Oz Magazine Feb/March 2013

film & tv • print • new media • lifestylefeb/march 2013

Live Streaming: The Next Seismic Shift, p. 22 Greening the Set, p. 34

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HAVE YOUR PEOPLE

CALL OUR PEOPLE*

*please

The Georgia Film & Television Sourcebook is filled with highly skilled entertainment industry personnel and scores of local vendors, so for cryin’ out loud, at least give them a call.**

**thanks

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OZ M A G A Z I N E S TA F FPublishers: Tia Powell - Group Publisher, Gary Wayne Powell - Publisher

Mukari Butler - Assistant to Group Publisher

Editorial: Gary Powell - Ozcetera Editor Elizabeth Carter - Research

Contributors: John Kabashinski, Andrew Duncan, Diane Lasek, Monique McGlockton

Sales: Diane Lasek, Monique McGlockton

IT/Database Administrator: John Cleveland Sherman, III Design: Christina Wingfield - Designer

Sarah Medina - Production Artist & DesignerRositsa Germanova - Production Artist & Designer

Ted Fabella, Logo Design

I N T h I S I S S u E

C O Lu M N SOzcetera p. 8

Behind the Camera w/ Drewprops - Give Me the Barrel! p. 32

Voices p. 40

Oz Scene - Georgia Entertainment GALA p. 42

How I Got into the Business p. 46

Let Me Give You My Card p. 49

Ad Campaigns p. 50

FEb/MArCh 2013

F E A T u r E SCover Story - Live Streaming, The Next Seismic Shift p. 22

Feature Story - Greening the Set p. 34

22

Visit us on the web at www.ozmagazine.com, www.ozonline.tv, www.facebook.com/ozpublishingOz Magazine is published bi-monthly by Oz Publishing, Inc • 2566 Shallowford Road • #302, Suite 104 • Atlanta, GA 30345 • (404) 633-1779Copyright 2013 Oz Publishing Incorporated, all rights reserved. Reproductions in whole or in part without express written permission of the publisher is strictly prohibited. This magazine is printed on recyclable paper.

C O V E r A r T Bill Mayer, 2013

www.thebillmayer.com

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C O N T r I b u T O r S

Andrew Duncan, known in the motion picture industry as “Drewprops”, has been writing about the craft of fi lmmaking from the inside out since the mid-1990’s. His confusing and often embarrassing stories from behind the scenes provide a unique insight into the craft of filmmaking from the perspective of the shooting crew, artists, and designers who bring your favorite films to life on the big screen. www.drewprops.comBehind the Camera w/ Drewprops, p. 32

There are times when a man has to step forward to do what’s right, and sometimes the right thing to do is to get weird. And sometimes the weird sticks around longer than it ought to. And sometimes it gets written down...

FLASHBACK : Saturday, December 8, 2001It was nearly midnight in the forsaken town of Crawfordville when a voice rang out in the chill November air:

I’m not sure where Jimmy went after his very �rst show, but he returned most unexpectedly two years later for the �lming of Sweet Home Alabama during a punch-drunk tour of Georgia, from Atlanta to Rome to Crawfordville… only this time Jimmy wasn’t there to make trouble, he was just having fun. Even better, the 1st AD on this new show (Louis) had an entirely di�erent reaction to Jimmy: he loved him.

By the time our crew had rolled into Crawfordville Louis would ask over channel one “Where is Jimmy?? I love Jimmy!! Jimmy, where are you?”. Sometimes Jimmy would reply, sometimes he wouldn’t. Some of the PAs on the crew had started doing their own versions of Jimmy, confusing things further and leading Louis to put out a bounty out for the true identity of Jimmy eventually leading back to that showdown in Crawfordville: the 1st AD of the movie calling Drewprops out on channel one for being Jimmy. My cover appeared to have been blown.

The following Tuesday our company had moved south of Craw-fordville to the taxidermy-enriched climes of Heavy’s BBQ and I went onto set to take something to my co-second, George Lee, who was preparing pink umbrellas for actress Jean Smart. I sat down on a bar stool next to Louis and before he could turn around I quietly issued a signal into my radio on channel four then quickly switched back to channel one, stealthily turned up the volume on the Walkie and placed the Walkie onto the bar, aimed toward Louis.

As soon as he turned and saw me sitting beside him Louis began grinning; his eyes twinkled with the satisfaction of a French revolutionary who’d just nabbed the Scarlet Pimpernel (or like Barney Fife after catching Goober jaywalking, for those of you whose knowledge of literature ended with the Illustrated Tale of Two Cities). I began to list the reasons that it just wasn’t possible for me to be Jimmy but Louis was having none of that, like Deputy Fife: he knew when he had his man.

That’s when channel one suddenly exploded into life with the unmistakable warbling of the real Jimmy, nattering on with some sort of gibberish about a completely needless lock-up inside the honeywagon.

“Jimmy’s in the poo-poo hut!!!”Louis’ satis�ed grin evaporated instantly into the most hysteri-cally shocked look I’ve ever seen on a 1st AD’s face. Everything Louis knew about the world had been turned upside down… he kept looking back and forth between his radio and me with his jaw wide open. With an air of righteous indignation I stood up and snarled, “See?? I told you I wasn’t Jimmy!”, before snatching my radio from the bar and stalking o� set.

“I know it was you, Fredo. You broke my heart.”

Our First Assistant Director, Louis D'Esposito, was quoting Michael Corleone over channel one and every time the process truck made a swing past the courthouse Louis would smile and point at me in a way which made it clear that I should not be surprised to discover a horse’s head tucked beneath the sheets of my hotel room.

This was of course entirely Jimmy’s fault; if I was going to �nish this picture in one piece I would have to take care of Jimmy permanently, which was going to be a bit of a problem since Jimmy only existed inside the Walkie-talkie.

What Louis didn’t know was that two years prior to this �lm I’d been on a big show where the 1st AD turned out to be a rotten bully to his own crew and was constantly berating and belittling them on channel one, which was embarrassing and unnecessary and didn’t sit right with the rest of the crew (but what could anybody do?). After one particularly scalding public outburst to one of his hardest working ADs I felt a twinge of rebellion stirring in my soul and from some-where deep within my psyche a fresh-faced PA named “Jimmy” sprang forth onto channel one, the realm of the 1st AD.

Jimmy was always enthusiastic and eager to report the condition of his (extremely remote and absolutely unnecessary) lock-up to the tyrannical 1st AD and Jimmy’s muppet-like speech impediment was underscored by a simpleton’s innocence. Jimmy the nonexistent PA would typically “appear” on channel one to make his reports any time the 1st AD began raking his team over the coals, peppering the 1st with questions and occasional opinions about shots. Though Jimmy was a lovable anarchist and gained instant adoration from some of the crew, time and experience make me realize what a juvenile act it had been and I do (mostly) regret loosing him on the world.

Still, how could anyone not love hearing the excited burble of “Go Foh Jeemy!!” over channel one from time to time?

The terms “walkie” and “radio” are used interchangeably in the motion picture industry.

I allowed Louis to puzzle over the mystery of Jimmy for more than a week before explaining to him how I’d given our prop truck driver, Johnny Poucher, a tape recording full of Jimmy’s crazy ramblings and told him to listen for my cue before playing the recording over channel one.

As far as I know that was the last show I worked on with Jimmy, though I did hear that some of the PAs had taken Jimmy with them to their next shows. I shudder to think what sort of calami-ties that might have caused.

You see, I’m older and I �nally understand that the walkie is a crucial tool of the motion picture industry and should never be misused, regardless of the circumstances.

To make amends for my past walkie misdeeds I am now urging my production friends around the world to begin training current and future production assistantss on proper radio etiquette and to expedite the process I have created a paper model of a walkie talkie to allow for inexpensive training sessions. Simply cut out the “On-Set Activity Playset #5 : Walkie-Talkie” and slide the tabs into the corresponding slots. If you are inexperience at using scissors please as a prop person or a responsible looking producer for help. Please take particular care when assembling the antenna sub-assembly and don’t forget to attach the belt-clip (since the paper is so light you will have to simulate the weight of the radio pulling your pants down by tugging at your pants with one hand).

Please consult the sidebar “WalkieTalk 101” for some of the general terminology your PAs should incorporate into their train-ing. Make sure that they know the di�erence between “10-20” and “10-200” - lives will hang in the balance.

• Teach your future Spielbergs how to change channels on their radios and how to turn down their volume if they are near camera and are operating without a headset.

• Simulate changing batteries.

• Put a cement block into a backpack and have them carry it around all day to simulate being in charge of spare batter-ies.

• Drill them on the procedure for switching to channel 2 and then back to channel 1.

• Teach them to ANSWER the $#!*@!! radio when the 1st or 2nd AD calls out for some assistance.

• Show them how to bounce a radio on the pavement like a frustrated 1st AD when no PAs respond to an all-call.

Most importantly, make sure that they have FUN!!

O�cers, release tra�c.

Andrew Duncan, known in the motion picture industry as “Drewprops” has been writing about the craft of filmmaking from the inside out since the mid-1990s. His confusing and often embarrassing stories from behind the scenes provide a unique insight into the craft of filmmaking from the perspective of the shooting crew, artists and designers who bring your favorite films to life on the big screen!

Rositsa Germanova is a Graphic Design student at Kennesaw State University. She is very passionate about visual arts and enjoys creating bold and meaningful designs for print and web. Besides graphic design she also loves hiking, biking or just being outdoors with her family. Some samples of her work can be found at rosigermanova.com.Voices Article Design, p. 40

John Kabashinski is a freelance writer and owner of Media Stream Pro, providing media stream-ing consulting, production and website development. John is also a three-time Emmy nominated writer, director and producer with over twenty years of experience creating across multiple platforms, including producing home videos for MTV, redesigning an exhibit for Motorola at Epcot Center and receiving a Froggy Award for best image campaign in the nation from the WB Network. Check out John’s blog at mediastreampro.com.Cover Story, p. 22

Monique McGlockton is a writer/producer working on several projects with tenacious effort in order to score something BIG.. Previously worked in various areas of production. She is 1/3 of a unique fashion accessory group, MM3. She enjoys wogging (walk/jogging), helping others and is currently teaching herself to play the acoustic guitar! Yowwww....She can be reached at [email protected], p. 40

Christina Wingfield is a freelance graphic designer, illustrator and painter. She lives in Northwest Atlanta with her husband Kevin, and two wily dogs, Chewie & Cleveland. When she is not working, Christina enjoys tennis, outdoor festivals, and the Atlanta Braves. christina-wingfield.squarespace.comCover Story Design, p. 22

Diane Lasek has been involved in the film and television industry for 20+ years, most of that time as a marketing and salesperson. She is currently working as a sales consultant on the Oz Publishing team and enjoys getting to know all of the hard-working creative folks working across Georgia. In her spare time she is a beekeeper, master gardener and has a little organic soil amendment company for your gardening needs. That can be found at www.smartdirtorganics.com.Feature, p. 34

Oz Publishing, Inc. PRESENTS:

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How I Spent My Summer VacationBlack DogWild AmericaSomething to Talk AboutNow and ThenBeat DaddiesThe Neon BibleElectric TribeCobbFlukeA Simple Twist of FateForrest GumpDeadly RunThe WarDrop SquadCamillaGordyKleptomaniaMidnight EditionThe Real McCoyBoxing HelenaKaliforniaConsenting AdultsPet Sematary IITrespass Hot HouseFried Green TomatoesBasket Case 3My Cousin VinnyRobo Cop 3Free JackDutchThe Three MuscatelsLivin’ LargeLove Potion #9Paris TroutLove CrimesGolden BoyNot Without My DaughterCareer Opportunities Flight of the IntruderBlue Plate SpecialDriving Miss DaisyGloryFast FoodBlood SalvageThe Return of Swamp ThingNo Holds BarredThe Judas Project1969Sleepaway Camp IIISleepaway Camp IINow I Know NowBlindsideSchool DazeStars and BarsLeader of the BandDead AimMosquito Coast Made in HeavenFriday l3th: Jason LivesFunlandManhunterImpure ThoughtsFrom a Whisper to a ScreamThe Local StigmaticSummer RentalAnnihilatorsA Killing Affair TomorrowInvasionDoormanThe Heavenly KidSomething Special

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Crew & Talent from television series, documentaries, commercials & on-air talent are included as well. For an entire list of productions shot in Georgia, visit www.ozmagazine.com/shotingeorgia.

Crawford Media Services recently completed work on a new Mobile Application for The Fernbank Museum of Natural History. Using innovative and highly accurate location-based technology for the application and Wi-Fi network (free to the public), Crawford collaborated with AT&T, Cisco and Meridian to bring Fernbank’s vision of a new kind of learning experience to life. The Crawford team provided content creation and design for The Meridian Mobility platform. The Meridian platform and content management system allowed Crawford to focus on the user experience and the design of walk-through companions including gamified content for one of the key features, The Paleontologist’s Journal.

Exploring the Museum as a paleontologist will be the first journal experience which includes a combination of audio, video, touch-screen interactives, animation, sketchbook activities and location based question-and-answer challenges. This unique experience is available via the Fernbank Meridian application for both iOS and Android.

ANNA ChASE JOINS TrIbE

Anna Chase has joined Tribe, Inc. as ac-count coordinator. Tribe is an internal communications firm working with national and global brands to build employee engagement. As account co-ordinator, Chase provides a high level of support for the entire account manage-ment team. She previously was a mar-ket research representative for CORA Rehabilitation Clinics in Orlando. Chase also worked with Jewett Orthopaedic Clinic on social media and helped phy-sicians there develop presentations for a lecture series. She has also worked in marketing for the Florida Marlins as well as FOX Sports Network. Chase earned her B.A. in Journalism and Mass Com-munication, with distinction, from the University of North Carolina at Chapel Hill.

CeteRACrAwFOrd’S Natural History

8 O Z M A G A Z I N E w w w . o z m a g a z i n e . c o m

New Hayslett Group senior account manager, Catherine Schultz.

Hayslett Group LLC has hired Catherine Schultz as the company’s newest senior account manager. Previously, Schultz spent three years on the corporate com-munications team of an Atlanta-based fi-nancial technology company. She brings with her experience in social media management, internal communications, and project management, among other disciplines. Schultz graduated from the University of Milwaukee-Wisconsin with a degree in English.

SChuLTZ JOINS hAySLETT

Crawford Media Services mobile app for Fernbank Museum of Natural History.

Crawford Media Services creative director, Jim Bowhall, who worked with the team at Fernbank to develop the content said, “One of the goals of this project was to create and introduce a platform for growth, using cut-ting edge technology and engaging content. The platform will expand and grow over time, allowing for continued development of limitless ex-periences for scientists and knowledge seekers of all ages.” Other mem-bers of the Crawford team included lead developer Andrew Enyart and user experience designer, Michael Allenberg.

The new Fernbank app uses the intelligence of the Wi-Fi network to tri-angulate and deliver pinpoint information to visitors and allows them to experience the museum in new ways. This includes initiating multimedia content as the visitor walks up to static exhibits. Special “journals” that are customized and focused on scientific disciplines aid in educating users, with the option of sharing their experience through social media feeds.

Crawford Media Management is buzzing with activity, branching out in Latin America, increasing their migration abilities, launching a major digitization project for Cox Enterprises, launching the prestigious Ameri-can Archive project and adding personnel. CMS expanded its capacity for digitizing legacy formats. In addition to our 24 existing digitization streams, they have installed a new video migration pod that provides an additional 14 streams of simultaneous ingest, working around the clock.

The national cultural institution of Mexico is known as Conaculta. Conaculta’s public broadcasting network is Canal 22. In one of their most

ambitious projects, Crawford, working with Impactel in Mexico, has taken on the task of migrating 15,000 hours of Canal 22 content for Conaculta. Crawford was able to migrate all 15,000 hours in a record 75 days.

Comprising over 37,000 hours of content from 42,000 sources, The James M. Cox Foundation and WSB-TV chose the Media Management Division of Crawford Media Services to digitize its legacy formats. In addition to creating master and proxy files of the content, Crawford is photographing each source’s footage log and tape label. Crawford also created a unique solution for file delivery by establishing an Ethernet private line directly between Crawford and WSB. Completed files are delivered directly into the WSB Avid production environment via the network connection.

CMS has begun digitizing assets for the much anticipated American Ar-chive project. The Crawford Media Management team, in collaboration with CPB, AudioVisual Preservation Solutions and WGBH, will digitize 40,000 hours of public broadcasting content over the next 18 months.

And finally, Crawford introduces two new experts in the media manage-ment division. Clark Cofer has over 20 years of experience in the media industry and is bringing his extensive background of project manage-ment, salesmanship, production and corporate consciousness here to Crawford. Deborah Catrini has worked in communications, marketing and television for over 30 years. She has a rich background in selling, me-dia relations, and media production.

GOAT 4 SALE

w w w . o z m a g a z i n e . c o m O Z M A G A Z I N E 9

CrAwFOrd’S Natural History (coNt.)

Kudos to Pogo Pictures for being selected as a Doritos Crash the Super Bowl 2013 Finalist. By the time you have this issue of Oz Mag-azine in your hot little hands, we’ll know if their hilarious commercial, “Goat 4 Sale,” made the final cut and ended up on national TV during the broadcast of Super Bowl 47. Pogo Pictures owner Steve Colby is a goat owner. One of his Doritos loving goats, Moose, stars in the commer-cial. Pogo’s Ben Callner directed.

Fingers and toes crossed!

Pogo Pictures’ “Goat for Sale” may knock it out of the park for Doritos on Super Bowl Sunday.

1 0 O Z M A G A Z I N E w w w . o z m a g a z i n e . c o m

CeteRArAdIANT3 Makes a Move

Radiant3 shifts focus and location.

Radiant3 celebrated its 5th birthday in January with a move to a spankin’ new office location affec-tionately nicknamed “The Ranch.” “The new space represents our shift in focus toward production and production services,” said founder James Boston. “We still handle our fair share of post, but our new setup is great for helping us better manage production for ourselves and our clients.”

During this short time, Radiant3 has amassed a diverse client base that spans the globe. The R3 team has recently worked on creative commercial and industrial projects for Beats by Dre, AT&T, the Untie Atlanta commercial campaign and music videos for national recording artists Gavin DeGraw and T.I.

In December, Elle Richardson joined Radiant3 as executive producer and project manager for cor-porate accounts . . . and anything else that needs storytelling. Since then she’s been busy putting together the 2013 video campaign for Professional Photographers of America. Richardson received her degree from the University of Georgia and is a past president of Women in Film and Television Atlanta.


CeteRA

ASO’S eMbarrassiNg MoMeNtsFred Funk in skinny jeans? Fred Couples as an art critic? Funk on the dance floor at a family wedding, captured on camera phone by Corey Pavin? These situations are certainly out of their normal pro golfer com-fort zones in Mitsubishi Electric US Cooling & Heating Division’s (“Mitsubi-shi Electric”) new ads on TV and online. Developed by agency of record, Ames Scullin O’Haire (ASO), three of six new spots debuted on the Golf Channel’s coverage of The Mitsubishi Electric Championship at Hualalai. Mitsubishi Electric is a corporate sponsor of the PGA Champions Tour. ASO handled both the creative development and the media buy, which targets homeowners 25-54 with a household income of $75,000+.

Credits include: Advertising Agency, Ames Scullin O’Haire;Chief Adman, Patrick Scullin; Creative Director/Copywriter, Mike Bourne; Creative Director/Art Director, Ryan Mikesell; Senior Broadcast Producer, Shaun Campbell; Account Supervisor, Maureen Dabrowa; Media, Director – Engagement, Steve Harding; Director, Chris Bean, MacGuffin Films; Pro-duction, Golf Channel; Music, Genuine Music; Composers, John Ferreira and Mike Bourne; Audio Mix, CRC – Chicago Recording Company; Audio Engineer, Mark Ruff; Producer, Rose Razal; Editorial, Beast Editorial; Editor, Jeff “The Hammer” Jay; and Executive Producer, Molly “Paid In Full” Baroco.

News FlasH: Make-up artist Does owN Makeup

Make-up artist and hair stylist Melody Knighton is not what she seems... at least when she portrays any of the celebrities that she impersonates. Though she enjoys working with all manner of film and TV productions, most of her time is spent traveling the world performing in theaters, award banquets, casinos, trade shows, festivals, fundraisers, television, parades and private parties. She’s even made internet appearances. Knighton not only looks like her girls, Dolly Parton, Lucille Ball, Joan Crawford, and Marlene Dietrich, she’s worked hard to sound and play the parts as well.

We are still determining whether she does makeup on set while made-up as one of her girls.

Atlanta make-up artist and “her girls.”

Netherworld’s Roy Wooley has a run on the Syfy Channel’s “Face Off.”

This fall Roy Wooley, chief makeup artist & creature designer at Netherworld Haunted House, competes on Syfy channel’s “Face Off” along with some of the best makeup artists in the industry. The series is a competition and elimina-tion event that explores the world of special effects makeup artists and the unlimited imagination that allows them to create works of living art. Each week contestants are challenged on a wide range of skills sets including prosthet-ics, 3-D design, sculpting, eye enhancers, casting and molding. Judges include three-time Academy Award winner Ve Neill (“Pirates of the Caribbean,” “Edward Scissorhands”) and Hollywood veterans Glenn Hetrick (“Heroes,” “Buffy the Vam-pire Slayer,” “The X-Files”) and Patrick Tatopoulos (“Underworld,” “Independence Day,” “Resident Evil: Extinction”).

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

Imagine being a part of it.

May 2013

40years of film & tvin Georgia

thenextcoolevent.com


CeteRA

CArTOONS wITh A CAuSE

Timbuktoons work landed on two new ABC’s “Extreme Makeover: Home Edition” Specials. The creative services donated were part of Timbuktoons’ “Cartoons With A Cause” project.

Timbuktoons collaborated with people across the nation, including the design team from the show, to produce custom illustrated room murals for two deserving families. The creative services were part of the show’s Lincolnton, North Carolina and San Antonio, Texas builds. Previously, Tim-buktoons worked on the Augusta, Georgia build. “One of our core values at Timbuktoons is ‘childhood is important,’ and donating our time and skills to the EM:HE builds fits with who we are as a company” said owner and founder, Todd Hampson.

“We’re just big kids, so it was really fun to tap into our inner child and work on projects that will encourage creativity and play for two great children,” said Sean Copley, Creative Director. “Plus, we got to design wall murals with three of our favorite things, Toy Story, robots and superheroes.”

For the Lincolnton build, Timbuktoons worked with the design team in LA to create a custom illustrated and decorated room that portrays the child as creator, artist, superhero and star of his own show. For the San Antonio build, they were privileged to incorporate characters from Dis-ney/Pixar’s Toy Story into a wild west themed wall treatment complete with real train sets.


AwArds with A MountAin View

Mountain View Group, Ltd. and its client partners were rec-ognized recently by several international competitions with prestigious awards for its work in video and digital communi-cations. “UPS My Choice” is a series of five interconnected web-shorts focusing on a newly offered UPS service. They feature Joe Montana as spokesman. This campaign, which was com-missioned by MSL Worldwide, won an LACP Platinum Award (plus top 100), a MarCom Gold Award, and an IABC Bronze Award.

Mountain View Group also received IABC and LACP Gold Awards as well as a MarCom Platinum Award for “Journey to Shared Value.” This enhanced presentation was developed closely with Joe Tripodi, chief marketing officer of The Coca-Cola Company, and was given at the 2012 Cannes Lions Inter-national Festival of Creativity.

An employee engagement piece, “Spark Launch,” introduced GE Energy’s customer success digital storytelling initiative. The video was honored with an LACP Gold Award, a MarCom Platinum Award, and IABC Bronze Awards. “Atlanta Food and Wine Festival” is a sizzle reel highlighting the first culinary event weekend in the US focused exclusively on the South. It received an IABC Silver Award (for communications program) and a MarCom Gold Award.

Work for Raytheon garnered a MarCom Platinum Award. “The World is a Dangerous Place” facilitated a strategic dialogue meeting between top executives at Raytheon and highlights current hotspots and security threats across the world. Moun-tain View Group was also recognized for the excellence of its commercial production. The “One Day” television campaign for Kennedy Space Center was named most inspirational at the LACP Awards, in addition to garnering LACP and MarCom Platinum Awards. MarCom also recognized a series of televi-sion commercials showcasing Albany Medical Center’s heart care expertise. And, “Alcon: Leading Innovation in Eye Care,” an external sales tool piece, was awarded with an LACP Platinum Award (plus top 100) as well as a MarCom Gold Award.

Mountain View Group was also awarded for documentary film-making with “Big Bets.” The six-act documentary tells the story of the critical decisions and key people of Southern Company, a major electric utility. The film received MarCom and LACP platinum awards (plus top 100) as well as an IABC Gold Award.

big tHiNgs

Big Picture Casting is doing some big things. Their first major feature film, “A.C.O.D.,” is going to Sundance Film Festival. BPC cast over a dozen roles from the Southeast. Congratulations to all the filmmakers and the fabu-lous cast. In addition, their first TV pilot casting, “How to Live to 100,” star-ring Jason Wrobel (a.k.a “King of Superfoods”), premiered in January on the Cooking Channel. The pilot was written, directed and produced in Atlanta. Other recent client projects included Moe’s, AutoTrader, Perrigo, Georgia Lottery and Coca-Cola.

legolaND builDs witH ThE dALTON AGENCy

LEGOLAND® Florida has selected The Dalton Agency to provide nation-al public relations and social media services for the rapidly expanding theme park. LEGOLAND Florida, Central Florida’s newest theme park, is a 150-acre interactive theme park dedicated to families with children be-tween the ages of 2 and 12. The park features more than 50 rides, shows and attractions and a new water park. It is one of the only Central Florida theme parks solely focused on providing rides and entertainment to young children and their families. The agency will use an integrated ap-proach to public relations and social media based on their experience with multiple clients in the tourism industry to help build consumer awareness and loyalty.

www.filmvideosupply.comwww.filmvideosupply.com404-609-9001404-609-9001

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Award-winning post house Company 3 (CO3), is pleased to announce the launch of its brand new audio division. Located within Company 3’s Atlanta and New York facilities, CO3 Sound boasts three 5.1 audio suites designed to handle surround sound for commercial, feature film and tele-vision clients providing the highest level of sound design, original music composition and mixing. The new division is a complement to Deluxe’s strong sound offerings in facilities around the world. CO3 Sound’s radio and television mixing roster includes clients such as USA Network, Turner Broadcasting, Red Bull, Georgia Lottery, espnW, Ford, Kia and Toyota, to name a few.

“Adding sound services to our current offerings further bolsters Deluxe’s strong sound offerings in its facilities around the world and more per-fectly positions Company 3 to provide all our clients a complete package of services,” says Stefan Sonnenfeld, President and Founder of Company 3. “ CO3 Sound in Atlanta recently completed work on Activision’s most successful video game franchise to date, “Call of Duty: Black Ops II,” pro-viding sound design, Foley and 5.1 mixing for all cutscenes used to ad-vance the game’s plot. The team also provided some sound services for the feature film, “Devil’s Knot” starring Reese Witherspoon and Colin Firth. CO3 Sound’s New York location has been working with USA Network, Red Bull’s “Red Bulletin” and Sharp Entertainment’s “Adam Richman’s Best Sandwich in America” for the Travel Channel.

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Eclipse teamed up with Crazy Legs Productions to complete a new 30-minute special for The Cooking Channel. “How to Live to 100” twists comedy, healthy recipes and all the secrets to a long life into one mega-show of deliciousness! Detroit-born chef, Jason Wrobel, serves a sublime fusion of food and humor as host of the new special. Known as the “King of Superfoods,” which are powerful ingredients proven to increase your longevity, Wrobel turns up the heat and whips them up into culinary masterpieces.

LIVING TO 100


The Georgia Chapter of the Public Relations Society of America has inducted Judy DeRango Wicks, APR into The Order of the Phoenix, the Chapter’s highest honor. The formal induction was held at the chapter’s annual Awards Celebra-tion at the Cobb Energy Centre in suburban Atlanta. Wicks, who is vice presi-dent of corporate communications at Fiserv Inc., also enters the PRSA|GA Hall of Fame at the Grady College of Journalism and Mass Communication at The University of Georgia in Athens, GA.

At Fiserv, Wicks oversees media relations and corporate and executive visibility. Since 1999, Wicks headed corporate communications for CheckFree Corpora-tion, which was acquired by Fiserv in December 2007.

Wicks was given the Radiant Star in memory of Dyar Massey award at PRSA|GA’s 2011 Awards Celebration, recognizing a Chapter member with more than 20 years of experience and industry leadership. A technology public relations vet-eran, she was the keynote speaker at the PRSA Hyperconnections national con-ference in 2012. Wicks is a member of the Arthur W. Page Society, 2011 co-chair of the PRSA|GA Leader Board, and a member of the Advisory Council of the College of Charleston Department of Communications. She holds a Master of Journalism and Communications degree from the University of Florida and a Bachelor of Arts in English from Stetson University.

Other award winners were:

Renee Kopkowski: Radiant Star, in memory of Dyar Massey, recognizing a mem-ber with more than 20 years of experience;Alison Tyrer, director of communications for the Georgia Department of Eco-nomic Development: Luminary Star Award, for a member with 13 to 19 years of experience in public relations.

Patty Gregory, manager of public relations at Children’s Healthcare of Atlanta: Shining Star Award, reflecting six to 12 years of experience in public relations.Kelsey Schmitt, communications coordinator at Popeyes Louisiana Kitchen: Rising Star Award, given to a member with five or fewer years of experience.

Congrats also to two recent PRSA|GA Chapter Champion honorees: Ray Crock-ett APR, Fellow PRSA of Hartman Public Relations and Debbie Fitzgerald of Fitzgerald PR, Inc.

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Live Streaming The Next Seismic Shift

Live Streaming The Next Seismic Shift

by John Kabashinski


E conomically and culturally we have gone through some seismic shifts lately. But in our lifetime we can

expect even bigger changes. We’re now a world without bor-ders. From Kansas City to Katmandu, there are telephones in every ear and video screens in every pocket. Our economic en-gine shifted from manufacturing to information technology and transformed from analog waves to digital bits streaming over a global communications backbone. Media streaming has VOIP (voice over internet protocol) taking over telephony, text-based messaging becoming the global social networking forum and music and books experienced and sold through devices. Multi-billion dollar industries are turning upside down.

The good news for creative’s and producers is that video stream-ing is a shift in their favor. In fact, video streaming is the next seismic shift.

Broadcasting giants are now on an even playing field in the competition for eyeballs with all content creators. With incredi-ble rates of growth, live video will be streamed globally, cheaply and portably. Last year, YouTube’s Robert Kyncl predicted that in 2013 “90% of all web traffic will be video.” Economically, live video will impact how we work, buy goods and where we live. According to the Social Times, people that watch videos of products or services are 85% more likely to make a purchase.

Culturally, the younger generation will drive the live streaming market changes, and it will change how we see the world.

How fast and how impactful will these changes be? Many behe-moth economic and cultural change agents have only recently appeared. Ten years ago in 2003 Skype was first released and Apple introduced the iTunes store. Facebook launched in 2004. YouTube was founded in 2005. Twitter formed in 2006. This was about the same time two West Point grads who wanted to help their friends in the Iraq war communicate with their families formed Ustream, while nearly the same time another group cre-ated a virtual television studio and embeddable video player now called Livestream. In 2008 we first saw YouTube Live and CNN delivered 25 million live streams during the Obama inau-gural. In 2010 Apple released FaceTime. And in 2011 Google Plus launched video hangouts. In 2012 NBC delivered 159 mil-lion live streams during the London Olympics.

More and more live mobile video streaming technologies, plat-forms and devices are being born. Streaming is exploding as a viewing habit, and simultaneously the democratization of video production has lowered the costs from the hundreds of thou-sands to the hundreds, period. We are entering an age when anyone can create their own broadcast network with a global reach.

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“The barriers of entry to doing live production are getting lower and lower for all different reasons. One is the cost of capital and the cost of the technology is coming down. Two is the consumer expectations of production value are coming down. Then third is the distribution piece and it’s cost. What is cool is if that’s all down then a brand new eco-system of stuff can happen.” – Scott Brown, Octoshape

“Because of the metrics available on the internet, it is eas-ier than ever to understand what the content consumer wants. With the nature of technology as always growing, if not exploding with change, then what people can or want to do with that technology grows at an equally explosive rate.” – David Kennerly – Turner Studios

“As the transmission or distribution model shifts, it opens doors, so that accessibility no longer requires an FCC li-cense and then it explodes. So I can have my own tv chan-nel any day I want. It’s not an over–the-air spectrum, it’s not a cable delivery via MSO. I can monetize it myself. The bar-rier to entry to becoming a content creator is nothing now.” – William Chapman – Creative Convergence Solutions

WHAT WILL LIVE STREAMING

CHANGE?What will this new video world look like and how will it happen? We asked three media stream-ing leaders about live streaming today and its future impact. Scott Brown is the General Man-ager, USA and Vice President of Strategic Technology Partnerships at Octoshape, an internet technology firm. David Kennerly is the Director of Technical Operations, Turner Studios Pro-duction Services. William Chapman is a pioneer in new media and currently leads Creative Convergence Solutions.

w w w . o z m a g a z i n e . c o m O Z M A G A Z I N E 2 5

WHAT ARE THE SIGNS of CHANGE?

A new Nielsen report shows that the number of U.S. household ditching their cable providers, or “cutting the cord,” is on the rise. The folks keeping broadband internet with free broadcast TV has risen 22.8% in the last year and this trend shows no signs of slowing down. People are dumping expensive access to pro-gram packages with multiple channels when the programs they want are available for free directly from the networks. Chapman adds, “The number of eyeballs watching is not decreasing, but how they get content and the kind of content they are choosing is changing dramatically. This ‘cutting the cord’ trend is growing at much faster rates than cable TV consumption. Why should I pay my traditional content provider when I can buy the online version for a tenth of the price with comparable quality? There is a shift in user experience, which is about accessing what I want, when I want it. Amidst the multitude of choices the aver-age family watches only six or seven channels.” Content packag-ers get around this by “windowing,” or making high-end content available immediately on broadcast and later online. According to TechCrunch, the internet may not be an alternate medium but an alternative to watching TV entirely. Broadband access is growing, while paying for cable programming has peaked at 90.4 percent of households. The more ominous trend accord-ing to Nielsen may be that children under seventeen are watch-ing the least amount of television of any age group and are the largest mobile video viewers. The “no cord” generation is already here.

When exploring the future of broadcasting and video produc-tion different themes develop: adaptability, authenticity, author-ity, relevance, added value, deeper engagement and accessibil-ity. When searching the streaming industry for “What will cause the next big shift?” answers were as varied as, “If I knew, I’d be rich!“ to Kennerly’s observation that, “Streaming and other forms of low cost, small footprint, quick turn around content produc-tion is a cultural driving force that could be equivalent to rock-and-roll. We should all work toward accepting where its going to go, and work within that framework, rather than saying ‘we should take it where we want to take it.” The broadcast industry will be more responsive to popular demand than ever before.

One of the biggest shifts with streaming media is culturally: from a top down information path to bottom up. We are leaving an environment where a few sources of information dictate rel-evance. With a completely unfiltered communication platform, the voice of the people will create cultural shifts that we cannot imagine. People have direct contact with events as they hap-pen, and people choose relevance and grant authority. When you look at the impact of Twitter on the Arab spring and then think about the coming technology and what its global access will do to our information diet and cultural norms, it is possible to see live streaming one day, as even bigger than rock and roll.

In this communication ecosystem, truth has an opportunity to rise faster. The end-user’s “truth” is no longer choosing based on what they are told, but on what they intuit is the better choice. In media, top down communication of “you need to think what I want you to think” is quickly becoming “now I need to respond to what you are thinking.” It’s a reversal of the power structure. Ken-nerly adds, “In different parts of the world technology develops in totally different ways that are influenced by the culture and then influence the culture at the same time. Twitter for example may be a novel way to communicate here in the west, but in the Middle East it influenced revolutions and massive change.”

The exploding trend of unfiltered information has also created the “authoritative thinker” who is leading the conversation. Trust is valued more than production value. Truth supersedes slick presentation, and relevant engagement keeps winning more and more audiences as they become increasingly fragmented. The viewer experience is moving from “What is on?” to “How is it relevant to me?” Content creators who are reliable sources of relevant entertainment, news or sports will become the brands. It goes with the frequently used buzzword of “authority”. Con-sumers of content return to sources they trust. Brown adds, “Look at the book industry. It is not the publisher readers go to, but it is the author they know or a review from someone they trust that lures them in.” The same thing is happening with live video streaming, because it offers a small footprint and low-cost production which adds authenticity, live chat which increases


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engagement level, and a niche subject which makes it more relevant. The ever-present change agent is technology. The new device, application or online destination can change everything, so how should producers prepare themselves? “Content creators should not worry about that technology component. There are many players out there and it will change,” offers Chapman. It’s difficult for a streaming provider to know where to go because of this rate of change. Professional people want to do one thing with it, consumers want to do another thing with it and because of the price point and ubiquity of access, they are trying to serve all of those markets at the same time. “It opens the door for more and more products and levels of professionalism to be created and grown. The main response to this condition of explosive technology in the business space is what I call aggressive adapt-ability,” says Kennerly. Whoever can adapt quickly…wins.

One clear trend emerges: make sure your productions are mo-bile. “The biggest development lately is using things on mobile devices like FaceTime. There are going to be a lot more stream-ing devices from all these different companies that have smaller footprints that don’t require hard line internet and can use Wi-Fi, 3G, 4G. There are already a number of them out there and they are improving all the time. To be portable, small and able to go anywhere … that’s really going to really open the door to cre-ate some stuff that is the earth shattering “rock and roll” impact. Something you would never otherwise see,” Kennerly adds.

The one thing technology can offer is creative opportunity. You can think of things you would never be able to do before. Go-Pro cameras and POV production are an example. It changes the user experience and also opens new doors for creatives, tech-nicians and advertisers. As producers, aggressively adapting to technological developments while seeing the bigger trends de-velop is the key. Just imagine the broadcast industry ten years from now and try to position yourself, your content. What might be the next Skype, Apple Store, Twitter or Facebook?

WHAT IS HAPPENING

NoW WITH LIVE

STREAMING CoNTENT

PRoDUCERS?

With the development of multiple screen sizes or platforms, live streaming is currently being used widely as a “second screen” or second-tier content experience. According to Nielsen, 41% of tablet owners and 38% of smartphone owners use their device daily while in front of the television. Social networking is a top reason, but they are also shopping and looking up information related to what they watch. Second screen content production is a big growth area for video content creators. Look no further than job sites to see that digital producers are growing in de-mand. For traditional broadcast producers, second screen is a necessary component of any pitch. The second screen is now part of the production business.

Currently, the second screen world is populated by the sports and entertainment super-fan who is looking for a forum, a deep-er discussion about their passion. The trend online is fan-sites that are dedicated to a sport, personality or program, attract-ing the super-user of broadcast content. Kennerly offers, “They will go back and forth for about thirty-minutes about technical things that are happening now, about what happened histori-cally, and there is not really another venue for that on TV.” He adds, “The real interesting thing about what’s happening right now, with what Turner tends to be doing, is you make these companion webcasts and apps that go with the live broadcast and that’s where you can flesh out all those details that people want to talk about and read about.”

Broadcasters are increasingly meeting the second screen au-dience demands, hoping to develop a “sticky” product that surrounds the live event or scheduled program. Sticky means keeping the audience attached, even when the program is not on the air, by having them return to a digital forum. Sporting franchises are doing much better at exploiting second screens because they have a naturally sticky product. They have all the actions leading up to the event, the back-stories of the athletes, the data scheme of the franchise, i.e. fantasy football, fantasy basketball, etc. Chapman adds, ”The big thing right now in second screen is prediction and polling. Part of the produc-tion budget may be used in producing an app for predicting a live event or athlete’s performance. They are using these assets, which are not necessarily video or audio, to repopulate the story into these different avenues. The more fans that are interacting with that prediction or poll, the more they can put a user-stamp on them that is defined as audience numbers, which equates more to the traditional ad buy.”

As with all production, monetization is the driving force of what gets done, whether it is about how to make money or finding the money you need to create. In traditional broadcast, second screen live streaming is gaining attention from advertisers with ad buys for video streams based on user hits or views. Chapman says, “Now live streaming is a much more viable monetization engine because the ads you put into the stream are captured and measured in terms of user metrics. The fact that you can measure in-stream ads in a live video is huge. Now, there are analytics you can sell to an advertiser or subscription model. In a linear television world they can measure quantitative, but they have a hard time with qualitative metrics like, ‘Were they doing laundry when it was on?’ In a digital world, especially with mo-bile platforms, there is a much higher user and user-interaction rate. It is sticky content that is interactive and participatory.”

The move in media for the last ten years has been from a “lean back” model of watching TV with a remote, to a “lean forward” model with a second screen that offers a much deeper level of engagement. It often is developed in a conjunction with a lin-ear story-line process, whether it is following a sporting event, a dramatic narrative or the characters in a reality show. Finding the story lines or visuals make it an added value to the viewer. Live streaming is a low cost solution to exploit these second screen opportunities with a high engagement value, whether it is more information, expanded story or greater access to con-tent creators like athletes, cast, writers, producers, peer to peer contact, social groups, etc. Like tentacles that follow the linear story, these become modular components of the second screen experience which are ultimately chosen by the viewer. The pow-er of the digital domain is the access to metrics. Producers can quickly determine what works and what doesn’t with the con-tent consumer.

In the production business, new business models are develop-ing around the popularity of the second screen and live stream-ing. Digital rights or second tier content rights have become more important to the financial success of the content creator. Freemantle, for example, is trying to define the space for real-ity programming second-tier content with its push into a digi-tal distribution model. They are rethinking how they negotiate future deals and developing content through a connected delivery or direct-to-consumer model. Mainstream broadcast content will continue to go to broadcast, but producers need to understand live streaming, second tier rights and connected broadcast models to maximize their financial returns.

The direct-to-consumer or connected model is also growing with first-run programming as well. In Europe, Freemantle has launched a second screen first run game show called “Intuition.” The Sea Shepherd (seashepherd.org) is another example. They put lots of content on their site, including live streaming. They


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build a fan base and then license the content for television af-terwards. Many content creators can take years to pitch a show and get it on air. Online it may take years to build an audience, refine a product and create a voice of authority. But if produc-ers are willing to invest those years, the audience you develop online becomes scalable. “Right now, if you own all the assets and the content and build it through a connected method, you could care less about the cable and broadcast networks, most likely, because you are going to have a bigger audience delivery method through that scalability and direct-to-consumer busi-ness,” Chapman offers. By and large, as the method of delivery for first-run content shifts to streaming, it is an advantage to con-tent producers. They can get out of the business of asking for permission to create content.

WHAT TRENDS ARE

foRMING IN LIVE

STREAMING?

While there is no crystal ball to determine what will happen with live video streaming, there are trends appearing which might give us a clue. Beyond the second screen supporting broadcast, there are three models rapidly developing for live streaming that are capturing eyeballs: niche-casting, social-casting and corpo-rate-casting.

Niche-casting is live streaming information and events that ap-peal to small or niche audiences that are underserved by the broadcast model. Right now it breaks down into two categories: “expert” and “event.” Examples of the “expert niche-cast” are the TED conferences or Huffington Post Live, but it is expanding to serve the appetites of retiring boomers who want niche info-tainment about a variety of subjects from fishing, golf, self-help, etc. The “event niche-cast” is a live stream of any event, like sports, music, comedy, theater, auctions, etc. There is big growth in live streaming of high school football, college sports that don’t get on television and entertainers who want more exposure or con-trol over the ticket window. An example is Atlanta-based Play-OnSports.com. iHeart Radio’s live stream of the Superstorm San-dy Benefit concert or comedian Louis CK’s big success streaming his live show at the Beacon Theater are two more examples.

Social-casting includes live streaming on a variety of social networks through one on one, small group and larger broad-cast models. Right now you can live stream with Facebook,

Twitter, Google Hangouts and YouTube Live. This trend is going to explode the fastest and drive viewing habits, communication and cultural change. Other more classic streaming venues like Livestream have redesigned their interface to be a more of a social format like a blog. Social-casting is ad-based or free live streaming social networks that will thrive with mobile technol-ogy development.

Corporate-casting may be the most beneficial to the production community. Corporations see the advantage of accessing a key demographic online . . . building an audience. The low costs of production and distribution can help with a larger return. With younger people moving away from broadcast viewing, reaching future customers online will be more and more important. For the price of a national commercial, a corporation can create their own TV channel; constantly positioning their brand, experts, fea-tures and benefits to an audience they wouldn’t reach any other way. An example of a company doing this very well is Red Bull TV (redbull.tv) and their focus on extreme sports. Corporate-casting may combine successful niche or social-casting models with a brand attachment. This trend may grow rapidly as companies realize that like in most marketing, being first matters.

The other trend that is developing is the response by broadcast-ers to the explosion of live streaming and second screen experi-ences. As audiences keep getting more fragmented, the ques-tions are changing. Instead of asking, “What can I get them to watch?” with linear TV, there is a shift towards, “What else can I give them to watch that will serve them?” That can mean an online forum to continue a discussion, watch the rest of an inter-view, see behind the scenes or share with a community. Kenne-rly offers, “Memes are developing within minutes of a broadcast event happening and being shared and spread virally while it is still happening. It is a new kind of engagement that has a lot of value, and broadcasters are searching for how that natural de-velopment of the digital culture can be leveraged for growing a brand or audience.”

The key is a shift in mindset from control to adaptability. To really leverage these emerging opportunities, the most adaptable and quickest to respond get rewarded. Media is creating itself and this fan-generated media is about following what happens and turning what happens into an opportunity rather than trying to control it as they have in the past. Media streaming’s explosive growth model rewards this kind of “aggressive adaptability.”


Netflix is a good example. Netflix is essentially live streaming that happens when you pick a movie. The distribution technology is the same with live streaming and video on demand. They be-gan as a content packager, offer live streaming as a sideline to enhance their mail service and ended up dominating internet traffic. Netflix streaming now accounts for one-third of all North American internet traffic. The content distributers saw that they were competing with themselves. When it came time to renew contracts, what was $30 million Netflix obligation became a $300 million bill, crippling the growth of the new streaming model Netflix just created. Netflix responded by becoming a content creator, developing its own original programming.

The final trend developing in live streaming besides mobility is image quality. Says Chapman, “People still think live streaming has to be on your PC or phone and it’s going to look ugly. That is a mindset. It is not true.” Image quality keeps getting better because of demand. Viewers want online content on their new smart telephones to look as good as broadcast. Netflix proves it’s possible on a large scale, but if the growth of digital broadcast-ing happens anywhere as fast as Netflix, eventually we are going to hit a bandwidth wall. We are not going to be able to distribute that much high definition video with the current technology.

WHAT IS THE NEXT

BIG SHIfT?

While nobody truly knows what the future holds for live stream-ing there are folks who hope they found the answer. Octoshape’s Brown explained how their new internet video streaming system that blends in a suite of multicast technologies may be the an-swer. By borrowing small bits of encrypted data in a secure envi-ronment from many sources, it allows high quality images to be distributed globally at a fraction of the bandwidth of the current http solutions. This technology, which is downloaded within an app or can work as a Flash-based plug-in or action-script, also offers higher quality video, faster startup and lower buffer times within a fixed cost structure. Effectively, what Octoshape is offer-ing is a broadcast satellite that is based on the internet, which vastly expands the bandwidth capabilities of the current infra-structure while solving the variable pricing problem.

According to Brown, “Taking an example of streaming a major high quality sporting event with a traditional streaming technol-ogy, it may generate up to 1 Terabit of traffic into the last mile networks. When the event is broadcast using Octoshape tech-nologies the last mile provider can simply enable Multicast in their broadband routers. This enables them to utilize a fraction of that, perhaps 50 Mbps of traffic, from the internet instead of 1 Terabit, and deliver it efficiently without lifting a finger. No ex-tra equipment to buy, no extra money to spend.” He adds, “We

launched our Infinite HD-M ™ Multicast suite of technologies for production in April of 2012, and now we are talking to many telcos and cable operators around the world about deployment.” Octoshape’s technology not only benefits large content distri-bution networks but helps corporate networks as well, “Another market that benefits from the multicast distribution system is the enterprise. We can send one stream into an enterprise to serve 50k + viewers without disrupting their network or business op-erations.” Brown adds, “For a broadcaster, satellite provider, OTT provider or even mom and pop content distributor, we offer an efficient way to deliver high quality signals to the last mile, with global reach, faster start times and lower buffer time. We bring the promise of TV scale to the internet. Today, five million simul-taneous is a tough proposition on the internet. With multicast, audiences of tens of millions is achievable without breaking a sweat, and the quality is there because of our resilient transport mechanisms.”

It is easy to see why live streaming faces explosive growth and how streaming may cause seismic shifts in our culture, especially in the video production industry. It is vital for content creators to understanding how live streaming may affect their future as they face a global audience who can see their ideas come to life, faster, cheaper and easier than ever before. It may not be as big yet as rock and roll, but it’s getting there.

Here are some closing thoughts about the future from our live streaming experts:


“The future is about content creation and ownership rather than content creation and selling it. The emerging content buyers like Sony, Netflix, Hulu, Samsung will be coming to content owners saying we want to buy your content for our platform.” - William Chapman

“There is also a lot of opportunity in media streaming meeting the demand of when people want to watch things. There is a daytime viewing opportunity that seems to want to emerge that we may see develop. What do people want to watch on the train commuting? How long will the format be?” - David Kennerly

“The monopoly of the pipe will disintegrate. Asking for permission to be hired by the pipe owners and distribu-tors to create content is over as technology shifts and moves everyone to a scalable global access pipe that is available to everyone and accessible by everyone.” - Scott Brown

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Like a lot of kids I grew up watching behind the scenes specials about movies like Star Wars and Indiana Jones and was always impressed with how much planning went into these films, particularly the storyboards they used to plan out every shot. It wasn’t until I was standing in the streets of Gotham City on the backlot of Pinewood Studios that I learned that even the most action-packed of movies rarely have everything storyboarded.

The vast majority of what you see onscreen is invented the day that the cast and crew arrive on location; a location like a lovely bend in the Yellow River, just south of Porterdale, about 40 miles east of Atlanta.

There we were, making an independent film called “False River”, best described as a cross between Fellini meets Scooby Doo. I’d read the script several times during prep and was on set every day of filming and I still had no idea what it was all about.

On this fine Monday morning we had just returned to work following a weekend of torrential rain and the river was high. Really, really, really high. Remarkably high. In the early morning light we could see dark shapes appearing along the top of the churning, rock-strewn rapids then slipping back beneath the water.

A nearby fisherman explained that those were turtle heads.

Snapping Turtle heads to be precise... and they were everywhere. Dozens of them covered the width of the bend in the river where we would be filming that day.

By our fifth trip carrying equipment across the stupid river, it hadn’t gotten any easier to navigate the twisted jumble of rocks lining the bottom from shore to shore. Two steps forward and you were up to your knees, two steps more and you were up to your neck. Every five feet you’d bash your shins against a hidden rock shelf. I didn’t check with any of the others who were making the crossing, but my anticipation of being bitten by a snapping turtle was running higher than

the river, and it didn’t help that I was towing an old-fashioned water-heater behind me. It was supposed to be some sort of giant corroded “nuclear” battery with a great big grab handle on one side, but I kept calling it a water heater because I’m delightfully unpretentious and my shins were smarting from banging against all those rocks.

After what seemed an eternity, we were ready to shoot.

The cameras and most of the crew were all back on the bank where we first started, more than 50 yards away, but it was out here on the rocks where the action was set to occur. All I had to do was stay hidden in the rapids behind a rock out-cropping and release the “nuclear battery barrel” into the current on cue, so that it coincided with our actors, Salvator Xuereb and George Faughnan, as they dove into the river to escape their fictional pursuers. Tied to the barrel was a safety line, which I was supposed to use to pull the actors back to the rock when director Rex Hauck called “cut”.

I knew this, and the actors knew this. We all knew this.

With radio confirmations back to shore that YES, we fully understood the plan, the actors were instructed to go to their start marks inland from the bank, at which point I moved 20 feet upriver and dropped down onto a slippery shelf behind one of the big rocks in the whirling rapids, all the while running through a mental rehearsal of the timing for when I would release the barrel. I really wanted to get my part right.

At the last-minute my radio burbled forth with a change in plans from the director that we would not, repeat would

not, be using the barrel on this take.

“Do NOT release the barrel, Drew…. got that?”

Got it. This was an important piece of information, and I assumed that the actors heard the update

from the PA crouching in the trees behind them. Not so much.

BeHINd tHe CAMeRA wItH dRewPROPS


Cameras rolled, ‘Action!’ was called and the actors came running out of the woods and hit the water……first one…. SPLASH!! …..then the other…. SPLASH!!

They started to splash around (George’s character had been shot in the neck, so Salvator was forced to play the lifeguard and keep him afloat).

From my vantage point I could see the boys sloshing around in the current, and I suddenly realized that Salvator was operating with old information. I could tell that he still thought that he would be getting the barrel because he started glaring in my direction, obviously wondering why I’d missed my cue.

I couldn’t very well yell at him that they’d told me not to send it, partly because there was probably a microphone on the bank, but mostly because they couldn’t possibly hear me over the sound of the churning water and bobbing turtle heads.

So I did the only logical thing a person in my situation could do: I pointedly began to ignore him.

Instead of watching our actors flop around in the water, I allowed myself to become completely engrossed with a leaf floating past, hoping that the actors might forget about me and put more effort toward not drowning.

I studied a spider web in a crevice along the water line. I watched some clouds drifting by overhead. After a moment I cut a glance over toward them and could plainly see that not only had they not forgotten me, they were both now convinced that I’d forgotten the entire reason that we’d been sent out into the rapids in the first place. I could feel their eyes boring into me, filled with anger and the certain promise of the horrible retribution yet to come (assuming they managed to survive this scene, I mean: they were looking pretty waterlogged.)

“This had better be looking really, really good on camera,” I thought to myself.

Salvator finally managed to splutter a command... “Drew, give me the barrel”.

But... but... the 1st assistant director had plainly instructed me NOT to send the BARREL to the actors, so I kind of shook my head at Salvator with a tiny, desperate “go away” grimace on my face, never quite looking him in the eye… the equivalent of saying “I’m not here, you can’t see me, please stop looking at me”.

Salvator’s eyes kind of bugged out when I did that, which was embarrassing because it was such a funny expression that I nearly busted out laughing…… if he could only see his own face!! I mean, surely we’d all get a laugh out of this one at the end of the day!!

Of course, at this particular moment, as he was flailing around in the strong current, Salvator didn’t have comedy on his mind.

He wanted a barrel, and he wanted it now.

So again he commanded (this time with a little more force (and gurgle) in his voice), “GIVE me the BARREL!!!“. Nope, I shook my head - nope, I couldn’t do it.

I shook my head some more, hoping that he’d give up at this point. I mean, honestly… my attempt at ignoring the actors hadn’t helped the first time around so this time I just gave them a blank stare. Maybe they’d take the hint.

Convinced that I was the stupidest prop guy he’d ever worked with, Salvator now bellowed, “DREW, GIVE ME THE GOD DAMN BARREL (glug) OR I’LL KILL YOU!!!!!!!!!!”

He was clearly building a convincing case for me to send the barrel in his direction.

Just at that moment, picoseconds into a daydream where I was explaining to the police why I hadn’t saved two actors from drowning, someone barked a command over the radio. Finally, my cue!

I jammed the barrel into the channel between two rocks, giving it a special twirl to make sure that it caught the current and curved directly toward Salvator and George, who then climbed aboard and drifted limply down river.

I later found out that the 1st assistant director had never given the signal for me to release the barrel. It might have been random static on the radio, but looking back I suspect that it was more likely a subconscious decision to avoid being remembered as the prop guy who drowned (or was soundly beaten by) two actors.

You know, Salvator did finally forgive me, but I don’t think he ever forgot.


The film and television production process has so many items and components used on-set that get thrown away

once the show or feature wraps, that it can be an incredibly wasteful situation at best. But being more conscious of

what you purchase and use, not only conserves natural resources and limits your waste, it can also save you money.

With the sustainability wave hitting mainstream over the last few years, it was only a matter of time that smart innovative

thinkers within the film and television production community leadered up and started to implement practices to help

lighten the environmental footprint on a set.

‘Greening’ a production includes things like reducing the use of plastic and preventing landfill waste, along with

conserving fuel and energy to name a few. Pulling together sound sustainable principles to practice on-set, where

the work is fast paced and there’s not really time to think about these matters, involves thorough planning in the pre-

production phase.

GREENING THE SET - A Lighter Footprint By: Diane Lasek

Loading parts of a film set from Mailing Avenue Stageworks, for reuse on a future production.


At the start, call a meeting with the producing team, specifically the

UPM and production manager, to discuss the sustainability plan and

determine how best to communicate it to department heads. Determine

what each department can do and then search out companies that can

best help you with your plan. Engaging everyone in the conversation at

the beginning and developing a strategy is crucial to your success.

Support for these changes has come from the Studios, who have

initiated a lot of these actions. Sony Pictures has been at the forefront

as has Fox Studios. Working with the Producers Guild of America (PGA),

they have created ‘best practices’ guidelines for environmentally friendly

solutions for each department involved in the production process.

These departments include Set Construction, Props, Catering and Craft

Services, Greens, Lighting & Wrap. There is a thorough breakdown of ‘Best

Practices’ on the PGA website: www.pgagreen.org

What was first implemented at film studios in Los Angeles is now taking

place in other cities, and Atlanta is taking the lead in this area. Below,

are suggestions on how you can make effective changes and we have

highlighted examples of what local companies in Atlanta are already

doing to reduce and conserve.

SOUND STAGE & SET DRESSINGLocally, there are several companies involved in taking away and

re-purposing parts of the set. Lifecycle Building Center is a non-profit

charitable organization that captures reusable building materials from

the waste stream through the operation of a retail building material reuse

center, and is a great alternative to material disposal. Run by Adam Deck,

Director of Operations, they recycle the building materials and distribute

them to schools and non-profits and resell the balance to fund their

resource efficiency educational initiatives. Their mission is to educate

people on how to be more efficient and sustainable within the use of the

built environment in the design build, use adaptation and demolition

and removal phases. They also educate the public on building science

and home performance.

Deck has an inventory of building materials and props that can be

purchased for local productions. And now that more people know about

his company, he has begun getting calls from a few of the productions

in town. With companies here like Lifecycle, Atlanta has a better system

to “strike it green” and recycle the production materials from films &

television programs in town. His operation could become the “go to” for

all the various productions as they wrap up shooting in Atlanta.

On the production of the feature Last Vegas, Mailing Avenue Stageworks

co-owner, Tyler Edgarton, met with the production manager, to discuss

his set strike. They also included Deck of Lifecycle.

“We’ve been in constant contact with the production manager from start to finish. Our message is we won’t slow you down,” says Deck. He coordinated with the sound stage personnel and set decorators on

what was his first big project on a movie shoot and offered to Last Vegas

that Lifecycle would take the entirety of the sound stage, which was in

excess of 20 tons.

Generally after wrap, Productions will set aside 10-15% of the aesthetic

improvements until the movie opens. These props are saved for

potential reshoots. With the remainder of props and building materials

available, Lifecycle could potentially step in and be the conduit to

provide them at a discount to the local theater groups.

“Long term it seems like everyone wins. Atlanta looks more ‘green,’

studios are happy, and production groups are happy. Local theatre

groups with tight budgets benefit as well, and Lifecycle gets increased

inventory and a potential way to generate income to help them become

more self-sustaining,” says Edgarton.

Since Last Vegas was a union film, Deck worked with union production

people who were there to break down the set. They used a mixture

semi-flatbeds and large dumpsters for the haul off.

Their goal was to keep the engineered floor system intact. They

disassembled the floor into 36 ft. lengths, which was made easier by the

fact that you could unscrew the pieces. This floor will be warehoused

and can then be purchased for use by as many productions as possible,

as long as the floor remains safe.

Also, they took away 16 units of plywood and framing that elevated the

floor system and will re-bundle the wood for re-use.

Five ft. wall modular units used to elevate the floor joists were also taken.

In addition, they took away the finishes; like doors, tempered glass and

carpeting. All of this material stayed out of a landfill and will get multiple

uses.

“Edgarton and the production manager have gone way beyond the call

of duty to give us access to collect the material and we couldn’t have

done it without their incredible support,” says Deck.

Going forward Deck sees Lifecycle Building Center creating a large

database and using QR codes and smart phones to show the availability

of all of their products in real time. All items that Life Cycle takes away are

tax deductible, and they can also provide tracking data of what tonnage

was diverted from the landfill. More information can be found at: www.

lifecyclebuildingcenter.org.

PROPS

During the creative process, there are many opportunities for efficiencies

in the selection of props and set decoration. Before the production

wraps, look for local organizations that can assist with selling or donating

set props and materials. Provide them with a list of items that will be

available, including dates for when they can be picked up.

In most cases, studios often provide set materials onsite and most prop

masters have a prop kit with a multitude of necessary items they will

need or they rent a kit from another prop master. Because of limited

budgets, most prop assistants and buyers search out flea markets and

second hand shops for props, and sometimes rent instead of purchase

them. When productions wraps, the items that the studio doesn’t want

to keep can be donated or resold. You can seek to use less toxic sprays,

adhesives, cleaners and other solvent-based products as more become

available on the market.

WATER

One of the biggest waste streams on a set is the amount of plastic water

bottles used every day. You can reduce this consumption by having

productions provide aluminum canisters and water stations to avoid this

problem.

feAtuRe

RECYCLING ON-SETBy far, the largest amount of waste on a set comes from feeding the

production staff and crew on a daily basis. Junkit, a local Atlanta company

takes care of the recycling and trash on productions in the Atlanta area by

providing containers for paper, plastic, cardboard, aluminum and metal.

At the start of a production, they place their containers in base camp,

craft services, catering and on the stages. They pick these up daily and

take them to the county recycling center. Rusty Brown, Junkit’s owner

is also actively putting together a composting operation. He also can

provide figures on production waste sent to the landfill and the waste

recycled to show you your savings.


CATERING & CRAFT SERVICESAt the beginning of a production put together a comprehensive

recycling program and try to implement composting efforts.

Most catering companies will offer plates and utensils that can be

recycled, but it is up to the productions to spend the extra money

for these items. Because productions are looking to cut cost on their

budgets, they usually don’t chose this route. So in this area, the greenest

thing that caterers can do is to use china and stainless steel utensils on

the set.

Laurent Catering Inc., which was the caterer on the television series The

Game, filmed in Atlanta, sources some of its food from farmer’s markets.

And sourcing organic items is not as hard as it use to be. Avalon Catering,

Atlanta’s only ‘Farm to Fork’ catering company customizes menus with

seasonal items that are sourced from local organic farmers. They also

donate what food they don’t use to the Atlanta Community Foodbank.

You can donate food items by contacting the Atlanta Community

Foodbank at [email protected]

Several craft services companies who have green practices in place try to

offer certain types of snacks that can be enjoyed without dishes. While

composting is still an area that needs more support, in time this too will

get established.


“Long term it seems like everyone wins. Atlanta looks more ‘green,’ studios are happy, and production groups are happy. Local theatre groups with tight budgets benefit as well, and Lifecycle gets increased inventory and a potential way to generate income to help them become more self-sustaining,” says Edgarton.


feAtuRe


LIGHTINGWith the recent innovations in lighting, such as LEDs, and other types

of energy efficient light bulbs, films are now beginning to incorporate

them on the set. As anyone who’s been on a set is aware – the lighting

gets pretty hot and it’s good news to know that LEDs don’t emit as much

heat as conventional bulbs, and productions can save money on their

cooling costs. LEDs can light a set approximately 200 times longer than

your standard set light and are 75% more efficient than traditional movie

lights.

The feature Think Like A Man, filmed in Los Angeles, sourced LEDs for

their entire lighting operation. Sony Pictures Production Administration

President Gary Martin said, “Sony Pictures is committed to making great

content with a smaller and smaller energy footprint, and Think Like A

Man is a great example of Screen Gems’ continuing tradition of actively

reducing the impact and waste of a major feature film production.” As

Glenn Gainor, Screen Gems’ SVP of Physical Production says “Filmmaking

today has become more environmentally sustainable—more so than it’s

ever been.” For more on lighting-there is a video of LED’s use on Think

Like a Man on YouTube under: Think Like a Man filmed entirely by LED

lighting.

“Filmmaking today has become more environmentally sustainable—more so than it’s ever been.” - Glenn Gainor, Screen Gems’ SVP of Physical Production


PRINTCall sheets are a necessary part of the production process and will

continue being printed, but most other things that have been printed

and handed out, can now be delivered on smart phones and tablets.

TRANSPORTATIONOver the last five years, rental car companies have been building up their

fleets of hybrid vehicles. Production companies are now requesting

these for their staff. Triangle-Rent-a-Car, provides hybrids along with

other economy vehicles for productions in Atlanta. Another way you

can improve in the transportation area is to have a portion of your

production trucks powered by B99 biodiesel.

GREENSJohn Hemphill, key greensman and Adam Chrisman, on-set greensman

for The Vampire Diaries, source their live plants locally and re-use them as

much as they can. Hemphill makes his own homemade compost for use

in his plantings. And plants no longer needed for a shoot are donated

to Habitat for Humanity for re-use in plantings around Habitat houses.

STUDENT FILMMAKERSSince sustainability practices will be a part of most productions going

forward, student filmmakers can get a head start in learning the ‘best

practices’ when putting together their own films, and may try to

get special acknowledgement from the Producer’s Guild and other

organizations for their innovative efforts.

For everyone involved in the various areas of a production, developing

and then sharing environmentally friendly solutions and innovative

approaches will only add to the overall success of truly ‘greening the set’.

As these practices become common place, we can go forward into the

future, knowing that we used our heads a little bit better to figure out

ways to have a lighter footprint on this planet.

You can find green vendors at www.greenproductionguide.com


K.I.M. (keep it

Don’t Sweat It.Forget It.

Another New Year means the annual undertaking of making yet another New Year’s resolution. Some of the most common resolutions are typical:

Save More Money Get Organized Lose Weight/Eat Healthy Quit Smoking Travel Volunteer, Just to name a few.

After thinking about it, I decided to choose one that I’ve been practicing off and on for about five year’s in a row. “Don’t sweat it, forget it! K.I.M. (keep it moving).” Sometimes more off than on, always easier said than done.

“Don’t Sweat It; Forget It, K.I.M.” is a great practice for everyday life, especially when in pursuit of something. One of my hot pursuits is a career in the entertainment industry.

I have often heard people who have advanced in the entertainment industry say, “You will hear the word ‘NO ’ more than the word ‘YES’ so get used to it.” I have certainly had my share of the word NO, opportunities to K.I.M. Here’s just one, quick story, one I’ve tried to keep moving from . . .. I was called for an interview as an intern/assistant position with a very well regarded producer from a top production company/studio. I was nervous, anxious, nau-seous and excited, all at the same time. Okay, prep time: I went over my resume and looked at zesty interview tips and interview questions. I even had a good friend role-play by doing a “mock interview” to make sure I was more than prepared. The night before the interview, I felt good about my preparation, but I was really nervous; I mean stom-ach in knots, NERVOUS! I had my “interview” suit out and thought I should really add a nice touch to my wardrobe ensemble, so I went to closet and dug out my vintage briefcase. Now we’re talking. The next morning, I arrived at the studio lot. A nice gentleman led me to the offices. The receptionist asked my name; I told her whom I was there to see and then took a seat. While waiting in the lobby, a casting session for a project going on. I thought, “Wow, I am really going to be a part of this amazing company.” While I waited, I took the opportunity to brush up. I opened my now shiny briefcase and pulled out the in-terview tips and started once again to go over the things about me: my accomplishments, how I would be an asset to this company and my future goals.

moving)by Monique McGlockton

VOICES


A woman came up to me in the lobby and asked if I was there to audition. I thought, yeah right, me, (thanks, though, for the ego boost). I politely said, “no.” Okay, so maybe I did look as if I was rehearsing for a part while staring at the ceiling and mouthing my interview speech. In reality, I guess I was rehearsing. About fifteen minutes later, the producer’s ex-ecutive assistant emerged and led me to the producer’s office. As we walked and made small talk, I looked around at the beautiful decorum and again thought to myself, “I could someday be walking these halls to get to my work area.” We reached the producer’s office. The assis-tant asked me to have a seat and let me know that the producer would be with me shortly. Butterflies forming again, “did I eat breakfast?” Can’t remember. Okay, focus! I took in a few short breaths. After the last breath release, the door to the producer’s office opened, and out came the producer. The producer asked me to come in to her office and have a seat. I did, with my resume in hand, prepared to place it in her hand. She sat down with a copy of my resume already out on top of the desk. “So I see you worked on the film . . .,” the producer said. I replied, “Yes, I did. It was one of the first projects that I worked on when I moved here.” “Oh, and how was that?” I spoke about the great opportunity and how I was fortunate to have met some amazing people on set, some that I am in constant contact with today. I omitted the part about working a daytime job, then leaving that paying job to go on set at night to work until 3 or 4 am. And then getting up a few hours later to go back to the paying job and then back to the set after that.

As I finished that answer, I thought to myself, “Yes, I’ve got this. Bring it on, next question.” The produc-er, nodded, looked at me and I thought, what will she ask now: “What made me decide to pursue this career path or where do I see myself in five years”? I got it!

Instead the producer said “Do you have any questions for me?” I looked at her dumbfounded. Taken aback for a minute, I glanced around the room, and thought “what the . . .,” this is not on my tip sheet. This is not what I rehearsed. After I came out of my stupor, which seemed to last about thirty minutes, I looked at the producer with my head held high, a smile on my face and said, “No.” She looked at me and asked again: “There are no questions at all that you have for me?”

I drew a blank, my mouth suddenly became dry and all I could do to keep from jumping out of the chair and running out of that office like a lunatic was to continue to smile and reply, “No.” The producer stood up and shook my hand and said, “If there is nothing else, then it was a pleasure meet-ing you.” I stood up from my seat, shook the producer’s hand, grabbed my shiny briefcase and walked out. As the producer’s door closed, the assistant rose from her desk to show me out. Everything else was a blur. When I reached my car, I sat in the parking lot for a few minutes thinking, “What just happened?”

After a few days or so, I thought about all of the things I could have said . . . or asked . . . to make that interview perfect. Then I thought, maybe the producer would base the hiring decision on my experience. It’ll be fine.

Needless to say, I didn’t get the job. I felt uneasy about it for a moment, but I realized that it wasn’t the first “no” I’ve heard before, and it certainly won’t be the last. Learn from the situation and move on. Use that energy on the next plan. My friend told me once that her father always taught her to have a plan A, B, C, D, E, F, G . . . you get the point. Rejection is part of life. If you K.I.M.

by Monique McGlockton



On January 13, 2013, twelve hundred guests showed up at the Georgia Would Congress Center for the Ist Annual Georgia Entertainment Gala. This black tie affair included an awards ceremony, produced by Sunseeker Media to honor some of Georgia’s entertainment industry professionals. After the awards show, live entertainment was enjoyed by all.

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1. trina Braxton. star of we tv’s Braxton family values. along with her husband.

2. Actor/director errol Sadler and Actor e. Roger Mitchell

3. Stephanie Stevens; Patricia Roberts; Robert Hall; Heather Place

4. Actor danny williams, Nominee; Actor Brian White Host of the GALA

5. tribble Reese, Audi; Ian Somerhalder, Actor, the vampire diaries; Erikka Tiffany, Marketing Manger

GEOrGIA ENTErTAINMENT GALA

SCENE

Photographs by

Photographs by


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6. Nommie for Best Actor, Jeff Rose & his family.

7. Riley Biederer, singer/songwriter

8. Egypt Sherrod, Host of HGTV

9. the Macon film Festival board

10. Clayton County Film Office, winner of the Outstanding Contribution to the Georgia Entertainment Industry Award.

SCENE


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11 filmmaker Al G. Sillah & Actor wardell Richardson

12. dwight Phillips, an American athlete and a four-time world champion in the long jump. He was the 2004 Olympic champion

13. Attorney & Owner of Green Room, Shannon Nash

On January 13, 2013, twelve hundred guests showed up at the Georgia Would Congress Center for the Ist Annual Georgia Entertainment Gala. This black tie affair included an awards ceremony, produced by Sunseeker Media to honor some of Georgia’s entertainment industry professionals. After the awards show, live entertainment was enjoyed by all.

GEOrGIA ENTErTAINMENT GALA

Photographs by

Photographs by


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14. Peter thomas of Real Housewives of Atlanta

15. Ian Somerhalder, Actor, the vampire diaries; Gala Founder, Autumn Bailey-Ford

16. (L-R) Host Brian white; executive Producer of Sunseeker Media, Bart Phillips; Host Sarah Wayne Callies


HOW I GOT INTO THE BuSINESS Hope Ferguson Makeup Artist [email protected]

How did you get into tHe business?

I started my career in New York City while still in school at the Make-Up Designory. I interned for anything I could get my hands on. After graduating, I moved to Atlanta and utilized the Oz Sourcebook. I put my name in front of every Production Company, director, and pro-ducer in the book.

wHAt do you love About your job?

As a beauty and special effects makeup artist you have the privilege to experience different personalities. Peo-ple sit in my chair and apologize for their dirty hair and their zit, but what they don’t realize is the only thing I notice is their beautiful green eyes or the natural glow of their skin. As a beauty makeup artist, I enhance their natural beauty. As a special effects artist things are slightly different. Although you do enhance features al-ready there, the beauty of effects is that you can create something, like a gash or a broken nose, just from a few simple products. I love the creativity and on-the-spot thinking of my job.

wHAt is tHe best Advice to give soMeone going into tHe business?

Don’t ever think you are too young or inexperienced to be in the industry. I’m still intimidated by people who have been doing this for twenty years. Every shoot I go on I am the youngest crew member, but I’m always learning and growing and that’s what is most impor-tant.

wHAt would be your dreAM job?

When I was 9, I saw, “The Lord of the Rings: The Fel-lowship of the Ring”. It inspired me to be a make-up artist. The artists for this movie were given the chance to be creative and cutting-edge for a wide-range of different characters and each character had unique features. Along with creating characters they were able to design injuries, lay hair, and create beautiful beauty makeup. My dream job is to be a part of such a complex creative process.

Projects:

“HGTV: DIY Megadens” “Magnets and Ghosts: Light my flame” (music video), AT&T Commercial

FrAn BursT-TerrAneLLAdirector, Producer, college Faculty

How did i get into tHe business?

The summer I turned 19, my younger sister and I made our first trip from Texas to “the north.” Our destination - Cambridge, Mass. Before I knew it, I was living in a tiny 4th floor room of an old Victorian house, had a sleek new bicycle, a part-time job and was a card-carrying Harvard summer student. My favorite class quickly became Film Studies. We watched films from every country and era, and world-famous filmmakers often popped in to guest lecture. One balmy night I found myself in a basement classroom seated just inches away from the whirring 16mm projector, and suddenly, I was drawn into the most intriguing film I’d ever experienced - Alain Resnais’ hypnotic and puzzling “Last Year at Marienbad” where, as Roger Ebert puts it “the story remains a mystery, even to the characters themselves.” And BOOM! Like a bolt of lightning, I knew I wanted to direct movies. Career deci-sion – done!

How did i becoMe A director?

Many experimental, narrative and documentary short films later at The University of Texas, I became the first woman grad to DIRECT a film for a thesis project.

For the next 7 years, I did whatever it took to be involved in making movies – I shot, directed, edited, mixed sound, produced, PA’d, AD’d, AC’d, location scouted, boom op’d, script supervised, did make-up, hair, wardrobe … and I wrangled kids, dogs, trucks and farm animals. I was on one-person crews and 100-person crews, and on-location in dozens of states plus countries in Asia, Africa and the Caribbean.

In 1981, I started my own production company. Several hundred projects later, I added teaching filmmaking to my portfolio of great experiences in 2001. Now I’m add-ing developing and producing feature films, TV and web series to my filmmaking career goals.

wHAt do i love Most About MAKing Movies?

I never know what excellent adventure I’ll embark on next!

kody wynnegraphic designer How did i get into tHe business?

Well, a few years ago the economy went bust and I was laid off by my “civilian job”. Because I was lucky enough to get unemployment I took the opportunity to look for internships I previously couldn’t afford to take. During that time I was introduced to a great Production Coordinator who took a chance on me and brought me in as a Pro-duction Office Intern. After a week of volunteering I was offered the gig full time. Within two years I have gone from being Unemployed, to an Office Intern, PA, Graphic Designer, Art Department Coordinator, and even a POC. Funny how a crappy economy kick started my career.

wHAt do you love About your job?

With graphic design I love having the opportunity to be creative every single day. Especially when I get free reign to run with an idea. (Not to mention I also enjoy the swag I get at the end of a season. Free stuff is always great.)

wHAt would be your dreAM Project?

I’m a huge comic book nerd, so any Marvel movie would be ideal. However, my ultimate dream movie would be Avengers 2. (It WAS the first Avengers movie, but I think I’m a little late on that one.) list oF your tHree lAtest Project titles

“Second Generation Wayans” (BET), “You’re Pretty Face is Going to Hell” (Adult Swim), “Let’s Stay Together” (BET)

scoTT THigpen vP of branded content | Producer | director

crazy legs Productions [email protected] www.crazylegsproductions.com


My mother always said I was a perfectionist. I’ve always enjoyed creating something from scratch and seeing it develop into something spectacular. I joined Crazy Legs in 2011 after 17 years as director of advertising and me-dia production for the humanitarian organization CARE. At Crazy Legs I develop projects with blue-chip brands and leading nonprofits as well as produce and direct non-fiction television. I thoroughly enjoy telling impor-tant stories of real people that the audience appreciates.

wHAt MAKes wHAt you do unique?

Like others, we produce branded content, but Crazy Legs is one of the few Atlanta-based companies suc-cessfully producing a slate of non-fiction television shows. Our uniqueness lies in our ability to bring out interesting characters and create visuals that have a distinguishing cinematic look. I’m also part of a creative and production team that really does work beautifully together. Crazy Legs is a business that feels more like a family.

wHAt’s tHe best Advice For soMeone getting into tHe business?

“Whether you think you can or think you can’t, you’re right.” - Henry Ford

wHAt’s your Most MeMorAble ProFessionAl MoMent?

That would probably be working in the satellite broad-cast truck the evening of a live panel discussion with Ann Curry, Madeleine Albright, Natalie Portman, Nick Kristof and Christy Turlington-Burns. It was simulcast into 500 theaters nationwide following the showing of our film A Powerful Noise. I remember thinking about how people had told us that a subtitled movie without celebrities in it would never make it to the big screen. That night we proved it was possible AND we added live all-star bonus content to boot!

wHAt HAve you worKed on Most recently?

I produced and co-directed episodes of Hidden City on Travel Channel and am currently directing episodes of the Discovery ID series, Swamp Murders, set to air in 2013. We also have several major brands approaching Crazy Legs and I’m excited to be developing concepts for them.


sorAiA cALLisonProducer at company 3 Atlanta

[email protected]


It was total luck! After studying Social Communications in college, I left my home country of Brazil and trav-eled around the world. At some point, I landed in Los Angeles. Having little work experience and being new to the English language, I felt my chances of getting a job in advertising were slim. I started off in the jewelry design industry in LA and moved to Atlanta to work as a Special Events Design Decorator during the 1996 Olympics. Shortly afterwards, a headhunter asked me to temp at a place called Todd-AO Editworks, a top postproduction studio in Atlanta. The funny thing was that I was hired to answer the phones but, still perfect-ing my English, I could just barely pronounce the name of the company! It was love at first place. Not only was I working in my field, but the people were absolutely amazing. Of course, just as I finally mastered the com-pany’s name, we rebranded! I was quickly promoted to Traffic Coordinator. From traffic I moved to Scheduling, then Producer and now DI Commercial Producer for Sr. Colorist Billy Gabor at Company 3 Atlanta.

wHAt MAKes your job cool/Fun For you?

I’ve had the chance to work with a lot of really great people on many interesting projects. Working with Robin Thicke to help post-produce one of his breakout music videos was particularly fun! Even Usher visited the studio to check out the work. How cool is that? Commercials are a large part of the business. Most re-cently, I produced Allstate “ Mayhem” and Sprint spots and I have been involved in TV and film projects includ-ing dailies for J.J. Abrams’ TV pilot called “Revolution” and some documentary and feature projects as well.Working with Company 3 has provided me with a great opportunity to excel and continue to learn about the color grading process. It continues to be a fun ride ev-ery day!

Tim mccABePayroll/Production Accountant

singer/composer/Music Producerneverland Film services/talent Paymaster, inc

tim Mccabe Productions, inc./Planet earth recording co.gPP treasurer

How i got into tHe business:

I remember it well, I was singing in front of a large au-dience “Bell Bottom Trousers” and the crowd loved it – standing O. A hat was passed and everyone in the audi-ence seemed to be throwing money in. After the roar of the crowd subsided and I had taken my bow, my father, an attorney, pulled me aside and said, “if you want to make it in the music business, you’d better learn to di-versify!” He’s the one who had passed the hat. The “take” was $4.38. I was five years old but I learned a valuable lesson - whatever “diversify” meant, I had to do it.

Looking back, I see a music career (think genre of Neil Diamond or John Denver) of over 30 years. The singer/guitarist, the composer – over 75 songs published, over 500 jingles and commercials sung, written, or pro-duced, music entertainment TV specials for WSB-TV and WAGA-TV, 15 CDs produced, 10 years working with The Grammy Awards on their annual telecast… producing a number of concerts and commercials with Ray Charles. Eventually, making jingles brought in fewer dollars, the recorded music business became a “free for all” enter-prise, and production contacts in TV moved up the chain. Enter “Diversify”.

In 1984, a talent agent (her initials are SG and she now does a pretty good job of casting) asked if I would be the paymaster for one of her clients hiring a few of her AFTRA actors. I went on to work for Rich’s, GA Power, and hundreds of others since founding Talent Paymaster, Inc. Further diversifying my career, I started a full service payroll company specializing in movies in 1991, called Neverland Film Services that’s worked on 30 feature film and television productions.

Eventually, the payroll businesses became the primary focus and music took a background position. I still have the love of music in me but I thoroughly enjoy counting money – it’s a great business.

best Advice:

If you guessed “Diversify,” then you have read the above article.

dIStRIButION PARtNeRSNORtH HIGHLANdS

Diesel870 N. Highland Ave. NEAtlanta, GA. 30306

Manuel’s Tavern602 North Highland Ave.Atlanta, GAwww.manuelstavern.com Plaza Theatre1049 Ponce De Leon Ave.Atlanta, GA 30306 www.plazaatlanta.com

Youngblood Gallery636 N Highland Ave.Atlanta, GA 30306www.youngbloodgallery.com

Righteous Room 1051 Ponce De Leon Ave.Atlanta, GA 30306

Videodrome617 N. Highland Ave.Atlanta, GA. 30306

PeRIMeteR NORtH

Art Institute Of Atlanta 6600 Peachtree Dunwoody Road100 Embassy RowAtlanta, GA 30328www.aia.aii.edu

American Intercontinental University - Dunwoody6600 Peachtree Dunwoody Road500 Embassy RowAtlanta, GA 30328dunwoody.aiuniv.edu

Mellow Mushroom-Vinings2950 New Paces Ferry Rd SE #BAtlanta, GA 30339www.mellowmushroom.com/vinings

NORtH deKALB

Beer Growler38A N. Avondale Rd. Avondale States, GA. 30002

Chocolate’-Shallowford2566 Shallowford Road - Publix Shopping CenterAtlanta, GA 30345www.mychocolatecoffee.com

Crawford Media 5 West Druid Hills DriveAtlanta, GA 30329www.crawford.com

Showcase Video2323 Cheshire Bridge Road, NEAtlanta, GA 30324www.showcaseinc.com

eMORy

COMMUNITY BBQ1361 Clairmont RoadDecatur, GA. 30033

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

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

SOuTH ATLANTA

Clark-Atlanta University Library 111 James P. Brawley Dr., SW,Atlanta, Ga 30314 Community BBQ1361 Clairmont Rd.Decatur, GA. 30033

EUE/Screen Gems 175 Lakewood Way, SEAtlanta, Ga 30315www.screengemsstudios.com/atl

Raleigh Studios-Senoia600 Chestlehurst RoadSenoia, Ga 30276www.raleighstudios.com

MIDTOWN WEST

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

Elliott Street Pub51 Elliott St., SWAtlanta, GA 30313

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

Panavision 1250 Menlo Drive NWAtlanta, GA 30318www.panavision.com

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

Imagers 1575 Northside DriveBldg 400, Suite 490Atlanta, GA 30318www.imagers.com

Octane Coffee Bar & Lounge1009 Marietta Street NWAtlanta, GA, 30318www.octanecoffee.com

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

King Plow Arts Center 887 West Marietta StreetAtlanta, GA, 30318www.kingplow.com C-tOwN/G. PARK/eASt AtL

97 Estoria 727 Wylie Street Atlanta, GA 30316www.97estoria.com

Homegrown968 Memorial Dr. SEAtlanta, GA. 30316

Mailing Avenue Stageworks1144 Mailing AvenueAtlanta, GA 30315www.mailingavenuestageworks.com

Stoveworks 112 Krog St.Atlanta, GA 30307www.officeloftsatlanta.com Six Feet Under-Memorial 437 Memorial Dr SEAtlanta, GA 30312

Smoothie Studio925 Hamilton St. SE Atlanta, GA. 30316

Stoveworks112 Krog St. NEAtlanta, GA. 30312

Studioplex 659 Auburn Avenue NEAtlanta, GA 30312www.studioplexlofts.com Tomatillo’s1242 Glenwood Ave. SEAtlanta, GA. 30315

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

529529 Flat Shoals Ave.Atlanta, GA 30318www.529atl.com MIDTOWN-ish

Georgia Film CommissionSpring St. NEAtlanta, GA 30309

Paris On Ponce716 Ponce De Leon Pl. NEAtlanta, GA. 30306

SLICE85 Poplar St. NWAtlanta, GA. 30303

Sam Flax 1745 Peachtree Stat Brookwood PlaceAtlanta, GA 30309www.samflaxsouth.com

Turner Studios 1020 Techwood DriveAtlanta, Ga 30318www.turnerstudios.com

Utrecht Art Supplies878 Peachtree StreetAtlanta, GA 30309www.utrechtart.com/stores

Portfolio Center125 Bennett StreetAtlanta, Ga 30309www.portfoliocenter.com S.C.A.D.- Atlanta1600 Peachtree StAtlanta, GA 30309www.scad.edu INMAN PARK/LIttLe 5 POINtS

Brewhouse Pub401 Moreland Ave. NEAtlanta, GA. 30307

Corner Tavern1174 Moreland Ave. NE Atlanta, GA. 30307

Criminal Records1154 Euclid Ave. NE Atlanta, GA. 30307

Jack’s Pizza 676 Highland Avenue NEAtlanta, GAwww.jackspizzaandwings.com

Inman Perk Coffee240 N Highland Ave NE # H Atlanta, GA 30307 www.inmanperkcoffee.com

Java Lords1105 Euclid Ave. NEAtlanta, GA. 30307

Moog Gallery1653 McClendon Ave. NE Atlanta, GA. 30307

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

Parish 240 N Highland Avenue NEAtlanta, GA 30307 www.parishatl.com El Myr 1091 Euclid Avenue NEAtlanta, GA 30307 elmyr.com

Star Community Bar437 Moreland Ave. NE Atlanta, GA. 30307

Aurora Coffee 468 Moreland AvenueAtlanta, GA 30307www.auroracoffee.com


dIStRIButION PARtNeRS


[email protected]

Two to four matched camerasin full studio configuration

Well engineered on-location fly packagesCorporate - Sports - Convention

Religious - Special Events

One is the loneliest number you wil l ever know...

office: 678.581.3750

mobile: 404.226.4503

www.agoratv.tvSpecial Events since 1979

Let Me GIve yOu My CARd


American Institute of Graphic Arts (AIGA)

Atlanta Ad Club

Atlanta Macintosh Users Group

American Marketing Association-Atlanta

Media Communications Association International (MCAI)

Women In Film & Television Atlanta (WIFTA)

Business Marketing Association-Atlanta (BMA-Atlanta)

National Academy of Television Arts and Sciences Southeast (NATAS)

Atlanta Press Club (APC)

Georgia Production Partnership (GPP)

The Freelance Forum

American Federation of Television and Radio Arts (AFTRA)

Cable & Telecommunications Association (CTAM)

American Society of Media Photographers (ASMP)

Society for Technical Communication (STC)

ASSOCIAtION PARtNeRS


AD AGENCY CAMPAIGNS

bkv

the partnership. Digital. advertising. Design.

Client Name: Children’s Healthcare of Atlanta (Not-For-Profit)Title of Campaign: “Share the Hope”Project Team Members: Paul Carpenter, Michelle Gunn, Todd Bemis, Scot Prudhomme Campaign Description: One day. One camera. One hospital. Through an emotional video that captured a day in the life of patients at Chil-dren’s, this campaign targeted donors and collected holiday messages. Tactics included a microsite, mobile site, Facebook tab, plus digital and traditional media support. Messages and donations collected greatly exceeded goals.

The Carhartt Apparel Look Book follows the story of Jack Murphy, a Santa Monica “event” stunt designer who notoriously always completes every job regardless of weather. Carhartt is his rugged work brand of choice. Carhartt’s durability is even reflected in the tagline, “Where there’s work, there’s Carhartt”.

Client: Carhartt ApparelPresident & ECD: David ArnoldCD & Writer: Harry HayesSr. Art Director: Sim Wong

ME T IC UL OU SLY- C R A F T ED A ND DE SIGNED A P PA REL – A S RUGGED A ND A U T HEN T IC A S T HE P EOP L E W HO W E A R I T

CARHARTT HERITAGE

oz_fullpage.indd 1 5/19/11 4:31 PM

Oz Magazine Feb/March 2013

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Transcript of Oz Magazine Feb/March 2013