Oz Magazine, Dec/Jan 2013

film & tv • print • new media • lifestyle dec 2012-jan 201 3

Impressed on the Set, Part 2 - p. 16 The Future Looks Bright, Part 3 - p. 26

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

NOW IN -S Come in TOCK! test sho for a ot toda y.

DEC 201 2 -JAN 201 3

IN T HIS IS S UE 36 FE AT UR E S Cover Story - Impressed on the Set: Part 2

p. 16

Feature Story - The Future Looks Bright: Part 3

p. 26

26 24

C O LU M N S Ozcetera p. 8 Behind the Camera w/ Drewprops - Have a Holly

Jolly Sound Stage

p. 24

Oz Scene - GPP/Screengems, ARRI/PC&E, BronzeLens

p. 30

How I Got into the Business p. 38 Let Me Give You My Card p. 41 Ad Campaigns p. 42

O Z M A G A Z I N E S TA F F CO V ER A RT

Photography: Sarah Medina Graphic Design: Christina Wingfield

Publishers: Tia Powell - Group Publisher, Gary Wayne Powell - Publisher Mukari Butler - Assistant to Group Publisher Editorial: Gary Powell - Ozcetera Editor Elizabeth Carter - Research Contributors: Nichole Bazemore, Andrew Duncan, Diane Lasek Sales: Diane Lasek, Monique McGlockton IT/Database Administrator: John Cleveland Sherman, III Design: Christina Wingfield - Designer Sarah Medina - Production Artist & Designer Rositsa Germanova - Production Artist & Designer Ted Fabella, Logo Design

Visit us on the web at www.ozmagazine.com, www.ozonline.tv, www.facebook.com/ozpublishing Oz Magazine is published bi-monthly by Oz Publishing, Inc • 2566 Shallowford Road • #302, Suite 104 • Atlanta, GA 30345 • (404) 633-1779 Copyright 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.

Full service catering for your next production.

www.solcatering.net 404.805.6589 • 404.853.3239

Production Support Services

347

A r t w o r k b y D e a n Ve l e z , S e n i o r M o t i o n G r a p h i c s D e s i g n e r a t M a g i c k

W E ' V E C R E AT E D A M O N S T E R …

Check out the reel: Vimeo.com/magicklantern D I G I TA L P R O D U C T I O N

•

EDITORIAL

•

MOTION GRAPHICS

•

AUDIO

C O N T R IB U TO R S Nichole Bazemore is a freelance writer and blogger. She is also the host of the show, “Say It With Style,” on Blog Talk Radio. Her company, Simply Stated Solutions, provides marketing materials for coaches, consultants, and small businesses. Learn more about Nichole and her company via her website, www.simplystatedsolutions.com, or connect with her on Facebook or Twitter @nicholebazemore.

Cover Story, p. 16

Andrew Duncan, known in the motion picture industry as “Drewprops”, has been writing about the craft of filmmaking from the inside out since the mid-1990’s.

His confusing and often embarrassing stories from behind the scenes provide a unique insight into the craft of filmmaking from the perspective of the shooting crew, artists, and designers who bring your favorite films to life on the big screen. www.drewprops.com.

Behind the Camera w/ Drewprops, p. 24

Diane Lasek has been involved in the film and television industry for 20+ years, most of that time as a marketing and salesperson. She is currently working as a sales consultant on the Oz Publishing team and enjoys getting to know all of the hard-working creative folks working across Georgia. In her spare time she is a beekeeper, master gardener and has a little organic soil amendment company for your gardening needs. That can be found at www.smartdirtorganics.com.

Feature, p. 26

Sarah Medina is married to a chef, a foodie herself and fan of the food truck industry. She has worked in and around the advertising/graphics world on and off for years. Coming out of a hiatus from the business, Sarah joined the Oz Publishing family early this year. In addition to being a Mom to a rambunctious 7-year-old boy, in her spare time she is also a childrens’ illustrator. Her artwork can be found at: www.asarahoriginal.com.

Cover Photography

Andr out s of film

There are sometime sticks arou

CE TERA

GEORGIA GIVES Work hard, play hard. On the sets for shoots supporting the Georgia Center for Nonprofits.

BIG PICTURE MAKES BIG ONE Big Picture Casting celebrated their one-year anniversary, surpassing their first-year goals. Since their launch last October, they have worked steadily casting four feature films along with TV pilots, dozens of commercials, and mixed media spots. BPC conducted a nationwide search for a CMT pilot host, receiving over 1300 video submissions in their national search for these new hosts. From acrobats to zombies, Big Picture Casting has found all shapes and sizes for recent clients like Belk, The Georgia Lottery and “The Walking Dead.”

GRAHAM JOINS JAYAN Jayan Films welcomes commercial director Curtis Graham to its roster.

“While working for an ad agency as a still photographer, I was asked to shoot stills for a commercial campaign that was a Jayan Production. They were key in developing my film career years ago, and have always been very dear to my heart.” Originally an advertising photographer, Graham has received such accolades as the N.Y. Art Director and the Norma Award. As a commercial director, he has been awarded a number of National Addy Awards and a Clio. Most recently, Graham has been directing tourism campaigns; creating advertising photography in tandem with moving footage. This has resulted in television commercials, web videos and photographic stills, all created together, for multiple purposes. Additionally, he’s a tabletop director, having worked on such national accounts as Checkers and Sonny’s BBQ. Graham currently has a three-picture deal with Sony Pictures. When he’s not directing movies, he directs commercials, longform and digital video content, as well as shooting still photography.

Georgia Gives Day, Dec. 6, 2012, is an event inviting charitable Georgians to visit www.Gagivesday.org to donate to one of more than 1,000 nonprofits. Georgia Gives Day is presented by the Georgia Center for Nonprofits. To help spread the word about the initiative and encourage Georgians to give back, Atlanta ad agency, Ames Scullin O’Haire (ASO), donated its services to create and produce three TV spots promoting Georgia Gives Day, which first aired in early November.

“In our creative for Georgia Gives Day, we show the power of a donor’s mouse click, and visually bring to life how it can change the lives of Georgians in need,” says Mike Bourne, Creative Director for ASO. “And the Georgia Gives Day’s website makes it easy for Georgians to find the right non-profit for them, with search options by zip code and by type of non-profit.”

All of ASO’s TV spots show a situation where a person or animal is in need of help, with a computer cursor entering the shot and resolving the problem: In a spot about domestic violence, the cursor stops the husband from hitting his wife; in one for hunger, the cursor pushes food into the local food bank; and in the third for homeless animals, the cursor leads a dog to the home of an elderly companion.

All spots end with shots of the cursor scrolling through a list of donation categories .

ASO also donated its services to create the logo, print ads, OOH, radio spots and web banner for Georgia Gives Day. Several other local businesses donated their services to make the pro bono ads possible, including donated gear from: PC&E, Flanders Scientific, Marc Dobiecki, and Set Supplies; Locations donated: The City of Decatur, Return to Eden, St. Vincent de Paul Atlanta, The Iberian Pig, and Burnt Fork BBQ; Audio Post: Creative Sound Concepts and Soundbyte Music & Sound Design: Composer: David Payne; Television Production: Encyclomedia; Producers: Alyson Belatti Watson and Lance Holland; Director: Burt Holland; Asst. Director: Tiffany Farmer; Gaffer: Charles Bickelman; Key Grip: Luc Bonneson; AD: Brian Franklin; Set Designer: Despina Grammenos; Make-up Artist: Zoe Simone; Editor and Color Correction: Tim Richardson; Motion Graphics: Matt Sigmon; VO Talent: Greg Alan Williams; VO Talent Agent: Richard Hutchison; Casting: Jen Kelley and Rita Harrell of Big Picture Casting; Director of Photography: Jose Acosta.

ROWE IN CONTROL Nigel Rowe, principle and shooter, Roundel MC. Nigel Rowe has started a new company, Roundel MC. Roundel offers the only Academy Award-winning Milo Motion Control System in the southeast. The Milo Motion Control System is one of the most advanced portable motion control systems in the industry, and is capable of shooting with most film and HD cinema cameras in almost any location. Based in Atlanta, recent shoots have included Dallas, New York and Miami.

Before starting Roundel MC, Rowe worked at Turner Studios for 12 years operating and maintaining the Milo. With 25 years of production experience, 20 of those years specializing in motion control, he has a wealth of knowledge and experience to bring to any production. He started his career in London working at two of the top post houses in Europe. Nigel is also an accomplished VFX supervisor, photographer, director of photography and stereographer. Past clients include CocaCola, Bayer, Seiko , Sonic, Cartoon Network, Target and many more.

8

OZ MAGAZINE www.ozmagazine.com

MO’ MAGICK Lisa Ferrell has joined Magick Lantern as executive producer in charge of sales, marketing and new business development. Lisa has an extensive industry background with EP experience at Crawford Media Services, SPIN Productions, Outback Editorial and Giant Studios.

JC Richardson, C.A.S., Magick’s senior sound designer, works in a specially designed mixing studio with all the latest bells and whistles. Richardson has been busy with series work for FX, (“Archer” and “Unsupervised”) as well as ad and promo work for Cartoon Network, JWT, [adult swim], and CNN, to name just a few. The BBC flew him to London to train their audio department on the advanced, state-of-the-art ICON mixing console. And Richardson’s recent work for Cartoon Network Latin America just won a number of PROMAX awards at the 2012 conference.

dled by Bazyl Dripps, with 2D graphics and compositing done by Kevin Thomas and Velez. The mix was completed by Richardson. The project included a French version too!

The University of Georgia Special Collections library houses some of the state’s most valuable historical archives – including the third largest media collection in the world. The Brown Media Archives includes the famous Peabody Collection as well as historic films, photos, radio shows and TV broadcasts. Magick Lantern designed and created 13 interactive kiosks that allow museum visitors to access hundreds of different media clips from the library’s collection, as well as search through the complete Peabody Awards database. The team worked over a 12-month period to take the interactive kiosks from initial idea to completed reality. Magick designed the user interface, created the operating system and server workflow, transcoded, formatted and captioned the clips, and completed the install and QC.

Dean Velez, Magick’s motion graphics designer, moonlights as a monster artist, or an artist who creates monsters. Anyway, his new mural is under construction in the Magick entryway.

Magick created a lively video tutorial for Invesco Canada to present their new iPad app. The project involved director Bill VanDerKloot shooting with a crew on the Magick stage, featuring hand model Jill Ginsberg. Creative editorial was han-

www.ozmagazine.com OZ MAGAZINE

9

CETERA

CONGRATS TO CARTOON NETWORK CN Custom Cake/Execs/Atlanta Officials ’12 ATLANTA, Oct. 1, 2012 (left to right)—Atlanta Councilmember Keisha Lance Bottoms and Turner Broadcasting Chairman and CEO Phil Kent join Cartoon Network President Stuart Snyder and Atlanta Mayor Kasim Reed in presenting a giant custom cake created by Food Network baker Karen Portaleo for Cartoon Network’s 20th Birthday. More than 500 Turner employees celebrated 20 years of Cartoon Network entertainment that included a dozen costume characters and the Atlanta Falcons Drumline.

CN Staff/Execs/Mayor ’12 ATLANTA, Oct. 1, 2012 (Front line, left to right)— Beloved cartoon characters over the last 20 years surround Atlanta Mayor Kasim Reed, Councilmember Keisha Lance Bottoms, Cartoon Network President and COO Stuart Snyder and Turner Broadcasting Chairman and CEO Phil Kent at Cartoon Network’s 20th Birthday party. Reed and Bottoms proclaimed “Cartoon Network Day” in Atlanta, and joined hundreds of employees for the special event which included entertainment from the Atlanta Falcons Drumline.

POST & DESIGN PARTNER North Avenue Post has entered a creative partnership with Artifact Design; an award-winning broadcast and interactive design studio based in both Atlanta and Los Angeles. Their teams are currently working together on an exciting new project for TBS. Sean Brown continues to amaze and impress with the creation of a number of spots, which have been recognized for their excellence in creativity, concept development, and overall design. Just recently Henry Weinhard’s was wowed by a concept featuring a walking keg, earning Brown a spot in their national web campaign. Congratulations to both Brown and Kenneth Lovell, who contributed his audio expertise. Additional spots include those for V8 and Crest campaigns.

10

OZ MAGAZINE www.ozmagazine.com

TBS chose NAP for their latest “Trends with Benefits” special. Jonathan Hayes once again proved why he is a NAP go-to director. The three segments address everything from trendy attire to seasonally appropriate date ideas North Avenue Post was also a part of the most recent installment of the Children’s Healthcare of Atlanta Strong4Life campaign. This time, “teasing the talk” is the main theme of the four spots , alluding to the awkward conversation parents have with their children about weight issues.

ARKETI NAILS AWARDS Arketi Group was recognized for its exceptional work in BtoB PR and marketing, earning 13 awards at the 2012 PRSA|GA Phoenix Awards Celebration. Arketi and its clients received eight Phoenix Awards and five Certificates of Excellence at this year’s ceremony.

Arketi was awarded Phoenix Awards for the following: Media Relations Business to Business – Other (Technology) for Arketi’s media relations program to drive awareness of Cbeyond as a leading provider of cloud and network services to small and mid-sized businesses.

Marketing Business to Business – Professional and Financial Services for an intelligent collaboration document solution provider serving the mortgage industry.

Arketi was selected by PMG to develop and execute an integrated PR and digital marketing plan for the remainder of 2012 and 2013 for the aggressively growing software company. The engagement includes positioning, messaging and rebranding for the organization, as well as initiating a marketing automation-driven lead generation program, media and analyst relations, and thought leadership outreach.

Marketing Business to Business – Other (Technology) for Arketi’s integrated marketing and PR campaign for Knowlagent, the leading intraday management solution for the world’s 10 million call center agents.

Blogs for Arketi’s work with Knowlagent to create, launch and maintain the Productivity Plus blog.

Webcasts for Arketi’s work with Knowlagent to develop and execute the Productivity Plus webinar series to identify Knowlagent as a thought leader in agent productivity solutions and to generate leads.

Direct Mail/Direct Response for Arketi’s success in driving booth traffic and generating leads at the 2011 Black Hat conference for Stonesoft, a provider of integrated network security and business continuity solutions that simplify complex network security environments.

Writing – Trade/Business News Release for Arketi’s news release for The Network, a leading provider of integrated governance, risk and compliance (GRC) products and services to nearly half the Fortune 500.

BIG BET HITS FOR MOUNTAIN VIEW History Channel has aired the Mountain View Group documentary celebrating Southern Company’s centennial. “Big Bets: 100 Years of Southern Company” was broadcast nationally on the History Channel and on several network affiliates in the Southeast. Mountain View Group’s Thom Gonyeau, Stephen Pruitt, and Kris Johnson partnered with Southern Company’s Elena Mappus, Dub Taft, and Sam Heys, in addition to Julie Budnik of Georgia Power, on the historical documentary. The film had its official premiere in July to an enthusiastic crowd of Southern Company employees, board members, and guests at Atlanta’s Fox Theatre.

Completed after 4 months of production, the hour-long documentary chronicles the holding company’s rich history and is a tribute to the integral role it has played in the industrialization of the South. The six-act program is based on the book “Big Bets” by Dub Taft and Sam Heys, which tells the story of the critical decisions and key people of Southern Company. The documentary outlines the creation and evolution of Southern Company from its Alabama start in 1912 to its current holdings and millions of customers in Alabama, Florida, Georgia, and Mississippi. The film also stresses Southern Company’s commitment to providing a future where energy continues to be clean, safe, reliable and affordable. Southern Company also makes it their mission to quickly and effectively deal with storms in order to help their customers. It was refined in the aftermath of Hurricane Camille and proven in the wake of Hurricane Katrina.

The creative process included nine shoot days in Alabama, Georgia, and Mississippi. The documentary featured prominent regional figures like former President Jimmy Carter, former UN Ambassador and former Mayor of Atlanta Andrew Young, former Mississippi Governor Haley Barbour, and former CEO of Georgia-Pacific Pete Correll, in addition to current and former executives of Southern Company as well as its operating companies. www.ozmagazine.com OZ MAGAZINE

11

CE TERA

PACS HAS CLASS QUIMBY WINS PRSA PRAISE Joseph Quimby earns the PRSA Chapter Champion Award.

Joseph L. Quimby, APR earned the Chapter Champion Award from the Georgia Chapter of the Public Relations Society of America in recognition of his outstanding volunteer work for the chapter. Quimby is currently an independent counselor who has worked in a variety of positions in the Atlanta area since 2004. Prior to that, he was in the Navy for more than 25 years, completing his service with the rank of commander. He has an M.A. from the U.S. Naval War College and a B.A. from Brigham Young University.

Quimby has served as part of the “Greeter Team” at the chapter’s monthly meeting for the past two years. As part of this year’s Membership Committee, he created a system to facilitate follow-up with prospective members.

In addition, he has been involved with the Accreditation Committee as an instructor and mentor of public relations students at the University of Georgia preparing for a pre-APR certification.

Production Accounting and Crew Services International (PACS), an Atlanta-based, Hollywood-trained production accounting firm servicing the entertainment industry, has moved into new offices to accommodate the expansion of their business and the launch of their Intensive Film Production Accounting training classes.

The new office is located in the heart of Midtown. The move coincides with the wrapping of two PACS client productions: VH1’s “Single Ladies” and Lifetime’s “The Houstons: On Our Own.” Cheryl Jenkins, CEO of PACS states, “After 15 years of working in production accounting in Los Angeles and working in Atlanta on several movies and television shows, I saw a hole in the marketplace for production accountants who were seasoned industry professionals.” She continues, “I launched PACS to fill that void in the burgeoning entertainment industry in Atlanta, and to be a resource for companies moving their productions to the Atlanta, area and provide trained professionals to meet their needs.”

Courses will be held periodically throughout the year.

ONE CLASS, THREE ACTS

Michael Lucker begins teaching Atlanta screen writing workshops.

Lamps, Gel, Tape, Toys BARBIZON - ATLANTA 1483 Chattahoochee Ave 404-681-5124

12

OZ MAGAZINE www.ozmagazine.com

Michael Lucker, CEO of Lucky Dog Filmworks, will be teaching screen writing workshops in Atlanta starting in January. Guest lecturing for groups and colleges the last few years has enabled Lucker to build a fun and engaging course that offers an entertaining window into what it’s like to write for DreamWorks, Disney, Paramount, Universal, FOX and more. The lessons shared and movies discussed will help all writers, novice and expert, know how to create great characters, tell great stories and make their screenplays saleable. Says Lucker, “I think writing stories is like climbing Kilimanjaro. When you look at it as a whole it’s pretty daunting, but when you break it down to a trip of days, hours, steps, all of sudden it become manageable.”

STEEL MAGNOLIAS STARS KEITH ADAMS SPINVFX’s Keith Adams provided visual effects for the Steel Magnolias remake. A great story but not too many visual effects as you can imagine ... hundreds of birds in the trees that spoil the reception, fireworks in the air, and helping Queen Latifah cry a little more than she did on the day were the main visual effects. Adams is a fine artist, a painter, as well. A number of his paintings were used by the production designer for various sets on the film. And the surprise of all: Queen Latifah bought one.

LET THE ANIMATION BEGIN! Bento Box Entertainment (BBE) is opening an animation production service studio in Atlanta, Georgia, where it will benefit from a strong local talent pool and state and city production incentives. The new studio was created in a deal brokered by BBE co-founder Scott Greenberg. Brett Coker, head of operations for BBE, is taking charge of the project to build and launch the new facility, which will be known as Bento Box Animation Studio Atlanta LLC (“BAS”). BAS will take advantage of the Bento Box and Toon Boom production pipeline, while providing animation production services to BBE and its projects, as well as other third party producers around the world. The new studio has engaged veteran producer Craig Hartin as the head of production for BAS, as well as the services of Ashley Kohler, co-owner of Atlanta-based production company Awesome Inc., as executive in charge of production. BAS will also enter into a services relationship with Awesome Inc.

Promote Your Services.

Build Your Creative Network.

Find Resources You Need.

BAS will soon be providing animation production services for BBE on two highprofile television series, “Out There” with creator Ryan Quincy in conjunction with 20th TV for IFC, and “The Awesomes” with creators Seth Meyers and Michael Shoemaker in conjunction with Loren Michael’s Broadway Video for HULU. BBE’s plans to expand BAS’s production services with future projects soon to be announced.

Utilizing the Toon Boom and BBE digital pipeline, BAS will employ over 100 animators and production staff within twelve months, and is expected to expand to greater than 200 employees within three years. Both Toon Boom and BBE will be training local artists in coordination with the city of Atlanta and the State of Georgia.

Officials in Atlanta are thrilled with plans for BAS, and the mutual benefits the facility will bring to the local artistic and business communities.

“Bento Box Entertainment’s choice of Georgia for its new animation production service studio is a testament to the strategic and intentional efforts Georgia is making to ensure that the digital entertainment industry continues to grow in our state,” remarks Chris Cummiskey, commissioner of the Georgia Department of Economic Development. “Georgia offers companies like BBE access to a highly-skilled talent pool and other competitive resources, creating opportunities for companies in this industry to be successful in Georgia.”

AI HEATS UP AWARDS SEASON Awards season is just around the corner and Artistic Image is “suiting-up” for the excitement. Shot on their new A Studio stage, Turner reunited with AI to create a captivating spot that will be heating up the television and theater landscape for the award shows airing on TNT Latin America. Working together, Ken Soons and Ed Dye developed a technique to better control projection mapping in post-production. Shot on a partial green screen using practical props that were composited into a virtual set, they were allowed greater control of the projected content up to the very last minute. AI also recently had the opportunity to design an image for Coors and the New Orleans Saints Football Legends.

New AI producer, Lauren Marshall has a strong background in post-production operations from Turner Broadcasting. She enjoys ice-skating and musical theater. AI also welcomes Dave Warner to the sales team. Warner has 30 years of experience, covering a wide range of disciplines from advertising to post production.

Digital Picture is a premier digital printing company specializing in artistic and creative fine art products Giclee Printing • Fine Art and Photo Paper Scanning large or small • Mounting • Laminating Trade Shows and Advertising

404.355.3400 www.digitalpicture.com

Grow Who You Know.

Georgia’s NEW online marketing tool is growing and wants YOU to get in The Loop. Launched with printers and suppliers first, The Loop is now expanding to include designers, photographers, web developers, marketing firms, ad agencies and other creative.

As an OZ reader, you can get a FREE premium business profile by entering promo code OZ2012.

Scan the code or visit HitTheLoop.com to set up your FREE listing.

Questions? Contact cseel@hittheloop.com

www.ozmagazine.com OZ MAGAZINE

13

CE TERA

THE GOOD LIFE AT AMT The good life at Atlanta Models & Talent (l to r): Susan Fronsoe (co-owner), Ashton Williams, Haley Kask, Susan G. Reid, Sarah Carpenter (co-owner), Keela Starr. Photo Credit: Tom Fahey, Make-Up: Jaye Pniewski, Location: Anis Café & Bistro

Atlanta Models & Talent, Inc. (AMT) changes ownership and celebrates with new staff, offices and goals. And, AMT is celebrating over fifty years as Atlanta’s premier and most respected talent agency. AMT Agency was purchased by Sarah Carpenter and Susan Fronsoe in January of 2011. These two talented and experienced women have made it their goal to change the perception of the Atlanta talent base in the expansive U.S. market. Now, after just two years as the new co-owners, AMT Agency is celebrating with an expansion into larger offices, additional staff, and the launch of a new website in January 2013. The new offices are positioned in the heart of Buckhead at Piedmont Court, just off of East Paces Ferry Road.

In January of 2011, AMT Agency consisted of two owners and two interns. Now the agency boasts a staff of eight with more than ninety plus combined years of experience in the business. Keela Starr joined the team in as the print agent, having made her mark in the fashion industry working as an agent and manager. Ashton Williams began as an intern and is now working in the television/ film division. Susan G. Reid recently joined the team with a focus on television/ film and new convention business and marketing efforts, and she brings with her years of experience in the Atlanta theatre scene.

AMT Agency has recently had talent in major roles working on projects ranging from “The Hunger Games,”“Trouble with the Curve,” 4-time Emmy Award Winner “Homeland,” “The Walking Dead,” “Revolution” and many more.

NEW PARTNERS FOR ENTERTAINMENT PARTNERS Entertainment Partners, the global leader in production management solutions, has just expanded their services to include new resellers in Georgia. The Atlanta office, located in the EUE/Screen Gems Studio, is now an authorized reseller for Airwaves, Hollywood Cinema Arts, and Moviola. By purchasing these items through EP’s production supplies vendor, EPPS Purchasing, Inc., productions can maximize their incentive in Georgia. Available items include communication devices, props and set decorating pieces, and HD Cam stock.

“We are proud to continue to offer products and services that help our clients maximize their production incentive in Georgia, and at the same time help the Georgia production community continue to thrive,” shared Joseph Chianese, Executive VP of EP Financial Solutions.

Entertainment Partners, which has been operating in Georgia since 2008, also offers expertise in production incentive administration, tax credit placement, and tax credit monetization through EP Financial Solutions.

Karen Sortor leads the Georgia office of Entertainment Partners.

14

OZ MAGAZINE www.ozmagazine.com

I’LL TAKE THAT IN SWAHILI, PLEASE Translate Your World, known for its online subtitling and video translation software, announces the release of its newest groundbreaking suite for media professionals called “Streaming Translation.” This voice translation software in the cloud is used to automatically transcribe and translate the spoken word into 40 languages at the same time. Streaming Translation supports real-time transcription that displays as automated captions, and translates as subtitles into 40 languages simultaneously. The Premium Package delivers your spoken word as computerized voice in 20 languages. Viewers select their preferred language from a drop-down menu.

The software functions well with WebEx, GoToWebinar, Adobe Acrobat, or any other major presentation software with nothing for the viewer to download or install. And although the automated translation feature is the most popular, the software also streams the words of an interpreter as subtitles to a device or wall screen. With these combined options, a web event organizer may hire interpreters for a few languages and automatically translate other languages.

Sue Reager, CEO of @International Services and evangelist for Translate Your World, says, “Contrary to free Google Translate where you ‘get what you pay for’, Streaming Translation permits users to choose the built-in automated translation or their preferred software, and includes controls and personal dictionaries to improve automated results.”

For webmasters, Streaming Translation is an easy-to-use iFrame that inserts into almost any webpage. This same iFrame can also act as a standalone that can be laid over most internet presentations. Because Streaming Translation is web software, viewers select their own language on their own device enabling multiple languages simultaneously in the same room or around the world.

per, ss Pa e l m oard Sea oryb t s , m soft vellu s and n e p d, , boar pads m a o f ils, kers, penc , mar s e v i s re adhe & mo t n i pa

1745 Peachtree Street samf laxsouth.com • 404-352-7200 www.ozmagazine.com OZ MAGAZINE

15

COVER STORY

D E S S E R I M P t h e Se t on of the most

-- - - -L-UENTIAL INF e l p o pe some

-----------

i n Ge orgia ’s film prod & t el u ct evis

By: Ni chol e

16

----

ion ion i ndus try

Bazem ore

OZ MAGAZINE www.ozmagazine.com

t Par 2

They

are pioneers, crafts-people, visionaries. Whatever you call them, they see the world through a different lens. To our delight, they help us to do the same through the medium of film.

Here, in the second article in a twopart series, we meet five of the top influencers in Atlanta’s film industry.

article continues on p. 18

COVER STORY

The Pioneers Kay Beck, Ph.D. Associate Professor of Communication, Georgia State University Director, Digital Arts Entertainment Laboratory

Always hungry to learn more, Beck enrolled in Emory University to pursue her doctorate. Famous filmmakers, brought there by her professors to speak to students, were one of the highlights of her education. After she graduated, Beck decided to create a film school. “It just occurred to me. I’d just come out of film school. I felt there needed to be one.” So, Beck, by this time a professor at Georgia State, decided to create a film program in 1972. There was just one problem: there was no place to teach it. “They gave us a room where you couldn’t turn the light off,” she recalls. “We crawled in the ceiling and figured out how to turn the light off.”

The GSU film program became a success, graduating such prominent industry veterans and professionals as current Georgia Film Commissioner Lee Thomas, “The Walking Dead” producer Tom Luse, and journalist and business reporter Maria Sapporta. Beck went on to serve on the Executive Committee of the Georgia Film Board under four governors. She was also one of the founders of the Atlanta Film Festival (originally, the IMAGE Film and Video Center), one of the largest and longestrunning festivals in the country, and one of only two-dozen Academy Award® qualifying festivals in the US. In 1998, Beck co-founded the Digital Arts Entertainment Laboratory (DAEL) at Georgia State. The Digital Arts Lab, as it’s known, is one the region’s leading centers for media production. The multi-million dollar facility, located on the GSU campus, is a hub for student and professional collaboration in the areas of film and theatre. Students here have worked on digital media projects with professionals from Turner Broadcasting, Coca-Cola, Riverwood Studios, and Crawford Media Services.

For Dr. Kay Beck, “picture making” is in the genes. “My parents were exhibitors, who owned theaters in West Georgia. They would come to Atlanta to license movies, or ‘buy pictures,’” she recalls.

But for Beck, an Associate Professor of Communication and Director of the Digital Arts Entertainment Laboratory (DAEL) at Georgia State University, the road to filmmaking wouldn’t be a straight line. After graduating from the University of Alabama, she volunteered for the Peace Corps, serving as a teacher in Southeast Asia. While there, she met a friend, who was covering a civil war for Visnews, a London-based international news agency that later merged into Reuters Television.

Intrigued, Beck also began shooting film of soldiers. That unedited stock was sent to news outlets around the world. She was on to something.

Once home in the US, Beck enrolled in graduate school at American University in Washington, D.C., where she “made lots of documentaries, all on film.” After earning her Master’s, Beck moved back to Atlanta and got involved in the TV and film industry. “There was so little activity at that time,” she remembers, mostly because commercial production, not feature film production, created the bulk of work for the industry in the 1970s.”

18

OZ MAGAZINE www.ozmagazine.com

Sheryl Gripper Founding Executive Director, BronzeLens Film Festival Founder, Black Women Film Network

who are doing fantastic things but who may not be getting the recognition they deserve,” she says.

Pursuing a film career was a bit of a detour for Gripper, who began her career in public TV and radio. The Texas native came to Atlanta to study at Spelman College. But it was an internship at a Houston newspaper while she was still a student that sparked her love for journalism. Gripper rose through the management ranks in TV and radio, eventually becoming a multiple Emmy Award-winning vice president of community relations for WXIA-TV in Atlanta. She earned her Master’s in film from Georgia State in 2000.

In 2009, Gripper co-founded the BronzeLens Film Festival of Atlanta. The festival, which just wrapped its third year, showcases the work of filmmakers of color and aims to promote Atlanta as a mecca for multicultural filmmakers. In fact, it was at this year’s BronzeLens Film Festival that Gripper got a nudge to pursue another dream she’s had for a long time. Author Pearl Cleage announced that she’s working on taking her novels to screen. One thing Cleage imparted, “You should pursue your passion. Don’t wait until you’re sixty to pursue your passion.” That got Gripper thinking—and busy—on bringing her own feature film to the big screen. “I realized, I need to get about that business. The script is done. I’ve got to get it financed in 2013, and we’ll shoot in 2014.”

While she was pursuing her Master’s at Georgia State, Sheryl Gripper made a student film that got her professor’s attention—and opened her eyes to a niche that wasn’t being served. The film was about a young boy; a karate student who lived in the projects around Turner Field. The professor was a 26 year-old white man—and a filmmaker himself—who realized Gripper was on to something. “He said, ‘There are no stories like the ones you’re telling. What are you going to do about it?’ I didn’t realize I should be doing anything about it,” Gripper recalls. But she did know two things: the first was that as a woman, she had a unique way of looking at and telling a story. “The way you tell it as a woman is different from the way a man would tell it,” she says. And the second was that besides her, there were no black men or women in her film classes in 1996.

So, she decided to do something about it. In 1997, Gripper founded the Black Women Film Network, an organization whose main purpose was to increase the number of women in film, broadcasting, and other areas of media. But not everyone appreciated the idea. “At first, it was slow going,” Gripper says. “People didn’t understand why we needed this. They’d say, ‘You have Women in Film.’ But the stories African-American women have were different.” And, for that reason, Gripper believed they needed to be preserved. The group began holding film screenings, workshops, and seminars and eventually started awarding scholarships to students who were actively pursuing degrees in film, screenwriting, or related areas. To date, BWFM has awarded more than $15,000 in scholarships, an accomplishment of which Gripper says she is most proud.

“We need to encourage, support, uplift, and salute people

The film will be produced by her production company, Rosey Posey Pictures, named for her grandmother.

COVER STORY

The Artisans Day Permuy

Production Coordinator/Production Supervisor As chief logistics person for such films as “The Three Stooges” and TV series, like “Lost,” Day Permuy (pronounced Per’-moy) handles everything from opening the office and hiring the crew, to working with travel agents and vendors, to coordinating transportation for everyone on set. “I liken it to the circus coming to town,” she quips.

But like many veterans of the Atlanta film scene, Permuy remembers a time, not too long ago, when it didn’t look like the circus was coming at all. “The biggest challenge five years ago was getting a job. It was a gypsy life. We had to go on the road if we wanted to work,” she says. That’s because production companies, looking for ways to make feature films for less money, began taking advantage of tax incentives offered

by Canada. It was the era of runaway productions, as they became known. Permuy remembers that Atlanta crews who wanted to work in movies either followed the trail, or stayed put, often working on only one film a year.

Born in Hawaii to a military family, Permuy moved to Arizona with her parents as a child. It was there she learned that her new state was home to a pretty well known filmmaker named Steven Spielberg. “He’s from Phoenix. I realized I could be in the industry, even if I lived in Glendale, Arizona,” she says.

Permuy planned to attend film school at the University of Miami, but instead got an internship on the film, “Neon Bible.” She enrolled at Georgia State University and worked as a production assistant (PA) to pay her way through college.

That eventually led to a job, right out of school, as a PA on “The General’s Daughter,” starring John Travolta.

No stranger to moving, Permuy had planned to leave Atlanta in 2004, when a little something called fate got in the way. “I was actually moving to LA after “Bobby Jones: Stroke of Ge-

nius.” I had all my stuff packed, and I was going to move after the New Year. I went on a trip to Spain, came back, and fell in love.” Permuy flew to LA to shoot the pilot for “Lost,” came back to Atlanta and has been here ever since.

And, she says, she has no plans to leave. Permuy, who just wrapped production on the Reese Witherspoon/Colin Firth movie, “Devil’s Knot,” says she’s thrilled to see the impact ongoing film production has had on the state’s economy. “You used to have three months off. Now, you’re lucky if you get five weeks off,” she says.

But even better than the constant work is the chance for people in her position to make an impact. “I like to help people succeed,” Permuy says. “When there are lots of like-minded people who have a lot of pride in their work, that makes for a great team. On every show I work on, there’s some element of teamwork. I want people to say, ‘I like working on Day’s team.’”

Angela Gomes Director/First Assistant Director

In 1994, Gomes was accepted into the prestigious and highly competitive Directors Guild of America (DGA) Assistant Director Training Program, a rigorous, two-year program that gives trainees hands-on experience on feature films, TV shows, and commercials. “I had no idea how big a deal that was. It was like Army boot camp,” Gomes says. She lived and worked in Los Angeles for 13 years before moving back to Georgia with her husband, a writer and producer, in 2006. “We thought we were going to move out here and be bicoastal, but I never had to fly back to LA. I have never taken a job outside Georgia. That was a very pleasant surprise for me,” says the Georgia native.

Director and writer Angela Gomes knows a lot about keeping cool, especially when it involves finalizing scripts while in labor. “I emailed the last scripts in from hospital check-in,” Gomes says, about the TBS micro-series, “My Manny,” which she wrote, produced, and directed. The 40-episode production, about a male nanny who comes to the aid of a single working mother, aired on TBS in 2009-2010 and is the project of which Gomes says she’s most proud. Like most projects with significant meaning, the work was born out of frustration. “I had been turned down by enough people for director jobs. I thought, ‘Well, I’ll just write something myself.’” That “something” turned out to be “My Manny,” a series of two-minute stories that aired during episodes of “Meet the Browns.” That project’s success was followed by another ten episode micro-series, “Gillian in Georgia,” which was also picked up by TBS in 2010.

Gomes, who is perhaps best known for her work as first assistant director on such films as “A Time to Kill” and “Big Momma’s House 2,” and the TV series “Crossing Jordan” and “Drop Dead Diva,” was bitten by the film bug at an early age. “I always knew I’d do something in TV or film. I thought I’d be in broadcast journalism, but I didn’t like it as much as I thought I would.”

She graduated from the University of Georgia in 1993 and got a job at Cable Advertising Metro Atlanta, where she worked for Glen Owen (also a UGA alum, now director/writer at State Line Films). “The bigger the company, you end up getting coffee. Here, it was one producer, one shooter, and one editor. I’d be like, ‘Hey, can I edit this commercial?’ Glen would supervise, but I’d do it. After awhile, they’d let me write some commercials. They hired me that spring as the editor. I loved editing,” she says.

When she arrived in Georgia, one of the first calls she made was to Owen, her former boss.

She told him about the work she’d done in LA and how she was trying to break into the local scene. As fate would have it, Owen was meeting with a former colleague from Turner when that call came in. The three would later collaborate on what would become “My Manny” and “Gillian in Georgia.”

Although Gomes has enjoyed significant success in the industry, she also knows how hard it can be to branch out when you become known for one specialty. That’s why she offers this advice for aspiring filmmakers: “Don’t go straight from college to grad school to film school. That’s like getting a Ferrari when you’re 16. Get out and work on the set. Then, when it comes time for you to do your film, it’s not the first time you’ve done it. If you do go to film school, go where the movers and shakers go. There’s an advantage to going to NYU, USC, or UCLA. Ten years from now, your classmates will be agents and executives and you can say, ‘Hey, remember me?’”.

The Visionary Roger Bobb President and CEO, Bobbcat Films Sometimes, all you need to realize a childhood dream is a little faith, a lot of hard work, and someone else to show you that it is, in fact, possible.

That’s how it happened for Roger Bobb, President and CEO of Bobbcat Films. Bobb always loved the arts, but thought they were out of reach—until he heard about a young, burgeoning director who was making a film less than a mile from where Bobb lived in Brooklyn, New York. “It was something I knew I was interested in. As a young man growing up in the 80s, I thought film was something people did in this place far, far away. After I saw Spike Lee shoot “She’s Gotta Have It,” I realized I, too, could actually have a career in film.”

That was the green light Bobb needed. He enrolled in the School of Visual Arts, Brooklyn College. In 1997, was accepted into the DGA’s Assistant Director Program. He became the youngest African-American first AD member of the Director’s Guild of America, and over the next several years, worked as assistant director and producer on more than 50 productions, including “NYPD Blue,” “New York Undercover,” and “Witness to the Mob.” Bobb came to Atlanta in 2004, and become supervising producer and executive vice president at Tyler Perry Studios. While there, he produced the hit TV show “Tyler Perry’s House of Payne” and “Meet the Browns,” and a dozen hit movies, including “Diary of a Mad Black Woman” and “Why Did I Get Married?”.

But in 2011, Bobb felt the urge to spread his wings. He resigned his post at TPS and started his own production company, Bobbcat Films, a process he describes not as a challenge, but a pleasant surprise. “Because of Tyler Perry Studios, a lot of oppor-

22

OZ MAGAZINE www.ozmagazine.com

tunities were opened to me. It’s been a fantastic experience.

The work has been there. It’s been a joy to develop my own projects and help people develop their own skill, to give job opportunities to people in the industry,” he says.

Those opportunities include TV One’s “The Rickey Smiley Show,” for which Bobb is Executive Producer and Director, and “Let the Church Say Amen,” a made-for-TV movie which will air on BET in 2013 and is the directorial debut for actress Regina King.

But for Bobb, who realized what was also possible for him by watching others, working on a full roster of productions is only part of the recipe for success. “I want to be known not only as the person who fulfills his dreams with passion, but who also creates opportunities that allow other people to fulfill their dreams, too.”

, Stageworks, located less than 3 miles from the Screen Gems facility. Nearly all of these facilities, along with many I haven’t mentioned, have experienced good occupancy over the last two years and I hope that trend will continue.

Until the implementation of its very successful Entertainment Industry Investment Act, Georgia had little to offer in the way of real, for-hire stages. The nicest ones were proprietary, like the facilities at Turner Broadcasting. The rest were small, soundproofed stages inside of other buildings, big enough for commercials but not set up for the logistical requirements of a feature film or a television series. In the late 1980s the Lombardi brothers built Riverwood Studios down in Senoia, but those were metal clad steel frame structures and were never billed as true soundstages.

The number of dedicated stages and real soundstages in Georgia has grown remarkably over the last 8 years. After a failed first attempt at converting the old Stageworks facility into a studio, Tyler Perry successfully launched his own soundstages near Greenbriar Mall back in 2008. The city of Atlanta worked out a long-term contract with EUE/Screen Gems for the old Lakewood Fairgrounds around that same time and that company has invested by building two column-free soundproofed stages with nearly 70,000 square feet of usable space, located 5 miles from downtown and 7 miles from Hartsfield-Jackson Atlanta International Airport.

Paulding County has invested in a facility they call the Atlanta Film Studios, located about 28 miles northwest of downtown Atlanta, sited on 11 acres and featuring two 20,000 square foot soundstages. John Raulet, a real estate investor who has worked with Georgia’s motion picture industry for several years, recently launched his own stage project named Mailing Avenue

24

OZ MAGAZINE www.ozmagazine.com

Many of your favorite episodic television productions cannot afford to shoot on honest-to-goodness soundstages, however, so they frequently convert light-industrial warehouses into stagelike facilities by implementing sound-dampening renovations; from laying out rolls of industrial air conditioner filters on the roof (to dampen the sound of rain) to installing heavy doubledoor sound locks between sections of a warehouse (to allow for multiple shooting crews to work simultaneously). It’s typical to see continual improvements made to a facility for every season a show gets picked up, as is evident for two of Georgia’s most popular productions,“ The Walking Dead“ and “Vampire Diaries.“ Everyone aspires to a nicer work environment.

I can’t deny that I’m envious about the influx of stages around the region - you guys have it good these days. Heck, back in the old days we were just happy to have a roof!!

I remember one show that we filmed in a drafty old 1970s-style lumber yard up in Lilburn, north of Atlanta. Our Production Designer, the late Charles Bennett, crammed the former retail space of that building with as many of the smaller standing sets as possible. He filled the adjoining high-ceilinged warehouse with the show’s hero set, an audacious riverboat ballroom which one of the characters was scripted to swindle from another and convert into a floating casino.

It became apparent during the earliest phase of prep that the show’s sets would fill nearly every corner of the old building and only a few lucky departments would be given office space inside.

The rest of us (even the producers) were assigned to a group of small construction trailers tucked beneath a projecting roof on the back side of the riverboat stage. The novelty of having my own desk lasted all of 10 minutes. Once I’d gotten a good whiff of its Appalachian-style boiled possum aroma, I quietly abandoned my claim on the back room of our props trailer with its spacious picture window view of a beautiful warehouse wall.

As December rolled around somebody suggested that we should hold a “decorate your trailer for the holidays” contest and our prop master, Joe Connolly, must have shared my sense that the props trailer was haunted by the ghosts of a thousand

stinky possums because he suggested that our theme be “A Very Redneck Christmas”. He began decorating by giving the construction crew a case of Budweiser on a Friday as thanks for providing us with some materials for a recent episode. His only request to them was that they save him all the empty cans.

The next afternoon, Joe had to drive across town to look at some gambling machines for the riverboat set, so I took my lunch tray back to our trailer for some quiet time, reading the script for the next episode. Over on the boombox, Burl was wailing away, up and down the scale, on frequencies appreciated only by whales.

Over the radio, our 2nd AD, Jim Weis (future producer of “Ugly Betty”), called us back in from lunch, so I cranked the volume of the boombox up a bit and headed back to set. A few hours later I returned to the trailer to pick up a prop I’d left on Joe’s desk and was surprised to see that I’d left the door to our trailer hanging wide open. I was more surprised by the volume of the music blasting out of the door and out into the empty lumber drying racks on the other side of the back lot. Burl Ives had never been louder or more terrifying.

No sooner had I said that than I saw a wild-eyed guy from the construction department standing in the doorway, a hammer held threateningly in his right hand.

He gestured toward the boom box like a bewildered caveman and muttered something incomprehensible as Burl Ives continued crooning at 13 decibels in the key of Q minor.

I cautiously reached over and turned the volume the rest of the way down to see if the guy would lower his hammer. He was really worked up about something and it took him several tries to stutteringly explain N DU W that he and the rest of the construction crew E R AN D ©2012 had been working outside for the last 2 hours on the opposite corner of the lumber yard and had been bombarded

by Burl Ives’ endless 2-minute tribute to Christmas for that entire time. Because of the crazy acoustics between our trailers and the warehouse and the lumber yard structure, they’d been getting a reflection of the song from a completely different direction and had spent most of their time wandering off into the woods and toward the highway trying to pinpoint the source of their torture and kill it.

N

While shopping for the next episode he had stopped by Radio Shack and bought a cassette full of holiday music and a special 2-minute continuous loop cassette tape. Back at the office, he dubbed that well known Burl Ives song “Have a Holly Jolly Christmas” onto the endless cassette, but as the reels of the original cassette were turning he would press his finger against the capstan to slow the speed of the tape, causing Burl Ives’ voice to drop about 8 octaves and slow to a snail’s pace. As he released pressure from the capstan, the tape would momentarily speed faster than normal, sending Burl’s voice way into the chipmunk register. The finished product was a warbly octavejumping masterpiece!

Jamming my fingertips into my ears and squinching my face up tight, I ran into the open trailer, straight toward the boombox, and whipped the volume knob to the left, down to 11, muttering the question “I wonder how long that’s been playing????”

CA

The following Monday morning, Joe took the empty cans and cut them down into 48 little “half shells” and fitted them as a lamp shields on a string of outdoor Christmas lights, which he then strung haphazardly around the top edge of our trailer. Later in the day I spotted a large illuminated Frosty the Snowman (along with our stunt dummy) peering out from the big window of my possum-scented office. Frosty had a rubber shotgun ducttaped to his stubby little snowman arms and several work lights had been arranged to cast spooky shadows on his jolly little snowman face. It was really funny, but Joe had one final touch left to add.

It was a Christmas miracle that I survived the carpenters’ wrath.

Poor Burl Ives never stood a chance. It’s little coincidence that the award for best decorations went to the construction department that season.

www.ozmagazine.com OZ MAGAZINE

25

the future

s k o lo bright

3

The last in a three-part series focusing on production companies in Georgia that are getting the green light.

By Diane Lasek

Television and the web are becoming one, and the lines are continually blurred between branded content, webisodes and TV series. Several local production companies are successfully riding this wave. They know that it takes wide-open storytelling and fascinating characters to draw an audience, no matter what content form it’s in or on what device it is being viewed.

Each of these companies understands the “pitch process.” They are all smart enough to know that “you never know.” That is, you may pitch three really great ideas and one not so great one to a network or an advertiser, and sometimes they will go with what you thought was the not so great one.

The individuals that make up the companies profiled here bring a wide variety of entertainment, advertising, film, web & TV production experience to their respective teams. And, they are good at getting the green light.

SCHOOL OF HUMANS is a production company taking content to a new level. After discovering a shared sense of rebellion against the ad industry’s status quo, SOH was founded in 2009 as a next generation storytelling entertainment company

by L.C. Crowley, Marc Savoie and Brandon Barr. Deciding to leave the traditional ad world behind, Crowley came up with the idea to combine their storytelling and marketing prowess to create School of Humans and own their entertainment properties and productions.

School of Humans is good at taking their own ideas and making them marketable to both brands and networks. Their stories

26

OZ MAGAZINE www.ozmagazine.com

are highly entertaining and sellable assets. They remain at the forefront in the ways in which stories can be told in this space. Brands become central characters in entertainment, in a believable, organic way. From characters tweeting from the road, appearing at dealerships across the country, gaming on mobile, and any other types of 360-degree story integration, these are some of the ways that they create assets around a show that are valuable to a brand, because they are desired by their consumers.

They don’t just place products, or create corporate mouthpieces that fail as entertainment. They stretch the boundaries and work with people who are willing to take risks and do something they haven’t done before in an entertaining, unique, clever and engaging manner.

The three principals’ experience include designing and creating award-winning campaigns for cable and network television productions on ESPN, CBS, Food Network and Turner. They also worked on accounts for some of the world’s largest international companies such as Coca-Cola, GE, Toyota, American Airlines, Kodak, Mercedes-Benz, Ford, Barclay’s Bank and AT&T. Executive producer/director, Crowley; managing director, Savoie; and head of branded content & digital media, Barr were joined by accomplished producer Mark Apen, who consulted in the early stages until coming on board full-time as executive producer and head of production in 2011.

After the core team was established, Crowley and the other Humans decided to share a converted neighborhood grocery store in Grant Park with friend and art dealer Matt Arnett. This new

The school of humans team

hipster hangout and part time music speakeasy became known as “Grocery on Home” - and the launching point for the business.

In the course of six weeks, Crowley’s brother built out the first floor with a stage that soon became filled with artists, musicians, discussion groups and film screenings on a monthly basis.

Crowley, Savoie, Barr, Apen and a qualified team of freelance professionals brainstormed and worked on video, broadcast and web series productions for such clients as Coke, Toyota and the viral video juggernaut band OK Go, among others. Renewing their creative juices at night in their in-house salon, a highlight was having genre bending vocalist and cellist Ben Sollee come in to perform, which led School of Humans to create a music video with over eighty people involved in the artistry. NPR picked up the story, showcasing Grocery on Home and the co-owners as a venue for artists.

(Clockwise L-R:) Marc Savoie, Mark Apen, L.C. Crowley, Brandon Barr

www.ozmagazine.com OZ MAGAZINE

27

FEATURE

As the School of Humans production roster grew, so did its team.

Soon outgrowing the Grocery on Home location, Arnett took over the bookings. In 2010, the Humans moved to a production office in Decatur, Georgia adding associate producer, Mary Puchalski and media strategist, Rick Shaughnessy in the process.

In 2012, the Humans added more staff and quickly outgrew their Decatur office. They have now expanded to their new Atlanta offices on Defoor Avenue with a 10,000 square foot sound stage.

They recently completed shooting Season #1 of a 10 episode half-hour scripted series for Discovery Networks called “Stuff You Should Know,” which features popular podcasters “Josh & Chuck” of HowStuffWorks.com. This project started out as a 26 episode broadcast micro-series for The Science Channel. The response was so overwhelming that they’ve created a full-scale half-hour show that imaginatively fuses factual content with humorous, scripted story lines.

Music and creativity continues to play an integral part in their business. Barr describes their work as one part “band”– where they are artists who like to make their own shows and one part “ executive production label,” connecting select entertainment properties and production partners with brand funding that helps underwrite those projects.

28

OZ MAGAZINE www.ozmagazine.com

They’ve created a 10-episode web series called “Funny by Nature,” which was produced with Wittworld. It showcases funny and informed conversations about the environment with an army of famous faces weighing in on the issues. Host and green comedian Randy Kagan takes on a slew of eco-topics when he sits down with such celebrity guests as Janeane Garofalo, Chris Hardwick, Aisha Tyler, Jeff Ross and Sarah Silverman. The first season of “Funny by Nature” will be launching online soon.

For Toyota, and in partnership with Discovery’s HowStuffWorks. com, School of Humans created a 6-episode web series highlighting the human stories behind the auto company’s new campaign, while at the same time extending the Stuff You Should Know brand into the video web space. The series takes podcasters Josh & Chuck to meet the winners of Toyota’s “Ideas for Good” initiative and learn how their ideas for repurposing Toyota technologies will help make the world a better place.

SOH sees the future of content expanding widely and works to tell and enhance those stories through the infinite channels and storytelling possibilities offered by the web, from episodic web series to fully immersive transmedia experiences. They continue to work alongside talented folks in both program development and ad sales to create long-form and short-form work in both the non-scripted and scripted space.

A

u o y re

The ? in

INDUSTRY Yearbook

19 7

2-20

12

Celebrating 40 years of Georgia’s Film and Television Industry and the people who made it happen.

Remember your school yearbooks? Oz Publishing will publish an exclusive look at the Georgia film and television industry’s past 40 years, The IndusTry yearbook. Everyone is in the spotlight in this onetime, limited edition, hardbound book. The “student section” will feature headshots and info about any crew member or person that has worked in the industry. “drama Club” features talent.

To get in, all you need is a digital headshot and $10. Other options include “shout outs” where you can tell the world how great your mentors and co-workers have been.

Deadline: February 15, 2013!

Visit www.ozmagazine.com/yearbook to get signed up!

Be a part of history, be a part of The Industry Yearbook. www.ozmagazine.com OZ MAGAZINE

29

SCENE

GPP @ SCREENGEMS Photographs by Imoto of Doobious.org

2

1

1. The Voice of the Industry!

2. Deborah Childs (in Pink Cowboy hat), with the Memberclicks Team 3. Screengems Studios

3

4

4. C&M Backdrops filled the stage.

5. DejaBlue Grass Band Members (from left, Todd Cliatt on bass, Rutland Walker, Joey Bowers and Mark Jones.

5

6

6. Tim McCabe, Barbara English, Trish Taylor 7. Samantha Worthen, Windsor Jones 8. (L-R) Gloria Webber, Lisa Wright, Michelle Digaetano

8

7

30

OZ MAGAZINE www.ozmagazine.com

9

10

11

12

13

14

15

16

9. Doug Smith & Deb Castles 10. The Panera Bread catering team!

11. Newly engaged! Kime Harless and Stephen Kirkpatrick 12. Kailil Israel, Blake Vision Entertainment, Fred Anderson of Life Changing Productions 13. Suzan Satterfield, Rosemary Taylor, Craig Dominey, Hank Blumenthal, Bill VanDerKloot, Lee Thomas, Kris Bagwell 14. The crowd enjoying the party!

15. Amanda Lavassani, Irone Singleton, Melissa Lowe, Holly Britt, Trish Taylor, C. Singleton and Dixie Light 16. Michelle Kabashinski

Continues on the next page... www.ozmagazine.com OZ MAGAZINE

31

SCENE

GPP @ SCREENGEMS Photographs by Imoto of Doobious.org

17

18 17. Helen Engeb, Leslie and Clayton Landry 18. Talk of the Town catering team.

19

20

19. Ready for a ride!

20. Joseph Lawsky and Leslie Neal 21. Pam Smith 22. Diane Lasek, D. Blackwell Rhonda Barrymore

21

22

23. Michelle Kabashinski, Suzanne Jurva, Kris Fite 24. Summer Staten (2nd from Right) and her Panera Bread team

23

32

OZ MAGAZINE www.ozmagazine.com

24

25

26

27

28

25. Mary Mac’s Tea Room catering team 26. The crowd enjoyed delicious food and drinks!

27. Kris Bagwell 28. Steve Mensch with DejaBlue Grass’ Joey Bowers and Mark Jones 29. Staci Mueller, Sean Keenan, Sasha Ramos 30. Tracie-Ruth Kriete of Crawford, Brennan Dicker, Joey Johnson,Tom Roche 31. Jason L. Bunkley and Yvette D. Bennett

29

30

32. Eddie Wright, Julia Head, Lynn Christopher

31

32

www.ozmagazine.com OZ MAGAZINE

33

SCENE

ARRI @ PC&E Photographs by Bridget O’Neill

2

1

1. (R-L) Guenter Noesner, ARRI Andre Beckford, ARRI Jack Hackett, aspiring DP 2. John Gresch, VP Lighting ARRI Doug Smith, PC&E Bill Russell, VP Camera ARRI

3

4

3. Doug Smith, PC&E Mark Wofford, PC&E Andre Beckford, ARRI 4. Larry Robertson, DP Garrett Murck, PC&E Josh Olds, PC&E

5

34

OZ MAGAZINE www.ozmagazine.com

5. PC&E Employees: (L-R) Paul O’Daniel, Lucy Smith, Huston Tronnes, Randy Nappier, Jaime Kaufman, Dawn Dye, Loren Swinton

SCENE

B RONZE L ENS FILM FESTIVAL Photographs by Daniel G. Morris

2

1

1. Kathleen Bertrand and Sheryl Gripper 2. (L-R) Deborah Riley Draper, James Hutchinson and Jane Gregory

3

4

3. Emayatzy Corinealdi and Ray Cornelius 4. Myra J. 5. S. Epatha Merkerson 6. Kenny Leon and Ray Cornelius

5

6

7. Attendees listening intently during panel 3 on the third day of the festival.

8. Melvin Jones

8

7

36

OZ MAGAZINE www.ozmagazine.com

9 9. (L-R) Alonzo Llorens, Sherman E. Golden, Shannon King Nash, Chuck Douglas 10. Wendy Raquel Robinson 11. (L-R) Terri Vismale-Morris, Sheryl Gripper, Kathleen Bertrand

10

11

12. Stephanie Allian Bray and Charles F. Johnson 13. Nia T. Hill 14. Attendees listening intently during panel 2 on the second day of the festival.

12

13

14

www.ozmagazine.com OZ MAGAZINE

37

HOW I GOT INTO THE BUSINESS

ASHLEY EVANS

Writer/Producer/Director aecreative@bellsouth.net (404) 273-2709 www.sites.google.com/site/aecreativecom

HOW DID YOU GET INTO THE BUSINESS? I was fickle in college. At least regarding my major…

I started out in business school then bounced over to the art program. Once there, I worried being an “artist” wouldn’t yield much financially - I had student loans to pay! That summer I took a film class and it clicked.

Film and television production was the perfect blend of creativity and business. I went with my gut and pursued media production. My advisor introduced me to a contact at Turner Broadcasting- they happened to be interviewing for internships. I was soon packing for Atlanta. Working in the On Air Promotion department for a major cable network showed me a side of the industry that they didn’t teach in school back then. I loved every minute of it. I stayed on as a freelance P.A. and worked my way up from there. You needed help with production management? I was your girl. Need someone to write/ produce a last minute promo? Sign me up! Eventually I moved from the promotion department into writing and producing content. My experience has afforded me the chance to work with a variety of talented people in all walks of life and learn something new every day.

WHAT’S YOUR FAVORITE ASPECT OF THE JOB? Variety is key. You may be on location one day, in the edit suite the next. I work from home frequently, depending on the job. The flexibility is terrific.

WHAT ADVICE WOULD YOU GIVE? Do multiple internships while you’re in school and make meaningful contacts. Once you’re on the job, make the most of every minute. Learn from others’ successes, mistakes, and overall experience in the field. You never know who you’ll run into down the line and how you can be of help to one another.

RECENT CLIENTS: TBS, HGTV, DIY Network

38

SPENCER HERZOG

Stock Music and Sound Effects Creative Sound Concepts spencer@creativesoundconcepts.com (404) 873-6628 www.creativesoundconcepts.com

HOW I GOT INTO THE BUSINESS: My earliest childhood memories include music and entertainment. From wearing out my parents LP’s of South Pacific and The Sound of Music to appearing in plays and musicals beginning in kindergarten. One day my dad brought home a Sony reel to reel; that was it, I was hooked. While singing in the church choir some friends and I formed a band that toured with the choir and played gigs at local coffee houses, churches and clubs. By my junior year in high school I had landed a job at a local radio station in Decatur. Through that job, I met a guy that worked in the promotion department at MCA Records. He told me to look him up when I graduated from high school… I did.

I went to work for MCA Records the summer I graduated and found myself hanging with the likes of Elton, The Who, Ricky Nelson, Conway & Loretta just to name a few.

I spent 9 ½ years in marketing and sales, first with MCA Records and then ABC Records. That is where I learned the business of doing business.

In 1982, I founded Creative Sound Concepts with one of my band mates, Dennis Baxter. We started by looking for bands to record but quickly figured out that advertising, audio for television and corporate communications were a more lucrative path. As the years progressed, we provided sound design for many types of productions including documentaries, advertising, museum installations and corporate communications.

CHRISTIN SCHIFANO

Costume Designer Fashion Stylist christin.schifano@gmail.com (770) 846-9171 www.christinschifano.com

HOW DID I GET INTO THE BUSINESS? I’ve always had a fascination with art and fashion. I was accepted at the Fashion Institute of Design and Merchandising in Los Angeles. This is a great school with wonderful resources. However, I then realized the fashion industry wasn’t quite what I wanted. I’m intensely interested in storytelling, and love dramatic expression. I began to analyze what I love and what I don’t love, and it suddenly became clear to me that I was in the wrong field; I belong in theatre. This epiphany led to my MFA in Costume Design from the University of Georgia. Through this program I was allowed to unleash my creativity into the world of performance art. Since graduation my designs have been on display at the international design conference that occurs every four years, the Prague Quadrennial. Also around this time, I was hired onto a film with Embree Perry Productions and was quickly promoted from Wardrobe PA to Wardrobe Department Head. I also had the privilege to design for the University of Georgia’s Opera Department, within the Hugh Hodgson School of Music.

WHAT AM I WORKING ON NOW? Currently I am Assistant Wardrobe Mistress for BMPI Inc. I travel around the globe assisting in the wardrobe needs of a touring show.

WHAT AM I INSPIRED BY?

WHAT ARE YOUR FAVORITE KINDS OF PROJECTS? I love children’s programming and animation because there are so many musical and sound design opportunities that allow me to use my imagination. I get to breathe life into the production through original music as well as the vast sound effect libraries that are available. But sometimes I just have to hit the record button and Foley the effects myself.

OZ MAGAZINE www.ozmagazine.com

I take inspiration from all things. I could see a texture on a wall and decide to bring that texture into a costume.

Literally, anything around me can show up in a costume.

I am also inspired by the work of Paul Poiret, Christian Dior and Alexander McQueen. While I take inspiration from many things, I like to abstract ideas and make them uniquely mine. Please visit www.christinschifano.com to see examples of my work.

ASHLEY KOHLER

MICHEL BOYD

JACK ENGLISH

Stock Footage Broadcast Solutions jackenglishatl@yahoo.com (404) 685-2806 www.southeaststockfootage.com

HOW DID YOU GET INTO THE BUSINESS? For eleven years I had traveled as a professional musician and Atlanta was a repeated stop. I began working dayside at a state-of-the-art digital sound studio in Metro Atlanta that also was doing video and became “that guy” who carries things to the truck, goes to get the coffee and watches the editors perform their magic. Moved then into writing scripts and soon after ventured into film production partnering with Herb Kossover to create Panther Productions. Got into series work on the show First Flights hosted by astronaut Neil Armstrong, then 35mm WESCAM aerials, then a year long project with the NBC News Channel on the 1996 Olympic Games. This led to a new partnering with Russ Jamieson (WAGA/CNN) on a large NASA television privatization plan and a home for our company, Broadcast Solutions, in the fabulous Georgia Public Broadcasting Building in Midtown Atlanta.

Broadcast Solutions is just now finishing installing and providing content for three forty foot monitor arrays in the new Hartsfield Jackson International Terminal and actively supplying stock footage aerials to the television shows and movies that have finally found Atlanta.

SHOULD YOU GET IN, OR STAY IN, THE BUSINESS? Yes. Look at the opportunity. Our DVRs let us time shift when we watch. The Internet has given us the bandwidth to create our own channels online. Search engines help us find anything. The tools of production and editing have gotten better and cheaper. Ipads, iphones and a whole assortment of digital players let us watch anywhere, and the new generation (Digital Natives) demand video. Digital information once created can be sent, sold and resold an infinite number of times and be selling while you sleep. Find something you believe in, hook up with a sponsor, produce digital content, place it well and sell it on the Internet. Good luck.

Principal Designer/Owner SMITHBOYDinteriors michelboyd@gmail.com (404) 402-4224 www.smithboydinteriors.com

HOW I GOT STARTED...

I was living in NYC, working in fashion and dying a slow retail death. I started thinking about my Industrial Arts class and how I wanted to be an architect. I was working with an interior designer on my place and he took me to the A & D building for my first ICFS and the rest is history. I found my passion and immediately enrolled in school. The Art Institute taught me to perfect my foundation of technical skills and basic knowledge of the industry, while still allowing me to develop my own aesthetic. I began seeking out clients and taking small jobs as a student, which was the best thing I could have done because I can still trace every client.

WHERE I FIND INSPIRATION...

I aspire to do great work, so I seek inspiration everywhere, including from my clients. It’s the family that motivates me to impress them with solutions they hadn’t considered, executed beautifully. I have reference books on every style/genre/period of design and everything art/fashion. It’s amazing how a painting can inspire an entire space and how the artist’s point of view can help you develop your own. Sometimes I’m inspired by furniture, and I’m waiting for a client to pair it with.

HOW DOES DESIGNING ON SET DIFFER FROM DESIGNING FOR A PERSONAL OR CORPORATE CLIENT? Pace is as important as preparation when it comes to set design. Designing on set requires one to have multiple solutions within arms reach as not to hold up the filming process and to readily evolve with the director’s vision. It was a natural transition for me to start designing sets. I’ve always approached each room as an editorial, whether being filmed or not. It helps me to create balance, visual harmony, and communicate the message or mood the room should evoke.

President / Exec Producer, Awesome Inc Executive in Charge of Production, Bento Box Atlanta ashley@bluetube.com (404) 885-7102 www.awesomeinc.com - www.bluetube.com

HOW DID YOU GET INTO THE BUSINESS? I studied Advertising at UGA, and had a summer internship at BBDO Atlanta my junior year. Before the internship I thought I wanted to be an Art Director, but at BBDO I was able to identify production as the career path I wanted to take- it just seemed to be a perfect fit for me.

I took an admin position at Turner Home Entertainment while finishing my Senior year, and after a bit of time at Turner, Guy Tucker helped me find a receptionist / PA job at Comotion Films. It was a 25% pay cut from my Turner position, but I knew it would be better experience so I took the plunge- and was glad I did. A year or so later I found a similar entry-level prodco position in New York, where I was quickly able to work up to producing my own spots.

I moved back to Atlanta when I was lucky enough to land a career-changing job with Cartoon Network’s On-Air Promotion Department- ultimately becoming Director of Production.

WHAT ARE YOU DOING NOW? In 2005 I decided to leave my amazing job at Cartoon Network to co-found Awesome Incorporated with Drew Tyndell, the most talented designer / artist / cyclist on the planet. We have spent the last seven years building Awesome Inc into a successful animation and design studio- working on promos, commercials and animated series for clients like Nickelodeon, Fuel TV, Saatchi & Saatchi, Cartoon Network / Adult Swim, mun2, CNN, Moxie and Fitzgerald+Co. In addition to being President / EP at Awesome Inc, I also recently helped launch Bento Box Animation Studio Atlanta, and serve as its Executive in Charge of Production.

WHAT IS THE BEST ADVICE YOU COULD GIVE TO SOMEONE TRYING TO GET INTO THE BUSINESS? Network. I owe my entire career to networking, and I’m a big proponent of it. Always be cautious howeverthere is definitely a fine line between the appropriate amount of contact and over-aggressiveness.

www.ozmagazine.com OZ MAGAZINE

39

DISTRIBUTION PARTNERS NORTH HIGHLANDS

EMORY

Diesel 870 N. Highland Ave. NE Atlanta, GA. 30306

COMMUNITY BBQ 1361 Clairmont Road Decatur, GA. 30033

Manuel’s Tavern 602 North Highland Ave. Atlanta, GA www.manuelstavern.com

Everybody’s Pizza 1593 N Decatur Road Atlanta, GA, 30307 www.everybody’spizza.com

Plaza Theatre 1049 Ponce De Leon Ave. Atlanta, GA 30306 www.plazaatlanta.com

Chocolate’-North Decatur 2094 N Decatur Road Decatur, GA, 30033 www.mychocolatecoffee.com

Youngblood Gallery 636 N Highland Ave. Atlanta, GA 30306 www.youngbloodgallery.com

SOUTH ATLANTA

Righteous Room 1051 Ponce De Leon Ave. Atlanta, GA 30306 Videodrome 617 N. Highland Ave. 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 dunwoody.aiuniv.edu Mellow Mushroom-Vinings 2950 New Paces Ferry Rd SE #B Atlanta, GA 30339 www.mellowmushroom.com/vinings NORTH DEKALB Beer Growler 38A N. Avondale Rd. Avondale States, 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

40

Clark-Atlanta University Library 111 James P. Brawley Dr., SW, Atlanta, Ga 30314 Community BBQ 1361 Clairmont Rd. Decatur, GA. 30033

PC & E 2235 DeFoor Hills Road NW Atlanta, GA 30318 www.PC&E-Atlanta.com

Turner Studios 1020 Techwood Drive Atlanta, Ga 30318 www.turnerstudios.com

King Plow Arts Center 887 West Marietta Street Atlanta, GA, 30318 www.kingplow.com

Utrecht Art Supplies 878 Peachtree Street Atlanta, GA 30309 www.utrechtart.com/stores

C-TOWN/G. PARK/EAST ATL

Portfolio Center 125 Bennett Street Atlanta, Ga 30309 www.portfoliocenter.com

97 Estoria 727 Wylie Street Atlanta, GA 30316 www.97estoria.com Homegrown 968 Memorial Dr. SE Atlanta, GA. 30316 Stoveworks 112 Krog St. Atlanta, GA 30307 www.officeloftsatlanta.com

S.C.A.D.- Atlanta 1600 Peachtree St Atlanta, GA 30309 www.scad.edu INMAN PARK/LITTLE 5 POINTS Brewhouse Pub 401 Moreland Ave. NE Atlanta, GA. 30307

Six Feet Under-Memorial 437 Memorial Dr SE Atlanta, GA 30312

Corner Tavern 1174 Moreland Ave. NE Atlanta, GA. 30307

Smoothie Studio 925 Hamilton St. SE Atlanta, GA. 30316

Criminal Records 1154 Euclid Ave. NE Atlanta, GA. 30307

MIDTOWN WEST

Stoveworks 112 Krog St. NE Atlanta, GA. 30312

E-Six Lab 678 10th Street NW Atlanta, GA, 30318 www.e-sixlab.com

Studioplex 659 Auburn Avenue NE Atlanta, GA 30312 www.studioplexlofts.com

Jack’s Pizza 676 Highland Avenue NE Atlanta, GA www.jackspizzaandwings.com

Elliott Street Pub 51 Elliott St., SW Atlanta, GA 30313

Tomatillo’s 1242 Glenwood Ave. SE Atlanta, GA. 30315

Six Feet Under-11th 685 11th Street NW Atlanta, GA 30318 www.sixfeetunder.net

Little’s Food Store 198 Carroll St. Atlanta, GA 30316 www.littlesfoodstore.com

Panavision 1250 Menlo Drive NW Atlanta, GA 30318 www.panavision.com

529 529 Flat Shoals Ave. Atlanta, GA 30318 www.529atl.com

Savi Urban Market 287 Elizabeth Street NE Atlanta, GA 30307 www.saviurbanmarket.com

PPR - Professional Photo Resources 667 11th Street NW Atlanta, Ga 30318 www.ppratlanta.com

MIDTOWN-ish

Parish 240 N Highland Avenue NE Atlanta, GA 30307 www.parishatl.com

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

Imagers 1575 Northside Drive Bldg 400, Suite 490 Atlanta, GA 30318 www.imagers.com Octane Coffee Bar & Lounge 1009 Marietta Street NW Atlanta, GA, 30318 www.octanecoffee.com

OZ MAGAZINE www.ozmagazine.com

Georgia Film Commission Spring St. NE Atlanta, GA 30309

Inman Perk Coffee 240 N Highland Ave NE # H Atlanta, GA 30307 www.inmanperkcoffee.com Java Lords 1105 Euclid Ave. NE Atlanta, GA. 30307 Moog Gallery 1653 McClendon Ave. NE Atlanta, GA. 30307

Paris On Ponce 716 Ponce De Leon Pl. NE Atlanta, GA. 30306

El Myr 1091 Euclid Avenue NE Atlanta, GA 30307 elmyr.com

SLICE 85 Poplar St. NW Atlanta, GA. 30303

Star Community Bar 437 Moreland Ave. NE Atlanta, GA. 30307

Sam Flax 1745 Peachtree St at Brookwood Place Atlanta, GA 30309 www.samflaxsouth.com

Aurora Coffee 468 Moreland Avenue Atlanta, GA 30307 www.auroracoffee.com

LE T ME GIVE YOU MY CARD

On e i s n umbe r y o u ... w ill e v er know t h e l o n e liest

Two to four matched cameras in full studio configuration

digital printing center www.imagers.com 404.351.5800

Well engineered on-location fly packages Corporate - Sports - Convention Religious - Special Events office:

Large Format - Posters & Banners, Backdrops, Canvas Prints...

Direct to Board - Custom Signage for any use, with precision cutting...

Digital Printing - Booklets & Catalogs, Brochures, Business Cards...

joe@agoratv.tv

www.agoratv.tv Special Events since 1979

678.581.3750

mobile:

404.226.4503

ASSOCIATION PARTNERS American Institute of Graphic Arts (AIGA) Atlanta Ad Club Atlanta Macintosh Users Group American Marketing Association-Atlanta Media Communications Association International (MCAI) Women In Film & Television Atlanta (WIFTA) Business Marketing Association-Atlanta (BMA-Atlanta)

National Academy of Television Arts and Sciences Southeast (NATAS) Atlanta Press Club (APC) Georgia Production Partnership (GPP) The Freelance Forum American Federation of Television and Radio Arts (AFTRA) Cable & Telecommunications Association (CTAM) American Society of Media Photographers (ASMP) Society for Technical Communication (STC)

www.ozmagazine.com OZ MAGAZINE

41

AD AGENCY CAMPAIGNS

Studiocom

www.studiocom.com

Client: Barilla Title of the campaign: Barilla Summer of Italy Project Description: Studiocom worked with Barilla® to create a six-week branded celebration of Italian food and culture called Summer of Italy. We designed interactive installations for Casa Barilla, the four day flagship event in Central Park, and seeded equally compelling content across social channels to increase engagement with their hungry fans worldwide.

Credits Chief Experience Officer: Juan Fernando Santos Creative Director: Maurizio Villarreal Art Director: Mauricio Ruiz Designer: Carlos Ordoñez Illustrator: Mayela Mercedes Motion Graphics: Anibal Camargo Video Editor: Luis A. Lopez

Adam Millman, Art Director Chris Breen, Writer/Creative Director Tim Smith, Art Director/Creative Director The campaign launched with national TV. However, its biggest impact was felt in social media, where Edwin The CopAccountant nabbed tens of thousands of Facebook fans in just a week. So many people were following him on Facebook we burned through our quarterly Facebook click-through budget in just nine days.

IMS Water Ad_SD.qxd

9/5/08

11:39 AM

breen smith

Campaign: Edwin The CopAccountant

www.breensmith.com

Client: Equifax

CLICK HERE

CLICK HERE

TO PROTECT & ABSURD

Page 1

Equifax is one of the oldest and largest financial institutions in America. So, when they asked us to help launch their new consumer product, we did what any self-respecting agency would do. We created a CopAccountant, fed him DonutBagels and armed him with a CalcuTazer. While Edwin The CopAccountant launched on national TV, his

YOUR L O A N P OR T F O L I O J U S T T O O K O N WAT E R

biggest impact was felt in the social media space, where he nabbed tens of thousands of Facebook, fans in just a week. So many people were following Edwin the CopAccountant on Facebook we burned through our

CLICK TO VIEW

42

140 PEACHTREE ST. NW, ATLANTA, GA, 30303 | 404.352.9507

Client Name: Integrated Mortgage Solutions (IMS) Title of the Campaign: Time to Think Outside the Lockbox

www.williammills.com

William Mills Agency

quarterly Facebook click-through budget in just nine days.

Who worked on the project: Jerry Goldstein - Vice President Marketing Services, Gregg Bauer - Creative Director, Bill Mills, Jr.

TIME TO THINK OUTSIDE THE LOCKBOX In default, a property’s status can quickly change from the safety of a payment stream to becoming the lender’s asset. This makes collateral protection essential and attention critical. Doing too little too late can seriously affect the value of the property.

Integrated Mortgage Solutions (IMS) provides a full range of collateral inspections, repair and preservation, hazard claims recovery, auction preparation and loss mitigation. And IMS delivers these services in a seamless way that smoothly integrates into a client’s operation and meets individual business needs – not one size fits most. Our customers include traditional mortgage servicers, auction companies, realtors and asset

16225 Park Ten Place, Suite 105

■

management companies with nationwide, regional and state portfolios of single family, multi-family and commercial properties.

IMS “thinks outside the lockbox” by delivering innovative technology, services and custom solutions to meet our clients’ ever-changing needs and requirements. If you are looking for a business partner that goes beyond the expected to help keep your head above water, look to Integrated Mortgage Solutions.

Houston, TX 77084

■

888 .442.2686

■

www.imstoday.com

OZ MAGAZINE www.ozmagazine.com

Description: The campaign’s objective was to launch a new brand identity for IMS and build awareness for IMS property preservation services within loan servicing organizations that were flooded with REO properties. The advertisements targeted a cross section of mortgage and banking publications, especially those focused on loan servicing operations.

Since 1949, Quality Printing from A to Z debossing • decals • digital printing • die cutting • calendars • cd / dvd covers • door hangers • collating •

• embossing • engraving • envelopes • foil stamping • folding • fulfillment

banners (indoor / outdoor) • (coil, gbc, wiro) binding • brochures / booklets • business cards •

• graphic design • greeting / gift cards • hang tags • labels • laminating • laser cutting • letterhead • letterpress printing

annual reports • invitations • jackets for books •

• magazines • magnets • mailing services • maps

kiss cutting •

• name tags • note pads • newsletters

offset printing •

• qr coding packaging • perforating • placemats • pocket folders • point of sale • postcards • posters •

• restaurant menus & wine lists • rubber stamps • saddlestitching • scoring • scrapbooking stuff • signage • table tents • tabs • ultraviolet (UV) coating

variable data printing • varnishing • vehicle graphics • vinyl lettering • web design • wedding invitations • wide format printing • (sandwich) wrappers • wrapping paper •

• xtra client service • yard signs • year-end financial statements • z-fold flyers

1835 MacArthur Boulevard N.W. Atlanta, Georgia 30318-2023 404.521.0933 www.claxtonprinting.com

I

magine a street party in collaboration with people who make the magic.

I

magine being a part of it.

May 2013

40 thenextcoolevent.com

in Georgia

years of film & tv