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Photo Credit: AFP/Getty Images

ProPosaL for funding oPPorTuniTy: 2016-nisT-Kg-01

submitted by Milkhaus,LLc3059 Vine streetdenver co 80205on september 26, 2016

contact Cathy Trekloffcathy@themilkhaus.com303-917-5738

Decades in the making, with tens of thousands of hours devoted to theory and experimentation, the quest to redefine the kilogram is the adventure of a lifetime for teams of top scientists across the globe. Their advancements will profoundly impact the world in every way - from our prescription medicines to the world of technology.

you can only MaKe as well as you can Measure

Joseph WhitworthVictorian era engineer - England

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The PReMISe

Precision measurement is not something that the average layperson thinks a lot about. However, being able to

accurately describe our world is fundamental to modern science and technology. The kilogram is the last SI

unit to be defined in terms of physical forces; when it has been redefined, we will have a comprehensive system

of measurement that is directly tied to the fundamental forces of the universe - our measurements will come

directly from the laws of physics.

In 1967, the second was redefined. Previously, it had been based on the solar day; however, the solar day is

slightly variable and did not give an acceptable level of accuracy. The second was redefined in terms of the

oscillation of Caesium-133 atoms - the same material used in atomic clocks, and an absolutely rigid basis for

time that could be applied anywhere in the universe. The 1967 redefinition of the second paved the way for a

number of new technologies that required extremely accurate calibration of time. These included GPS and the

global internet.

The advantage of linking mass to a physical constant - Planck’s constant - is that we can use exactly the same

scale to weigh anything in the Universe, whether it is an atom or a black hole or anything in between. Einstein’s

famous equation, E=mc2, shows that matter and energy are linked - in fact, matter can be described as ‘frozen’

energy. Planck’s equation, E=h𝜈, demonstrates that the energy in a particle is linked to its frequency of vibration

(𝜈) and Planck’s constant (h). From these two equations, we can see that energy and Planck’s Constant are

interlinked with mass. This creates a precise link between the world of objects that we can see and touch, and

the nebulous and frequently bizarre world of quantum physics.

What benefits will come from the redefinition of the kilogram? The main advantage is that the new standard

will be truly global. Things measured in the USA, Europe, Japan and across the world will be qualified precisely

to the same absolute standard. Additionally, researchers into areas such as pharmaceuticals and nanotechnology

will immediately benefit. Our current system has a level of uncertainty at the sub-milligram level that is

concerning to scientists developing low-dose drug therapies. In materials science, precision doping of materials

(for example in the creation of semiconductors) requires precision measurement. Chemists will benefit greatly

from the increased accuracy of Avogadro’s constant. As our technologies get smaller and lighter, we need

more and more accurate systems for measuring them. However, as in the redefinition of the second, we can

expect that some of the benefits will be quite unexpected, and will almost certainly lead to new and surprising

innovations.

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The primary narrative of the film will be constructed around a select group of characters involved in work being done to prepare for the unveiling of the new kilogram standard. These scenes will not only introduce us to researchers, scientists, and engineers, but portray them as real people with unique interests and aspirations. We will see them at work, at play, and interacting with each other. All while building anticipation towards the moment of the unveiling.

The film will begin in Sèvres, France with the international prototype, where we will start the discussion about the role of the IPK and the need for the redefinition.

APPROACh

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Selected shots from a stylized recreation telling the story of Alfred hitchcock selecting the appropriate melon for the stabbing sound effect in Psycho’s shower scene (from the upcoming documentary 78/52).

examples of interviews from other Milkhaus documentaries.

We will then begin following the work being done to prepare the final measurement approaches for the unveiling of the new standard. Our characters will also be recapping work completed at this point including the impetus for the standard change and early approaches. Those stories will take us on location to the laboratories of NRC, NIST, and NPL to discuss the Watt Balance, and also to NMIJ/AIST and PTB labs to discuss the Avogadro constant.

Interspersed throughout those scenes we will visit with science historians who will explain the role and benefits of precision measurement through the course of human civilization.

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We will talk to research scientists about the implications of a more precise standard of the kilogram, and how revisions in the standards for the second and meter have changed the course of technology. And finally we will discuss with technical experts from various industries about how previous SI revisions have revolutionized their respective industry and the potential yet to be unlocked with the impending revision of the kilogram.

In the final act of the film, as our characters converge for the unveiling of the new standard, we will reflect on the power of the moment, not just what it means for science and industry, but also what it represents for humanity; this one area of the modern civilization where people from various cultures and societies from all over the world can work together with common understanding and purpose.

The film will be shot in 4K resolution. The story will be told through formal interviews combined with observational moments. Whenever possible information will be conveyed through action in the camera. The editing style will be energetic, interviews will be cut from multiple angles to punctuate key moments. Each interview will have its own distinctive look to help visually differentiate the various characters and reflect either some aspect of their personality or the work that they do. Observational moments will be shot mostly handheld, when possible with multiple cameras simultaneously, and with the camera moving through spaces and around subjects as much as possible.

Photo Credit: NPL

Various scene establishing shots from Milkhaus projects.

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Photo Credit: Robert RathePhoto Credit: CSIRO

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Drones, sliders, and handheld stabilizers will be used to create motion within the frame. Technical information will be visually illustrated with animation. Historical information will be illustrated with select archival film and photos, as well as intimate, stylized recreations of people manipulating historical tools and standards of measurement to demonstrate advances in the technology.

Music for the film will be contemporary, while exploring influences from the various cultures that our characters represent. We will use music to create themes for our major storylines, to add energy to sequences where we are discussing the work of scientists and engineers, and to add a contemplative feel to moments where we are discussing the impacts of the kilogram and other SI measurements.

Animations throughout the film will communicate visually that our understanding of the world expands as we evolve our ability to measure. Our animations will begin with a more rudimentary style when discussing antiquated measurement techniques, as the science progresses through the ages, so does our animation, becoming more refined and dynamic.

Animations early in the film will be rendered using simple geometric shapes and strong silhouettes, visually we will be just coming out of the dark.

Reference Credit: Ryan Woodward

other samples here

Various detail shots from Milkhaus projects.

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concept art credit: Brett Purmal

concept art credit: Brett Purmal

other samples here

All aspects of the animation will evolve as the film progresses, shapes will become more refined, light and color will become richer, the world around the animation will get brighter, the motion of objects will become more fluid until we reach the final animations. These will be presented in a clean modern style with objects traveling in grand sweeping motions and a bright color pallette overall.

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quaLificaTions

Video samples for personnel and production company are available at:

www.lastartifact.com

PROduCTION COMPANy

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Milkhaus is a Denver based production and post house that specializes in world-class socially relevant documentary storytelling. Since our inception in 2005, we have created films and programming that inspire, educate, and entertain audiences across the globe. Our work has been viewed in almost 200 countries, including the following venues:

Films are no small undertaking, and large scale collaboration is a key to success. Milkhaus works with leading documentarians in the industry, to spearhead or bolster films. Our role primarily in production and post is to find the story, develop the story arc, and carefully craft the narrative in a way that resonates with audiences. We pride ourselves for being skilled raconteurs, blending thoughtful dynamic imagery with stories that are timeless.

SELECT PROJECT HIGHLIGHTS:

- Our in-house documentary “Saving Face” for HBO exposed the horrors of acid attacks in Pakistan and won an Academy Award® in the Documentary Short Subject category, an International Documentary Award (IDA), and the Juliane Barthel Award for Journalism in 2012.

- Our Co-Production, “A Lego Brickumentary” is the officially endorsed documentary on Legos and Lego fandom. The film, narrated by Justin Batemen, screened theatrically nationwide and was listed on Entertainment Weekly’s list of “Must See Docs”.

- Our Co-Production, “78/52” exploring Alfred Hitchcock’s groundbreaking shower scene in “Psycho” is currently in production. The film includes original interviews with Hollywood legends such as: Jamie Lee Curtis, Elijah Wood, Guillermo Del Toro, Danny Elfman, and more. The film will be released in 2017.

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PROjeCT AWARdS

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FESTIVAL AWARDSPeople’s Choice Award, Documentary Feature, Boulder International Film Festival, 2014 (Keep on Keepin’ On) Grand Jury Award, Boulder International Film Festival, 2014 (Being Evel) Golden Space Needle Award – Best Documentary, Seattle International Film Festival, 2014 (Keep on Keepin’ On) Heineken Audience Award, Tribeca Film Festival, 2014 (Keep on Keepin’ On) Top Ten Audience Favorite, HotDocs, 2014 (Keep on Keepin’ On) Audience Award, Documentary Feature Competition, South by Southwest Film Festival, 2012 (Bay of All Saints) Festival Favorites, South by Southwest Film Festival, 2012 (Chasing Ice) Best Feature Documentary WMIFF 2010 (When the Dragon Swallowed the Sun) Special Jury Award, Best Documentary – Banff Television Awards, 2008 (Iron Ladies of Liberia) Maverick Award Nomination for Best Editing, 2009 (When The Dragon Swallowed The Sun) Best Political Documentary – Banff Television Awards, 2008 (Iron Ladies of Liberia) Grand Jury Prize, Best Documentary – American Film Institute Dallas Fest, 2008 (Iron Ladies of Liberia) Grand Jury Prize, Best Documentary – South by Southwest Film Festival, 2008 (They Killed Sister Dorothy) Audience Award, Best Documentary – South by Southwest Film Festival, 2008 (They Killed Sister Dorothy) Gold Hugo – Chicago International Film Festival 2008 (Wesley Willis’s Joyrides) Silver Hugo – Chicago International Film Festival, 2008 (They Killed Sister Dorothy) Audience Award, Best Documentary – Denver Film Festival, 2008 (They Killed Sister Dorothy) Audience Award, Best Documentary Short – Aspen Shortsfest, 2008 (Come Back to Sudan) Millennium Award – One World Television Festival 2008 (Iron Ladies of Liberia) Best Documentary Award, IMAGO 2008 (The Spot) Best Documentary, ReelHeART International Film Festival, 2007 (No Bigger Than a Minute) Hugo Television Award, Silver Plaque, 2006 (No Bigger Than a Minute) Saga Prefecture Governor Award, Akira Kurosawa Memorial Short Film Festival, 2006 (Left)

ACADEMy AWARDS®

ACADEMy AWARD® WINNERBest Documentary Short (2012)

Saving Face

ACADEMy AWARD® NOMINEEBest Documentary Short (2009)

The Last Campaign of Governor Booth Gardner

ACADEMy AWARD® SHORT-LISTBest Documentary (2015)Keep On Keepin’ On

Best Documentary (2013)Chasing Ice

Best Documentary (2008)They Killed Sister Dorothy

NATIONAL EMMy AWARDS®

NATIONAL EMMy AWARD®Best Documentary &

Outstanding Editing in a Documentary (2013) Saving Face

Outstanding Nature Programming (2014)Chasing Ice

NATIONAL EMMy AWARD® NOMINEES

Outstanding Science and Technology Programming &Outstanding Cinematography Documentary &

Outstanding Research (2013)Saving Face

Best SeriesBest Editing (2005)

Chasing Lance

and 14 HEARTLAND EMMy AWARDS®

CINE AWARDS

CINE Golden Eagle

Best Independent Documentary (2009)They Killed Sister Dorothy

Masters Award (2009) The Last Campaign of Governor Booth

Gardner

CINE Golden Eagle (2006) No Bigger Than a Minute

Editing, Graphics, (2005) Tantalus: Behind the Mask

Cultural Documentary (2001) StageStruck: Crossing the Greenroom

TELLy AWARDS

SILVER TELLy (highest honor)Use of Animation (2012)

Art DirectionFrancis and Paul

Editing (2006) T-Mobile: All In

Editing, 2003 Mile High: A Tale of Two Stadiums

BRONzE TELLyRecruitment (2015)

Startek Brand Warrior

Children’s Audience (2012) Education for Academic Use

Francis and Paul

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TheATRICAL ANd TeLeVISION CRedITS

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zACHARy FINKCO-DIRECTOR

SELECT CREDIT LIST:

Zachary is a documentary film producer, director, and cinematographer. His recent project, The Ride of Their Lives (directed by Steve James) is featured in Amazon Studio’s new documentary series, The New yorker Presents. It premiered at Sundance in 2016.

Zachary is a 2015/2016 resident of San Francisco’s Film Society’s FilmHouse Program where he is currently directing an episode of NOVA, and a feature length documentary The Rescue List about the rescue and rehabilitation of child slaves in Ghana.

He has produced and directed projects for The Discovery Channel, National Geographic, Apple, Google, and for the Harvard Film Study Center. He has also shot for HBO, PBS, MTV, and numerous independent films. During his tenure as the Director of Video for the George Lucas Educational Foundation, he cinematically rebranded the short documentary films at the center of the foundation’s website, Edutopia.org. His award-winning documentaries about the most successful and innovative schools in America continue to reach an audience of over 500,000 people every month.

Zachary has an MFA in film production and an MA in cultural anthropology giving him a unique ability to understand and connect with diverse audiences and communities. His experience directing large teams while managing extensive projects means that he always has the big picture in mind. Whether he’s hanging out of a helicopter over the Pacific ocean, trekking with a caving team through a Mexican cloud forest, bunking with tuna fishermen on a commercial longliner, or tracking reindeer migration with indigenous Arctic herdsmen, Zachary follows the story, manages ever-changing logistics, crafts beautiful images, and makes friends along the way.

Through it all, he sees story and structure, breaking complex narratives down to manageable production schedules, clear interview questions, succinct sound bites, and beautiful imagery. The results are compelling human stories told in the most delightful way.

The Rescue List (In-Production, Feature Documentary) - Co-Director, Producer, Cinematographer (2017)

NOVA (In-Production, TV Series, Episode: PBS) - Director (2017)

The New yorker Presents (TV Series documentary, Amazon) Episode #1.2 “The Ride of Their Lives” - Producer, Cinematographer ((2016))

The Cave (TV Feature Documentary, Discovery Channel) - Director (2014)

I Can’t Do This But I Can Do That: A Film for Families about Learning Differences (TV Feature Documentary, HBO) – Cinematographer (2010)

Over the Bolts (TV Series, MTV Canada) Episode 1.1: The Journey Begins – Cinematographer (2009)

Beyond the Reef (re-branded Family of the Wa’a, Feature Documentary) – Producer, Cinematographer (2011)

Inside (TV Series, National Geographic) Episode : Inside New Orleans High -Director, Cinematographer (2008)

The New Los Angeles (TV Feature Documentary) - camera operator (2006)

Last Hat in Town (Feature Documentary) – Director, Cinematographer, Editor

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The TeAM

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CHAD HERSCHBERGERCO-DIRECTOR / SENIOR EDITOR

Chad is a founding member and Creative Director of Milkhaus. He is a highly skilled filmmaker with a deep knowledge in multiple disciplines within his craft. Chad serves as a producer, director, cinematographer, editor, designer, and animator on a wide range of films and client projects.

Chad enjoys the unique challenges posed by both long and short form projects. He has produced and directed for clients including CNN, The Human Rights Campaign, Arcadis, Fentress Architects, Great Outdoors Colorado, Indiana University, The Nature Conservancy, and more.

Recently Chad co-directed, shot, and edited the feature documentary William Matthews: Drawn to Paint (PBS) about a uniquely talented watercolor artist and his relationship with subjects he has revisited throughout the course of his career. Currently, Chad is a creative producer and co-director on Milkhaus’ upcoming original 6-part series, The Know, an in-depth look at the pros and cons of surveillance; he is editor and animator on the documentary 78/52; and is serving as producer and editor on the documentary Kim Swims about leading open water marathon swimmer, Kim Chambers.

Chad combines broad technical ability with insatiable curiosity and a desire to tell stories where they are happening to create compelling narratives that bring audiences into the world of the subject. He approaches his subjects with enthusiasm and wonder that spills into the storytelling, while always thinking holistically about the production and post workflow to create the most spectacular telling of a story possible.

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The Know (In-Development, TV Series) – Co-Director, Producer, Cinematographer, Editor

78/52 (In-Production, Feature Documentary) – Editor (2017)

Kim Swims (In-Production) – Producer, Editor (2017)

Being Evel (TV Feature Documentary, History Channel) – Post Supervisor, Visual Effects, Composite Artist (2015)

William Matthews: Drawn to Paint (Feature Documentary, PBS) – Co-Director, Cinematographer, Editor (2015)

A Lego Brickumentary (Feature Documentary) – Co-Producer, Editor, Composite Artist (2015)

Doc of the Dead (TV Feature Documentary, EPiX) – Writer, Editor, Graphic Artist (2014)

STILL (Feature Documentary, PBS) - Writer, Cinematographer, Editor (2012)

Chasing Ice (Feature Documentary, National Geographic) – Animator

Saving Face (Academy Award Winning TV Short Documentary, HBO) – Composite Artist (2012)

The People Vs. George Lucas (Feature Documentary, Independent Release) – Editor, Graphic Artist (2011)

They Killed Sister Dorothy (TV Short Documentary, HBO) – Assistant Editor (2008)

The Last Campaign of Governor Booth Gardner (TV Short Documentary, HBO) – Assistant Editor

No Bigger Than a Minute (Documentary, PBS/POV) – Editor, Cinematographer, Graphic Artist (2006)

SELECT CREDIT LIST:

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Kerry produced the pop-culture break-out documentary features The People vs. George Lucas (Lionsgate) and Doc of the Dead (EPiX). She is currently producing EXA’s documentary about the shower scene from Hitchcock’s “PSYCHO” entitled 78/52 (a Co-Production with Milkhaus), plus in development on Monsters Within, a feature length documentary animation hybrid art-directed by Annie Award winner, Paul Sullivan (of Guillermo Del Toro’s “BOOK OF LIFE”) - telling the astonishing origin story of our two foremost literary and movie monsters – Frankenstein’s monster and the modern vampire

Kerry has served as Creative Director, Producer and Production Manager/Coordinator for client and brand projects including: T-Mobile, Clorox, Sears, Janus Funds, Fisher

Price, March of Dimes, ConAgra Foods, Sealed Air, Texas Instruments, Western Union, BAE Systems, and more. Kerry was Production Manager on No Bigger Than a Minute (Documentary, PBS/POV), Stagestruck (TV series, Bravo), The Shakespeare Sessions (Documentary), and Ancient Voices (Short) Kerry is also the recipient of a Cine Golden Eagle for her work on the internationally distributed documentary film Tantalus: Behind the Mask. Tantalus was a joint production of the Royal Shakespeare Company and the Denver Center Theatre Company, which aired on PBS and BBC.

The Know (In-Development, TV Series) –Producer (2017)

78/52 (In-Post Production, Feature Documentary) – Producer (2017)

Doc of the Dead (TV Feature Documentary, EPiX) – Producer (2014)

The People Vs. George Lucas (Feature Documentary, Independent Release) Producer (2010)

StageStruck: Crossing the Greenroom (TV series, Bravo) -Production Manager

No Bigger Than a Minute (Documentary, PBS/POV) -Production Manager (2006)

Tantalus: Behind the Mask (documentary, PBS, BBC) – Production Manager (2001)

KERRy DEIGNAN ROyPRODUCER

SELECT CREDIT LIST:

Cathy is a founding member and the producer at Milkhaus. She is highly skilled at managing both projects and people, and at ensuring the highest possible level of quality in Milkhaus’ productions. She is versed in both short form and long form programming – everything from nationally and internationally aired commercial spots to music videos, feature films, shorts, branded, and PSAs.

Her credit list includes managing projects for Noosa, Minute Maid, Budweiser, Arcadis, The Human Rights Campaign, Capella University, Nestle, Starz Denver Film Festival, Fentress Architects, City of Knoxville TN, Gill Foundation, Earthshare, Aeras, General Mills, Center on Congress at Indiana University, Kellogg’s, Sprite, Quaker, and more.

Cathy oversees all client and film projects at Milkhaus, including serving as Associate Producer and Production Coordinator on the Academy Award® winning documentary Saving Face (HBO, Ch.4); and post coordination on Being Evel (Documentary, History Channel), Keep On Keepin’ On (documentary, Radius), and Doc of the Dead (documentary, EPiX)

CATHy TREKLOFFPRODUCER

The Know (In-Development, TV Series) – Producer (2017)Being Evel (TV Feature Documentary, History Channel) – Post Production Coordinator (2015)Keep on Keepin’ On (Feature Documentary) - Post House Production Manager (2014)

Doc of the Dead (TV Feature Documentary, EPiX) – Post Production Coordinator (2014)Saving Face (Academy Award Winning TV Short Documentary, HBO) – Associate Producer, Production Coordinator (2012)

SELECT CREDIT LIST:

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Huw is a writer, filmmaker, musician, and Visual FX artist based in the heart of England. His debut feature film Triple Hit, an indie sci-fi , screened at San Diego Comic-Con in 2009 and won best SF Feature at the Phoenix Film Festival. Huw wrote and directed a series of short films called Ministry of Secrets that are lead-ins to the feature film of the same name, currently in development.

He has created projects for clients such as Malibu Rum and the University of Warwick, created VFX on music videos for rock bands including The Pixies and Athlete, and edited the documentary Ghost Town about the band the Specials. Huw’s interest in science has led him to focus a large portion of his time as a filmmaker creating shorts for public engagement with science, including a branded film about Silcon Wafer Damage called SIDAM for the European Commission. His short film Delivery Boy was made in conjunction with the University of Warwick and was funded by an Engineering and Physical Sciences Research Council grant to investigate the use of HDR in filmmaking. He has also created films for Coventry University, including a film on the connections between mathematics and mythology, which was commended by Physics World magazine.

As a director, he has had the privilege to interview leading academics and other leaders in their fields including NASA Astronaut Michael Foale, and the Archbishop of Canterbury. He has filmed at some of the most prestigious scientific institutions in Europe, including NPL, the Diamond Light Source at Harwell, CEIT in Spain and Karlsruhe Institute of Technology in Germany.

HUW BOWENCO-PRODUCER

Brett Purmal, B.F.A., Pratt Institute Computer Graphics, is freelance Senior Level Animator and Art Director with over 14 years of professional Feature Film, Television and Game experience. Born in California, raised in Ohio, and after establishing his career in New York City, Brett got his start in feature animation working in New Zealand at Weta Digital on Peter Jackson’s King Kong.

Exploring interactive art, Brett spent several years in Vancouver, Canada on Electronics Arts global R&D team before returning to film. Brett’s later films include working back at Weta Digital on James Cameron’s Avatar, in Australia leading a large team of animators at Dr. D Studios on Happy Feet Two, Animal Logic’s Walking with Dinosaurs 3D, Rising Sun Pictures on The Hunger Games, and at Double Negative Singapore on Godzilla, Muppets Most Wanted, and The Hunger Games: Catching Fire.

He most recently finished animating at Industrial Light & Magic on Teenage Mutant Ninja Turtles: Out of the Shadows, Captain America: Civil War, Tomorrowland, Teenage Mutant Ninja Turtles, and Transformers 4: Age of Extinction.

BRETT PURMALART DIRECTOR / ANIMATOR

The Know (In-Development, TV Series) – Co-Director, Producer, Writer (2017)Ministry of Secrets (Shorts Series) - Director, Writer, Editor, VFX (2012-current)

Triple Hit (Feature Film), Director (2009)Ghost Town (Documentary Short), Editor

SELECT CREDIT LIST:

Teenage Mutant Nija Turtles: Out of the Shadows (Feature Film) - Senior Animator, ILM (2016)Captain American: Civil War (Feature Film) - Senior Animator (2016)Tomorrowland (Feature Film) - Senior Animator (2014)

Teenage Mutant Ninja Turtles (Feature Film) Senior Animator / Lead Artist, ILM (2014)Transformers: Revenge of the Fallen (Feature Film) - Senior Animator / Lead Artist 1 (2014)Godzilla (Feature Film) - Senior Animator, Double Negative (2013)

SELECT CREDIT LIST:

Robert is an Emmy-award winning cinematographer specializing in feature length documentaries and long & short form narratives. His extensive list of feature credits includes Being Evel for the History Channel, Doc of the Dead for EPiX, The Frame for acclaimed cult director Jamin Winans, and CANNIBAL! THE MUSICAL for “South Park” creator Trey Parker.

Worldwide clients include DISH network, Frontier Airlines, Universal Studios, National Geographic, Discovery Channel, Ball Aerospace, Fox Kids, McDonald’s, Warren Miller Entertainment, The Gap, Art21, Gaiam, Bacardi, and many others. Although he has applied his talents to a multitude of music videos, commercials, PSA’s and concert videos, he remains dedicated to the cinematic endeavors of storytelling through documentary and narrative film. A more extensive list of

credits can be found on his IMDB page.

78/52 (In-Production, Feature Documentary) – Producer, Cinematographer (2017)

Being Evel (TV Feature Documentary, History Channel) – Cinematographer (2015)

William Matthews: Drawn to Paint (Feature Documentary, PBS) – Cinematographer (2015)

A Lego Brickumentary (Feature Documentary) – Cinematographer (2015)

Doc of the Dead (TV Feature Documentary, EPiX) – Producer, Cinematographer (2014)The People Vs. George Lucas (Feature Documentary, Independent Release) – Producer, Cinematographer (2010)

ROBERT MURATOREDIRECTOR OF PHOTOGRAPHY

COLOR WHEEL MUSICMUSIC COMPOSITION

SELECT CREDIT LIST:

JEFF LINSENMAIERJeff Linsenmaier has plied his craft for over 20 years, playing drums and keyboards for artists such as John Grant, Nathaniel Rateliff, David Eugene Edwards and The Fray, among others. In addition, Jeff is an accomplished Ableton engineer, working in both programming and operating live playback for acts such as Frank Ocean, Keith Urban, Owl City, Thomas Rhett and Nick Jonas. He currently splits his time between Nashville TN and his hometown of Denver CO.

TED HUDSONTed has spent the past eight years negotiating music, footage, and photo licenses for use in dozens of Oscar-winning documentaries and original programming at HBO. A recent transplant from New York City, he’s got roots in Colorado via his grandfather, Dr. George E Hudson (Brown University), who headed the theoretical department of the atomic clock at NIST in Boulder (at the time, called National Bureau of Standards). Previous to his work at HBO, Ted founded and played bass for The Damnwells, who toured with acts including The Dixie Chicks, Cheap Trick, and The Fray, where he and Ben Wysocki became buddies. Ted also worked on two tech startups in NYC, Hunch and Milewise, which were acquired by EBay and Yahoo! (respectively).

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The TeAM

Neil Hillman joined UK broadcaster Central Independent Television in 1982, Over the next 8 years, he was responsible for studio and location sound recording, mixing, and sound post-production for drama and documentaries. He left Central TV in 1990 to become freelance, and has subsequently held responsibility for providing audio for almost every UK broadcaster as either a studio Sound Supervisor, an OB Sound Supervisor, a Dubbing Mixer, or as a drama or documentary location Sound Recordist.

Neil founded UK audio post-production facility The Audio Suite in March 2002, to take account of his increasing amount of work as a Sound Designer and Dubbing Mixer; but continued to enjoy working outside of the mixing theatre as a Sound Designer / Supervisor / Mixer on Outside Broadcasts and also as a drama and documentary location Sound Recordist. Over the next 10 years he steered and grew the company to achieve over 500 IMDb credits. In 2010 he was awarded the prestigious Royal Television Society award for ‘Best Production Craft Skills’. In 2012, Neil successfully transitioned The Audio Suite from a commercial post-production facility into a unique Sound Design practice and in 2015 it expanded further by opening an Australian office. Neil Hillman operates as a ‘Free-range and Organic’ Sound Designer / Supervising Sound Editor / Re-recording Mixer for feature films, utilising both the Australian and UK Audio Suite sound design studios as his base, depending on client preferences / project requirements; whilst working on Outside Broadcasts in both countries as a Sound Designer / Sound Supervisor (A1) (AD) / Audio Mixer.

London 2012 Olympics, the London 2012 Paralympics, the Glasgow 2014 XX Commonwealth Games and the Rio 2016 Olympics.Pirates of the Caribbean: Dead Men Tell No Tales ADR mixer (2017)Songs of Praise (TV Series) Sound Editor - 1 episode (2016)Star Wars Rebels (TV Series) Sound Editor (2014)Here and Now (Feature Film) Sound Designer (2014)

Death Comes to Pemberley (TV Mini-Series) ADR mixer - 2 episodes (2013)Peaky Blinders (TV Series) Sound Effects Recordist- 6 episodes (2013)MI-5 (TV Series) ADR mixer - 1 episode (2009)Lincoln (Feature Film) ADR Mixer (2012)This Morning (TV Series) Sound Editor - 13 episodes

NEIL HILLMANSOUND DESIGNER / AUDIO MIXER

SELECT CREDIT LIST:

BEN WySOCKIHaving spent the past thirteen years touring internationally as the drummer in the four-time Grammy-nominated band, The Fray, Ben has built a rare and extensive community of industry professionals, artists, and performers. Colorado, where he lives with his wife and daughter, is where his roots are, and he has worked with an array of artists here as an engineer, producer, and arranger. When not touring, recording, or composing, he’s an avid motorcyclist, record collector, and craft beer aficionado.

SHAWN KINGShawn plays drums and trumpet for the Denver band DeVotchKa and has composed and produced music for various doc-umentary films. DeVotchKa’s music has appeared countless times in international productions- largely due to their success with the score of 2006’s Little Miss Sunshine. In 2015 the band was added to Red Rock’s Hall of Fame, while celebrat-ing their 5th anniversary of collaboration with the Colorado Symphony at the historic venue. In 2015 Shawn partnered with Ozomatli singer Raul Pacheco to produce ‘Los Dreamers’ a bilingual concept album about immigration. Denver arts patrons also witnessed DeVotchKa’s award winning collaboration with the Denver Center for Performing Arts in the sold-out run of Sweeney Todd.

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James graduated magna cum laude at Savannah College of Art & Design with a degree in Motion Graphics and Photography with a passion for title and credit design. James leads animation and motion graphics at Milkhaus creating everything from kinetic typography for clients such as the Human Rights Campaign, to product animations for Sierra Mist and even frame by frame live action tummy tucks on actors in commercials.

James was the lead composite artist on Being Evel, requiring all interviewees to be painstakingly digitally placed in a theatre stage setting and archive footage of Evel Knievel digitally projected behind them.

He has worked on numerous animated short films, commercials, feature documentary, branded content and PSAs on projects for: Aeras, Pepsi, Sierra Mist, Indiana University, T-Mobile, Qwest, Dex One, TD Ameritrade, Rehab, Hot Wheels, Treasury (Fosters) Wine estates, Red Robin, Reebok, Walmart, Sam’s Club, United Way, Unilever, Ingenix Human Rights Campaign and many others.

Being Evel (TV Feature Documentary, History Channel) – Lead Composite Artist , Visual Effects (2015)

A Lego Brickumentary (Feature Documentary) – Animator, Composite Artist (2015)

The Cave (TV Feature Documentary, Discovery Channel) -

Animator (2014)

Saving Face (Academy Award Winning TV Short Documentary, HBO) – Compositor (2012)The Life and Times of Paul the Psychic Octopus (Feature Documentary - Animator, Compositor (2012)

JAMES DURéEANIMATOR

SELECT CREDIT LIST:

Patrick was born and raised in Southern California with flip flops on his feet and a passion for moving pictures ingrained in his DNA. Growing up one of six children, yes six, and now being married with two small daughters of his own, the stories are never-ending. Through high school, storytelling was something he found invigorating, so when he went onto the University of Utah to be a doctor, it just didn’t stick. From there he tried his hand in a plethora of different work environments, collecting stories along the way, before finding his way back to his raconteur roots.

Now, he puts that passion for film and storytelling into everything he does at Milkhaus, always wanting to do and learn more. Whether it be directing, motion graphics, copywriting or editing, the thing that never changes is his unparalleled dedication to each and every

project that comes in the Haus. Patrick has had his hand in a number of different projects including documentary films; Saving Face, Chasing Ice, The Life and Times of Paul the Psychic Octopus, Doc of the Dead, STILL, A Lego Brickumentary, Keep on Keepin’ On, William Matthews: Drawn to Paint, and Being Evel. Patrick has edited numerous projects for clients including: Pepsi, Mountain Dew, Sierra Mist, CNN, National Geographic, Discovery Channel, Discovery Velocity, America’s Road Home, Denver Dumb Friends League, National Conference for State Legislatures, Human Rights Campaign, The Gill Foundation & the Denver Film Society.

PATRICK HUBEREDITOR

Being Evel (TV Feature Documentary, History Channel) – Color Correction (2015)Keep on Keepin’ On (Feature Documentary) - Title Compositing (2014)William Matthews: Drawn to Paint (feature Documentary, PBS) - Editor (2015)

Doc of the Dead (TV Feature Documentary, EPiX) – Assistant Editor (2014)Saving Face (Academy Award Winning TV Short Documentary, HBO) – Assistant Editor (2012)STILL (Feature Documentary, PBS) - Assistant Editor (2012)

SELECT CREDIT LIST:

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The TeAM

Dave is a founding member of Milkhaus and serves as a Senior / finish editor, compositor, and color correction artist at Milkhaus. He has extensive experience in corporate, commercial, documentary, and broadcast productions. His work has been seen on Discovery Channel, Bravo, National PBS, NBC and National Geographic as well as approximately 60 film festivals worldwide. He refined his editing and finishing skills working on spots and promotional material for Pepsi, Eddie Bauer, Capella University, CoinStar, T-Mobile, Comcast, Western Union, University of Colorado, and Qwest among many others.

Dave’s unique editing and graphic style has earned numerous heartland Emmy Awards, a Telly award for his work with T-Mobile, as well as two 2005 National Emmy Nominations for his work on the Discovery Channel series Chasing Lance.

Some project highlights include being the editor on the feature documentary The Life and Times of Paul the Psychic Octopus about the famous prognosticating octopus who accurately predicted the outcomes of World Cup matches. He also was the editor on the feature documentary When the Dragon Swallowed the Sun about the Chinese occupation of Tibet.

DAVE KRAHLINGCOLORIST

Greg received his BFA from Colorado State University in 2015, and serves as an assistant editor and editor at Milkhaus. Greg is talented in multiple disciplines, from post production to production. Greg enjoys cutting his teeth on both long and short form programming, and working in our constantly changing and fast-paced industry. Greg has served as as assistant editor on projects for Eddie Bauer, 18 Birdies, Arcadis, Great Outdoors Colorado, Denver School of Science and Technology, and Pinnacol Assurance.

GREG HERBURGERASSISTANT EDITOR

Being Evel (TV Feature Documentary, History Channel) – Color Correction (2015)Keep on Keepin’ On (Feature Documentary) - Color Correction (2014)William Matthews: Drawn to Paint (Feature Documentary, PBS) - Color Correction (2015)

Doc of the Dead (TV Feature Documentary, EPiX) – Color Correction (2014)The Life and Times of Paul the Psychic Octopus (Feature Documentary) - Editor (2012)When the Dragon Swallowed the Sun (Feature Documentary) - Editor (2010)

SELECT CREDIT LIST:

Hearing is Believing (Feature Documentary) -Assistant Editor (2016)

Stadium Anthems (Feature Film) - Assistant Editor (2016)CREDIT LIST:

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ManageMenT of The ProJecT

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PeRSONNeL ROLeSDIRECTORS: zACHARy FINK & CHAD HERSCHBERGER

Due to the short production period for this film, we are proposing two directors to work together on managing this film. This will allow us to distribute the workload, including on-location production trips and eliminate bottlenecks. Core responsibilities stem around crafting the narrative arc of the film, this includes: drafting outlines for non-scripted story in pre-production/project planning; writing the scripts and planning the objectives of the animated segments, and the like. During production, Zachary and Chad will split the shoots to maximize schedule flexibility. While on location, they will be responsible for interviewing subjects, directing crew, and operating the “B” camera if needed. In post production, Zachary and Chad will work together to refine the story until it reaches the project’s objectives and the film is polished for public viewing. The directors have similar filmmaking sensibilities and will supplement each other where they vary.

PRODUCERS: KERRy DEIGNAN ROy & CATHy TREKLOFF

The tasks of coordinating shoots with scientists and crew, arranging travel, securing permits where necessary, maintaining schedule, distribution agreements, personnel & third party payments, contractual obligations, insurance, budget tracking, and the like all fall under the purview of the role of “Producer”. Kerry and Cathy will work collaboratively to ensure that the film remains on time, on budget, in compliance, and is released to the public in the specified timeline.

CO-PRODUCER: HUW BOWEN

As co-producer, Huw will spearhead research, and work alongside the directors to translate core scientific concepts to make them clear and understandable by laypeople. Huw will work with the producers to help arrange shoots, and coordinate on the film’s crew, collaborators, and supplement on tasks such as coordination with distributors on requirements, etc.

ART DIRECTOR / SENIOR ANIMATOR: BRETT PURMAL

Brett will work with the directors to establish the artistic style of the film, animations and graphic treatments for the film. The Brett will also serve as senior animator, leading a small team of 2 additional animators.

DIRECTOR OF PHOTOGRAPHy: ROBERT MURATORE

Robert will work with the directors to establish a cinematic style, including style of framing, camera angles, depth of field, and lighting approach. Robert will be responsible for ensuring camera operators (used as needed due to scheduling) maintain consistency with the established style.

SENIOR EDITOR: CHAD HERSCHBERGER

Chad (who is also serving as co-director) will be responsible for working closely with Zachary to carefully plan and create the overarching story structure and character narrative arcs in the post production process. Chad will also work with the Editor, Patrick, to ensure that pacing, energy, etc. remain consistent with the creative vision.

MUSIC COMPOSITION: COLOR WHEEL MUSIC

Color Wheel will compose original music for the film using their talented roster of in-house musicians and collaborators, and license existing music tracks where appropriate for the film. They will work closely with the directors to create music that matches the creative vision for the film.

SOUND DESIGNER / MIXER: NEIL HILLMAN

Neil will mix audio for basic levels ensuring that all dialogue is clear, creating or enhancing the aural environment of the film, and creating the technical output for final delivery.

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PeRSONNeL ROLeSANIMATOR: JAMES DURéE

James will work with the art director to build animation assets, and execute animations to the specifications and needs of the co-directors.

EDITOR: PATRICK HUBER

Patrick will be responsible for assembling the film: carefully selecting the best shots, sound bytes and moments to create scenes, and build the story structure of the film working closely with the co-directors, refining the edit until ready for distribution. Patrick will also be responsible for maintaining the media for archive and creating all files or hard copies of the film for final delivery.

ASSISTANT EDITOR - GREG HERBURGER

Greg will assist the post production process by logging all media, organizing the media into edit jobs as needed by the editor and senior editor. Greg will also be responsible for assisting with the maintenance, organization, and archive of all media files, and the creation of deliverable files.

COLORIST - DAVE KRAHLING

Dave will be responsible for carefully color balancing the imagery of the film, shot by shot, scene by scene, applying any creative color to the film as may be directed by the co-directors, and ensuring that all levels meet industry technical requirements for broadcast and theatrical.

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SCIeNTIFIC ReVIeW PANeLOur scientific review panel will be headed up by Keith Bowen (bio below), who will help us locate and fill the review panel. Ideally, our panel will include one representative from NIST, and then up to four other international scientists working in metrology and related fields. - Preliminary meetings either in person or via Skype conferences to thoroughly discuss the science related to the redefinition of the Kilogram, prior to shooting. This will allow the team to get up to speed before making creative and logistical decisions for the film.

- Semi-regular review meetings, to check for accuracy of materials and catch potential errors promptly.

- Reviews of interview content with scientists and experts as needed for clarification and context.

- Reviews of film and animation versions: Rough Cut (V1), Fine Cuts (V2 & V3), Picture Lock (V4).

Professor Keith Bowen MA DPhil, FREng FIMMM FInstP FRS, obtained his MA and DPhil in Metallurgy at Oxford University, working on single crystals of metals with Prof. JW Christian FRS. He was appointed Lecturer in Materials in the Department of Engineering, Warwick University in 1968 and until 1996 held various academic positions, including Head of Department, Professor of Engineering, Director of the Centre for Nanotechnology and Microengineering and Chairman of the Graduate School for Science. He has also held visiting professorships at Massachusetts Institute of Technology, University of Paris and University of Denver. Keith has authored four books and about 150 publications on the theory and application of X-ray characterization techniques, theory of dislocations, X-ray interferometry and ultra-precision engineering,

including the book “High Resolution X-ray Diffraction and Topography” with Prof. Brian Tanner. He holds Fellowship rank at the Royal Society, the Royal Academy of Engineering, the Institute of Materials and the Institute of Physics.

One of the major thrusts of Keith’s research was the use of X-ray interferometry to relate the silicon crystal lattice spacing to optical and mechanical means of measuring small displacements, down to 10 picometres (in two axes). Since this is also an essential step in the ‘atom counting’ method of determining the kilogram, he interacted strongly with scientists working on this problem, e.g. its inventor Prof Michael Hart of London; the leading NIST scientist, the late Dr Richard Deslattes; the former head of the Bureau de Poids et Measures, Paris (Dr. T.J. Quinn) and other scientists at NPL and PTB. While working in the USA, he was invited by the NAS/NRC NIST Evaluation Committee to join the Evaluation Panel for the NIST Physics Laboratory (despite not being a US citizen). He served on this for three years in the late 1990s and for the latter two years chaired the Atomic Physics Panel, which included the Quantum Metrology Group of Richard Deslattes as well as the Laser Cooling and Trapping Group of Nobel laureate Bill Phillips.

Keith has acted as consultant to several companies and organisations including Rolls-Royce, Shell Venture Research, the European Synchrotron Radiation Facility, Jordan Valley Semiconductors and Adaptix Ltd. He joined Bede Scientific Instruments Ltd. as part-time Engineering Director in 1983, and on taking early retirement from Warwick University, became President of Bede Scientific Incorporated in Denver, CO USA, in 1996. He successfully built up Bede’s business in the USA to include major contracts with all the major computer and semiconductor device manufacturers. After flotation on the LSE in 2000, Keith served as Group Director of Technology of Bede plc until his retirement in 2005. He has since served as Non-Executive Director of spinout technology companies. He is currently a consultant in X-ray science and technology, and a technical Due Diligence advisor for investors in startup companies. He serves on and chairs various scientific committees for the Royal Society, including its Public Engagement Committee.

KEITH BOWENSCIENTIFIC ADVISOR

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TIMeLINePRE-PRODUCTION

Assume December 2016-March 2017

Topic Study:

Work with NIST and Scientific Review Panel to:

- Understand clearly the two scientific techniques in this re-definition process

- Understand the scientific implications of this process

- Both will inform how we frame our interviews/and follow stories AND assist with disseminating that information to the audience in a way that is engaging, digestible and retainable.

Independent Research: Directors and Producing team:

- Identify story themes we want to capture

- Final determination of scientific teams to film

- Identify final key characters

- Identify story(ies) to follow for each team

Develop Project Outline (for unscripted portions)

Develop scripts for animated sections

Begin planning production shoots

- Establish relationships with international scientific teams with the help of NIST, and gain filming access

- Begin arranging locations and filming.

PRODUCTION

Assume Mar 2017 - November 2018

For each shoot throughout the production process, tasks involved include:

- Coordinate with scientific teams to arrange filming.

- Production team plans specific shoot objectives

- Secure travel details for crew

- Secure any Site Specific Crew, as needed including:

- Second Unit Cinematographers

- Site Specific Production Assistants

- Site Specific Interpreters24

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TIMeLINeFilming scientific teams:

Each trip will include interviews with Key and Support characters

- Will include observational b-roll of characters at work and where possible at home to add dimensionality to these characters.

- Will include observational b-roll of team work and activities, including how they work together, successes and challenges that happen along the way.

- Will include observational and planned b-roll of facilities and beauty shots of experiments, to add excitement and intrigue.

- Ingest and Log Footage

- This process will happen after every location shoot, prepping for the Post Production Phase

POST PRODUCTION

Assume Post beginning July 2017

Post Production will begin early for this film. We will begin stringing out scenes into a Work In Progress Cut after the first round filming has taken place to help identify gaps that we need to fill while we still have time in production. We will continue with the Post process on editing the live action portions of the film in the summer of 2018, to allow for the bulk of filming to be completed.

Animation for the film will begin in mid-2017. This will allow time for animated content to go through design, scientific vetting, and become finalized for placement into the film early on, rather than after the film is fully cut. This is to ensure that we can meet the target public release between December 2018 and March 2019.

We will have most scenes and the narrative structure of the film laid out before the filming of the commencement ceremony at the Palais de Versailles in November 2018. This will allow for a fast turnaround to complete the final edit in time for the public release date. As a safety measure, if there is a surprise or game-changing event that occurs in November 2018, we will be well-prepared to shift scenes and alter narrative structure as necessary.

Post Process - Live Action:

Logging Media

-Occurs after each shoot

Work in Progress Cut - Version 1 (Estimated completion: July/August 2017):

- Will include content to-date. First pass on film used to determine missing content

- Will include large portion of live action scenes (scenes such as Palais de Versailles footage will be acquired in 2018)

- Will include any completed animation scenes

- This cut will be sent to the Scientific Advisory Board and NIST for review

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PROjeCT TIMeLINeRough Cut - Version 2 (Estimated completion: October 2018):

- A refined cut, trimming scenes for pace

- Will incorporate revisions based on notes from Scientific Advisory Board and NIST.

- Will include any story and structural revisions as deemed necessary by the Directors

- Will include completed animation scenes

- This cut will be sent to the Scientific Advisory Board and NIST for review

- This cut will be screened privately with industry colleagues for outside input on the film

Pre-Final Cut - Version 3 (Estimated completion: November 2018):

- Will include further story and structural revisions as deemed necessary by the Directors

- Will see polished pre-final scenes

- Will include all animations

- Will include Pre-final music composition

- Will be sent to Sound Designer for sound design and audio mix

- Will be sent to the Scientific Advisory Board and NIST for approval review.

- Will be screened privately with industry colleagues for outside input on the film

Final Cut - Version 4 (Estimated completion: December 2018):

- Will include Palais de Versailles scene(s)

- Will include the Final music composition

- Will include the final sound design and audio mix

- Will be sent to all reviewers for final comments

- Revisions, if needed will be made

- Final files will be created

Delivery (Estimated public elease: January/February 2019)

Post Process - Animation

Animation will occur as scene needs are locked throughout the production and post production process. For each animation scene, the following timeline will occur:

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PROjeCT TIMeLINeConcept Art

Animatics (also known as mock-ups):

- The animatics will be sent to the Scientific Advisory Board and NIST for review.

Animation Rough - Version 1

- Will include all visual assets at wire frame or unfinished level (no added shading, colors, or texture)

- Will include content revisions based on feedback from the Scientific Advisory Board and NIST

- Will focus on design, layout, placement, and timing.

- This cut will be sent to the Scientific Advisory Board and NIST for review.

Animation Rough - Version 2

- Will include revisions to design, layout, placement, and timing as deemed necessary by the Directors

- Will include content revisions based on feedback from the Scientific Advisory Board and NIST

Animation Pre-Final - Version 3

- Will include shading, colors, texture

- Will include content changes based on feedback from the Scientific Advisory Board and NIST

- Will include changes to design, layout, placement, and timing as deemed necessary by the Directors

Animation Final - Version 4

- Final renderings for inclusion into the film

MARKETING/PROMOTIONS

We intend to directly submit the film to venues for broadcast, cablecast or streaming services as part of the contractual obligation of the grant, with the initial public release of the film between December 2018 and March 2019.

Although specific to contract terms, we will be seeking a broadcast distribution partner with interest in premiering the film at a high profile film festival that lands within our target window such as: Sundance, Berlin, and SXSW. This will create a marketing buzz for the broadcast premiere.

DISTRIBUTION

See next section, “Additional Fundraising & Distribution Plan”

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AddITIONAL FuNdRAISING & dISTRIBuTION PLAN

ADDITIONAL FUNDRAISING

Our team does not intend to fundraise for the film. We have created a plan that works within the grant money from NIST. We believe that the allotments for resources in our proposed budget is appropriate and viable.

If there are budget overruns due to unforeseen events, or additional time for the production team that is not now known, we will assume those costs as In-Kind contributions to the film. We cannot include those costs currently into this proposal, because they are neither known nor expected.

DISTRIBUTION PLAN

Distribution for any film requires careful consideration of viable platform options including vetting the current commissioning mandates for each venue and their select target audiences. Milkhaus will review all appropriate options that will allow the film to reach a broad audience for both the initial public release and the ongoing availability to audiences.

Our team’s collective background working with documentary sales agents, distributors, broadcasters, and streaming services across the globe will help inform our decisions as we maneuver through the process of getting the film to market.

Because of the intricacies of this process, we have not obtained Letters of Intent from possible venues. We believe that we will be better able to deliver the film to a top venue with more time and planning, allowing the film to get a broader release both nationally and internationally.

It has been our experience that in lieu of a work for hire agreement, most distributors prefer to license a completed film.

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ReSOuRCe AVAILABILITyEqUIPMENT: Primary “A” cameras and “Secondary “B” cameras and lenses are owned by Milkhaus, the Lead Cinematographer, and Directors, with access granted for all shoot days for a reduced rental rate. In some instances, “B” cameras or specialty lenses will be rented as needed through reputable industry equipment rental facilities, and arranged prior to shoots.

Milkhaus also owns camera support and lighting equipment including: tripods, slider, jib, drone, gyro stabilizer, lighting packages and the like. In some travel situations, we may determine that it will be more economical to rent heavy items on location from reputable industry equipment providers, due primarily to over-limit baggage fees or shipping costs. We will carefully determine the most economcial and practical approach when planning each location filming trip.

FACILITIES: Production: Most filming will take place “on location”, meaning at the workplaces, homes, etc. where the documentary subjects will be located.

Additionally, our proposal calls for select filming in a studio environment. The studio location is already determined: 35 Left Studios in Denver, CO. During production, we will coordinate a schedule with the studio for shooting and secure the rental.

Post Production: Milkhaus,LLC is a production and post house, and as such, has post production capabilities in house including the necessary equipment, software and post production personnel. The one exception to this is our audio post production abilities and software. We have selected a contractor to supply audio post production services including sound design and audio mix (contractor: Neil Hillman, see below). CONTRACTORS AND COLLABORATORS:Films call for many collaborations, ensuring that the right person for the job is used to the benefit of the production and the final product - the film. Our film will require contracting with talented filmmakers that supplement our in-house team. The contractors we will use as Key Personnel are listed below, and all are committed and available to work on the project if our team is awarded the grant (see Letters of Commitment):

Zachary Fink, Co-DirectorKerry Deignan Roy, ProducerHuw Bowen, Co-ProducerRobert Muratore, Lead CinematographerBrett Purmal, Art Director/AnimatorColor Wheel Music, Music CompositionNeil Hillman, Sound Designer / Audio MixerKeith Bowen, Science Advisor

Other contractors or collaborations are not currently known including the remaining roster of scientific advisors, and potentially, as applicable, commissioning editors from broadcast/cablecast or other distribution sources.

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BudGeT NARRATIVeBUDGET VIEW 1Budget items as entered into form SF 424A

TOTAL BUDGET 500,000.00$

a. PERSONNEL 104,575.00$ f. CONTRACTUAL, CONTINUED)Producer 15,575.00$ On Set Translator 7,500.00$ Co-Director 24,000.00$ Researchers 4,000.00$

Editor 36,000.00$ Transcription (and translation) 16,200.00$

Assistant Editor 6,000.00$ Still Photographer 3,000.00$ Animator 15,000.00$ Composer 15,000.00$ Colorist 8,000.00$ Stock & Footage Licensing 7,000.00$

Audio Mixer/Post Sound Sweetenting15,500.00$ b. FRINGE BENEFITS 6,000.00$ Legal Fees 5,800.00$

Meals (travel per diems and working meals) 6,000.00$ Accounting 3,550.00$

CCSL Document 5,000.00$ c. TRAVEL $40,180.00

Includes all travel: airfare, hotel, mileage, etc) g. CONSTRUCTION 3,000.00$

Set design and build 3,000.00$ d. EQUIPMENT 49,000.00$

RAID hard Drive purchase 4,000.00$ h. OTHER 37,780.00$ Camera Packages 25,500.00$ Insurance 13,000.00$ Lighting Package 9,000.00$ Mastering DCPs 5,000.00$ Grip Package 10,500.00$ Studio Rental 4,950.00$

Permits and Fees 750.00$ e. SUPPLIES 140.00$ Website Registration 20.00$

Video Media camera cards 140.00$ Shipping 750.00$ Contingency 13,310.00$

f. CONTRACTUAL 259,325.00$ Co-Director 34,000.00$ Producer 21,575.00$ Co-Producer 17,550.00$ Art Director / Animator 27,000.00$ Advisors and Consultants 9,000.00$ Director of Photography 40,350.00$ Additional Camera 7,800.00$ Location Sound Recordist 19,500.00$

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BudGeT NARRATIVeBUDGET VIEW 2 Budget items as related to the specific phases of the project. A detailed line item budget is also vailable for review.

TOTAL BUDGET: $500,000.00

DEVELOPMENT = $ 44,750.00This phase is for further development of the concept and approach. It will also include researching the subject matter, and learning from the scientific advisors and other consultants. - 4 weeks for Producers and Researchers - 3 weeks for Co-Directors - First content reviews for Advisors and Consultants

PRE PRODUCTION = $16,050.00This phase is dedicated to planning and arranging filming. - Line Producing / Location prep (3 days per location film shoot) - Film shoot equipment prep (Director of Photography) - General Liability Insurance

PRODUCTION = $234,070.00This is the filming phase, which will include multiple production trips to capture observational footage and conduct interviews. This phase is the longest phase in the project timeline. - 6 locations, multiple days. Assume filming in USA (2 locations), Canada, Germany, France and Japan (or modified as may be suggested by NIST). Will include Producer, Director, DP, Audio Recordist. - Travel includes all travel related expense: airfare, hotel, mileage, meals, etc. - Equipment costs for Camera, Lighting, and Grip Packages, and Camera Media - Translator, as needed at select filming locations - Still photography for marketing and distribution delivery - Studio rental / Set design and build for re-creation scenes - Permits and fees, as required by various municipalities for filming - Insurance (Production Insurance, including coverage for equipment, faulty negative, travel, Kidnap and Ransom)

POST = $181,050.00The phase that includes editing the film, animation, and output for delivery. - Line Producing - Transcription (and translation) - Director / Editor / Assistant Editor / Color Grader - Program reviews Advisors and Consultant Stipends - Animation - Composer / Audio Mixer / Post Sound Sweetening - RAID Hard Drive for film files & archive - Stock & archival footage licensing - Legal Fees, for title clearance - Errors & Omissions Insurance (E&O) - Accounting and reporting

PROMO MARKETING / DISTRIBUTION = $10,770.00 - Deliverables creation such as Digital Cinema Print, Broadcast files and/or tapes - Combined Continuity and Spotting List (CCSL), a required deliverable document that is a shot by shot written visual ac count and transcription of the film. - Shipping - Website registration

CONTINGENCy = $13,310.00

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LeTTeRS OF COMMITMeNT

September 24, 2016

NIST 100 Bureau Drive Gaithersburg MD 20899

RE: Funding Opportunity 2016-NIST-KG-01 (To produce the documentary film “The Last Artifact”) Proposal submitted by Milkhaus, LLC

To Whom it May Concern:

I am pleased to confirm my commitment to serve as the Co-Director on the film “The Last Artifact” with Milkhaus, LLC if they are selected as the grant recipient for the above mentioned Funding Opportunity.

I affirm that I am a contractor who will be hired by Milkhaus, LLC to fulfill this role, and that I am available to perform my duties in this role during the contract period with NIST.

The work I will complete on the film is as listed in the proposal: to collaborate with my co-director from Milkhaus (Chad Herschberger) in leading the creative approach of the film including: Crafting the story and structure; Writing scripts for animated segments; Guiding on-location shoots including conducting interviews, and determining what content to acquire on site on site; supervising the post process to complete the film such as refining story and structure and determining style and pace.

My compensation for my participation in the film will be based on actual numbers of days worked on the project. The budget currently listed for my position on the film is $34,000.00. Any equipment rentals for my personally owned gear will be based on number of days used, and the respective rates set forth in the budget.

Please feel free to contact me at your convenience should you have any questions.

Yours Sincerely,

Zachary Fink

415-413-8229 z@collectivehunch.com

106 Liberty St San Francisco, CA 94110

ZACHARY FINK

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LeTTeRS OF COMMITMeNT

LETTER OF COMMITMENT

CONTRACTOR: Kerry Deignan Roy 9/24/16 NIST 100 Bureau Drive Gaithersburg MD 20899 RE: Funding Opportunity 2016-NIST-KG-01 (To produce the documentary film “The Last Artifact”) Proposal submitted by Milkhaus, LLC To Whom it May Concern: I am pleased to confirm my commitment to serve as the Producer on the film “The Last Artifact” with Milkhaus,LLC if they are selected as the grant recipient for the above mentioned Funding Opportunity. I affirm that I am a contractor who will be hired by Milkhaus,LLC to fulfill this role, and that I am available to perform my duties in this role during the contract period with NIST. The work I will complete on the film is as listed in the proposal: I will work with the other Producer (Cathy Trekloff) to coordinate shoots with scientists and crew, arrange travel, secure permits where necessary, maintain schedule, distribution agreements, personnel & third party payments, contractual obligations, insurance, budget tracking, and the like. My compensation for my participation in the film will be based on actual numbers of days worked on the project. The budget currently listed for my position on the film is $21,575.00 Please feel free to contact me at your convenience should you have any questions. Yours Sincerely, Kerry Deignan Roy kerry@exhibitapictures.com +1.303.886.1605 mobile

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LeTTeRS OF COMMITMeNT

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LeTTeRS OF COMMITMeNT

LETTER OF COMMITMENTCONTRACTOR: Brett Purmal

09/23/2016

NIST100 Bureau DriveGaithersburg MD 20899

RE: Funding Opportunity 2016-NIST-KG-01(To produce the documentary film “The Last Artifact”)Proposal submitted by Milkhaus, LLC

To Whom it May Concern:

I am pleased to confirm my commitment to serve as the Art Director / Senior Animator on the film “The Last Artifact” with Milkhaus,LLC if they are selected as the grant recipient for the above mentioned Funding Opportunity.

I affirm that I am a contractor who will be hired by Milkhaus,LLC to fulfill this role, and that I am available to perform my duties in this role during the contract period with NIST.

The work I will complete on the film is as listed in the proposal: I will work with the film’s directors to establish the artistic style of the film, animations, and graphic treatments for the film. I will also serve as the senior animator.

My compensation for my participation in the film will be based on actual numbers of days worked on the project. The budget currently listed for my position on the film is $27,000.00

Please feel free to contact me at your convenience should you have any questions.

Yours Sincerely,

Brett Purmalbrett@brettpurmal.com415.601.2127

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LeTTeRS OF COMMITMeNT

LETTER OF COMMITMENT

CONTRACTOR: Robert Muratore September 24, 2016 NIST 100 Bureau Drive Gaithersburg MD 20899 RE: Funding Opportunity 2016-NIST-KG-01 (To produce the documentary film “The Last Artifact”) Proposal submitted by Milkhaus, LLC To Whom it May Concern: I am pleased to confirm my commitment to serve as the Director of Photography on the film “The Last Artifact” with Milkhaus,LLC if they are selected as the grant recipient for the above mentioned Funding Opportunity. I affirm that I am a contractor who will be hired by Milkhaus,LLC to fulfill this role, and that I am available to perform my duties in this role during the contract period with NIST. The work I will complete on the film is as listed in the proposal: My compensation for my participation in the film will be based on actual numbers of days worked on the project. The budget currently listed for my position on the film is $40,350.00. Please feel free to contact me at your convenience should you have any questions. Yours Sincerely, Robert Muratore mr.cooger@mac.com 303-525-5636

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LeTTeRS OF COMMITMeNT

d.k.bowen@warwick.ac.uk+44 785 004 8884

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The LasT arTifacT

LeTTeRS OF COMMITMeNT

CONTRACTOR: NEIL HILLMAN

We have a verbal commitment with Neil and confirmation of rate via email for this project. We are currently in progress of obtaining the signed Letter of Commitment back from Neil. He has been unavailable while working on another film.

The work Neil will complete on The Last Artifact includes sound design, audio mix for stereo and 5.1 surround sound, sweetening and output of final audio in compliance with United States and International Broadcast and Theatrical standards. His compensation will be based on actual time worked on the project. The budget currently listed for his position is $15,500.00.

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The LasT arTifacT

LeTTeRS OF COMMITMeNT

9/26/2016 Letter of Committment.ColorWheel Music LLC.jpeg

https://drive.google.com/file/d/0BxVvTer1Np6DREpDeXVRb3lqdlE/view 1/1

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