april/may 2012
SLICE ME OFF A PIECE OF THAT PIE, p. 20
GOING VIRAL, p. 34
HAVE YOUR PEOPLE CALL OUR PEOPLE* *please The Georgia Film & Television Sourcebook is filled with highly skilled entertainment industry personnel and scores of local vendors, so for cryin’ out loud, at least give them a call.** **thanks
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APRIL/MAY 2012
IN T HIS IS S UE
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FE AT UR E S Cover Story - Break Me Off a Piece of That Pie
p. 20
Feature Story - The Adoring Crowd
p. 28
Feature Story - Going Viral
p. 34
C O LU M N S Ozcetera
p. 8
Behind the Camera w/ Drewprops
p. 32
Voices - Trust in the PR Industry
p. 38
Oz Scene
p. 40
How I Got into the Business
p. 42
Per Diem - Vinings
p. 44
Let Me Give You My Card
p. 49
Unconventional Art - Flooring Design
p. 50
44
O Z M A G A Z I N E S TA F F Publishers: Tia Powell - Group Publisher, Gary Wayne Powell - Publisher
CO V ER A RT © Goni Montes
Editorial: Gary Powell - Ozcetera Editor Allison Williams - Research Contributors: Nichole Bazemore, Andrew Duncan, Felicia Feaster, Patty Tucker, Bobby Hickman, Diane Lasek Sales: Diane Lasek, Mukari Butler, Monique McGlockton IT/Database Administrator: John Cleveland Sherman, III Design: Christina Wills - Art Director & Designer Sarah Medina - Production Artist & Designer Ted Fabella, Logo Design
Visit us on the web at www.ozmagazine.com, www.ozonline.tv, www.facebook.com/ozpublishing Oz Magazine is published bi-monthly by Oz Publishing, Inc • 2566 Shallowford Road • #302, Suite 104 • Atlanta, GA 30345 • (404) 633-1779 Copyright 2012 Oz Publishing Incorporated, all rights reserved. Reproductions in whole or in part without express written permission of the publisher is strictly prohibited. This magazine is printed on recyclable paper.
Coming Soon... The
INDUSTRY Yearbook
A Celebration of 40 years of Georgia’s FILM, VIDEO & DIGITAL ENTERTAINMENT history. Follow us on Facebook or visit www.ozmagazine.com/yearbook for more information.
C O N T R IB U TO R S Nichole Bazemore is a freelance writer and blogger. She is also the host of the show, “Say It With Style,” on Blog Talk Radio. Her company, Simply Stated Solutions, provides marketing materials for coaches, consultants, and small businesses. Learn more about Nichole and her company via her website, www.simplystatedsolutions.com, or connect with her on Facebook or Twitter @nicholebazemore. Cover Story, p. 20
Andrew Duncan, known in the motion picture industry as “Drewprops”, has been writing about the craft of filmmaking from the inside out since the mid-1990’s. His confusing and often embarrassing stories from behind the scenes provide a unique insight into the craft of filmmaking from the perspective of the shooting crew, artists, and designers who bring your favorite films to life on the big screen. www.drewprops.com Behind the Camera w/ Drewprops, p. 32
Andrew Duncan, known in the motion picture industry as “Dre out since the mid-1990s. His confusing and often embarrassing of filmmaking from the perspective of the shooting crew, artis
Bobby Hickman is a freelance journalist who writes mostly about business and travel. He is also a copywriter and former president of The Freelance Forum. Bobby is currently ghostwriting the autobiography of a Celtic shaman in North Carolina. He is also developing a book on great Southern honky tonks, enabling him to hang out at bars and claim his drink tab as a business deduction. blhickman@bellsouth.net. Feature, p. 28
There are times when a man has to step forward to sometimes the right thing to do is to get weird. And Patty Tucker is EVP in the U.S. Corporate Practice at Edelman. She has contributed to Oz over the 25 years she has worked for Atlanta advertising to. and public relations firms. sticksEdelman around longer than it ought And sometimes it is the world’s largest independent public relations firm, with wholly owned offices in 60 cities and 4,000 employees, 85 of which work in Atlanta. For deeper insights into the methodology and results of the 2012 Edelman Trust Barometer, visit www. Edelman.com/trust Voices, p. 38
Felicia Feaster is a contributing writer at Atlanta magazine and writes the weekly Homefinder cover story for The Atlanta Journal-Constitution. Her writing has also appeared in Elle, Sculpture, Art in America, Design Bureau, Charleston CIty Paper, The Economist, Travel & Leisure and Playboy. She has received multiple Green Eyeshade Awards for criticism and feature reporting from the Society of Professional Journalists and in 2011 was named one of “Atlanta’s 50 Most Creative People” by CommonCreativ magazine. ffeaster@bellsouth.net www.culturopolis.blogspot.com Feature, p. 34 Goni Montes was born in Ponce, Puerto Rico, got a BA from the UPR at Mayagüez, and an MFA from SCAD Atlanta. He began working as a scientific illustrator for the Puerto Rico Sea Grant. He mostly does editorial illustrations with some fantasy here and there. He lives in Decatur, Georgia with his wife Jen, who’s an illustrator for Archer. His agent is Richard Solomon. www.goniart.com goni@goniart.com Cover Art
˜ FLASHBACK : Saturday, December 8, 2001 GONI MONTES
It was nearly midnight in the forsaken town of November air:
A r t w o r k b y D e a n Ve l e z , S e n i o r M o t i o n G r a p h i c s D e s i g n e r a t M a g i c k
W E ' V E C R E AT E D A M O N S T E R … Check out the reel: Vimeo.com/magicklantern D I G I TA L P R O D U C T I O N
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EDITORIAL
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MOTION GRAPHICS
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AUDIO
CETERA MOUNTAIN VIEW
KILGANNON MERGES WITH DALTON
MILESTONE Congrats to Mountain View Group, corporate production company to the giants of industry, on their 30th anniversary.
Jacksonville-based Dalton Agency, an advertising and public relations agency, and Kilgannon, an Atlanta-based advertising agency, have merged. The joined companies will operate under the Dalton Agency name with Kilgannon serving as president of the Atlanta office. The Dalton Agency currently has offices in Jacksonville and Orlando, Florida, Savannah, Georgia and Columbia, South Carolina.
Wanted to work for a small company but never expected to be the first employee. Looks forward to each work day as much as she has for the last 30 years. Favorite memory: “In the early days, we worked out of Jim Tusty’s house. We’d have meetings and each of us would have a cat on our lap. We always had to brush cat fur off of ourselves before we left the office.” Hired: 1981
While terms of the deal were not disclosed, the combined agency has approximately $35 million in billings and employs approximately 100 individuals between the five offices. Jacksonville continues to serve as the company’s headquarters. The combined agency client list includes: American Heart Association, BAE Systems Product Group, Safariland, NFL Jacksonville Jaguars, McDonald’s, Bealls Department Stores, Manheim, Shands Healthcare, and SouthernLINC Wireless, among others. “The Dalton and Kilgannon teams are excited by the growth opportunities this merger represents in the Southeast,” said Jim Dalton, president and CEO of the Dalton Agency. “Operationally, we see our future firmly embedded throughout this region of the country while providing services to clients throughout North America, Europe, Asia, and South America. Kilgannon has a tremendous track record of success with clients in the region as well as those with global footprints.” The Dalton Agency, founded in 1989, is one of the top advertising agencies in Jacksonville. During the past five years the agency has expanded its service offerings in several strategic areas of communications, including: public relations, social media, on-line digital, and video production.
Found her career, her husband and several of her close friends while working at Mountain View Group. First job: “A prop job where they needed someone willing to run around and borrow, beg and steal all these crazy props, including a trunk full of cement blocks that bottomed out my car. Then, once we were done, I had to run around and return all the used props.”
Founded by Rena Kilgannon in 1988, Kilgannon has measured outcomes in terms of client success – achieving business goals and sales growth. The agency specializes in clients that have multiple target audiences, complex and varied product offerings, dealer distribution markets and long sales cycles. Kilgannon ranks as the fifth largest independent advertising agency in Atlanta and consistently is listed as one of the Top 100 business-to-business agencies in the country by BtoB magazine.
The Atlanta office of the Dalton Agency promoted Jonathan Ginburg to account supervisor. In his new role, Ginburg will provide strategic direction for agency clients Manheim Auctions and SouthernLINC Wireless as well as oversee day-to-day account activities. Ginburg is a graduate of Indiana University and the American Association of Advertising Agencies Institute of Advanced Marketing Studies. He is involved in the Atlanta Interactive Marketing Association and also is active in the community. Ginburg serves on the board for Jewish Family & Career Services, and he is the Young Adult Chair for Volunteers in Action (VIA).
Hired: 1993
Active in the advertising industry and in the Atlanta community, Rena Kilgannon is a member of the 2010 Leadership Atlanta class, and she was the 2008 recipient of the Silver Medal, the highest award presented by the American Advertising Federation. Fellow Kilgannon principal Michael Reineck will serve as chief financial officer for the Dalton Agency. Gets as excited about a production now as he did when he was 18, 25, 37... Looking back: “I used to think of all the older guys as the ‘old guard’ in the business. Now I look around and think, ‘what are these young people thinking of me?’”
“We have come to know Jim and his agency through our work with AMIN Worldwide, a global alliance of independently owned agencies,” said Kilgannon. “What began as an initial conversation comparing business notes about our two agency’s goals and values soon developed into what we envisioned as a great opportunity for both our companies and our clients.”
Hired: 1988
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Jonathan Ginburg, promoted to account supervisor.
CMP TAKES FIRST, PASS IT ON
Craig Miller Productions has taken a first prize for its production, “Pass It On.” The project for the US Army won first prize at the 22nd International Military Film Competition “Eserciti e Popoli” (Armies of People) held in Bracciano, Italy. “Pass It On” was awarded the Crest of the Italian Army Support Units Commander. Joe Harris of the United States Department of Defense, Defense Media Activity, received the award from General Giovanni Domenico Pintus, Italian Field Artillery Deputy Commander, on behalf of the United States Army Combat Readiness/Safety Center. The first place award was presented in the category of Promotions. “Pass It On” was also presented the Cup of the Mayor of Bracciano, a special jury award for “Best Selections” for overall technical excellence. Atlanta cinematographer Marc Dobiecki directed “Pass It On” for Craig Miller Productions. The Atlanta-based crew shot at EUE/Screen Gems Studios and Fort McPherson in Atlanta, Georgia, and Conyers, Georgia. The film plays in military theaters throughout the world and centers on US soldiers and their families being a part of something bigger than themselves. By watching after one another, they protect the american soldier and the family that supports him back home. “The projects we have produced for the US Army have always been special work for us”, commented Craig Miller, owner/executive producer of Craig Miller Productions.“When Bill Bauman, US Army Electronic Multimedia Specialist, approached us with this creative idea, we knew it would impact a lot of people. There are very few callings in life that are more important than protecting and honoring the men and women who defend our country.”
www.ozmagazine.com OZ MAGAZINE
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AMES SCULLIN O’HAIRE ON GOLF CHANNEL Golf fans across the country are starting to see Mitsubishi Electric’s Cooling & Heating products on two new TV ads on the Golf Channel. Developed by Mitsubishi Electric’s agency of record, Ames Scullin O’Haire (ASO), the two new spots show pro golfers finding their “comfort zone” in uncomfortable situations: the “Modern Art” commercial with Fred Couples and “Lipstick” with Fred Funk. Two additional spots starring Couples and Funk will debut over the next few months. “The scripts for Fred Couples and Fred Funk were written to take advantage of their main strengths -- being themselves,” said Mike Bourne, ASO’s co-creative director. Both Couples and Funk are leaders on the PGA Champions Tour, for which Mitsubishi Electric is a corporate sponsor. The new spots first broadcasted during the Golf Channel’s broadcast of “The Mitsubishi Electric Championship at Hualalai.” Credits for the spots include: Chief Creative Officer, Patrick Scullin; Creative Director/Writer, Mike Bourne; Creative Director/Art Director, Ryan Mikesell; Senior Producer, Shaun Campbell; Production Company, Golf Channel, Orlando, Fla.
NEW DIRECTION AT GRANT DESIGN Grant Design Collaborative (GDC) promoted Matt DeFrain to creative director. Since joining the firm as a senior designer in April 2000, and most recently as associate creative director, he has provided strategic brand design support for the firm’s international roster of clients. Among other responsibilities, DeFrain will direct and coordinate the firm’s creative team, led by Bill Grant who will continue to oversee client business strategy and creative innovation. DeFrain’s work has been featured in numerous publications including: AIGA 365, Communication Arts, STEP, Print, Graphic Design USA, Contract, Metropolis, Interior Design and How Magazine’s International Annual of Design. His honors include two IIDA Creative Excellence Awards, two Best of Show awards at GlobalShop for exhibit design, Best of Show in AIGA Atlanta’s SEED Awards, and a nod for Best Emerging Artist, 4 Bridges Art Festival in Chattanooga, Tn. for his fine art pieces.
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Before moving to Atlanta, DeFrain obtained a bachelor of science in graphic design from Western Michigan University, spent seven years in various firms across the Chicago area, and a five-year stint designing in Miami where he also served on the Board of Directors of the Miami Chapter of AIGA. GDC recently completed production on Contract magazine’s 33rd Annual Interiors Awards Breakfast program. The agency was once again tasked with the creative development of the ceremony’s audio-visual program comprising the introduction video, designer of the year video, and a suite of 13 conceptually driven project category introductions. Each video explored the theme of “partnerships,” drawing upon each category’s unique vantage point for inspiration and imagery. GDC partnered with Joel Gilmore of Gilmore Directions, Inc. in Atlanta to produce the program. They also created two advertisements promoting the event.
PC&E LANDS THE F65 Production Consultants & Equipment (PC&E), Atlanta’s only full-service motion picture rental company offering camera, lighting and grip, soundstages, and sales and expendables, introduced the new Sony F65 camera system to local directors, DPs, and producers. Jeff Cree of Band Pro Film & Digital led four informative sessions on the Sony F65. The camera utilizes an 8K digital sensor to generate a next generation 4K image. Attendees got to get a close-up look at PC&E’s three Sony F65s. The F65 derives true 4K resolution – and beyond – at the point of image capture. “4K” resolution is 4096 x 2160, which is more than four times greater than full HD (1920x1080). Its unique 8K image sensor, with approximately 20 total megapixels, offers higher image fidelity than any other digital cinema production camera. With 16-bit Linear RAW File output capability, the F65 creates the gateway to an end-to-end 4K file-based mastering workflow. PC&E is the first rental house in the Southeast to offer the F65 for rent as part of an extensive inventory that includes multiple ARRI Alexa, RED EPIC, and Sony F3 cameras as well as the Weisscam HS-2 high-speed camera. They’ve also added a new 3 Ton Cube to their fleet. Cube 7 has a 16-foot box and is the same size as their popular Cube 6. PC&E revamped the grip package on the 3 Ton Cube Trucks. Instead of a 12x12 frame and set, they now offer an 8x8 frame and set to go along with the 6x6 frame and set on the truck. 120 frames per second ability is now offered on PC&E’s ARRI Alexa. This upgrade retains FULL HD resolution of 1920x1080 at ProRes 422HQ setting. Even at this high frame rate, Alexa retains the 14 stops of Dynamic Range and high sensor sensitivity that the camera has become known for. 64GB SxS cards must be used in conjunction with the upgrade and two are provided with the upgrade package. PC&E’s new RED EPIC is one-third the size of a RED ONE. Within the body resides a 5K Mysterium-X™ sensor and a 27 layer ASIC, the most advanced processor of its type, enabling EPIC to capture up to 120 frames per second, each frame at full 14MP resolution. EPIC provides a native dynamic range of over 13 stops and resolution that exceeds 35mm motion picture film. A nice feature is the highspeed capability of EPIC. It can shoot 1-120 fps in 5K resolution, 1-150 fps in 4K, 1-200 fps in 3K and 1-300 fps in 2K. This makes EPIC the perfect choice when shooting dialogue and high speed without the budget for two cameras. Also added to the lighting and grip inventory: the 800w Joker Bug-a-Beam adapter, 8x and 12x Fabric Eggcrates, a JEM Ball and Barger Baglites.
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.AGORA GOES POLITICAL Joe Gora is bringing AGORATV and his technical TV production resources to the 2012 political conventions in Tampa, Fla. and Charlotte, N.C. For a package rate, non-profits, non-governmental organizations, advocacy groups and other organizations can deliver their message directly via broadcast or webcast. Packages include all broadcast equipment and crew, studio space and time, and accommodations. Organizations supply the information and on-air talent, AGORATV supplies network level television facilities to reach the audience.
1575 Northside Drive | Suite 490 | Atlanta, GA 30318 404.351.5800 | 1.800.232.5411 | www.imagers.com
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LOTS OF LAB WORK AT CINEFILM Film is still in demand for features shot in Georgia. Atlanta’s CineFilm Lab handled three feature film projects at the same time. The primary film was a Walden/Fox Film’s comedy starring Billy Crystal, Bette Midler, and Marisa Tomei under the working title of “Parental Guidance.” CineFilm Colorist John Petersen created HD dailies for Oscar-winning Cinematographer Dean Semler. “Dean is one of the biggest names in Hollywood,” notes Petersen, “and he was a delight to work with. We set a very natural look in our suite at the beginning and each day we’d talk on the phone or by email about the challenges or changes needed on individual scenes. Some early tests were done to compare digital cameras to film, but since Crystal was executive producer, he and the other actors preferred the way they look on film.” The production shot about 400,000 feet of 4-perf 35mm. Overlapping with the comedy feature, the Disney Channel shot an original movie in 35mm 3-perf transferred to HDCam SR. “Until We Meet Again” is a musical featuring a young cast of talented singers and dancers featuring Tyler James Williams. It will air in the summer of 2012. And Atlanta native Diane Ashford produced an indy thriller in S16mm for an HD/DI. “Echo at Eleven Oak Drive” stars Rockmond Dunbar. “We are happy to see film be chosen for long-form work,” states CineFilm account executive Joe Huggins, “but we are also committed to managing dailies and finals in all digital formats. Film provides the ‘ classic look’ but we realize the market is moving steadily toward digital.”
CineFilm Colorist John Petersen (L) with Oscar-winning DP Dean Semler on the Atlanta stage of Billy Crystals’s “Parental Guidance” comedy. Semler shot 35mm 4-perf with a Panavision Camera creating Avid HD Dailies.
C21 PROMOTES RENEÉ SPURLIN communications 21® (c21®) promoted Reneé Spurlin from director to vice president of client services. c21 also welcomes Kristi Niro as an account coordinator and the newest member of the agency team. As vice president of client services, Spurlin is the executive responsible for client satisfaction. She also represents c21 at industry organizations including serving on the board of directors of the Atlanta chapter of the American Marketing Association and speaking at the 2012 Bronto Summit Best Practices in email, mobile and social. She shares in the responsibilities for marketing the agency. Since joining c21 in 2006, Spurlin has led award-winning email, experiential and
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interactive marketing and media relations campaigns for Cousins Properties, the Southeast Diary Association, Oldcastle Architectural Product Group and more. She has spoken at numerous marketing industry events on email marketing and other interactive strategies such as social media marketing. Kristi Niro graduated from the University of South Carolina with a bachelor’s degree in public relations. She formerly interned for the National Business Travel Association, where she assisted in planning NBTA’s International Convention and Exposition.
PIRATES OF THE TRAVEL CHANNEL Waitsel Smith, principal at Creative Sharks, created illustrations for Travel Channel series “Hidden City.” The shows feature infamous crimes in places that people like to visit. One of the episodes is about the Florida Keys and involves a notorious pirate named Black Caesar, who roamed the Keys in the late seventeenth and early eighteenth centuries. The filmmakers at Crazy Legs Productions in Atlanta, producers of the series, needed some illustrations of the pirate, Smith provided those.
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CUP O’ JOE FOR BREENSMITH breensmith advertising, in conjunction with Melworks Marketing and HSB Media, recently broke a new advertising campaign centered around RaceTrac convenience store’s new coffee. The campaign, running in the Dallas, Atlanta, Tampa and Orlando, consists of several components including outdoor, print, radio, and interactive. The radio ads feature a peeved gingerbread man ranting about how silly coffee shops have become with drinks like the gingerbread skinny latte, while the print ads center around other common sense lines like “Be your own barista” and “For coffee snobs on a budget.” As for results, it’s early but the reaction has been positive with the client extending the gingerbread man concept into its digital efforts as well as awarding breensmith additional projects. The company also added Andrew Keenan as head of client services and Benjamin Hill as interactive developer. Keenan’s resume includes stints at TBWA/ Chiat Day, San Francisco, Los Angeles and DDB/Needham, Chicago. He is also president of the board of directors at the Callanwolde Fine Art Center and has his EMBA from Georgia State’s Robinson College of Business. The new additions were coupled with a series of promotions, including Adam Millman from senior designer to associate creative director and Alex Cortina from junior account executive to project manager. The staffing moves came just prior to the agency’s scheduled move at the end of the month from its current Castleberry Hill location to its new downtown office, located at 140 Peachtree Street.
1745 Peachtree Street samf laxsouth.com • 404-352-7200 www.ozmagazine.com OZ MAGAZINE
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LAB 601 OPENS SECRET SATELLITE FACILITY LAB 601’s new satellite office in Senoia, Georgia.
LAB 601 has opened a satellite facility on Main Street in Senoia, Ga. to support productions filming south of Atlanta in Senoia, Peachtree City, Newnan, Griffin, and Fayettville. Located only three minutes from Raleigh Studios Atlanta (formerly Riverwood Studios), the new facility offers a range of post-production services and support including dailies and digital LAB services, electronic file delivery, LIVEdit remote editorial, creative editorial including stereoscopic moni-
toring, and voice-over/ADR recording to picture with White Dog Studios. With a scenic third floor view of Senoia’s historic Main Street, their suites are just steps away from fine dining, pub and casual dining, as well as specialty coffee and boutique shopping.
HAVE A SOCIAL AT THE POP SHOP The POP Shop received two gold PPAI Technology Awards. Both were in the new social media category. Superhero duo, Sonya and Brian Beam proudly accepted the awards, which were two of six honors awarded to parent company, Geiger, at the award ceremony. The PPAI Technology Award recognizes members for development and effectiveness through innovative use of technology. The POP Shop was awarded for their “QR Code” and “What Do You Love” campaigns. The “QR Code” campaign promoted a QR Code kit through direct mail, blog, Twitter, Facebook and LinkedIn. The kits educated the recipients on the use and effectiveness of QR Code technology by containing a “How-To” guide and two promo products with QR Codes. Once scanned with a QR Code reader, the link directed users to three optional items through their mobile device: (1) a $75 coupon on future promo product purchase utilizing a QR code, (2) video of QR Codes on “CSI: New York,” and (3) a mobile version of The POP Shop’s EcoHero Catalog filled with more creative ideas. The campaign was a success
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because it provided tangible, easy to understand content regarding QR Codes. After gaining the knowledge, contacts saw the importance of utilizing this advanced method of communication to grow their own businesses and order promotional products with custom QR Codes through The POP Shop. The second campaign was titled “What Do You Love?” and was themed for Valentine’s Day. The objective was to grow The POP Shop’s following on social media channels using social networks. Approximately 1,000 clients received sweepstakes invitations via e-mail while 280 targeted clients received a direct mail invitation and red pen imprinted with “I(heart)thepopshop.” The offer was also extended to existing online followers and fans. The grand prize was a $200 iTunes gift card. Entries had to express “what they love” and fans were encouraged to post on their Twitter or Facebook page. Submittals ranged from humorous to sweet and touching. At the conclusion of the campaign, The POP Shop increased their fan base by 85% and doubled their web traffic. Additional followers were gained in future months resulting in a total increase of 300% since the campaign launched.
ADDING PEOPLE AND POP North Avenue Post (NAP) has a few new faces who are both talented and versatile. Kim Magid comes on board as post supervisor and production coordinator. Ryan Pannell joins as edit assist and assistant camera. NAP has also added the DaVinci Resolve to its list of tools. Senior editor Rob Lederman will be the colorist on Resolve. Lederman had been using Autodesk Smoke for color correction for all of their previous projects, but the recent influx of production work has required a system with more power and flexibility.
TIMBUKTOONS TAKES TELLY Timbuktoons picked up a Bronze award in the 33rd Annual Telly Awards for their piece titled “SuperHero ‘How-To’ Webisodes.” With nearly 11,000 entries from all 50 states and numerous countries, this is truly an honor. Timbuktoons helped develop a series concept of fun animated “how-to” videos to help encourage, inspire and train officials on new reporting procedures for helping former military personnel in their educational endeavors. Timbuktoons worked on the concept and visual development, scripts, art direction, character design and final animation.
ART INSTITUTE NAMES NEW DIRECTOR
YOUR SEARCH FOR THE RIGHT CREATIVE PARTNERS BEGINS AND ENDS HERE.
Jennifer Ramey has been named campus director at The Art Institute of Atlanta-Decatur, a branch of The Art Institute of Atlanta. Ramey earned her bachelor’s degree in English/secondary education/communications from Grove City (PA) College. She taught for one year before changing fields, first working as an assistant manager at Abercrombie & Fitch, prior to becoming assistant director of admissions at The Art Institute of Pittsburgh in 2000. Ramey moved to Atlanta in 2006 when she became director of admissions at The Art Institute of Atlanta. She was named senior director of admissions with the opening of The Art Institute of Atlanta–Decatur in 2007. In 2011, she became northeast admissions specialist for The Art Institutes.
A TUBE OF SUMMER SIZZLE Tube put their knowledge of TNT’s summer line-up to the test by working on a three minute, behind-the-scenes sizzle reel with TNT senior producer, Nick Pride. Tube editor, Greg Partridge, worked to compile all of the behind-thescenes footage and cast interviews for the network’s five returning shows and three premiering shows for the network’s summer line-up: “The Closer,” “Falling Skies,” “Franklin & Bash,” “Rizzoli & Isles,” “Leverage,” “Perception,” “Major Crimes,” and “Dallas.” The video also serves as the online debut of TNT’s re-brand, a departure from the glittering transitions of TNT of past years. Minimal and robust, the updated TNT identity lends itself to dramatic moments, bold messaging, and quick cuts. Promoting the new reel and increasing viewership, TNT’s “Summer Sizzle” will air online at the network site as well as throughout airports, on in-flight airline programming, and in subways nationwide. The video will debut on TNT later this month. Tube was really lucky to spend some time with Melt in New Orleans filming footage for their upcoming project “Coke Zero Presents: the Big Dance in the Big Easy” for the NCAA Final Four. Tube spent two days roaming and filming everything that makes New Orleans one-of-a-kind: fortune tellers, street performers, trolleys, oysters, po’ boys, piano bars, and beads. “Coke Zero Presents: the Big Dance in the Big Easy” aired on CBS the day of the Final Four.
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Scan the code or visit HitTheLoop.com to start finding exactly who you need from within Georgia’s visual media industry.
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MORE COUNTIES CAMERA READY Georgia’s Film, Music & Digital Entertainment Office says 25 more counties have earned the title of being “camera ready” for TV and movie projects. The new “camera ready” counties include Bleckley, Brantley, Brooks, Bryan, Clay, Crawford, Dodge, Early, Forsyth, Gilmer, Grady, Lamar, Lanier, Madison, Monroe, Oglethorpe, Quitman, Seminole, Stewart, Talbot, Telfair, Thomas, Tift, Turner and Wilkinson. The latest additions mean that at least 137 Georgia counties have named a local liaison to assist film and television producers seeking to shoot at locations in their communities. State officials say more than 336 projects were filmed in Georgia in the fiscal year ending June 30, with an economic investment of more than $683 million.
A PR CHAMPION Kelsey Schmitt has been awarded the Georgia PRSA Champion award in recognition of her outstanding volunteer work for the chapter. Schmitt was presented with a certificate and inscribed pen at the chapter’s monthly meeting. “I decided to become involved in PRSA|GA after attending Real World PR in 2010,” said Schmitt. “Because I attended Real World PR, I landed my first postcollege internship with Primrose Schools.” She then landed her first full-time position with Popeye’s Louisiana Kitchen and has been a communications coordinator with Popeye’s for the past two years. Schmitt graduated from Grady College of Journalism and Mass Communication at the University of Georgia with a bachelor of arts in journalism. She
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has served on the College Relations Committee Real World Student Relations Team for two years and is leading this year’s team. She has also co-chaired the Young Professionals Special Interest Group for the past two years.
BIZ GRABBING ARKETI Lots of news from high-tech PR and digital marketing firm Arketi Group. Knowlagent, a leading productivity solution for the world’s 13 million call center agents, named Arketi as its agency of record. The firm will build on its aggressive 2011 integrated marketing effort that launched Knowlagent’s new Software-as-a-Service Productivity Platform, which is designed to increase call center agent utilization by delivering off-phone activities to agents when call volume dips and idle time exists. MediKeeper, a leading health information integration company, chose the firm to lead strategic marketing initiatives. MediKeeper provides a customizable health information portal that integrates all of a user’s health-related data into one easy-to-use location. PrimeRevenue, the leading SaaS platform for Supply Chain Finance (SCF) selected Arketi as its agency of record. PrimeRevenue provides a web-based, multi-bank SCF platform to buyers and their suppliers to increase cash, protect working capital, and reduce cost and risk throughout the supply chain. Arketi recently developed a new website and produced a video for PrimeRevenue to launch the company’s new positioning and offering. Arketi is applying both traditional and digital marketing practices, which will soon extend into public relations initiatives. On the personnel front, Areketi principal Mike Neumeier will serve as Secretary-Treasurer for the Public Relations Society of America (PRSA) Counselors Academy. Counselors Academy is a national professional interest section of PRSA that facilitates peer-to-peer exchanges between senior-level agency executives regarding public relations agency management. Focusing on professional development, ethical standards and agency practices, Counselors Academy programs are designed to encourage networking, mentoring and peer support between principals and senior counselors of public relations firms.
JAYAN DIRECTOR GETS WATCHED “The Fat Boy Chronicles,” directed by Jayan Films’ newest director, Jason Winn, was named Redbox’s ninth top rental under the family film category within the first week of its release. Currently it’s number seven. Released by Phase 4 Films, in association with Melee Entertainment, “The Fat Boy Chronicles” is inspired by a true story addressing bullying in America. The lead character is the subject of brutal high school bullying. He overcomes the torment by finding the strength to focus on his goal to lose weight. The film has been heralded by critics for bringing real world issues affecting teenagers to audiences looking for answers. Dr. John Barge, Superintendent of Schools, State of Georgia, declares it “a must see for every parent and educator.” Anna Arnold, President of the International Bullying Prevention Association states, “This film will help empower our youth to engage in peaceful, respectful relationships free of bullying.”
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CETERA
MARIE ANTOINETTE: CREATIVE INGENUITY AT ITS BEST If you were lucky enough to get to The Next Cool Event in February, you could not have missed Paris on Ponce’s exhibit of Marie Antoinette. And like the many people who were buzzing around this exhibit, you may have asked yourself, “How the heck did they do that?” The answer to this is long hours, crafty hands and a little help from friends! The goal of sourcing the right materials was a little like the items sold at Paris on Ponce, that unique bohemian shopping and prop rental shop in the heart of midtown - reused, renewed and inexpensive. The team of designers consisted of Skip Engelbrecht, Nicolette Valdespino, John Gibson, and Sonja Schenke of Paris on Ponce and Nancy Couture, co-owner of Knot Couture, an alternative wedding dress design company, along with a cadre of volunteers. They created an extravagant character from history made completely out of paper. Their challenge was to make complete opulence out of the most ordinary medium. To do this, Marie Antoinette’s head was created first with chicken wire that was bent into a large conical shape. The team then crumpled a roll of white draft tissue paper that they bought from Sam Flax Art Supplies and overlaid it on top of the frame. They covered this with lots of curly spirals. So, how did they make those spirals? Skip Engelbrecht, co-owner of Paris on Ponce, was riding mopeds with Matt Turner, co-founder of Material6, on their weekly outing. Engelbrecht was scratching his head over how to make this exhibit fascinating. He and Turner discussed using some of Turner’s machinery to help produce the display. What they came up with was pretty astounding. They designed a spiral, and laser-cut it onto 500 sheets of copy paper, producing the hundreds of swirly curls in Marie’s bouffant! Schenke then designed images of 3D flying bumblebees in Adobe Illustrator and Turner laser-cut these bees onto sheets of cardboard. These were the bees seen buzzing atop Marie’s head. Remember she was “bee”-headed. Her enormous bouffant is being carried away by a flock of bees! They topped it off by crafting large, colorful flowers out of colored tissue paper and placing these in her hair.
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The body of the skirt, including the bustle, was made out of brown craft paper cut into 18 by 18 inch squares and pleated in a deco like fashion. These were affixed like shingles on a roof by brads to an undercarriage made out of chicken wire. Then, they spray painted white tissue paper with an overlay in gold, pleated it, and hole punched it for an eyelet trim effect. With scissors they scalloped the edges and then scrunched the paper. The sleeves were also made out of tissue paper, gold-laced and gathered at the elbow, where pleated craft paper overlaid colorful tissue paper to form a bell shaped cuff. The secrets in her underskirt came from the gossip section of a French newspaper. This was decoupaged along with images of corseted and gilded woman who lived during this time. And last but not least, Mrs. Antoinette’s shoes were made entirely out of French newspaper with colorful scrapbook paper fashioned into a bow and topped off with a French franc as a button. This wonderful result took about 50 hours per person of hard, fun work and is definitely something you can spend some time really looking at in amazement. Curious to take a peek? Marie Antoinette is on display at Paris on Ponce, located at 716 Ponce De Leon Place, across from City Hall East.
HAVE NEWS FOR OZ MAGAZINE? Send your PR to ozcetera@ozonline.tv, along with relevant photos!
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f f o e m e c i sl piece of a pie! that much w o h s t ho ge et pie. w f o n w udg kdo b a e n r o i b t c e u h T prod azemore e h t f o t ou ichole B by N
In just four, short years, the film and television industry has transformed Georgia’s economic landscape. In 2008, the Georgia Entertainment Industry Act unleashed an aggressive program of tax credits and breaks for production companies that allows a generous 20 percent tax credit on production and post-production activities of at least $500,000. The incentives give production companies an additional 10 percent tax credit if the state’s promotional logo appears in the credits of the finished piece.
The tax incentive’s impact on the state has been astounding: between July 2010 and June 2011, more than 336 productions have added $2.4 billion to Georgia’s bottom line, according to the Georgia Film, Music & Digital Entertainment Office. But how, exactly, does that play out? Where is that money spent and how does it benefit local businesses? Well, the obvious, immediate benefactors are restaurants, retail stores and coffee shops. But what you might not realize is that other businesses are also getting a healthy slice of the money pie, too—businesses like hardware stores, commercial property management companies, nightclubs, caterers, and more. Here, we profile just a few of the hundreds of local business owners who are benefitting from the production boom.
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15,000 Sq. Ft. of Exotic Electronics, RJR Prop Shop
“This is the coolest job I could ever ask for.” Rich Rappaport, Owner, RJR Props You know those elevator scenes in movies, where two people are talking nonchalantly as they glide between one floor and another? Or the mall scenes, where it looks like people are really strolling through a mall? Oftentimes, those aren’t elevators or malls at all, but meticulously constructed and designed replicas. That’s because, in an effort to save time and space and not interrupt the flow of normal business activity, set designers and construction foremen will elect to build the scene from scratch offsite. When they need to fill the spaces with equipment to look like the real deal—in this case, elevators or malls— they call in props experts, like Rich Rappaport, better known as “RJ,” owner of RJR Props in Atlanta. For more than 20 years, RJ ran a company that supplied exotic industrial electronics equipment to the military. “If I saw interesting-looking pieces, I kept them. I couldn’t give them away,” RJ explains. That business took a hit during the economic downturn in 2008. But in 2009, just one year after the tax incentives took effect, RJ started getting calls from an unexpected source: movie folks wanting to rent specialized equipment. He answered the call, and started renting out pieces from his collection to film crews.
In 2010, RJ got the call that changed the course of his business. Bob Shelley, the special effects mastermind behind dozens of films, including Desperado, Driving Miss Daisy and Ghostbusters, called with a unique . . . and urgent . . . request. He needed a specialized piece of equipment, called an annunciator, which is basically a panel of lights that you might find on an elevator or in a hotel lobby. It indicates there’s a problem, like a fire in a building. It was a Monday morning, and Shelley needed the panel to be sourced, fully modified and installed on the set by Tuesday. That film was “Big Mommas: Like Father, Like Son” with Martin Lawrence. Shelley was doubtful that RJ would have the piece but to his surprise, RJ had it, and helped Shelley modify it in time. “He said, ‘You have a goldmine. You could be a great resource,’” RJ remembers. Shelley’s words proved prophetic. In just two years, RJR Props has supplied props for a number of TV shows, such as the TBS show “Never Fail,” which was later renamed “Level Up.” RJ moved on to provide props to a wide variety of pilots, independent films, commercials, and feature films, including “American Reunion,” “Coma,” and the Disney production “The Odd Life of Timothy Green,” starring Jennifer Garner. RJ’s seven-employee company operates out of a commercial/ warehouse space in Southwest Atlanta. His 15,000 sq. ft. warehouse includes more than 30,000 industrial electronics items.
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One scan of his 35 ft. high shelves reveals thousands of exotic devices, including sci-fi props, military gear, gas masks, police radios, medical props, heart monitors, doctor’s office props, thousands of office props and more. Once he receives a call from a production crew, RJ’s team cleans and preps the props and gets them ready for pickup. If he doesn’t have a prop in stock, he and his team find it or create it. “We can design virtually any electronics they need or build a large number of props, as well as sometimes help them on set,” he says. That increased business has more than made up for the estimated 15 percent losses Rappaport’s electronics supplies business experienced during the economic downturn. “It’s opened up new doors,” he says. “I never would have imagined at this point in my life meeting the people I’ve met. It’s been really cool. It’s been amazing.”
Location, Location, Location Commercial Properties
“The movie industry drove revenue to onsite shops and restaurants and other outlets in the area. When you consider what we’ve made, it’s pure profit, found money, per se.” Pete Hobbs, Property Manager, The Terminus Patillo Industrial Real Estate is a privately-held industrial development company based in Southeast Atlanta. The company owns 21 million sq. ft. of building space across the Southeast; 13 million sq. ft. in GA alone. With headquarters in Southeast Atlanta, the company is well-situated to take advantage of the commercial film production in the state. Over the last three years, Patillo has done five to six production deals in buildings in GA, a welcome respite from the prior few years, when the
Terminus Project commercial real estate market suffered from a record number of vacancies. “What the movie industry has helped us as a company do, is they’ve made those unproductive assets productive for us and the communities they’re in,” says Ben Stafford, Director of Leasing and Sales for Patillo. Stafford says Patillo’s commercial assets range in size from 60,000150,000 sq. ft., and are ideal for companies looking to set up shop for accounting, production specialists, costumes, construction, and more. He says production companies sign leases anywhere from six months to five years in length, though the majority are short-term (less than 12 months). Production companies have leased Patillo’s buildings for “Big Mommas: Like Father, Like Son” with Martin Lawrence, “H2,”“Rob Zombie,” a cartoon pilot for Turner Broadcasting, and “Fast Five.” Stafford says while Patillo benefits immediately from the productions, the economic benefits trickle down to the local community, especially Newton and DeKalb Counties, where Patillo has experienced most of the film activity. ”It helps fill up our buildings, crew and staff spend money in local restaurants, and construction crews visit local hardware stores to buy supplies,” he says. Pete Hobbs is Property Manager for Terminus, the upscale office towers located at the corner of Peachtree and Piedmont streets in Atlanta. Like Stafford, Hobbs says the Terminus 200 office tower had a slew of vacancies in 2008/2009. Now, just three years later, it’s eighty-seven percent occupied. The property has been the stage for four to five very large scale productions, and more than a dozen smaller productions. “It brought a level of buzz we didn’t have before. Tenants got a
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Loews Atlanta Hotel
kick out of seeing people that came on-site. It drove revenue to on-site shops and restaurants and other outlets in the area. When you consider what we’ve made, it’s pure profit, found money, per se. It’s been well over a quarter million dollars over two years,” he says.
Kick Back and Stay Awhile Loews Atlanta Hotel “This is their home away from home and we want to create a pleasant environment for them. If they’re happy, we’re happy.” DeMarco McMillan, Director of Entertainment, Loews Atlanta Hotel Just minutes away from the Terminus, in Midtown Atlanta, the Loews Atlanta Hotel is a swanky, architectural accent on the corner of Peachtree Street. City residents and unsuspecting tourists might just consider it a hotel, but the upscale hotel is also a
backdrop for TV shows and feature films. “Necessary Roughness” filmed a scene here, as did Tyler Perry’s recent movie, “Good Deeds.” It’s also home away from home for movie producers and directors. DeMarco McMillan is Loews’ director of entertainment. He says not only is the hotel a sometime movie set, but it also provides housing for production crews. McMillan says crews stay an average of three months, very welcome news after the economic decline of previous years. In fact, McMillan says in 2011, longterm stays from production crews accounted for an estimated 20 percent of the hotel’s overall business, a trend he doesn’t see changing anytime soon. “There are not enough hotels in Atlanta to satisfy the demand we’re seeing,” McMillan explains. “We foresee it being steady. As long as the tax incentive is in place, we don’t see it declining at all. The entertainment industry has propelled us into the spotlight of major cities. It’s helped increase the profile of the city itself. We as a city are beginning to understand how important it is to raise the profile of the city and tourism,” he says. www.ozmagazine.com OZ MAGAZINE
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Mike Maxwell & Co.
plans. Today, the company caters for film sets nationwide, but has found work in the Southeast, namely Louisiana and Georgia, picking up in the past few years. “Georgia was smart to put tax incentives in place. The last couple of years have been really, really busy,” she says. So busy, Maxwell says the company has seen a 25 to 30 percent increase in business across the board.
Eat, Drink and Be Merry – Mike Maxwell and Company “The last three years have been great. The incentives have helped our business 25-35 percent across the board.” Liz Maxwell, Owner/Operator, Mike Maxwell and Company, Georgia Where do hungry film crews go after they’ve worked up a voracious appetite? Sometimes, to local restaurants. But more often, no further than on set, where a catering company has been busy preparing and serving up meals. Liz Maxwell owns Mike Maxwell and Company, a motion picture catering company, with her husband, Michael. The Maxwells started their company 22 years ago in LA, but moved to the middle of the country because California didn’t keep its incentive
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For the past three years, Maxwell and Company has fed film crews working onsite in Georgia. They list “Mean Girls 2,” “The Greening of Whitney Brown” and “Road Trip 2” among their clients. Maxwell says she and her team work a five-day week, sometimes days and nights, and feed cast, crew and everyone working on the production every six hours. So, what might be a 17 to 18 hour day for the cast and crew can turn into a 20 to 22 hour day for Maxwell and her team. Still, Maxwell enjoys the challenge. “Food is a common denominator. Everybody enjoys a good meal. You compete with restaurants. You have to keep them interested,” she says.
It’s a Wrap Tongue & Groove The production boom has helped Atlanta nightclubs get their groove back, as well. Buckhead’s Tongue & Groove (T&G) was the backdrop for a number of scenes in films and wrap parties last year. In fact, according to Donna Frederick, T&G’s Corporate Events and Marketing Director, film-related events accounted for 10 percent of the facility’s revenue in 2011. Frederick says the club has hosted these events into 2012 as well, and while she declined to give specific names, says it has also hosted a number of celebrities during their stay in the city. “We are extremely excited to see Atlanta thrive in the film industry and appreciate the revenue it brings to a variety of businesses in town,” she says.
Story continues on p. 26
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Feature Film Expenditures in Georgia
Tripproduction 2 Expenditures The pie chart showing where feature film Road and television money is spent is getting bigger and bigger. And the number of people and companies getting a slice is growing. Accommodations
ATLin Expenditures Feature Film Expenditures Georgia Production Vehical Rentals
Accommodations
$199,484
Road Trip 2
$128,526 Production Vehical Rentals Caterering/Caterering Supplies
$238,833
$164,004
$98,302
$179,797
$580,564
$5,131
Hardware/Lumber Supplies
$235,947
$18,070 $2,157,146
Caterering/Caterering Supplies
$90,775
$110,258
Hardware/Lumber Supplies
$69,344
Local Wardrobe Purchases
$25,642
Local Wardrobe Purchases
$718 Dry Cleaning/Laundering Dry Cleaning/Laundering
$142,827 $49,972
Public/Private Location Fees
$22,562
Public/Private Location Fees
$105,945
Local Security Hired
Local Security Hired
Local Crew Hires
$3,663,237
Local Crew HiresProduction Office Personnel/Equipment Other Rentals/Purchases (camera/grip
$1,160,955
props, picture cars, airfares, Production Officeequipment, Personnel/Equipment locations)
ATL
ATL Expenditures
Midnight in the Garden of Good and Evil Expenditures
Midnight in the Garden of Good and Evil Accommodations
$199,484
$66,850
$128,526
$215,302
Production Vehical Rentals
$238,833 $98,302 $90,775
$287,731 $31,825
Caterering/Caterering Supplies
$2,157,146
$339,445
$2,557
$404,035
Hardware/Lumber Supplies
Production Vehical Rentals
$338,109
Hardware/Lumber Supplies
$69,344
$94,347
Local Wardrobe Purchases $56,055
Dry Cleaning/Laundering
Caterering/Caterering Supp
$64,762 $219,450
Local Wardrobe Purchases
Accommodations
$219,071
Caterering/Caterering $2,005,906 Supplies
$47,593
$5,131 $235,947
$15,356 $65,109 $9,048
We Are Marshall Other Rentals/Purchases (camera/grip Accommodations We Are Marshall Expenditures equipment, props, picture cars, airfares, $399,151 Production Vehical Rentals locations) $105,831
Hardware/Lumber Supplies
Local Wardrobe Purchases
Dry Cleaning/Laundering
Dry Cleaning/Laundering
Public/Private Location Fees
Public/Private Location Fees
$105,945
Local Security Hired
Public/Private Location Fees
Local Security Hired
Local Crew Hires
Local Security Hired
Production Office Personnel/
Local Crew Hires
Local Crew Hires
$3,663,237 $6,962,110 Production Office Personnel/Equipment
Other Rentals/Purchases (camera/grip equipment, props, picture cars, airfares, locations)
Production Office Personnel/Equipment
$4,837,671
Other Rentals/Purchases (camera/grip equipment, props, picture cars, airfares, locations)
Another Slice of Pie, Please!
Want to get in on the action, but afraid you can’t because you’re not a large-scale, commercial entity? No worries. The great thing about the film and movie productions is that their list of needs is extensive, to put it mildly. There is always “one more thing” the crew needs to make the production come off as smoothly and believably as possible. Remember the earlier example of the office and elevator scenarios? Many productions have to build whole streetscapes and other scenes from scratch. So, maybe you’re a local florist or landscape company that can rent or sell plants to movie crews. Or, maybe you collect rare antiques or eclectic furniture and are willing to rent them to a crew. Do you own a dry cleaning company or transportation service? Production crews need to have freshly laundered clothes and a way to get around town. Perhaps you have a beautiful home with a large backyard or studio space and could use a little help with the mortgage. Finally, if you need some extra money or want to rub shoulders with stars, consider becoming an extra. Movies are always on the lookout for a few extra faces. It’s an easy way to make what you would at a part-time (and probably much less interesting) job. The bottom line is: if you’re willing, ambitious, enterprising and hungry you, too, can benefit from the production boom and get your own hefty—and delicious—piece of the pie.
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Other Rentals/Purchases (ca equipment, props, picture c locations)
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Production Support Services
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FEATURE
+1000
The Adoring Crowd Indy Filmmakers are raising funds via the web, social networks and crowd funding. By Bobby L. Hickman
Financing an independent movie project has always been a challenge, but filmmakers are increasingly turning to a new method for raising funds and gathering support: crowd funding.
Atlanta bluegrass band the Mosier Brothers. As the project grew, Kabashinski “realized this wasn’t going to be a little project anymore: I needed more talented people and more money.”
Crowd funding – people pooling money and other resources to support a charitable or artistic project – is not a new concept. However, the Internet and social media have provided new energy and broader reach for the practice. Web sites such as Kickstarter, IndieGoGo and Atlanta-based iFundie provide platforms where independent filmmakers, musicians, writers, and other creatives can solicit donations to support their artistic projects. Donors are not making a traditional investment in return for a share of the profits, but rather are contributing money to promising undertakings or to support individual artists.
As she interviewed other filmmakers, she found the biggest challenge would be financing. She researched existing crowd funding sites such as Kickstarter and IndieGoGo. “Since our company develops web sites, we decided we could develop our own site for raising funds,” Kabashinski says. Building her own site also allowed her to avoid the fees that the other sites charge. “So we built the site www.traditionthefilm.com and sent it out to friends
We talked with three area filmmakers who have gone through the crowd funding process. They all started out doing research online and talking with peers, and ended up adopting different platforms to raise funds for projects that will be released in coming months.
Michelle Kabashinski, Executive Producer, “Tradition” Michelle Kabashinski lined up feature director Lance Dreesen for a short film based on a script her husband, John Kabashinski, had written: “Tradition,” a musical parody based on the classic “Fiddler on the Roof.” She soon enlisted Schuler Hensley, the opera singer and Tony-award winning actor, and for the music,
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and contacts, which kick-started a lot of people supporting it financially. We also have a lot of people in the industry donating talent and time,” contributing set design, costumes, choreography and casting services. “From our own contacts, we’ve raised $1,790.47 through our website,” she continued. “The goal is to raise $22,700 by May.” Shooting is scheduled to start on May 16 for five principal shoot days. Much of the pre-production is done, and “we’re trying to find the right executive producer to work with: not someone who just gives you money and walks away, but works with you long-term, provides input and goes with you to film festivals – and we hope, ultimately, to the Academy Awards.” The next step is to get in front of other groups and individuals, particularly for larger donations. After one filmmaker suggested aligning with a 501(c)(3) for fundraising, Kabashinski says, “We are working with Georgia BIG PICTURE - www.gabpc.com. If someone donates to them -- in our name or for our film, “Tradition” -- the donor gets a tax write-off.” BIG PICTURE gets a percentage of the donations, she adds, but the tax deduction “also provides more of an incentive for people to donate big money.” “We’ve run some numbers and this is about a $60,000 film that we’re doing for $20,000,” she says. “We’re not cutting corners; we just have so many talented people who are donating their time in kind. Crowd sourcing is not as much about the dollar amount as it is finding the right people.”
Patrick Caudle, Filmmaker, “When The Lights Go Out: The Story of House of Fools” Patrick Caudle has been shooting his documentary for five years, traveling the country filming the band House of Fools from Greensboro, North Carolina. “The first House of Fools show I filmed was in 2007 at the Masquerade in Atlanta,” he notes. For the past year, he has been filming the band as they recorded their new record, “Versus the Beast.” He had planned to conclude
the documentary with the release show for their record. “For my grand finale, I wanted to bring in crew and a lot of cameras, really blowing it out to end it,” he recalls. “But by the time we actually got around to that, my funds had pretty much run out.” Looking for funds, he talked to another filmmaker from Tennessee who had used Kickstarter successfully for a music video. So Caudle did some research “and decided that was the route I wanted to go. I decided if I couldn’t get a certain amount of money (through Kickstarter), I would just wing it -- which is really what I’ve done all along to finance the entire project.” He says the Kickstarter process begins with a project description. “Once they accept it, the next step is shooting an introductory video,” along with a detailed project description and biography. “We also had to come up with creative marketing incentives,” Caudle says. “We had 20 different incentive packages,” with more incentives for higher donations. The incentives started with a digital copy of the album for $10, with higher contributions netting copies of the documentary, an exclusive poster, a private screening, “and for $200, you could be in the documentary. You have to come up with as many creative things as possible to market and get as many people involved as you can.”
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After determining “how much I would have to spend to get these incentives out to the people,” he continues, “we submitted the project.” The fundraising campaign ran for a month, ending three days before the actual concert he needed to film. “I would suggest people doing the end date farther out than that. “We used social networking to market the film, particularly Facebook, because the band had thousands of friends, and I have about 1,000 connections,” Caudle says. They also linked in some music videos he had done with the band, which gave “us a lot of notoriety on different blogging sites, like AllMediaReviews and Tumblr.” He adds, “Luckily we had a lot of content to work with. A lot of times, people don’t have content and possibly won’t have any; but for me, I was just trying to get the money together to hit a home run at the end of this.” “We raised about $1,800: 50% more than the target amount of $1200,” Caudle says. “Kickstarter doesn’t want people donating to a project that is underfunded, and they don’t want the creative person working on a project that’s underfunded. If you don’t hit your number, you don’t get any of the money. By day 22 of 31 days, we had hit our target.” With the extra funds, he was able to fly in his crew, and provide them food and lodging. “I got to rent some of the best equipment I could get my hands on, and we got a beautiful shoot using 13 camera angles. We ran a soundboard to record 16 tracks of audio.” Caudle adds, “We accomplished every goal that I wanted to accomplish. Without Kickstarter, I would have had to take two weeks off work, and that would have really hurt me. Without the Kickstarter money, I probably wouldn’t have been able to do this.” Incentive fulfillment has taken more time than he expected. “But without those incentives, we wouldn’t have raised the money. It’s been a lifesaver and a project-saver.”
throughout the project, she notes. “We’re in post-production and still looking for more money to finish up by early June.” This project “was the one that kind of kick-started the iFundie web site,” Ashford continues. “Since they were new, we worked out a deal for a nominal fee and we were able to keep a majority of the funds that we raised -- whereas on Kickstarter, if you don’t make your target goal, you don’t get the money.”
Caudle says the team has “a rough date of the documentary coming out by early June. I’m in no mood to rush it after filming for five years.” He plans to take the documentary to at least 50 festivals, calling the film “a creative new way of marketing for the band and for me.” He adds, “I think the most compelling aspect of these sites like Kickstarter is that they allow the artist to maintain full creative control of the project while gaining financial backing and support. The old system worked to the disadvantage of the artist and the art. Now consumers are sidestepping the industry and getting a truer and less commercial product.”
Ashford says it is “really cool how it came together and how people have responded to us.” She said they have had people do personal YouTube videos supporting the project; auto-tweets on Twitter that send out messages every two to three hours; and “some celebrities tweeting for us.”
Diane Ashford, Producer, “Echo at 11 Oak Drive”
She noted that crowd funding “is a job in itself. I won’t say it’s a full-time job, but you have to constantly reach out to people through emails, Facebook, Twitter -- any social media you can use to enlist all your connections.” Ashford says a shorter campaign period seems to work better: “The longer period of time your campaign runs, the more time people think they have to give you money, so they wait.”
Diane Ashford of Symmetry Entertainment launched a 60-day campaign in January 2011 on iFundie. “Our goal was $80,000,” she says. “We raised about $23,000 – mostly from friends and family giving $1 to $100. Then other people invested once we were able to show that we did $23,000 in two months on the Internet.” Production began with roughly $40,000 in October 2011 and wrapped the following month. Fundraising has continued
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The project also offered incentives based on amounts contributed, ranging from T-shirts to different titles such as associate producer. “You could even shadow me or Crystle (Clear Roberson), the director, if you were interested in those jobs.”
Most importantly, she adds, “You have to stay on top of it and do something every single day. You can’t just send out one email and think people are going to respond from that one contact.”
BEHIND THE CAMERA WITH DREWPROPS
Never Mess With
Whit
You never forget your first real film set; the directors chairs, the big lights, the fancy cameras, all the people named “JJ” - it can be pretty overwhelming when you realize that you’re standing smack dab in the middle of an actual movie set and someone is yelling at you. LOUDLY.
She was speaking of Whit Norris, a sound mixer who taught her the classic C-47 game. For those who don’t know, “C-47” is a mock technical specification for clothespins, unique to the motion picture industry – specifically the electric department. Look it up, it’s on Wikipedia.
Get out of the %*$#ing shot!!!
Electricians will always have a few C-47s clipped to their person because at some point the gaffer will growl into his walkie-talkie, “put some Loving Amber on it.” That’s not a sly dating maneuver; it’s an instruction to attach a sheet of reddish-orange gelatin to the frame in front of a light in order to warm up the skin tones of the actors standing under the lights . . . and clothespins are cheap and easy clamps for getting that done.
As a PA, you spend a lot of time trying not to stare at the crew as they do their job – it’s terribly fascinating but not the sort of thing you can learn in one day. The most you can hope for is to stay out of the way of the people who do know what they’re doing and to pick up a few bits of knowledge along the way. Some people aren’t cut out for the fast pace and pressure of a film set, but the ones who do have that special quality that I like to call “getting it.” That is to say, they have an instant and inherent comprehension of the processes of a shooting set. My friend Day Permuy was one of those people who “got it.” I knew the first time that I met her as a fresh-faced PA on the set of a spec shoot for a horror movie that she would have a solid career in the film business. If you’d told me that 15 years later she’d be one of Atlanta’s busiest production coordinators, I wouldn’t have been surprised. Recently, I dropped by the production office of the DeNiro/Travolta show “Killing Season” to spend a few minutes with Permuy to find out the most important lesson she’d learned during her days as a PA. The answer was surprising: “Never mess with Whit.”
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The C-47 game is simple: just slip up behind someone and surreptitiously clip a clothespin to their shirt, or their hat – someplace really, really obvious to everyone else but them. It’s the film set equivalent of a “kick me” sign, and it’s especially fun when you take turns clipping C-47s to the ones already hanging off of an unsuspecting mark. It isn’t uncommon to see a long tail of clothespins hanging off a slow-moving 1st AD. You more often see PAs playing this game and Permuy confesses that she had become rather addicted and had “possibly” developed a reputation as the “clothespin girl” around set. Her only mistake was when she decided that “the student had become the master,” and she tagged Norris with a clothespin. When he discovered the clothespin clipped to his shirt he knew that Permuy was ready for her next level of training. As the crew headed to lunch, the young PA Permuy was assigned to count the crew and call “last man through” the line.
She noticed a group of grips headed down to the parking lot with some toolboxes and thought nothing of it until they returned grinning. As the guys went through the line one of them turned to Permuy and said, “You might want to take a look at your car.” Permuy strolled down to crew parking expecting to find her car up on blocks, but when she got there it looked fine. She walked around it twice, looking for signs of tampering. Convinced all was well, she went back up to the set and informed the grips that she knew that they’d just been messing with her. “You’d might better take a closer look,” was the reply she received. She worriedly snuck back down to look again, but there was no visible tampering on the outside. She opened the car and sat down inside to look around. The radio was still there, the windows were in place, and the seats were fine, what was the big deal?? In frustration she went to rest her head on the steering wheel, and missed.
HOLY CRAP! The car had no steeringwheel!! She beat a line back up to set to find out where her steering wheel had gone, but the grips weren’t talking. Since she was still
fairly green, Permuy had been assigned different tasks near set, but not directly on set, and as a result, she could only look for her missing steering wheel in so many places. As the day wore on, more and more people from other departments would walk past Permuy and give her a special knowing smile, and each time her panic would ratchet a little tighter . . . how in the heck was she going to get home without a steering wheel on her car? How did everybody but her know where it was? Finally, she found an excuse to go directly up into the shooting set. Trying not to look frantic, she scoured the place for her missing steering wheel. Every cart got the once over. She looked to see if it had been raised way up on a stand or mixed into the camera department’s gear. Finally, near defeat, she paused to watch the scene being filmed when her stomach suddenly lurched sideways, for there, on the wall of the set, directly behind the actors, was Permuy’s steering wheel. It had been incorporated into the artwork hanging on the wall and it had been established in the shot! There was no way she could retrieve her steering wheel now because it would wreck the continuity of the scene if it went missing! For the remaining days they shot at that location, Permuy had to drive to work and let the grips take the steering wheel off her car and hang it on the wall, proving the point: Never mess with Whit.
Our people make the difference.
We are PC&E
One Source, One Call, 24/7 Atlanta’s most comprehensive production equipment supplier for over 25 years. www.pce-atlanta.com 800-537-4021 404-609-9001 2235 DeFoor Hills Road, Atlanta, GA 30318
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G N I O G
IN THE GUERILLA MARKETING AGE, THE DAYS OF STORYBOARDS AND PITCHES CAN OFTEN FEEL LIKE ANCIENT HISTORY. By Felicia Feaster
“Mad Men” has been a hit with nostalgia fans: the stylish cars, the vintage clothes, and the outdated office scruples (or lack thereof ). But its vision of advertising also feels distinctly retro, especially considering the lightning speed and often unconventional ways modern day ad-men and women get their point across. In the contemporary media age, the days of storyboards and pitches can often feel like ancient history. These days, “going viral” is the operative lexicon. Instead of shoveling money into traditional media, the new objective is to allow the public to disseminate your message. And the best tool for achieving those objectives is often guerrilla marketing. Guerilla marketing employs a range of tactics, including social media like YouTube, Vimeo, Tumblr, Facebook and Twitter, street art, murals, iPhone apps and games, sticker-bombing, contests, word of mouth and flash mobs to get a message across.
The term “guerrilla marketing” was first coined by adman Jay Conrad Levinson in his 1984 book Guerrilla Marketing and is inspired by the similarly adaptive, creative, unconventional war-waging tactics of guerrilla soldiers. The aim of guerrilla marketing is simple. Take advertising out of its usual venues: magazines, newspapers and television, and take your messaging into the public sphere. The best strategies are the ones that engage on an intuitive level with an audience, or take potential consumers by surprise when their defenses are down. They might not even be aware they are being sold a message or a product.
GREG MIKE, FOUNDER & CREATIVE DIRECTOR AT ABV AGENCY WITH HIS STREET ART FOR NEW BELGIUM BREWING COMPANY.
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GREG MIKE, FOUNDER & CREATIVE DIRECTOR AT ABV AGENCY WITH HIS STREET ART FOR REEBOK.
Very different companies have employed guerrilla marketing tactics. The British company Unilever marketed their Lynx body spray by sending pretty young couples onto Leeds, England buses where they spontaneously made out to promote the bus wrap ad tagline “Lynx Attract: For Him and For Her.” A recent New York Times story charted the death of the movie poster and the rise of wilier social media marketing to promote “buzzier” films like the young adult thriller “The Hunger Games.” “The dark art of movie promotion increasingly lives on the Web, where studios are playing a wilier game, using social media and a blizzard of other inexpensive yet effective online techniques to pull off what may be the marketer’s ultimate trick: persuading fans to persuade each other,” says New York Times writer Brooks Barnes in “How ‘Hunger Games’ Built Up Must-See Fever.” Street artists have proven an enormous influence on guerrilla marketing tactics. Taking the influence of street artists one step further, companies like Sprite have often paid influential graffiti artists to create ad campaigns on city streets in their own style, but promoting the advertiser’s brand. Street artists’ ability to jostle passerby out of their status quo stupor with an arresting image or text has been a lesson learned by marketing companies. Taking a cue from street art, Folgers created a street campaign for its coffee in which what appeared to be a coffee cup embedded in the sidewalk emitted a stream of steam. While magazine ads can be quickly flipped past and Tivo has rendered much TV advertising moot, these in-your-face approaches command attention by short-circuiting our defense mechanisms for avoiding the barrage of advertising that assaults us daily.
“It’s really kind of exciting,” says Charles Hayslett, CEO of the Sandy Springs PR firm the Hayslett Group, of the power of social media to spread the word. “From the Arab Spring to the Occupy movement, when you look at that stuff you realize just how incredible it all is.” Another memorable guerrilla marketing campaign that benefitted from a street artist approach was graffiti artist Shepard Fairey’s campaign for Barack Obama in the 2008 presidential election. Centered on eye-catching, graphic posters and stickers advertising “Hope” in shades of red, white and blue, the posters and stickers became coveted art objects actively consumed by eager fans of Fairey’s work and who often became fans of his political candidate. Artist and creative agency founder Greg Mike is an admirer of Fairey’s tactics. Mike often employs those same strategies of building buzz to support his cause. A street artist who has moved into the fine art realm and is the founder and creative director at ABV Agency, Mike, 29, often applies the lessons learned as a street artist to engage with potential customers. His agency works on logo development and branding, and even designs products from sunglasses to T-shirts for Mike’s clients. Mike often reaches out to an audience of 16-40 year olds using his Facebook and Twitter accounts. He solicits opinions on new designs, suggestions for the artists his audience would like to see shown in the fine art gallery, to create contests and giveaways, or simply engage in hopes of generating attention to his art and business. Monthly “Drink and Doodle” events at www.ozmagazine.com OZ MAGAZINE
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the art gallery are “a way to connect with your audience organically and not just get a huge billboard on Peachtree,” says Mike. “We’re actually creating dialogue between people who are interested in what we’re doing, and not just hoping that someone might drive by and see something or hoping that somebody might pick up a magazine at a dentist office and pass by one of our ads. I think now it’s more about connecting directly with these people.” Mike sees projects like Fairey’s as successful applications of guerrilla tactics in service of an authentic message, a critical point to keep in mind when launching a guerrilla marketing attack. “It has to be done organically, where it doesn’t look fake,” says Mike.
“With the power of the Internet, you can tell if something’s real or fake within five minutes...a lot of people nowadays see right through that.” What agencies also need to be careful of, says Mike, is the taint of inauthenticity or an overt marketing shill when companies don’t use guerrilla marketing with finesse, or underestimate the sophistication of their audience.
GUERRILLA MARKETING CAN ALSO BACKFIRE.
Guerrilla marketing had one of its most disastrously visible moments in 2007 when the marketing company Interference Inc. working with a team of artists, marketed the Cartoon Network’s new “Aqua Teen Hunger Force” movie with a flashing LED advertisement placed on the streets of Boston and surrounding areas. Boston police mistook the devices for bombs and shut down portions of the highway and public transportation. Journalists later lampooned the incident as a massive illustration of the Grand Canyon-wide generation gap between hip young marketeers and their audience and an older generation oblivious to this subversive marketing approach. Despite the occasional risk, the reasons to pursue guerrilla marketing instead of the usual print, radio and television venues are legion. Using social media, word of mouth and other viral forms is, first and foremost, cheaper. It also gives measurable results for the success of any given message. It potentially reaches a larger audience that tends to pass the message along.
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And best of all, nontraditional forms of advertising often look far more fresh and modern than stodgy advertising campaigns of the past. And as more and more traditional media venues like newspapers and magazines continue to wither away, embracing guerrilla marketing may become a virtual necessity. Rather than filtering a message through the media, marketeers can now go directly to their audience. Hayslett says,
“It gives the communicator more control over the message, at least in the sense that they can put it out there and not worry too much about it being misquoted or taken out of context like they used to.” The Hayslett Group harnessed the power of social media for a social media campaign “Partner Up! for Public Health” funded by the Healthcare Georgia Foundation. The “Partner Up!” campaign was intended to build grassroots understanding of the sad state of Georgia’s public health system. “Building public awareness and understanding about the work that public health does and why we need to rebuild that system,” says Hayslett, was the primary objective. A mid-sized firm with eight employees, the Hayslett Group works primarily on business-to-business initiatives, with government agencies and on public policy related issues, and on behalf of trade associations and businesses. “No one understands what public health does,” said Hayslett, of the campaign’s crux. The task was “to engage a lot of different constitutiences that have a stake in it.”
To that end, the Hayslett Group created a film contest in which public health students at nine Georgia colleges including Georgia State University, Mercer University, the University of Georgia and others were invited to create short videos showing the presence of public health issues in daily life. Taking a cue from street artists, who have often used stickers to promote their “brand” or message, stickers proclaiming “This is Public Health” were also placed around the landscape during the filming of the videos. The videos were then posted on YouTube. “Candidly, it’s difficult
to get the attention of students and keep them engaged on any kind of a substantial level,” says Hayslett, indicating both the challenge and necessity of guerrilla marketing in appealing to a new generation of consumers. At this point in time, guerrilla marketing is largely a no-brainer. “It’s just part of the arsenal now that everybody has to use,” says Hayslett. “And it’s increasingly effective. It is absolutely in the toolkit.” --
STUDENTS PLACE STICKERS AROUND ATLANTA FOR THE HAYSLETT GROUPS’ “THIS IS PUBLIC HEALTH” STICKERING CAMPAIGN.
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VOICES
TRUST
MEANS MORE THAN RELYING ON REPUTATION by Patty Tucker As the world’s access to information compounds, and business and product failures proliferate, the marketing mix is increasingly affected by the consumers’ trust. While you might have a good reputation, and you might have the right mix of product, price, place and promotion, if consumers don’t trust the brand to do the right thing, there’s a trust deficit that presents brand risk and competitive opportunity. A quick word on semantics and perspective: at Edelman, our research and our work have brought us to see reputation and trust as kissing cousins that deliver different value: •
Reputation is an aggregate perception of what stakeholders believe an entity has done, based on perceptions of conduct and behavior over time; and Trust is a measure of what stakeholders expect that entity will do, based on performance in relation to their expectations.
So trust is the ticket to future success. Consumers might believe a product is good quality, but not trust the parent company to hold sensitive information securely. Or a product might have a good reputation for its effectiveness, but there may be a trust deficit as whether it is manufactured with fair labor practices or high environmental standards.
Building Trust The 2012 Edelman Trust Barometer measured global trust in business and government for the twelfth year in a row. But this year we also ascertained the 16 attributes that cause respondents to trust or distrust. These trust attributes are shown in the graphic and become the ticket to building trust.
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Trust is built by meeting stakeholders’ expectations on these 16 attributes. If you’ve done that in critical ways in the past, you will be trusted to do the “right thing” in the future as well. At this point, business has earned a little trust, or a decent reputation (48% globally) by (almost) meeting expectations on the least important of the attributes. These are mostly operational in nature, such as delivering financial results and innovating new products. To build trust: meet expectations on attributes that are more important to your stakeholders. Many of these are core to good business and marketing anyway. Demonstrate good customer listening, treat employees well, and be transparent. Trust isn’t the end goal, but a means to an end, so you can prioritize the key attributes that are most closely tied to your brand strategy and gain incremental value.
A Logical Process First, you need to understand how your stakeholders prioritize the 16 trust attributes for your own brand and industry, determine what they expect of you. Then, identify how they perceive you’re meeting their expectations. Ideally, ask them. If not, use proof points from customer and employee satisfaction data, complaints and compliments online, sales force feedback and social media chatter. Be honest with yourself about whether the brand is truly operating with these attributes or merely getting away with an absence of negatives. Cross reference these strengths and weaknesses against business strategy and marketing plans. What initiatives will most require trust and license to operate? What risk areas need expectation gaps closed? This process will unveil the key trust attributes to prioritize.
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Building Trust: 16 Important Attributes
Knowing the difference between your current level of trust - your reputation - and how to build future trust with new and potential customers will earn you more business.
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When building trust with new clients or customers, societal attributes outrank most of the operational attributes. 1. Listens to customer needs and feedback 2. High quality products or services
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Your reputation, or current trust, is built on five operational attributes:
3. Treats employees well 4. Places customers ahead of profits
1. Delivers consistent financial returns
5. Takes actions to address issues or crises
2. Innovator of new products
6. Has ethical business practices
3. Highly regarded, top leadership
7. Has transparent and open business
4. Ranks on a global list
8. Communicates frequently and honestly
5. Partners with third parties
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9. Works to protect/improve environment
CURRENT TRUST vs. BUILDING TRUST: Notice that the five operational attributes, above, that clients and customers use to gauge your reputation - current trust rank near the bottom when it comes to building trust with new clients or customers.
10. Addresses society’s needs 11. Positively impacts the local community 12. Innovator of new products 13. Highly regarded, top leadership
OPERATIONAL ATTRIBUTES
14. Delivers consistent financial returns
SOCIETAL ATTRIBUTES
15. Ranks on a global list
OPERATIONAL ATTRIBUTES
16. Partners with third parties
Lessons from the Field When building trust programs, consider the big picture and the research. Keep in mind a few key considerations: • Don’t attempt to only apply lipstick. Company and brand behaviors must be in line first before communications can alter perceptions. • You can influence the expectations and perception. If consumers expect, say, demonstration of societal benefits, the bar isn’t necessarily set where you have to solve world hunger. You can frame what stakeholders should expect, and then work to deliver on that with full transparency. • Many of the 16 trust attributes are trust-building strategies in and of themselves. For example, communicating frequently and honestly is key regardless of your other priorities. • A smart mix of spokespeople and channels can impact your effectiveness. The data is worth studying: academic and technical experts are most trusted, while “a person like yourself” and regular employees are close behind. That’s a strong recipe for marketing credibility. The CEO’s trust dropped, but is still critical for trust building for the organization. Harness the trusted voices of employees to reverberate your message with authenticity. • Trust in media is up. Plan buys and storytelling strategies that will reverberate throughout the full complement of media: traditional, hybrid, owned and social, for the classic broad reach.
I hope you’ll take advantage of this data to create some competitive advantage. It will make your work smarter and more effective... trust me.
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SCENE
CARDBOARD*CON 2012 “Dragon*Con is SO played out”, claims a mysterious guy named “Captain Drew,” founder of an upstart science fiction convention called Cardboard*Con, held in downtown Atlanta every March since 2010. Billing itself as as “The World’s Most Affordable Sci-Fi/Fantasy Cardboard Costuming Convention,” this year’s Cardboard*Con featured some amazing cardboard costumes and at least one well known attendee was spotted wearing cardboard: Candice Accola who plays Caroline Forbes on the UPN network’s popular Vampire Diaries, making one wonder how many other celebrities were there in disguise... [cardboardcon.com]
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1. Neil Cardstrong claims the Marriott on behalf of Cardboard*Con
2. The Vampire Diaries’ Candice Accola was excited to meet Captain Drew
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3. A pair of as-yet-unexploded “Creepers” from the popular video game Minecraft. 4. Captain Drew in his fancy duds to host the costume contest.
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5. A costumed Candice Accola partied it up with Captain Drew and the Cardboard Count from Sesame Street (the host of the costume contest). 6. Bounty Paper Towel Hunter, Boxxa Fett, on his way back from the bar.
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7. A lovely representative from CardBow*Con made an appearance with the host of CardBeard*Con. 8. 2012 Cardpocalypse. Neil Cardstrong predicted it. Photo credits GirlsOfTheCon.com CardboardCon.com
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The costumes at Cardboard*Con ranged from dumpster chic to blocky-yet-accurate renditions of your favorite comicbook super heroes like Spider-Man and Captain America. A costume contest was held at Trader Vic’s, sponsored by an adhesive tape called Joe’s Sticky Stuff. Prior to the costume contest, the convention (which seems suspiciously more like a pubcrawl) convened at Meehan’s Pub in the Westin Peachtree Plaza before parading up Peachtree Street, with a stop at the Hyatt Regency, and a meet-up at the Marriott Marquis’ Pulse Bar. Perhaps Captain Drew is right... maybe Dragon*Con has some new low-cost competition!
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9. A large contingent from the popular Box Heroes made an appearance at Cardboard*Con, they even sang during the costume contest! 10. One of the winners of the costume contest made an 18th century dress from newspaper and cardboard. 11. Venom menaced the crowd with his cardboard tongue. 12. A couple of the attendees claimed that their cardboard had been stolen. 13. The Sexy Cardboard Teenage Mutant Ninja Turtleboxes were a hit with the crowd, taking first prize in the costume contest. 14. A little boy named Eric Cartman showed up at the event dressed as a cardboard robot named “Awesome-o”. 15. Cardboard is a versatile accessory, ready to enhance any wardrobe! 16. Captain America had specially modified hands, designed to hold his beer bottle!
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HOW I GOT INTO THE BUSINESS
BREE WILLIAMS
Food Stylist Klute75@yahoo.com 678-357-0126
HOW DID YOU GET INTO THE BUSINESS? Like most people, when I started culinary school I figured I’d be working in a kitchen or running my own restaurant one day. I had no idea about the opportunities for food styling in print advertising, television and film, and the more I learned, the more I wanted it. I got experience working in many different kitchens then one day I was in the right place, at the right time, meeting the right people. I started with smaller jobs assisting and worked my way up, pretty burger by pretty burger, to where I am today. WHAT WAS YOUR FAVORITE MOMENT? I was working on a movie that filmed here in Atlanta this past fall. We had a Little League scene where our lead actor throws up a chilidog on one of the players. As a food stylist, my job was to make the hot dogs and, my favorite, the vomit. I handed over a cup of vomit, the director rolled, and when the actor spit all over the kid’s face, one perfect little chili bean landed on the tip of his nose and slowly rolled down. Disgusting as it is, it’s definitely my favorite food scene, and I can’t wait for the film to come out just so I can see my moment. WHY DO YOU LOVE YOUR JOB? Food styling gives me the creativity I crave, with the flexibility to work in all mediums. The role of food styling in print, television and film is ever evolving, which is awesome for me because it means I never stop learning and growing. Plus, it’s awesome to see your vision come to life. Being able to do that work alongside amazingly talented people from every specialty, and engage in the camaraderie that comes from being on set really makes my job rewarding. I love every aspect of this business, and I can’t imagine being in any other field.
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HEATHER TELHIARD
CINDI RANDALL
Photo Stylist / Prop Stylist htelhiard@me.com
Transportation Coordinator/ Captain Cindir28@aol.com
HOW DID YOU GET INTO THE BUSINESS?
HOW DID YOU GET INTO THE BUSINESS?
After getting my degree in Graphic Design, I soon realized that sitting fairly still all day was NOT my strong suit! Later, I met a Food Stylist who did print/ad work and began assisting her. Soon I was working on commercials, music videos, and movies in almost every department, until I finally landed in the Props dept which lead to photo styling.
Between high school and college and that stage of what do I want to do with the rest of my life, I applied for a job as a receptionist at a cellular company. Already completing real estate school and modeling school, I wasn’t sure where my path was going to lead. I didn’t get the job, but the employer passed my name on to her friend, who happened to be coordinating the movie “Last of the Mohicans”. He hired me as a transportation secretary and in the first week I was ordering helicopters, tractor trailers to hull canoes and getting the owner of an ATV dealership out of the gym to sell us some Mules for the mountain terrain!
WHAT WERE SOME FUN/FUNNY MOMENTS AS A PROPS STYLIST? I was working on an editorial piece for the Boston Globe, which my agent said would be easy, “just a few props to buy.” When I got home to check out my props list that night - it was not exactly a piece of cake! The list read: one row of theatre and airplane seats, real park benches (which are always bolted down, so you know) build a picture frame that was 4ft by 6ft (which I constructed in my attic, not realizing it was just a ‘little’ too big to fit down the staircase! oops) and the list went on and on; with just the weekend to get it done. Once I arrived at the location on Monday, a loft on the 17th floor - the elevator was broken - fun times! As a stylist, you get a good work out carting props around and it’s always fun to spend other people’s money! WHAT DO YOU LOVE ABOUT YOUR JOB? My career is perfect for me because I’ve always thrived in “hands-on” type work and its a job where it pays to be a bit on the “energetic’ side. It utilizes my creativity and fulfills my need to debate “what looks good” and what doesn’t with the many talented, ‘quirky’ art directors and photographers I work closely with. I love the people I work with and I love what I do!! It’s rarely boring being freelance, as the clients change from studio to studio and so does the type merchandise you are making look good that day!
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WHAT MADE YOU DECIDE TO STAY IN TRANSPORTATION? After working a few weeks I was having a blast! I began to search for possibilities for advancement within the Transportation department. I learned that the Teamsters made almost double what I was making on my flat rate and began to ask around. I asked my boss for his advise and he said “ women don’t do anything in transportation except drive vans and be secretaries”. I found out years later that, that was his way of motivating me, which he did. I went to truck driving school. I joined the Teamsters, which opened up a whole list of possibilities! I took classes in logistics at my local technical college and went to film school. I am blessed to have a job that I love. Many people have guided me through and had faith in me to do the job and gave me a chance to prove I could do it and I thank you all! WHAT WERE YOUR MOST FAVORITE PROJECTS? The Final Destination 3D, Shark Night 3D, and The Last Song.
DEIRDRE O’REILLY
Chef/Owner Four Star Provisions, LLC & Purus Fine Foods Chefdeirdredo@AOL.com
HOW DID YOU GET INTO THE BUSINESS? It’s sometimes funny how life comes full circle. Fifteen years ago I injured my back & had to take time from my culinary career. While I was contemplating my next move, I received a call from a craft service girlfriend who had become double booked due to a rain day. She asked if I could cover for her & it became my first job in the industry. One craft service job turned into another and one of my clients learned that I was a classically trained chef and suggested that I become a production caterer, as there were limited resources then. That client was Bruce Lane of Blue Planet Productions, who became my first catering client. Word spread that there was a new girl in town & I started receiving calls from other productions. Within the year I was working with Good Eats & Turner Studios as my primary clients, & doing commercial shoots as well. HOW HAVE YOU GROWN IN THE INDUSTRY? My company has expanded to include mobile units and larger staff now. Production catering has also allowed me to expand my commissary & kitchens to include my new venture, Purus Fine Foods- a new take-away and delivery concept that only produces natural “clean” foods. We specialize in gluten-free, vegan and the meals that people know & love, but made in a healthier manner. WHAT IS YOUR NEXT STEP? My next step circles back around to my beginning. I find the need to develop new talent that will understand & have the same passion for the business as I do. Bruce Lane, Jr., a new culinary grad has expressed interest and I intend to become his mentor and teach him the ropes. It’s funny how it all comes around, isn’t it? Our latest larger projects include “Inside the NBA on TNT”, “Rooms to Go” and “Reed Between the Lines”
TAMMY HURT SINDY SCHNEIDER
Co-Owner of Dance 411 & blocSouth Talent Agency www.blocSouth.com www.dance411studios.com sindy@blocsouth.com 404.622.4116
HOW DID YOU GET INTO THE BUSINESS? I always had an intense passion for the arts, specifically the art of dance. I graduated from college with a degree in marketing/public relations and worked in corporate America for several years...but always longed to do something more with dance. My husband sensed that I was unfulfilled at my corporate job and helped me by starting an e-newsletter entitled “Dance 411” back in 2001. The biweekly newsletter included info on dance classes, dance tips, dance auditions, etc. As our database grew, we began holding large dance workshops and classes at various venues around Atlanta. We received many requests for talent for entertainment jobs and as a result opened up the very first exclusive dance talent agency in the Southeastern United States called Dance 411 Talent Agency. Our classes however remained popular so we decided to partner with bloc Agency and converted our agency to blocSouth while still having our studio for classes, Dance 411 Studios. WHAT MAKES WHAT YOU DO UNIQUE? Wow, there is so much I can think of that excites me about our business. We are the only dance studio that has a direct affiliation with an agency (bloc) and many of our instructors are true working professionals. So you can take a class from Kiki Ely one day and then turn on the TV and watch her performing with Nicki Minaj at the NBA Allstar 2012. It’s truly exciting and people feel like they are getting instruction from the absolute best . RECENT PROJECTS? Pitch Perfect, Footloose, and Joyful Noise.
Founding Partner Placement Music, LLC www.placementmusic.com
HOW DID YOU GET INTO THE BUSINESS? My start in film and TV music came from the most organic, authentic place possible. I was fulfilling my favorite professional passion – playing drums. I was performing live on stage with a loud, experimental, instrumental guitar-oriented rock band. After the show, I was approached by a woman from CNN who asked if we could provide some lead-in’s and cue’s (music) for her on-air productions. My answer was of course, “Yes we can!” and that’s how Placement Music was born. Our first big break came when, by a pure stroke of luck, I met an on screen director for FOX Sports. I mentioned that my company created custom music and he suggested I send him some tracks when we completed our first sessions. Needless to say, our team went into the studio the next day. We recorded on Monday. The director received our music on Thursday - and Placement Music debuted on the air on NFL on FOX that same Sunday. WHAT ARE SOME OF YOUR PROUDEST ACCOMPLISHMENTS? Within a year of launching, we were commissioned to create an original, orchestral, custom score for Super Bowl XLV, which aired to an audience of 111 million viewers. I co-produced the score titled ”Declaration Anthem” with composer Steve Dancz. The track was engineered by multiple GRAMMY-winner, Leslie Ann Jones at Skywalker Sound in San Francisco. We were honored with two Silver Telly Awards and a Hollywood Music In Media Award for “Best Score - Special Feature”. We have provided custom music for Showtime’s Dexter, and placed tracks in Paramount Pictures Mean Girls 2, HBO’s True Blood, and the indie film Rough Hustle. Most recently, the team re-recorded Rosemary Clooney’s version of “Mambo Italiano” for Lifetime’s Drop Dead Diva. WORDS TO LIVE BY? Never give up.
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photography by Christina Wills
PER DIEM - VININGS
BLISHING, INC.
VININGS Vinings has a special blend of Southern charm and modern day sophistication. Located along the Chattahoochee River, the small town community is filled with dining, shopping and attractions for a wide range of interests. Looking for a relaxed, upscale ambiance? Vinings is the place to be.
JODI DUFRESNE, FREELANCE PRODUCER (RETIRED) TELEVISION COMMERCIALS
If I were entertaining a client who likes the outdoors and physical activity - the spot would be a hike in Vinings at the Chatahoochee River National Recreation Area. There are miles and miles of wooded trails adjacent to the river. Truly an unbelievable place to unwind after a long day. It’s difficult to imagine downtown Atlanta less than 10 miles away. After hiking, a perfect place for a client dinner - just down river at either Canoe or at The Old Vinings Inn. 300 Galleria Cafe 300 Galleria Pkwy SE # 120 Atlanta, GA 30339 (770) 988-9040
Blue Sky Cafe 600 Galleria Pkwy SE # 180 Atlanta, GA 30339 (770) 955-2285
Cafe 200 200 Galleria Pkwy SE # 120 Atlanta, GA 30339 (770) 850-9080
Big Chow Grill 1 Galleria Pkwy SE Atlanta, GA 30339 (770) 405-2464 www.bigchowgrill.com
Buckhead Pizza Company One Galleria Parkway SE Atlanta, GA 30339 (770) 405-0722 www.buckheadco.com
CamiCakes Cupcakes 4338 Paces Ferry Road Atlanta, GA 30339 (770) 431-6611 www.camicakes.com
Big Easy 1314 Cumberland Mall SE Atlanta, GA 30339-3137 (770) 432-0400
C&S Seafood and Oyster Bar 3240 Cobb Pkwy Atlanta, GA 30339 770-272-0999 www.candsoysterbar.com
Canoe 4199 Paces Ferry Rd NW Atlanta, GA 30339 (770) 432-2663 www.canoeatl.com
Café 100 100 Galleria Pkwy SE Ste 120 Atlanta, GA 30339 (770) 956-9773
China Moon 2810 Paces Ferry Rd SE # 220 Atlanta, GA 30339 (770) 805-0015
Blue Moon Pizza-Vinings 4600 W Village Pl SE Smyrna, GA 30080 (678) 390-3341 www.bluemoonpizza.com
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Chopsticks 4199 Paces Ferry Rd. Atlanta, GA 30339 (770) 432-3838 www.viningschopsticks.com Cinco Mexican Cantina 2851 Akers Mill Rd SE Atlanta, GA 30339 (770) 952-5550 Cityview Cafe 3330 Cumberland Blvd SE Atlanta, GA 30339 (770) 988-3090 Copeland’s of New Orleans 3131 Cobb Pkwy SE Atlanta, GA 30339 (770) 612-3311 www.copelandsatlanta.com
TIMOTHY O’BRIEN
If you’re looking to put some South in your mouth then one of the best places to go in Vinings is South City Kitchen. It’s Southern food done with a sophisticated flair. I have no shame in my love of pork and I always enjoy taking folks from out of town and watch them get lulled into loving Southern food.
Cowlicks Yogurt and Floats 2460 Cumberland Pkwy Atlanta, GA 30339 (770) 433-9008 www.cowlicksyogurtandfloats.com
Heirloom Market BBQ 2243 Akers Mill Road SE Atlanta, GA 30339 (770) 612-2502 www.heirloommarketbbq.com
New York Pizza Exchange 2810 Paces Ferry Rd, Suite 100 Atlanta, GA 30339 (770) 434-9000 www.nypizzaexchange.com
Deli & Cafe One Overton Park 3625 Cumberland Blvd SE Atlanta, GA 30339 (770) 850-1506
Houston’s 3539 Northside Pkwy Atlanta, GA 30327 (404) 262-7130 www.hillstone.com
Noche Tequila & Tapas Bar 2850 Paces Ferry Rd Atlanta, GA 30339 (770) 432-3277
Deli Market Cafe 4403 Northside Pkwy NW # 170 Atlanta, GA 30327 (404) 237-2007 www.delimarketcafe.com Deli Planet 3051 Akers Mill Rd SE Atlanta, GA 30339 (770) 951-4994 Dez Persian Grill 3220 Cobb Pkwy SE Atlanta, GA 30339 (770) 541-2334 www.dezpersiangrill.net Doc Green’s Gourmet Salads 3155 Cobb Parkway SE #140 Atlanta, GA 30339 (770) 953-3627 www.docgreens.com Don Pablo’s 3131 Cobb Pkwy SE #100 Atlanta, GA 30339 (770) 955-5929 www.donpablos.com Farmers Basket 1303 Cumberland Mall SE Atlanta, GA 30339 (770) 438-8812 Figo Pasta 2941 Paces Ferry Road SE Atlanta, GA 30339 (770) 431-4988 www.figopasta.com The Flying Biscuit Cafe 3515 Northside Pkwy NW Atlanta, GA 30327 (404) 816-3152 www.flyingbiscuit.com Fresh To Order – f2o 1260 Cumberland Mall Atlanta, GA 30339 (678) 564-1400 www.freshtoorder.com Garrison’s Broiler & Tap 4300 Paces Ferry Road SE # 250 Atlanta, GA 30339 (770) 436-0102 Goldberg’s Bagels & Deli 1272 W. Paces Ferry Road Atlanta, GA 30327 (404) 266-0123 www.goldbergsdeliwpf.com
Jerry’s Gourmet 3350 Riverwood Pkwy SE Atlanta, GA 30339 (770) 952-0633
OK Cafe 1284 West Paces Ferry Road NE Atlanta, GA 30327 (404) 233-2888 www.okcafe.com
Jim ‘N Nick’s Bar-B-Q 4574 South Cobb Drive Smyrna, GA 30080 (678) 556-0011 www.jinnnicks.com
Olive Bistro 3230 Cobb Pkwy SE Atlanta, GA 30339 (770) 272-8900 www.olivebistro.com
Jocks and Jills 1 Galleria Parkway SE Atlanta, GA 30339 (770) 952-8401 www.jocksandjills.com
Orient Express 2921 Paces Ferry Rd SE Atlanta, GA 30339 (770) 438-9090 www.orientexpressatl.com
La Paz 2950 New Paces Ferry Road SE Atlanta, GA 30339 (770) 801-0020 www.lapaz.com
Padriac’s 2460 Cumberland Pkwy SE # 110 Atlanta, GA 30339 (770) 433-2398 www.padriacs.com
Laseter’s Tavern 4355 Cobb Pkwy. Atlanta, GA 30339 (770) 850-8570 www.laseterstavern.com
Peros Pizza 3521 Northside Pkwy NE Atlanta, GA 30327 (404) 261-5077 www.perospizza.com
Le Place Sandwich Shop 3225 Cumberland Blvd SE Atlanta, GA 30339 (770) 226-9660
Pinkberry 2937 Cobb Pkwy SE #102 Atlanta, GA 30339 (770) 661-2995 www.pinkberry.com
Little Azio 1675 Cumberland Pkwy SE # 415 Smyrna, GA 30080 (678) 426-0333 www.littleazio.com
Rainbow Cafe 2849 Paces Ferry Rd SE # 200 Atlanta, GA 30339 (770) 437-1511
Maggiano’s 1601 Cumberland Mall SE, Suite# 200 Atlanta, GA 30339 (770) 799-1580 www.maggianos.com
Shane’s Rib Shack 3155 Cobb Pkwy SE Atlanta, GA 30339 (770) 951-7211 www.shanesribshack.com
Marlow’s Tavern 2355 Cumberland Parkway, Suite 10 Atlanta GA 30339 (770) 432-2526 www.marlowstavern.com
Sip Wine Bar & Restaurant 4403 Northside Pkwy Atlanta, GA 30327 (404) 233-5455 www.siprestuarants.com\
Medici at the Renaissance Waverly Hotel 2450 Galleria Pkwy SE Atlanta, GA 30339 (770) 953-4500
Social Vinings 3621 Vinings Slope SE Atlanta, GA 30339 (770) 432-9772 www.greatfoodinc.com
Meehan’s Public House 2810 Paces Ferry Road SE Atlanta, GA 30339 (770) 433-1920 www.101concepts.com
Soho Atlanta 4300 Paces Ferry Road SE Atlanta, GA 30339 (770) 801-0069 www.sohoatlanta.com www.ozmagazine.com OZ MAGAZINE
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KIME HARLESS, ART DEPT. PRODUCTION ASSISTANT
There is a barbeque place right outside of Vinings that is TO DIE FOR. It’s called Jim N’ Nick’s. They have awesome barbeque, awesome smoked turkey & delicious sides. They also have these little muffins that are a mixture of cornbread and muffin. They are a tad sweet and a little bit cheesy. If you’re looking for some good barbeque in the Vinings area, Jim N’ Nick’s is definitely the place to go.
Mulberry Street Pizza 4355 Cobb Parkway SE Atlanta GA 30339 (770) 988-8646 My Friend’s Place 2957 Cobb Pkwy Atlanta, GA 30339 (770) 850-1431 Mykonos Grill 2970 Cobb Pkwy Atlanta, GA 30339 (678) 809-4053 Stoney River Legendary Steaks 1640 Cumberland Mall Atlanta, GA 30339 (678) 305-9229 www.stoneyriver.com Taverna Fiorentina 3324 Cobb Parkway SE Atlanta, GA 30339 (770) 272-9825 www.tavernafiorentina.com Teafuse Tea House 4300 Paces Ferry Rd, Suite 113 Atlanta, GA 30339 www.teafuse.com Ted’s Montana Grill 1000 Cumberland Mall SE Atlanta, GA 30339 (770) 863-0041 www.tedsmontanagrill.com Thai Diner at Vinings 3280 Cobb Pkwy Atlanta, GA 30339 (770) 859-9898 www.thaidineratvinings.com The Coffee Beanery Limited 1106 Cumberland Mall SE Atlanta, GA 30339 (770) 434-0137
The Old Vinings Inn | OVI 3011 Paces Mill Road SE Atlanta, GA 30339 (770) 438-2282 www.ovivinings.com The Vinings Club 2859 Paces Ferry Rd Club Level Atlanta GA 30339 (770) 433-1155 www.theviningsclub.com The Vinings Fish Company 4300 Paces Ferry Rd SE Ste 150 Atlanta, GA 30339 (678) 888-9036 www.greatfoodinc.com Tilted Kilt Pub & Eatery 2960 Cobb Pkwy SE Atlanta, GA 30339 (678) 741-5292 www.tiltedkilt.com Top Spice Restaurant 2997 Cobb Parkway SE Atlanta, GA 30336 (770) 988-9007 www.topspiceatlanta.com Twelve 06 2355 Cumberland Pkwy SE Atlanta, GA 30339 (770) 319-1206 Uncle Maddio’s Pizza Joint 2955 Cobb Pkwy Suite 290 Atlanta, GA 30339 (770) 955- 5223 www.unclemaddios.com Yoforia Frozen Yogurt 4338 Paces Ferry Road, #104 Atlanta, GA 30339 (770) 432-4202 www.yoforia.com
DANA SERBY, MEDIA DISTRIBUTION COORDINATOR, CINEMA CONCEPTS
I first discovered Blue Moon Pizza because they have a gluten free menu and they deliver. It’s upscale and swanky. Their menu has different types of pizza, great appetizers and salads. The best part for us during our busy workday is they deliver! Heirloom Market BBQ is southern barbecue with a Korean influence. Amazing sides; mac-n-cheese, collard greens, and Brunswick stew, just to name a few. Takeout is common since the inside is a bit cramped, and that’s fine, since working lunches are frequent.
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DISTRIBUTION & ASSOCIATION PARTNERS NORTH HIGHLANDS
EMORY
Manuel’s Tavern 602 North Highland Ave. Atlanta, GA www.manuelstavern.com
Everybody’s Pizza 1593 N Decatur Road Atlanta, GA, 30307 www.everybody’spizza.com
Plaza Theatre 1049 Ponce De Leon Ave. Atlanta, GA 30306 www.plazaatlanta.com
Chocolate’-North Decatur 2094 N Decatur Road Decatur, GA, 30033 www.mychocolatecoffee.com SOUTH ATLANTA
Youngblood Gallery 636 N Highland Ave. Atlanta, GA 30306 www.youngbloodgallery.com
Clark-Atlanta University Library 111 James P. Brawley Dr., SW, Atlanta, Ga 30314
Righteous Room 1051 Ponce De Leon Ave. Atlanta, GA 30306
EUE/Screen Gems 175 Lakewood Way, SE Atlanta, Ga 30315 www.screengemsstudios.com/atl
PERIMETER NORTH Art Institute Of Atlanta 6600 Peachtree Dunwoody Road 100 Embassy Row Atlanta, GA 30328 www.aia.aii.edu American Intercontinental University - Dunwoody 6600 Peachtree Dunwoody Road 500 Embassy Row Atlanta, GA 30328 dunwoody.aiuniv.edu Mellow Mushroom-Vinings 2950 New Paces Ferry Rd SE #B Atlanta, GA 30339 www.mellowmushroom.com/vinings NORTH DEKALB Chocolate’-Shallowford 2566 Shallowford Road - Publix Shopping Center Atlanta, GA 30345 www.mychocolatecoffee.com Crawford Media 5 West Druid Hills Drive Atlanta, GA 30329 www.crawford.com Showcase Video 2323 Cheshire Bridge Road, NE Atlanta, GA 30324 www.showcaseinc.com
Raleigh Studios-Senoia 600 Chestlehurst Road Senoia, Ga 30276 www.raleighstudios.com MIDTOWN WEST
Imagers 1575 Northside Drive Bldg 400, Suite 490 Atlanta, GA 30318 www.imagers.com Octane Coffee Bar & Lounge 1009 Marietta Street NW Atlanta, GA, 30318 www.octanecoffee.com PC & E 2235 DeFoor Hills Road NW Atlanta, GA 30318 www.PC&E-Atlanta.com King Plow Arts Center 887 West Marietta Street Atlanta, GA, 30318 www.kingplow.com C-TOWN/G. PARK/EAST ATL 97 Estoria 727 Wylie Street Atlanta, GA 30316 www.97estoria.com Stoveworks 112 Krog St. Atlanta, GA 30307 www.officeloftsatlanta.com
E-Six Lab 678 10th Street NW Atlanta, GA, 30318 www.e-sixlab.com
Six Feet Under-Memorial 437 Memorial Dr SE Atlanta, GA 30312
Six Feet Under-11th 685 11th Street NW Atlanta, GA 30318 www.sixfeetunder.net
Studioplex 659 Auburn Avenue NE Atlanta, GA 30312 www.studioplexlofts.com
Panavision 1250 Menlo Drive NW Atlanta, GA 30340 www.panavision.com PPR - Professional Photo Resources 667 11th Street NW Atlanta, Ga 30318 www.ppratlanta.com Sam Flax 1745 Peachtree St at Brookwood Place Atlanta, GA 30309 www.samflaxsouth.com
Little’s Food Store 198 Carroll St. Atlanta, GA 30316 www.littlesfoodstore.com 529 529 Flat Shoals Ave. Atlanta, GA 30318 www.529atl.com
MIDTOWN Turner Studios 1020 Techwood Drive, Atlanta, Ga 30318 www.turnerstudios.com Utrecht Art Supplies 878 Peachtree Street Atlanta, GA 30309 www.utrechtart.com/stores Portfolio Center 125 Bennett Street Atlanta, Ga 30309 www.portfoliocenter.com S.C.A.D.- Atlanta 1600 Peachtree St Atlanta, GA 30309 www.scad.edu INMAN PARK/LITTLE 5 POINTS Jack’s Pizza 676 Highland Avenue NE Atlanta, GA www.jackspizzaandwings.com Inman Perk Coffee 240 N Highland Ave NE # H Atlanta, GA 30307 www.inmanperkcoffee.com Savi Urban Market 287 Elizabeth Street NE Atlanta, GA 30307 www.saviurbanmarket.com Parish 240 N Highland Avenue NE Atlanta, GA 30307 www.parishatl.com El Myr 1091 Euclid Avenue NE Atlanta, GA 30307 elmyr.com Aurora Coffee 468 Moreland Avenue Atlanta, GA 30307 www.auroracoffee.com
ASSOCIATIONS American Institute of Graphic Arts (AIGA) Atlanta Ad Club Atlanta Macintosh Users Group American Marketing Association-Atlanta
Media Communications Association International (MCAI) Women In Film & Television Atlanta (WIFTA) Business Marketing Association-Atlanta (BMA-Atlanta)
National Academy of Television Arts and Sciences Southeast (NATAS) Atlanta Press Club (APC) Georgia Production Partnership (GPP) The Freelance Forum American Federation of Television and Radio Arts (AFTRA) Cable & Telecommunications Association (CTAM) American Society of Media Photographers (ASMP) Society for Technical Communication (STC)
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LE T ME GIVE YOU MY CARD
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