Oz Magazine, Dec/Jan 2013

film & tv • print • new media • lifestyledec 2012-jan 2013

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

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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.**

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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: Nichole Bazemore, Andrew Duncan, Diane Lasek

Sales: Diane Lasek, Monique McGlockton

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

Sarah Medina - Production Artist & 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 - Have a Holly p. 24 Jolly Sound Stage

Oz Scene - GPP/Screengems, ARRI/PC&E, BronzeLens p. 30

How I Got into the Business p. 38

Let Me Give You My Card p. 41

Ad Campaigns p. 42

DEC 2012-JAN 2013

F E A T U R E SCover Story - Impressed on the Set: Part 2 p. 16

Feature Story - The Future Looks Bright: Part 3 p. 26

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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 Photography: Sarah Medina

Graphic Design: Christina Wingfield

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Artwork by Dean Ve lez, Sen ior Mot ion Graphics Des igner at Magick

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.com.Behind the Camera w/ Drewprops, p. 24

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!

Diane Lasek has been involved in the film and television industry for 20+ years, most of that time as a marketing and salesperson. She is currently working as a sales consultant on the Oz Publishing team and enjoys getting to know all of the hard-working creative folks working across Georgia. In her spare time she is a beekeeper, master gardener and has a little organic soil amendment company for your gardening needs. That can be found at www.smartdirtorganics.com.Feature, p. 26

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

Nichole Bazemore is a freelance writer and blogger. She is also the host of the show, “Say It With Style,” on Blog Talk Radio. Her company, Simply Stated Solutions, provides marketing materials for coaches, consultants, and small businesses. Learn more about Nichole and her company via her website, www.simplystatedsolutions.com, or connect with her on Facebook or Twitter @nicholebazemore.Cover Story, p. 16

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

GRAHAM JOINS JAYAN

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

ROWE IN CONTROL

Nigel Rowe, principle and shooter, Roundel MC.

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

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

CETERA

BIG PICTURE MAKES BIG ONE

GEORGIA GIVES

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Work hard, play hard. On the sets for shoots supporting the Georgia Cen-ter for Nonprofits.

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

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

non-profit for them, with search options by zip code and by type of non-profit.”

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

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

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

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

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

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

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

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

CONGRATS TO CARTOON NETWORK

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

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

North Avenue Post has entered a creative partnership with Artifact Design; an award-winning broadcast and interactive design studio based in both Atlanta and Los Angeles. Their teams are currently working together on an exciting new project for TBS.

Sean Brown continues to amaze and impress with the creation of a num-ber of spots, which have been recognized for their excellence in creativity, concept development, and overall design. Just recently Henry Weinhard’s was wowed by a concept featuring a walking keg, earning Brown a spot in their national web campaign. Congratulations to both Brown and Kenneth Lovell, who contributed his audio expertise. Additional spots include those for V8 and Crest campaigns.

TBS chose NAP for their latest “Trends with Benefits” special. Jonathan Hayes once again proved why he is a NAP go-to director. The three segments ad-dress everything from trendy attire to seasonally appropriate date ideas

North Avenue Post was also a part of the most recent installment of the Children’s Healthcare of Atlanta Strong4Life campaign. This time, “teasing the talk” is the main theme of the four spots , alluding to the awkward con-versation parents have with their children about weight issues.

POST & DESIGN PARTNER

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

CETERA

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 1 1

ARKETI NAILS AWARDS

Arketi Group was recognized for its exceptional work in BtoB PR and market-ing, earning 13 awards at the 2012 PRSA|GA Phoenix Awards Celebration. Ar-keti and its clients received eight Phoenix Awards and five Certificates of Excel-lence at this year’s ceremony.

Arketi was awarded Phoenix Awards for the following:

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

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

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

Webcasts for Arketi’s work with Knowlagent to develop and execute the Pro-ductivity Plus webinar series to identify Knowlagent as a thought leader in agent productivity solutions and to generate leads.Direct Mail/Direct Response for Arketi’s success in driving booth traffic and generating leads at the 2011 Black Hat conference for Stonesoft, a provider of integrated network security and business continuity solutions that simplify complex network security environments.

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

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

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

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

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

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


CETERAPACS HAS CLASSProduction Accounting and Crew Services International (PACS), an Atlanta-based, Hollywood-trained production accounting firm servicing the entertainment industry, has moved into new offices to accommodate the expansion of their business and the launch of their Intensive Film Production Accounting training classes. The new office is located in the heart of Midtown. The move co-incides with the wrapping of two PACS client productions: VH1’s “Single Ladies” and Lifetime’s “The Houstons: On Our Own.”

Cheryl Jenkins, CEO of PACS states, “After 15 years of working in production accounting in Los Angeles and working in Atlanta on several movies and television shows, I saw a hole in the market-place for production accountants who were seasoned industry professionals.” She continues, “I launched PACS to fill that void in the burgeoning entertainment industry in Atlanta, and to be a resource for companies moving their productions to the Atlanta, area and provide trained professionals to meet their needs.”Courses will be held periodically throughout the year.

ONE CLASS, THREE ACTS

Michael Lucker begins teaching Atlanta screen writing workshops.

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

QUIMBY WINS PRSA PRAISEJoseph Quimby earns the PRSA Chapter Champion Award.

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

Quimby has served as part of the “Greeter Team” at the chapter’s monthly meeting for the past two years. As part of this year’s Membership Commit-tee, he created a system to facilitate follow-up with prospective members. In addition, he has been involved with the Accreditation Committee as an instructor and mentor of public relations students at the University of Georgia preparing for a pre-APR certification.

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

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BARBIZON - ATLANTA

Lamps, Gel, Tape, Toys


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”).

LET THE ANIMATION BEGIN!

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

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

STEEL MAGNOLIAS STARS KEITH ADAMS

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

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

Utilizing the Toon Boom and BBE digital pipeline, BAS will employ over 100 ani-mators and production staff within twelve months, and is expected to expand to greater than 200 employees within three years. Both Toon Boom and BBE will be training local artists in coordination with the city of Atlanta and the State of Georgia.Officials in Atlanta are thrilled with plans for BAS, and the mutual benefits the facility will bring to the local artistic and business communities.

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

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CETERA

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

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

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

NEW PARTNERS FOR ENTERTAINMENT PARTNERS

Karen Sortor leads the Georgia office of Entertainment Partners.

THE GOOD LIFE AT AMT

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

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

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

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

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

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

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

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


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COVER STORY

in Georgia’s film & television production industry- - - - - - - - - - - - - - -By: Nichole Bazemore

IMPRESSED

on the Set

- - - - - - - - - - - - - --

some of the most

INFLUENTIAL

people

1 6 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 ma r t i c l e c o n t i n u e s o n p . 1 8

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

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

The PioneersKay Beck, Ph.D.Associate Professor of Communication, Georgia State UniversityDirector, Digital Arts Entertainment Laboratory

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

But for Beck, an Associate Professor of Communication and Director of the Digital Arts Entertainment Laboratory (DAEL) at Georgia State University, the road to filmmaking wouldn’t be a straight line. After graduating from the University of Alabama, she volunteered for the Peace Corps, serving as a teacher in Southeast Asia. While there, she met a friend, who was covering a civil war for Visnews, a London-based interna-tional news agency that later merged into Reuters Television. Intrigued, Beck also began shooting film of soldiers. That un-edited stock was sent to news outlets around the world. She was on to something.

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

Always hungry to learn more, Beck enrolled in Emory Universi-ty to pursue her doctorate. Famous filmmakers, brought there by her professors to speak to students, were one of the high-lights of her education. After she graduated, Beck decided to create a film school. “It just occurred to me. I’d just come out of film school. I felt there needed to be one.” So, Beck, by this time a professor at Georgia State, decided to create a film pro-gram in 1972. There was just one problem: there was no place to teach it. “They gave us a room where you couldn’t turn the light off,” she recalls. “We crawled in the ceiling and figured out how to turn the light off.” The GSU film program became a success, graduating such prominent industry veterans and professionals as current Georgia Film Commissioner Lee Thomas, “The Walking Dead” producer Tom Luse, and journalist and business reporter Maria Sapporta. Beck went on to serve on the Executive Committee of the Georgia Film Board under four governors. She was also one of the founders of the Atlanta Film Festival (originally, the IMAGE Film and Video Center), one of the largest and longest-running festivals in the country, and one of only two-dozen Academy Award® qualifying festivals in the US.

In 1998, Beck co-founded the Digital Arts Entertainment Laboratory (DAEL) at Georgia State. The Digital Arts Lab, as it’s known, is one the region’s leading centers for media pro-duction. The multi-million dollar facility, located on the GSU campus, is a hub for student and professional collaboration in the areas of film and theatre. Students here have worked on digital media projects with professionals from Turner Broad-casting, Coca-Cola, Riverwood Studios, and Crawford Media Services.

COVER STORY


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

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

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

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

Sheryl GripperFounding Executive Director, BronzeLens Film FestivalFounder, Black Women Film Network

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

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


The ArtisansDay Permuy Production Coordinator/Production Supervisor

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

But like many veterans of the Atlanta film scene, Permuy re-members a time, not too long ago, when it didn’t look like the circus was coming at all. “The biggest challenge five years ago was getting a job. It was a gypsy life. We had to go on the road if we wanted to work,” she says. That’s because pro-duction companies, looking for ways to make feature films for less money, began taking advantage of tax incentives offered by Canada. It was the era of runaway productions, as they became known. Permuy remembers that Atlanta crews who wanted to work in movies either followed the trail, or stayed put, often working on only one film a year.

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

Permuy planned to attend film school at the University of Miami, but instead got an internship on the film, “Neon Bible.” She enrolled at Georgia State University and worked as a produc-tion assistant (PA) to pay her way through college. That eventually led to a job, right out of school, as a PA on “The General’s Daughter,” starring John Travolta.

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

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

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

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

COVER STORY

Angela GomesDirector/First Assistant Director

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

Gomes, who is perhaps best known for her work as first assis-tant director on such films as “A Time to Kill” and “Big Momma’s House 2,” and the TV series “Crossing Jordan” and “Drop Dead Diva,” was bitten by the film bug at an early age. “I always knew I’d do something in TV or film. I thought I’d be in broadcast journalism, but I didn’t like it as much as I thought I would.” She graduated from the University of Georgia in 1993 and got a job at Cable Advertising Metro Atlanta, where she worked for Glen Owen (also a UGA alum, now director/writer at State Line Films). “The bigger the company, you end up getting cof-fee. Here, it was one producer, one shooter, and one editor. I’d be like, ‘Hey, can I edit this commercial?’ Glen would supervise, but I’d do it. After awhile, they’d let me write some commer-cials. They hired me that spring as the editor. I loved editing,” she says.

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

When she arrived in Georgia, one of the first calls she made was to Owen, her former boss. She told him about the work she’d done in LA

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

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


The VisionaryRoger BobbPresident and CEO, Bobbcat Films

Sometimes, all you need to realize a childhood dream is a little faith, a lot of hard work, and someone else to show you that it is, in fact, possible.

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

That was the green light Bobb needed. He enrolled in the School of Visual Arts, Brooklyn College. In 1997, was accept-ed into the DGA’s Assistant Director Program. He became the youngest African-American first AD member of the Director’s Guild of America, and over the next several years, worked as assistant director and producer on more than 50 productions, including “NYPD Blue,” “New York Undercover,” and “Witness to the Mob.”

Bobb came to Atlanta in 2004, and become supervis-ing producer and executive vice president at Tyler Perry Studios. While there, he pro-duced the hit TV show “Ty-ler Perry’s House of Payne” and “Meet the Browns,” and a dozen hit movies, includ-ing “Diary of a Mad Black Woman” and “Why Did I Get Married?”.

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

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

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

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


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


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

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

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

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

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

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

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

It became apparent during the earliest phase of prep that the show’s sets would fill nearly every corner of the old building and only a few lucky departments would be given office space inside. The rest of us (even the producers) were assigned to a group of small construction trailers tucked beneath a projecting roof on the back side of the riverboat stage. The novelty of having my own desk lasted all of 10 minutes. Once I’d gotten a good whiff of its Appalachian-style boiled possum aroma, I quietly abandoned my claim on the back room of our props trailer with its spacious picture window view of a beautiful warehouse wall.

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

,

“ “ “ “


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

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

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

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

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

Jamming my fingertips into my ears and squinching my face up tight, I ran into the

open trailer, straight toward the boombox, and whipped the volume knob to the left, down

to 11, muttering the question “I wonder how long that’s been playing????”

No sooner had I said that than I saw a wild-eyed guy from the construction department standing

in the doorway, a hammer held threateningly in his right hand.

He gestured toward the boom box like a bewildered caveman and muttered

something incomprehensible as Burl Ives continued crooning at 13 decibels in

the key of Q minor.

I cautiously reached over and turned the

volume the rest of the way down to see

if the guy would lower his hammer. He was

really worked up about something and it took him several tries to stutteringly explain

that he and the rest of the construction crew had been working outside for the last 2 hours on the

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

It was a Christmas miracle that I survived the carpenters’ wrath. Poor Burl Ives never stood a chance. It’s little coincidence that the award for best decorations went to the construction department that season.

©2012 ANDREW DUNCAN

“

Television and the web are becoming one, and the lines are continually blurred

between branded content, webisodes and TV series. Several local production companies

are successfully riding this wave. They know that it takes wide-open storytelling and

fascinating characters to draw an audience, no matter what content form it’s in or on what

device it is being viewed.

Each of these companies understands the “pitch process.” They are all smart enough to

know that “you never know.” That is, you may pitch three really great ideas and one not

so great one to a network or an advertiser, and sometimes they will go with what you

thought was the not so great one.

The individuals that make up the companies profiled here bring a wide variety of

entertainment, advertising, film, web & TV production experience to their respective

teams. And, they are good at getting the green light.

3The last in a three-part

series focusing on

production companies

in Georgia that are

getting the green light.

By Diane Lasek

looks

bright

the future


SCHOOL OF HUMANS is a production company taking

content to a new level. After discovering a shared sense of

rebellion against the ad industry’s status quo, SOH was founded

in 2009 as a next generation storytelling entertainment company

by L.C. Crowley, Marc Savoie and Brandon Barr. Deciding to leave

the traditional ad world behind, Crowley came up with the idea

to combine their storytelling and marketing prowess to create

School of Humans and own their entertainment properties and

productions.

School of Humans is good at taking their own ideas and making

them marketable to both brands and networks. Their stories

are highly entertaining and sellable assets. They remain at

the forefront in the ways in which stories can be told in this

space. Brands become central characters in entertainment, in a

believable, organic way. From characters tweeting from the road,

appearing at dealerships across the country, gaming on mobile,

and any other types of 360-degree story integration, these are

some of the ways that they create assets around a show that are

valuable to a brand, because they are desired by their consumers.

They don’t just place products, or create corporate mouthpieces

that fail as entertainment. They stretch the boundaries and work

with people who are willing to take risks and do something

they haven’t done before in an entertaining, unique, clever and

engaging manner.

3 looks


The three principals’ experience include designing and creating

award-winning campaigns for cable and network television

productions on ESPN, CBS, Food Network and Turner. They also

worked on accounts for some of the world’s largest international

companies such as Coca-Cola, GE, Toyota, American Airlines,

Kodak, Mercedes-Benz, Ford, Barclay’s Bank and AT&T. Executive

producer/director, Crowley; managing director, Savoie; and

head of branded content & digital media, Barr were joined by

accomplished producer Mark Apen, who consulted in the early

stages until coming on board full-time as executive producer and

head of production in 2011.

After the core team was established, Crowley and the other

Humans decided to share a converted neighborhood grocery

store in Grant Park with friend and art dealer Matt Arnett. This new

hipster hangout and part time music speakeasy became known

as “Grocery on Home” - and the launching point for the business.

In the course of six weeks, Crowley’s brother built out the first

floor with a stage that soon became filled with artists, musicians,

discussion groups and film screenings on a monthly basis.

Crowley, Savoie, Barr, Apen and a qualified team of freelance

professionals brainstormed and worked on video, broadcast and

web series productions for such clients as Coke, Toyota and the

viral video juggernaut band OK Go, among others. Renewing

their creative juices at night in their in-house salon, a highlight

was having genre bending vocalist and cellist Ben Sollee come in

to perform, which led School of Humans to create a music video

with over eighty people involved in the artistry. NPR picked up

the story, showcasing Grocery on Home and the co-owners as a

venue for artists.

The school of humans team (Clockwise L-R:) Marc Savoie, Mark Apen, L.C. Crowley, Brandon Barr


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

Soon outgrowing the Grocery on Home location, Arnett took over

the bookings. In 2010, the Humans moved to a production office

in Decatur, Georgia adding associate producer, Mary Puchalski

and media strategist, Rick Shaughnessy in the process.

In 2012, the Humans added more staff and quickly outgrew their

Decatur office. They have now expanded to their new Atlanta

offices on Defoor Avenue with a 10,000 square foot sound stage.

They recently completed shooting Season #1 of a 10 episode

half-hour scripted series for Discovery Networks called “Stuff You

Should Know,” which features popular podcasters “Josh & Chuck”

of HowStuffWorks.com. This project started out as a 26 episode

broadcast micro-series for The Science Channel. The response was

so overwhelming that they’ve created a full-scale half-hour show

that imaginatively fuses factual content with humorous, scripted

story lines.

Music and creativity continues

to play an integral part in their

business. Barr describes their

work as one part “band”–where

they are artists who like to

make their own shows and one

part “executive production label,” connecting select entertainment

properties and production

partners with brand funding that

helps underwrite those projects.

They’ve created a 10-episode web series called “Funny by Nature,”

which was produced with Wittworld. It showcases funny and

informed conversations about the environment with an army

of famous faces weighing in on the issues. Host and green

comedian Randy Kagan takes on a slew of eco-topics when he

sits down with such celebrity guests as Janeane Garofalo, Chris

Hardwick, Aisha Tyler, Jeff Ross and Sarah Silverman. The first

season of “Funny by Nature” will be launching online soon.

For Toyota, and in partnership with Discovery’s HowStuffWorks.

com, School of Humans created a 6-episode web series

highlighting the human stories behind the auto company’s

new campaign, while at the same time extending the Stuff You

Should Know brand into the video web space. The series takes

podcasters Josh & Chuck to meet the winners of Toyota’s “Ideas

for Good” initiative and learn how their ideas for repurposing

Toyota technologies will help make the world a better place.

SOH sees the future of content expanding widely and works to

tell and enhance those stories through the infinite channels and

storytelling possibilities offered by the web, from episodic web

series to fully immersive transmedia experiences. They continue

to work alongside talented folks in both program development

and ad sales to create long-form and short-form work in both the

non-scripted and scripted space.

FEATURE

2 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 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 9

Remember your school yearbooks? Oz Publishing will publish an exclusive look at the Georgia film and television industry’s past 40 years, The IndusTry yearbook. Everyone is in the spotlight in this onetime, limited edition,

hardbound book. The “student section” will feature headshots and info about any crew member or person that has worked in the industry. “drama Club” features talent.

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

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

Visit www.ozmagazine.com/yearbook to get signed up! February 15, 2013!

Deadline:

Be a part of history, be a part of The Industry Yearbook.

The INDUSTRY Yearbook

Are you in? 1972-2012


1 2

3 4

5 6

7 8

1. The Voice of the Industry!

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

3. Screengems Studios

4. C&M Backdrops filled the stage.

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

6. Tim McCabe, Barbara English, Trish Taylor

7. Samantha Worthen, Windsor Jones

8. (L-R) Gloria Webber, Lisa Wright, Michelle Digaetano

GPP @ SCREENGEMSPhotographs by Imoto of Doobious.org

SCENE

Continues on the next page...


9 10

11 12

13

15 16

14

9. Doug Smith & Deb Castles

10. The Panera Bread catering team!

11. Newly engaged! Kime Harless and Stephen Kirkpatrick

12. Kailil Israel, Blake Vision Entertainment, Fred Anderson of Life Changing Productions

13. Suzan Satterfield, Rosemary Taylor, Craig Dominey, Hank Blumenthal, Bill VanDerKloot, Lee Thomas, Kris Bagwell

14. The crowd enjoying the party!

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

16. Michelle Kabashinski

SCENE


17 18

19 20

21 22

23 24

17. Helen Engeb, Leslie and Clayton Landry

18. Talk of the Town catering team.

19. Ready for a ride!

20. Joseph Lawsky and Leslie Neal

21. Pam Smith

22. Diane Lasek, D. Blackwell Rhonda Barrymore

23. Michelle Kabashinski, Suzanne Jurva, Kris Fite

24. Summer Staten (2nd from Right) and her Panera Bread team

GPP @ SCREENGEMSPhotographs by Imoto of Doobious.org


25 26

27 28

29

31 32

30

25. Mary Mac’s Tea Room catering team

26. The crowd enjoyed delicious food and drinks!

27. Kris Bagwell

28. Steve Mensch with DejaBlue Grass’ Joey Bowers and Mark Jones

29. Staci Mueller, Sean Keenan, Sasha Ramos

30. Tracie-Ruth Kriete of Crawford, Brennan Dicker, Joey Johnson,Tom Roche

31. Jason L. Bunkley and Yvette D. Bennett

32. Eddie Wright, Julia Head, Lynn Christopher


SCENE

1

3

5

2

1. (R-L) Guenter Noesner, ARRI Andre Beckford, ARRI Jack Hackett, aspiring DP

2. John Gresch, VP Lighting ARRI Doug Smith, PC&E Bill Russell, VP Camera ARRI

3. Doug Smith, PC&E Mark Wofford, PC&E Andre Beckford, ARRI

4. Larry Robertson, DP Garrett Murck, PC&E Josh Olds, PC&E

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

ARRI @ PC&EPhotographs by Bridget O’Neill

4

SCENE


1 2

3 4

5 6

7 8

1. Kathleen Bertrand and Sheryl Gripper

2. (L-R) Deborah Riley Draper, James Hutchinson and Jane Gregory

3. Emayatzy Corinealdi and Ray Cornelius

4. Myra J.

5. S. Epatha Merkerson

6. Kenny Leon and Ray Cornelius

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

8. Melvin Jones

BRONZELENS FILM FESTIVALPhotographs by Daniel G. Morris


9

10 11

12

13 14

9. (L-R) Alonzo Llorens, Sherman E. Golden, Shannon King Nash, Chuck Douglas

10. Wendy Raquel Robinson

11. (L-R) Terri Vismale-Morris, Sheryl Gripper, Kathleen Bertrand

12. Stephanie Allian Bray and Charles F. Johnson

13. Nia T. Hill

14. Attendees listening intently during panel 2 on the second day of the festival.


HOW I GOT INTO THE BUSINESS

CHRISTIN SCHIFANOCostume DesignerFashion [email protected](770) 846-9171www.christinschifano.com

HOW DID I GET INTO THE BUSINESS?

I’ve always had a fascination with art and fashion. I was accepted at the Fashion Institute of Design and Merchan-dising in Los Angeles. This is a great school with wonder-ful resources. However, I then realized the fashion indus-try wasn’t quite what I wanted. I’m intensely interested in storytelling, and love dramatic expression. I began to analyze what I love and what I don’t love, and it sud-denly became clear to me that I was in the wrong field; I belong in theatre. This epiphany led to my MFA in Cos-tume Design from the University of Georgia. Through this program I was allowed to unleash my creativity into the world of performance art. Since graduation my designs have been on display at the international design confer-ence that occurs every four years, the Prague Quadren-nial. Also around this time, I was hired onto a film with Embree Perry Productions and was quickly promoted from Wardrobe PA to Wardrobe Department Head. I also had the privilege to design for the University of Georgia’s Opera Department, within the Hugh Hodgson School of Music.

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

WHAT AM I INSPIRED BY? I take inspiration from all things. I could see a texture on a wall and decide to bring that texture into a costume. Literally, anything around me can show up in a costume. I am also inspired by the work of Paul Poiret, Christian Dior and Alexander McQueen. While I take inspiration from many things, I like to abstract ideas and make them uniquely mine. Please visit www.christinschifano.com to see examples of my work.

ASHLEY EVANSWriter/Producer/Director [email protected](404) 273-2709www.sites.google.com/site/aecreativecom

HOW DID YOU GET INTO THE BUSINESS?

I was fickle in college. At least regarding my major… I started out in business school then bounced over to the art program. Once there, I worried being an “artist” wouldn’t yield much financially - I had student loans to pay! That summer I took a film class and it clicked. Film and television production was the perfect blend of creativity and business. I went with my gut and pur-sued media production. My advisor introduced me to a contact at Turner Broadcasting- they happened to be interviewing for internships. I was soon packing for At-lanta. Working in the On Air Promotion department for a major cable network showed me a side of the industry that they didn’t teach in school back then. I loved every minute of it. I stayed on as a freelance P.A. and worked my way up from there. You needed help with production management? I was your girl. Need someone to write/produce a last minute promo? Sign me up! Eventually I moved from the promotion department into writing and producing content. My experience has afforded me the chance to work with a variety of talented people in all walks of life and learn something new every day.

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

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

RECENT CLIENTS:

TBS, HGTV, DIY Network

SPENCER HERZOG Stock Music and Sound Effects Creative Sound Concepts [email protected](404) 873-6628www.creativesoundconcepts.com

HOW I GOT INTO THE BUSINESS:

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

I went to work for MCA Records the summer I graduated and found myself hanging with the likes of Elton, The Who, Ricky Nelson, Conway & Loretta just to name a few. I spent 9 ½ years in marketing and sales, first with MCA Records and then ABC Records. That is where I learned the business of doing business. In 1982, I founded Creative Sound Concepts with one of my band mates, Dennis Baxter. We started by looking for bands to record but quickly figured out that advertising, audio for television and corporate communications were a more lucrative path. As the years progressed, we provided sound design for many types of productions including documentaries, advertising, museum installations and corporate communications.

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

http://www.christinschifano.com/

http://www.christinschifano.com/

mailto:[email protected]

ASHLEY KOHLERPresident / Exec Producer, Awesome Inc

Executive in Charge of Production, Bento Box [email protected]

(404) 885-7102www.awesomeinc.com - www.bluetube.com


I studied Advertising at UGA, and had a summer in-ternship at BBDO Atlanta my junior year. Before the internship I thought I wanted to be an Art Director, but at BBDO I was able to identify production as the career path I wanted to take- it just seemed to be a perfect fit for me. I took an admin position at Turner Home Entertainment while finishing my Senior year, and after a bit of time at Turner, Guy Tucker helped me find a receptionist / PA job at Comotion Films. It was a 25% pay cut from my Turner position, but I knew it would be better experi-ence so I took the plunge- and was glad I did. A year or so later I found a similar entry-level prodco position in New York, where I was quickly able to work up to pro-ducing my own spots. I moved back to Atlanta when I was lucky enough to land a career-changing job with Cartoon Network’s On-Air Promotion Department- ultimately becoming Director of Production.

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

WHAT IS THE BEST ADVICE YOU COULD GIVE TO SOMEONE TRYING TO GET INTO THE BUSINESS?

Network. I owe my entire career to networking, and I’m a big proponent of it. Always be cautious however- there is definitely a fine line between the appropriate amount of contact and over-aggressiveness.


MICHEL BOYD Principal Designer/Owner

SMITHBOYDinteriors [email protected]

(404) 402-4224www.smithboydinteriors.com

HOW I GOT STARTED...

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

WHERE I FIND INSPIRATION...

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

HOW DOES DESIGNING ON SET DIFFER FROM DESIGNING FOR A PERSONAL OR

CORPORATE CLIENT?

Pace is as important as preparation when it comes to set design. Designing on set requires one to have multiple solutions within arms reach as not to hold up the filming process and to readily evolve with the direc-tor’s vision. It was a natural transition for me to start designing sets. I’ve always approached each room as an editorial, whether being filmed or not. It helps me to create balance, visual harmony, and communicate the message or mood the room should evoke.

JACK ENGLISHStock Footage

Broadcast Solutions [email protected]

(404) 685-2806 www.southeaststockfootage.com


For eleven years I had traveled as a professional musician and Atlanta was a repeated stop. I began working day-side at a state-of-the-art digital sound studio in Metro Atlanta that also was doing video and became “that guy” who carries things to the truck, goes to get the coffee and watches the editors perform their magic. Moved then into writing scripts and soon after ventured into film production partnering with Herb Kossover to create Pan-ther Productions. Got into series work on the show First Flights hosted by astronaut Neil Armstrong, then 35mm WESCAM aerials, then a year long project with the NBC News Channel on the 1996 Olympic Games. This led to a new partnering with Russ Jamieson (WAGA/CNN) on a large NASA television privatization plan and a home for our company, Broadcast Solutions, in the fabulous Geor-gia Public Broadcasting Building in Midtown Atlanta. Broadcast Solutions is just now finishing installing and providing content for three forty foot monitor arrays in the new Hartsfield Jackson International Terminal and actively supplying stock footage aerials to the television shows and movies that have finally found Atlanta.

SHOULD YOU GET IN, OR STAY IN, THE BUSINESS?

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

http://www.awesomeinc.com/

DISTRIBUTION PARTNERSNORTH HIGHLANDS

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PERIMETER NORTH

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

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

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

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

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


DISTRIBUTION PARTNERS


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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)

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ASSOCIATION PARTNERS


AD AGENCY CAMPAIGNS

Equifax is one of the oldest and largest financial institutions

in America. So, when they asked us to help launch their

new consumer product, we did what any self-respecting

agency would do. We created a CopAccountant, fed him

DonutBagels and armed him with a CalcuTazer. While

Edwin The CopAccountant launched on national TV, his

biggest impact was felt in the social media space, where he

nabbed tens of thousands of Facebook, fans in

just a week. So many people were following Edwin the

CopAccountant on Facebook we burned through our

quarterly Facebook click-through budget in just nine days.

TO PROTECT & ABSURD

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

CLICK HERE

CLICK HERE

CLICK TO VIEW

YOUR LOA N

POR T FOL IO JU S T

TOOK ON WAT ER

In default, a property’s status can quickly change from the safety of apayment stream to becoming the lender’s asset. This makes collateralprotection essential and attention critical. Doing too little too late canseriously affect the value of the property.

Integrated Mortgage Solutions (IMS) provides a full range of collateralinspections, repair and preservation, hazard claims recovery, auctionpreparation and loss mitigation. And IMS delivers these services in aseamless way that smoothly integrates into a client’s operation and meetsindividual business needs – not one size fits most. Our customers includetraditional mortgage servicers, auction companies, realtors and asset

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

IMS “thinks outside the lockbox” by delivering innovative technology,services and custom solutions to meet our clients’ ever-changing needsand requirements. If you are looking for a business partner that goesbeyond the expected tohelp keep your head abovewater, look to IntegratedMortgage Solutions.

16225 Park Ten Place, Suite 105 ■ Houston, TX 77084 ■ 888 .442.2686 ■ www.imstoday.com

TIME TO THINK OUTSIDE THE LOCKBOX

IMS Water Ad_SD.qxd 9/5/08 11:39 AM Page 1

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Client: Equifax

Campaign: Edwin The CopAccountant

Adam Millman, Art DirectorChris Breen, Writer/Creative Director

Tim Smith, Art Director/Creative Director

The campaign launched with national TV. However, its biggest impact was felt in social media, where Edwin The CopAccountant nabbed tens of thousands of Facebook fans in

just a week. So many people were following him on Facebook we burned through our quarterly Facebook click-through budget in just nine days.

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

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

Client: Barilla

Title of the campaign: Barilla Summer of Italy

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

CreditsChief Experience Officer: Juan Fernando SantosCreative Director: Maurizio VillarrealArt Director: Mauricio RuizDesigner: Carlos OrdoñezIllustrator: Mayela MercedesMotion Graphics: Anibal CamargoVideo Editor: Luis A. Lopez

Client Name: Integrated Mortgage Solutions (IMS)

Title of the Campaign: Time to Think Outside the Lockbox

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May 2013

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Documents

Oz Magazine, Dec/Jan 2013