film & tv • print • new media • lifestyle june/july 2013
Lead Us Into temptatIon, p. 24 1 | ozmagazine.com
LoadInG Up on aRt, p. 18
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
film & tv • print • new media • lifestyle august/september 2013
contents features Rearview Mirror: Reflections on 20 years in the Magazine Business...................... 36
columns Ozcetera.......................................................................................................... 6 Behind the Camera w/ Drewprops......................................................30 How I Got into the Business................................................................... 32 Oz Scene.......................................................................................................34 Distribution Partners................................................................................56
oz magazine staff
Let Me Give You My Card.........................................................................57 Ad Campaigns.............................................................................................58
Publishers:
Tia Powell Group Publisher Gary Powell Publisher Latisha “Tish” Simmons Assistant to Group Publisher Editorial:
Gary Powell Ozcetera Editor Casey Pittman Assistant to the Editor Contributors: Andrew Duncan, Lisa Bell-Davis, Julian Harris, Nichole Bazemore, Rositsa Germanova Sales: Diane Lasek, Monique McGlockton IT/Database Administrator John Cleveland Sherman, III Design:
Lisa Bell-Davis Sarah Medina Tina Xiao Ted Fabella
Art Director/Graphic Designer Production Artist & Designer Production Oz 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 2013 Oz Publishing Incorporated, all rights reserved. Reproductions in whole or in part without express written permission of the publisher is strictly prohibited. This magazine is printed on recyclable paper.
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contributor s Julian Harris, an undergrad studying journalism at Marlboro College in Vermont, has the goal of one day becoming a photo- journalist for National Geographic. He contributed to the Oz team as a researcher and support-writer for the 20th Anniversary issue. This upcoming September, Julian is heading to Morocco for three and a half months for a journalism study abroad program through the graduate school SIT. jchristopher877@gmail.com
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. Andrew writes the Oz column, Behind the Camera w/ Drewprops, p 30. drewprops.com
Lisa Bell-Davis, has been a graphic designer in the Atlanta area for more years that she’d like to admit. As owner and principle of Score design+promotion, Lisa has worked with clients in diverse industries, managing corporate branding and designing all manner of logos and print materials, presentation boards, building signage, vehicle graphics, and even a few websites. Currently, she and her husband are involved in a joint venture – wrangling two dogs at home while their two youngest sons are away in college. www.coroflot.com/scoredesign
Nichole Bazemore is the author of The Industry Yearbook: 40 Years of Georgia Filmmaking and the People Who Made it Happen, published 2013 by Oz Publishing, Inc. Rearview Mirror, page 36.
Tish Simmons is the assistant publisher at Oz. She is also the founder of The Industry Directory for music & fashion. Her background includes project management within the entertainment industry from television production to artist development. Tish holds a B.A. from Georgia State University in broadcast journalism and minor in marketing. lmse.inc@gmail.com
Casey Pittman is a student at Kennesaw State University. She will be graduating in December 2013 with a B.A. in Communication with a focus in Media Studies and a minor in Film Studies. She contributes research, marketing, editing, and a social media presence for Oz. She leads a coffee-fueled lifestyle with a passion for music, vintage fashion, and a sworn motto to always “read the book before the movie”. Casey_pittman@comcast.net
Tina Xiao is an assistant in production and a researcher for Oz Magazine and is known for getting the job done. She is currently attending Lakeside High School with plans on playing basketball and joining ROTC. When Tina is not studying or working, she enjoys sports and hanging with friends.
Rositsa Germanova is a graphic designer and graduate of Kennesaw State University. She is very passionate about visual arts and enjoys creating bold and meaningful designs for print and web. Besides graphic design she also loves hiking, biking or just being outdoors with her family. Some samples of her work can be found at rosigermanova.com.
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Horror in North Georgia Independent film and production company BlueLantern Films has started production of its first full-length feature film, “Beacon Point.” Backed by an award-winning team and creative talent, the sci-fi horror film is currently filming in North Georgia and Atlanta, Georgia. The motion picture is on schedule to be released in spring 2014. “Beacon Point” takes advantage of the popularity and success of the horror genre, featuring chilling themes, compelling characters and a powerful, but entertaining narrative. Set in the Great Smoky Mountains on the historic Appalachian Trail, the film tells the story of a diverse group of hikers on a guided tour that stumble upon an ancient secret; one that threatens their survival. The movie has many psychological horror elements, playing off of the audience’s own fears, making it a truly terrifying experience. The film is co-written by Eric Blue and Traci Carroll. Blue is an Atlanta-based independent film writer, director and producer, whose work includes short films, music videos and commercial work. Carroll is a writer and is currently an executive creative director for a motion picture studio in Los Angeles, California. “Beacon Point” is being produced by Matt Ackerman, an Atlanta native whose 10 years of experience includes independent movies, national & international commercials and music videos. Ackerman brings over 10 years experience to the set. In March of 2013, Ackerman registered the
production with the Screen Actors Guild. With the help of Jen Kelley and Rita Harrell of Big Picture Casting, an amazing cast was assembled. The cast features: actor Jon Briddell playing Drake, Rachel Marie Lewis playing Zoe, Jason Burkey
playing Brian, Eric Goins playing Dan, and RJ Shearer playing the role of Cheese. Top: Matt Ackerman (producer), Eric Blue (director) and Jim McKinney (DP) blocking out shots for Beacon Point. Bottom: Lead actor, Jason Burkey, getting a head cast from SFX artist Toby Sells.
We salute the professional people and organizations who work so hard to make the Georgia Film & Television Industry shine.
Creators & Producers of Non-Fiction Series: Mega Dens, Ground Breakers, The Natural South, EcoSense for Living, Fresh from the Orchard
See Things Differently 6 | ozmagazine.com
www .p ic t u rew i nd o w . tv
Walters Joins Crazy Legs Crazy Legs Productions welcomes KMarie Walters to its visual effects and animation unit. Walters started her career at Walt Disney Pictures and served as the visual effects coordinator for Oscar-winning visual effects films “Avatar,” “The Golden Compass,” “Knight and Day” and, most recentCrazy Legs will now ly, “Transformers: Dark of feature the VFX capabilithe Moon” and “Jack the ties of KMarie Walters. Giant Slayer.” Walters will help Crazy Legs support and supervise visual effects for television series, movies of the week, commercials and independent films shooting in Georgia. “KMarie is one of the best at managing major Hollywood-sized visual effects projects and making sure they are delivered ontime and on-budget,” says Tom Cappello,
co-founder of Crazy Legs Productions, whose staff first worked with her in early 2013 on “Your Pretty Face is Going to Hell,” Adult Swim’s highly rated comedy series. Originally from Detroit, Walters earned a BA in Theater from Tennessee State University and a MA in Cinema and Television from California State University. She is also an alumnus of award-winning West Coast visual effects studios Rhythm & Hues and Digital Domain.
murders are revealed in “Swamp Murders!” A big congrats to Crazy Legs Productions and Eclipse Post, on creating a suspenseful, dramatic and mysterious new series for Investigation Discovery. “Swamp Murders” airs at 10 pm EST on Tuesdays. Below: “Swamp Murders,” from Atlanta-based Crazy Legs Productions, can be seen on the Investigation Discovery network, Tuesdays at 10 pm EST.
On the murkier side of Crazy Legs’ business . . . from the swampy bayous of Louisiana to the Great Lake o’ the Cherokees in Oklahoma, to the rivers and lakes in Georgia, Texas and Florida, you never know what you’ll find below the muddied waters! Bodies thrown over bridges, tied to chairs, floating face down and a few other gruesome discoveries. The secrets and mysteries of the mucky
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American Made Movie Tours Life is My Movie Entertainment is on a 30-city bus tour promoting its newest offering, “American Made Movie.” Life is My Movie Entertainment took a national economic bus tour visiting over 30 cities in 30 days to highlight and promote small and large companies that contribute to the U.S. economy and manufacturing sector. The tour, which traveled through 20 states, stops in Atlanta on August 5, and hosts a range of events with local and federal legislators and business leaders. The tour also includes an advanced screening of its upcoming documentary “American Made Movie.” “American Made Movie” is a feature-length documentary that explores the decline in America’s manufacturing workforce. Directors Vincent Vittorio and Nathaniel Thomas McGill demonstrate that each citizen can make a difference for future generations by documenting the stories of several businesses that have seen success despite the ever-expanding global economy. The movie focuses on the human element in this topic, and shows that it
doesn’t matter if you are an entrepreneur, student, stay-at-home mom, or a senior citizen, you have the power to transform America’s future and be a part of the solution by just realizing that there is a relationship between what is made and what you buy everyday. At each scheduled stop, the American Made Movie tour will screen the film for audiences and feature events that highlight the region’s companies and developing manufacturing industries. “In the film, we get to explore manufacturing’s history and present day stories of entrepreneurs and several companies. But this tour actually allows us to take the discussion even further,” said McGill. “Not only will we have advanced screenings of the film in each city, but we will also be highlighting the story of each of the communities we will be visiting.” After the tour, the film will open in select cities on August 30, with a national rollout to take place throughout September and October.
Mike Neumeier, Technology PR Professional of the Year Arketi Group Principal Mike Neumeier, APR, has been named the 2013 Technology PR Professional of the Year by the Public Relations Society of America (PRSA) Technology Section. The award is given annually to the member who has demonstrated outstanding service and contributions to the PRSA Technology Section, their employer or organization and to the practice of technology public relations. “Mike has contributed greatly to the success of the PRSA Technology Section over the years,” said Stephen Loudermilk, PRSA’s Technology Section chair and global director of media and analyst relations at LexisNexis Risk Solutions. Loudermilk continued, “He’s one of today’s leading BtoB technology PR pros, always looking for and creating innovative communication solutions. That is why we’re excited to name Mike as the 2013 Technology PR Professional of the Year.” Throughout his career, Neumeier has served PRSA. He is a past president of the Georgia PRSA Chapter, a chairelect of the Executive Committee of PRSA’s Counselors Academy and has served on numerous PRSA national and local committees.
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The ANVEL Opens at Magick Lantern Dean Velez ventures into motion graphics and post education with The ANVEL. Led by award-winning and industry-trained instructor, Dean Velez, The ANVEL is a training facility focused on project-based, hands-on education in motion graphics and creative post production. Velez brings 20 plus years of industry experience to the classroom to guide novices and pro-users alike. He has worked for clients such as: Adobe, Genarts, Gannett, ABC, NBC, CBS, FOX, CNN, JWT, BKV, McKesson, Moxie Interactive, Cartoon Network, Portfolio Center, Chattahoochee Technical College, Sterling Ledet, Total Training and many others. Beyond the classroom, the ANVEL is also reaching out to the motion graphics and post production community by hosting a new user group called The Motion Graphics Lab. The user group is designed to connect community members, new and old, with the latest technology, theories and industry contacts. The ANVEL opened its doors in June with food, drinks, games and presentations to a sold out inaugural Motion Graphics Lab meeting with over a hundred guests in attendance. The first meeting featured presentations by Tim Mason of Chattahoochee Technical College on “Cineware and After Effects,” designer Michael Jones on “The Business of Motion Design,” Dean Velez with a combined feature on Daz Studio, Zaxwerks 3D Flag and After Effects, Toon Boom’s Lilly Vogelesang on their Storyboard Pro and Harmony Software and designer Pat McNeely on “Playing the Hand Your’re Dealt.” McNeely also showcased an impressive art gallery at the meeting. The night ended with a Raffle provided by The ANVEL, McNeely, Adobe, DAZ3D, Toon Boom and Zaxwerks. The ANVEL classroom, housed at Magick Lantern Studios, features a bevy of shiny computer screens, shelves of collectible figurines, comic-book-inspired desk art and pieces of Velez’s own creation lining the walls. Workshops this fall will include lessons in After Effects, Photoshop, Illustrator, Premiere Pro, Poser and Cinema 4D among other programs.
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A Tropical Kaleidoscope Before you head to Puerto Rico, check out Creative Kaleidoscope’s “Insider’s Guide to Puerto Rico.” Karenlie Riddering of Creative Kaleidoscope has released her film “Insider’s Guide to Puerto Rico.” The 94 minute travel documentary follows Riddering and multiple Puerto Rican guides on a journey across “La isla del encanto.” The documentary highlights some of the best destinations on the island, going beyond the typical tourist attractions. The film, in English, includes footage of places like Mona island, San Cristobal Canyon, Luis Peña Reserve in Culebra, Mosquito Bay, Jayuya and Cubuy River, amongst others, and features music from local, independent artists. Riddering teamed up with Kayla Westfall and Camille Redding for close to 20 days of production on the island. They partnered with companies like: Target Rent-a-Car, El Meson Sandwiches, Church’s Chicken, Department of Natural and Environmental Resources of PR (DRNA) and multiple tour companies and hotels to accomplish the film.
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In 2005, Riddering published the book Puerto Rico Encanto Oculto, a coffee table book with over 250 photos of the island, a product of her work of over eight years traveling and exploring across Borinquen. The book became a best-seller on the island that year and was acquired by multiple libraries in the US, including the NY Public Library. “With this film, which I see as a continuation of my photographic work, I hope to shed light on a side of Puerto Rico that rarely gets seen by tourists and even Puerto Ricans,” Riddering stated. With the release of the film, Riddering also presents a second edition of her photography book, available for print on-demand and as an eBook. It has been a busy year for Riddering, who began the year with the airing of an episode of “The Walking Dead” in which she had a co-starring role. She can be seen in a Weather Channel commercial currently airing and in an upcoming feature directed by Matthew Weiner, creator of “Mad Men.” Top: Karenlie Riddering on location near Old San Juan, Puerto Rico. Right: “Working” on a documentary: Camille Redding, DP; Karenlie Riddering, producer and Kayla Westfall, assistant director.
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Of Champions and Bona Fides Lindsay Cameron and Ann Cave have been awarded the Chapter Champion award of the Georgia Chapter of the Public Relations Society of America in recognizing their outstanding volunteer work for the chapter. Cameron has been with IHG for four years and currently is the Public Relations Specialist for the Holiday Inn Brand Family. She graduated from Georgia Southern University in 2009 with a BS in Public Relations. Cave is director of public relations at Fiserv, a financial services technology company, where she manages public relations for the company’s online banking, mobile banking, bill payment and person-to-person payment services. She holds a BA in Communications from Oglethorpe University in Atlanta.
Andrew McCaskill has earned his APR (Accredited in Public Relations) certification from PRSA|GA. McCaskill is senior vice president of The William Mills Agency and leads the agency’s Crisis Communications Practice. He has consulted on communications strategy for more than 100 technology companies. McCaskill has a Bachelor of
Arts degree in English from Morehouse College and an MBA in Management Strategy from Goizueta Business School at Emory University. McCaskill is a past president of the Black Public Relations SocietyAtlanta and currently sits on the Public Relations Society of America’s national MBA Initiative Committee.
Left to right: Lindsay Cameron and Ann Cave, PRSA|GA Champions. Far right: Andrew McCaskill, APR
INTRODUCING
atlanta coalition of talent agents “Putting professional, locally-based talent to work.” Reduce production costs. Hire local. www.acta-ga.com FOUNDING MEMBERS
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Biscardi Lights Up Dark Forest Three years in the making, the PBS documentary special, “Dark Forest, Black Fly” is wrapping up post production at Biscardi Creative Media (BCM). The documentary offers a rare look at a global health success story that is educational, entertaining and inspiring. For thousands of years, river blindness (onchocerciasis) has tormented millions of people in Africa, the Middle East and South America. Caused by microscopic worms that migrate under the skin, the infestation leads to intense itching and eventual loss of sight. The disease is transmitted by small black flies that breed in rivers and streams. Nearly 25 years ago researchers discovered a drug, Ivermectin,
which kills the worms, relieving the itching and preventing blindness. Donations of the drug by the manufacturer, Merck and Company, have made it possible to control river blindness and eliminate it in large areas of Latin America and Africa. Other BCM projects include “Yoopera!” an independent documentary that had it’s first screening this summer. BCM created the trailer and consulted on post-production management and workflow. “This American Land” airs on public television stations nationwide. BCM has now begun post production on Season 3 of “This American Land.”
Kylee Wall joins Biscardi Creative Media as an editor. Kylee Wall joins BCM as an editor. She has experience working on a wide variety of video projects ranging from educational and marketing videos, to short and feature films. Wall is experienced with Final Cut Studio, Avid Media Composer and Adobe Creative Suite. She uses various codecs and compression for different delivery methods. Wall loves blogging about video production, and is the co-host of a post podcast about confessing your mistakes and what you’ve learned from them called, “The Track Matte Moment.”
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Homemade War Documentary Jason Maris is an Atlanta-based photographer that has been photographing recruitment materials for the United States Marine Corp in conjunction with J. Walter Thompson for over 15 years. When the US went to war in Afghanistan and later Iraq, Maris struggled with the reality that his work would contribute to the injury and death of young military personnel. He felt a new responsibility for the men and women who were now actively engaged in combat to protect our country.
documentary that explores both the visible and invisible wounds of war through the voices of combat veterans, active duty military, doctors, mental health specialists
and family members. The film examines the effects of these wars and the minds of our communities while highlighting stories of recovery and hope after war.
As Maris set forth to reconcile his choice as a photographer, a father and an American, he was given the opportunity to spend time with wounded service men and women, their families and medical specialists. This experience inspired “Homemade,” an independent Combat veteran Noah Galloway is featured in “Homemade,” a documentary from photographer Jason Maris.
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No Shadows Were Hurt How do you craft a character in a television commercial that can box with its own shadow? “You get dozens of the country’s best stuntmen, build a production stage with controlled lighting, choreograph each and every movement and work 14hour days for a week to get it right,” explains Ryan Mikesell, Ames Scullin O’Haire creative director/art director. The :30 and :60 television spots for Mitsubishi Electric Cooling and Heating brings to life “the cost versus comfort struggle” as “a guy boxes his shadow over thermostat control,” added Mike Bourne, Creative Director/Writer, who wrote the copy and co-wrote the song that plays behind the visual. ASO’s Shaun Campbell served as producer and Method Studios serviced the visual effects. “No shadows were hurt in the filming of this commercial,” quipped Bourne. A stuntman boxing his shadow is part of ASO’s recent spot for Mitsubishi Electric Cooling.
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Photography Portfolio Review The ACP 2013 Portfolio Review and Walk offers artists the opportunity to meet with highly respected curators, dealers, editors and agency representatives from across the United States and beyond. The Portfolio Walk (following the review sessions) gives participating photographers the opportunity to present their work to the general public at an evening reception, open to all.
Sponsored in part by Turner Broadcasting and their “Turner Voices� initiative, 17 reviewers and 51 artists will meet on Saturday, October 12, 2013. Each photographer will meet privately with at least five reviewers for twenty minutes each. Through a juried review of all the applicants, 51 photographers will be selected to participate, and there will be a distinguished panel of 17 reviewers. Confirmed reviewers include: Brett Abbott - Curator of Photography, High Museum of Art; Arnika Dawkins - Owner, Arnika Dawkins
The Big Picture for Two Days This October, Westwood College in Midtown will host the Georgia Big Picture Film and Technology Conference, a two-day educational summit for those entering the film, technology and digital media industry in Georgia. Started in 2005, the conference connects students with professionals and industry representatives. It also lets emerging filmmakers know what opportunities are available in the state. The conference will begin with a keynote speaker October 13, and will end with another keynote speaker and a reception October 14. During the conference there will be educational sessions, workshops, and panel discussions on topics like visual effects design, the role of a producer, digital content creation for mobile devices and the latest trends in digital entertainment. Those with more experience will be able to attend the master tracks, which will have longer panels. Georgia Film Commissioner Lee Thomas will participate in the closing session, informing participants about the history of film in Georgia and discussing possible future developments. Ken Feinberg, founder of Creative Studios of Atlanta, will moderate a panel. Diane Ashford of Symmetry Entertainment and Amani Channel of Visual Eye Media will attend as well.
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Gallery; Jason Francisco - Photographer, Assoc. Professor, Emory University; Dennis Kiel - Chief Curator, The Light Factory, Charlotte; Michael Kochman - Artistic Director, Image Management, Turner Broadcasting; Brenda Massie - Director, Hagedorn Foundation Gallery; Richard McCabe - Curator of Photography, Ogden Museum of Southern Art, New Orleans; Martin McNamara - Director, Gallery 339, Philadelphia; David Rosenberg - Editor, Behold photo blog (Slate.com); Jennifer Schwartz - Owner, Jennifer Schwartz Gallery; Anna Skillman - Owner, Jackson Fine Art; Lauren Steele - Managing Editor of Reportage, Getty Images, NYC; Barbara Tannenbaum - Curator of Photography, Cleveland Museum of Art, Cleveland; Jonathan Woods - Senior Photo Editor, TIME.com.
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Now Open for Your Production Pleasure A new, large film studio in Atlanta is ready for booking. Atlanta Filmworks Studios & Stages is a 57,000 square foot film facility located on four acres within a stone’s throw of the Perimeter and I-85 in metro Atlanta. The complex houses a 20,240 sq. ft. column-free stage with 30 ft. clear span ceilings, 20,025 sq. ft. mill area and flex space and over 16,000 sq. ft. of office space. Atlanta Filmworks Studio is available for feature films and television show bookings. The studio’s three partners are Daniel Minchew (owner of Studio Space Atlanta), Glenn Murer (owner of Atlantel) and Mark Henderson (owner of Atlanta Films, Inc). Newly opened Atlanta Filmworks Studios & Stages.
NELDA MAYS HALF HORIZONTAL — 7.375” W x 2.375” H_Layout 1 6/13/13 11:20 AM Page 1
Well-known editing talent, Tom Fulks, rejoins the post group at Crawford Media Services.
Tom Fulks Rejoins Crawford After a seven year stint in Detroit, accomplished creative editor and visual effects artist, Tom Fulks, has returned to Atlanta. While in Detroit, Fulks worked with some pretty big agencies: Team Detroit, McCann, Donner and Campbell-Ewald, to name a few. He has also been involved with such reputable campaigns as: Ford Focus ST Sessions, Lincoln MKS Launch, Healthy Balance and the Xfinity Bundle. Fulks is a hard-worker bringing passion and vision to his craft. He has experience not only as a creative editor and designer but also as a VFX supervisor and director. Fulks spent 12 years working with Crawford in Atlanta before venturing to Detroit, and he is excited to once again call Crawford home.
HAPPY 20TH ANNIVERSARY (FROM A BIG FAN)
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They’ll Lug Their Own Gear Encyclomedia has added a 5-ton grip truck to their growing offerings of production equipment. The truck is the perfect size to scoot about the streets of Atlanta and still carry a ton or two of lighting and grip gear. It’s been a huge help on recent shoots at the Historic Academy of Medicine for the CDC (Centers for Disease Control and Prevention), SPANX headquarters in Buckhead, the Epi Breads bakery headquarters in Atlanta and in Athens at the Zaxby’s corporate complex. The grip truck is also available for hire when it’s not in use on Encyclomedia shoots. Outfitted with shelves for camera essentials and racks for stands, the truck allows Encyclomedia to be fully mobile at a moment’s notice. It’s super simple to load and unload all the gear including the grip cart and the gear hamper in any location with the lift gate.
Hughes Kelleher, son of Burt Holland, and Maximus Thor Morgan, son of director/writer/producer Benjamin Barak, and Encyclomedia’s creative partner, Burt Holland, with Encyclomedia’s new grip truck.
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Tastes Like High Grade Dog Chow North Avenue Post took first place for their entry in the MOFILM Purina Dog Chow video contest. “Tikka, Not Your Average Dog” went on to win the grand prize in the entire MOFILM Miami festival and is currently being featured in select theaters. North Avenue Post director and director of productions, Jonathan Hayes, teamed up with director of photography Sean Brown, sound designer Kenneth Lovell and editor Misha Mazor to showcase the Purina brand with a script that introduced Tikka the Vizsla. “Once we came up with the idea, the rest was history,” said Hayes of the creative process. “Each member of the team fell into their respective
Send all your
roles and all of our friends were on board to help out.” The spot follows Tikka on a busy day with her family. She wakes the children up in the morning, cleans the dishes after breakfast, goes swimming, watches TV and even helps manage the budget! All fueled by the nutrition of Purina Dog Chow. Although Hayes endured extra long shoot days in order to meet the project deadline, he quickly disregarded the notion that working with animals was tough. He described Tikka as “a dream, who held up for 18 hours without fuss.” Hayes also joked, “We were just fortunate she didn’t charge overtime!”
glorious, ghastly and galactic business news with cool graphics to Ozcetera Editor Gary Powell at ozcetera@ozonline.tv. NO FAXES OR HARDCOPIES PRETTY PLEASE. All news should be submitted via email.
Drug Company Employees Hallucinating? If you happen to wander into the NYC offices of Pfizer, you’ll find it difficult not to try to catch the train home by stepping smack into their hallway wall. Ed Dye, Artistic Image (AI) creative director and designer, and his team created a staggeringly realistic graphic image of a New York City subway train station that
makes you feel like you’re actually standing on the subway platform. The graphics spanned an entire hallway, floor to ceiling, transforming the office into a classic New York City subway station. AI also recently completed an animated TV spot for Hilton Head Hospital, working
with line animation by shooting video of various “characters” in studio and then tracing over the movements from the still frames. The hand animations were graphically animated and composited in After Effects, and then finished with some watercolor animation. A second project for HHH is on the books.
from all of us at Hire Profile
we would like to offer our
Congratulations
recruiting visionaries for
10
YEARS
to Oz Magazine for 20 years of exceptional industry insights. Looking forward to the next 20!
Hire Profile recruiting visionaries
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Trolling Methods Method Studios was honored in the Animation category at this year’s AICP Awards. The show winners were revealed at a gala event at the New York Museum of Modern Art. Two thousand members of the advertising and production industry attended the event. DirecTV’s “Troll,” was a dream project for the creature animation specialists at Method. The commercial demanded an extensive list of visual effects techniques. The CG creature is seen wandering through a magical landscape and fairytale-esque village. In addition to the troll himself, the artists were tasked with matte painted backdrops, fluid and cloth simulations, set extensions, atmospheric effects, CG animals and of course composting everything together.
In addition, Method’s ad for Kia, “Space Babies,” was shortlisted in both the VFX and Animation categories at the AICP and Clio Awards. It also secured a place in the Computer Animation Festival at SIGGRAPH 2013.
CONGRATULATIONS TO OZ MAGAZINE FOR 20 WONDERFUL YEARS!
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ozmagazine.com | 25
ozcetera
Seamy and Devious Devious Maids, which premiered on Lifetime in June features custom bedding and drapes sewn by Atlanta-based sewing shop, The Sewing Studio. The shop’s creations for the drama range from the
very ornate gold drapes in the Powell’s study to the simple panels in Zoila’s house. The Sewing Studio’s work can be seen in rooms throughout the show, including the sheers and drapes in many
of the characters’ homes. The Sewing Studio’s other recent work for movies and TV shows filmed in Atlanta, includes: “The Blind Side,” “Identity Thief,” “The Walking Dead” and “Vampire Diaries.”
Scenes from Tyler Perry Studios’ “Devious Maids,” featuring custom work from The Sewing Studio.
26 | ozmagazine.com
blueskyexhibits.com
800-775-8365
ozmagazine.com | 27
L i m i t e d E d i t i o n G o i n g Fa s t
Industry Yearbook
In InYd sstrory du u Yeea arb rbot ooky k
Th Thee
2200 1 1 33
40 years of Georgia Filmmaking & the people who made it happen
19 7 3
The
40 Yea & the Peo rs of Georgia Film ple Who making 40 Yea de it Happe & the Peo rs of GeMa org ia Filmma n ple Who king Made it Happen
History SIDEBAR, TOP: Annette Stilwell, producer, Jayan
SIDEBAR, TOP: The early days: Tatum O’Neal on
Films.
the set of Little Darlings with a Lightnin’ Production
SIDEBAR, BOTTOM, L-R: Director Bart Patton and
Rentals’ truck (1980).
director of photography Paul Varrieur on the set of
SIDEBAR, BOTTOM: Lightnin’ Production Rentals in
Unshackled (2000).
2013.
ads featured Governor Carter sitting in a
watched the video and did change his mind.
director’s chair. Before long, the group’s
Over the next few years, Wayne would return
efforts paid off. Movie producers began
to Georgia many times to scout locations for
heading to Georgia to see what all the talk
future films. Other film companies followed
was about. Once crews arrived, Spivia and
suit, and before long, the film office had so
his five-person staff would actually go out to
many prospects, it was hard to keep up. Some
help scout locations. Sometimes producers
producers and actors kept coming back. One
came to the state with the singular goal of
of them was Burt Reynolds. In 1974, Reynolds, who had starred
finding the perfect location for their next film; other times, they were simply here on
in Deliverance just two years previously,
other business – in which case Spivia and his
returned to Georgia to film
team had to be a bit more creative in putting
The Longest Yard. The
Georgia on the producers’ minds.
movie was about a football who organizes a team of inmates to play against
Spivia found out about it, he arranged a
a team of prison guards.
meeting to convince Wayne to make a movie
It was scheduled to film
in the state. Spivia says, “An aide came
at a prison in McAllister,
in with a bottle of bourbon and poured a
Oklahoma, but three days
glass. John Wayne drank it down and said,
before the shoot, prisoners
‘Let’s get down to business.’ So, I played a
burned it to the ground.
tape in the VCR.” The video showcased the
Reynolds called Spivia for
diversity of the Georgia landscape – coastline,
help finding an alternate
mountains, and forests. Even though Wayne
location. Spivia recalls,
had previously filmed a movie in the state
“He said, ‘Can you get us
– The Green Berets in 1968 – he didn’t
a prison that looks like
seem convinced that the varied topography
this, real quick? If you can,
showcased on the TV screen was, in fact, in
you’ve got the film.’”
the state of Georgia.
The film commissioner
Dwight Benjamin-Creel 1985: Special Effects Technician 2013: Property Master
Robert Bock 1989: Camera Tech - Atlanta film Equip. Rentals (AFER) 2013: Camera Technician - PC&E
Kelsey Lane 2011: Actor 2013: Actor
Shay Latte 2000: Actor 2013: Actor
Randi Layne 1983: Actor 2013: Actor
Geoff McKnight 1987: Actor 2013: Actor
Debra Nelson 1981: Actor 2013: Actor
Curtis Bryant 1985: Music Composer 2013: Music Composer
Linda Burns 1992: Production Assistant 2013: Production Manager
Paula Rose Castronova 1991: Wardrobe Stylist & Buyer 2013: Wardrobe Stylist & Buyer
Pat Cooksey 1985: Camera Operator 2013: Director of Photography
Stephen Crocker 1992: Production Assistant 2013: 1st Assistant Camera
Sara Bess Norton 2011: Actor 2013: Actor
Charles Orr 2011: Actor 2013: Actor
John Osgood 1988: Production Assistant 2013: On Air Talent
Brenda Pauley 1993: Talent Agent 2013: Talent Agent
Jay Pearson 1990: Stunt Performer 2013: Actor
Guy D’Alema 1989: Stills Photographer 2013: Stills Photographer
Jody Danneman 1989: Camera Operator - Video 2013: Producer
Brennen Dicker 1986: Production Assistant 2013: Director of Sales for Creative Services - Crawford
Andrew Duncan 1991: Prop Assistant 2013: Graphic Designer
Dawn Dye 1990: Receptionist - Post Prod. (VTA) 2013: Receptionist - PC&E
Mike Pniewski 1983: Actor 2013: Actor
Sarah Reagin 2011: Stunt Performer 2013: Stunt Performer
Ric Reitz 1977: Actor 2013: Actor
Robert Robinson 2011: Music Composer 2013: Actor
Linda Rutledge 1987: Talent Agent 2013: Talent Agent
Ellis Edwards 1985: Stunt Driver 2013: Stunt Coordinator
Jack English 1983: Production Assistant 2013: Producer
Brenda Findley 1989: Set Dresser 2013: Art Department Coordinator
John Findley III 1991: Production Assistant 2013: Location Manager
Jeff Fisher 1992: Production Assistant 2013: Director
Mercedes Sanders 2006: Actor 2013: Actor
Rebecca Shrager 1983: Talent Agent 2013: Talent Agent
Chuck Shropshire 2010: Actor 2013: Actor
Heather Smith 2004: Actor 2013: Actor
Pamela Smith 1993: Actor 2013: Actor
arranged for production
“He said, ‘You can’t tell me this is Georgia.
to begin at the Georgia
Georgia is just hot and flat and dry.’”
State Prison in Reidsville shortly after. The Longest
a few minutes to finish my presentation, I
Yard would go on to net more than $43
do believe I’ll change your mind.’” Wayne
million in domestic gross sales. 5 It would
11
Terry Fitzpatrick 1985: Mixer/Location Sound 2013: Mixer/Location Sound
Carrie Gibbs 1989: Assistant Location Manager 2013: Location Scout
Thom Gonyeau 1986: Production Manager 2013: Principal/ Executive Producer - Mountain View Group, LTD
Chris Hamilton 1991: Stills Photographer 2013: Stills Photographer
Fred Houghton 1983: Warehouse/Generator Operator - PSA 2013: Shop Maintenance & Repair - PC&E
David Spencer 1992: Set and Sign Painting 2013: Actor
Laura Steele 1998: Actor 2013: Actor
Donna Summers 1978: Talent Agent 2013: Talent Agent
Tihirah Taliaferro 2011: Actor 2013: Actor
Patricia Taylor 2006: Actor 2013: Actor
Recess (a) Operator Allen Facemire on the set of Moonrunners (1975). (b) The Duke boys encountering the Sheriff on The Dukes of Hazzard (1979). (c) Script supervisor Charlene Webb on the set of The Dukes of Hazzard (1979). (d) A young Paul Varrieur (on right) was a member of the camera department on the pilot Six Pack (1983), which was based on a film by the same name. (e) Allen Facemire rigging a camera for a stunt sequence on The Dukes of Hazzard (1979). (f) Paul Varrieur, Allen Facemire, and Billy Sherrill on the set of a commercial in the mid-1980s.
45
92
Production & Support Companies
(g) 2nd Unit from The Dukes of Hazzard (1979). (h) Allen Facemire catching a high-speed drive-by with his camera on top of a pair of good old-fashioned ‘sticks’. (i) Gordon Siefferman, camera assistant on Moonrunners (1975). (j) Don Shisler and Doug Smith taking care of Boss Hogg’s infamous white Cadillac for The Dukes of Hazzard (1979). (k) Director Steve Rash and his camera crew in a bucket lift for The Buddy Holly Story (1978). (l) Gy Waldron, producer of The Dukes of Hazzard and Six Pack, taking a look at the framing for a shot, in the days before directors had the convenience of video monitors.
Companies
Year Started Founder/CEO/Officers
Companies
Year Started Founder/CEO/Officers
Electric Transfer Inc.
1987-2010
Joseph Donini, founder
Sirius Images Corporation
1990-2001
Marshall Peterson, founder
The Computer Studio
1988
Anita M. Critz
Imagic
1990-2005
Joe Huggins, founder
APC Studios
1988-2006
Salvatore Nappo, founder
Comotion Films
1991
Sheryl Myers, founder
Creative Edge
1988-2007
Beth Goodwin, founder
Comprehensive Technical Group, Inc. 1991
Steve McCormick, Jim Wile, co-owners
Baird Camera Cars, Inc.
1989
Greg Baird, founder; Wilma Jean Baird, CEO
Rob Rainey Video, Inc.
1991
Rob Rainey, founder
Jo-Thor’s Dog Academy
1989
Joan Lask, founder
Telltale Films, Inc.
1991
Tom Luse, CEO
Peachtree Prompters
1989
Lauri Plesco, founder
Feature Systems South Inc. (Atlanta)
1991-2008
Bob Bailin
Riverwood Studios (DBA Raleigh
1989
Paul Lombardi, founder; Scott Tigchelaar,
Atlanta Rigging Systems, LLC
1992
Rick Rushing, president; Dave Gittens, VP/GM
president
Casting Connection, Inc.
1992
Allen Facemire, CFO; Susan Satterfield,
Crossover Entertainment Group, Inc.
1992
Encyclomedia
1992
Lance Holland, founder
Gypsy Grips Georgia
1992
Danny “DJ” Haizlip, Chunky Huse, co-founders
Triple Horse Entertainment
1992
Karl and Amy Horstman, founders
Artisan Pictureworks
1992-1999
Joe Gora, founder
Barbizon Atlanta
1993
Damian Vaudo, branch manager
Broadcast Equipment Rental Company (BERC)
1993
Tony Foresta, GM
ImageMaster Productions, Inc.
1993
Dan Johnson, founder
Inertia Films, Inc.
1993
A. Troy Thomas, founder
Synergy Films
1993
George Watkins and Lyn Toll, founders
Whoa! Films, Inc.
1993
Bill Orisich, founder
Brick House Editorial
1993-1997
Cindy Garguilo, Kevin Garguilo, co-founders
First Light Entertainment, Inc.
1993-2002
Vivian Jones, CEO/producer
Video Progressions, Inc.
1993-2012
Adair Simon, founder
Atlanta Dogworks
1994
Greg Tresan CEO; Carol Tresan, CFO
Blue Moon Productions, Ltd.
1994
Susan Kanellos, CEO
Bootleg Island Entertainment
1994
Mike Coolik, founder
Carlisle Production Services
1994
Danny Boy Services, LLC
1994
Eagles Cry Productions, LLP
1994
Studios) SaltRun Productions
1989
Staging Directions
1989
Nick D’Allen, president
The Propper Source
1989-2006
Hilary Henkin, owner
Georgia Industry Yearbook
110
111
Georgia Industry Yearbook
Georgia Industry Yearbook
CEO
162
Savannah Production Group Inc.
1989-2010
Mickey Youmans, Tim Rhoad, Maria Rhoad
Southern Animal Talent Agency
1989-2012
Senia Phillips, founder
Atlanta Films, Inc. (Get-A-Grip Atlanta) 1990
Mark Henderson, founder/president
Bob Shelley Special Effects International Inc.
1990
Bob Shelley, founder
Houghton Talent, Inc.
1990
Gail Houghton, founder
Magick Lantern Studios
1990
Bill VanDerKloot, founder
Neverland Film Services
1990
Tim McCabe, founder
Payroll South (Crew)
1990
Annette Stilwell, founder
Peachtree Post
1990-2002
Jeff Blauvelt, owner
Phelanx, Inc.
1990
Mark Phelan, founder
Powell Group, Inc., The
1990-2004
Tia Powell, founder
ShowPay
1990
Annette Stilwell, founder
Spotchex (union)
1990
Annette Stilwell, founder
Xchex (nonunion)
1990
Annette Stilwell, founder
Effigy Film and Video
1990-1993
Toni Colley Lee and William Hudson
Dick Cross Special Effects
1990-1999
Richard (Dick) Cross and Gayle Cross, founders
Entertainment Design Group, Inc. (EDG) 1994
John Culbreth, founder Luther Randall III, GM; Billy Johnson, COO
John Carlisle, founder Dan Philipp, founder J. Robert Russell, CEO; Karen Russell CFO Steven L. Guy, CEO
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Georgia Industry Yearbook
10
came through and
banging his hand on the table,” Spivia says.
“And I said, ‘If you’ll give me just
Mark Apen 1987: Production Assistant 2013: Producer
player–turned–convict
the veteran actor came to Georgia for a Cattleman’s Association meeting. When
“About thirty seconds in, he started
LA Albarracin 1990: Hairstylist 2013: Hairstylist
Georgia Industry Yearbook
Georgia Industry Yearbook
Harold Morris, an inmate at Reidsville Prison, also worked as an extra in The Longest Yard. Originally sentenced to two life terms, Morris was later pardoned. When he was released, he wrote a screenplay about his life. Filmed as Unshackled, it was directed by Bart Patton and released in 2000.
Melva Akens 1990: Set Decorator 2013: Wardrobe Stylist & Buyer
Georgia Industry Yearbook
Case in point: John Wayne. In 1973,
In 1975, The Lewis Family founded Lightnin’ Production Rentals, Inc., in Atlanta. The company began renting production trucks to the motion picture industry in 1979 – everything from star trailers and honey wagons to camera trucks. Lightnin’s first feature film was 1980’s Little Darlings, starring Kristy McNichol and Tatum O’Neal.
Georgia Industry Yearbook
In 1974, North Carolina native Annette Stillwell moved to Atlanta and, one year later, founded what would become a very successful cast and crew payroll company. By 1980, Stilwell would become an Emmy award-winning producer and one of the premier casting directors in the Southeast.
Crew & Talent
163
in memoriam
Lyn Albers Lyn Albers passed away in June 2013 during a visit to the Turks and Caicos Islands. Lyn’s design work could be seen at times throughout Oz Magazine, as she worked for a time as a freelancer and as a full-time art director and production manager. As well as a freelancer for other companies, she was also a partner in business with her partner in life, husband Scott Banks, in Banks+Albers Design, n/k/a BAD Studios. Lyn was a pro in the workplace and visually talented. Her work ethic was combined with compassion, fun and outright zaniness. She was hilarious. But as funny as she always was, she never sucked the air out of a room: she derived a great deal of her joy when the hilarity was mutual; two people, interacting, acting out foibles and making fun of nearly everything. Lyn is survived by her husband, Scott Banks, and her son, Alden, as well as extended family and a great number of friends. She is missed. R.I.P.
Brenda Armstrong Brenda Armstrong, age 63, died July 3rd. She was known and loved by many friends in the production industry. Brenda channeled her passion for cooking by starting her own catering company known as Location Catering of the South. For 37 years, film crews and actors had the honor of tasting her southern meals. Brenda’s friend and partner Karin Davis said, “After reconnecting with Brenda, I have never seen her better. I was happy to call her my best friend for many years.” Brenda leaves her loved ones: sister Jennetta Faulkner Lisle, brother-in-law Wayne Lisle, nieces Jennifer Lisle Goza and Ellen Lisle Semones and nephew Dareyl Lisle. Her funeral was held Saturday, July 13th at Riverside Baptist Church in Nashville, GA.
Jessica Malia Lucas Jessica Malia Lucas, age 44 died Thursday, June 6th. At age 33, she was diagnosed with stage four breast cancer, the most advanced stage, and was given six months to live. With a positive attitude and perseverance, Jessica turned six months into 11 more years. She earned her Bachelor’s Degree in Kinesiology with a track to physical therapy. Her passion for acting is reflected in her acting credits in feature films and shows such as “One Tree Hill,” “Dear John,” and “Nights In Rodanthe.” She also opened her own pilates studio in 2008 called Intown Pilates. Born in Baton Rouge, LA Jessica was the youngest of four daughters. She is survived by her sisters Johanna Lucas, Juliet Lucas, and Janice Lucas Volk and her mother Elena Lucas.
Reuben Porras, Jr. Reuben Porras Jr., 61, of Newnan died Wednesday, May 1, 2013 at Grady Memorial Hospital in Atlanta. He was born June 15, 1951 in Dallas, TX to Reuben Porras Sr. & Catalina Valdez. His father preceded him in death. Reuben grew up in Texas, attended Jesuit Preparatory and graduated in 1969 from the University of North Texas with a degree in Radio, Film, & Television. He was a freelance cinematographer and worked on several movies and numerous sporting events. He traveled around the world filming sporting events for the NFL, MLB, and NASCAR. He was a two-time Emmy Award winner for his work on “Inside the NFL” in 1991 & 1995. Reuben was a charter member of Resurrection Lutheran Church where he was active in numerous programs. Survivors include son, Noah Porras & wife Alicia of Newnan; mother, Catalina Scott of Newnan; sister, Monica Olivera & husband Andrew of Fort Worth, TX; grandsons, Connor Porras, Grayson Porras; niece, Monica Hazelton & husband Brad of Scotland Neck, NC; greatnephew, Noah Hazelton; and great-niece Naomi Hazelton.
Robert “Bob” Vazquez Born in Brooklyn New York, Bob Vazquez spent 22 years with the New Jersey State Department of Law and Public Safety, retiring with the rank of Chief of Special Operations. During his tenure, he worked with the NY and NJ Joint Bank robbery Task Force and was later assigned to many joint Federal details in and out if the United States. He attended the John Jay College of Criminal Justice in New York. Upon retiring from law enforcement Bob became involved in the motion picture industry, working as a technical advisor, stunt man and actor. After retiring from the Screen Actors Guild in 2008, he continued as a special effects supervisor for motion pictures. He was a member of IATSE local 479 since 1993, serving as president for the past 8 years. Bob worked over 75 motion pictures and TV series, and also produced one motion picture With his wife, Kathleen Marie Tonkin Vazquez (a third generation filmmaker), Bob owned and operated East Coast Films Inc. in Peachtree City, Georgia, a special effects company. He passed on May 25th, 2013 survived by his wife, his mother Mercedes Vazquez, his daughter Barbara Vazquez, his granddaughter Nadia Buer and his nephew Matt Mehring.
ozmagazine.com | 29
behind the camera with drewprops
Earlier this year my phone buzzed with a text from a friend, inquiring about a script I’d written a few years ago. As I was searching for a copy in some storage tubs I ran across a little plastic device with a tiny LCD screen and three rubber buttons. It was my digital pager from back in the 1900s! Back then it seemed that just about everyone in the working world had a pager because the little gizmos allowed you to communicate with people in near-real time! Unlike most peoples’ traditional black pagers, mine was made from a garish school bus-yellow colored plastic. I recall having phoned every pager center in Atlanta trying to track down that specific model and color, and I suspect that its relative rarity may be the reason I never threw the old thing out after it became an antique. In case you never used one, pagers were remarkably simple. If you wanted to page a friend you simply called their pager number and keyed your telephone number in when prompted. When the page was received your friend’s pager would beep or vibrate, and your numerical “message” would be on their screen. It was their responsibility to call you back in a reasonable amount of time, so “near-real time” could be minutes or days, depending on the other person. There were two things you needed to be able to “return a page” (that’s how you said it when you called someone back after receiving their page). The first was proximity to a telephone, which wasn’t so bad if you were in the city because you could find a payphone on practically every corner. Of course if you received an urgent page while traveling along the interstate it meant that you had to pull off at an exit featuring enough civilization to warrant the existence of a payphone. The second thing you needed in order to return a page was of course money - there’s a reason they’re called payphones after all! As I was writing this article I realized that the reason I still keep plenty of change in my car may be because I was so conditioned to never run out. Even though the message on your pager’s tiny screen was just a string of numbers you soon learned to recognize the number and associate it with a person or business.
30 | ozmagazine.com
It was frustrating to wait by a telephone until a person responded to your page, and yet it was a slight advantage over what we’d had before so we embraced the technology, even if it was expensive (my plan cost more than $100/month). Still, the inefficiencies of this so-called “modern” system began to gnaw at me after a string of missed calls between me and the propmaster. One afternoon I was fumbling for change in front of a payphone along Peachtree Road when I glanced at the numeric keypad and realized that the solution had been staring me in the face all along. Several hours later when I reconnoitered with him I excitedly explained a new way of sending “text messages” using our numbers-only pagers. I reminded him that telephone keypads had numbers AND letters on them and that all we had to do is convert each letter of an outgoing text message into pairs of numerical digits. The first digit of the pair would reference a number on the telephone keypad, the second digit would be the “number place” of the letter on that key.
For instance, the letter C is found on the “2” button on your telephone keypad, and it’s the 3rd letter on that button. The “code” for the letter C would therefore be 23. Likewise, the letter A is on the “2” button on your phone’s keypad, and it’s the 1st letter on that button, so the code for the letter “A” would be 31. Using the same system, the code for the letter T is 81, and when you put them all together you get the code 232181, which translates to “cat”.
Producers can track storms more closely than ever, deciding whether to move to cover or stay on location and ride it out. Bored grips can play Angry Birds while waiting for the 1st AD to make up their mind about changing the day’s scene order, while drivers sit in stakebeds posting vacation photos to Facebook. Even the classic Polaroid continuity photo, which was made extinct by digital cameras, has been replaced by the smartphone’s all-in-one capabilities.
By using my brand new system I figured that our efficiency would soar, so I got straight to work making wallet cards for us to use when encoding and decoding my new “text messages” on our numeric pagers. It would only take me 8 or 9 minutes to encode a simple message and jot it down before phoning up the propmaster’s pager and keying in the complex numeric sequence.
It’s only a matter of time before studio heads recognize how vital these devices have become to their business model and add portable smartphone charging stations to the duties of the PAs.
He’d usually call me right back sometime later and say “Hey, did you need something?” “My message, did you get it??” I’d ask with great anticipation. “Yeah…,” he’d reply, “I didn’t really look at that.” There you had it: even with a secret decoder card, my text messaging system was just too complex for everyday use. Pagers were dumb technology and the advent of true text messaging couldn’t have come soon enough, though I did find it a bit galling that my first text-capable cellphone used a system remarkably similar to my own PagerMessaging™. It’s remarkable how far we’ve come since the passing of the age of the pager. Our culture is still racing to keep up with technology and in the process (as so often is the case) we’re being shaped by the devices that we use. Social mores and traditions are being turned upside down at a rapid pace, and those who can’t keep up risk getting left behind like Senators who post their weiners on Twitter. The smart phone and its connection to the Internet has replaced the pager as the must-have device in the working world and like so many other workplaces its use has truly revolutionized filmmaking, technically as well as socially. A shopper for the setdecorating department can send high quality photos of furniture options directly to the decorator from an antique store. The locations department can share potential filming locations with the director, reducing the number of butt-numbing scouts they’d have to endure.
Even my old invention*, text messaging, has become so embedded in the culture of the film business that it’s not unusual to accept a day-playing job via text and receive a call sheet via email, showing up to work having never spoken to anyone via telephone. In fact, you probably know more than a few people who prefer texting to telephone conversations (you might even be one of those people). Text messaging allows for conversations far more private than a side channel on the walkie-talkie, and you can continue to communicate silently with other people on-set while the cameras are rolling. Some might find it ironic that the motion picture industry, a business devoted to one of the ultimate communication mediums, has embraced such a limited communication tool as text messaging. But people don’t usually notice how technology is shifting around them, making their lives easier and subtly altering the way that they behave – not until they’re 20 years down the road looking back. If you’re one of those people who hate Facebook and Twitter, and are always complaining about how people are perpetually lost in their smart phones, I feel your pain. But don’t give up on humanity just yet! People are still communicating, they’re just doing it in strange new ways. We’ll eventually tame the technology and make it work for us. Trust me: has the guy who invented text messaging ever lied to you?
ozmagazine.com | 31
how i got into the business
DOROTHEA TAYLOR Designustrator/Owner TP DESIGN www.tpdesigninc.com (illustrator) HOW DID YOU GET INTO THE BUSINESS? For as long as I can remember, I have always loved to draw. I didn’t know exactly what to do with my passion. As I got older, I feared the idea of becoming the struggling “starving artist.” In high school, I took a class offered for the first time called commercial art. It exposed me to a whole new world of creativity and a career that really excited me. After college and working a few jobs in the industry, I married fellow artist, Charly Palmer in 1992. We set off to Atlanta to open up our own shop, T.P. Design, Inc.. With his help, I grew as an illustrator, and I’d like to think I helped him grow as a designer. Together we created our studio’s signature style “designustration.” What is the best advice to give young people in your profession? I would encourage young people to spend some time in the trenches working for someone else before they strike out on their own. School doesn’t always prepare you for creating production-ready art, crazy deadlines and the realities of pleasing a client and persuading them to buy into your ideas. It’s hard enough to manage the creative end without trying to manage the business end of a studio. I feel blessed to have an operations manager I trust, my sister Stephanie. When you strike out on your own, make sure you have the support staff you need so that you can focus on doing what you love, being creativity.
32 | ozmagazine.com
PATRICK CARLSON
Bull’s Eye Creative Communications www.bullseyecreativecommunications.com (design graphic/web) HOW DID YOU GET INTO THE BUSINESS? As a child, I saw a movie about an advertising agency. It seemed like an exciting and creative profession. In high school, a career counselor suggested that I might want to consider that profession as an occupation. In college, I made that my main focus. My first job after graduating from UGA was in the creative service department of The Athens Banner-Herald. It was a great first experience working on supplements and ad designs. I later moved to Atlanta and worked at Georgia Tech in their publication department. After that, I did a lot of freelance work at large companies and gathered solid experience. Being laid-off from a company was a blessing in disguise. It helped me realize that I could branch out on my own. Rather than spending time on corporate politics, I wanted to focus my creativity on the actual work. As I started up my own firm, I kept in mind the thought, “I can if they can!” My firm focuses on creative communication projects for high-tech, medical and business service companies. What do I love about my job? New challenges keep me on my toes and keep my excitement level up. It is the best part of my work. I like solving problems. I’ve always had an inquisitive mind and that has served me well. My motto is: “If I don’t know the answer, I’ll find it!” Best advice to young people in your profession: Being good at all aspects of running a business is vital for success. Knowing what attracts new projects is as important as knowing what to do once the project is in the door. Being professional in all aspects of your business will set you apart from the crowd.
STUART FLEISHER Creative Director The DVI Group www.thedvigroup.com (animation)
HOW DID YOU GET INTO THE BUSINESS? I left school with no skills, but a lot of drive. I made cold calls to companies all over Atlanta until I found a place that was willing to let me use their design software. I jumped on the opportunity and spent at least 40 hours a week practicing. There were a few nights where my dinner was a spoonful of peanut butter, but after a year, I had built my portfolio up enough to find a full-time job doing what I love. What was the most embarrassing moment? My first real gig was as a PA on a major music video. I’d lived in Atlanta less than a week and I was supposed to pick-up two dancers that had flown in from NYC and drive them from their hotel to various locations. This was before everyone had GPS. The shoot lasted 24 hours, and I must’ve spent 8 hours completely lost while the two gorgeous women in my car thought I was completely hopeless. By the end, I was so flustered that I locked my keys in my car and had to get a ride home with the grip truck. When did you know this was what you wanted to do? I went to school thinking I wanted to be a writer for television. At my school, writing and production were in the same program. I spent one of the longest weeks of my life shooting the final project for that class. We shot in an abandoned trailer park in 100-degree heat, and spent half our time dodging squatters. Somehow, at the end of that, I decided I didn’t want to go back to writing. What projects are you working on now? DVI is always busy with diverse projects. My focus at this exact moment is finishing a series of animations for the Federal Reserve Bank.
LISA F. MOORE, ESQ.
DANNY MAUGHON
CANDY MARGOLIN
HOW DID YOU GET INTO THE BUSINESS? I was fortunate that a partner at the first (and only other) law firm I worked for, Arnall Golden & Gregory, was doing a good bit of music work and needed an associate to handle those entertainment matters. I had great mentors at AGG in the litigation department. Since I left in 2001, I have been practicing entertainment, intellectual property and art law exclusively.
HOW DID YOU GET INTO THE BUSINESS? My current career path surfaced because I have always been a verbally & visually curious soul. It all started with family road trips where I framed my view of the world through a station wagon window. Much later, I surfaced as a collegiate radio host of “Film Folio.” I covered the creative scene in cinema and then worked as a photojournalist for LA film trade on location. I wrote and photographed three cover stories on prominent Southern films for the monthly magazine within my first year. Both the radio gig and the magazine introduced me to the key production personnel who kindly expressed interest in my abilities and my passion for production. Then offered me entry into the exotic world of film as a scout & other sundry jobs.
HOW DID YOU GET INTO THE BUSINESS? It was a combination of some luck, some timing, and some – I’m just good at what I do. My ‘big break’ to becoming a studio teacher actually happened when I was an extra on a set. I played a mom of 2 young girls and while filming, I was approached by the Studio Teacher on that set, who asked me if I had the professional credentials for teaching so that I could become a studio teacher (I did). It was obvious to both the studio teacher and the director that I was quite good and comfortable with kids on the set, and that I could be a real asset to all as a Studio Teacher. My background, both academically and professionally, is with children and adolescents. I have an extensive background as a social worker and as an educator working with kids pre-school through 12th grade, helping them both in and out of the classroom. So, becoming a Studio Teacher was an obvious fit.
Managing Partner/Principal The Moore Firm, LLC
Best advice to young people in your profession? Find something you love and do it well. Never forget that you have to set boundaries for yourself to protect your time away from work and maintain a healthy live/work balance. Do you have a word or quote or mantra you live by? “The devil is in the details.” A partner and mentor that I used to work for always said this and it has served me well. Regardless of whether we are working on a movie deal or a piece of copyright litigation, every aspect of a matter deserves careful attention and often, this makes all the difference in the outcome. If you weren’t doing this, what would be your dream job? This is it! What are your Three most recent projects? We have been working on a significant number of high profile film, television, live stage, music and visual arts projects.
Location Scout/Photographer www.dannymaughon.com
Best advice to young people in your profession? To newbies, I simply say–read-do a lot of selfstudy, evaluate the history of the medium, then experiment on your own for the future. And with luck, you can seek opinions and be evaluated by your peers before beginning the often unforgiving real production world ahead. Discover, Document, Deliver and hopefully Delight! What have you worked on recently? Recent work includes: Let’s Be Cops, Last Vegas, Identity Thief, and Rooms to Go w/Cindy Crawford.
Studio Teacher/Tutor (teachers & tutors)
Why do I love my job and what makes it such a cool and fun job? The quick and easy answer to this question is ‘the kids.’ But it is so much more than just teaching the kids. It’s getting to know them. Each and every child actor is first a child; an individual with different likes and dislikes, strengths and weaknesses, and desires and curiosities. As their Studio Teacher, I get to help explore all these with each actor as I work with them both in and out of the classroom. Continuing with academics while filming is usually not a high point for most child actors, but it is essential. My goal is to help them stay on track, make progress, and enjoy the ride. The payoff for the child actors, of course, is set time. While on set, they know they have me in their corner, so their comfort level as they approach scenes is greater. I’m there if they need me, and I’m there if they don’t.
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oz scene
SIM DIGITAL Grows Operations in Atlanta SIM Digital, one of the leading suppliers of digital production equipment and post production services in North America, has expanded its presence in Atlanta, moving into a new, nearly 7000 sq. ft., freestanding facility. The new SIM Digital Atlanta houses both the company’s rental operations, which supplies cameras and related equipment to feature and television productions, and its Bling Digital unit, which provides post-production services. SIM Digital Atlanta has experienced strong growth since it opened in 2008, driven by a rising tide of feature and television production in Georgia and throughout the Southeast. The company recently supplied camera systems to the television series “The Vampire Diaries” and season one of “Revolution,” as well as the feature production “The Good Lie.” Bling Digital recently provided dailies processing services to the television series “Rectify.”
Ann DeGuire
“Local tax incentives have helped to bring more production to Georgia,” says SIM Digital Atlanta General Manager Ann DeGuire. “The entire region is developing into a national production hub.” DeGuire adds that SIM Digital Atlanta’s growth has also led to a doubling of its staff since January.
SIM Digital Atlanta’s new facilities allow it to offer turnkey solutions extending from the set through final delivery. It now has on-site resources for screening, editorial, dailies processing, data archiving, final color correction and editorial finishing, all of which come with Bling’s highly experienced professionals and 24-hour support. The company now offers Bling Digital’s innovative POD (Post On Demand) systems, all-in-one solutions that enable productions to carry out a variety of post-production processes in their production offices or near-set environments. Its camera department has additional prep-floor space and now has the capacity to conduct side-by-side camera comparisons. “We offer everything under one roof,” says Bling Digital Atlanta’s Arthur Ditner. “That’s very appealing to the producers we serve. Many prefer to work with a single-source supplier who can help them make smart choices about technologies, and who has expertise in workflow issues that are a common feature of production today.” Arthur Ditner
SIM Digital introduces “BITES and BITS”
its. s and B ing Bite y jo n e O, crew rker (C T Diaries ampire Chris Pa arasik , V n e e th h f o lC ael K Some o Jones, A e, Mich ran, Sara anda Etheridg u D n li L-R:: Co l & Bling), Am ita SIM Dig enson cH ri E d n a
L-R: Nic kH Jim Mar ayden, Chris P a tin and Steve M rker, ensch
ire Diaries , 1st A/C, (Vamp L-R: Colin Duran rker, (C TO for Pa ris Ch d an crew) ng) SIM Digital & Bli
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Sim Digital recently held their first in a series of “Bites and Bits” at their new facillity in west midtown. Industry professionals were invited to the casual event after work for a cold beverage and a bite to eat. They had the chance to learn something about Sim’s full range of products and services, from camera rentals to their archiving data capabilities. “Bites and Bits” gives Sim Digital a chance to get to know more folks in the community.
Double line photo caption, double line photo caption, double line photo caption.
ozmagazine.com | 35
A community of people who pitch in by lending their award-winning talent, and who also just happen to be some of the coolest people to work with. That’s Oz. 36 | ozmagazine.com
HER’S BLIS U P
NOT E:
Rearview Mirror: Reflections On 20 Years In The Magazine Business As any publisher can tell you, there is never a dull moment running a magazine business. It truly is an adventure, similar in many ways to sailing the seas: When the weather is fine, it’s wonderful; when it’s stormy, it’s tough, especially when you’re in a smaller boat. We sail through the same economic waters as any other small publishing house. With this said, “one” of the biggest challenges that we constantly find hard to do is convincing people who work in or with the advertising industry that they need to advertise and brand themselves. It is like an old Cobbler that has no shoes, it just doesn’t make sense. But our triumphs over the years have more than surpassed the challenges. We at Oz Magazine always felt that we filled a need in the creative media community, and the reaction to our publication has always been welcoming and very positive. When we get calls from readers who say the magazine helped them make a business connection; or that it educated them on a subject that might aid them in running their business; or that they got work from a press release, article, or ad that was in the magazine, it makes all of us at Oz happy. Sure, the awards we’ve won over the years for design and publishing excellence are great, but knowing that we made a difference in someone’s life or career—and in the creative media industry, in general—is truly the best reward. I’d like to thank everyone that has helped over the years, but I know that’s unrealistic (and pretty much impossible), since Oz was built not just by our employees, but by a community—a community of people who pitched in by lending their award-winning talent to us—writers, graphic designers, photographers and illustrators. Then, there are the advertisers who supported the magazine over the years; without them, there would not be a magazine at all. Here at Oz, we have been fortunate to work with some of the coolest people around. We have bonded and become not just a work family, but a family that sticks together outside of work as well. Through the laughs and sometimes tears, we support each other.
I thank you all for being part of our family. See you in Oz!
Photo by Promo-Photo
24 years of marriage, 20 years of Oz. Workin’, lovin’, head-buttin’ rockin’, helpin’, and publishin’. Tia and Gary Powell, co-publishers ozmagazine.com | 37
A Make-up Artist, an Art Director, and a Photographer Walk into a Bar…
1993 Oz Team: (L to R Back row) Andrew MacklerProduction Manager, Hazel BreslauerAdministration, Greg Jarrell- Art Director, Michael GaertnerProduction Director, Todd Jackson- Production, Gary Powell- Sales and Marketing Director, Roger Orlando- Copy Edit, George BreslauerSales Consultant.
It’s not a joke; that’s really how it all started — as a conversation between me (Tia Powell, the
(Middle row) Nancy WestAdvisory Board, Tia Powell- Publisher, Robert Harlin Jr.Advisory Board.
makeup artist), an art director and a photographer talking shop after a shoot over drinks in a bar:
B
(Front) Jack English- Advisory Board, Lynne Foster- Advisory Board. (Missing) Terry Kay- Consulting Editor, Stephen Crocker- Sales Consultant, Connie Polk- Staff Photographer and Katherine Kirkman (OzCetera Editor).
ehind t he Cur tain: The Story of Oz, The Journal of Creative Disciplines
“There are no good make-up artists in this town,” the photographer began. I sat quietly for a few minutes and then said, “Uh . . . you hire me all the time, but you don’t think I am good???” His response was “Oh yea you’re great. You do what we want; it just isn’t that artistic.” Slightly caught off-guard, I went on to explain that I was artistic; I just couldn’t be artistic on most commercial shoots, micro-managed by two or more people who were telling me what they thought the actress should look like. The bottom line was, the creative director and photographer needed to trust that I could do my job and pick the best look and style that was required for the shoot. The creative director, who worked for a large advertising agency, chimed in. “I’m bored, and I am just being technical, not creative.” His complaint was a relatively common one among his peers in this age of big-budget ad agencies. The reason: Creative or artistic directors often felt that the agency, not the artist, had creative control over the project. The conversation continued and the photographer agreed with both of us. We were all artists and we knew our stuff, but someone else had control and made us all into technicians. While I wasn’t quite as frustrated as my colleagues, I did have an idea I’d been
thinking about for quite a while. I told them about my vision for a magazine. “Wouldn’t it be great if there was a magazine that was a business-to-business magazine for the creative media industry?” I asked. I knew most of us artists and trades people who worked on film and television sets (at least in my day) were self-taught. We might have had the knowledge to do our job, but a lot of us did not know how to run our personal businesses. There were so many things we needed to learn, including taxes (what really qualified as a write-off?); billing; marketing and advertising; union & guild politics; ethics; copyrights…the list goes on. I wished a publication like the one I was describing had been available to me years earlier.
What the Heck Is a ‘Day Rate’? That’s the question that came to mind the first time someone called me to work on a commercial. I had worked for years as a freelance makeup artist for magazines, projects that were billed through an agency. But the thought of setting my daily rate as a freelance makeup artist? It was a foreign idea to me. It’s not something they ever
taught me in school. Thankfully, the man on the phone told me what the company’s budget was and I took it (yes, it turned out way below the average day rate—a hundred dollars less per day than it should have been, as a matter of fact). The lesson from that brief encounter stayed with me: People working in the creative media needed some type of publication to help them learn about the business side of freelancing or running a creative shop. They also needed a way to learn about how others within our community ran their businesses. I thought, “wouldn’t it be great to create such a magazine? And wouldn’t it be nice to have a publication where the talent had full, creative expression and control over their work?” The art director and photographer agreed that it would, but there was one caveat: I didn’t want an art director telling us how the magazine should look. My vision was that Oz would be a community magazine—curated, compiled, researched, photographed, illustrated and directed toward the community. This conversation happened in 1987 in Calgary, Alberta, Canada. It would be 5 years before I was in a position to start the magazine. I had to sell my Canadian business, marry my husband, get a green card and move to Atlanta, GA.
It’s all in the name OZ! I had a couple of names for the magazine when I came to Atlanta. Sadly, my favorite at the time was already on a publication in Savannah, CONTENT magazine, and my other favorites were also taken. I went through the eye of the needle to end up with Oz. Before we first started the magazine, I had interviewed a few graphic designers. One lady was working at a successful local paper, but she was looking for a calmer environment to work in. She was very petite and had long, dangly earrings that looked like fishes. I remember that she was nervous during the interview, because she kept shaking—which made the fishes make little tinkling noises. I found it all very distracting. The lady asked me what I was going to call the magazine. I told her it was still up in the air. She said, “Why not call it OG”? Because of the distracting, tinkling fishes, I misheard. “Did you say Oz?” I asked her. She looked at me funny and replied, “No, I said ‘Og,’ but I love Oz, so much more.” So did I, so much so that I excused her from the interview and called a friend of my husband—Frank Landgraf, a copyright attorney—and asked him what my odds were of getting Oz as a name for my magazine. He told me that he would call me later that day. I went to lunch and when I came back, my office manager (ok, I was the only other employee at the time, so I guess she was managing me), told me that my attorney friend called and said that I owed him 60 bucks. Frank had immediately filed for the name and then informed me that there would be a very good chance that a lawyer would call me. It turns out the same company that published Penthouse magazine had had the name on hold for eight years and two weeks. But they had not renewed it in time, so I got it! Sure enough their lawyers called and threatened, but there was nothing they could do. Oz! It was MINE!! I do have to say I wish I knew why the graphic designer wanted me to name the magazine OG and what kind of magazine Oz would have been if the other publishing house had been able to keep the name…
Extra, Extra! Read All About it! So, we put out the call, mostly through word-of-mouth, for people to submit their photographs, press releases, association calendars, story ideas and other items of interest. We called the associations, schools, advertisers and graphic designers. The response was incredible. Photographers started sending photos, illustrators began sending art and advertisers were buying ads. There was just one problem: I didn’t know how to run a magazine. So I called the one person I knew who did have experience with publications: Terry Kay, former Amusements Editor for the Atlanta Journal-Constitution newspaper and novelist. He signed on as my consulting editor.
“When Tia called me about participating in this publication, I agreed to discuss it simply because she sounded over the telephone like one of those energetic and determined people who believe that dreaming a dream is only a whimsy doing the dream makes dreaming it worthwhile.” - Terry Kay Yes, I was in over my head, dreaming a dream that I had no idea how to turn into a reality. I only knew I had passion, drive, ambition and a heady dose of audacity. I’d need all these things and more to ride the waves of change over the next 20 years. We rode, we adapted and we survived. This is the story of how it all went down.
“Tia is like the happy leader of a neighborhood gang of youngsters who decide to build a backyard tree house and within hours have gathered a stack of wood and cardboard boxes ready to be nailed, or stapled, together. It’s such a good time you forget you’re actually working.”Terry Kay
Our first issue hit stands August/ September 1993 It was an 10” x 13” magazine printed on newspaper. On the cover was Monty Ross, co-producer to film director Spike Lee. The article was written by Dr. Herb Eichelberger, film professor at Clark Atlanta University (and Lee’s former professor). Another film industry illuminary, actor/director/producer and writer Bart Patton, also contributed an article (about how to write a script) to the magazine. We had two photographers—one on staff (Connie Polk), and one strictly for the cover story (Jack Gardner)— and their black-and-white photos graced the pages of the magazine. Remember, this was years before digital photography! Robert Harlin, Jr. who was the Fulton County Film Commissioner at that time, hand colored the black and white cover with coloring pencils and was paid with a bottle of Dom. The first design of Oz Magazine was created by Laura Daley and Laura Lee of Twin Studios. Long before we had fancy fonts, we had lipstick. The ladies created the edgy look of the logo and column headings by using lipstick on toilet paper and then scanning the finished product.
This is the story of Oz.
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October/ November 1993
The Rise of Ad Agencies & PR Firms In the early 1990s, advertising agencies and PR firms were a driving force in creative media. According to cover story Small Agency at Large, there were an estimated 100 small ad agencies (defined as those that billed up to $10 million annually) in the city at the time, creating clever campaigns for three-quarters of the nation’s Fortune 500 companies and more than 1,200 international businesses that called Atlanta home. While the corporate presence in Atlanta was growing, companies were constantly looking for ways to cut expenses. Many marketing, design and PR firms sprouted up to serve the companies that were cutting their in-house offerings. Advertisers had plenty of money, and they were eager to spend it to reach their audience, as you could see by the number and variety of companies that advertised in Oz.
March/April 1994
July/August 1994
Animation and the Evolution of Printing and Pre-Press
All Aboard! The Information Superhighway
With the launch of the Cartoon Network in 1992, Atlanta was on the animation map. But the days of handdrawn animation were quickly becoming passé. Animation houses that specialized in computer-enhanced animation began to spring up. Two of the largest were DESIGNefx and J. Dyer, Inc.
Cover Design: Supplied by Ogilvy and Mather
Commercial printing was also wildly popular—and perhaps at its height— in the early 90s. In 1993, an estimated 1,000 companies in Atlanta were involved in commercial printing. Prepress companies were sprouting and growing. Paste-up tables were giving way to scanning and film. Some of the most talented photographers in Atlanta continued to send their work to Oz. In response, we introduced “The Gallery,” to showcase photographic works and offer artists a forum in which to express their artistic ideas. Cover Design: Greg Jarrell and Shannon Settles
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In the mid-1990s, everyone was talking about “the Information Superhighway,” a term used to describe the high-speed electronic telecommunications networks that facilitated the rapid transmission and exchange of information. This thing called a “modem” connected, or linked, people everywhere—at home, work, and all places across the globe. The mid-90s also saw the introduction and rise of multimedia—digital data from various media—that is transmitted over various communication networks. Visual, text, audio, graphics, animation and video. CDROMS were the major transmitter of this evolving media. The Information Superhighway, multimedia and their potential to completely transform the creative media was such a huge story that Oz devoted nearly all of the issues in 1995 to these topics. “Right now, the backbone of the information superhighway is a once obscure academic research network called the Internet.” Cover Design: Gretchen Mallory
September/October 1994
July/August 1995
Film Production in Georgia Takes a Dive
Happy 2nd Birthday to Oz!
While industries like animation and multimedia were getting legs and beginning to thrive, film production in Atlanta and other parts of Georgia began to decline. This was largely due to the fact that Canada began offering production tax incentives combined with a very favorable exchange rate to Hollywood productions. In addition, other states began competing heavily for features and episodic TV. Only six feature films were made in Georgia in 1994. It would be a precursor to much more dire years ahead.
Cover Design: Stephen Gallegos
Dotcom Rocks
March/April 1995
Get More Fiber Our cover story on fiber optics examined and explored the hardware forming information superhighway. On the back of that issue, a full-page ad invited readers to visit the Oz Backlot. Before the Internet, before the World Wide Web, there were bulletin board systems (BBS). Before html, the only point-andclick graphical interfaces were either operating systems or proprietary BBSs. Like today’s Web, all the Oz directories and back issues were available on remote servers, but to access it you had to load a graphical interface from a CDROM sent to you by Oz. We were the Web before there really was “the Web.” Connect your modem, open the graphical interface, and start browsing for people and services. Cover Design: Jimmie Stratton
Oops! We Did it Again Sometimes, we made mistakes. If we had a typo, we had to take an X-Acto knife, cut it out, type the correction on another sheet of paper and hot wax it back in place.
So much for a BBS. Companies that were able to anticipate the needs and opportunities introduced by the Information Superhighway started exploding. One such company was iXL, Inc., founded in part with assets supplied by Jim Rocco’s Creative Video. iXL quickly became one of the largest Internet production companies in the country, eventually having 2,400 employees in offices in 23 cities around the globe and more than $500 million in revenue.
Billboards Are Big With the 1996 Olympics just months away, all eyes were on Atlanta—and the city’s billboards. Our cover story, “Billboard Heaven, USA,” noted that Atlanta was the billboard capital of the USA, with more billboards per capita than any other city in the country – 4,382, according to the New York Traffic Audit Bureau. As the world was gearing up for the most international of athletic events, the Olympics, the phrase “diversity” became a popular buzzword with advertisers and marketers. In fact, “diversity marketing” was the name of the game, as a proliferation of TV stations, local and special interest magazines, and targeted radio stations all clamored for the attention of multicultural audiences—all in the name of diversity. Cover Design: Zayid Al-Majid
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September/ October 1995
May/June 1996
Making Your Mark on the Web
Terminal Glow: Surfing the Net Remember the days before broadband, when we had to “dial up” to connect to the Internet? When email was the “in” thing? When AOL and Yahoo were the main points of entry to the Web? Oz joined the discussion about the ins and outs of www pages and gave voice to the one, burning question that was that was on the minds of so many creative business owners: Should I have my own web page?
Cover Design: Judith Pishnery
Should I, or shouldn’t I? That was the question, as creative media professionals began to debate how much, if any, of a Web presence they should have. Oz introduced our readers to some new lingo (we were hip like that)—new Internet buzzwords, like “browser,” “hypertext markup language (html),” “links,” and “homepage.” Far out. Cover Design: Charly Palmer and Dorothea Taylor-Palmer
January/February 1996
The Lost Art of the Craftsman With the Information Superhighway cutting a path through nearly every aspect of daily life, local craftsmen and women—photographers, art directors, and illustrators, to name a few—began to worry about what large-scale computerization would mean for their art. Simply put, they wanted to know: Is technology killing the craftsman? Always keeping an eye on helping freelancers, our contributors also tackled issues that often incite fear in creatives: contracts, specifically, non-compete agreements; and taxes. Cover Design: Jamie Cook
A Grassroots Effort to Save Film Production As Georgia lost more and more film productions, members of the state’s production community launched a grassroots effort to fight back. They called themselves the Atlanta Production Partnership (APP) and their goal was to create a productionfriendly environment that would lure film projects back to the state.
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The Oz Gang Once the Oz Gang started to make a bit of money, we HAD to get our club jackets!!
January/February 1997
Butt Naked
September/October 1996
Are We There Yet? With the Olympics gone, Oz rolled out the red carpet for the film industry and shined a light on the Georgia Film & Videotape Office—the folks who were responsible for bringing such blockbuster film productions like “Fried Green Tomatoes” and “Driving Miss Daisy” to the state. But while Atlanta earned international street cred by hosting the Olympics, some members of the city’s creative community wondered how much, if at all, the Games helped to elevate the city’s image as a go-to place for topnotch talent. “The competition in New York, San Francisco, Los Angeles and Chicago plays a tougher game than we do. You have to be very persistent, but if you have a good product to sell, you can win.” (Mike Melia, Melia Design Group)
Happy New Year! In honor of all things new and unexpected, we figured we’d push the envelope with our cover art. Oz introduced perhaps our most potentially controversial cover ever, one that featured the naked backside of a female model (Olympic long jumper). Sure enough, publisher Tia Powell got calls about the cover from a variety of readers, one of which was the president of a large ad agency ad . . . to congratulate her on it! That’s when we really realized that Oz was more than a magazine for creatives and artists. It was about creative professionals and the business of visual communications.)
May/June 1997
All Media, All the Time: Harmonic Convergence? Near the end of the twentieth century, art and technology began to converge, creating new ways of communicating. Advertisers got more creative about using the internet to connect with their audiences. The “harmonic convergence” of telephony, cable TV and the internet generated a constant demand for fresh, new content and the creative media professionals who would be called upon to make it happen. Cover Design: Laura Kab
Cover Design: Rob Brinson
Cover Photograper: Michael Weinstein
There had to be a first! Katherine Kirkman was our first employee (which meant she got a pay check, while the night shift gang were paid in coffee, cokes and beer!). Katherine organized our office, wrote for the magazine and became the OzCetera Editor. Katherine came up with the column idea and it’s name. Today OzCetera is still the most read column. The night shift gang was Michael Gaertner, Andrew Mackler and Greg Jerrall.
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By 1999, digital technology would infiltrate another area of the creative media—printing. For the first time ever, printers and prepress shops would become “one-stop shops,” offering a number of services, including printing, binding and mailing. The photographers who managed to successfully navigate the digital debate found themselves up against another contender: stock photography—free, or inexpensive online photographs that users could download. It was a cheaper, easier, and more convenient alternative to more costly traditional photography. Graphic designers feel the effects, as well.
September/ October 1997
Atlanta Post-Production At Its Zenith Crawford Digital f/k/a Crawford Post f/k/a Crawford Communications, one of the pre-eminent advanced imaging, animation and editorial studios anywhere, is among the first to expand its digital offerings, including a big splash into the evolving HDTV technology. An estimated 10 other post-production firms opened up shop in Atlanta between 1996 and 1997. One established firm, William VanDerKloot’s Magick Lantern Studios, a special effects and TV production studio, finished construction on its Studio 750.
March/April 1998
Cover Design: Diana Brinson and Laura Haven; Photography by Pelosi & Chambers
The Digital Dilemma No more denying it: The world had gone digital, and that one fact had huge implications for photographers who had long relied on film. Suddenly, they had a crucial decision to make, and it was no longer “if” they were going to go digital, but when. While champions of digital photography extolled its speed and cost savings, opponents of the change worried, as they did with all new media, that it would lead to the demise of their craft.
Lessons We Learned Why the influx in post-production studios? Industry insiders credit media heavyweights, like Turner Broadcasting Systems and Coca-Cola. Others credit the previous year’s Olympic Games in Atlanta.
The first issue of Oz was typed on a Mac computer. A couple of days before we went to print the computer crashed. We never forgot the word SAVE again!!
Cover Design: Chad Cameron
Introducing The Georgia Production Partnership In 1998, the Georgia Production Partnership (GPP, formerly APP), established itself as a non-profit, 501(c) (3) organization and named award-winning casting director Shay Bentley-Griffin its first president. Its goal was to fortify efforts throughout the state to bring film productions back to Georgia. It was the heyday of “runaway production,” as more and more features, movies of the week and episodic TV was going to Canada. Over the next few years, the group would spearhead efforts to offer tax incentives to production companies working in Georgia. 44 | ozmagazine.com
September/October 1999
Like the First Color TV
November/December 1998
The Digital Tide Undaunted by the increasing popularity of digital photography, Kodak bought a full-page ad at the front of the magazine touting the benefits of film. Atlanta-based animation studios continue to gain in popularity, creating high-end animation for clients like CNN, MIT and NASA.
The U.S. government mandates that the entire broadcast industry migrate to HDTV (high-definition TV, the highest resolution available) by 2006, changed the way everyone in video production looked at their business. How fast to adopt the new technology, understand workflows and how quickly to invest in the new hardware and software are big questions. At the same time, rapid advances in technology causes more and more companies to move away from video production and toward the internet and intranet. Cover Design: Patrick Henrickson
November/December 2000
New Light on the Web Webcasting and streaming video became very popular choices amongst corporations and the entertainment industry. Media content, that could be delivered faster and easier, gave an edge to webcasting and streaming video over traditional broadcasting. Audio and visual content combined into one is what made webcasting and streaming video so innovative during this time. This increase popularity led to webcasting companies to start to develop programs that would make broadcasting live via the internet a possibility. New webcasting and streaming video ventures were to continue to be on the horizon. Cover Design: Kudzu Graphics
The world and Atlanta witnessed an expansion and influx of interactive web development firms. The dot com explosion and bubble was nearing its height. Cover Design: Chad Cameron
Oz Additions Employees would often bring in their dogs to work: Tori LaConsay’s “Shiloh,” Matt Barton’s “Deuce,” Kime Harless’s “Shenzy. Full time office cats started with Popcorn III and Doorstop for 13 years, and now we have Spanky and Dusty. Far left, Popcorn III; left, Doorstop; above, Spanky and Dusty.
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September/ October 2001
January/February 2002
Looking Backward, Looking Forward: 2001 in the rearview mirror, a heads up on 2002.
All You Wanted to know about the Newest Media, but were afraid to ask. New and innovative ways of sharing content were on the rise via the development of new media. Streaming videos had become more smoother and stable than video. Downloading content made file capturing permanent. DVD’s allowed videos to be seen at a higher quality, which meant a sharper and more detailed picture. Compression technology is introduced via the MP3, which made sharing and storing music digitally easier than ever before. Despite all of the innovations, questions remained as to whether or not these new media developments would become a way of life. Photos: Ken Takata Cover Design: Laurel Elizabeth
Creative Index 2001-2002
Partnering In 2001, ad agencies saw diversity as the way to progress forward via partnering. Partnering meant sharing challenges, developing solutions, for who employed creative arts professionals. From sourcing and evaluating full-time creative arts professionals to providing how-to techniques on screening and interviewing creative professionals, partnering aided in providing diversifying solutions within the creative arts professionals realm.
After the tragic events of September 11, 2001, a transformation took place and the nature of the world radically changed. This change led to advertising becoming more tailored to a thoughtful consumer. The effects also ripped across the creative arts professionals’ community in the forms of client shift agendas, priorities, and budgets. In addition, the resulting sagging economy that followed September 11th saw a back to basics movement within the creative arts profession. There was no more business as usual; all bets were off until the economy rebounded. Survival became the central focus post 9/11 in 2001, even though some creative arts companies saw increased revenue. Cover Design: Andrew Mackler
Cover Design: Ted Fabella
Brand identity design consultant Ted Fabella, took our lipstick away and gave Oz a new grown up look as seen on our Creative Index 2001-2002 cover. The logo has been nearly every color and in many patterns... we love our logo! Thank you Ted!
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January/February 2003
Coiled and Ready to Strike
March/April 2002
Consumerism as Patriotism Advertisers questioned and scrutinized their approach to consumers following 9/11. Some companies choose to jump on the patriotic bandwagon, by repackaging their advertising campaigns. Red, white, and blue were the colors of these American cheerleading campaigns of advertising. Americans were at a loss for words and marketing reflected this silence. Consistency was lost and people were hungry for new satisfactions that provided something more in their lives. It was the end of marketing as it had been known.
High Definition was just coming on to the scene as the latest innovation in the art of production. Several production companies were content to stay in the shallow pool of this recent development, but in Atlanta several production companies were diving into the deep end of the High Definition pool. 1998 was the year the HiDef revolution was set into motion, but it was a slow converting process in the television-broadcasting sector of production. Millions of dollars would have to be spent in order to make HiDef a reality across the board. HiDef’s constantly evolving nature also slowed the transitioning process down, but the possibilities of HiDef were limitless. It had the capability to change the way things are produced, posted, and finished. Illustration by: Jay Montgomery
March/April 2003
Digital vs. Film The film versus digital debate was hitting a dramatic climax that had no easy answer. Quality issues existed with digital, sentimental attachment bonded to film, and color conversations were on both sides of the aisle of the debate. However, digital offered a faster and cheaper way to deliver and print, if done right. The right way to accomplish this was subjective. In the end, the quality of the image is what counted and how it was accomplished was irrelevant. Quality could be reached in either medium, digital or film, if there’s careful attention to details. Cover Design: Michael Brooks
Cover Design: Lisa Cunard
Photography by: Robert Edwards
Oz Sports Trivia The Oz Gang has won more than just design awards. We won the Women In Film’s Spirit Team Award for 5 years straight (‘96 - ‘00). In ‘01 we lost to some “cute” kids. So in ‘02 we came back with a vengence by winning both the Spirit Team Award and Best Dressed Female Bowler award.
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September/ October 2004
January/February 2008
Market Talk: Web 2.0 Making MySpace Your Space
Broadcasting Quality: the Word on the Street from the People Pounding the Pavement Advertising entered a bit of a slump at the beginning of this century. Post 9/11 corporate America reduced its marketing efforts for nearly two years. This reduction was reflected in the post production scene, which was not only hit by the consequences of 9/11 but also the economy in general. In Atlanta, Turner Broadcasting made a devastating change. They decided to take the majority of its post production work in-house. This decision, by Turner, reduced some post production companies’ workload by half. Many companies learnt from this experience....not to put all your eggs in one basket. Cover Design: Christina Horm
May/June 2007
Georgia’s Got Game Georgia’s gaming industry was in its infancy, despite the fact that the gaming industry as a whole had been going strong for twenty plus years. Several post secondary institutions across the state had developed degree programs centered on gaming. Still, Georgia was not a major player in the gaming industry. However, there was a drive to increase Georgia’s presences in the gaming industry market. Legislation in 2004, and continued efforts beyond to strengthen it, helped make Georgia a key player in the gaming industry. There was already a solid foundation to build on, but the missing key ingredient was jobs in the gaming profession in Georgia.
The failure of banner ads leading to ridiculously high click-through rates lead some people to believe that the Internet was a bust. However, this notion wasn’t true. In actuality, the second generation of the World Wide Web would have never come to fruition if banner ads had not failed. Web 2.0 ushered in an Internet experience that had a little more slack, but an experience that was a lot more practical. The Web 2.0 experience was more centered on real connections and genuine relationships that could build stronger bonds with customers in the “new economy”. Essentially, Web 2.0 became more about collaboration and less about technology. Cover Design: Mind’s Eye
Cover Design: Tori LaConsay
We have been blessed with great employees. There are times when we are overwhelmed with work. It’s great to know that we can pick up the phone and ask for help from past employees who we trust and know can get the job done. One of the Oz gang members just needs to be with us again and again: John C. Sherman the 3rd, we call him the 5th, since that is how many times 48 | ozmagazine.com
January/February 2010
The Blogger Brigade
May/June 2009
Is Data Crunching Your Creative? The economic recession of 2008 hit many businesses hard throughout the country. Americans were feeling the strain as unemployment reached 8.5% and the economic policies in Washington weren’t aimed at helping creative or marketing companies. Marketing services from all channels creative, data, print, email - were hit especially hard by the recession. No one was buying marketing services because whole departments had been decimated. Marketing services had to find new way of doing business, like “guerrilla marketing,” or they would be left behind in the recessions wake. Cover Design: Jay Montgomery
Blogging, an internet tool used to communicate and share ideas with a large audience, had just come into prominence two years ago. Voices that would have never been heard were now being heard through the art of blogging. Some used blogging as a hobby, while others used it as means of expanding their professional statue, such as creatives in advertising, marketing and design. Audiences of these seasoned creatives blog’s were finding real value in the advice based on real world experience these creatives were providing via blogging. The best blogs were coming from bloggers that had a sense of curiosity and a true passion for finding out what was interesting to and what connected with human beings the most.
The Ins and Outs of Being: Creative and Communication Professional create their own Social Media Presence Social media outlets, like Twitter, Facebook, LinkedIn, were on the rise and were just starting to have a huge presence on the Internet. However, the sheer number of social media was on its way to becoming overwhelming. It was hard to tell which social media outlets were worth the time and effort in trying to maintain a virtual presence on
the Internet. PR, marketing, and advertising firms found themselves trying to use social media as another channel for communicating and networking. If used advantageously, social media could showcase a firms talents, find and retain clients, and expand marketable talents nearly free of charge. Cover Design: Tori LaConsay
May/June 2010
Updating the Tool Kit Photographers have to constantly update their tool kit. Video capabilities was the next update. Photographers who could shoot two types of media, still images and video, were more in demand. D-SLR cameras with video capabilities made the transition easier. Striving to keep pace as marketing and media continued to move towards a video-centric future has become the constant challenge for contemporary photographers.. Cover Design: Mikel Hutchings
he has come back to work for us. John has the title of Myrmidon: a subordinate who executes orders unquestioningly or unscrupulously. Having been with us for so long, John knows how to do nearly every task in our office. But he refuses to do the laundry.
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April/May 2011
June/July 2012
Georgia’s Studio Bosses The last two years saw the growth of the Georgia’s entertainment industry, despite the struggling American economy. Studios, sound stages, and backlots continued to spring up in Georgia. 2010 saw EUE/Screen Gems Studios and Raleigh Studios move to Georgia. The 2008 economic incentive act has brought the studios to Georgia because of the tax credit incentive attached to the legislation. This contributed to a positive economic impact on the production industry in Georgia statewide. In addition to the economic advantages of filming in Georgia, the state has strong facilities infrastructure; abundant talent; a variety of urban, rural, mountain and ocean settings for shooting; as well as a thriving international airport that offers frequent flights around the world.
Cover Design: Artistic Image
All Systems Are Go: Digital Dashborads for Business
April/May 2012
The Adoring Crowd: Indie Filmmakers are Raising Funds Via the Web, Social Media and Crowd Funding Crowd funding has become the popular method in which independent movie makers are funding their projects. Crowd funding is people pooling money and other resources to support a charitable or artistic project. 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. The Internet, more specifically social media, has increased the resources available to attain crowd funding. In addition, independent musicians, writers, and other creatives are using crowd funding as a means to get independent projects off the ground. Cover Design: Goni Montes
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Digital dashboards are a business management tool that gives you realtime, visual displays of Key Performance indicators. The dashboard pulls important business data from a wide range of sources and combines it into a single interface, giving decision makers and even employers, a concrete picture of how their business is performing. The dashboard’s visual display is fully customizable, allowing company decision makers to get a bird’s eye view of the health and functionality of the entire organization. The real-time business intelligence allows managers to spot existing or potential problems and take corrective action or make immediate business decisions. Cover Design: Dave Clegg
February/March 2013
What Will Live Streaming Change?
Creative Index 2012-2013
Anywhere, Anytime: Create. Manage. Serve. For 30 years, the various Crawfordbranded companies have given media and production clients the most creative and cutting-edge ways to acquire, manipulate, manage and distribute film, video and digital media. Crawford’s recent innovation was the Digital Library. The Digital Library allowed access to everything ever shot and every media file ever acquired anywhere at anytime. It has made workflows on current productions more efficient. Cover Design: Christina Wingfield
Live streaming is becoming more and more of a reality. The capital and cost of technology to do live streaming production, as well as consumer expectations of production value are going down. Furthermore, the nature of technology is always growing, if not exploding with change and what people can or want to do with that technology is growing at an equally explosive rate. Also, this shift in transmission or distribution model opens up doors, so that accessibility no longer requires an FCC license and then it explodes. The entry barrier to becoming a content creator is, in relative terms, next to nothing now. Cover Design: Bill Mayer
June/July 2013
Lead Us Not Into Temptation: The Second Screen Addiction Second screen devices combined with customized content, interactive apps and loyalty programs will fuel the growth of social TV activity over the next several years. Facebook and Twitter allow users to create and check status updates as they engage in real-time conversations related to TV programming. Apps deliver bonus programming, tighter community engagements and larger social interactions through second screen devices. Incentive programs tied to the second screens allows for more direct engagement with large screen content to generate rewards, check-ins and other gamification methods. Together, these three trends work to dimensionalize viewing and consuming experiences, tying us even more to our devices. Cover Design: Jacob Gurganus
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1. Amanda Bafaro - 2. Casey Pittman - 3. Andrew Mackler - 4. Deborah Baumgarten - 5. Gary Powell - 6. James Flynn - 7. Martina O’Boyle 8. Chet Knight - 9. Christina Wills - 10. Connie Polk - 11. Jayme Boucher - 12. Jessica Silver - 13. Jill Robbins - 14. Connie Dominey 15. Diane Lasek - 16. Desire Coroy - 17. Mukari Butler - 18. Dayl Soll - 19. Katherine Kirkman - 20. Bridget ONeill - 21. Katheryn Hays 22. Kay Spencer - 23. Kelly Barnes - 24. John Sherman - 25. Michael Gaertner - 26. Mikel Hutchings - 27. Michelle Clark - 28. Susan Johnson 29. Matt Barton - 30. Matha Ronske - 31. Sarah Medina - 32. Rositsa Germanova - 33. Steven Lambert - 34. Stephen Crocker - 35. Tori LaConsay 36. Monique McGlockton - 37. Kime Harless - 38. Megan Wilbourn - 39. Robert Harlin, Jr. - 40. Sarah Quinn - 41. Chris Dixon - 42. Carolyn Richards 44. Lyn Albers - 45. Tish Simmons - 46. Melissa Freedman - 47. Phaedra Weldon - 48. Minnie Tee - 49. Tiana Fernandez - 50. Paul Chandler 51. LaTarsha Pace - 52. Dianna Edwards - 53. Tony Pishnery - 54. Delaine Fowler
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distribution partners NORTH HIGHLANDS
EMORY
C-TOWN/G. PARK/EAST ATL
Diesel 870 N. Highland Avenue NE Atlanta, GA 30306
COMMUNITY BBQ 1361 Clairmont Road Decatur, GA 30033
Manuel’s Tavern 602 North Highland Avenue Atlanta, GA www.manuelstavern.com
Chocolate’-North Decatur 2094 N. Decatur Road Decatur, GA 30033 www.mychocolatecoffee.com
97 Estoria 727 Wylie Street Atlanta, GA 30316 www.97estoria.com
Plaza Theatre 1049 Ponce De Leon Avenue Atlanta, GA 30306 www.plazaatlanta.com Youngblood Gallery 636 N Highland Avenue Atlanta, GA 30306 www.youngbloodgallery.com Righteous Room 1051 Ponce De Leon Avenue Atlanta, GA 30306 Videodrome 617 N. Highland Avenue Atlanta, GA 30306 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 www.dunwoody.aiuniv.edu Mellow Mushroom-Vinings 2950 New Paces Ferry Road SE #B Atlanta, GA 30339 www.mellowmushroom.com/vinings NORTH DEKALB Beer Growler 38A N. Avondale Road Avondale Estates, GA 30002 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
SOUTH ATLANTA Clark-Atlanta University Library 111 James P. Brawley Drive SW Atlanta, GA 30314 Community BBQ 1361 Clairmont Road Decatur, GA 30033 EUE/Screen Gems 175 Lakewood Way SE Atlanta, GA 30315 www.screengemsstudios.com/atl Raleigh Studios-Senoia 600 Chestlehurst Road Senoia, GA 30276 www.raleighstudios.com MIDTOWN WEST E-Six Lab 678 10th Street NW Atlanta, GA 30318 www.e-sixlab.com Elliott Street Pub 51 Elliott Street SW Atlanta, GA 30313 Six Feet Under-11th 685 11th Street NW Atlanta, GA 30318 www.sixfeetunder.net Panavision 1250 Menlo Drive NW Atlanta, GA 30318 www.panavision.com
Mailing Avenue Stageworks 1144 Mailing Avenue Atlanta, GA 30315 www.mailingavenuestageworks.com Stoveworks 112 Krog Street Atlanta, GA 30307 www.officeloftsatlanta.com Six Feet Under-Memorial 437 Memorial Drive SE Atlanta, GA 30312 Smoothie Studio 925 Hamilton Street SE Atlanta, GA 30316 Stoveworks 112 Krog Street NE Atlanta, GA 30312 Studioplex 659 Auburn Avenue NE Atlanta, GA 30312 www.studioplexlofts.com Tomatillo’s 1242 Glenwood Avenue SE Atlanta, GA 30315 Little’s Food Store 198 Carroll Street. Atlanta, GA 30316 www.littlesfoodstore.com 529 529 Flat Shoals Avenue Atlanta, GA 30318 www.529atl.com
Portfolio Center 125 Bennett Street Atlanta, GA 30309 www.portfoliocenter.com S.C.A.D.- Atlanta 1600 Peachtree Street Atlanta, GA 30309 www.scad.edu INMAN PARK/LITTLE 5 POINTS Brewhouse Pub 401 Moreland Avenue NE Atlanta, GA 30307 Corner Tavern 1174 Moreland Avenue NE Atlanta, GA 30307 Criminal Records 1154 Euclid Avenue NE Atlanta, GA 30307 Jack’s Pizza 676 Highland Avenue NE Atlanta, GA www.jackspizzaandwings.com Inman Perk Coffee 240 N Highland Avenue NE # H Atlanta, GA 30307 www.inmanperkcoffee.com Java Lords 1105 Euclid Avenue NE Atlanta, GA 30307 Moog Gallery 1653 McClendon Avenue NE Atlanta, GA 30307 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
PPR - Professional Photo Resources 667 11th Street NW Atlanta, GA 30318 www.ppratlanta.com
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Sam Flax 1745 Peachtree Street at Brookwood Place Atlanta, GA 30309 www.samflaxsouth.com
Aurora Coffee 468 Moreland Avenue Atlanta, GA 30307 www.auroracoffee.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
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Homegrown 968 Memorial Drive SE Atlanta, GA. 30316
Utrecht Art Supplies 878 Peachtree Street Atlanta, GA 30309 www.utrechtart.com/stores
Georgia Film Commission Spring Street NE Atlanta, GA 30309
Turner Studios 1020 Techwood Drive Atlanta, GA 30318 www.turnerstudios.com
let me give you my card
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ad agency campaigns
Freebairn & Co.
Big Table Agency
Campaign Title: Meeting Consultants™ Rebrand Client: Omnience Description: As a 30-year-old meeting planning company prepares to launch industry-changing enterprise software to Fortune 500 companies, there was a need for a fresh, professional brand that represents new positioning and all they have to offer. Freebairn & Co. coined the name Omnience to conjure up the positives of words like omniscient and intelligence, and created a comprehensive branding program around the logo and tagline, Smarter Marketing Events. The branding extends to all corporate materials and a new website. Launch tactics included PR, social and blog content to position Omnience as thought leaders, and an integrated advertising campaign is being planned for the fall launch of the software product Credits: Creative Director: Mack Kirkpatrick Art Directors: Jay Hatfield & Don Patton Copywriter: Jay Tillinghast Digital Strategy: Christian Griffith
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Client: Georgia Pacific Corporate Description: As part of its ongoing community outreach, GeorgiaPacific supports several non-profit initiatives including Bucket Brigade, which supplies life-saving fire equipment to volunteer fire departments, and elementary school programs encouraging diversity. Big Table developed a series of ads to help Georgia-Pacific get the word out to the communities where G-P employees live and work. Tactics include print, online and OOH. Credits: Creative Directors: BA Albert, Kevin McKelvey Writer: Mike Weidner Art Director: Fernando Lecca Production Supervisor: Vicki Vest Retouching: 4. amoeba
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film & tv • print • new media • lifestyle apr/may 2013
ozmagazine.com | 1
May/June 2009 www.ozonline.tv
DECISIONS
e d a M Georgia September/October 2009
in
st Movies of
All Time
g One of the Greate oduction Industry Re-Imags! inGeinorgia’s Entertainment PrR ecord Year! Plu
Wraps Up a