film, TV and even video games are the new radio—a way to reach a massive number of potential fans all at once. The Howling Tongues are the latest example of the “new normal” in the music industry: to sync is to rise. With a sound described as Boston meets the Black Keys, the band is gearing up to release their new album, Boo-Hiss, in May.

Atlantan Goes Fit To Fat To Fit

fter 10 years of experience in health and f itness, Tramell Smith, owner of Total Nutrition & Training, is more than capable of proving a point with his fitness regimen. As a former professional runner and current trainer to USA Track and Field athletes and nationally ranked fitness competitors, he saw A&E’s hit show Fit to Fat to Fit as an opportunity to prove a point that anyone’s body can be molded through strength training and balanced nutrition. Smith made his debut on the show in March, and hosted a viewing party with his wife at Solstice Urban Retreat in Decatur to celebrate.

The show challenges elite fitness professionals to purposefully put on pounds in order to better understand and connect with their overweight clients, only to rejoin their clients for four months of intense training. Smith is no stranger to physical ups and downs in his fitness career, as he was forced to retire after two years of professional running due to an injury. The pressure only redirected his focus on molding the talents of other athletes, fitness professionals, and individuals looking forward to a healthier lifestyle.

May / June 2016

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3. 4.

Keep grip and camera trucks locked and parked in a secure, well-lit location when not in use. Hire a f ilm insurance specialist and review your production package with your broker to ensure you have the proper coverage, including the removal of any unattended vehicle exclusions.

If a theft does occur, there are some very important steps you must take to ensure your claim gets handled as efficiently as possible. The first and most important step is contacting the proper authorities. Your insurance carrier will need a police report before they can begin to process your claim. Do not leave the scene of the crime without a police report. Next, you will want to:

Take plenty of photos of the vehicle or the area where the theft occurred, whether it was from a production vehicle or on set.

2. 3. 4.

Be sure to include any details of the break-in in your photos, e.g. broken locks, broken windows, other signs of vandalism. Get a written statement from any witnesses. Refer to original equipment inventory for help identifying exactly what was stolen and create a list of stolen items including serial numbers.

The adjuster investigating your claim will request all of this information and being prepared with it can help expedite your claim, making it faster and easier for them to pay the rental company or owner of the stolen gear. Before starting production on your next project, be sure to consult with a film production insurance specialist. A film specialist will have a full understanding of the specific types of coverage you need to protect your project and will also have access to a variety of carriers and can tailor a production package to your specific needs.

About the Author Stan Shkilnyi is Director of Film & Television Insurance at Barrow Group, LLC , one of Georgia’s first production insurance specialty brokers. With a BFA in Film Production from Savannah College of Art & Design, Stan has worked in a variety of film roles, including stuntman, location manager, and producer. You can check out some of the films he has provided insurance coverage for at www.imdb.com/company/co0371175/.

This content is brought to you by: Barrow Group, LLC

BARROW GROUP, LLC Film & Television Insurance “We Understand Risk”

Coverages Include: General Liability Workers’ Compensation Equipment Coverage Auto Liability 3rd Party Property Stunt Coverage Cast Coverage Essential Elements Errors & Omissions Extra Expense Film and Videotape DICE Annual Coverage Completion Bond Markets (5M and above budgets)

Film and Insurance Experts on staff For Credits go to our IMDB Page: http://pro.imdb.com/company/co0371175/

Barrow Group, LLC 110 East Crogan Street Lawrenceville, GA 30046 (770) 338-7392 or (800) 874-4798 Fax: (770) 338-5440 www.barrowgroup.com sshkilnyi@bar Email: sshkilnyi@barrowgroup.com May / June 2016

From the

ApplePeach to the

By Hilary Cadigan

o say that Tim Bourne came into the industry kicking and screaming would be no exaggeration. He was born into it. The son of Oscar-nominated production designer, Mel Bourne, and famed stage actor, Sarah Marshall, who herself was the daughter of two well-known actors, Bourne comes from a long line of entertainers. But the location scout turned producer has found his own ways to differentiate himself from his forebears. Despite his upbringing in the thriving production hub of New York City, Bourne made what was at the time a rather baffling decision: to leave his northern roots behind and head down South. Now a resident of Wilmington, North Carolina, this Manhattan transplant has made a name for himself as one of the most sought-after producers in the Southeast, known for his work on dozens of films including The Blind Side, Ever After: A Cinderella Story, Drumline and Big. Today, Bourne splits his time between Wilmington and Atlanta, where most of his movies get made. His latest, Bastards, stars Owen Wilson, Ed Helms, J.K. Simmons and Glenn Close in a road trip story of two brothers seeking their biological father. Oz was able to snatch an hour out of Bourne’s busy schedule to chat about his career, why Georgia reigns supreme for filmmakers, and why he has no regrets about leaving the Big Apple for warmer pastures.

How did you get your start in the industry? All my family was either in theatre or some form of entertainment. My father was a production designer. He was very well known, sort of a New York legend. I kind of resisted getting anywhere near the business. My dad wasn’t really an easy guy. People liked him, but he was tough. My mom was an actress, and my grandparents were, too. I didn’t want anything to do with film or theatre or anything, so I cooked from a very

Oz Magazine - film. tv. entertainment.

early age to my early 20s. I was cooking during the day but working in theatre at night. I felt like the people were nuts! But, you know, you get your first job and the money’s pretty good and you start getting more and more experience and by the time you know it you’re in the business. The way it happened for me, I was a chef's apprentice in France. Then one day I went to visit my dad on vacation and found a location for a Woody Allen movie he was designing. I ended up working in Woody Allen’s organization for many years. I did all kinds of other stuff, but started out as a location scout, then became a location manager. The company asked me to stay on. My dad left and I stayed. So there I was.

How did your family feel about that? My dad was happy. My mom was never really one way or another about it. She was an old school stage actress and never really warmed up to film so much. I became successful, and people liked me so my dad was proud of that. I don’t think he cared that I was in the quote unquote “family business” or not but he was glad people liked me. He was amazed I could talk to people without screaming!

You started your life and your career in New York City. Why did you move South? I came here in 1988, having never been down South for any extended period of time. Then I found out I really liked it, so I stayed! To begin with, I was born and raised in New York City but was never a hardcore city guy. I always liked the

ocean and the country more. When I got to North Carolina and saw the ocean, it was incredible. That was a primary reason I stayed. Wilmington is a beach community. Then I just started getting a lot of jobs in the South, long before the incentive sweepstakes. I was called a lot because I lived in the South and had a fairly good resume, so I ended up being a go-to for films shooting here.

Why did you stay in the South? What’s special about Atlanta in particular? Work drew me to Atlanta. In 2000, I was called to do Drumline, loosely based on the life of Dallas Austin. That was my first job in Atlanta. Now, I’ve just completed Bastards, my tenth movie there. I live in Atlanta just as much as I live at home at this point. I often joke that if Atlanta had an ocean I would move in a second. Wilmington has an incredibly vibrant community on the water, so when people want ocean they come here. Back when I started, film in the South was two places: Wilmington and Atlanta, the original film centers of the South. Louisiana was an afterthought. This was before Louisiana started the lunacy of the film incentive sweepstakes. I love Louisiana but for me it’s easier to get home from Atlanta. There are zero projects in Wilmington now that the illustrious governor has demolished the incentive. So most of the film affiliates have moved to Atlanta. A lot of Wilmingtonians are there now as we speak! I know several.

What can Atlanta offer the industry that other cities can’t? The incentive tax is the major thing, let’s be honest. But even before incentives were involved in moviemaking, Atlanta

had a great crew base and infrastructure. It’s centrally located, and has some history, with In the Heat of the Night and other shows that put Georgia on the map. But in today’s current world, as busy as it is now, Atlanta would be immediately empty if there was no incentive. The crew base here now would move wherever the work is. The producers are producing work here primarily because of the incentive. That said, when you start to make a film, you get a script and say, “How can we make this in Georgia?” Because Georgia has the best incentive program. Of course they look at other places too, the question being, “Whose got what now?” One month one state will have a good program, then they’ll run out of money. The other thing producers and studios look for is consistency and reliability. It would literally take an act of Congress to get rid of the incentive program now because it’s a law; it would take a lot of time and require a lot of lobbying. But you’d be hard-pressed to find people against it. A friend is going to do a new show based out of Hiram, Georgia. They have a place to build there. And where on God’s green earth is Hiram? Nothing against Hiram, but the kind of money that’s going to go into that small town is monumental. The state is paying out lots of money but it’s bringing in all these people, so Georgia is going to benefit even though on the face of it the math might not work right now. Fact is: the local economies are busting out. So I don’t see how Georgia would vote against it now. The crew base in Atlanta is spectacular and gets stronger every day. Not only do you have the organic crew to Georgia that have been here years and years and years. We’re like a family now. They know I treat them nicely, have been around and probably will come back. We have a relationship. But you also have all

"The crew base in Atlanta is spectacular and gets stronger every day."

May / June 2016

kinds of new people showing up with every new movie because Atlanta is such a great place to live and work. So to answer your question, he things Atlanta offers are: the incentive; an amazingly deep crew base; infrastructure including equipment and even specialty equipment like insert cars and cranes, we have all that stuff in Atlanta now; and location—we’re a third of the way to California, a three and a half hour flight to L.A. We have a major airport, so it’s not like going to some podunk place. Atlanta is hot! No pun intended.

a long time to build up but can go away very quickly. Before it all got crazy, I did a job in Louisiana, one of the first to take advantage of their state incentive. It was a Disney film. Georgia called, and said if we bring you to sit in on a Senate hearing, can you tell us how it worked? They’ve been a very forward-thinking group.

What groups have helped make Georgia what it is today? How have these people inspired or influenced you?

It’s happening! You’re getting more stages built, not just warehouses. Like Pinewood, and more and more people going in and doing that. The more equipment the better. Perhaps the state could do better in luring more post-production facilities into Georgia. Another thing that would help would be to figure out a way to make other areas of Georgia viable. I don’t know how, but you need people who live there who are film techs. One thing that’s really important: greed has to be capped. Because people will keep coming here until they’re not winning. Studios and producers don’t like to be taken advantage of and they have very long memories. The second another place draws close to what Georgia has, they’ll go elsewhere. There are areas getting a little crazy. Locations are getting more and more expensive, costing almost as much as L.A. now. Let’s be fair. Supply and demand is what America’s all about, but there is a breaking point. I tell my crew that same thing: don’t get crazy. Let’s say the new governor in North Carolina reinstates the incentive. They were already starting to cut into Georgia’s business. The more you piss people off, the more willing they are to try something else. All it takes is a little competition somewhere else. I have hopes North Carolina will come back. And there’s always a chance Louisiana or Michigan or Rhode Island or New York will come back. It’s not likely to happen in the next six months but in the next couple of years? Maybe. But I will say that Georgia has always

Without any question, it started with the legislators bringing the message to the governor, the governor going along with it, and the people doing the economic development work, who see how valuable this industry is to the working people of Georgia. Their work and the people that make it possible for them to do their work. Georgia’s House of Representatives, our forward-thinking senators, every governor we’ve had. There’s a misconception that the film industry is a bunch of overpaid whining spoiled brats who have cocktail parties and bash Republicans. But the fact of the matter is that the film business is carpenters and builders and laborers who are making a lot more in movies than they would at dirtier jobs. It's a very clean industry and jobs pay a lot more than similar labor elsewhere. Even down to the guy sweeping the floor. There are always going to be naysayers, but as long as everyone else is doing an incentive you either have to do it too or give it up. I respect the right of every state to determine whether they want it or not, but to think you’ll get productions without an incentive is delusional. In North Carolina, we had four governors who supported film and then the new governor, McCrory. In just six months he destroyed it all. Film hubs take

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What do we still need here? How can we make Atlanta even better for the industry?

"Don't kill the goose!" managed to stay ahead of the game. Georgia got into game early, did their homework and came up with a good program. The state is reaping the rewards of that program now. I’m hoping union leadership will advise their members to not get too crazy, and that the governor’s office can intercede and tell smaller towns not to outprice themselves. Don’t kill the goose! Right now, however, everything else is going in the right direction. The only thing that will kill it is greed or another state to compete. But there is enough work for both states. Hollywood loves to teach a lesson: you screw me and one day I’ll come back. Personally, I have spent time in Hollywood but prefer to stay as far away as possible. I’ve been blessed. I’m one of the few people. People are like, “How did you do this? You don’t live in New York or L.A.!” Honestly, the secret is having enough courage (or stupidity) to not work for awhile. I wouldn’t say I was instantaneously off the hook busy after making that move down South. I went from working nonstop in New York to not a whole lot going on. There weren’t a hundred movies being made in the South in 1988. But when it did start picking up, I was in the right place. I have a needlepoint in my house that says: “I wasn’t born in the South, but I got here as quickly as I could.”

What do you see as the future for Atlanta? I see a bright future, provided that things don’t get nutty and the competition remains sparse. And even with competition, I think everything’s good. As long as there’s no corruption, something weird doesn’t happen or people price themselves out of it, I think there’s a really bright future here. The talent pool grows every day. There is the idea that a place can get overly

saturated, but that didn’t hurt L.A. They still make movies there. And Georgia has as much topographic diversity as the California area.

Let’s talk about you. How do you pick the projects you produce? The phone rings, I answer. I’lI make my deal and we’re on! I pick projects that, hopefully, are legitimate and have some kind of message. I’ve just been lucky, I guess. My relationships with crew are very important. I was lucky to get on The Blind Side, but nobody knew it was going to as successful as it was. It’s mostly about the relationships you have with the company. There are a lot less films being made than there used to be, since the 2008 crash. People are not green-lighting movies like they used to. Somebody told me recently that there are 45% fewer films being made, but I do think the industry is coming back. Everything is coming back. But as a result of that crash, there are less shows going around. There are a lot of shows I would turn down but mostly because it was a bad situation and they weren’t financially prepared for what they want to do. People want to pay for a VW and get a Mercedes. And that doesn’t usually work out.

What do you see as your primary responsibility as a producer? I obviously have an allegiance to people I’ve worked with in the past who have treated me and others fairly. But one thing I try to do is to treat every director the same, because they are the director and my job is to help them make their movie, whether it’s Woody Allen or Mike Nichols or some Hall of Fame charter member or a brand new director who has never made a film before. I see myself as a core member of the filmmaking group, so I approach my job as a filmmaker, not a school principal. Before we start filming, I’ll sit down with a director, the core group, and say, “Okay, here’s where we’re at and here’s what we’re about to agree to. If we’re not

on the same page, now’s the time to fight about it.” That’s what I try to do, to go in with an agreement as a team: this is what we’re going to do, now let’s do it. Very rarely have I been over budget but we’ve made some great films. It’s the word, the honor of what you want to do. You want to make a good movie and do it as responsibly as possible.

What has been your favorite project? I don’t really have a favorite. Some are better than others. I love sports movies because I’m a sports fanatic and I enjoy interacting with sports folks. I have some movies I’m proud of for what they are. Awakenings [a 1990 film starring Robert De Niro and Robin Williams], was based on a book by Oliver Sacks. It’s a movie I was extremely proud of, but it had the misfortune of opening the same weekend as Desert Storm, the first televised war. So people stayed home and watched that instead. But I’m proud of that movie because of what it was and how it was made. Another favorite was A League of Their Own. Of course, The Blind Side made more money that any other movie I worked on. It was a very successful movie, but that accomplishment is different. For me, my excitement comes when people say, “You made that for what?!”

What’s something that most people don’t know about you? Everybody knows everything about me! I’m a pretty open book. Some people know things I didn’t even say or do... [laughs]. Let’s see. I love my family. I have five kids, ranging in age from 32 to four and a half. My oldest son actually teaches theatre design and construction at Berry College in Rome, Georgia. He was real close to my father, one of the few designers who actually drew himself. My son would watch that and really enjoyed it. Going the theatre route instead of the film route was his choice. It’s hard to get in creatively in this business, but it’s very rewarding.

What advice would you offer to Atlantans looking to break into the film industry? Here’s what I say, and I believe in this 100% but you have to be careful about it. Especially in Atlanta, go straight to the production company. Bring a resume. Even if there’s nothing on it. And tell them you want to intern, that you’re willing to work for free. More times than not, unless you absolutely suck, you will ingratiate yourself to the group. People will look at you and think, you gotta give that guy something. Eventually you’re making something and your foot is in the door. There are a lot of people who want to be in the business, but less people who know how hard the work is. A lot of people decide that it’s not for them, that they’re not up for that kind of hard work. The misconception is that it’s very glamorous, but most of it isn’t. What happens is people see what you’re made of. If you suck, it doesn’t go well, but if it does, it’s a much easier way to get in the door than any other way. It won’t be a month before someone takes pity on you and gives you some money. You gotta start at the bottom and work your way up. That’s what I did. You don’t even need to know anything. It’s all about common sense and attitude. If you have a great attitude and use common sense and stay out of people’s business, keep your head down and leave the politics and gossip behind, and keep your nose to the grindstone, you don’t need to know anything else. Those are very rare attributes to find nowadays. Be willing to work for free up to a certain point and you’ll go places, I guarantee you. I am definitely not a smart person but I’m a hard worker and my attitude [laughs], well, it used to be pretty decent!

May / June 2016

By Christine Bunish Quixote's Azul

Take a spin around Georgia with production transportation companies that supply camera trucks and trailers, honeywagons, make-up and wardrobe trucks, star trailers, and stakebeds.

Oz Magazine - film. tv. entertainment.

Lightninâ&#x20AC;&#x2122;s 10 Station Hair and Make-up at the Lawrenceville office.

Lightninâ&#x20AC;&#x2122;s truck #1 bought in 1975.

Hollywood Truck's Crew Cab 5-Ton Box trucks

o feature film, television series, or commercial goes on location today without an infrastructure of production vehicles. From camera trucks and wardrobe trailers to hair and make-up trailers, talent trailers and the ever-essential honeywagons, a fleet of vehicles accompanies every location shoot. They safely store and prep equipment and comprise amenity-filled “base camp” villages. They’re not only transportation: they’re extensions of the studio on the road.

Transportation Resources Driven by Thoughtful Design

Hollywood Truck's new Ecoluxe Off-grid Solar/thermal-powered 5th Wheel celebrity talent trailer

Transportation Resource's Honeywagon

Eighteen-year-old Transportation Resources (TR), with offices in Los Angeles, Atlanta, and Baltimore, services features and television series nationwide and internationally; it’s the exclusive truck provider to Netflix’s House of Cards and has six trucks on Fast 8, the latest in the Fast and Furious franchise now shooting in Cuba. TR’s Georgia credits include supplying stakebeds, box trucks, fuel trucks, and a six-station make-up trailer to season three of Fox’s Sleepy Hollow; all the base camp trailers for the SundanceTV series Rectify; cast trailers for Alvin & The Chipmunks: The Road Chip; make-up and cast trailers for Guardians of May / June 2016

Transportation Resource's Wardrobe Trailer Exterior

Transportation Resource's 10-station hair and make up trailer.

“We never build our next truck without asking customers how we can improve it...” the Galaxy Vol. 2; wardrobe and make-up trailers for NBC’s new Game of Silence; and cast, wardrobe, and make-up trailers for an array of Marvel features. “We never build our next truck without asking customers how we can improve it,” says Aaron Skalka, who’s partnered with Keith Fisher in the business. “We’re concerned with making our fleet easy to maintain and user friendly to those who spend long days in them.” Vehicles are fabricated in L.A. to TR’s specifications and reflect the TR brand in their interior aesthetics. TR is known for its 5- and 10-ton camera trucks and camera trailers. “We’re really proud of them,” says Skalka. “They are our most in-demand vehicles. Camera departments ask for our trucks by name; transportation coordinators insist on having them.” Their popularity stems from “thoughtful design,” which accommodates film and digital camera inventories with custom shelving, wellplanned workspaces and seating, and darkrooms that can be reconfigured for other tasks if not in use. Camera trucks are currently busy on pilot season in L.A. and on the reboot of Fox’s 24, the ABC series American Crime Story, the new CBS series Criminal Minds: Beyond Borders, The CW’s series The Originals, the STARZ series Blunt Talk with Patrick Stewart, and the features Fast 8, Stronger, Guardians 34

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of the Galaxy Vol. 2, Ben Affleck’s Live by Night, and the latest in the Jason Bourne franchise. Wardrobe trailers come in 48- and 53-foot versions, all custom-built with big open spaces and height-adjustable racks. They feature workspaces both front and back—one in the washer-dryer area and one in the fitting area. Hair and make-up trailers are the “ultimate testament” to TR’s attention to detail, says Skalka. A 10-station hair and make-up trailer is TR’s newest addition. “It never stops working. The trailer was four years in development; we must have talked to three dozen hair and make-up people in the design phase.” The 10-station trailer features stylish, easy-to-maintain fluorescent lighting to reduce eye strain, flooring with enough cushioning to make it easy on the feet (but not so soft that the chairs move), and robust and beautiful countertops. The trailer’s two rear-most stations are separated by a sliding door and have a separate star entrance. All of TR’s honeywagons feature restrooms and small dressing rooms for actors and stunt people. “They’re pretty utilitarian,” Skalka says. “One challenge for any truck with water is keeping them warm in winter. Ours are designed with thermal integrity so we can send them north in winter and know the tanks will never freeze.”

Most of TR’s trucks are certified clean idle and can run on B20 bio-diesel/ diesel blends.

Quixote Studios Goes Verde Headquartered in Hollywood, Quixote Studios occupies a unique position in the industry. “We’re unlike other transportation companies in that we have studios, lighting, grip, expendables and production equipment support – essentially everything you need to create content, short of the cameras,” says CEO and co-founder Mikel Elliott. “So we take our experience being studio operators and make our vehicles feel like extensions of the studio. We have over 20 years of heavy transportation experience as well, but overlay it with a high-end studio feel and you have a very unique location experience.” In addition to Los Angeles, Quixote has a studio and vehicles in New Orleans, as well as vehicles in New York and on six acres in Atlanta. The company initially offered short-term trailer rentals for commercials and photo shoots in L.A. before acquiring Movie Movers—and its extensive fleet—two years ago. That propelled Quixote into the feature and television markets and gave it a firm foothold in Georgia. “We’re very bullish on Georgia,” says Elliott. “We have a fleet of about

125 units in Atlanta and a really great team anchored by Quixote veterans who value service as a key driver of success.” Quixote has provided its Verde line of 2and 3-room cast trailers to such Georgia productions as The CW’s The Vampire Diaries and The Originals, LeBron James’s STARZ series Survivor’s Remorse, and the feature Guardians of the Galaxy Vol. 2. Elliott says the company is growing its camera truck fleet with 3-, 5- and 10-ton trucks in L.A. and Georgia. All feature modular shelving and storage that’s easy for users to customize. Hair and make-up trailers come in 6-, 8- and 9-station versions; a combined 37-foot make-up/wardrobe trailer makes the most of limited location space. “We survey top stylists and transportation coordinators for feedback, then implement their suggestions,” Elliott says. “For every class of trailer we develop 80-90 percent of the prototype, then ask our key customers to define the rest.” Wardrobe trailers are designed to be “open and light,” with adjustable racks and shelving and comfortable workspaces and changing spaces. Quixote’s 53-foot iCoach wardrobe truck is fully wireless, broadband connected and Mac-centric; a

“Sustainability is a mission statement for us.” Quixote's Azul interior

32-foot wardrobe/make-up combo unit is attached to the rear. Quixote has a fleet of single-cast, multi-room, and celebrity fifth wheel trailers tailored in consultation with interior designers and with talent managers who know what stars look for in luxury and amenities. The company has been in the forefront of sustainable transportation for the last dozen years, and its Verde line has become “the standard-bearer for eco-friendly trailers,” says Elliott. “Sustainability is a mission statement for us. There’s so much hardware and infrastructure at a shoot, so to the extent we can reduce our footprint we do.” Verde trailers feature repurposed stone, glass, metal and wood; recycled fabric, carpet and draperies; LED lighting; and low-lead paint. The 47-foot Star Verde is eco-friendly and “super-swanky” with four pop-outs, separate HD satellite system, 65-inch LED 4K TV, Apple TV, 12-foot sectional sofa, queen-size bed and a separate rear-entry that can be used as a make-up station or office. “We have five Star Verdes and are building more,” Elliott reports. Quixote is testing solar-panel roofs on three rigs in L.A., but Elliott notes that heavy and expensive battery technology “needs to catch up” before solar can power a base camp. Elliott is proud of the high level of service Quixote delivers to customers.

Quixote's Verde Star motorhome interior

Quixote's Verde Star motorhome

When Quixote client Ellen Degeneres was shooting promos on an L.A. studio back lot, the satellite dish on her trailer was blocked by a massive soundstage and unable to pick up the Super Bowl broadcast that she wanted to see. “We couldn’t move the trailer on the back lot so our driver worked with the studio to get clearance to put our dish on top of one of the stages,” Elliott recalls. Talk about climbing to new heights.

Eco-Friendly Hollywood Trucks Spans the Globe In less than eight years Hollywood Trucks, LLC has serviced over 1,000 projects, reports president and CEO Andre Champagne. The entertainment transportation company serves features, TV series, commercials, concerts, and other live events. The company was founded in New Orleans, with full-service operations in Atlanta and at Mississippi Film Studios in Canton. Additional growth cities will include Los Angeles and New York by the third and fourth quarters of 2016. Hollywood Trucks is currently building assets for the UK, which will be utilized through its offices at Pinewood Studios London. “We feel that two factors are instrumental to our growth,” says Champagne. “We’re largely built on a ‘franchise model’ and focus on partnerships with studios at their respective developments around the country. We also primarily offer ecofriendly assets. We believe that it’s not only the future of our industry, it’s essentially the future of logistics.” In Georgia, Hollywood Trucks has its fleet at Pinewood Atlanta Studios and Atlanta Metro Studios; it will have vehicles at Third Rail Studios in Atlanta beginning in September. Recent credits in Georgia and on the Gulf Coast include Guardians of the Galaxy Vol. 2, Ant-Man, The Magnificent Seven remake, the feature Deepwater Horizon, The CW series The Originals, Lifetime’s Devious Maids, SundanceTV’s Hap and Leonard, and AMC’s Into the Badlands. The flagship of Hollywood’s expansive fleet is the Ecoluxe line, which launched in 2014 and now includes every category of vehicle, not just talent trailers. “We’re building the Ecoluxe line

May / June 2016

Hollywood Truck's new Ecoluxe Off-grid Solar/Thermal-powered talent trailers.

as fast as we can,” Champagne says. “The entertainment industry is extremely ecofriendly, and it wants safer, quieter, cleanenergy powered assets.” Hollywood Trucks’ new patentpending “off-grid” solar/thermal Ecoluxe line offers a 90 percent reduction in fuel and idling and reportedly has the safest and quietest trailers in the world. The latest edition has just received the world’s first off-grid Emerald certification by TRA (an internationally accredited certification organization that caters to the modular home industry). Brad Pitt, Sandra Bullock, Kevin Hart, Ryan Reynolds, Ben Affleck, Chris Rock, and many others, including the casts of American Horror Story and Fantastic Four, have experienced Ecoluxe talent trailers. Ecoluxe trailers feature LED lighting, recycled countertops, ultralow VOC compounds, and eco-friendly fabrics—and they don’t skimp on luxury. Stylish interiors are also technologically advanced with 3D flat screen TVs, Apple TV, and Apple Extreme high-speed Internet in every room—all included in the rental rate. Hollywood’s large fleet features many types of production transportation, including 5- and 10-ton camera trucks as well as camera cubes for small features and commercials or space-strapped locations. Hair and make-up trailers comprise 6- to 9-station models; 48- and 53-foot wardrobe trailers are spacious and boast LED lighting. “We’re now building our entire platform off the grid so every asset runs on 100 percent clean energy with solar and thermal-powered units,” says Champagne. “We have about 30 units coming off the line in the next 30 days in all categories. We’re about to roll out 36

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our first 53-foot wardrobe trailer that’s completely powered by solar and thermal technologies. It will be unveiled in 30 days and head straight to a production." Champagne further notes: “Many companies now understand that ecofriendly assets are the future. We’re fortunate to have introduced our first eco-friendly talent trailer in late 2012, and we’ve been refining our patentpending technologies and applying them to multiple applications of the fleet ever since.”

Georgia’s Lightnin' is No Flash in the Pan A third-generation company, Lightnin' Production Rentals in Lawrenceville, Georgia launched 41 years ago with one truck. Lightnin' was “the American dream of somebody with an idea who listened to what crews wanted and needed,” says president Gary Lewis, son of the founders. Lightnin' has continued to listen as it expands its fleet and moves from success to success. “The industry is constantly changing so you have to be able to adapt quickly,” Lewis notes. “Our extensive experience and feedback from customers enable us to design and build many of our units here in Lawrenceville.” The company has earned many credits over four decades in film and television, including Driving Miss Daisy, Forrest Gump, and The Blind Side. More recent work encompasses the entire Hunger Games franchise, the fifth and seventh installments of Fast and Furious and the current Fast 8, the Divergent features, the series Powers (distributed by PlayStation Network), and OWN’s new show Greenleaf. Lightnin' also provided

full complements of trucks and trailers to season three of Sleepy Hollow and all six seasons of The Walking Dead. “We primarily cover the East Coast from Boston to Florida and across to the Gulf Coast,” says Lewis. “We have a full facility in Brooklyn to service and supply the New York area.” He believes that Lightnin’s “superior customer service,” expressed in the motto, “Whatever It Takes,” sets the company apart. “We respond in hours, not days, with a skilled and experienced team of craftsmen, many of whom have 20-plus years in the industry,” says Lewis. “Two full-time mobile service trucks in Georgia check sets daily and carry a full complement of parts and supplies should they be needed. Price doesn’t drive this market: the quality of the equipment and the level of customer service do.” Lightnin’s camera trucks range in size from 26 to 48 feet. Adjustable and removable shelving accommodates the growing need to house complete cart systems, not just camera components. “One recent production had six carts, so they needed plenty of room to roll them in,” Lewis explains. “We’ve also seen the need for cart space in lighting and grip.” Wardrobe trailers are 53 feet with adjustable racks and shelving and movable workstations; changing rooms can be set up in both front and rear areas. 6-, 8- and 10-station hair and make-up trailers and a combo make-up/wardrobe trailer fill the bill for any size production. “Our 53-foot hair and make-up trailer is our biggest, with tile floors, highend chairs, and all the amenities,” says Lewis. “This is probably the most exciting category to build because you have to supply many cast and crew in one trailer with enough power, water, heat and air

Lightnin’s trucks and generators powering set in Savannah.

Lightnin gear set up inside Eagle Rock Studios Atlanta.

Lightnin’s 10 Station Hair and Make-up at the Lawrenceville office.

think there are any other trailers out there dedicated to special-effects makeup,” says Lewis. “We worked with the special-effects make-up department to meet their needs for extensive zombie make-up and overflow costuming.” Lightnin' regularly provides two 53-foot hair and make-up trailers for the series as well as a 30-foot unit when required. Lightnin’s star trailers are built by a TRA-certified green manufacturer using environmentally friendly and recycled components, Lewis says. “We introduced our first solar units in 1995, but the technology was not as practical as it is today. Being green is now being taken seriously by manufacturers and consumers. We’re developing new solar units, which we hope to introduce on our talent trailers this summer. But this is just the tip of the iceberg compared to what you’ll see in the next five years.”

Reyes Production Vehicles in Build Mode Keeping Up with the Joneses filming in a neighborhood in Atlanta.

conditioning. You can’t build them on a budget; you have to use the best products you can.” Honeywagons are designed to be robust with large holding tanks, big generators, and insulated ceilings and floors that can withstand all climates. Lightnin’s fleet of single star and multi-star trailers make every inch count while providing all the amenities talent need on location. “We’re constantly turning out new 2- and 3-room star trailers,” says Lewis. “The trend is for pop-outs; everybody wants them. We design floor plans to be very spacious and open with high ceilings. And we take pride in providing ample power with fuelefficient, on-board Onan generators.” As The Walking Dead begins shooting season seven, Lightnin' will unveil its unique 53-foot “Zombie Trailer.” “I don’t

Reyes Production Vehicles is headquartered in Los Angeles, where its trailers are designed and built, and has offices in New York and Atlanta. The Atlanta operation occupies a 20,000 square-foot warehouse in Villa Rica. “We are currently focusing on building our Atlanta location,” says president Kimberly Frank, who is a bicoastal resident. The company started four years ago with private RV rentals, but has been phasing out private rentals and steering the business to the production market. Although Reyes is relatively new to the production market, Frank is a former production coordinator with 10 years experience, having worked with Amblin Productions, Spelling Television, MTM Enterprises, Lorimar and MGM. She has also had careers in the music business and in the LAPD. Frank taps her knowledge of what it’s like behind the scenes in the business to build trucks that offer the perfect working environment. Frank consults with industry specialists as she designs new trailers, and she makes it a practice to ask customers for suggestions on how to improve the fleet after a job is completed. “I’ve gotten a lot of good ideas from talking to them,” she says. The Reyes fleet has combination

production/wardrobe/make-up trailers which typically offer open rack space for wardrobe and additional drawers and cupboards; kitchenette areas; salon chairs; lighting choices for the mirrored make-up stations; and crew restrooms. It also features four 8-dressing room honeywagons with separate crew restrooms; two are in L.A., one is currently on set in Austin, and another is headed to Atlanta. Celebrity/talent vehicles are all plush, 40- to 43-foot motorhomes. “We currently have a 53-foot honeywagon under construction along with 40-foot wardrobe trailers and talent trailers,” says Frank. Honeywagons have heated insulation, “so everything stays warm in cold weather,” and can travel to any climate. Reyes addresses sustainability issues with LED lighting in just about every vehicle, lots of recycled components, and low-VOC paint. Frank expects to begin installing solar panels on trailer roofs soon. Reyes has a long list of national credits, including the Fox series The Last Man on Earth, where vehicles were featured on camera; the film Woodlawn in Birmingham, Alabama; Hulu’s Deadbeat series in New York; the E! reality series I Am Cait with Caitlyn Jenner in L.A. and on location; two seasons of Destination America’s Ghost Asylum in Memphis and on location; HBO Sports projects in New York and L.A.; the feature Day Five and the web series Crunch Time in Austin, a Got Milk? commercial in L.A. with Dwayne “The Rock” Johnson; and a Fergie music video in L.A. A wardrobe/make-up trailer supplemented a Broadway project for Sting and his wife Trudie Styler. In Atlanta, Reyes production vehicles have been busy with music videos, music festivals and numerous commercials, including spots for Dish Network, The Walking Dead, Golden Corral, Georgia Power, AT&T, UPS, Staybridge Suites, Home Depot, and Hungry Man. They were also on hand for a Capital One commercial starring Jennifer Garner and spots with Shaquille O’Neal and Tracy Morgan. “While our offices are in L.A., New York, and Atlanta, our trucks will go wherever the job takes them,” says Frank.

May / June 2016

From

Script to

Screen The Producing Adventures of Ty Johnston

By Fran BurstTerranella

Ty Johnston â&#x20AC;&#x201C; Producer As the founder and CEO of T.Y. Entertainment, Ty Johnston creates, develops, acquires, sells and produces scripted and unscripted television and new media projects. Her network collaborations include Style-E, VH1, BET, UPTV, AIBTV, The SPEED Channel, ESPN, AXS-TV and the Bahamasâ&#x20AC;&#x2122; ZNS-TV. In addition, she leverages new markets by partnering with Netflix, Amazon and Best Buy. Johnston has worked closely with TV and film veterans such as Mark Koops, Tracey Edmonds, Mona Scott-Young and Robert Townsend. In 2011, Johnston launched The Atlanta Pitch Summit, an annual marketplace where screenwriters and producers pitch film and TV projects to key entertainment executives.

Oz Magazine - film. tv. entertainment.

case went wrong and her father is now in prison. As they’re dating and making a commitment, she discovers who his father is and things get awkward. Will Packer, Producer. Ty Johnston, Producer & APS Founder. Robert Townsend, legendary Filmmaker Atlanta Pitch Summit 2011

Ty Johnston Steadicam Operator for SONY at MMA Fight

How did you get involved in this film? I hosted a webinar on pitching in January 2013, and one of the attendees was a novel writer, Lisa Haynes. She wanted to know all about adaptations and pitching and she asked a lot of good questions. Nine months later she called me and said, “You know, I took that webinar with you and now my husband and I have money to produce an indie project and we don’t want to do the production without you. We think that you would be the most fabulous producer.”

What did you do to make sure this project succeeded?

How do you describe yourself professionally?

This was Lisa’s first feature film, and she was the writer and the director and the EP. So I recruited the talent and cast the film. I scouted and locked in our locations. I put together the crew and I made sure everything went smoothly in all the other areas—from catering to scheduling. We had a great AD, Justin Bones, and every time there was a bump we’d find a solution. Lisa was really smart to hire very experienced people since this was her first time doing anything of this magnitude.

I’m a TV and film producer, and I also make magic happen.

What made you decide to be a producer?

So tell us about your producing magic and the new film you have on BET.

After I graduated from college, I was working in entertainment in Miami. I was acting and I was working with celebrities and celebrity events. I auditioned for roles and the passion inside me knew that I had every bit of capability to fill those roles, but the people on the other side of the audition table didn’t think so. I realized I wanted to be making more of the decisions.

The film is What Love Will Make You Do and it premiered this February on BET’s Centric network. It’s a familyfriendly, faith-based love story about a couple—he is an attorney and she is a law student. Ironically, his father was the defense attorney for her father, but the

How did you get invited to ‘the other side’ of the audition table? One morning, I went to a casting call and I was the very first person scheduled to audition. Sitting behind the table were the producer, the director and the production coordinator—and they were all from out of town. So after I did my audition, they started asking me questions about how to get things done in Miami. I had an answer for everything— and they loved my answers. So the producer said, “You seem like you’re on the wrong side of the line.” And I said, “What do you mean?” “Everything that I ask you, you know and you really should be back here with us, on this side of the table.” I said, “You know, I can be.” And he said, “So why don’t you?” I said, “Okay,” and I became the fourth person on that producing team. The film was A Miami Tail, featuring rap star Trina and a whole host of other celebrity guests, and it was a hip-hop version of the classic Greek comedy Lysistrata. In the film, Alicia (Trina) leads the women of Liberty City in a protest against gang violence and disrespect by refusing sex to their gangbanging boyfriends. We prepped in 2001 and went into production in 2002 and just like that, I was the assistant to the producer of a Lionsgate Films. The producer was a banker, so much of the time he was not on set and I definitely had to handle the producing responsibilities. And I was like, “Holy cow! Everyone’s coming to me and I have to have the answers.” So I did.

What prepared you to do A Miami Tail? It was 1998. I was on a plane and a gentleman sat down next to me. I dropped my handbag and pictures fell out. He picked them up for me and said, “What are you, a model?” “No, I’m an actress. I minor in theater at FAMU.” “Really—acting? I just got budgeted for my new script.” Bam. He pulled out the

May / June 2016

script, “You think you can act?” “I know I can.” “Why don’t you call my office on Monday?” He was hip-hop entrepreneur named Luther Campbell; I called his office for two months. Then finally, they actually flew me from Tallahassee to Miami to audition and I got a principal role in his only spring break movie, a comedy released by Ventura Distribution. I thought it was amazing. I was in Miami for four weeks to shoot the movie and (sorry, Mom!) for 30 days I had to make up all these excuses for why I was missing my classes. I began to watch the first AD. He was telling people where to go and people were running up to him with questions and he noticed how interested I was in what he was doing. Between takes, he began to show me everything—what dailies meant; he let me see all of the script notes; he revealed the schedule. Basically, he was teaching me what goes on behind the scenes. So when I went to audition for A Miami Tail, I knew all those answers because I’d already been involved.

Ty's first acting job - in 1986

When did you get started in the world of entertainment? I grew up in Bristol, Connecticut, and we had a raised ranch house so everything happened in the basement— parties, re-enacting TV shows, everything. The show Solid Gold would come on and I’d run upstairs to the hall closet and get a towel and wrap it around my head and put a rubber band around it, and that towel was my long ponytail. And I’d swing my shoulders and I’d swing my ‘hair’ and I knew I was one of the Solid Gold dancers. My favorite show ever was Little House on the Prairie. I was in my house every day by 5 o’clock to watch that show. And Ty Johnston was part of the cast—I had my black slate and chalk, my bonnet and my apron and I’d reenact and mimic all day long.

And your parents noticed? They noticed. And they enrolled me in Hanover Modeling and Acting School in East Hartford, Connecticut. When I graduated, my parents set up a professional photo shoot. They ordered a

batch of 100 headshots, and I remember my name said “Johnson” so my parents hand-wrote the “t” on every print. And today, I always say, “Johnston with a T.” They sent my headshots to several agencies and I got quite a few callbacks. Then an agent in New York picked me up and the first job I landed was a Toys 'R' Us commercial for Channel 61 in Connecticut. I was She-Ra and we were in outer space and there was a black hollow shell behind us. They had these little stars and planets fading in and out behind us, and we pretended to watch the flying objects that they added later in post. I really liked acting in that commercial and I thought, I can do this every day. And I got paid for it. Then we moved from Bristol to Savannah in 1987. I was 12 years old and it was culture shock. Everyone said, “You’ve got to go to Barbizon and take classes,” but I knew I was not a model; I was an actress. I already had the credentials. I’d been in commercials for Toys R Us and LEGO and Wilsons Leather, and I’d been a poster child. But Savannah didn’t have anything in 1987 that was equipped for "tweens" who were working actors.

So how did you keep acting? I didn’t. I think I acted in my dreams. Until I got to college at FAMU, where I majored in Journalism and minored in Theater. I had a professor who was adamant that it was our responsibility to be creators. She’d say, “What are you going to do for the audience to be enlightened, encouraged, empowered? What are you going to do that’s different from the last show? What are you going to do differently for your own growth?” And we made sure that our work was relatable and that the audience left very enthused.

If someone’s starting out, what do they need to do so their project will succeed? First of all you, need to get someone who is really interested in your project. I don’t care who it is because if they’re interested, they can figure out what their role will be. They may want to become talent, or help the project get financed,

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or distributed, or work below or above the line. I’d rather find someone who is interested before I find funding because you want to make sure your project has legs, and that’s something many people fail at because they’re producing things that aren’t even worth doing, just to get their name out. If your name is on something, you want it to make an impact. You want to attract an audience that is going to want to watch all your work, and spread the word that it is good.

How do you decide what projects you’ll produce? I have to be driven by the person. Show me that your project has legs and that you are doing the legwork. Then keep coming back to me every month or two and have new additions to your project. Maybe it’s talent or new buzz or something else that you’ve done to bring your project to the next level—that’s huge. So now, I’m like an indie, onewoman studio because I have something solid to work with.

Why do so many people not know that they must do that legwork and have that passion? I think reality TV and the accessibility of smart phones and social media have made it completely bonkers for people. It’s easy to get an audience. Sitting on your couch and recording yourself, or recording somebody else, is fun. That doesn’t mean it’s good. That just means you have a form of expression and an opinion, and that’s fine, but let’s do the authentic legwork and put it into a story. Let’s put it into scenes that actually make sense.

This leads us to the Atlanta Pitch Summit and why you created it. The Atlanta Pitch Summit is a weekend event for writers, producers, directors, actors and entertainment entrepreneurs to pitch ideas to TV and film execs. I started the Summit because I had a pocketful of people asking me,

Atlanta Pitch Summit - Women in Entertainment Panel 2012. L to R: Denene Millner, NY Times Best Selling Author, Tami Reed, “Talking with Tami" Celebrity Blogger. April Love, Publicist, Keshia Knight Pulliam, Actor, Fran Burst, Director & Producer, Ty Johnston, Founder Atlanta Pitch Summit & Producer, Tracey Edmonds, Filmmaker & TV Host, Shay Griffin Bentley, Producer & Casting Director, Connie Orlando, Senior VP, BET, Tracey Christian, Agent TCA Jed Root

“How do I pitch this project? Whom do I pitch it to?” And I had a pocketful of executives saying, “This is what we’re looking for. Do you have the content?” I found myself going back and forth to LA a lot—pitching projects for people, listening to pitches, teaching how to pitch, being that middle person who can tell executives what is being done in the field and who can tell content creators what executives want creatively and what they expect that creator to deliver. At the Atlanta Pitch Summit, both sides of the party can get what they need.

How does the Atlanta Pitch Summit move Georgia content creators forward? At the Pitch Summit, content creators pitch their projects directly to production companies, networks and executives who can push projects into the production phase, and who have access to distribution. We hold the bar very high for the content providers, whether it’s film or television. That executive is listening for what you have already done to give this project legs. They want to know who’s already attached. Talent? A director?

A producer? If the script’s from a true event, are there artifacts or articles that will strengthen the story? It doesn’t matter what genre the content is, people are putting their experiences into a storytelling form and executives are willing to listen.

How do you help people deliver their best possible pitches? We prep them. We have a bit of a one-day university that people come to the day before they do their pitches. It’s a diverse pool of seminars and classes and workshops, from scriptwriting to marketing to post. Many people don’t get much sleep that first night. They’re like, “OMG! I was in the library all night,” or, “I spent the whole night at Kinko’s making copies,” or, “I was in my hotel room and I was trying to make all these corrections to my treatment or sizzle reel.” They learn so much on the first day. And they're determined to apply this new knowledge to their pitches.

Not everybody is going to have a perfect pitch coming in. Should they come anyway? Absolutely. You can learn so much. I have many people that have come for the weekend just to see what it’s all about. I’ve had parents with ideas for their children. People want to understand the pitch process, the production process and how projects are marketed and how they reach audiences. The next Atlanta Pitch Summit will be this fall.

May / June 2016

OZ SCENE

April 1-10

The 40th Annual Atlanta Film Festival T

he 40th Annual Atlanta Film Festival (ATLFF) took place April 1 – 10, featuring a full line-up of feature-length and short narratives and documentaries, 37 Creative Conference events, and over a dozen unique special presentations and events. Of the nearly 5,000 film submissions for the 2016 festival, the final lineup included 51 feature length films and 100 short films representing 37 countries. Special events included a masters class with William H. Macy and Q&A session with Guardians of the Galaxy’s James Gunn and Michael Rooker. "We're working harder than ever to hold our festival in places unique to Atlanta,” said Christopher Escobar, ATLFF Executive Director. “In everything from retro film presentations to special homecoming guests and original branding, we're paying homage to the last four decades. And like our founders set out to be in 1976, we're especially committed to creating an opportunity for independent voices to be heard and celebrated." Kristy Breneman, ATLFF Creative Director, added, "As an independent film festival we

Oz Magazine - film. tv. entertainment.

are not beholden to studio standards for what makes a voice worth hearing or a face worth seeing. This year's lineup pays respect to this independence and to our responsibility to amplify borderless stories." The 2016 awards presentations took place during the final weekend of the festival and winners in 11 categories were announced. In addition to taking home the awards, winners of the Narrative Short, Animated Short and Documentary Short Jury Awards now qualify for the 2017 Oscar short list. ATLFF is one of only 14 festivals in the country that is Oscarqualifying in three or more categories. Filmmaker Elisa Paloschi (Driving With Selvi) was awarded $5,000 from ATLFF, SPANX, and the Sara Blakely Foundation with the 2016 New Mavericks Award. SPANX founder Sara Blakely presented the award to Paloschi at a dinner celebrating New Mavericks programming, which highlights female filmmakers. Photo credit: Border Union Photography

The 2016 Atlanta Film Festival juried prize winners: • Narrative Feature Jury Award - HUNKY DORY • Documentary Feature Jury Award DRIVING WITH SELVI • Documentary Feature Special Jury Award - JUANICAS • Narrative Short Jury Award - THUNDER ROAD • Documentary Short Jury Award KRAINA • Animated Short Jury Award - SHELL ALL • Music Video Jury Award - "Dove" performed by Pillar Point • Filmmaker-to-Watch Award - Thoranna Sigurdardottir for ZELOS • New Mavericks Award - DRIVING WITH SELVI • Southern Spotlight Award (presented by Cineverse) - QUE SERA • Seed&Spark Award (for Crowdfunded Films) - EAT WHITE DIRT and THE NEW ORLEANS SAZERAC

Ariana Jones

Atlanta Film Festival 2016 wood carved trophies

Christopher Escobar

Big Freedia

Michael Rooker & James Gunn

William H. Macy

Elisa Paloschi, Selvi Gowda & Sara Blakely

Kalina Patterson & Dominic Rodriguez

Michael Rooker, James Gunn, Christopher Escobar & Cameron McAllister

May / June 2016

OZ SCENE

L to R: Fran Burst-Terranella, Mikki Taylor, Naturi Naughton, Sheryl Gripper, Tisha Campbell Martin, Ebony Steele

Charmin Lee

Kathleen Bertrand

March 12

Black Women Film Summit’s Untold Stories Awards Luncheon

Myra J.

he three-day Black Women Film Summit, hosted by Atlanta Technical College, concluded on March 12th with panel discussions, film screenings, awards and “A Conversation with Tisha Campbell-Martin” moderated by actress Charmin Lee. The summit also hosted its popular Untold Stories Awards Luncheon at the InterContinental Buckhead, honoring actress and singer Tisha Campbell-Martin (ABC’s Dr. Ken), actress and singer Naturi Naughton (Power), Essence Magazine editor-at-large Mikki Taylor, and film director and producer Fran Burst. TV and radio personality Ebony Steele (Coffee with America) hosted the affair with music provided by DJ Salah Ananse.

Tisha Campbell Martin

Photos credit: James Pray Spirit

Mikki Taylor

Fran Burst-Terranella

Comedian and writer Myra J and media personality Spirit were also in attendance. Panel discussions included “Reel Sista Talk” and “Marketing Your Film to Hollywood” with Haj Chenzira Pinnock, Mikki Taylor, Shante Bacon and Saptosa Foster. BET, VH1, Final Draft and the Georgia Production Partnership sponsored the event. Established in 1997, the nonprofit Black Women Film Network was founded to prepare black women to enter the film and television industry, and to preserve the voices of these women through film and educational programs that empower and inform.

Oz Magazine - film. tv. entertainment.

Naturi Naughton

Martha Carswell

OZ SCENE

Closing night gala with catering provided by Marti's and Homemade

The crowd for the Athens Jewish Film Festival

Athens Jewish Film Festival Attendees

March 19-22

Helene Schwartz, Lt. Colonel Alexander DeGracia, Heather Schwartz Allen, Sharon Loef

Athens Jewish Film Festival

he Athens Jewish Film Festival convened at Athensâ&#x20AC;&#x2122; CinĂŠ theater for its eighth annual festival. Selling out for the first time ever, the Athens JFF launched with an evening of cocktails and a chamber orchestra, followed by a screening of Dough, a comedy starring Jonathan Pryce about the difficulties of keeping a business afloat. Screenings included documentaries and narratives from numerous countries, including Zemene, a documentary following the life of an Ethiopian girl fighting poverty and illness; A Borrowed Identity, a narrative highlighting

the disparity between Israeli and Palestinian identities in the face of young love; and Above and Beyond, which tells the story of WWII volunteers fighting for Israel in the War for Independence and opened with a special guest speech from Air Force Lt. Col. Alexander DeGracia. The festival closed out with screenings of the Athens JFF Shorts Competition winners and a screening of the film Deli Man, an exploration of the national decline of the Jewish deli presented by director/producer Erik Anjou.

Doug Haines, Lisa Lott and Cindy Karp along with community guests

May / June 2016

OZ SCENE L to R: LaTanya "Mocha" Murchinson, Lorenzo Yearby (Baby Carter Duke in hands), Eric Elijah Rogers, Malaka Grant, Davison Willis, Tarique Francis

March 23

Selfless Premiere

Jordan Price

tlanta actor Lorenzo Yearby debuted his short film Selfless at the historic Midtown Art Cinema on March 23. A semiautobiographical account of Yearby’s childhood, Selfless shares the struggles of living in poverty, the vast chasm of class and lifestyle differences within a single city, and the notion of helping others who struggle regardless of one’s station in life. The screening held an intimate mood despite the large attendance. “Selfless is about giving back to people you don’t know, about helping people as a brother, as a human being,” said Yearby. “You don’t have to know someone to help them out if you see them in need.”

Lorenzo King

With a bizarre sense of humor contrasting its serious and highly personal tone, Selfless is a passion project for Yearby, one that reflected his goal of creating positive messages in film. “Hollywood doesn’t think people want to see films like this, and I want to show that they do,” he said. “I dislike people in positions of influence who promote division. I'm a 1990s Miss America speech in a short black man's body: I love the idea of world peace.” After the premiere, donations taken by the film were presented to Lady T’s Homeless Ministry.

Troy Beecham & Roy Beecham Graham Stewart

Tremaine Johnson

Som Aidoo & JB Wanza

Christian Mullican & Musa Nelson

Eric Elijah Rogers & Patience Rozier

Oz Magazine - film. tv. entertainment.

OZ SCENE Virgil Fludd, Gretchen Corbin, Jeff Stepakoff, Henry M. Huckaby, Edward J. Johnson, Jr.

April 26 Mark Williamson

The Georgia Film Academy Soundstage Ribbon-Cutting Ceremony

Teddy Dicks

he Georgia Film Academy (GFA) cut ribbon on its brand new “Soundstage A” at the Pinewood Atlanta Studios location. The 15,860-foot soundstage coincides with GFA’s “Semester On Set” initiative, giving students access to a 10-week course both at the soundstage and on campuses throughout the University System of Georgia (USG) and the Technical College System of Georgia (TCSG). According to Brian Cooper of the Pinewood Studios Group, the soundstage is an exact replica of Pinewood’s two stages, giving participating students a true real-world experience working on a soundstage. Special guest speakers at the ribboncutting included Jeffrey Stepakoff, executive director of the GFA, who lauded the GFA as one of the current top five film programs in the world; Henry M. Huckaby, Chancellor of the USG, who marveled at the soundstage and its benefit for students “as they learn the handson details” of the industry; Gretchen Corbin,

Daniel May, Christine Horn, Iron E Singleton, Karen Ceesay

Commissioner of the TCSG, who echoed Huckaby’s sentiments on behalf of the TCSG; Dan Cathy, C.E.O of Chick-fil-A, who prayed that “the next generation of Steven Spielbergs and Ron Howards would step foot on this stage” and called the event “just a sampling of things to come;” Mark Williamson, C.E.O of Group VI Construction, who helped build the soundstage; Teddy Dicks, a student of the GFA; and Cooper, who asked that we all “take pride in that Georgia Peach” in the credits of Georgia-produced films and shows. GFA is a collaborative effort of the USG and TCSG supporting workforce needs of the film, television, and digital entertainment industries. The academy will certify workforce ready employees in needed areas, connect students and prospective employees with employers, and offer a unique capstone experience for students to provide them a path to employment in Georgia.

Dan Cathy

Brian Cooper

Gretchen Corbin, Virgil Fludd (State Representative), Henry M. Huckaby

May / June 2016

VOICES

A Screenwriter’s Helpful Hints By Kelly Nettles

s a screenwriter in Georgia, it’s hard to get started. The industry is intimidating and it sometimes seems producers only want L.A. talent. So, how do you get started? How do you get your movie made? Personally, I started screenwriting late in the game so I needed to throw myself into it. I volunteered. I put myself out there. My first piece was writing a short for the 48-Hour Film Festival in Atlanta. Was it an Oscar winning film with A-list actors? No, but it was my first produced piece and with it I received my first IMDb writer’s credit. Here are five of my best hints on how to get your name out there.

Hint #1

Hint #2

Volunteer

Make industry friends

Volunteer at film festivals. Meet directors, actors, grips, anyone. Ask if you can be a part of their team. Get that IMDb credit!

You will work best with people you like and your creative mojo flows like crazy when you’re around happy, inspired people.

On the set of my first film, I met great production people and wonderful actors. We stayed in touch and now several of those people are participating in my current film that’s gaining momentum.

Hint #3

Hint #4

Just do it

Don't give up

If you’re a beginner, an IMDb credit is worth it. Don’t get too caught up in the “I’m a professional. I don’t do this for free” idea when you’re still green. Who knows where it could go?

If this was easy, everybody would do it. This is your passion, your purpose, your focus. You will only fail if you give up.

Soon after my series of shorts, I was offered a chance to write a feature. I volunteered, worked with my friends, and we just did it. We created Santa’s Boot Camp. After several years of shooting, editing, raising money and editing some more, the project is finally ready for distribution. Without the tenacity of our director, this film would never have been completed.

A bit later, that same director invited me to co-write (gratis) a series of shorts for his acting students. The piece screened at the 2012 Cannes Film Festival.

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Between projects, I wrote several other scripts. Unfortunately, however, scripts are only paper until you find people interested enough to make them into movies. Film festivals have the greatest concentration of industry people in one place. I pitched my projects to entertainment lawyers, publicists, managers and producers. There were lots of nos. But, I finally found my yeses. Three of my scripts are now with established producers.

Hint #5

Believe in yourself Just because someone isn’t interested in your work, doesn’t mean it isn’t good. Stand tall and smile through the nos. You will find your yeses. Volunteer, make those industry friends, just do it and don’t give up. Most of all, always remember to believe in yourself. Georgia is coming of age in the industry and there is nothing better than homegrown talent. It’s time we prove it. Let’s show Hollywood what Georgia can do!

May / June 2016

HOW I GOT INTO THE BUSINESS How did you get into the business?

Randall Blizzard Producer

RCR Video Marketing Group www.rcrvideo.com

I honestly cannot remember the last time in my life I was not filming something. Some of my relatives and neighbors and I would always make short videos and stories, even recreating the first Fast and Furious film with our go-carts. I guess I knew I wanted to do this as a career when I started giving up sports for filming in high school. I worked part time to afford some gear and just started doing it. We made our first feature while still in high school which got me a really good connection with a guy who was literally betting his $200,000 farmland on a film idea. He hired me and my team as the crew, and we were still in high school. It was a fantastic experience proving just how little I knew.

How did you get into the business?

Richard Hempton Producer

In Our Image Productions, LLC inourimage@gmail.com

I began acting at a really early age on stage and in front of the camera. I’ve always been a performer. I was fortunate enough to have been raised by a woman who made sure that I was comfortable in my own skin and that made performing easier and fun. After high school I went to a couple conservatories in New York and really learned the craft and developed an understanding of myself that wouldn’t have been possible without that training. Out of all the techniques and all the skills I acquired in that training, the ability to honestly observe myself, my actions, and my motivations was the most valuable. Honest self-observation is not easy, but if you can learn that, most other skills come much easier. I got introduced to production while working on a short film called Moving

How did you get into the business? I grew up in Miami, entering TV and film at age 13. During my earlier career I appeared in many movies, videos and TV commercials. I later became a Pan Am Flight Attendant, flying three years to South America and the Caribbean and one year to Europe. This opened a Pandora’s box of culinary enchantment to me that has driven my career in publishing and hospitality.

Charlene Perry

Many years later I had an extensive career as an owner of an advertising agency called the MediaPoole. One of my accounts contracted me to publish a culinary magazine. While publishing the magazine, I had the opportunity to work side by side with some of the best chefs and caterers in the world as well as sitting on the advisory board of great culinary schools. As a culinary magazine publisher I learned the art of food styling for the camera while personally taking

Food Stylist

cperry41@gmail.com www.foodstylingusa.com

Oz Magazine - film. tv. entertainment.

What’s the best advice you can offer to young people in your profession? Patience. That doesn’t mean to not get out there and work like crazy, but to have insane work ethic and positive attitude even when the pay isn’t there, your work is under appreciated, and the odds are against you. You work for You, Inc. Would you hire you at all times? Get out of debt quickly. Your work life will have a whole new meaning.

What do you love about your job? Honestly, I love the people I get to work with. I tend to study teambuilding and leadership more than I do filmmaking or cinematography. It’s been interesting incorporating what I’ve learned from my studies of more 9-5, corporate type professions and leaders into my role in the filmmaking process. I think it’s essential to be a strong team. People first, process second.

Do you have a mantra you live by? “Live like no one else so that later you can LIVE like no one else” (Dave Ramsey). This industry requires a lot of sacrifice, long hours and hustle. I truly believe that the sacrifice made upfront, early in your career, is what will make or break your success in this industry. In my experience, living like no one else has been staying out of debt, working like I own every project and hustling like I might not be able to eat tomorrow.

Day. The filmmaker, David Nesenoff (now Rabbi Nesenoff), really supported my interest in it. I was playing an angry bus passenger for a couple days on film and asked if I could stick around when I was wrapped to see the crew at work. David had a great patience for my questions and I owe him a solid debt of gratitude. He is an amazing man and his work with teens in New York is what led me to my coaching and advocate work.

What’s the best advice you can offer to young people in your profession? Learn to love the phrase “I don’t know.” So many people who are coming into this industry seem to feel like “I don’t know” is admitting defeat or that people will think less of them. The reality is that if you don’t embrace “I don’t know” you will never master whatever craft you are pursuing. Train! Acquire new skills, improve skills you already have, but train! Never stop learning and in order to learn anything you must begin with “I don’t know.” If someone doesn’t have the patience to answer your questions or indulge “I don’t know” then move on and find someone who does and will. Don’t take offense; this industry is a hard road and not everyone has weathered it unscathed.

the roll of art director and stylist on each food shoot, working with the food staff and photographer. I now focus my direction full time styling for videos, film and photography, working with companies like McDonald’s, Coca-Cola, Barilla Pasta, Calphalon Inc., Smirnoff Vodka, Kraft Foods and Loews Hotel.

What’s the best advice you can offer to young people in your profession? Never stop learning about all aspects of production. You may fall in love with another skill, like taking up the camera instead of styling. Understand what the art director is wanting. As a stylist, your job is to create what the art director sees, not style what you want.

Do you have a mantra you live by? Pain is temporary. Film is forever.

What makes your job cool or fun for you? Seeing the finished product. Driving by a McDonald’s window and seeing my poster of the new chicken sandwich blown up and taped to the window. Watching my commercial of Hooters’ wings on TV at Super Bowl time. I just love my job.

HOW I GOT INTO THE BUSINESS How did you get into the business?

Jay Peterson

Fight Choreographer, Tactical Advisor Barbarian Labs www.barbarianlabs.com

I was a Renfaire brat and my father was a martial arts instructor, so I got used to weapons early on. I became an actor in high school, and was finishing a degree in Theater when the Iraq war broke out, so I enlisted. By my second tour as a Marine grunt, I loved my job, but missed performing and telling stories. I took leave between deployments to train, and came home to Atlanta after my third tour. I’ve been working, training, and networking ever since.

What’s the best advice you can offer to young people in your profession?

Art Director

drakotalk@yahoo.com

Damian Vaudo

Branch Manager Barbizon Lighting Company (Atlanta) www.barbizon.com

What makes your job cool or fun for you? I have an eclectic skill set that revolves around hurting people, and I get to use it to make art and tell stories instead of do damage. Every day is different. I can be swinging swords in a fantasy world one day, kicking in doors with a S.W.A.T. team the next, and end the week in a wrestling ring. There’s always another challenge coming up, and I love facing those. The questions get interesting, too. I’ll get an email or a text asking about some horrible way to injure or kill someone and give an honest answer. My NSA handler was so disappointed to find out I just fake it for the movies.

If you weren’t doing this, what would be your dream job? I’d probably be a librarian. With swords. And a machine gun.

Show up early. Be prepared. You will never know everything, so keep learning. This business is a marathon, not a

How did you get into the business?

Ace Talkingwolf

sprint. So don’t be obsessed with getting this one job; focus on a career for decades. Most of all, never, ever lie or embellish your credentials: if I can’t trust you to be honest on a resume, why would I ever trust you with the safety of a cast and crew?

I have been making costumes and things since I was a child. My father is an artist and one day I watched him make a realistic Native American canoe with twigs, toilet tissue and paint. Later, dad made me an awesome Conan sword after the movie came out. I accidentally broke it and started making my own. Using scrap wood, I would make the swords and spears. But the canoe would really be the one that showed me how to make toilet paper look like animal flesh or even human skin. I worked on low budget sets since high school and when I needed special props that I could not find, I would just make them. I would work at haunted houses gaining experience as a special effects makeup artist and even costume designer. It was there that I really started getting known for my fabrications. After years of doing all that for films, fandom conventions and photo shoots, I was soon the guy with

the props, the costumes and the FX makeup experience, so the producers started asking me to be their art director.

What’s the best advice you can offer to young people in your profession? Humility; listen and learn. There is always someone out there that can do better. This should not depress you but instead inspire you. And you can always learn new techniques. Oh, and sets are a team effort; it’s not about credit titles and arrogance. It is about the final product.

What do you love about your job? I love creating things. Inspiration is like a wriggling alien that needs to burst out of your mind. It is painful to resist and can be painful, but when it is done it could be beautiful or it could be a monster. Only one thing is sure: I will love my creation.

Do you have a mantra you live by? Yes, it is an old Norse credo: “The truth is that life is hard and dangerous; that he who seeks his own happiness does not find it; that he who is weak must suffer; that he who demands love will be disappointed, that he who is greedy will not be fed, that he who seeks peace will find strife; that truth is only for the brave; that joy is only for him who does not fear to be alone; that life is only for the one who is not afraid to die.”

How did you get into the business?

What is your defining moment?

Too many years ago I finished college with a degree in Aircraft Operations. Airlines weren’t hiring, so I took a job which was told to me to be a managerial position in a lighting rental company, Camera Mart, as a stop gap until I could fly. Well, 45 years later, four rental companies, and one film studio later, I’m still doing this and loving it.

My defining moment has something to do with my career but more with some students I met a long time ago. Two students from NYU Film School walked into my lighting department at Camera Mart and wanted to rent a Lowel D Lighting Kit to use for their final exam. They explained what they wanted to do and we discussed other options for them to use. By the time we finished, they left with a small truckload of equipment. They returned the equipment after their shoot and waited for the results. Finally, a few weeks later, they came back and told me they got an “A” on their work. I wasn’t a father yet but this made feel like one. I didn’t hear from either of the students again but that was okay. I figured they moved to Los Angeles to follow their dream. Many years later, after I actually became a father, I was sitting in a theatre watching Batman Returns. Well, much to my surprise, sitting there reading the credits, the Director of Photography was one of the students: Stefan Czapsky. It was a great feeling.

I opened the Atlanta office for Barbizon back in 1993, and it’s still going strong. I’ve watched the industry surge during the Olympics, dwindle when Panavision left in the late 90s, and then come back with a vengeance. What has happened in Atlanta in the last number of years is phenomenal. With all the production going on here, it feels like my old days in New York.

Do you have a mantra you live by? Take it as it comes and deal with it.

May / June 2016

Oz Magazine - film. tv. entertainment.

Sony F55 w/R5

Future Select Shots

CMOS

27.1mmØ 24 x 12.7mm

CMOS

27.8mm Ø 24.6 x 12.9mm

33.5mm Ø 28.2 × 18.13mm

CMOS

1250 Base

Dual 800 & 5000 Base

800 Base

1-100fps 1-120fps 1-150fps 1-300fps

6K 5K 4K 2K

Rotary Shutter

1 to 60 fps

Electronic Shutter

OG - .75-30 fps 1

Open Gate 3:2 3414 x 2198 4:3 2880 x 2160 16:9 2880 x 1620

6K 5K 4.5K & 4K 3.5K & 3K 2.5K & 2K

8K 8192 x 2160 4K 4096 x 2160 2K 2048 x 1080 HD 1920 x 1080

6560 x 3100

Pixel Resolution of Recorded Media

14+ Stops

4K 4096 x 2160 UHD 3840 x 2160 2K 2048 x 1080 HD 1920 x 1080

16 Bit F55 RAW @ 3.6:1 512GB AXSM - 72 min XAVC HD 2K 4K - 10 Bit

256GB Express P2 Card 45 Min 4:4:4 | 90 Min 4:2:2 124 Min - ProRes HD

12Bit AVC-Intra4K

107 Min Codex Capture Drive 2TB

53 Min Codex Capture Drive 1TB

12 Bit V-RAW

Records Classic ALEXA formats

ProRes4444XQ UHD 256GB CFast - 20 min

(Coming 2016)

12 Bit ARRIRAW1

Records Classic ALEXA formats

12 Bit ARRIRAW 29 Min - 512GB in OG 39 min - 512GB in 4:3 47 min - 512GB in 16:9

(HDRx Cuts Time in Half)

16 Bit REDCODE - 6K FF @ 5:1 512GB SSD - 52 min 1TB SSD - 104 min

16 Bit F65RAW - LITE 60 min- 512GB 120 min - 1TB

11 min Codex Capture Drive 512GB 40 min Codex Capture Drive 2TB 20 min Codex Capture Drive 1TB

12 Bit ARRIRAW

(Highest Internal Record @ 24 fps)

Recorded Bit Depth Format & Time

62w

60-65w

Pro Res Workflow Option Custom OLPF Filters HDRx High Dynamic Range Well Established R3D workflow Modular Design High Frames per Second

45-75w

4K XAVC

1.8 GB

4K RAW

69w

Recorder

F55

5 lbs

F55 & R5

Body Only

25w

System

48w

w/AVC w/AVC Intra Rec. Intra Rec.

11 lbs

Recorder

7.1 GB 6.4 lbs

4:2:2

2.3GB

4:4:4

4.6 GB

V-RAW

w/V-RAW w/V-RAW

5 lbs

19GB 14.3 lbs 109w

8.7 GB per Minute

16.2 GB

Salem Rogers Legends & Lies Monolith

Orange Is the New Black

9 Lives 2

Manhattan 2 Mena

Roots 2

Empire 2

w/o Recorder

$800 to $1000

w/R-5

$1200 to $1400

w/o Recorder

$1000 to $1200

w/V-RAW

$2000 to $2150

$1400 to $1700

$2200 to $3000

$2250 to $2700

$1400 to $2000

Available Exclusively at Arri Rental

No Published Price

Daily Rental Price Range (Varies by City)

2015 Camera Comparison Chart v10.xlsx

Blacklist Big Bang Theory Sense8 Two & Half Men Ridiculous 6 Self/less XAVC -ProRes - DNxHD - MPEG -RAW

Ultra Wide Color Gamut Lightweight and Small Profile 1250 ISO Sensor w/ Global Shutter 2x Anamorphic De-Squeeze 2K Mode Uses Full Image Sensor

Exceptional Low Light Performance Clean Signal @ 5000 ASA In-Camera Color Grading/Dailies Dual Codec Records Un-graded 4K Master & HD V-RAW Uncompressed Recording

Super Lightweight Carbon Body ALEXA Sensor and image quality Integrated Lens Motor Control Motorized ND filters Exchangeable Lens Mounts Perfect for Gimbals & Multicopters

True Detective

Road

Mad Max: Fury

Sicario Son of Saul Spotlight Creed

Camera Newly Released Credits Coming Soon

Untitled Woody Allen Vittorio Storaro ASC AIC

Alice Through the Looking Glass Tomorrowland Billy Lynn's Long Halftime Walk

The Revenant 2 The Great Wall Passengers War for the Planet of the Apes

Unique Large Format Aesthetic Proven Workflow Proven Design Known Sensor Characteristics Wide Latitude 8K, 6K, 4K De-mosaic ACES Workflow Rotary Shutter 16 Bit Linear RAW Ultra Wide Color Gamut Build-In ND Filters

Notable Credits

Highlighted Positives

True Anamorphic 4:3 Imager Wide Latitude Gently Rolls Off Highlights 4:3 Proven Reliable, Post-Efficient 14.1 GB ARRIRAW, ProRes or DNxHD 18.3 lbs 100w 16:9 Studio ProRes Optical Viewfinder & Mirror Shutter 10.2 GB (Studio Version)

14.5 lbs 103w Arriraw Plus

Carbon Fiber

per Minute

105w w/SR-R4

16 lbs w/SR-R4

3.3 lbs

150w (on 24v)

Body Only Body Only

12 lbs

23 lbs

Weight Power Draw

5.2GB

per Minute

8.5 GB

per Minute

44 GB

Data

(Per Min) (Body Only)

Camera must be available for sale or rent | Data based on 24fps and highest INTERNAL record.

4K 4096 x 2160 1-60fps @ 4K 1-180fps @2K UHD 3840 x 2160 2K 2048 x 1080 1-180fps @HD 1-240 @2K Raw HD 1920 x 1080

AVC-Intra 4K & V-RAW 10 Bit

1-120 fps

V-RAW 4K 12 Bit

1-30 fps

ARRIRAW1 .75-48 fps

OG1 3414 x 2198 4:31 - 2880 x 2160 14+ 4:31 ProRes .75-50 fps UHD 16:9 3880 x 2160 16:9 .75-200 fps Stops 16:9 2048 x 1152 6:5 ProRes .75-150 fps 16:9 1920 x 1080 8:9 ProRes .75-150 fps

14+ Stops

Open Gate .75-75 fps 4:3 .75-90 fps 16:9 .75-120 fps

15-18+ w/HDR 1-120fps 2K ProRes

14+ Stops

1 to 120 fps

20 - 60 fps

Frame Rates

cost effectiveness in post, serving as a guide in the dynamically evolving relationship between acquisition, editing and delivery. Fletcher has produced the Camera Comparison Chart for the past 10 years as co-owner of Fletcher Camera & Lenses. He is a cinematography equipment entrepreneur and an active member of the American Society of Cinematographers,

VariCam 35 w/V-Raw

ALEXA Mini

ALEXA XT Plus Open Gate

CMOS

14+

Latitude

Base Stops

800

ISO

Gary Adcock

om Fletcher and Gary Adcock have compiled a full range of workhorse cameras for digital cinematography. All specs compared at 24p shooting to their highest quality internal recording formats. Adcock consults on Workflow Solutions with an understanding of advanced production technologies and their correlation of associated

33.5mm Ø 28.2 × 18.1mm

34.5mm Ø 30.7 × 15.8mm

CMOS

27.9mm Ø 24.7 x 13.1mm

54.1 x 25.6mm

59.87mm Ø

CMOS

Imager

(Actual Size)

2015 CAMERA COMPARISON CHART

Red Weapon Dragon

Sony F65

ALEXA 65

& GARY ADCOCK

THOMAS FLETCHER

Thomas Fletcher

FLETCHER AND ADCOCK CREATE CAMERA COMPARISON CHART the Production Equipment Rental Group and the Association of Independent Commercial Producers. "Our goal is to help producers make an educated decision in a rapidly changing camera landscape,” says Fletcher. "That said, numbers do not tell the whole story—look at the images and consult your cinematographer."

May / June 2016

Future 2Select Shots

Panavision - 35mm Film

Sony F5

Canon EOS C300

Canon EOS C300 Mark II

Red Epic Dragon

Canon EOS C500

ALEXA Classic EV / Plus

Arri AMIRA (Premium Version)

& GARY ADCOCK

THOMAS FLETCHER

Thomas Fletcher

Full Aperture 31.1mm Ø 24.9x18.1mm

27.1mm Ø 24 x 12.7mm

CMOS

27.3mm Ø 24.6 x 13.8mm

CMOS

27.3mm Ø 24.6 x 13.8mm

34.5mm Ø 30.7 × 15.8mm

CMOS

27.3mm Ø 24.6 x 13.8mm

27.2mm Ø 23.8 × 13.4mm

CMOS

27.2mm Ø 23.8 × 13.4mm

CMOS

Imager

(Actual Size)

13.5+ Stops

12 Stops

14+ Stops

Latitude

24, 25, 30, 50, 60, 120 @ 4K to Ext. Recorder

24p, 25p, 30p, 50i, 60i @ HD

2K ProRes or 4:4:4

.75-60 fps @

ProRes 4:2:2 HQ

.75-120 fps @

ProRes

.75-200 fps

UHD

1-60 fps

Frame Rates

500 Base

2000 Base

850 Base

800 Base

15-16 Stops

14 Stops

12 Stops

14 Stops

10 Bit XAVC & SR-SQ & Lite 128GB SxS - 66 min 4K F5RAW to External Recorder

16 Bit (Linear) 10 Bit (Log) 3P 14m48s 1000' 4P 11m06s 1000'

2K - 2048 x 1080 HD - 1920 x 1080 Outputs 4K & UHD to External Recorder

6K 4K 2K 1920x1080 Uncompressed (via Scanner)

8 Bit MPEG2-4:2:2 MXF 64GB CF - 160 min

10 Bit YCC 4:2:2 XF-AVC Intra 128GB CFast - 40 min

4096 x 2160 3840 x 2160

HD 1920 x 1080

12/10 Bit RGB XF-AVC-Intra 4:4:4 128GB CFast - 75 min

16 Bit REDCODE - 6K FF @ 8:1 512GB SSD - 98 min 1TB SSD - 195 min

10 Bit Log 12 Bit Log 4K RAW Uncompressed 2K RGB to External Recorder

12/10 Bit XF-AVC-Intra 4:4:4 128GB CF - 75 min

12 Bit ProRes 4:4:4 32GB SxS - 14 min 64GB SxS - 28 min

120GB CFast - 14 min

12 Bit ProRes 4:4:4 UHD

(Highest Internal Record @ 24 fps)

Recorded Bit Depth Format & Time

2048 x 1080 1920 x 1080

6K 5K 4.5K & 4K 3.5K & 3K 2.5K & 2K

Outputs 2K & 4K to External Recorder

1920 x 1080

2048 x 1152

3200 x 1800 2048 x 1152 1920 x 1080

Pixel Resolution of Recorded Media

N/A

per Minute

1.8 GB

per Minute

0.4 GB

per Minute

3.1 GB

Minute

per

1.7 GB

per Minute

3.2 GB

per Minute

0.4 GB

per Minute

2 GB

per Minute

8 GB

Data

1000' Load

28 lbs

400' Load

25 lbs

5 lbs

3.2 lbs

(PL Version)

4.4 lbs

5 lbs

4 lbs

Plus

15.4 lbs

13.7 lbs

9.2 lbs

55w

25w

Game of Thrones Downton Abbey Mad Men Gotham The Good Wife

NBA Entertainment

Chicago Fire Chicago Med NFL Films

Notable Credits

Camera Newly Released Credits Coming Soon

HDR Exposure Latitude Exceptional Sensitivity Three Wide Color Gamuts Canon Log 2 w/ increase latitude OLED Viewfinder Canon RAW via external recorder 2/4/6/8/10 Stop ND Filters

Star Wars: The Force Awakens Spectre Black Mass Jurassic World

Various Regional Spots & Music Videos

Gorongosa Amazing Race Man from Reno

$1000 w/Mags

$500 to $650

$300 to $350

$400 to $550

$1200 to $1750

2015 Camera Comparison Chart v10.xlsx

4:4:4 Color Sampling Established Workflow Widest Available Latitude Proven Archival Value

Lightweight & Small Profile Great Low Light Performance 2K Mode Uses Full Image Sensor Wide Color Gamut 180fps Recording with SxS media XAVC -ProRes - DNxHD - MPEG

Portlandia Manos Sucias

Rush 2

Shameless 2

The Martian The Danish Girl Chi-raq House of Cards Homeland

Self Contained - Ideal for 3D HDRx High Dynamic Range Established R3D workflow Modular Design High Frames per Second Pro Res Workflow Option

$450 to $600

$1100 to $1800

$1300 to $1500

Daily Rental Price Range

(Varies by City)

Gary Adcock

Transparent 4K Uncompressed Output w/ Wide Variety of External Recorders Atlas Shrugged: PL or EF mount Who Is John Galt? High Dynamic Range Amityville Horror: Small Self Contained Ideal for 3D The Awakening

Low Light Performance Wide Latitude Cost Effective Workflow Pleasing Skin Tones Gently Rolls Off Highlights

ALEXA Image Quality Lightweight Comfortable Handheld 4K UHD & 3.2K Record Options Powerful In-Camera Color Grading 200 fps Slow Motion

Highlighted Positives

Incredible Low Light Performance Small Size 11.4w C-Log Workflow Dual Pixel Auto Focus (EF Version Only)

21.2w

60w

11.4w

85w

50w

Weight Power Draw

(Per Min) (Body Only)

Camera must be available for sale or rent | Data based on 24fps and highest INTERNAL record.

3-50 fps

1-60fps @ 4K

1-240fps @ 2K Raw

1-180fps @ 2K 1-180fps @ HD

24, 25, 30 1080

1-30 fps @ 4K/UHD

1-120 fps 2K/HD

1-100 fps @ 6K 1-120 fps @ 5K 800 1-120 fps @ 4.5K Base 15-18+ 1-150 fps @ 4K w/ HDR 1-300 fps @2K

850 Base

800 Base

ISO

2015 CAMERA COMPARISON CHART

DISTRIBUTION Alpharetta / Tucker / Norcross Atlanta Players Workshop 8560 Holcomb Bridge Road Alpharetta, GA 30022 Cofer Brothers, Inc. 2300 Main Street Tucker, GA 30084 Eagle Rock Studio 6205 Best Friend Road Norcross, GA 30071

Buckhead The Ritz-Carlton 3434 Peachtree Road Atlanta, GA 30326

Parish Market 240 North Highland Avenue NE Atlanta, GA 30307

Sam Flax 1745 Peachtree Street NE Atlanta, GA 30309

Community BBQ 1361 Clairmont Road Decatur, GA 30033

Plaza Theatre 1049 Ponce De Leon Avenue NE Atlanta, GA 30306

Sherwin-Williams 671 10th Street NW Atlanta, GA 30318

Crawford Media 6 W. Druid Hills Road NE Atlanta, GA 30329

Righteous Room 1051 Ponce De Leon Avenue NE Atlanta, GA 30306

North Perimeter

Java Monkey 425 Church Street Decatur, GA 30030

Star Community Bar 437 Moreland Avenue NE Atlanta, GA 30307

Showcase Video 2323 Cheshire Bridge Road NE Atlanta, GA 30324

Midtown

Fayetteville / Senoia

The DoubleTree Hotel 160 Spring Street NW Atlanta, GA 30303

Pinewood Atlanta Studios Fayetteville, GA

Georgia Film Commission Atlanta, GA

Raleigh Studios 600 Chestlehurst Road Senoia, GA 30276

Portfolio Center 125 Bennett Street NW Atlanta, GA 30309

529 529 Flat Shoals Avenue SE Atlanta, GA 30316

Inman Park / Little Five Points / North Highlands

Savannah College Of Art & Design–Atlanta 1600 Peachtree Street NW Atlanta, GA 30309

97 Estoria 727 Wylie Street SE Atlanta, GA 30316

Aurora Coffee 468 Moreland Avenue NE Atlanta, GA 30307

Slice 85 Poplar Street NW Atlanta, GA 30303

Argosy 470 Flat Shoals Avenue SE Atlanta, GA 30316

Brewhouse Cafe & Pub 401 Moreland Avenue NE Atlanta, GA 30307

Turner Studios Atlanta, GA

Daddy D’z 264 Memorial Drive SE Atlanta, GA 30312

Criminal Records 1154 Euclid Avenue NE Atlanta, GA 30307

Little’s Food Store 198 Carroll Street SE Atlanta, GA 30312

Diesel 870 North Highland Avenue NE Atlanta, GA 30306

Mailing Avenue Stageworks 1144 Mailing Avenue Atlanta, GA 30315

El Myr 1091 Euclid Avenue NE Atlanta, GA 30307

Tomatillos 1242 Glenwood Avenue SE Atlanta, GA 30316

Highland Tap 1026 North Highland Avenue NE Atlanta, GA 30306

North Dekalb / Emory

Jack’s Pizza & Wings 676 Highland Avenue NE Atlanta, GA 30312

InterContinental Buckhead Atlanta 3315 Peachtree Road NE Atlanta, GA 30326

Cabbagetown / East Atlanta / Grant Park

ARRI 3980 Dekalb Technology Pkwy #800 Atlanta, GA 30340

ChocoLaté Coffee 2094 North Decatur Road Decatur, GA 30033

Manuel’s Tavern 602 North Highland Avenue NE Atlanta, GA 30307

Beer Growler 38A North Avondale Road Avondale Estates, GA 30002

Memorial Tattoo 809 Moreland Avenue SE Atlanta, GA 30316

ChocoLaté Coffee 2558 Shallowford Road NE #201 Atlanta, GA 30345

Paris On Ponce 716 Ponce De Leon Place NE Atlanta, GA 30306

Oz Magazine - film. tv. entertainment.

Utrecht Art Supply 878 Peachtree Street NE Atlanta, GA 30309

American Intercontinental University—Dunwoody 6600 Peachtree-Dunwoody Rd NE Atlanta, GA 30328 Art Institute Of Atlanta 6600 Peachtree-Dunwoody Rd NE Atlanta, GA 30328

South Atlanta The Alpha Companies 3645 Southside Industrial Parkway Atlanta, GA 30354 Atlanta Movie Tours 327 Nelson Street SW Atlanta, GA 30313 Atlanta Tech College 1560 Metropolitan Parkway SW Atlanta, GA 30310 Elliott Street Pub 51 Elliott Street SW Atlanta, GA 30313 EUE/Screen Gems Studios 175 Lakewood Way SW Atlanta, GA 30315

Midtown - West

Georgia State University 25 Park Place NE Atlanta, GA 30302

Bairstow Lifting Products 1785 Ellsworth Industrial Dr NW Atlanta, GA 30318

Studio No. 7 393 Marietta Street NW Atlanta, GA 30313

Cineverse 2301 Defoor Hills Road NW Atlanta, GA 30318

Warner Bros Prop House 3645 South Industrial Parkway Atlanta, GA 30354

Imagers 1575 Northside Drive NW #490 Atlanta, GA 30318

West Atlanta

Octane Coffee Bar & Lounge 1009 Marietta Street NW Atlanta, GA 30318 PC&E 2235 Defoors Hills Road NW Atlanta, GA 30318 PPR-Professional Photo Resources 667 11th Street NW Atlanta, GA 30318

Quixote Production Vehicles 7261 Delta Cir Austell, GA 30168

GRIP GEAR, FOR THE COOL CREWS

We’ll see you on set

advantagegrip.com

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Get the one on one training you’ve been waiting for! Learn how to:

1 Ace a Media Interview

2 Look the Part

For more information please call or visit:

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www.Mimsmediagroup.com May / June 2016

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May / June 2016

NEXT GENERATION

3) INDIVIDUALS WITH DYSLEXIA SEE BACKWARD.

1) DYSLEXIC MEANS YOU’RE NOT VERY SMART.

MYTH

READ. PEOPLE STRUGGLE TO E. SOME OF THE BRIGHTEST ALL LEVLS OF INTELLIGENC DYSLEXIA OCCURS AT

MYTH 2) DYSLEXIA IS CURABLE.

4) DYSLEXIA ARE JUST LAZY AND NEED TO APPLY THEMSELVES.

5) PEOPLE WHO ARE DYSLEXIC ARE UNABLE TO READ

LIFELONG DYSLEXIA IS A BRAIN-BASED CONDITION AND A CONDITION. BUT EARLY INTERVENTION AND HELPFUL CLASSROOM ACCOMMODATIONS CAN HAVE A POSITIVE IMPACT ON ACADEMIC ACHIEVEMENT.

Dustin Dahlman Dustin Dahlman is a graphic designer and illustrator based out of Savannah, GA. He studies at Savannah College of Art and Design with a focus on designing for social good. “Artists and designers are the visual voices of our culture, and because of this, they have the ability to define and shape our culture,” he says. “With the skills I’ve developed, I hope to bring awareness to social issues in hopes to change them.” Dahlman has worked on countless projects ranging from pro bono work for film documentaries to designing and curating the 100-page literary arts journal Port City Review, to acting as creative director of SCAD’s online school newspaper SCAD District, to illustrating a 33-page children’s book. He has recently been hired by social media agency Carrot Creative in New York City, where he’ll be starting his career after graduation. www.portfolios.scad.edu/DustinDahlman

Matthew L. Roberson Matthew L. Roberson is a visual artist who was born and raised in Atlanta. He graduated from the Art Institute of Atlanta with Best in Show for his graphic and web design program. Roberson has practiced his craft since the age of 13, and now spends his time working on editorials and film which he says he has a newly found passion for. “I’ve been working on my first film, it’s a lot about research and tactics for me,” adds Roberson. “It’s as important as the story, however vague that may be.” His short art film is on schedule to be viewed by July of this year. www.matthewl.co 58

Oz Magazine - film. tv. entertainment.

May / June 2016