Oz Magazine June/July 2013

film & tv • print • new media • lifestyle june/july 2013

Lead Us Into Temptation, p. 24

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

apr/may 2013

contents features Loading Up On Art.................................................................................... 18 Lead Us Into Temptation.......................................................................... 24

columns Ozcetera.......................................................................................................... 6 How I Got into the Business................................................................... 30 Oz Scene....................................................................................................... 32 Voices: My Heroes Have a Thousand Faces.......................................... 36 Behind the Camera w/ Drewprops: Pinewood Atlanta..........................................................38 Distribution Partners................................................................................40 Let Me Give You My Card......................................................................... 41

oz magazine staff Publishers:

Tia Powell Group Publisher Gary Powell Publisher Latisha “Tish” Simmons Assistant to Group Publisher Editorial:

Ad Campaigns............................................................................................. 42

Gary Powell Sue-Ellen Chitunya Jan Howarth Casey Pittman

Ozcetera Editor Research Editing & Proofing Assistant to the Editor

Contributors: Andrew Duncan, Lisa Bell-Davis, Allen Rabinowitz, Paul van Winkel, William Hollis Sales: Diane Lasek, Monique McGlockton IT/Database Administrator John Cleveland Sherman, III Design:

Lisa Bell-Davis Art Director/Graphic Designer Sarah Medina Production Artist & Designer Ted Fabella Oz Logo Design Cover Artist:

Jacob Gurganus, Email: bonsai4957@yahoo.com https://www.facebook.com/jacob.gurganus?fref=ts

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 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 38. drewprops.com

Allen Rabinowitz, has been a contributor to Oz since 1993, covering advertising, cinematography, graphic design and photography. One of the first chroniclers of the Punk Rock scene in his native New York, Allen’s work has appeared in local, national and international media including Communication Arts, How, Photo District News, Shoot, Folio, Agence FrancePresse and Georgia Trend. During a stint in public relations, he penned numerous articles on visual communications for a Fortune 100 client. Allen’s son, Joey, graduated with honors with a journalism degree in 2012. The proud dad boasts that Joey’s first experience in the business came when he accompanied Allen on a 1995 Oz cover story.

Feature story, p 18.

Paul van Winkel, is a senior-level management, strategy and business development consultant for brand, media, and creative groups. His focus is on sustaining and maintaining revenue and sanity in the media storm, by applying green/eco, technology, and human insight strategies and tactics. His company FUNCTION provides multi-platform strategic communications and positioning for sustainable organizations, and he’s provided analysis, complex selling, communications, proposing, developing, and CRM support for The Nature Conservancy, CNN, UPS, Discovery Channel, Blackberry, Boulder Chamber of Commerce, Turner, Verizon, AT&T, Ford, Philips, Philips Healthcare, Diageo, JWT, BBDO, McCann-Erickson, Publicis, Novartis, and EATON, among others.

Cover story, p 24.

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

William Hollis, born and raised in Midtown, Atlanta, Georgia, holds a B.A. in International Affairs at the University of Colorado. His interests include history and archetypes; his hobbies are travel, exercise and the outdoors.

Voice story, p 36.

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Pinewood Atlanta Pinewood Shepperton plc and River’s Rock LLC announced a joint venture – Pinewood Atlanta, a full-service film and entertainment studio complex comprised of five sound stages on 288 acres in Fayetteville, Georgia, just south of Atlanta.

The project is fully funded and will become a world-class studio for the production of film, television, music, and video games.

Artist’s conception of entering Pinewood Atlanta.

Phase I of the purpose-built studio project will initially feature five stages totaling 100,000 square feet with another 100,000 square feet in production offices and 200,000 square feet in workshops and service provider space. Additional growth phases will include a vocational job skills

training component that will produce a qualified workforce to fill the hundreds of new jobs that will be created at the studio. Details on the academic component of the project are forthcoming.

Phases II and III consist of an additional 600,000 square feet of stages over 70 acres of additional managed back lot space.

Additional office and warehouse space for production companies and service providers, and the educational component encompassing up to 74 acres.

The direct economic benefits of film production in the State of Georgia came to nearly $3.1 billion in 2012 and positively impacted thousands of businesses. An independent economic study based on Georgia Tech’s LOCI economic impact model indicates as many as 3,400 direct jobs will be created at Pinewood Atlanta, with Phase I creating a direct financial impact of $10.4m to Fayette County.

Depending on finalization of future plans,

Ivan Dunleavy, Pinewood CEO, said: “Today’s agreement is another step forward for the Pinewood brand internationally. This new studio will target US productions. Georgia has excellent fiscal and tax credit incentives as well as a great crew base. With River’s Rock we have a well resourced partner that is committed to building a first class studio facility.”

Jim Pace, managing partner, River’s Rock LLC said: “We are tremendously excited to be creating a world class studio in the State of Georgia and are looking forward to working with Pinewood in the many years to come.

The Pinewood brand is so well recognized in the global film industry and together there is a great opportunity to build an excellent facility that will attract the very best producers.”

Nathan Deal, governor of the state stated, “Pinewood Atlanta’s location will contribute significantly to Georgia’s growing reputation as a top draw for movie and television productions. We welcome the business this world-renowned company will bring to the state and the jobs it will create for our crew base and supporting companies.”

David Ralston, Speaker of the House, State of Georgia commented, “Pinewood’s decision to locate its new film production studios in Georgia is a great achievement 6 | ozmagazine.com

the Phase II and III annual economic impact is forecast to be as much as $378m per year.

River’s Rock LLC is a locally based group of private investors. The land and studio construction costs will be fully funded by equity from River’s Rock LLC and a debt facility from Synovus Bank. The business will operate under the Pinewood trademark, and Pinewood will receive a portion of the shareholding in the joint venture. Pinewood, known worldwide for the James Bond productions, will provide the joint venture with sales and marketing services.

Pinewood Atlanta will give producers access to attractive fiscal incentives from the State of Georgia within a conveniently located, secure hub in the USA for productions to base themselves. Construction has commenced, with the first production scheduled to occupy the initial five stages in January 2014.

in and of itself for the state’s film industry and another example of how well the state’s tax incentive program is working.

I know that Pinewood will not only serve as an important community partner but will also help attract future entertainment projects that will create jobs for Georgians.”

Steve Brown, chairman, Fayette County Georgia Board of Commissioners stated, “We are delighted to have film powerhouse Pinewood Studios in Fayette County. Their 80-year reputation of film and television excellence and our outstanding quality of life are a superb match.”

Lynn Westmoreland, United States congressman for the Third District of Georgia observed, “As the US Representative for this area, I feel one of my most important duties is to create a setting that fosters economic development and brings good paying jobs to our citizens. This venture promises to do just that. This is an exciting time for the film industry in Georgia. Our governor and state legislature are committed not only to maintaining competitive tax incentives to attract the industry, but to helping educate and develop the skills of dedicated men and women that will make these companies want to stay for the long term.”

• Pinewood, Shepperton, and Teddington Studios together accommodate thirtyfour stages, five dedicated digital television studios, and five digital presentation studios.

• Pinewood Studios is home to Europe’s leading studio-based underwater filming stage, as well as one of the largest exterior water tanks in Europe.

• Pinewood and Shepperton Studios have been home to over 1,500 films in more than seventy-five years.

• Pinewood, Shepperton, and Teddington Studios have hosted over 600 TV shows.

• There are over 250 independent, mediarelated companies based at Pinewood and Shepperton’s Media Hub. • The Pinewood Group’s international network of studios includes Toronto, Canada; Berlin, Germany; Iskandar, Malaysia; and the Dominican Republic.

The Group has an agreement in place with joint venture partner Seven Stars Media Limited to assess a number of business proposals in the growing entertainment market in China.

• The Group now offers financing to UK film and television production as part of its growing range of services.

Real. Good. Food.

Full service catering for your next event.

www.solcatering.net 404.805.6589 • 404.853.3239

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People Now Available in New Orleans Alexander White has opened the New Orleans office of the People Store talent agency with the goal of expanding the company’s reach and opportunities for clients.

White was introduced to People Store in 2010 and six months later was offered a full-time position as an agent in the film and television department. He is a graduate of Loyola University.

Talent Group and Hot Shot Kids, co-owned by film and TV agent Brenda Pauley, joined forces with People Store, creating a multimillion-dollar agency. Some of People Store’s recent film success stories include bookings in The Hunger Games: Catching Fire, Steve McQueen’s Twelve Years a Slave, The Weinstein Company’s The People Store crew sends Alexander White to open the New Orleans office.

Rebecca Shrager opened People Store in Atlanta in 1983 while working as a stylist and production coordinator in the late 1970s and early 1980s. Over the past 30 years, People Store has grown into one of the most successful and well-respected agencies in the country. In 2002, The

She’s Been Called Other Things Filmmakers face tough questions every day: Is this a good story? What’s my target audience? How do I reach them? What’s my marketing strategy – for obtaining cast and crew, investors… for distribution, kick-starter campaign funds, or starting a festival run?

Linda Burns, of Plexus Pictures, is a producer, line producer, and production manager. She has developed the The D-Girl Project to provide a “safe place to fail” where men, women, doc and narrative writers, and animation and live action storytellers can practice and strengthen their understanding of all aspects of the craft of storytelling.

In each free monthly workshop, Burns gives a topical lecture. Attendees are given the same screenplay to read. Writers, directors, producers, and PR types write one-liners, develop elevator pitches, write synopses and screenplay coverage, and later collaborate in groups to develop the best of what they have together.

Editors cut mock trailers, storyboard artists work with directors, and DPs draw up scenes. Graphic artists develop posters and tag lines, and production designers and costume designers create look books for the mood and color palette of the story. The idea is to get everyone speaking the same language first, then improve skills and keep them sharp through constructive discussion and repetition.

Linda Burns, Atlanta production whirlwind, is the force behind the D-Girl Project.

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Random, Tom Hanks’ Parkland, Insidious 2, Safe Haven, The World Made Straight, ensemble comedy Last Vegas, and Iron Man 3. Hit TV shows include Nashville, Revolution, Teen Wolf, The Walking Dead, Army Wives, Necessary Roughness, Banshee, Rectify, The Vampire Diaries, Company Town, and Under the Dome.

ozcetera

Character Style Ozcetera Headlines

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Three New for Mountain View Mountain View Group, Ltd. has hired Brent Beatty as vice president, digital media; Elizabeth Levy as Atlanta office manager; Christine Rivera as graphic designer; and Jeff Holmes as associate producer.

Beatty will help clients evolve the way they think about their organization’s online presence and will assist in creating intelligent solutions to enhance their brands in the interactive space. Prior to joining Mountain View Group, Beatty was an account director for Coca-Cola. He also ran the digital marketing program at What’s Up Interactive, co-founded the search agency TwentySix2, and consulted with brands on positioning and naming at the San Francisco-based Ashton Brand Group.

Levy will manage daily administrative and operational functions, support producers, and liaison with the New York office. Previously, Levy worked as a

paralegal in Atlanta and New York City.

She is a graduate of Auburn University.

Rivera will work with Mountain View Group’s design director to articulate the visual expression of clients’ brands by developing visual concepts and creative treatments, directing animators, and motion designers, and taking the lead in creating executive presentations. A talented artist in her own right, she will also serve as Mountain View Group’s in-house illustrator. Rivera holds a BFA in graphic design from Georgia State University.

Holmes will expedite corporate and commercial productions and manage Mountain View Group’s social media and web presence. Holmes brings previous freelance experience in copywriting, digital media, television documentary production, and business consulting work overseas.

Mitsubishi Electric US Cooling & Heating Division’s New TV Spots Feature Heist Environment in Battle of Who Controls the Home Thermostat It is the classic battle of who controls the thermostat at home. Only this battle involves evading laser beams and implementing parkour – a movement discipline that requires propelling the body through an obstacle course – just to change the temperature two degrees.

Developed by Atlanta-based Ames Scullin O’Haire (ASO), Mitsubishi Electric

US Cooling & Heating Division’s agency of record, the new TV spot called The Heist shows a husband dodging laser beams in order to get to the thermostat.

When he finally adjusts the temperature dial, he is snared into a trap set by his wife who wants to save energy costs to buy new shoes.

“High-grade lasers were used in the spot,”

Abracadabra: New Inventory Abracadabra Video Inc of Atlanta is now renting Canon’s new XF100 4:2:2 CF card-based camera. The XF100 uses Canon’s XF Codec, a filebased MPEG-2 compression with an MXF File Wrapper that ensures the widest compatibility with existing industry infrastructure, metadata, and non-linear editing (NLE) systems. The Codec’s 4:2:2-color sampling provides ultra-fine transitions in tone and color for maintaining the highest image quality needed for advanced postproduction processing.

In addition to renting a full line of Sony EX (SxS card based) and Panasonic HVX (P2 card based) cameras, Abracadabra Video has recently rented or loaned a number of “prop” cameras to various film studios currently working in Georgia. Older working news cameras and accessories from Abracadabra can be seen in a number of locally produced films.

added Ryan Mikesell, creative director/art director, “and we hired two stunt professionals who were experts in parkour, a holistic training movement that developed out of military course training.” The ads will run both on-air and online, and be seen during numerous television series finales and high-profile sporting events, including Wimbledon, the Preakness and Belmont, and MLB games.

Proudly Celebrating 30 years!

People Store /Hot Shot Kids provides the nation’s best talent for Film, Television, Commercial, Corporate Video, Voice Over, Print, and Live Entertainment.

PEOPLE STORE and HOT SHOT KIDS

645 Lambert Drive • Atlanta, GA 30324 • 404.874.6448 • www.peoplestore.net

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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 sstroryy du u Yeea arb rbot ookk

Th Thee

22 0 0 1 1 3 3

40 years of Georgia Filmmaking & the people who made it happen

19 7 33

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

Case in point: John Wayne. In 1973,

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

a team of prison guards.

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

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

‘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

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

came through and

banging his hand on the table,” Spivia says.

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 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

92

Production & Support Companies

110

111

Georgia Industry Yearbook

Georgia Industry Yearbook

(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.

Georgia Industry Yearbook

(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.

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162

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

Riverwood Studios (DBA Raleigh Studios)

1989

Paul Lombardi, founder; Scott Tigchelaar, president

Atlanta Rigging Systems, LLC

1992

Rick Rushing, president; Dave Gittens, VP/GM

Casting Connection, Inc.

1992

John Culbreth, founder

SaltRun Productions

1989

Allen Facemire, CFO; Susan Satterfield, CEO

Crossover Entertainment Group, Inc.

1992

Luther Randall III, GM; Billy Johnson, COO

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

John Carlisle, founder

Danny Boy Services, LLC

1994

Dan Philipp, founder

Eagles Cry Productions, LLP

1994

J. Robert Russell, CEO; Karen Russell CFO

Staging Directions

1989

Nick D’Allen, president

The Propper Source

1989-2006

Hilary Henkin, owner

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

Bob Bailin

Steven L. Guy, CEO

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w w w. o z o n l i n e . t v

Georgia Industry Yearbook

“And I said, ‘If you’ll give me just a few minutes to finish my presentation, I

Georgia Industry Yearbook

inmates to play against

Spivia found out about it, he arranged a meeting to convince Wayne to make a movie

Georgia Industry Yearbook

Georgia Industry Yearbook

Mark Apen 1987: Production Assistant 2013: Producer

player–turned–convict

Cattleman’s Association meeting. When

“About thirty seconds in, he started

10

LA Albarracin 1990: Hairstylist 2013: Hairstylist

who organizes a team of

the veteran actor came to Georgia for a

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.

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.

Melva Akens 1990: Set Decorator 2013: Wardrobe Stylist & Buyer

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

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See the Light at PC&E

Faster and Prettier

Pilot Season in Atlanta

PC&E, a total production facility in Atlanta, now has a set of eight Leica lenses. In the words of camera manager Paul O’Daniel, “After extensive evaluation of these lenses by our lens technician, Billy Tuttle, we are of the opinion that the Leica Summilux-C™ lenses are the best motion picture lenses on the market, bar none. The lenses outperform every other in sharpness edge to edge, flatness of field, color fringing and contrast.”

Artistic Image has upgraded their current computers and purchased a set of new computers that will enable them to build, animate, and render 3D faster than ever before. They also have new rendering power, managed by Qube software, that allows for a faster, smoother workflow and an even greater range of creative freedom for their artists.

The Atlanta Television Festival hosted Celebrating 2013 Pilot Season on May 10 in Atlanta, Georgia. Many of Georgia’s most influential leaders in government and the entertainment industry joined the festival in recognizing top producers, networks, entertainment companies, and studios that have added to television in Atlanta. Jasmine Burke and Brad James are two Atlanta actors, and the founders of James and Burke Partners. Together, they produced Celebrating 2013 Pilot Season and the Atlanta Television Festival.

PC&E has also added the Celeb® 200 DMX LED fixture to their lighting inventory. The Celeb has dial-in variable color temperature control, full-range dimming, and programmable 2700K to 5500K presets.

The Celeb’s 100 Watts of soft, white light doesn’t flicker or shift color temperature when dimmed and the unit operates on universal AC power, 100VAC-240VAC, and needs only one amp to produce more lumens than a 750W tungsten soft light.

The Sony NEX-FS700 is another recent addition to the PC&E camera rental inventory. The FS700 has a 4k Super 35 CMOS sensor capable of speeds up to 960fps and 240fps in full 1080p high definition.

The FS700 comes standard with a Sony E-mount, which PC&E can adapt to PL or Canon EF. Currently the FS700 can record full 1080 high definition to 128GB flash memory units or high speed SD memory cards. However, Sony is planning a future firmware upgrade that will enable the camera to output 4k data over 3G HD-SDI for external recording of 4k images.

Artistic Image has also renovated their studio. A client library-lounge includes a digital arcade system with classic arcade and pinball games. The lounge, along with their new client edit suites, is part of an AI initiative to promote a friendly, entertaining and inviting environment for both their clients and their artists.

AI’s Cinryze Swell art has been honored with a 2013 Gold Addy award. The work was a collaborative effort with creative director John Kemble and his Dudnyk team.

Two of AI’s medical promotion pieces, collusions with Dudnyk, have won DxMA Creative Communication awards.

“AdenoPlus – Decode the Red Eye” won first place for product/service-brand creation and “Nicox – Follow the Evidence” won first place for corporate identity.

AI’s Awards Season spot picked up a 2013 Telly Award. Director Ken Soon and their design team worked on the project in collaboration with senior manager of On-Air Creative, Patrick Harrington, and the folks at TNTLA.

Last year’s Pilot Season for television in the Atlanta market proved to be one of the strongest the industry has ever seen.

Metro Atlanta has benefitted from multiple productions hiring thousands of entertainment professionals to create shows now known all over the world.

Hitting the Refresh Button Atlanta-based digital agency three squared is coming off three new projects: • Working with their development partner, Arke, three squared recently re-envisioned the Georgia-Pacific corporate website. The new site will launch later this year.

• t hree squared is re-envisioning and refreshing the look of the Shaw Web Studio website. Shaw Web Studio offers flooring retailers/dealers support for their web presence.

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• Elekta’s Neuroscience Group secured three squared to develop a new, stylized video program for the Gamma Knife Perfexion™ (a surgical tool that uses focused beams of radiation) to align with a new marketing campaign: “Precision, Precisely.”

The video was launched at the 2013 American Association of Neurological Surgeons Annual Scientific meeting.

New Instructors at AWP Atlanta Workshop Players (AWP) has added new instructors, all alumni of AWP. • BriTanic (Special for AWP, Kid-Style): the sketch comedy duo of which Time magazine said, “watch it if you want to be cool,” brings their popular brand of filmmaking, specially crafted for kids.

• Ryan Darst: award-winning, LA-based independent filmmaker, specializing in indie short films. Darst is a well-known name on the festival circuit, with a long list of acclaimed films to his credit.

• Amy Dean Kennedy: a seasoned performer and filmmaker with an impressive resume, including vice president of Simpson/ Bruckheimer Productions and head of development of new programming for the Oxygen Network.

• Clay Adams: a 25-year performing veteran of TV: One Tree Hill, Vampire Diaries, All My Children, One Life to Live, As the World Turns, and voiceover work on Teenage Mutant Ninja Turtles and numerous commercials. Adams has taught acting at the Stella Adler Conservatory in NYC and co-founded a mentorship program for writers at TriBeCa’s Access Theatre. Current projects include a TV pilot, feature scripts, and a graphic novel.

New instructors at AWP include Clay Adams (in director’s chair) , Amy Dean Kennedy , Ryan Darst, and BriTanic (below).

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Paulding Production Busy Less than a year and a half after opening its doors to productions in February 2012, Atlanta Film Studios Paulding County is now on the short list of most producers looking for stage space in Georgia.

Legendary Pictures’ hit Jackie Robinson biopic, 42, was the first feature to shoot at the facility; it is a bona fide success with a domestic box office of over $78 million dollars to date.

On the heels of 42 came commercial, promotional, and special event projects

including Los Angeles–based broadcast design and production company BRKLY who used the stage, office, and mill space for still photography and for filming a promotional shoot for the Atlanta-based TV One reality show R&B Divas.

Currently, AFSPC is home to the highprofile AMC drama pilot Halt & Catch Fire from the producers of Breaking Bad. “The studio’s offices, mill, and stages are being used as headquarters for the crew and will be used for filming,” said Jeremy Hariton,

a partner in Road Town Enterprises, which operates the studio.

Also boosting AFSPC’s profile is the fact that productions not seeking stage space are coming to Camera Ready Paulding County for location work. The county recently welcomed The Good Lie, starring Reese Witherspoon, which worked and shot in and around Paulding County for a few days. RoadTown Enterprises’ Nick Smerigan added, “Paulding has demonstrated a huge commitment to the film industry by building Atlanta Film Studios and welcomes production countywide with open arms.”

Recent production shots from Atlanta Film Studios Paulding County.

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Moving to the Village Founder and CEO of Ripple IT, Mike Landman, announced that Ripple headquarters will be leaving their Means Street location and moving to the new Atlanta Tech Village in Buckhead, where they are looking forward to working alongside many burgeoning startups and small businesses.

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Roll Tape, Roll Tide “Roll Tide” is a phrase that visitors to Tube are prone to hearing, especially between the months of August and October: “Render finished?” (“Roll Tide.”) “Client approval on some style frames?” (“Roll Tide.”) “University of Alabama is hosting their first annual film festival?” (“Roll Tide.”)

The New

VIS NEWLY IT OUR EX SHOWR PANDED OOM!

Tube’s owner and creative director, Chris Downs, recently had the opportunity to present at his alma mater, the University of Alabama. Professor Adam Schwartz, who teaches a variety of classes on production and post production at the school, extended the invitation for Downs to take part in the school’s first annual Black Warrior Film Festival. Along with hosting speakers, the festival showcases student films and instructional workshops.

Downs provided his first-hand account of the post production industry and offered insight on how students could successfully transition into creative professionals. The presentation was part of Tube’s continued effort and focus on working with tomorrow’s creatives.

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The New

The New

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PACS Schools Accountants Atlanta-based Production Accounting and Crew Service (PACS) International is on a mission to fill the need for exceptional accounting services in the film and television industries, particularly in the State of Georgia. One way that the agency is accomplishing this mission is by educating Atlanta’s entertainment community about the vital need for production accounting services.

PACS International CEO, Cheryl Jenkins, regularly shares her production accounting expertise at a number of events around the city. She led a workshop on the “Anatomy of a Budget” as part of the Atlanta Film Festival’s CINformation series, and led an “Introduction to Film & Television Accounting” workshop in partnership with Atlanta Film Festival 365, and Women in Film and Television in Atlanta (WIFTA). The purpose of this workshop was to educate the public about career opportunities in production accounting in the film and television industries as well as to begin to cultivate local talent.

Lisa Annitti, production accountant on the hit ABC show Revenge, co-taught the course. From these experts, students learned about the daily responsibilities of production accountants as well as the importance of their role in the production process. More than 50 attendees received handson training in processing accounting department routine paperwork. Attendee Kiera Sill commented, “I gained a valuable understanding regarding accounting in the film and television industry. I greatly appreciate that PACS offered their knowledge in this growing Atlanta field.”

Jenkins has also shared her production accounting expertise at a number of events around the city. Along with Lee Thomas, Craig Miller, and several other Atlanta experts, she spoke at SCAD’s aTVfest’s Georgia Entertainment and Tax Incentive Panel. She has addressed a senior seminar at Emory University’s Goizueta Business School, and has also lent her expertise at events held at Georgia State University and Atlanta Technical College.

Production accountant Lisa Annitti and PACS International CEO Cheryl Jenkins leading a production accounting workshop.

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A $50,000 Giveaway

THERE IS SOMETHING YOU SHOULD KNOW ABOUT THIS TEAM.

To give back to the Atlanta community, production and post house Encyclomedia decided to produce a $50,000 video for free for one nonprofit organization. They held a contest on their website to let Atlanta help determine the lucky winner – Dentistry for the Developmentally Disabled (The DDD Foundation). DDD is a nonprofit that provides accessible, comprehensive dental treatment to patients with developmental disabilities. DDD is launching a capital campaign to raise funds for a new building, as their current office is slated to be demolished.

Encyclomedia’s goal was to craft a video that would have the most impact on DDD’s building efforts. They filmed the DDD crew and patients to capture the real feel of the organization.

They interviewed the DDD staff, patients, patients’ caregivers, and community leaders, learning how DDD improves the lives of their patients. The resulting video depicts a day in the life of DDD, showcasing their daily challenges, triumphs, and most of all, their personality.

To launch the video, DDD held a premiere in the showroom at Mercedes Benz of Buckhead, where they also raffled off a Smart Car. Shannon Jefferson, DDD’s director of fundraising, commented, “The immediate reaction to the video was one of amazement! Many of our friends and supporters were moved and impacted by what they saw from a production standpoint as well as the material itself. Working with Encyclomedia has been wonderful.”

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Encyclomedia and the DDD crew at the DDD film premiere.

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Image courtesy of Big Art Graphics

As production in Georgia increases, demand for design services, wall art and printing grows.

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By Allen Rabinowitz Atlanta has long been infamous for its epic traffic problems. In recent years, however, there’s been some star power causing those irksome jams. Thanks to generous tax rebates for film and television productions shot in Georgia, we can expect to see even more delays as production companies and their trucks block off streets to capture the area’s more scenic places on camera.

Very few Georgians, however, can find fault with the additional revenue the increased production schedule is bringing into the state, especially those whose income is impacted by the fastgrowing industry. Says Lauren Holley president/graphic director of the design firm GraphikNation, who lives in the Old Fourth Ward area in midtown: “I can hardly go out my door or drive around town without seeing a film production in progress.”

With two decades of experience in ad agencies, interactive and web design, Holley decided in the past few years to branch out and explore the film business because of the large amount of film work in town. She’s worked in the art department for a few pictures, primarily assisting the art director and helping with props and continuity.

Says Holley, “I have always wanted to be involved with film production.

My dad has a background in film, and I was interested in movies. My skill range is varied so I can be involved in the

overall art direction of something.

The challenge for me is the long days and the waiting around. In my home-based graphics business I can be efficient with my time, but on a movie set the whole world stops and you have to wait.”

While the downtown connector is not quite the Hollywood Freeway in terms of stars per mile, it’s not uncommon to see limos containing such celebrities as Jennifer Aniston, Billy Crystal, Robert De Niro, Cameron Diaz, Clint Eastwood or Bette Midler stuck in traffic there with the common folk.

The various companies providing essential products and services to the film industry have also prospered. Says Rebekkah Watson of Midtown’s Watson Gallery, whose stable of regional artists have had their work displayed in such films as Last Vegas and Prisoners and the VH-1 series Single Ladies: “We’ve been here for eight years, and every year it seems to be busier and busier. It’s really made a difference in our business.

We deal with residential and interior design firms all the time, but the movie industry has been a big boom for us.”

Like Holley and Watson, other purveyors of printing, signage and graphic arts services also report that the film and television business has been instrumental in helping their businesses grow. Bob Bush, president of Digital Printing Solutions, says that capturing film work seemed like a natural fit for his company, which specializes in wide-format color graphics for a variety of uses.

“We saw that a lot more films were being shot in Georgia,” Bush explains, “and an opportunity to move into that market to grow our business. They have a need for large format color images and other signage on the set to the in-house equipment we can provide.

These are areas where we have many years of experience and expertise, and we wanted to take advantage of that in partnership with the film production industry.”

Adds Peter Leafman, co-owner of Digital Arts Studio, who has provided digital printing and custom framing services to such recent noteworthy projects as Flight (for which Denzel Washington received an Oscar nod) and the family comedy Parental Guidance: “There’s a lot of business to go around and we want to get as much as possible.”

Increasing his company’s share of the business, according to Leafman, depends on providing the needed products or services in a timely manner.

Film clients prefer quick turnaround and reliability to bargains.

“The movie and TV production people want a specific product at a specific time,” Leafman explains. “We have to follow-through with their needs – we could have the best product at the best price, but if we can’t get it done, that doesn’t mean anything. Service is really what they’re shopping for. If we get it done for them, they’ll keep coming back to us.”

“They never ask for a discount,” Leafman continues. “They always pay ozmagazine.com | 19

Stage and studio backdrops from Big Art Graphics.

full price and always pay promptly.

They know they’re often times asking the impossible in getting the work done quickly. They know if we get it done quickly, they’ll do everything in their power to get us paid quickly so that the next time they come in we’ll treat them well.”

Owen Thompson, owner of Digital Picture, a large-format digital printing company confirms that quality is often a secondary concern with a story about working on two recent productions: Trouble With The Curve starring Clint Eastwood, Amy Adams and Justin Timberlake; and the remake of the 1980s classic Footloose.

“They brought in a slew of photos that had been Photoshopped,” Thompson says. “We had everything from 8 x 10 inches to 4x 6 inches, which were used on book shelves in scenes inside the house. Most of the production companies that come to me are looking for quick – what I call ‘down-and dirty’ – photos. I’ve gotten stuff where I told [the client] ‘This picture is just not going to work.’ They said it didn’t make a difference because it would be in the background shot and be visible but not in focus. They say, ‘We’ll fix it post and it will be fine.’”

what I could do, but added ‘I can only make my machines go so fast.’ They picked it up and told us it was going to be in the next shot.”

“We try to make people happy, so if we can make it yesterday, we will,” jokes Greg Brenner, owner of The Neon Company. The former high school science teacher turned his interest from working with gas into a company that has been producing signage for 30 years. His first production was the Chuck Norris action flick, Invasion USA, in the company’s early days. He’s gone on to provide signage and neon art to such productions as My Cousin Vinny, Driving Miss Daisy and several films from the Tyler Perry studio.

“If you want us to work overnight, we will,” states Brenner. “I just tell them it will cost a little extra. If you dream it, we’ll build it and make you happy.

But the rule of thumb is if someone calls, it’s usually a one to three week period.

If you need something simple, it will take a couple of days or that day. We ask people how we can meet their needs.”

A vast majority of printing and graphics providers cite the tax rebate on film and television productions offered by the Georgia Film, Music and Digital Entertainment Office as the

“They brought in a slew of photos that had been Photoshopped,” Thompson says. “We had everything from 8 x 10 inches to 4x 6 inches, which were used on book shelves in scenes inside the house.

Thompson says that on Footloose, “They called one morning and asked if they could send us an image over the internet that had to be printed and ready for pickup in two hours. It was a poster for a “Quiet Riot” album they wanted in 24 x 36 inches. I told them

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catalyst for the growth of the industry.

“The tax rebate program is driving the desire to shoot films in Georgia, and in turn, that’s benefitting the suppliers who are helping out the movie industry,” states Bush. “We’re still in the starting [phase] of the Georgia film industry. It’s

been going on for a few years, but more and more movies are being cast and shot throughout the state. This is something that’s going to grow and grow into the future.”

This growth engine is formally called The Georgia Entertainment Industry Investment Act. It grants an income tax credit of 30 percent to qualified productions, offering an across the board flat tax credit of 20 percent, based on a minimum investment of $500,000 per year on qualified productions which include feature films, television movies or series, commercials, music videos, interactive entertainment and ani-mated projects. These projects are also eligible to receive an additional 10 percent tax credit for including an imbedded Georgia Entertainment Promotion logo at the end of the credits before the below-the-line crew credits roll in the finished product and include a link to the Georgia Film Office.

As much as the tax rebate has helped his bottom line, Thompson declares; “The growth in business from the rebate hasn’t been that large that I need to go out and buy another machine or take on more employees.”

Michael Washington, owner of Up, Up and Away Printing, who re-opened his multi-faceted printing company in metro Atlanta after having been severely damaged in New Orleans by Hurricane Katrina in 2005, says the

impact of new business has given him an opportunity to expand. Offering nine different printing methods to clients such as Tyler Perry Studios and the VH-1 series Single Ladies, Washington provides one-stop shopping from office forms to banners to wrap party needs.

“It’s great for small, family-owned businesses like ours that just need to have the opportunity,” says Washington.

“We’ve invested $50,000 this year in equipment to better accommodate the needs of the film industry and keep ahead of our competitors.”

Michael Washington, Up, Up, and Away Printing While other states offer tax advantages similar to Georgia, many point out other advantages to shooting in the Peach State. Hartsfield-Jackson Atlanta International Airport puts 80 percent of the country within a two-hour flight of the city. In addition to top-shelf crew, equipment and studio space, Georgia offers a variety of looks. Says Shawn Vinson, proprietor of Decatur’s Vinson Art, “We’ve got mountains, we’ve got a coastline, we have countryside and we’ve got metropolitan. Outside of the tax incentives, Georgia really is picture perfect for film and television production.”

The quality of these support services, according to suppliers, has allowed them to gain and retain business thanks to word of mouth. Although such traditional means of marketing including advertising, networking and such organizations like Women in Film are still viable, a recommendation from one

satisfied customer to someone looking for similar service is often enough.

“Word of mouth is the primary way of getting new business,” states Carole Todd of Charlotte, NC’s Big Art Graphics, a grand format printer. “Time and time again, I hear ‘we got your name from so and so,’ or it’s someone I worked with before who is on a different show now.”

more recognition through networking for the marketing, branding services and custom product development her company has to offer to film production companies.

“I want to bring in movie clients because here in Atlanta, networking is a great way to showcase your design, branding and marketing skills,” she

We’ve got mountains, we’ve got coastline, we have countryside and we’ve got metropolitan.

Outside of tax incentives, Georgia really is picture perfect for film and television production.

With half of her company’s business derived from film and TV productions, Todd says that word of mouth is essential with the constant turnover in personnel. “People in film jobs are short term,” she says. “They can be long term depending on whether the show is picked up for renewal and has a long run.”

Tina Davis, new business development manager for the Atlanta branch of the Michigan-based large-format printer Meteor, says such relationship building led to her company to snag the printing work for the USA Network cable series Necessary Roughness. “We are providing set decoration, signage and wall art to the show,” says Davis, “thanks to one of my clients who was previously with Turner Broadcasting, one of my large customers. When she left Turner, she ended up working on the series. She called me because of the relationship we had developed.”

Robert Bretschneider, owner of Wizard Sign Studios, a custom 3-D sandblast sign shop, says most of the business that comes in from television work – like signage for the CBS broadcast of the AT&T Classic Golf Tournament – is the result of word of mouth. “I used to have Yellow Pages ads,” he explains, “but I found out over the years that word of mouth could keep me busy without paying for advertising. If you do what you say you’re going to do and you do a quality job, business keeps coming in.”

For someone looking to enter the business, getting this word of mouth started is a job in itself. Designer Quiana Corde of Barazzo Branding seeks to get

explains. “The industry is here today.

Since we’re new to the industry, getting the eye of movie people is the big question. Traditionally, you’d send out your portfolio, your resume and such.

You need to develop a new approach that gets you in front of those decisionmakers after you find out who they are.”

Tina Davis, Meteor Most clients go to a sign shop, printer or graphic designer with an idea of their art needs, and look through the supplier’s catalog or stock inventory to see if it’s available. There are times, though, when they call upon the supplier’s expertise.

“They usually come in with something in mind,” Davis explains. “But I have had situations where they asked for my feedback and input and what I might recommend in terms of material or that nature.”

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Although clients can sometimes have the option of renting the products they use, most custom work is sold to them.

10 percent they rent out, the artist who created the piece gets the rental fee.

Leafman says it’s often easier for low-

If they buy it outright and the picture is damaged, they don’t have to worry about it. If we rent it to them, and something happens to it, they end up buying it anyway.

“I sell everything,” says Bretschneider.

“I don’t have the need for it myself.

After they use it, they store it or throw it away.”

Although several set designers have purchased pieces used on set for themselves, Leafman says it’s not uncommon for people who worked on the film to have an opportunity to buy the artwork. His company sells 90 percent of the work created for the movie. Of the

er-end budget projects to purchase the art. “They know what they can afford,” he explains. They avoid going through all the rental procedures and paperwork. They don’t have to be responsible for getting the artwork back to us in one piece. If they buy it outright and the picture is damaged, they don’t have to worry about it. If we rent it to them, and something happens to it, they end up buying it anyway.”

“We do custom work, so it’s a straight buy,” says Todd. “In the past year, we’ve been collaborating with C&M Backdrops in Atlanta, we have a good fit in that he has some rental inventory, if we get a request for something like that, I’ll pass it on to him.”

Although Brenner says he can offer clients existing neon signs on a rental basis, more often than not they are looking for something specific. “They ask if we have signs for a pool hall for instance,” he says. “If they need a sign we don’t have, we’ll make it for them and rent it from our stock of rentable signs.”

“If the work is too large and can’t be stored, or if it’s specific to the movie, like Jane’s Boutique, we can’t use as a rental because the chances of someone coming in and needing a Jane’s Boutique sign are small. We rent signs that are fairly generic, and build signs for specific needs and sell them.”

Wall Art The Georgia film and production industry’s need for paintings and other

“wall art” are keeping Georgia artists from becoming a scene from La Boheme. moved into a house in Decatur and a location scout knocked The designation “starving artist” took a frightening turn on our door one day,” he explains. “They were using the empty into reality for too many painters when the Great Recession church next door for their offices and thought our house dawned in 2008. Luckily for many artists in the Southeast, would be perfect for the main character’s home. My house is the Georgia film and production industry’s need for paintings and other “wall art” kept their lives from becoming full of artwork and we let them use some of it. We had no idea a scene from La Boheme. of what was to come.”

“When the economy was Since then, his artists’ “They were using the empty church sinking and no one was work has been seen on telebuying art, the film indusnext door for their offices and thought vision series like Lifetime’s try came in and helped a lot Drop Dead Diva and CW’s of artists get through tough our house would be perfect for the main Vampire Diaries. The bulk of the work is on a rental basis. times,” says Shawn Vinson character’s home. My house is full Drop Dead Diva, for examof Decatur’s Vinson Gallery.

“The business is perfect for of artwork and we let them use some of it. ple, had a three year rental. artists. They’re getting paid “With television,” he exfor their work, they get to We had no idea of what was to come.” plains, “they go season to keep their work and they’re season, waiting to see if they will be dropped. In hindsight, they just should have getting paid to have their work exposed on television or the bought the pictures. I asked the set decorator why they didn’t, big screen. Artists are the group who benefit more from the because it sometimes works out better price wise. She told tax incentive than anyone else in Georgia.” me it’s because they don’t want to have to store anything. If Vinson, who represents a number of Southeastern artists they did that with all their props, they’d have storage issues, including such acclaimed names as Ruth Franklin and Laura and then what do they do when the series is done?”

Spong, entered the movie business by chance. “We had just 22 | ozmagazine.com

Digital Arts Studio owners Peter Leafman, Robin Zelizer and Barry Glustoff.

When we found out about being in the Eastwood movie, I thought it was cool. Then I saw the commercial, I looked at the art and said, ‘That’s mine, that’s mine, I remember printing that’.

Since shipping an item can often be expensive, Brenner limits his client base to those working in Georgia. “We drove up to New York once for a sizable project,” he says, “but in general, if someone calls and they want a sign in another city, I encourage them to find a local guy because of the cost of shipping. If something gets damaged in shipping, you’ve got a big problem.”

For more than a century, the allure of the silver screen has captivated generations of fans. Having a small role in the look of a production can give many a thrill of being involved in the magic of the movies.

Nabil Mousa, a painter who represents his own contemporary abstract paintings through Mousa Fine Art, was also seen on Drop Dead Diva. He would like to get future assignments.

“My work is slowly becoming recognized by people,” he says.

“Some people who worked on Drop Dead Diva saw my paintings somewhere, contacted me and rented eight pieces of my artwork and put them in one of their episodes. The one chance I got to work in the industry was awesome. I just haven’t made that strong connection yet.”

Martin O’Rourke of the O’Rourke Art Gallery also considered the production industry as a market for the line of original oil paintings he sells wholesale to highend designers.

“I’m having difficulty breaking into business,” he explains. “Original art is very difficult to place because companies are very worried of getting sued. They want to have signed contracts.

I’m not a contract business.

They want releases stating that I’m the artist giving permission to show the art. Many artists are in Korea and I can’t get them to sign it. I asked one company to send over a release form, so I could look it over before I signed it. They wouldn’t

Thompson has that experience of elation when he saw a promo for Trouble With The Curve on television.

“Most times,” he explains, “I have no idea what the movie is until somebody comes to pick up pictures. When we found out about being in the Eastwood movie, I thought it was cool. Then I saw the commercial, I looked at the art and said ‘That’s mine, that’s mine, I remember printing that.’ It was only visible for a second, but I could tell it was mine.”

even do that. With furniture or prints, it’s really not an issue.

With original art, it really is. It seemed like a great idea to rent out art, but I don’t know if the return on the investment would be worth it.”

Rebekah Watson’s 32 regional artists have fared much better than some. “Since film production has grown so much in the past few years, we see set decorators weekly,” she says. “We see a lot of the same faces, but we see new faces as well. The new faces we meet seem to say, ‘so-and-so sent us to see you.’ All of our artists are cleared, so we try to make it as easy as possible.”

When she and her husband, Carey, took over the well-known Abstein Gallery in midtown eight years ago, they retained the artists affiliated with the gallery.

They already knew people in the film production industry, which eased their path. The majority of their business is Art courtesy of Vinton Gallery, Decatur, Georgia rental, with a set weekly fee and a small packaging fee. “We try to make it easy because they often come in and need it right then, or when they get approval,” Watson explains. “It’s a lot of fun for our artists to see their artwork has been used on the set.” –A.R. ozmagazine.com | 23

Use this paragraph style for all feature articles, as well as columns, Behind the Camera w/ Drew Props and Voices. Text boxes will need to be linked from one page to the next. No additional space is used after each paragraph in FeatureArticle Text.

The Rise of the Simultaneous Viewer That phrase is taken from a quote made by NBCUniversal’s top researcher, Alan Wurtzel, after he analyzed research of viewer consumption from the London Olympic Games last summer.

Prior to seeing this research, NBC was concerned about the effects of online streaming and the cannibalization of TV viewership by mobile devices.

But as reported in MediaPost last fall, 24 | ozmagazine.com

comScore research showed adults who watched the Olympics only on TV spent an average of 4 hours and 19 minutes.

Those consuming Olympic content on two devices (TV and computer or tablet) did so for 5 hours and 18 minutes per day on average.

Those users consuming content on three devices (TV, computer, mobile device) jumped to 6 hours and 50 minutes.

The heaviest and most screen addicted

users deploying four-devices (TV, computer, mobile and tablet) to get their fixes consumed on average 8 hours and 29 minutes of content.

And that, ladies and gentlemen, remains objective #1 for anyone working in media today: creating more committed viewers that are willing, interested and able to digest, interact with, and consume commercial content (which is largely advertiser-supported content)

By Paul van Winkle across multiple platforms – with the intent that such interactions more directly lead to increases in awareness, trials, purchases and loyalty of the media products and those advertisers’ products and services.

ADD Wins; We’re All Multi-Channel Now 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, according to a new Gartner study (Gartner Says Second Screen Users Will Drive Social TV Activities).

Along with the rise of smartphones and tablets as companion viewing devices, among others, Gartner highlighted the emergence of three interconnecting trends that form a “holistic”

social TV experience. Here’s how the whole new tech experience is broken down.

First, the use of social networks like Facebook and Twitter allow users to create and check status updates as they engage in real-time conversations related to TV programming. Secondly, apps deliver bonus programming, tighter community engagements and larger social interactions through second ozmagazine.com | 25

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, according to a new Gartner study (Gartner Says Second Screen Users Will Drive Social TV Activities). screen devices. And third, incentive programs tied to the second screens allow for more direct engagement with large screen content to generate loyalty through rewards, check-ins and other gamification methods. Together, the three trends work to dimensionalize viewing and consuming experiences, tying us even more to our devices.

Many applications in the second screen are designed to give another form of interactivity to the user, and it’s another way to sell advertising content.

If you want to watch the live transmission of the Master’s Golf Tournament, there’s an application for your iPhone.

TV programs routinely broadcast live tweets and ask for your comments.

There’s also a more regular synchronization of audiovisual content with web advertising, and countless applications that extend the content information of the programming you’re watching.

Some have content devoted exclusively to the second screen, or synchronized 26 | ozmagazine.com

to it. And there’s video game playing console data, such as a map or strategy data, that’s synchronized with the content being viewed on your portable device. The possibilities are just getting started.

This recent explosion of second screen app developments suggests that broadcasters, advertisers and vendors would be wise to make it a priority to capture consumer attention by employing additional screens. Michael Gartenberg, research director at Gartner, said, “The time to take advantage of this opportunity is right now as social TV services have not yet been dominated by a single solution and the market is far from saturated.”

In fact, chatting on social media networks while watching television has become a fully normalized activity. We love sharing our real-time thoughts and digs about shows we’re watching.

And as social media becomes more of a platform for like-minded audiences

to gather, it’s also becoming a vehicle for driving e-commerce. Brands have awakened to the new channel and are trying even harder to turn loyal audiences into loyal customers.

The Numbers Speak Nearly 88 percent of U.S. homes own at least one device that can be used as a second screen; 87 percent of consumers say they use at least one device while watching television, according to the consumer market research firm NPD. With global Twitter ad sales reaching $288 million in fiscal 2012, up from about $140 million in 2011, it’s a market ripe for companies willing to innovate and experiment. Last year, Chirpify was one of the first companies to turn tweets into transactions, allowing users to buy, sell and donate money by using Twitter.

A new and aggressive app launched recently that creates a second screen experience linking purchasable content to the television shows viewers are watching. It’s called GET THIS. The free app shows viewers purchasable items on their iPad that are synched with what people are watching. The ABC hit Scandal with Kerry Washington, and The Carrie Diaries both have connected with the app with great results.

GET THIS works with each show’s production staff (producers and stylists),

who advise them in advance which items will be featured on each episode. When viewers see those items on-screen, they also pop up on their second screens in the app. So, if you see a cute dress on Scandal, it’ll pop on your screen so you can buy it. An audio-synch button matches to the show and highlights items as they appear on screen. GET THIS makes money through an affiliate program with the 85+ brands and vendors they work with.

Apps that help us buy things and find things immediately are of particular interest to consumers and advertisers alike, but the marketplace is just getting started and there’s a lot of room to grow. Digital tools that aid us in our epic journeys through complex environments, supporting our quests and individual choices have huge potential.

As developers and media professionals begin to conceive and produce new ideas, there’s one story that remains despite the clutter, “There was once a problem and here’s how it got resolved.” Our second screens and devices are now our chroniclers, utensils and image sharers that propel us all on.

Making connections is what the second screen is all about - between the countless broadcasted human stories we’re absorbed in, and the mobile tools and devices in everyone’s hands. Because everyone wants a better human experience united with our technologies.

Sports = Life Sports are a worldwide obsession.

Some like to watch. Some like to play.

Many love to do both. If you’re more of a doer than a watcher, there are apps to track your runs, walks, bike rides, snowboard runs and other activities.

A new offering from Nike applies highpowered analytics to your competitions and delivers a host of personalized workouts.

If you’re a sports nut, a hardcore fan, apps will provide live-streamed pro baseball and football games. Others will keep you up-to-date with NBA highlights, scores and stats. We have apps that curate editorial streams from some of sports media’s biggest names, provide a social network for soccer fans, or an app guaranteed to settle any golf course argument on-air or in real life.

Extreme sports fans and Shazam app users watching the Red Bull Supernatural snowboarding competition were in for a second screen viewing treat. Fans watching the event on NBC were occasionally shown a Shazam logo on their TV screens as select riders prepared to start their runs. When that happened, fans on the couch could open the Shazam app on their smartphones and begin a dual-immersion experience. The television broadcast showed traditional angles of the riders, while the smartphone screen showed what the riders were seeing as they barreled downhill, hitting jumps and tricks.

JockSpin fetches sports headlines from thousands of sources, and then delivers them via sleek mobile apps. Users select from over 300 teams, leagues, and sports to follow. The apps create a page of headlines for each, conveniently navigable by sliding pages from side to side. If you’re watching, the app helps you watch better by knowing more.

A Palo Alto, California-based startup caters to the trend with a new tablet app that aggregates real-time tweets from 1,000 media sources and 2,000 players. So, if the game is on or you just want to see the chatter surrounding your favorite teams, the free Beyond the Box app does the legwork for you with refined Twitter updates from interesting people, players and sources.

The app includes content covering NFL, NBA, MLB and NHL teams. You can pick your favorite teams to get timelines

of updates, analysis and links from the app’s various aggregated sources. For example, Denver Broncos fans can instantly read tweets by everyone from linebacker Von Miller to SB Nation’s Mile High Report to the team’s official Twitter feed. It brings everything together into one timeline – because it’s hard to navigate thirty different sports sites and apps someone might want to visit.

That’s Entertainment Debuting today in the U.S., the Zeebox app is a social networking and social television platform available for all the major mobile devices and the web. Zeebox provides contextual information second-by-second as people watch TV. This information includes which friends are watching the same shows right now and what’s seen and heard within the broadcast. The app has done well in large part due to its partnerships with broadcasters, who can both push their own content to the app and get real-time audience metrics from it.

As of the U.S. launch in 2012, Comcast’s NBCUniversal, Comcast Cable, HBO and Viacom are all NBC Universal and HBO were on board with minority equity stakes.

For viewers, Zeebox starts as a channel guide. But clicking on a listing brings up that show’s page, which offers a way to connect with other fans watching live, as well as network-provided content for the show. NBCUniversal, for instance, entered into a multi-year partnership with Zeebox, which includes exclusive content and on-air promotion of the app. Besides a new avenue to engage viewers online, NBCUniversal gets access to Zeebox’s metric data,

If you’re a sports nut, a hardcore fan, apps will provide live-streamed pro baseball and football games. Others will keep you up-to-date with NBA highlights, scores and stats. We have apps that curate editorial streams from some of sports media’s biggest names, provide a social network for soccer fans, or an app guaranteed to settle any golf course argument on-air or in real life.

ozmagazine.com | 27

which has successfully predicted ratings victories in the U.K. (so less agonizing about “overnight” ratings from Nielsen).

It can also update show content within the app very quickly.

In a way similar to other second screen apps like IntoNow work, Zeebox also analyzes the broadcast in realtime. That means when a particular scene in a show comes up, the app can respond with, say, a prompt to a contest (“Should Jeff have kissed Britta? Vote for a chance to win an iTunes gift card!”).

The U.S. launch of the app also brings with it support for iOS 6 and the iPhone 5, filling every pixel on the larger screen.

It’s also one of the first apps to work with iOS’s new Facebook integration, letting you sign in with the Facebook or Twitter IDs you stored in your account settings.

Second Screen Apps Take Off Like Crack?

With all this hyper-activity, you’d think second screen apps had invaded more homes than genetically modified corn. But there are a few issues.

Most of what’s out there fails to cater to existing second screen behaviors that created the space to begin with.

The second screen was born out of a boredom with television . . . as defined by consumers. People looked to their smartphone or tablet when the TV content was dull or tedious, or there was an extended break between programming. The space has focused so much on a synched experience between the TV and mobile device that it may have lost sight of core viewing and audience habits, especially concerning times of use.

Many of today’s second screen apps are coming from programmers and advertisers who are intent on pushing their show or product in the space, so providing useful tools and functionality that second screen habits dictate becomes lost. Again, one of the main consumer uses of second screen has always been a byproduct of boredom.

If the large screen is boring or there’s a dull or dumb commercial on, the viewer will check Gmail, Twitter or Facebook. The concept of second screen evolved out of consumer boredom, but its been hijacked by content creators, and the viewing audience is fickle. Listening to what audiences really want or are already choosing as their own second screen experience is a necessary path towards true success.

Secondly, too many are trying to make the second screen the first screen.

TV viewing is a lean-back experience; people want to relax, turn their minds off and absorb easy entertainment.

Many of the available second screen apps today have complex interfaces, with a learning curve, requiring constant focus. This brings a conflicting user experience to a need-to-relax environment. The best second screen apps will eventually encourage simpler interactions. And perhaps these interactive aspects – like choosing your own ending, participating in game shows, and entering contests – can be pushed at key times when interaction doesn’t overly distract from the first screen experience, but rather adds to it.

Thirdly, fragmentation is growing and will continue to get worse. Various studies show

that people download dozens of apps on their mobile devices but use only a handful. This represents where content providers and app producers are ignoring established consumer habits and research. If networks and programmers could help viewers consolidate by putting out one app for all of their programming and advertisers, not one for each show, it would likely revolutionize the space. A consistent, flowing experience keeps users engaged, while requiring them to fire up a new app each time they change the channel or between shows is a horrible experience. If every show has its own second screen app, no consumer is going to learn how to use 20 different apps for a good second screen experience. Apps like Zeebox and IntoNow are trying to remedy this issue by allowing you to view any live, linear content on the TV from within one app, one user interface, one experience.

And lastly, as more tablets and second mobile screens appear regularly in homes and in businesses, the experience will likely improve and get better. Thankfully, this issue won’t take long to resolve; tablet growth is exploding, with iPad sales at three times the pace of the iPhone. While 30 percent of households today have a tablet, new offerings in iPad mini, Nexus 7 and Kindle Fire HD will push tablet ownership from early adoption to the early majority over the next couple of years. Inevitably, the more platforms and screens there are to conduct second screen activities, the more attention and focus the space will receive.

If networks and programmers could help viewers consolidate by putting out one app for all of their programming and advertisers, not one for each show, it would likely revolutionize the space. A consistent, flowing experience keeps users engaged, while requiring them to fire up a new app each time they change the channel or between shows is a horrible experience.

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how i got into the business

IMOTO HARNEY

Producer/Cinematographer, Captain Crazy Productions, INC www.captaincrazytv.com HOW DID YOU GET INTO THE BUSINESS? Some of my very first memories as a child are playing with my parent’s HI-8 video camera.

As I grew older those memories became daily hobbies. As soon as I stepped inside my first Mass Media Broadcasting class as a freshman in high school, I had an epiphany that my favorite pastime could easily be turned into a full time career. I continued to pursue my passion by enrolling in Georgia State University’s undergraduate film program. I officially started my business, CCP, in 2008 and graduated with a film/video degree in 2010. To this day, Captain Crazy Productions is a full-service production company with hubs in Atlanta and Los Angeles.

WHAT DO YOU LOVE ABOUT YOUR JOB? The adventure of creation and collaboration!

As a producer, filmmaker, businessman and artist, there are so many hurdles we must constantly jump through to create our projects. These challenges get my blood pumping, and being blessed with an amazing crew of talented filmmaker MacGyvers, we are able to face any challenge straight on with giant grins on our faces. We all love what we do, and that’s a beautiful thing.

WHAT DO YOU LOVE most about making movies?

Movies are the most powerful form of communication in the world. They are universal mirrors of our existence. If we are conscious about what we are creating, we have the ability to affect the entire world, one mind at a time. This is just something I constantly think about when choosing and creating projects.

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GRAHAME MENAGE Mural Artist www.GrahameMenage.com

HOW DID YOU GET INTO THE BUSINESS? I earned my chops in theatre, with formal training coming from such prestigious institutions as the Bristol Old Vic Theatre School. From there I went on to create scenery for the Welsh National Opera and the National Theatre in London. I then worked as a scenic artist for over three dozen film productions, including Time Bandits, Gladiator, and X-Men: First Class, and recently 42. Now, I bring my thirty-plus years experience to bear on the private sector by painting in homes, restaurants, and hotels around the world.

WHAT DO YOU LOVE ABOUT YOUR JOB? As beautiful and effective and enjoyable creating the backdrops and matte paintings may be, at the end of the day they are simply props within a larger work. When the production ends the canvases are rolled up, and the flats are primed for the next use. I think that painting in living spaces has a reassuring permanence to it. Knowing that people are going to appreciate what I’ve done and preserve it, and derive enjoyment from it for years to come – that’s enormously satisfying as an artist.

LAST MONTH’S PROJECTS: In March, I created an Italian garden scene for clients in Atlanta. They commissioned me to design and paint a mural to remind them of Italy (with judicial additions of fauna found in Georgia gardens!). I have also just returned from London, England, where I was touching up some French style trompe l’oeil paneling I painted over 20 years ago for Oscar nominated set decorator, Ann Mollo.

MOST RECENT FILMS AND BROADCAST WORK (FEATURING MY ARTWORK AND MURAL PAINTINGS): 42; The Reluctant Fundamentalist; 21 Jump Street; Taylor Swift CMA Paris set, Joyful Noise; and Real Pirates – a one-of-a-kind exhibition featuring more than 200 authentic items recovered from the Whydah, real treasure last touched by real Caribbean pirates of the 18th century.

ASHLEY ANDERSON

Illustrator http:// www.flickr.com/photos/ pressstarttobegin HOW DID YOU GET INTO THE BUSINESS? I’ve been keeping a sketchpad since I was five, so drawing has been a part of my life for as long as I can remember. After I graduated from Georgia Southern with a BFA in painting, I worked several non-art jobs while continuing to make new work and show wherever I could.

It wasn’t until I moved to Atlanta that I began making contacts with people who either provided me with a greater professional opportunity or challenged me through the quality of both their art and professional practices.

WHAT WAS YOUR FIRST BREAK IN THE INDUSTRY? My first really big illustration job was a twopage spread and four spot illustrations for an interview with Tim and Eric of Adult Swim fame.

The work appeared in an entertainment magazine out of Texas called “Piq.” It was completely hand drawn straight into the computer, and I knew next to nothing about digital painting! I got that job through a friend, but isn’t that how it always works?

WHAT JOB IF ANY, HEIGHTED YOUR CREATIVITY? For a few years I created my own original designs for a huge shirt company in Los Angeles and did a lot of teeth-cutting in regards to planning out the drawing from the start, working with a digital end product in mind, and really pushing the limits of my own creativity. Unfortunately, the company went bankrupt and I had to lawyer up, but I also learned from that because I found out about Georgia Lawyers for the Arts.

Most recently, I’ve published some new shirt designs through Atlanta’s Fallen Arrows print studio. They’re a great bunch of folks who I’ve worked with on previous, one-off projects, but this time around I’m offering designs directly through their online presence, so that should be pretty fun!

STEPHANIE BENNETT

LOREE MARSHALL

MUKARI BUTLER

HOW DID YOU GET INTO THE BUSINESS? I started working behind the makeup counter during my last year of college just as a part-time job back in Washington, DC. When I moved to Atlanta, I had a hard time finding a job in my field, so I started working for another makeup counter. I finally found a job in my field, but when I saw the cubicles, I knew this was not my destiny. I realized I loved what I did as a makeup artist and two weeks later, I flew to L.A. to attend makeup school and to start my new career as a makeup artist. When I got back, I landed a freelance makeup artist gig with a cosmetic company and got promoted after a year to their local color director. I worked various projects on the side and found a love for film and television. I wanted to advance myself and take it to the next level, so I attended cosmetology school. This landed me at my current job at CNN.

HOW DID YOU GET INTO THE BUSINESS? I’m a freelance set designer, but this wasn’t my first profession. I used to be an architect at a firm here in Atlanta. When I lost my job in 2008 as a result of the recession, I took a job designing kitchens at a local home furnishing store.

As fate would have it, becoming a kitchen designer would change the course of my life.

Designing a kitchen can be an extensive project. During that time, you often find yourself getting to know clients. In fact, that’s how I initially met some of my contacts in the film industry. The first three I met each had different projects and were from different sides of the business- a buyer for movies, a set decorator for TV and print, and a production designer/actor for TV and commercials. Each of these lovely people helped me break into the business. I’ve worked as a PA, buyer, on set dresser, set decorator and a personal assistant and I’ve loved every minute of it – even the 12-14 hour days!

HOW DID YOU GET INTO THE BUSINESS? My first dive into the business started when I met Tracey Baker-Simmons of SimmonsShelley Entertainment, formerly B2 (B Squared) Entertainment Studios, at a friend’s home. They were filming the BET series Keith Sweat’s Platinum House. I was introduced to her on set and ironically she was looking for an intern. We exchanged contacts and started the internship immediately. Later, I became her assistant and the rest is history.

Makeup Artist/ Hair Stylist www.museatl.com

DO YOU HAVE WORDS YOU LIVE BY? “You create your own destiny.” “Be humble at your craft, because you’ll never know everything.”

WHAT IS THE BEST ADVICE TO GIVE SOMEONE WHO WANTS TO GET INTO THE INDUSTRY? Do whatever projects come along, whether it’s free or paid, for at least 1 to 2 years. But only do projects you believe in. This is the best way to get experience and to get your name out there.

Some people get lucky and make it immediately from one project or client. However, doing various projects gives you more experience.

WHAT WOULD BE YOUR DREAM JOB? My dream would be to open a retail store catering to professional makeup artists and hairstylists here in Atlanta.

Set Designer loree.marshall@gmail.com

WHAT DO YOU LOVE MOST ABOUT YOUR JOB? I find it so gratifying now to be able to start a project from an empty shell and then watch the space evolve, layer by layer, until it’s perfect. The satisfaction from seeing the finished product I’ve created is something I never received as an architect. However, what I love the most about being a set designer is finding that one unique piece that makes a space pop or brings a story to life, or in making subtle changes on set – like, moving a piece of furniture just a hair to the left – that makes the entire shot explode on camera. I’ve always heard that when you find what you’re meant to do in life, then it won’t feel like a job. Whoever said that was right.

Production Assistant www.mukari-butler.com

WHAT DO YOU LOVE ABOUT YOUR JOB? What I love most about my job is that it does not require me to run in circles. I am not a fan of doing the same things over and over again.

I get bored easily and being a production assistant and/or personal assistant and having that flexibility & freedom fuels my fire.

IF YOU WEREN’T DOING THIS, WHAT WOULD BE YOUR DREAM JOB? If I were not working in the film & television industry, my dream job would be a professional dancer. I love to dance. It’s been a part of me every since I could remember. Due to some physical injuries (and fear), I’ve put that on hold.

However, I will continue to associate myself with the dance world and produce dance documentaries, TV shows, films and all things dance.

BEST ADVICE TO YOUNG PEOPLE IN YOUR PROFESSION? My best advice to my young people is to NETWORK, NETWORK, NETWORK! Sit your pride outside the door and open your mouth to say what it is that you need. Fear is a disease we are all born with and only you have the cure that works for you.

RECENT PROJECTS: Currently, full-time makeup artist and hairstylist at CNN, Inevitable (short film, director Anthony McHie), Ace the Zombie (independent feature, director Giles Shepherd).

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oz scene | georgia’s film and television industry reunion This past May, Oz Publishing hosted a celebration of 40 years of Georgia’s film and television industry at Le Fais do-do. The evening soared with the launch of the first industry history book, “The Industry Yearbook,” and a reunion with many of the people who made it happen. Special thank you to Barbara English, producer and founder of the Next Cool Event for creating a warm atmosphere for industry professionals to gather and reminiscence.

Oz Publishing sculpture created by Blue Sky Exhibits

The Oz Publishing Lounge, designed by Loree Marshall. Special thank you to AFR Furniture, Horizon Home, The Savage Garden, The People Store for all the cool movie posters, Promo-Photos for making Oz guests picture perfect. Blue Sky Exhibits for the Oz sculpture...it Rocks!!

Industry professionals enjoying an evening of catching up with old friends at the industry reunion and history book launch.

The Thomas Crown Affair by Sandra Brooks Collection.

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Welcome tent by Pat Shankle Interiors, Georgia Home Staging.

Pat Shankle Interiors, furniture by Bjork Studio.

Double line photo caption, double line photo caption, double line photo caption.

Chocolatiers from Chocolate South. Owner Amy Stankus and Barbara Ratner.

Automotive’s classic car bar.

Pulp Fiction by Black Lab Automotive & Clair Wire Interior Design.

A Night at the Museum by Ronnie Kaplin, The Touchstone Collection.

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oz scene | the next cool event

Rather than a standard tradeshow, THE NEXT COOL EVENT is designed to inspire industry professionals to see the possibilities of the creative process in action. Each participant is creatively challenged and positioned to show off their talents and wares. This requires prop houses, artisans, design and furnishing show rooms, construction resources, and suppliers to bring their booths to life as the set of a fantastic movie or television series.

Barbara English, founder and producer of The Next Cool Event.

Above: Floral arrangement by Peachtree Petals.

Right: The Great Gatsby by John Ishmael of Nandina Home and Interior Design.

Marie Jefferson Andujar, owner of the event space, Le Fais Do-Do.

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German Forero, Stephen Andrews & Dustin Lofthouse taken in front of the step and repeat by Parallax Digital.

The Great & Powerful by D’Oro Workroom - Laurie Locklier, Sam Flax, Rusty Walton & Blue Sky Exhibits.

Downton Abbey by Douglasville CVB.

True Blood by Joe Gallo and Nina Nash of Mathews Furniture Gallery.

Neon billiard table by Unique Event Elements.

Guests mingle at The Next Cool Event.

Steven Andrews, art work by Doug Sturgess Photography.

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My Heroes Have a Thousand Faces

By William Hollis

There is a saying, a very old saying: “When the student is ready, the master will appear.”

It’s hard to trace my interest in film back to a single source, but for the purpose of this article let’s just say it was Star Wars. George Lucas was heavily influenced by the work of Joseph Campbell who wrote, “The Hero with a Thousand Faces.” It’s a book which postulates that the mythology of all cultures essentially contain the same hero simply described differently. Hence, the hero with a thousand faces. Though the particulars may change, the elements that make up the hero remain the same.

In the hero-cycle, as Campbell terms it, the hero is always aided or guided along the way by a god, demigod or human. The point is that the hero has a mentor. When Luke needed a 36 | ozmagazine.com

mentor, Obi wan appeared. In the days of the Old Republic, which precede the events of Star Wars: A New Hope, the Jedi had a system of master and apprentice. A Jedi knight would train a Padawan learner. When the Padawan learned all that the Jedi knight had to teach, the honor and responsibility of Jedi knighthood was conferred to the pupil, and the knight became a master.

Lucas is pointing out the symbolic nature this relationship. The apprentice undertakes many mindless tasks so the mentor no longer has to deal with them. Articulating his wisdom to the pupil also aids the mentor, allowing him to reflect on and reinforce his knowledge. It takes humility and wisdom

to acknowledge you need help, or reflection, even after you have spent years earning your stripes.

I can’t speak for anyone else, but up until now, I’ve certainly been the hero of my own life story. Well, sometimes I’m the villain, but that’s a whole different story altogether.

I’m as green as it gets to the film industry, but my mentor appeared and I thank my lucky stars for that. As a set PA (production assistant) for the AD (assistant director) department I have the honor of working for a true badass.

I brought a lot of anxiety, neurosis and a general lack of balance to the set, but thanks to my mentor, I’m steadily improving. I still run around like a chicken with my head cut off at times, but that will pass.

I’ve always sought the wisdom of my elders, but to actually be taken under someone’s wing is a hell of a feeling.

The pupil’s greatest fear is disappointing his mentor, and I look forward to continuing learning from his experience. My aspirations lie beyond the AD department, and I will likely end up with different mentors along my journey, but I won’t forget the first.

Things don’t work out the way you thought they would when you were younger. That’s just life, and it can get you down, but if you remain inspired by a hero you can endure and triumph.

My AD wasn’t even talking to me when I heard him using the metaphor “forging iron,” but I’ve taken it to heart. The katana, a samurai’s weapon of choice, is a piece of iron that has been folded and hammered over a million times. When that process is complete, you have a virtually unbreakable steel sword that can cut through solid rock. It has taken my mentor many years to achieve the level of collected calm he now brings to the set.

I guess my point is that, while we all see ourselves as the hero in our own life story, the real hero is the mentor.

HAPPY

20TH

BIRTHDAY!

Featuring in our next issue: Oz Magazine celebrates its 20th Anniversary with a fascinating 20-year retrospective. We’ll reflect on the leaders, thinkers and makers who helped grow and shape Atlanta’s creative community.

You can be a part of our Anniversary issue!

Take advantage of the retro ad rates the same as 20 years ago!

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online fun • games • contests • prizes

ozmagazine.com | 37

December 1988. It was freezing cold in the city. My Dad and I huddled in long coats on the sidewalk, watching a procession of poorly fashioned parade floats lumbering down Gotham Boulevard.

Some dangerous looking guys on the floats began tossing money into the crowd. Of course we grabbed some – who wouldn’t? In less than a minute I’d managed to net $400 and I think my dad had more than that, but before I was able to compare numbers with him an old lady in front of us tumbled to the ground clutching her throat, a giant rictus grin stretching madly across her face.

Smylex gas. The parade balloons must have been full of the stuff . . . how could we have forgotten that the Joker was out to kill everybody in Gotham?! In a split second we all realized what was happening and en masse began sprinting down the street away from the cloud of green smoke like some mad parody of the annual Wayne Foundation 4th of July Marathon. Panicked, I left my dad behind without a backward glance, but 20 yards into my escape I tripped and took a spill beside an old Packard. A couple of people scooped me to my feet.

We ran like the world was on fire… we ran like the Joker was going to kill us . . . we ran until we heard the 1st Assistant Director screaming, “CUT!” over and over on his bullhorn. Our terror dissipated in an instant, and we casually strolled back up the street to where our stampede had started. We were on the set of the movie Batman on the back lot at Pinewood Studios outside of London. It was my first BIG movie set, and it was glorious.

As a 21-year-old grand prizewinner of a writing competition, I had been flown to London (along with my dad) and put up at the Athenaeum hotel. For two consecutive nights we were driven to Pinewood where we met a lot of bigwigs, saw a bunch of sets and were run through wardrobe to take part in the parade scene.

In the shadow of the 007 soundstage a kindly group of older extras explained how it was along this same stretch of tarmac where Elizabeth Taylor had been carried as Caesar’s prize during the filming of the movie Cleopatra. The place was steeped in cinema history.

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By the time I joined the business in 1991 it was disappointing to find out that Georgia didn’t have soundstages, at least not proper ones like I’d seen at Pinewood. At best we had a few warehouses featuring cycloramic walls with space enough for a few modest sets, used most often for commercial shoots. At worst we worked out of creaky old commercial buildings with metal roofs and precious little soundproofing. A heavy rainstorm could delay shooting for hours. As my resume grew so did my realization that the relatively low demand for film production in Georgia meant we would never lure investors to build proper sound stages.

And then one day (many years later) somebody did build soundstages. That somebody was Tyler Perry. Of course those stages were proprietary to Tyler Perry Studios (TPS) since his company had more projects lined up on the calendar than they had hours to produce them all. But even if the new TPS stages had been made open for rental, the word going around town was that they were jammed tightly onto the property. It was said that one badly parked set dressing truck on the back lane could block access to the stage by the rest of the company.

Several of the stages currently operating in Georgia are new to the industry and don’t have a “brand name” (studio-owned facilities like Paramount, Universal, Warner Brothers, etc). Of course film and television productions care more about cost than brand names. Remember: these projects are in Georgia due to our tax incentive. However, in the larger context of our place within the motion picture industry there’s been a very real desire to break through to the next level.

So we still didn’t have commercial soundstages in Atlanta, which meant that all of the big budget summer blockbusters continued to elude Georgia despite of our awesome tax incentive.

The simple fact was that mega-budget flicks like Iron Man, Captain America and Green Lantern all needed large stage facilities, and we just didn’t have any. By sticking with the tax incentives the Georgia legislature allowed the business climate to stabilize, and in the last two years we’ve seen significant growth in the infrastructure of Georgia’s motion picture landscape. A wide range of film industry businesses have been opening satellite offices in Georgia, from picture car suppliers to wardrobe storage, specialty print shops to prop rental houses. More significantly, Tyler Perry is no longer the only player with a real stage facility in Atlanta.

Georgia’s film industry has been hungering for a sense of legitimacy that comes with playing home to a big name studio.

Burt Reynolds’ decades-old dream of transforming Lakewood Fairgrounds into a vibrant film studio have finally come true, courtesy of EUE/Screen Gems. In-town developers have converted warehouses into functional stages and snagged feature films to shoot in them. Outlying counties have developed stages to lure productions (and more development) in their direction. The company behind the Atlantic Station live/work community made headlines recently with their intention to enter the film business by transforming an industrial complex in southern Gwinnett County into a multi-stage facility. In the “that sounds downright kooky” category, a company with ties to India is soliciting penny stocks, non-union labor, and state grants to construct a “B movie factory” in Savannah. Even Tyler Perry has quietly started his next expansion, farther west of Atlanta.

Depending on who you talk to regarding the most recent spate of new studio announcements we’ve either won the Super Bowl or been trapped in a dangerous bubble of development fever. So which is it? Some of the developers who’ve announced their intentions to build studios appear to be newcomers to the motion picture industry, and speculative construction has always borne risks.

Yet most of the “for rent” stages that are currently up and running have been consistently busy. New productions are looking for space, and as television pilots like Devious Maids get picked up, they’ll be looking for permanent stage space with multi-year contracts, effectively taking existing stages off the open market, which means that proposed developments will be racing to fulfill the demand for true soundstage space. I’ve seen a wide range of stage types on my visits to Los Angeles, from the giant buildings used by feature films, to more compact facilities suited for television and commercial production, down to converted warehouses like we’ve always used here in Georgia.

Drew and his dad in wardrobe on the set of Batman, on the backlot of Pinewood Studios, Iver Heath, December 1988

So it was in the spring of this year that Georgia’s motion picture industry celebrated the announcement that Pinewood Studios would be building a large multi-stage facility south of Atlanta. The shockwave of that announcement has reverberated across the country from coast to coast. The number of vendors announcing their entry into the Georgia market skyrocketed and nearly everyone in the business has at least one LA contact who has announced their intention to move to Georgia.

The significance of the Pinewood announcement to the state of Georgia cannot be overemphasized. The culture of our local film industry is about to change yet again with a new wave of immigrants, this time from Los Angeles. I already miss the small town camaraderie we had in the 1990s, but today’s environment is so much richer and more diverse.

Pinewood is an incredible coup for the state and underscores why our legislature made the right decision to stand by our tax incentive, and why they should judiciously continue to do so for the foreseeable future as more announcements are inevitable during this period of transition for the industry as a whole.

I personally can’t wait for the day when I set foot on the property at Pinewood Atlanta – it will be as if I’ve come full-circle from where I first began. Wait’ll they get a load of us! ozmagazine.com | 39

distribution partners NORTH HIGHLANDS

EMORY

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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

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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

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97 Estoria 727 Wylie Street Atlanta, GA 30316 www.97estoria.com Homegrown 968 Memorial Dr. SE Atlanta, GA. 30316 Mailing Avenue Stageworks 1144 Mailing Avenue Atlanta, GA 30315 www.mailingavenuestageworks.com Stoveworks 112 Krog St. Atlanta, GA 30307 www.officeloftsatlanta.com

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40 | ozmagazine.com

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

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ozmagazine.com | 41

ad agency campaigns

Realm Advertising

Doner

Campaign Title: We Do More (Brand) and We Do More (Service) Client: Georgia Ports Authority (GPA) Description: Looking to reposition the brand, GPA wanted to showcase how much more it brings to customers and the marketplace than other regional ports. Realm and GPA focused on indisputable facts to punctuate the campaign promise “WE DO MORE.� Tactics included print advertising, digital display ads and a responsive-design microsite.

Credits: Creative Director: Michael Stewart Art Director: Kathryn Colohan Copywriter: Jim Marion Account Supervisor: Eric Berrios

42 | ozmagazine.com

Campaign Title: Check the Tag Client: Check the Tag Credits: Executive Creative Director: Pete Heid Interactive Creative Director: Gary Spano ACD/Copywriter: Chuck Carrier Art Buyer: Leda Walker Photographer: John Fulton Creative Concierge: Leda Walker

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