Sept/Oct 2009 Oz Magazine

May/June 2009 www.ozonline.tv

e d a M a i g r o e G September/October 2009 www.ozonline.tv

in

e m i T l l A f o vies o M t s e t a e r y r t s u d One of the G n I n o i ct u d o r P t n e m in a t r ! e t r n a e E s ’ Y a i g d r o r e o G p a Rec

g n i n i g a m Re-I Plus!

U s p a r W

Maximize your budget with our 30% tax credit.

We know what keeps you up at night. That’s why in Georgia you won’t have to worry about a thing. Our deep crew base, diverse & unique locations, and production service suppliers will support your project every step of the way.

All you need to bring is your suitcase…

To learn more, call the Georgia Film, Music & Digital Entertainment Office at 404.962.4052 or visit www.georgia.org/entertainment

Oh, and did we mention 30%

OZ contributors & contents Jon Lee Andersen is an Atlanta area attorney who focuses his practice providing advice and assistance for advertising copy, sweepstakes, contests, promotions, labeling, endorsements, testimonial, copyright, trademark and licensing issues. His clients include advertising agencies, marketing firms, e-commerce businesses and freelance professionals. www.advertisinglawfirm.com. Column, page 28.

Contributors & CONTENTS

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Ozcetera

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MADE IN GEORGIA

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By Michael Clark

CASHING IN Bobby Hickman is a freelance journalist who writes mostly about business and travel. He is also a copywriter and former president of The Freelance Forum. Bobby is currently ghostwriting the autobiography of a Celtic shaman in North Carolina. He is also developing a book on great Southern honky tonks, enabling him to hang out at bars and claim his drink tab as a business deduction. blhickman@bellsouth. net. Feature story, page 24.

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By Bobby Hickman

JPC-ANA-AAAA-SAG-AFTRA

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By Jon Lee Andersen

OZSCENE: Atlanta Models & talent 50th Anniversary

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ViDEO COPY SERVICES: 25 YEARS

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By Kime Harless

Michael Clark, Longtime “Oz” contributor Michael Clark has written for over 50 national and international publications and has completed three screenplays. Since 1996, he has been the sole film critic for the Gwinnett Daily Post and has just finished his first novel. He can be reached at clarkwriter@mindspring.com. Cover story, page 20.

Let Me Give You My Card

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DISTRIBUTION PARTNERS

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O Z M A G A Z INE ST A F F Publishers: Tia Powell, Group Publisher

Gary Wayne Powell, Publisher

Kime Harless, Assistant Publisher

Kime Harless is a metro Atlanta native. She recently graduated from Kennesaw State Unitversity with a bachelor’s degree in Communication with a focus in Media Studies Her interests include music, reading, writing and spending time with friends. kime@ozonline.tv.

Feature story, page 30

Editorial:

Kime Harless, Ozcetera Editor Sales: Chris Dixon, Sales Consultant Design:

Phaedra Steele, Production Manager Nicki Clark, Designer Ted Fabella, Logo Design

Nicki Clark is an Atlanta area Graphic Designer. She is a current senior at Savannah College of Art & Design in Savannah, Georgia. Her interests include music, fine arts, travel, exploring, vintage clothing, and reading. Design pages Ozcetera, 24-27.

Tori LaConsay Tori LaConsay is a copywriter, illustrator, designer and fledgling herb gardner. When she’s not working, she’s likely to be watching cartoons or chasing squirrels with her best girl (dog), Shiloh. torilaconsay@gmail.com 770.608.7891 Cover Design and layouts 20-24 .

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OZ MAGAZINE www.ozonline.tv

Oz Magazine is published bi-monthly by Oz Publishing Inc, 2566 Shallowford Road, #302, Suite 104, Atlanta GA 30345, (404) 633-1779.

Copyright 2009 by 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. Visit us on the web at www.ozonline.tv.

OZ cetERA Joy Joins Jayme

Rorabaugh Rules TypeCon

After a two-year hiatus as an agent in the Atlanta market, Joy Pervis will join J Pervis Talent Agency and will work side by side with Jayme Pervis.

Joy Pervis has spent the previous two years scouting nationwide for the Osbrink Agency located in Los Angeles. Joy Pervis brings with her over 15 years experience in the Atlanta market, extensive connections in LA, New York and Chicago, and a successful track record in discovering and developing Hollywood actors.

Joy Pervis has worked in the Atlanta market since 1993. She is the original sole creator of Hot Shot Kids and Teens. From 1996 through 2007, she served as the head agent, president and CEO. Her eye for talent and her years of discovering and building careers earned her the position as head talent scout for the Osbrink Agency.

In addition to her position at J Pervis Talent, she will maintain Joy Pervis returns to the Atlanta market her title as talent scout for the to join J Pervis Talent Agency.

Osbrink Agency. She is recognized nationwide for discovering, developing, and/or representing young actors such as Dakota Fanning, Elle Fanning, Raven Symone, Kyle Massey, Lucas Till, David Lambert, Justin Martin, Mitch Holleman, and Isabella Fuhrman.

Nancy Rorabaugh, graphic design faculty member at The Art Institute of Atlanta, presented “Teaching the Art of Typeface Selection” as part of the Type and Design Education Forum presented in conjunction with TypeCon2009: Rhythm.

“TypeCon is the premier typographical conference in the United States and Nancy is The Art Institute of Atlanta’s resident expert on type,” said Linda Wood, graphic design department chair at The Art Institute of Atlanta. Rorabaugh was instrumental in bringing TypeCon to Atlanta, initiating contact with the conference’s organizers and assembling a steering committee to oversee the logistics of hosting the event in Atlanta.

Rorabaugh was invited to join the Board of Directors for TypeCon and will be the chair for the 2010 Education Forum because of her hard work and dedication to the study and teaching of type.

TypeCon2009: Rhythm brings together students, educators, and professionals to celebrate all things type, including font production, graphic design, advertising, and calligraphy. TypeCon2009: Rhythm is the 11th annual conference of The Society of Typographic Aficionados (SOTA), a nonprofit organization dedicated to the promoting, studying, and supporting type design, typography, and the related arts.

Big Names Sound Good

Greg and Paul Shearer, producers at StreetLevelSound

Atlanta music and audio designers StreetLevelSound (SLS) recently added two high profile names, Dell Computing and BMW, to their expanding client roster. Composer/producer Greg Shearer scored a new :30 spot, “Diesel,” promoting BMW’s response to the “cash for clunkers” program for agency GSM&D of Austin and Chicago. Dell and multimedia specialists VML of Kansas City picked SLS to create music and sound design for a web promotion for the computer giant.

SLS also recently scored TV spots “Kidshape Healthy High 5” for Highmark Blue Cross Blue Shield and Mullen Advertising, and “Glider” for Kellogg’s Apple Jack and Leo Burnett.

WWW.OZONLINE.TV Everything You Need To See 6

OZ MAGAZINE www.ozonline.tv

Crawford Does Museum Quality Work Crawford Post Production and independent production company Echo Pictures celebrated another season of “Great Museums.” The awardwinning, public television series airs across the country and premiered in July on Hulu.com and Snagfilms.com. Crawford Post provided HD editing, sound design and mix along with HD formatting for this on-going documentary series highlighting America’s museums.

Working closely with Echo Pictures, Crawford Post’s senior editor/HD specialist Ron Heidt performed the online edit and integrated location footage, archival material, digital assets, titles, graphics and credits.

Steve Warner worked on the sound design and mix, and HD specialist Sheri Martin formatted the files for delivery on the web. Credits also go to freelance editors Al Abronski and Bobby Jones for the offline edit and production coordinator Randall Penn, all of whom are Crawford alumni.

“Echo Pictures brought “Great Museums” to Crawford Post when the series was making the transition from SD to HD,” said Marc Doyle, executive producer for Echo Pictures. “The ‘Great Museums’ brand has been building itself on public television for the last 10 years, and now it’s migrating to internet syndication and various mobile platforms. Thanks to Crawford, I have a great deal of confidence in how our work will be effectively distributed, particularly in the challenging and often confusing world of HD post production.”

Each episode of “Great Museums” tells the story of a single museum using interviews with museum experts and stunning footage. The newest releases are “China: West Meets East at the Metropolitan Museum of Art,” “Smithsonian National Zoo: Wild Thing!” and the 2009 CINE Golden Eagle award-winner “Great Museums of Havana: Curious About Cuba.” Shows on New Orleans as a living museum of music and on the Rock and Roll Hall of Fame in Cleveland will premiere in early 2010 and in 2011 respectively.

In other news, the latest flicks to come to Crawford Post are “Star Trek” with Tyler Perry, “Happy Tears” with Demi Moore, new Lifetime series “Drop Dead Divas,” and ABC’s episodic pilot “Solving Charlie.” Most of these major pictures came to Crawford Post for ADR and dailies work, while others like award-winning indie film “The 27 Club” received HD post production services.

Crawford Post’s creative crew for “The 27 Club” included Heidt for the HD conform and graphics; senior colorist DC Cardinali on HD tape-to-tape color correction; and Warner for audio layback. The film has taken home many awards from various screening events including best film, best director and best screenplay at the Milan International Film Festival.

Definition 6 Secures Investment Navigation Capital Partners, an Atlanta-based middle market private equity group, has committed to investing up to $15 million in Definition 6. This investment will be used to help Definition 6 expand its core interactive services through organic growth and strategic acquisition of other interactive firms across the United States.

Navigation Capital Partners selected Definition 6 for this expansion because of the agency’s proven experience and innovative interactive solutions. “Having delivered award-winning interactive services for more than a decade, Definition 6 is among a handful of independent, full-service interactive marketing agencies to survive and thrive through various economic roller coasters,� said Larry Mock, managing partner of Navigation Capital Partners. “When we decided to proactively pursue a partner for investment in the interactive media space, Definition 6 and Michael Kogon’s experienced team became a clear choice. Together we will work aggressively on our platform for growth, and build a national interactive firm with recognized marketing expertise.�

With a solid track record of success, Definition 6 is known for leveraging its strategic thinking, technical experience and creative abilities to deliver social media strategies, search engine marketing, online advertising, web development and email marketing for its clients. “Over the past decade we have seen the traditional advertising model give way to a model based on interactive marketing that is now only accelerating with the widening consumer and business acceptance of social media� said Michael Kogon, founder and chief executive officer of Definition 6. “Interactive marketing is enabling challenger brands to successfully take on the Goliath brands that once ensured market share dominance through their sheer size of ad spending. The game has changed and today’s announcement is going to permit us to more aggressively grow ourselves so we can help those organizations seeking to use new media to attain business success.�

Definition 6 will be the cornerstone of the national footprint expansion, and Kogon will lead this effort. Over the next six months, Kogon and his team will seek and evaluate potential acquisitions and geographic areas for organic expansion for Definition 6. It is expected that two to three deals will be closed by the end of 2010.

In other news, Definition 6 launched TwitterINGO, the first gaming application developed for the popular social networking micro-blogging site, Twitter. The desktop application is similar to BINGO and is complete with 25 keywords on a board. TwitterINGO displays tweets from people that players follow, and the board is automatically updated when a keyword is included in an incoming tweet. Keywords for the game have been pre-selected based on industry relevant topics and each week new trending terms will be added and included for game play. A person wins once five keywords - across, down or diagonal - are highlighted. Winners will then receive an “I Won TwitterINGO� badge that can be placed on their Facebook page or shared over Twitter. In addition, Definition 6 will display leading players and users who contribute to the most winning boards on the TwitterINGO homepage. TwitterINGO participants can gauge which Twitter users provide the most valuable information to their followers by viewing who contributes the most winning tweets.

Teach the World to Sing Coca-Cola Enterprises’ Corporate Responsibility and Sustainability Report, designed and produced by maurgood, has won the award for Creativity in Communications and 1st runner-up for Best Report from Corporateregister.com, a global, independent, online awards for CR reporting. The awards recognize excellence in reporting sustainability, environmental and social issues by companies around the world. It also guides other organizations that are publishing, or intend to publish, sustainability reports.

In a summary report, CR lauded Coca-Cola Enterprises’ 2008 Sustainability Report for presenting “the marriage of strategy, message and brand effectively� and for making “the concept of corporate responsibility and sustainability accessible to anyone who browsed through it.�

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OZ cetERA

Beauty More Than Skin Deep

Liquid Wayfinding

Artistic Image (AI) recently wrapped shooting for Stiefel Laboratories’ new dry skin care line, Impruv®. AI award-winning director, Ken Soons, who collaborated on Stiefel Laboratories’ previous skincare commercials including MaxClarity® and Sarna®, directed the :30 commercial. Both spots were recently recognized with industry awards for their creative direction and production. Sarna received a Medical Marketing & Media Award (MM&M) and MaxClarity won a silver Telly Award.

The commercial combined real elements and elements created in 3D. Being a beauty and pharmaceutical spot, the creative direction was to use botanical elements to showcase a healthy, fresh and hydrated look. Soy is a main ingredient used in Impruv and a 3D soy leaf was created and wrapped around the model.

In post, AI’s CEO, Ed Dye, worked closely with Adair Greene to create the sophisticated and stylish look of the Impruv® commercial. The most unique aspect of the commercial was making the model look as natural as possible lying on the leaf so AI’s visual FX team took over to get the right positioning and natural movement as the model’s hand touched the water.

Everyone in the studio collaborated to help put the commercial together. Dye designed the look, while Soons shot and edited the spot.

Designer Edwin Sumalave modeled leaves. Daniel Wiggins animated the leaf model, Lee Kordel lit the 3D models, and Conroy Williamson and Yesael Sumalave composited all of the elements of the spot.

Lorenc+Yoo Design, in conjunction with resort designer, Hnedak Bobo Group, is developing the signage and wayfinding systems for Northern Quest Resort & Casino in Airway Heights, Washington. Lorenc+Yoo unveiled the completed logo and signage designs for Liquid, the casino’s contemporary lounge, earlier this year. Fabricated by Tube Art Group, Liquid’s signature acrylic sign appears seamless with the architecture and complements the modern, angled lines of the resort. The entry is offset by a wall of flowing water and a natural wooden sculpture, drawing themes from the Kalispel’s reservation along the Pend Orielle River in Washington.

Excellent Report!

Infinitee Communications received Communicator Awards in the 2009 Print Media Competition. infinitee’s work on the Annual Report for King’s Ridge Christian School in Alpharetta earned an Award of Excellence in the Educational Institution category and an Award of Distinction in the Overall Design category.

The Communicator Awards is an international awards program honoring creative excellence for communications professionals. The International Academy of the Visual Arts, a panel of professionals from media, advertising and marketing firms, sanctions and judges this annual competition, and it is one of the largest awards of its kind in the world. The Award of Excellence is the highest award.

Gravity Free Profile Heather Ellis joined Hire Profile on her summer break from The Art Institute as an intern. Ellis also has a degree in marketing from Ole Miss.

She assisted Hire Profile with marketing, office management, recruiting and new business development special projects.

In other news, Gravity Free Radio interviewed Nancy Pineda, founder and president of Hire Profile, with long-time business coach Mariette Edwards. The topic of discussion was hiring practices for small businesses.

A Slammed Jam Edit Jam Edit has been swamped with some great projects. Eddie Kesler completed editorial for Subway with NASCAR’s Carl Edwards, a New Era spot with World Series pitcher, Cole Hamels, and hefty campaigns for Georgia-Pacific, Food Lion, Georgia Lottery and Haverty’s Furniture.

Jeff Jay completed editorial for a viral campaign for Verizon Wireless including the “Can you hear me now?” guy along with spots for Coca-Cola, Rinnai, Heartgard, Erickson with Bob Giraldi as director, and a music video for Soulja Boy’s “Gucci Bandana.”

Andrew Pope has been slammed with compositing and GFX for an eclectic mix of clients such as The Weather Channel, The Playboy Channel, Discovery, TNT Latin America, Coca-Cola, and The Kidney Foundation.

Pope has also been finishing work for almost all of Jam’s editorial spots.

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Play with SPANX VTA and Play, a division of VTA, have been busy with a number of projects.

Haute Contour, new shape-wear by SPANX, is now available in stores. Play designed the hangtag and the packaging with assistance from illustrator Julie Simmons. The typography and the cropped fashion illustration create a tension designed to engage the consumer.

Lonnie Beaman and VTA’s production department helped former Orlando Magic superstar Dennis Scott go live on ESPN’s Outside The Lines and ESPN’s First Take. The live production was shot with backdrop chromakeyed on green screen in VTA’s insert stage and transmitted via VYVX fiberoptic distribution to ESPN. Beaman was responsible for coordinating the production and working the camera, and Bob Castro provided audio and technical direction.

For AutoNation, keeping employees in the loop means effectively communicating a unified message to 250 locations nationwide. For over a year, VTA has been working with AutoNation to deliver video messages throughout the year, to associates at every level of the company.

Play helped design and implement Zoo Atlanta’s new web site. Web 2.0 was centric to the re-launch, giving users the opportunity to share the site with social networks and friends.

Typographic Aficionados from around the world invaded Atlanta in July for the annual typography convention, TypeCon. Play and VTA pitched in to create show animations visible throughout the convention.

Additionally, Play’s Roger Fleming and colleague Chris Rawls created silkscreen posters as keepsakes and Play’s Allison Young gave attendees a walking tour of Oakland Cemetery. Also, Play’s Brett Player was a speaker, reflecting on his decade of experience launching brands in and around the beauty category.

MOCK Launch of Real Estate Site MOCK created a new web site for Coldwell Banker NRT Development Advisors. The site has a listings hub and a resource guide to help educate and promote the foreclosure and bank owned properties market. Within the resource guide, users can download podcasts, watch videos, reference news articles and find answers to common questions.

“Coldwell Banker continues to lead the way not only in real estate, but also in the digital space. They’re very well represented across social networks and user generated content sites. This particular site is fully content-managed, and is a workhorse of a platform. In this case, function led the way – we built it and handed over the keys – much like a new home,” said Rob Broadfoot, MOCK co-creative director.

MOCK also developed a new campaign to drive awareness. The campaign launched mid-July and featured both print and online ads.

Take One TERRY KAY This course is designed as an introduction to screenwriting for those who have limited experience in the medium, and as a refresher for those who have more advanced experience. The workshop will be taught by writer Terry Kay, who is a regional Emmy winner for his teleplay, Run Down the Rabbit, and whose background includes eight years as a film reviewer/essayist with The Atlanta Journal. In addition, Kay has written for the television series, In the Heat of the Night, and has worked on screenplays with such directors as Taylor Hackford (Officer and a Gentleman). He has had three of his novels translated into Hallmark Hall of Fame movies – To Dance with the White Dog, The Runaway, and The Valley of Light.

The primary reference for the course will be from writerteacher Syd Field, who is considered the guru of screenwriting technique. In addition, resource material will be taken from Paul Argentini's Elements of Style for Screenwriters.

Sessions will cover such topics as: Definition of Acts; plot points; character; treatment; use of dialogue; understanding cubism in screenwriting, and staying-on-point.

To read more about Terry Kay go to www.terrykay.com

Date:

Workshop Details

September 26 & 27, 2009

Time:

Saturday 9:00 AM-12:00 PM & 1:30-4:30 PM Sunday 1:00-5:00 PM

Fee:

$150, $75 Students

Location:

Oconee Cultural Arts Foundation 34 School Street Watkinsville, GA

Registration:

Advance registration is recommended as space is limited.

To register contact the OCAF office at (706) 769-4565 or email info@ocaf.com. For directions visit us online at OCAF.com

www.ozonline.tv OZ MAGAZINE

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Superlux Celebrates Super Move Motion design group Superlux moved into its new studio space recently. The renovated historic building, built in 1902 as a commercial laundry, stands on the edge of downtown in the north corner of the Martin Luther King, Jr. Historic Site.

Mark Falls overlooking the courtyard

The team at Superlux from left to right: Rob Fearon (back), Eric Carros (front), Mark Falls (back), Loren Falls (front).

Superlux secured the location in April of 2008, the busiest year in the company’s eight years of operation. Project deadlines prevented work on the new space until late summer. In September, the bottom fell out on the economy. “We knew moving ahead was contrary to what was happening all around us but we believed the timing was right for us,” said Loren Falls, executive producer. Construction on Suite B finally began in December and was completed in the spring.

The Superlux team, Loren Falls, Rob Falls, Rob Fearon and Eric Carros, has thrived in the new space. In June and July, they began production on several graphics packages for TNT Latin America, continued work with MaxMedia, a new media agency, and Craig Miller Productions, including a Coca-Cola tribute shown at the 75th anniversary celebration of the Apollo Theater. The four-minute film features James Brown at his prime and a young Michael Jackson on stage.

Mickey Dubrow of TNT Latin America and Loren Falls of Superlux enjoying the scenery on the terrace

Brown Bags Need Hands

Roll Yer Own

Kym Smith of Xtra Pair of Hands designed a new web site for Brown Paper Bags Gone Wild, LLC. Brown Paper Bags is a provider of environmentally friendly designer handbags. The web site incorporates flash and audio on its home page. “I am really pleased with the changes made to our company’s web site. The new web site truly represents our company’s image and caters directly to our clientele,” stated Joyce Robinson, president & CEO of Brown Paper Bags Gone Wild.

The animated short Fooksie created for ASIFA-Atlanta’s “Roll Yer Own” show, has been accepted for the 2009 Dragon*Con Independent Short Film Festival. The story is based on the time-honored field of battle, otherwise known as the video arcade. Dave Dries created a 3-D background in the short. Fooksie originally used the background as a placeholder, and ended up sticking with Dries’ background. The rest is, as they say, history.

For the Wine and Art Crowd Just as the Franz Haas winery marries precision and artistry in winemaking, the new Kris Wine web site blends art and wine for a unique gallery experience. Object 9’s design mission was to make consumers feel as if they were sitting in an art gallery room with Kris Wines on display along with paintings and other fine art. “The Kris web site design needed to strike a balance between the content, promotions and images while still maintaining the artistic expression representative of the Italian handcrafted wine,” said Andy Gutowski, Object 9 partner and creative director. The site also gives visitors a chance to discover ongoing promotions and giveaways, or use the product locator tool to find where their favorite variety of Kris is sold. The Trade section is targeted to sales team members, distributors and media, and includes downloadable sales and marketing materials.

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Leagans Forms Red Star LeAnn Leagans has launched Red Star Media, a business development and marketing strategy consultancy. Leagans will work with Arke Systems to offer technology and software solutions for companies, including content management systems (CMS), ecommerce, Facebook apps, iPhone apps, and customer relationship management (CRM) systems.

Leagans is also working with 62|62 Marketing which was just founded

by Nancy Bielenberg Rabern. Together Leagans and Rabern write marketing and sales strategies for Falling Olive Productions, Artistic Image, SLAM! Creative, and Crazy Legs Productions. Falling Olive specializes in high-end commercial production, Artistic Image has a long history with 3D and motion graphics, SLAM! Creative is the sound design guru and Crazy Legs is the long format/story telling go-to guys.

Leagans is also busy managing and pushing marketing efforts for singer/songwriter Erica Ambrose. Ambrose performed before a sold out audience at the Hard Rock Cafe for her CD Release Party and continues to build her fan base around the Southeast.

PC&E Bulks Up PC&E’s camera department recently added the P+S Technik PRO35 Image Converter for the Sony PMW-EX3. In general, the PRO35 EX3 works with the same technical principle as the converter for 2/3” cameras, but has a specially designed relay lens and support system. All accessories for the other PRO35 versions are compatible with this version. The specially designed relay lens avoids a high loss of light and the lens scales stay as marked.

The 128GB RED-RAM™ has also been added to PC&E’s inventory. This is the highest-capacity solid-state digital media option available for the RED ONE™. It has an identical form factor to the RED-DRIVE™, but is made up of solid-state media instead of spinning media. It is an outboard media format that can be mounted in the RED RAIL CRADLE on the camera body or RAIL system and it interfaces with the camera via the Drive Connector LEMO. The 128GB RED-RAM™ is made up of two 2.5” 64GB solid-state laptop flash drives arranged in a hardware-based RAID 0. The RED-RAM™ is capable of recording roughly thirty to forty minutes of 4K REDCODE™ RAW footage.

PC&E has also added a set of Nikon 35mm still lenses that have been adapted for use with the Mini35 lens adapters for use on the smaller HD cameras. These lenses are geared to accept a follow focus and have been adapted to 80mm outside diameters so that they work with production matte boxes. At $30 each or $150 for a set of six, they are priced with the indie budget in mind.

PC&E has added Blue Ring Gaffer’s Glass and The Pocket Mini 11x Director’s Viewfinder from Alan Gordon Enterprises to their sales inventory.

The Blue Ring Gaffer’s Glass is designed to allow you to locate the center of your key light or “hot spot” to accurately determine where to position lighting to achieve optimum coverage. The Pocket Mini Viewfinder is a larger, easier to handle version of the original mini finder at a budget price. The Pocket Mini Viewfinder includes many of the features found in the more expensive viewfinders.

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OZ cetERA Wading Through the Water War

Broadcast Solutions Up in the Air

Left to Right: Russ Jamieson (behind, partner), Steve Cassidy (cinematographer), Jack English (partner), Herb Kossover (partner), Paul Barth (pilot)

Broadcast Solutions was tapped to provide footage for the second season of Bravo’s “Real Housewives of Atlanta.” Broadcast Solutions was hired to shoot an hour of aerials, and then filled out the rest of Bravo’s needs with stock footage. Other clients along for the shoot included Cousins Properties and the City of Marietta. The shoot also enabled Broadcast Solutions to add to its catalog of gyrostabilized HDcam aerials and ground footage.

Rare Air for Secret Sky “FLYING THE SECRET SKY: The Story of the RAF Ferry Command” has recently been honored with awards at a number of prestigious film festivals. The program most recently won Best Feature Documentary at CinegearExpo in Los Angeles, where it was screened at Paramount Studios.

The film also won the Golden Ace Award at the Las Vegas Film Festival, and the Special Jury Award at the Worldfest Houston Independent International Film Festival. At the Las Vegas Festival, there were over 2000 entries from 20 countries, and at Worldfest Houston there were over 4500 category entries from 37 countries.

Earlier this year, “Flying the Secret Sky” won the prestigious CINE Golden Eagle for feature-length documentary.

“Flying the Secret Sky” tells a story of passionate risk-taking, of young men braving dangerous flights in primitive aircraft. These “cowboys of the air” are forgotten heroes of the war, who flew without guns and embodied an improvisational spirit that was key to Allied victory. Their story includes the American civilian chosen to fly Winston Churchill to secret wartime meetings, during the darkest days of World War II. The documentary special was filmed in HD on-location in the US, Canada and the UK. It has aired nationally on PBS. WGBH – Boston is the Television distributor, and PBS Video distributes a feature-length version on DVD, which is available now. PBS International also distributes the program worldwide.

Wolff Bros Bows at Promax Another successful year for Wolff Bros Post at the 2009 Promax/BDA Promotion and Marketing Awards. Wolff Bros Post was honored with 4 Promax Winners, including a World Silver, World Bronze and North American Bronze for work on TNT’s “Leverage Behind the Scenes” and a World Bronze for TNT’s “Doubt & Deception Heartbeat” campaign.

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For almost 20 years, Georgia, Florida and Alabama have been locked in a fierce struggle over water. This conflict is examined in a new documentary for Georgia Public Broadcasting (GPB). Rhett Turner (Red Sky Productions) and Jonathan Wickham (Zo_TV) are producing “Water War: The South’s Deadly Duel between Drought, Development and Disaster.”

The documentary will educate viewers on the complex issues and choices that increasingly face all of us when it comes to one of our most precious natural resources, water, through the use of individual stories. The documentary will also tell the story of the conflict between the local states and the federal government as they posture for their water rights.

Without a successful resolution to the crisis, Atlanta could soon become the first major American city to run out of water. Even in the best of times, with normal rains and full reservoirs, most studies show that by 2030, if not sooner, metro-Atlanta will begin to run out of water.

Turner and Wickham have completed two shoots, one in the Apalachicola River basin and one in South Georgia. The next shoot will be at Lake Lanier. The documentary is about a quarter of the way through production. “Water War” will be completed in May 2010 and will air in July 2010 during primetime on all nine GPB stations in Georgia, as well as public broadcasting stations in Florida, Tennessee, South Carolina and Alabama.

“Water War” has advanced to the quarterfinals of the Ultimate Filmmaker’s Competition, sponsored by the Filmmakers Alliance and Canon. The Ultimate Filmmaker’s Competition is a global competition searching for filmmakers with talent, determination, original vision and a passion for filmmaking as a way of life. Over one thousand submissions were received. “Water War” was selected as one of 200 quarterfinalists competing to be one of 25 semi-finalists.

The competition selects a script that can be turned into a successful production. Competitors at first submit a synopsis of the project, and once chosen as a quarterfinalist, they submit the first ten pages the script. When competitors reach the semi-finalist stage, the entire script is submitted.

The winner will be chosen based on quality of project as determined by type of story/plot, complexity of characters, validity of dialogue, quality of writing and uniqueness behind concept and vision. As well as quality of application as determined by its contents, and quality of supplemental materials as determined by presentation of writing, practicability within projected budget and timeline, relevant filmmaking experience of applicant, cast and crew attachments and work sample.

Mountain View Pads Résumé Several international creative communications competitions recognized Mountain View Group, Ltd. and its client partners with awards for its work in video and digital production.

Rensselaer Polytechnic Institute’s “Why Not Change the World?” took home a CINE Golden Eagle, a Telly Award, a MarCom Award, a LACP Spotlight Award and an AVA Award. The purpose of the video was institutional advancement communications.

“Where the River Flows,” produced for The Coca-Cola Company, won a Summit International Award. GE Energy’s “@ The Half” took home a LACP Spotlight Award, a Telly Award and a MarCom Creative Award.

The “He Said, She Said” spot produced for Stickley Audi & Co. took home three awards: AVA Award, Telly Award and Summit International Award.

Raytheon Company’s “Space” and “Year in Review” Leadership Forum Open both took home Telly Awards.

Last but not least, “Top of Mind with John Rice” produced for GE Technology Infrastructure took home an AVA Award, iNOVA Award, LACP Spotlight Award and MarCom Creative Award.

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OZ cetERA MAX2O Promotes Stomach Staple

Arketi Stays Busy

The 2009 Aster Awards recognized MAX2O with a Bronze Award for a :30 television commercial produced for Atlanta Medical Center. The commercial promoted Atlanta Medical Center’s weight loss surgery program and directed viewers to a destination web site that shares client testimonials and list of surgeons performing bariatric surgery at Atlanta Medical Center.

The Aster Awards recognize healthcare and medical marketing professionals for outstanding excellence in advertising. Aster Awards winners are published in the “Marketing Healthcare Today” magazine.

Sophicity, an IT services provider formerly known as Mimsware, and Ryla Inc., a leading domestic provider of contact center solutions, tapped Arketi Group as their agency of record.

Arketi’s initial assignment with Sophicity was a comprehensive positioning and messaging engagement. This included a brand launch and renaming the company to Sophicity, which highlights the firm’s focus on providing IT services to cities and municipal leagues.

Arketi is aiding Ryla with several branding and marketing projects, including supporting the company’s recent sponsorship of the 2009 Gartner Outsourcing & Vendor Management Summit in addition to providing public relations counsel.

Arketi Group also partnered with Technology Executives Roundtable (TER), an association that consists of CEOs, CFOs and general managers in Atlanta’s technology community, to launch an updated web site that better serves its members and the technology community. The new site uses video to showcase recent events, e-commerce to ease the administration needed to register attendees, and prominently promotes member companies. In addition, a members-only section will house audio recordings of past meetings, a directory and various social media tools for TER members.

Brian Boudreaux of Arketi is among a select group of public relations professionals who contributed to the PRNews Crisis Management Guidebook, Volume 3, one of the industry’s leading resources on crisis communications and management. Authored by top-tier crisis experts, the guidebook presents valuable information, actionable tactics and best practices to employ when managing a crisis. Topics range from litigation PR and digital communications to media relations and reputation management.

In other news, Arketi’s work for three clients helped earn them a 2009 TAMY Award from TAG Marketing, a society of the Technology Association of Georgia. The awards, given at the 9th Annual Technology Marketing Excellence Awards (TAMY) ceremony, recognize Georgia-based companies that demonstrate significant and measurable accomplishments in technology marketing and PR. The recipients of the awards are ERDAS, Reveille Software and Virtual Premise. For the fifth straight year, Arketi’s corporate positioning work swept the positioning categories.

Ground Floor to Top Floor Ground Floor Video hit the top floor of Coca-Cola’s World HQ to shoot CEO Muhtar Kent reporting to the entire company on a brand new initiative.

Ground Floor was also selected to produce program videos for the Tax Day Tea Party in downtown Atlanta. Watching on two jumbotrons, about 20,000 people filled the streets. Camera crews and editors worked feverishly to produce man-on-the-street interview packages for playback during the event.

When you’re producing for edgy networks like G4 and FEARnet, shooting an interview in the men’s room seems normal, kinda. Weird Al Yankovic dragged the crew at Ground Floor Video there to talk about his roll in Rob Zombie’s “Halloween2 (H2),” which wrapped recently in Atlanta.

Ground Floor Video spent a couple of days on set capturing behind the scenes footage and interviewing Zombie, Spider, Weird and other strangely named Hollywood folks.

In other news, Active Parenting Publishers was recently awarded a Gold Empixx Award for Active Parenting Teens 3rd Edition. The 2-DVD set was produced entirely at Ground Floor Video and features an ensemble cast of 19 actors.

HD on the Fly AGORATV has recently acquired an affordable and versatile HiDef fly package. This portable system is engineered to make any location a fullfeatured, switched live program event. New JVC 700 cameras deliver native 1080i SDI to a Panasonic 400AN Hi-Def switcher capable of mixing eight inputs with many format signals. Powerful features like full-function camera control units, on-air camera tallies, headset communications, complete video and audio monitoring, and interchangeable long and wide lenses provide great control. Clients may choose to output to image magnification/large screen projectors or record to any videotape or other digital format.

Subject to the location, the system can be set up in less than one hour and removed even more quickly.

Good Cooking and Good Hair GET-A-GRIP ATLANTA has been busy providing equipment and crew for a number of projects including Food Network’s “The Bobby Flay Throw Down,” The Chik-fil-A Bowl Game Time presentation, and an in-house corporate music video for Phillips Lighting.

GET-A-GRIP provided lighting and crew for a series of LOWES home improvement videos, racing promos for Le Mans Racing, and they provided electric work on “The Wronged Man” starring Julia Ormond.

GET-A-GRIP also shot a project for Chris Rock and HBO titled “Good Hair” which won Special Jury Prize at the 2009 Sundance Film Festival.

The director of photography was Cliff Charles. GET-A-GRIP shot the scenes in Atlanta at the Bronner Bros. International Hair Show for the film. GETA-GRIP provided several HD camera packages, camera operators, 30’ jib, video village, and much more equipment and numerous crew members.

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Take a North Pole Tour “The Elf on the Shelf” North Pole web site has been awarded a national Stevie Award for Best Web Animation from The American Business Awards.

Carol Aebersold, co-founder of CCA and B, the publishing company that released the popular and award-winning children’s book, accepted the award.

Launched October 2008, “The Elf on the Shelf” web site allows children and parents to take a 3-D animated tour of the North Pole and get a sneak peek at Santa’s headquarters. Included at each stop and throughout the site are interactive games, jigsaw and slide puzzles, printable and online coloring pages, quizzes, fun facts, trivia and other online activities for kids of all ages.

The site was the brainchild of CCA and B co-founders Aebersold and her daughters Chanda Bell and Christa Pitts. It was created through the collaborative efforts of Cre8ive Websites and TRICK 3D. Cre8ive Websites created the games and activities, while TRICK 3D created 3-D animation and interactive North Pole destinations.

More than 2,600 entries in 40 categories were submitted for The 2009 American Business Awards.

ANNIVERSARY GALA Join us as we celebrate Women In Film and Television Atlanta's longstanding history with Georgia's film and television community. We'll honor the contributions of our industry's best and brightest professionals during this year's Anniversary Gala Award's ceremony.

Featuring Premiere of "One Person At A Time" 2009 PSA benefitting United Way of Metropolitan Atlanta's Regional Commission on Homelessness Presentation of the WIFTA 2009 Student Scholarship Award Annual Silent Auction Fundraiser For more information regarding this year's 35th Anniversary Celebration visit: www.WIFTA.org

Georgia’s Foremost Entertainment Industry Association in Support of Women

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OZ cetERA PR Movers and Shakers

Hauser Hires Chase Smallman

Alicia Renee Thompson, Kim Englehardt, APR, and Jesica Koenig, MPA, APR, have earned their APR (Accredited in Public Relations).

Hauser Group hired Chase Smallman as vice president/group account director to oversee several key accounts, including Cheerwine, Georgia Natural Gas, Brill, HPNOTIQ and Imperial Sugar. Before joining Hauser Group, Smallman most recently served as vice president/account director for JWT Communications, and prior to that as director of national advertising for Cingular Wireless.

Throughout his career, Smallman has worked on successful campaigns for Hauser Group vice president/ several well-known brands including New group account director Cingular Wireless, SunTrust Bank, ESPN, Chase Smallman Sports Illustrated and Delta Air Lines.

Smallman will manage the account service department for Hauser Group and will work closely with the company’s integrated marketing groups including media, public relations and creative.

In other news, H.C. Brill Company, Inc., a supplier of ready-to-use bakery products for the foodservice industry and in-store bakeries, selected Hauser Group as its new agency of record. The Atlanta-based company will roll out new creative, including signage, packaging, trade advertising and graphics, direct mail pieces and sales materials, as well as handle general marketing for H.C. Brill.

Alicia Thompson, Kim Englehardt and Jessica Koenig received their APR certifications

Thompson has been interested in earning her APR for many years, but the recent realignment of her job, including being chosen to report directly to the CEO of Popeyes and being added to its leadership team, motivated her to complete the process. She is vice president of communications and public relations for Popeyes Louisiana Kitchen, a division of AFC Enterprises Inc. She has worked there for five years. Thompson completed the designation in six months by adhering to a strict schedule.

Englehardt is director of public relations and communications for Primrose Schools. Long active in PRSA|GA, including serving on the board as well as in numerous committee capacities, she has a bachelor’s degree in mass communication from Florida State University and a master’s degree in public relations from the University of Georgia.

Koenig is national director of strategic communications planning for the American Cancer Society’s national home office. Koenig earned her bachelor’s degree in public relations and her master’s degree in public administration and nonprofit management from Florida State University.

Jessica Riley, U.S. corporate communications specialist at Solvay Pharmaceuticals Inc., and Elyse Hammett, APR, vice president of client service at communications 21, have been awarded the Georgia Chapter’s Chapter Champion award to Jessica Riley and Elyse Hammett are recipients of recognize their outstanding PRSA’s Chapter Champion Award volunteer work.

At Solvay, Riley is responsible for internal and online communications, publications and external communications for a portion of the company’s product portfolio. Riley has ser ved as co - chair of the Healthcare SIG and the Professional Development Seminars committee. More recently, she served on the Annual Conference committee, is presently a member of the Chapter Awards committee, and in 2010, will co-chair the PRSA|GA Annual Conference.

Hammett graduated from Emory University and before communications 21, worked at Emory Healthcare, BellSouth and Troutman Sanders LLP. At communications 21, she is responsible for account development, team management and providing service. Hammett has served as a key member of the accreditation committee, a voluntary certification program designed to advance the profession, open to members with five or more years of practice. On the accreditation committee, she helped architect the program’s current resurgence to prominence in the chapter; hosted and taught countless APR study sessions involving as many as 20 candidates at one time; and mentored APR nominees and coached candidates through the rigorous certification process.

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Angstrom Adds Second Press Angstrom Graphics ( F/K/A St Ives US Division) commissioned a second Komori System 38 Web-Offset Printing Press in their Hollywood, Florida facility. Two additional web presses are planned within the next year to complete the web platform modernizing effort in both Florida and at Angstrom Graphics Midwest (Cleveland, Ohio).

“Despite a difficult economy, we continue to invest in and deploy new technologies that span the full breadth of our expanded value chain,” said Wayne Angstrom, Chairman/CEO. Earlier this year, the company enhanced its AG On-Line™ suite of application software “to make it easier for our clients to connect with us and to provide enhanced utility and value,” including creative and virtual products, multi-channel project execution and real time measurement.

At its facilities in Cleveland, Ohio, a $3 million makeover of AG Midwest’s in-house fulfillment operations has been completed. The new RFID (radio frequency identification) driven product dispensing system along with an integrated PTL (pick-to-light) module and master control system has increased fulfillment capacity by a factor of three. “In our fulfillment business, the application of state-of-the-art systems has allowed our clients more time to close marginal ads while maintaining critical in-store dates,” Angstrom states. “It’s all about cycle time, cost and order filling accuracy.” AG Midwest fulfills 2 million lines each month, shipping to over 20,000 locations across the U.S. and Canada from its base operation in Cleveland, Ohio, and partner facility in Toronto, Ontario.

Send all your business news to Ozcetera editor, KIME HARLESS at ozcetera@ozonline.tv.

NO FAXES OR HARDCOPIES, PLEASE. All news should be submitted via email.

Pogo Ace Hired for Ace Hardware Pogo Pictures’ Steve Colby directed a new national television advertising campaign for Ace Hardware. Conceived by Southfield, Michigan agency MARS Advertising, the spots evoke the pride of home ownership through naturalistic scenes of people fixing up their homes.

The spots are shot entirely with hand-held cameras. Colby’s directorial technique relies heavily on improvisation. For Ace, he used two cameras, operating one himself, to record nearly every vignette and gave his actors a lot of freedom to perform in the moment. While Colby likes to improvise, he nevertheless has a clear idea of where he wants to end up, and in this case that meant capturing the powerful feelings people attach to their homes.

Colby was also recruited by BBDO Atlanta on a series of spots for AT&T Wireless, and to shoot a series of spots for UNC Healthcare with Morrisville, NC agency MSA: The Think Agency. The AT&T Wireless spots compare Samsung’s new multimedia-enabled Eternity mobile phone to a premiere home theater experience. The spots are currently in post production. The two UNC Healthcare :60 commercials profile patients who have benefited from the top-notch cancer and cardiovascular care facilities of UNC Healthcare. Real patients and doctors were featured during the three-day shoot on location at the UNC campus.

Room to Grow Things at the LAB LAB 601 has relocated its post production facility. “We are very excited about the opportunity to build out a new The new entrance to LAB 601’s new digs space, and update our infrastructure without losing any capacity,” said LAB 601 president and chief creative director Dave Ballard. “In fact, we have more room to grow, especially for our digital intermediate services. We were able to bring a lot of the comfort and personality of the old space with us like the bar, the colors, portholes, and the curvy walls, while incorporating some new things like the Funderdome Lounge.”

The new location is in the Westside Arts District within walking distance to Octane Coffee Bar, West Egg Cafe, Six Feet Under, and the new 5 Seasons Brewing Company.

Real Celebration for Virtual Service RIOT Atlanta and Company 3 celebrated the launch of Virtual Telecine with a party in July. This new offering enables clients to view color correction/grading sessions and collaborate with Company 3’s awardwinning team of colorists, virtually real time on a calibrated monitor, from the comfort of a dedicated suite at RIOT Atlanta. In addition to traditional telecine, clients can also leverage Company 3’s suite of Digital Intermediate services. Virtual Telecine services are secure and can accommodate any format, be it film, tape or file-based (such as the RED Camera and others).

Left to Right: Soraia Callison (RIOT), Gina Roche’ (Turner Networks), Laraine Stewart (Turner Networks), Beth Helmer (RIOT)

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OZ cetERA •

The Sound of Busy

•

Save the Date !

Made in Georgia The Harvest Social & Silent Auction

An evening of fantastic food & wine sampling by our local production caterers & wineries.

When & Where: november 5th 2009 6:30 - 9:30 pm magick lantern 750 ralph mCgill boulevard, ne atlanta, ga 30312

Actor Paul Wesley came to Doppler Studios to record and send VO via ISDN for a television spot for his new television series, “The Vampire Diaries,” airing on the CW Network in spring of 2010. Fay Salvaras engineered the session.

Actor Boris Kodjoe recorded ADR for “Surrogates,” a Walt Disney Motion Pictures film starring Bruce Willis. The film is set for release in September.

Wieden + Kennedy / Amsterdam chose Doppler to send voice talent Gene Spennato’s voice to Lime Studios in LA for the beverage giant Tanqueray gin. Salvaras commandeered the sessions.

“Squidbillies” season four keeps engineer Shawn Coleman busy with sound design, recording, editing and mixing to picture, and writing and recording his own vocals for the show. Coleman has a great deal of creative input into the series, which airs on Cartoon Network’s Adult Swim.

Granger Beem recorded, edited, and mixed VO for Frylock, Meatwad, and Carl characters for “Aqua Teen Hunger Force,” (ATHF) also on Adult Swim. ATHF is in its seventh season.

In other animation news, engineers Michael Hastie and Josh Coleman conducted an ADR session for Pixar’s “Toy Story 3.” Doppler provided the time code and audio feed via ISDN, while CommExpress International conducted a videoconference with the production team.

Salvaras recorded ADR with Mitchel Musso for Disney TV Animation’s TV series “Phineas and Ferb.”

In other news, Jam Edit has recorded several radio and TV spots for Erickson, primarily with engineer Steve Schwartzberg. Pogo Pictures has tracked live music with engineer Ralph Cacciurri, with Ira Folston assisting, and synced that music to picture for several internet advertisements with Doppler engineers John St. Denis, Jonathan Jory and Granger Beem.

Superior Design International also chose Doppler for their audio services, and Doppler engineers recorded voice talent Marsha Crenshaw for Sprint voice prompts. Engineer Michael Hastie has recorded recent sessions.

Nolen Adds Two

For silent auction donations, advanced ticket sales, or more information, please contact Tia Powell at (404)-633-1779 or at Tia@ozonline.tv www.GeorgiaProduction.org

Nolen & Associates has two additions to their marketing and advertising team: Preetam Printz, vice president, and Julie Kartrude, director of business development.

Printz’s new role includes strategy and account management for both B2B and B2C accounts including Printpack, Vincenzo Skin Care, Woodward Academy, Aegean Skin Care, Kliklok Woodman and Custom Production.

Prior to joining Nolen & Associates, Printz spent several years at one of San Diego’s top advertising agencies focused on corporate branding, residential builder/developer accounts and master-planned communities.

Kartrude has years of experience in the industry as well as a passion and

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Julie Kartrude, director of business development for Nolen & Associates

Preetam Printz, vice president of Nolen & Associates

understanding for marketing and networking. Prior to joining Nolen, Kartrude worked for top agencies in Atlanta and Miami gaining expertise in retail advertising, turnkey catalog, photography and strategic planning.

Ideas that Matter Each year Sappi Fine Paper North America brings together a team of accomplished designers and philanthropists from across the country for Ideas that Matter, an innovative annual grant program geared towards harnessing the transformative creative power of designers into a force for social good.

Bill Grant, president and creative director of Grant Design Collaborative, will be on this year’s panel of judges. Each member is selected not only for his or her collective body of work but also for being involved in organizations within the community. In Grant’s case, this includes developing new programs for AIGA, the Cherokee Arts Center and the Main Street Canton, Georgia initiative, aimed at revitalizing the city’s historic downtown corridor.

The program has awarded $9 million in grants since beginning in 1999 to a broad list of causes across the globe, ranging from health care awareness programs and youth centers to wildlife protection and sustainability efforts. The 2009 Ideas that Matter jury convened in Boston in Bill Grant will serve on the panel of judges for mid-August to select this year’s grant Ideas that Matter recipients.

Millennium Lenses BioMass Millennium Communications, Inc. documented a variety of events at the BIO International Convention in May. The convention was held at the Georgia World Congress Center and is the largest global event for the biotechnology industry. Sir Elton John and two U.S. senators addressed more than 3,000 global attendees on the HIV/AIDS epidemic. Presenters focused on the relationship of the biosciences to disease prevention.

John Elliott, director of photography, coordinated the technical and creative aspects, as well as on-site 16:9 HD video editing of press conferences and location interviews. Millennium’s location team also included Steven Panayioto, videographer, and Andrew Tucciarone, audio recording.

Clients and Millennium team members uplinked daily transmissions to Australia at Crawford Communications. The national television audience abroad was interested in the new $230 million Biosciences Research Centre, a world-class centre for agricultural biosciences research and development in Australia. Most of the video segments will also be Millennium Communications’ Bio 2009 video repurposed on key internet production team: Andrew Tucciarone, John Elliott business and scientific sites. and Steven Panayioto

Spitfire Shifts for EA Spitfire Studios, in association with Electronic Arts, has released the Need For Speed SHIFT Driver Profile Films, promoting the next generation of the racing game franchise. Working with creative director Rod Chong and producer Elin Anderson of EA’s Blackbox Studios in Vancouver, BC, the Spitfire crew covered 15 days of location shooting around the globe, chasing some of the biggest names in professional racing.

Helmed by Spitfire’s director/DP Tripp Rhame, the four unique films profile different racing disciplines and mental strategies, slamming the viewer into the driver’s seat to experience the action firsthand. Spitfire’s technical director, Tom Hamilton, provided innovative camera rigs by mounting cameras both in and outside the vehicles traveling at speeds up to 150 miles per hour. Multiple formats shooting trackside are intercut with the running footage and woven together with in-depth interviews conveying the driver’s passion and skill behind the wheel. Spitfire’s Mark Apen and Beth Marshall produced the films.

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e d a M : a i g r o e G 70 OZ cetERA

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The

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By Michael Clark

Announcing, with tongue firmly planted in cheek, the long-awaited

remake of “The Wizard of Oz.” Financed, produced, cast, crewed and posted completely and wholly in Georgia.

Is it possible to determine “the greatest movie of all-time?” Like any artistic medium, films are highly subjective and open to interpretation.

What one loves another may despise. On the fan-based movie Web site, imdb.com, “The Shawshank Redemption” is currently ranked at #1, but it doesn’t even appear in the top 100 on the critic’s forum site, rottentomatoes.com.

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Who is qualified to say what’s “best?” What does best even mean? For a moment, let’s ignore the fans and critics and say the American Film Institute’s (AFI) top 100 titles is the most accurate cinematic quality barometer. The current AFI top five are: 1) “Citizen Kane” 2) “The Godfather” 3) “Casablanca” 4) “Raging Bull” and 5) “Singin’ in the Rain.” Not a sinker in the bunch. Every last one of them is an

undeniable classic. Distinct in their own way, they do have one thing in common: extremely limited audience appeal.

Think about it. Besides hard-core movie fans, how many living people have actually seen “Citizen Kane?” More folks have watched “The Godfather” and “Raging Bull,” but a lot never will because of their violence. “Casablanca” is popular mostly amongst romance and Bogart fans.

between the lyrics and the live action taking modern audiences have become jaded. You’d still need to keep the lighter, ‘lemon drop’ place on the screen. This mini-phenomenon became so popular that Wikipedia.org now songs in order to offset the darker material.”

Klimchak’s most vivid memory of the movie has an entire subject page dedicated to it was what you might expect from someone who (“Dark Side of the Rainbow”).

Since the release of “Oz” in 1939, there has was five at the time. “When I first watched it, the first appearance of the Wicked Witch been a sequel (“Return to Oz,” 1985) and a remake (“The Wiz,” 1978). Both were monumental frightened me so much, my parents turned off the TV. My opinion of the film is still tainted critical and box-office failures. While no studio chief would seriously consider another remake, by the terror of that character.”

Composer Eddie Horst’s connection to the many members the of the Georgia creative film goes back a few years as well. “I gave a community voiced boundless enthusiasm when approached with a novel speech while in Chicago about the career of [“Oz” film composer] Harold Arlen. I can’t see “what if” scenario. changing the score. It was so perfect for the If someone, somewhere , somewhere green-lit another “Oz” time. If however, you set a new version in the green-lit another “Oz” remake remake that would be produced and crewed completely that would be produced and present, I’d go the Hip-Hip route. The upbeat in Georgia, would they be interested in participating and crewed completely in Georgia, nature of those original songs would lend themselves well to Hip-Hop. For the score, would they be interested in how might they use their specific creative discipline participating and how might something along the lines of what Danny Elfman they use their specific creative did in ‘Beetlejuice’ could be fitting. It’s angular before, during and after its production? discipline before, during and after and spooky but still bright and up-tempo.”

There isn’t a discipline or technical aspect its production?

“The Wizard of Oz” has almost everything: Atlanta composer Klimchak was specific involved in the making of “Oz” that wasn’t key humor, drama, terror, adventure, fantasy, to its success but special effects are what so and immediate with his musical suggestions. heartbreak and redemption. Those who can’t many people - particularly those in the creative even speak English love it. There’s just enough “I’d use lots of theremin, waterphone, handcommunity - remember. Even though CGI made percussion and assorted creepy devices song and dance to satisfy musical lovers but (computer generated images) is the overto pump up the intensity of Dorothy visiting not enough to alienate the majority of us whelming choice for who don’t. Ah, but what about today’s filmmakers, romantic angle? Technically, would it be such a there is no romance, but there is great idea for a plenty of bromance. Judd Apanew “Oz?” tow didn’t invent bromance . . .

Mechanical efit was L. Frank Baum. fects specialist David At #1 on AFI’s movie song list Fletcher thinks not. is “Over the Rainbow,” one of the “A lot of directors are most covered songs of all time. trying to go back to Before its release, producer realism and avoid CGI Melvyn LeRoy actually cut Judy whenever possible. A Garland’s performance of the lot of visual effects, song from the film, claiming it especially fire and prolonged the opening Kansas explosions, are segment. What would the movie extremely transparent. be now without that classic song?

I was in theater recently The movie’s impact on popular and sat in front of culture cannot be over-stated, some kids, and they particularly in pop music. Consider knew. They’d point Elton John’s “Goodbye Yellow at the screen and say Brick Road” and America’s “Tin ‘real, fake, fake, real, Man.” There’s a band named Above: Bill “Splat” Johnson of Lone Wolf Special Effects created this reimagined, Steam Punk-inspired fake.’ They could spot “Kansas” and another called Tin Man for a short film project with Whitestone Pictures. everything immediately.”

“Toto.”The Electric Light Orchestra Bill “Splat” Johnson of Lone Wolf Special used a still image from the film on the cover a strange, often nightmarish land. I play ‘Over Effects is currently involved in an “Oz” related the Rainbow’ on theremin as one of my regular of their “Eldorado” album. project of his own. “I’m in the process of warm-up exercises. It sounds alternatively Perhaps the most bizarre musical connection designing a Tin Man for a revision short film wistful and odd. I’d like to capture what I felt to the movie is Pink Floyd’s “Dark Side of the that’s just started pre-production. It’s being the first time I saw it as a child. Of course, the Moon.” Someone with too much time on their shepherded by Whitestone Motion Pictures, hands played the album (twice) while watching fear factor in a new version would have to be a high-end video company. This Tin Man is more pronounced than in the original because the film and made close to 100 connections “Singin’ in the Rain” is a musical, a genre only slightly more popular than documentaries.

With the exception of “The Godfather,” few garden-variety teenagers (the most desirable movie studio demographic) would get near any of these films.

If considering universal appeal – a movie that could be watched by children, most teens and adults – in addition to quality and staying power, there is one movie that towers above all the rest. That would be “The Wizard of Oz,” currently #10 on the AFI list.

If someone

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OZ cOLUMN likely to be a CGI creation or puppet because certain parts of his body will be missing or see-through. It’s created in a style sometimes referred to as ‘Steam Punk’ – Victorian-era with a Jules Verne influence, early 1900s and set in a place that’s not Earth - which details the origin of the character. I’m toying with the idea of adding smokestacks and making him steam-powered. The film ends with him meeting Dorothy.”

When it comes to movie animals, few are as memorable as Cairn terrier Toto. As different as it wanted to be, “The Wiz” didn’t take a huge chance on its Toto, and a Border terrier played Toto in that film. Should modern filmmakers stick with terriers when choosing Dorothy’s loyal canine companion?

Greg Tresan of Atlanta Dogworks Talent & Wrangling would go that route. “I have a rough-coated Jack Russell terrier that would make a great Toto. The Russell is a little scrappier than the Cairn but is still appropriate. If the Elvira Gulch character is still going to be putting him in a bike basket and Dorothy will be carrying him in her arms, you’d probably have to keep Toto on the small side. If size wasn’t an issue, I might go with a Border collie. They’re gorgeous and very easy to train.”

What about the flying monkeys? Tresan doesn’t pause a second on the monkey issue.

“I think you’d have to go animatronic and/or CGI for the monkeys. In the original, they cast people to play the monkeys and they had a distinct, sinister look. Today you could get a real monkey to appear to be flying but it might look a lot like that old ‘Lancelot Link’ show . . . and not in a good way. When people come to me asking for primates, I refer them to other wranglers. They’re intense animals and they can mess you up quick. Do you remember the scene in the movie where the monkeys attacked the Scarecrow, Tin Man and Lion in the forest? That scene alone would require you to go animatronic. That was by far the scariest part of the film for me.”

Despite being given the restriction of considering only Georgia actors, Sindy Schneider of BlocSouth was still able to come up with some impressive choices. “I see Tyler Perry as the Lion – he would be amazing. He’s a big man and could lend the character the kind of vulnerability it requires. For Dorothy, my first pick would be Brittany Murphy, but I would be happy with Dakota Fanning or even Raven Symone. Because he can sing, dance and act, Usher would be an ideal Scarecrow. For the Tin Man I’d lean towards Laurence Fishburne.

He can do stiff, and that character is kind of uptight. Whitney Houston would be my pick 22

OZ MAGAZINE www.ozonline.tv

for the Wicked Witch. And for the Good Witch Glinda, Kim Basinger.” Placing tongue firmly in cheek, Schneider announces her choice for the title character. “Jeff Foxworthy - he’d bring a great kind of loopy southern energy to the wizard.”

When asked to offer their choices for possible new time frames, almost everyone chose present day or sometime in the future. Everyone, that is, except make-up artist Sarah Mays who offered a unique perspective. “What if they set it in the ‘60s? You know, give it a little ‘Hair’ or hippie vibe. You could do a lot with make-up, wigs and wardrobe. The collaborative process on something like that would be incredible!”

Make-up artist Andre Freitas made a suggestion that might not be something most would initially think about, but one that makes perfect sense. “I would incorporate some of the make-up techniques that were used in the two ‘Narnia’ movies. The animal characters in those films look more authentic than those in ‘Oz’ without sacrificing the human elements. ‘Oz’ is such a great story. You can take it in a lot of different directions. If you ever get a chance, check out Todd McFarlane’s ‘Twisted Oz’ series of toys. His Dorothy was a stripper, the Tin Man was a war robot and the Lion looked like a werewolf.”

Like Freitas, costume designer Jennifer Dryden imagined opposing creative options.

“For me, as a designer, it was always about the ruby slippers. If I were involved in a straight remake, I’d leave everything intact – all of those costumes are so iconic. I’d try to stick as closely as possible to the original designs, but would update the textiles. If it was set in contemporary Georgia, I would model it after Atlanta residents. I see Dorothy’s travelling companions in high-end Hip-Hop garb. If it was in the future, I’d model the design on scifi stuff like ‘The Chronicles of Riddick’ or ‘The Matrix’ for the Kansas opening and ‘The Fifth Element’ for the dreamy Oz segments. I could see the guards in the witch’s castle resembling the masked party-goers in ‘Eyes Wide Shut.’

The more adult the content, the more artistic license there could be.”

Firmly against a traditional remake, art director Eloise Stammerjohn would be keen on a re-imagining. “I could see something based on Gregory Maguire’s ‘The Wicked Years.’ In those books, Oz is uniquely darker yet still recognizable. In Georgia, we could easily find the desolation of Kansas as well

as Oz. Callaway Gardens would make for a great starting point. ‘Lord of the Rings’ used the topography of New Zealand and then augmented it in post production to look like Middle Earth. We could certainly do the same thing in Georgia with Oz.” Former Georgia Film Office Director and location scout Norm Bielowicz picks up where Stammerjohn left off. “For Kansas, go south of Macon. For the transitional segments on the way to Oz, go to the north Georgia mountains; Dahlonega or the Clayton area. Not to be too obvious or cliché, but the skyline of Atlanta would be perfect as the backdrop for the Emerald City with the Bank of America building being the centerpiece. The Boulevard Street and Jackson Street Bridges would also provide excellent transitional springboards.”

“I see Tyler Perry as the Lion – he would be amazing. He’s a big man and could lend the character the kind of vulnerability it requires.

For Dorothy, my first pick would be Brittany Murphy, but I would be happy with Dakota Fanning or even Raven Symone. Because he can sing, dance and act, Usher would be an ideal Scarecrow.” - Sindy Schneider When queried about his favorite scene from the original film, production designer John Thigpen of On the Scene Design couldn’t pick just one but did offer a take anyone over the age of 30 would likely agree with. “When I was growing up, there was no video or cable TV. You could only see ‘Oz’ on broadcast TV once a year, and it was the kind of event people looked forward to for months.”

There’s something in “The Wizard of Oz” film that many people under the age of 30 might not like: The opening black & white (actually sepia) sequence. Would mainstream audiences be able to tolerate 20 minutes of black & white live action before the color kicks in? Thigpen takes a moment before replying. “If it’s a modern update and not just a remake, you could apply a heavy monochromatic palate and keep the visuals dulled. It technically wouldn’t be black & white, but it could still achieve the desired effect.”

Scott Tigchelaar is the CEO of Riverwood Studios in Senoia, perhaps the only featureready sound stage in Georgia. He offers a professional tie-in to one of his childhood memories. “That part where they sang ‘Ding-

Our Panel

Clockwise above: Klimchak, Eddie Horst, David Fletcher, Bill “Splat” Johnson, Greg Tresan, Sindy Schneider, Andre Freitas, Norm Bielowicz, Eloise Stammerjohn, Matthew McCarthy, Jim Bowhall, John Thigpen and Mike Tremble Not Pictured: Sarah Mays, Jennifer Dryden and Larry Robertson. Photo of Klimchak courtesy of Bill DeLoach for GA Shakespeare. with a difficult client, we quote that line to each other. I think doing a straight remake might be a bad idea but of lot of parents would take their children to see it for nostalgic reasons and could shy away from it if it was too edgy.”

On the possible level of intensity in a remake, Bielowicz offers sage advice. “The younger demographic can’t be ignored. You have to make a movie that will appeal to children. When I saw it as a child, the landscape of film was different. It scared you but it wasn’t damaging. Baum wrote the book for kids.

Children today see a lot more than we ever did. As long as you keep it within the realm of fantasy and don’t make it too close to real life, you’re good to go.”

Whatever the setting, time frame or alternate approach to the story, photographing a new version of “Oz” might just provide its most critical component.

Director of photography Matthew MacCarthy is quite sure modern technology would not be advisable. “That was one of the first movies to feature the Technicolor three-dye transfer process - three separate prints, one each of the primary colors which resulted in an over-the-top color saturation. That’s what made the switch-over from black & white to color so memorable. Considering when it was made, the visual quality for that film was incredible. My biggest concern on shooting digitally is with quality and there isn’t a digital camera on the market – or on the horizon that can come close to capturing the same amount of data as traditional film.” MacCarthy continues, “Two of the biggest box-office performers of the last two years, ‘The Dark Night’ and ‘Transformers 2,’ were shot mostly on anamorphic-35mm with IMAX supplements.

If I were shooting a remake of ‘Oz,’ I’d do it on 35mm reversal film. You’d roughly get the same original color saturation.”

Director of photography Larry Robertson offers another perspective. “Shooting two or three strips of film through one camera was hugely cumbersome. That’s why it’s not done anymore. I’d go digital and retouch it in post production. You can still get the desired depth of field with proper lens technology and lighting. ‘Oz’ was a film that was filmed in relatively small spaces.”

The opinion of Crawford Post Production creative director Jim Bowhall lands somewhere in-between the two DP’s and includes yet another interesting technical approach. “If it were modernized, I’d take a Peter Jackson approach. I appreciated what Jackson and Andy Serkis did with the Gollum character in ‘Lord of the Rings’ and could see using that same technique for the Scarecrow, the Lion and the Tin Man – motion captured actors with CGI post production.

I’d do something that looks like the new Prius commercial where the landscape is humans made to look like flowers and trees.

That would be a great way to portray the Munchkins. I’d fashion it in something along the lines of ‘What Dreams May Come’ with a rich, beautiful palate landscape. Being a film purist, I’d shoot everything on 70mm. Digital is OK for commercials, but feature films are called ‘feature’ for a reason. They need to be shot on film.”

Of all the memories shared by the creative professionals for this piece, Mike Tremble of Cinema Concepts could not pick one scene that stood out completely. Instead, he recalls something that even people who have watched the film dozens of times might not understand fully. “There’s a lot of stuff going down in that movie; the level of subtext is

enormous. I think that’s one of the reasons why it works so well and on so many different levels.”

The widespread and universal appeal of “The Wizard of Oz” flies in the face of practically every modern film industry convention. Another remake would probably make money and might even be good in its own way, but would it be any better or get as close to replacing the original in our collective souls or psyche?

“For me, as a designer, it was always about the ruby slippers. If I were involved in a straight remake, I’d leave everything intact – all of those costumes are so iconic. I’d try to stick as closely as possible to the original designs, but would update the textiles. If it was set in contemporary Georgia, I would model it after Atlanta residents.” - Jennifer Dryden Someone lacking a brain or a heart or a hint of courage . . . or even a girl who can’t quite find her way home . . . would probably say “no.” But the intrepid and talented production professionals in Georgia are ready to take on the greatest movie of all time.

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Cashing In: Tracking the economic impact of film, video and digital entertainment production since enacting Georgia’s production tax incentives by Bobby L. Hickman Design, Nicki Clark 24

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Georgia’s entertainment production

For the last fiscal year, Georgia:

industry just wrapped up a record year,

• Closed deals for 26 feature films. (Not all are in production yet.)

thanks largely to a new 30% tax credit that has fueled a boom in film, television and related areas. Professionals in all sectors of the industry are reporting full schedules and opportunities to work on high-profile projects.

• Produced 196 TV commercials, “down a little bit from the past but not much, maybe off by 12 to 18,” he said.

And the outlook for the next 12 months is even better.

Statewide, production hit an all-time record in fiscal year 20082009 according to Bill Thompson, deputy commissioner of the Georgia Department of Economic Development’s Film, Music and Digital Entertainment Office. Investment totaled $521 million in the 12-month period ended June 30, 2009, with an economic impact of $929 million during that fiscal year. “We think in the next fiscal year, we have the potential to break that record as well,” he added.

• Hosted 36 other television-related projects, including series and reality shows.

• Produced 36 music videos, which is down about eight from a normal year.

Film and television series have a significant economic impact on communities in a variety of ways, Thompson said. “The Miley Cyrus project used 12,000 room-nights over the 90-plus days of shooting,” he said. “These people have to eat and rent cars and get their hair cut and buy clothes and groceries.” While in the past most of the Georgia film activity was centered around Atlanta and Savannah, Thompson noted, some small towns “are seeing production in their areas for the first time.”

Tax incentives aside, Georgia’s talent pool and production infrastructure have drawn filmmakers for decades. “We’ve been at this in a big way since 1972,” Thompson said. “Even during times when we might not have been as competitive, we have maintained our baseline infrastructure and talent pool. We’re not starting from scratch here; we’re a mature industry state.” During cycles when films and television shows were slow, he said, commercials and music videos provided “a steady churn of production that kept the vendors and that talent pool in place.” During the current boom, he added, “That pool is growing; vendors are expanding their operations and hiring more people.”

Much of the media focus has been on filmed entertainment – particularly the “Miley Cyrus” effect, a reference to Georgia stealing the Disney film, “The Last Song,” away from long-time rival North Carolina.

“The producers told us they are thrilled with the locale, which was mostly on Tybee Island,” Thompson noted. “They said they are happy they moved to Georgia.”

Disney and Warner Brothers are “two of our most frequent customers,” Thompson said. Warner Brothers has three new projects underway in Georgia. One is the feature film, “Life As We Know It,” based in Norcross. The other two are television series: “Vampire Diaries” and “Past Life,” also based in the metro area. “Vampire Diaries” began shooting in early summer and will last about nine months – or even longer if the show is picked up for additional seasons. “The average successful TV series lasts seven years,” Thompson said, “similar to the seven years that ‘In the Heat of the Night’ was here. So we’re hoping these two series will have a long life in Georgia.”

The state office is also talking to “five or six independent feature films,” Thompson said, and “we’re still in the hunt for another four to five studio films.” Production on some projects has been “pushed out a little,” he said, “but we’re still hoping we’ll close the deals.” One pending project is the remake of “Footloose” which could begin by late winter or early spring. “It’s still a moving target,” he noted, “but they keep saying they’re going to bring it here.”

Thompson agreed the recession has delayed some projects.

“Things are a little tighter than they were a year or two ago,” he said.

“But we believe all those projects will eventually get made . . . they’ll just be spread out a little bit.”

“We’re not starting from scratch here; we’re a mature industry state” Thompson said Georgia leaders are satisfied with the current incentive program, which he ranks in the top five among U.S. states. He does not expect significant changes. “We’re not the most competitive,” he said. “But with all the other attributes, our customers have told us that those factors [infrastructure, vendors and talent pool] are worth at least another 5% in incentives to them.” He said the 2008 incentives act was “well thought-out legislation. It was not trying to offer some ridiculous incentive level, but provide a very business-minded way to stimulate this particular set of industries.”

Production industry veterans agree: Business is booming.

Gary Duncan, Longshadow Productions “The incentives are working,” says Gary Duncan of Longshadow Productions, a company that provides picture cars, camera insert cars, vintage and modern vehicles to filmmakers across the country. “There are tons of projects coming into Atlanta, and we did several here over the past year.” He says Georgiabased equipment rental and production companies like his have seen significant increases since the tax incentives took effect in May 2008.

Duncan says Atlanta has had a strong www.ozonline.tv OZ MAGAZINE

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production infrastructure “since the

1970s and 1980s – the days of the Burt Reynolds and

Kenny Rogers films.” In addition to Atlanta’s position as a trans- portation hub, the region features a pool of technical talent, actors, equipment rental firms and film processing services. “A lot of people that took the gamble to create services that appeal to the production community,” he said. “Now, when you tie that into these incen tives – compared to all the other incentives that other states give you – we have a great package with everything that appeals to production companies.”

He expects the production boom “will go for a long time.” Even though other states will come up with better incentives, they don’t have the depth of the equipment rental houses or the technical crews or the actors Georgia offers. Tax breaks “don’t work so well if they have to bring everything and everybody in just to get the incentives,” he added.

year, and then their funding was pulled.” None of those features have gone away, Onsager notes. “They’re on pause until the venture capital comes back.”

Meanwhile, Onsager says commercial work “has definitely picked up. We’ve seen more national and international companies coming here to shoot more.” He said his firm has been involved in action-based commercials for Cartoon Network, Kimberly-Clark, the Georgia Lottery and others. Clients “are trying to get attention in the first 10 seconds of a commercial,” he said, “which usually means one of us is doing something crazy.”

Also as a result of the production activity, “You’ll get more talented crew members and technical people moving to Georgia and Atlanta,” Duncan said. “We have a major metropolitan city that is not overpriced like other cities. So you’ll have people relocate here, buy homes, and put the money they earn back into the community where they live.”

FPO

Gary Duncan

He adds, “I think the tax bill is working well. Unfortunately the bill came right in the middle of an economic recession, so we’ve seen less funding. The entertainment industry requires liquidity, and none of that is currently forthcoming.” Onsager feels “the long-term advantage of the tax incentive is going to be extremely positive, once liquidity in the funding markets comes back.”

Overall “it’s been a good year for us, and we think it will continue next year,” Onsager said. He has 24 contractors on his team, and last year the company moved from a 4,000-square-foot facility to one spanning 12,000 square feet.

Onsager also says he is beginning to see the Southeastern region come together more often on productions. For example, his company used to be called into projects based in New Orleans where most of the work was done in Louisiana. Now, companies shoot locations in New Orleans but do much of the studio work in Atlanta because “there’s a lot more studio space here. We’re the largest city in the region. We’re close to — if not surpassing — North Carolina, the other big film capital in the South, on space.”

Hank Van Apeldoorn, transportation

Nils Onsager, Black Knight Stunts “We’ve seen business pick up, but the recession has adversely affected it as well,” said Nils Onsager of Black Night Stunts. “We’ve had projects – right before green light – get pulled because of funding.” On one hand, his company has done more films, including “Zombieland” and “The Crazies.” “On the other, we had four that were set to shoot this 26

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“Things have definitely picked up tremendously in Georgia,” said Hank Van Apeldoorn, who works in transportation. He said Georgia’s previous tax incentives “just weren’t up to par with some of the other states, particularly Louisiana and New Mexico.” By the end of 2003, Van Apeldoorn had found little work in Georgia so he went on the road.

He worked out of state for several years through the spring of 2008.

“Then I started getting work in Georgia,” including a TV pilot and one feature film in late 2008. This year, he did three features back to back in Georgia: “Zombieland,” “Blind Side” and “The Last Song.” At press time,

he was expecting to work on “Life As We Know It” through Christmas.

“So, I’m booked for the year in Georgia.”

“Things have definitely picked up tremendously in Georgia” Van Apeldoorn believes the Georgia boom “will keep going until somebody comes up with a better incentive or there’s another factor that is more advantageous than what we have – although we have a pretty darn good one right now.” He has often worked in Shreveport and understands Louisiana is currently tweaking their incentive package. “If you check where all the work is and compare that to their tax incentive bills, you’ll find there are probably four areas – Louisiana, New Mexico, most of New England and Georgia, that have all the work.” Van Apeldoorn says there are advantages to working on the road and in Georgia. “It’s more convenient working close to home, but you also get opportunities to do other things on the road.”

Says Van Apeldoorn, “this wbusiness is always feast or famine. There are so many shows in town right now and not enough people to crew them. A few years ago we had people doing home remodeling and whatever they could do to pay their mortgage.”

Alan Rawlins, Gentleman Grips

a couple of trucks for the “Past Life” TV series. He adds, “The incentives absolutely have helped me out and I hope it keeps going.”

Colt Logan, sound “Business has been good for me,” said Colt Logan of Winder, a freelance boom operator and utility sound professional. Logan says, “I’ve been fortunate that I haven’t had a lot of problems getting work, but a lot of people have seen difficulties, so it’s definitely a good thing.” The tax incentives mean “there is a lot of stuff going on in the area,” which gives him and others “a lot more opportunities to pick and choose.”

Logan’s work with Tyler Perry Studios keeps him busy most of the time. “Still, it’s nice to have a lot of things coming into the area and to have other options.” He worked on three movies over the past six months, including “Five Killers,” shot in Atlanta and starring Ashton Kutcher and Katherine Heigl. “It’s just been amazing.”

For the rest of 2009, Logan will “be doing a lot of sitcom work with Tyler Perry,” including “House of Payne” and “Meet the Browns.” He notes that the tax incentives and the resulting production uptick “have made a lot of difference for the film community.” •

Alan Rawlins of Gentleman Grips in Macon has seen the incentives draw new projects and “work has picked up for everybody.” He says his company has grown, adding “a couple of trucks to my stable.” He now has four 40-foot trucks, two grip packages and a second Phoenix camera crane, “so I can supply two features at the same time.”

Rawlins has worked in other locales, but more Georgia productions “means more work here at home.”

He describes himself as “pretty much a feature creature,” and he will be working on the Warner Brothers film, “Life As We Know It.” He also rented www.ozonline.tv OZ MAGAZINE

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A New Contract Brings Peace In Front of the Camera

By Jon Lee Andersen

A

couple of months ago, the Joint Policy Committee on Broadcast Talent Union Relations (JPC) of the Association of National Advertisers (ANA) and the American Association of Advertising Agencies (AAAA) finalized their negotiations with the Screen Actors Guild (SAG) and the American Federation of Television and Radio Artists (AFTRA) for a three-year extension of an agreement (the “Agreement”) governing payment and other terms for performers in television and radio commercials. I thought it might be worthwhile to note some of the significant changes in the new Agreement for those readers involved with the production of TV commercials (I am going to omit the radio part).

For starters, the Agreement became effective on April 1, 2009 and runs through March 31, 2012 or until terminated by one party or the other. It applies to commercials made on or after that date, to new or revised commercials produced under earlier agreements that are integrated after April 1, and to all commercials that are edited and aired after April 1.

For performers, the chief benefit of the new Agreement is an increase in rates for their work, an increase SAG described as 5.1%. It also calls for increased contributions for pension & health benefits.

The new pension & health rate is 15.5% of compensation.

For advertisers, the new Agreement provides some changes that could prove to be economically beneficial. For example, in commercials involving employees of the advertiser, the employees can now be exempted from the terms of the Agreement even if the shoot takes place outside their usual place of business, if the change in location was necessitated because it would be unusually difficult, disruptive or unsafe to do the filming at the place of business. Subject to

“ For performers the chief benefit the new Agreement provides is for an increase in rates for their work and an increase in the contributions for Pension & Health benefits. ”

certain limiting parameters, employees may also be directed to speak dialog for these commercials. Another change benefitting advertisers and producers concerns the use of executive officers of a company.

Chief executive officers, chairmen of the board or presidents can now appear in commercials and not be subject to the terms of the Agreement. Before they were limited to “institutional messages.” There is also a new provision, which won’t become effective until January 1, 2012, which will cap the pension & health contributions for any performer who earns more than $1,000,000 in a single year.

Among other new features: Producers of commercials made for the internet or “new media” are now required to make every effort to advise performers, at the time of audition and hire, of the anticipated number of commercials and their intended use. However, until March 31, 2011, free bargaining with performers still remains for commercials “made for” internet or new media usage. New media includes digital, electronic or any other type of delivery platform, including mobile phones and other electronic media whether now known or unknown.

A final note on the added expense side. Advertisers who are JPC authorizers or who use advertising agencies who are JPC authorizers will now be required to pay a $75.00 fee per commercial to support the work of the JPC. There are many other changes, too numerous to cover here, which will significantly affect the production and running of commercials, whether in TV, the internet or in new media. Agencies and commercial production companies should, of course, get familiar with the new Agreement as soon as possible.

In shorthand, the Agreement works this way: One actress was pretty; the other was a hag.

One made you smile, the other made you gag.

But after the shoot, When it came to the loot, They both got the same, thanks to SAG.

© July 2009 Jon Lee Andersen All Rights Reserved 28

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Celebrating 25 years

by Kime Harless

V

VCS features a Teranex VC100 and a Sony SRW5000 High Definition Suite. Photos by John Heredia.

ideo Copy Services (VCS) celebrated its 25th

was expanding, and they wanted to sell Video

couldn’t refuse.” VCS is now located in the

anniversary in July. What started as a company

Copy Services because it was smaller. “I ran

DeKalb Technology Center near Spaghetti

that produced copies of VHS and Betamax

Technical Industries for them as Chief Opera-

Junction off of I-85. A number of reasons went

tapes has transformed into more than a dub

tion Officer for a few years and they knew I

into selecting the new location. First, Helms

house. VCS offers four different HiDef formats,

wanted to come back from Texas,” said Helms.

and VCS wanted to find a location that would

the ability to author Blu-ray, and continually

“So, I visited them one day and they said,

already be built out. VCS also partners with an

expands its offerings.

‘How’d you like to buy a dub house?’ and I said,

organization in Stone Mountain called DeKalb

VCS opened in July of 1984 as a company

‘What’s a dub house?’ Literally, I had no idea.

Enterprises to employ special needs people to

that “mostly served corporate accounts like

Next thing you know, I bought it strictly be-

do packaging. To qualify for the program, the

Delta and Coca-Cola with marketing tapes for

cause I knew them and they wanted to sell it.”

business needed to stay within DeKalb County

different departments and clients,” said Trish

Helms partnered with then president of

Thompson, director of business development.

VCS, Tim Harris. They bought it and ran it to-

The new location is much larger and more

Thompson has worked at VCS off and on since

gether until Harris retired in 1999. Helms then

accessible. The North Druid Hills location was

1989. “I started out doing a lot of packaging

partnered with Judd Wesley and began ex-

an office space. Helms said if the crew needed

work and then went into the more technical

ploring digital encoding in addition to DVD

to bring in inventory, there was no loading

end of it in duplication.”

authoring and duplication. Wesley resigned in

dock, just a small office door in the back of the

2007, leaving Helms as the sole owner of VCS.

building. “It was not conducive for what we

George Helms, the current owner of VCS,

limits.

were trying to do with packaging and stock-

bought the business in September of 1997

Until 2000, VCS was located near North Dru-

from then owners Sonny Davis and Ed Mat-

id Hills and I-85. Says Thompson, “Children’s

thews. Davis and Matthews also owned Tech-

Healthcare took over that whole complex on

Things haven’t always been easy for Helms

nical Industries of Atlanta. Technical Industries

North Druid Hills. They made us an offer we

and VCS. The company was the primary pro-

30

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ing inventory,” said Helms.

vider for Delta for eight to ten years. Helms

What’s in store for VCS? Helms says they will

says VCS used to run a dedicated shift every

continue expanding their digital offerings, on-

Sunday night, and they would need to have

line delivery and HiDef services. “The nature of

the job done by seven o’clock Monday morn-

the business, when it goes digital, is such that

ing for a Delta employee to pick up. “Over-

you do have to get into certain aspects of ed-

night [Delta] decided to run it in New York

iting. A lot of people come in and want their

with someone that had the rights to produce

files encoded digitally. They might want it in

their [in-flight] movies so that they could in-

a format so that they can edit, so they might

tegrate it all together. They pulled the plug

need it in an Apple ProRes. Well, you need an

on us at the same time we were getting ready

Apple editing system that produces that co-

to move,” said Helms. It caused a spiral. Sev-

dec. So it necessitates putting in small edit

eral other back-to-back events made the early

suites that let you encode it,” said Helms. VCS

2000s very difficult. But, VCS recovered. They

will be moving into some editing in the near

eventually won a bid to become Turner’s in-

future. They will be able to provide simple cuts

house duplication provider.

and may even rent out their edit suites.

“I think that Turner chose us because we

But as Helms says, “We’re not really getting

were small and had just a few points of con-

into the production business, that’s not our

tact. We just kind of won them over with good

thing. You go shoot it and produce it and we’ll

customer service,” said Thompson. To win the

help you get it where and how you need it.”

Turner bid, Helms focused on the customer service angle: “We went in and said we under-

George Helms, owner and President, Video Copy Services.

Congratulations, and here’s to another 25 years for Video Copy Services!

stand the broadcast industry. We understand it’s onesies, twosies, it’s quality, it’s custom service…Our published hours are 8:30-5:30, but if you come here any Saturday or Sunday, someone’s in here running a job.”

Helms’ flexible nature goes over well with his co-workers too. “All of us agree at Video Copy that he’s a great guy to work for, and we

The way we were: Video Copy Services duplication rooms were VHS and Beta friendly. (Photo courtesy of Video Copy Services)

Trish Thompson, director of business development, Video Copy Services.

really enjoy our time there. It’s a fun place to work. He is laid back and just works with us and lets us have a flexible schedule which

Video Copy Services has two locations: DeKalb Technology Center and inside Turner Studios.

makes us work harder for him,” said Thompson.

VCS maintains success now because Helms moves with current technology. “The prior company and management would wait until [technology] was out for a year or two and were safe with it, but I always felt you’d lose clients that way. They are going to go to someone else, and once they do, they are just going to stay with them. So, we’ve actually done it the other way. We’ve become early adopters,” states Helms. VCS was one of the first duplication houses in the area to offer HiDef duplication and Blu-ray technology.

According to Helms, eventually everything will be done digitally. “There are still a lot of complexities because as [technology] moves into HiDef it’s interestingly enough moving back, in the short term, more towards video tape. The bandwidth requirement for HiDef is so great that you can’t send it the way you can send a simple file in standard definition. The file sizes are astronomical.”

The way we are: CDs and BlueRay have revolutionized copying and storage.

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DISTRIBUTION PARTNERS The Art Institute of Atlanta p. 800 275 4242 www.aia.aii.edu

Borders-Parkway Point p. 770 396 0004 www.bordersstores.com

Atlanta CAD Services p. 770 368 8704 www.atlantacad.com

Brewhouse Café p. 404 525 7799 www.brewhousecafe.com

American Intercontinental University-Buckhead p. 800 955 2120 www.aiubuckhead.com

Callanwolde Fine Arts Center p. 404 872 5338 www.callanwolde.org

American Interncontinental University-Dunwoody p. 800 275 4242 www.dunwoodyaiuniv.edu Atkins Park-Virginia Highlands Location p. 404 876 7249 www.atkinspark.com Binders Art Supplies & Frames p. 404 237 6331 www.bindersart.com Borders-Dunwoody p. 770 612 0490 www.bordersstores.com

Center for Puppetry Arts p. 404 881 5143 www.puppet.org Chocolaté-Shallowford Rd. p. 404 321 0174 www.mychocolatecoffee.com Chocolaté-N Decatur Rd. p. 404 982 0790 www.mychocolatecoffee.com Connecticut School of Broadcast, Atlanta p. 770 522 8803 www.gocsb.com E-Six Lab p. 404 885 1293 www.e-sixlab.com

Everybody’s Pizza p. 404-377-7766

Georgia State University www.gsu.edu IMAGE Film & Video Center p. 404 352 4225 www.imagefv.org Imagers p. 404 351 5800 www.imagers.com Java Monkey p. 404 378 5002 205 E Ponce De Leon Ave #5 Decatur, GA 30030 www. javamonkeydecatur. com King Plow Arts Center p. 404 885 9933 www.aia.aii.edu Manuel’s Tavern p. 404 521 2466 www.manuelstavern.com Meteor p. 404 870 6112 www.mtr2.com

ASSOCIATION PARTNERS Advertising Photographers of America Atlanta Chapter (APA/A) www.atlanta.apanational.com American Institute of Graphic Arts (AIGA) Atlanta www.aiga.org American Marketing Association Atlanta Chapter www.ama-atlanta.com American Society of Media Photographers (ASMP) www.asmatlanta.org

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Atlanta Interactive Marketing Association (AIMA) www.atlantaima.org Atlanta AD Club www.atlantaadclub.com Atlanta Macintosh Users Group (AMUG) www.amugonline.com Media Communications Association International Atlanta (MCAI) www.mcaiatlanta.org Business Marketing Association Atlanta Chapter www.bmaatlanta.com

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Movies Worth Seeing p. 404 892 1802 Octane Coffee Bar & Lounge p. 404 815 9886 1009 Mariette St NW Atlanta, GA 30318 www.octanecoffee.com Pearl Art & Craft Supply p. 404 233 9400 www.pearlpaint.com Portfolio Center p. 404 351 5055 www.portfoliocenter.com Professional Photo Resources p. 404 885 1885 www.ppratlanta.com Retrotechs p. 404 352 6210 www.retrotechs.com Sam Ash p. 800 472 6274 www.samash.com

Showcase p. 800 886 1976 www.showcaseinc.com Southern Dairies Building p. 404 601 9500 621 North Avenue Tape Warehouse p. 770 458 1679 www.tapewarehouse.com 11:11 Teahouse p. 404 521 1911 753 Edgewood Ave NE Thinking Man’s Tavern p. 404 370 1717 www.thinkingmantavern.com Utrecht Art Supplies p. 404 347 3113 www.utrechtart.com/stores Winter Properties p. 404 223 5015 www.winterconst.com

Sam Flax p. 404 352 7220 www.samflaxsouth.com

The Direct Marketing Association (DMA Atlanta) www.dma-atlanta.com The Freelance Forum www.freelanceforum.org Georgia Production Partnership www.georgiaproduction.org The Interactive Media Alliance (TIMA) www.tima.org The National Academy of Television Arts & Sciences (NATAS) Atlanta Chapter www.natassoutheast.tv

The National Academy of Television Arts & Sciences (NATAS) Atlanta Chapter www.natassoutheast.tv Public Relations Society of America-Georgia Chapter www.prsageorgia.org Society for Technical Communication (STC) Atlanta Chapter www.stcatlanta.org Women In Film/Atlanta www.wifa.org

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