oz magazine june/july 2011

june/july 2011

film & tv • print • new media • lifestyle

LOCAL ILLUSTRATORS, p. 27 TRANSMEDIA ADVERTISING, p. 22 SET MAGIC, p. 16

Production Support Services 347

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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

Editorial: Tiana Fernandez - Ozcetera Editor Contributors: Barbara English, Paul van Winkle, Sherra M. Bell

Sales: Gary Powell, Carolyn Richards

IT/Database Administrator: John Cleveland Sherman, III

Design: Christina Wills, Art Director Sarah Medina, ProductionTed Fabella, Logo Design

I N T h I S I S S U E

C O LU M N SOzcetera p. 8

Voices - Strengthening the Political

Voice for Creativity p. 21

Bring Your Camera - Summer Festivals p. 37

Per Diem - Cabbagetown & Old Fourth Ward p. 38

How I Got into the Business p. 42

Oz Scene p. 44

Let Me Give You My Card p. 48

Unconventional Art - Recycled! p. 50

JUNE/JULY 2011

F E A T U R E SCover Story - Creating Magic on Set p. 16

Rise Above the Noise - Transmedia Storytelling p. 22

Local Industry Recommended Illustrators p. 27

STUDIO BOSSES, p. 14 LOCAL PHOTOGRAPHERS, p. 23 WINE COUNTRY, p. 34

film & tv • print • new media • lifestyle

april/may 2011

16

38

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C O V E R A R T

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Barbara English is the founder and CEO of TO THE TRADE ONLY, which is a marketing and event company specializing in connecting creative professionals with each other. Barbara holds marketing and journalism degrees from Georgia State University in addition to her 25 years as a successful interior designer and contractor. The company markets suppliers and resources for the film & TV art department, interior design, event design and others in the business of creating spaces. She produces an annual trade show to the trades, THE NEXT COOL EVENT, which will be held February 17-18, 2012. For more information contact her at [email protected] Story, p. 16

Atlanta based oil painter, Bethany Marchman, exhibits her work across the US and abroad. Earlier works like “Three Creepy Rabbits”, reflect early influences of the “big eye” style from artists such as Gig and Margaret Keane. Later works incorporate tongue in cheek nods to the masters of art history and pull largely from the Baroque period. Her work has been shown in notable galleries pioneering the pop-surrealist movement such as Roq la Rue Gallery in Seattle, La Luz De Jesus in Los Angeles, Bold Hype Gallery in NYC, Mondo POP Gallery in Rome, Italy, and Strychnin Gallery in Berlin, Germany; as well as prominent art fairs including Red Dot and kunStart; and museums including Civic Museum, Reggio Emilia, Italy, and the Museum of Modern Art, Naples, Italy. www.bethanymarchman.comCover Art

Paul van WInkle brings 20+ years’ experience developing, producing and implementing strategic visual communications for global brand advertisers. He’s held senior-level management, leadership and business development roles for leading digital, integrated advertising and multi-office creative groups includ-ing MacQuarium Intelligent Communications, DMB&B and Y&R. His portfolio of high profile projects includes ongoing product support, integrated branding and promotion, and VFX work for Discovery Channel, HASBRO, Blackberry, Bacardi, Turner Broadcasting, UPS, COMCAST, Philips, The Weather Channel, Omnicom, WPP and Lilly. Feature Story, p. 22

Sherra M. Bell is the founder of Creative Know-Who, a referral consultancy for businesses that value design. With fingers firmly on the pulse of the marketplace, she champions creativity for innovation and economic development at home in Atlanta and around the Southeast. Connect with her through ConsultSherra.com or @ConsultSherra on Twitter.Voices, p. 21

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CATCh ThE FEVER

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Ames Scullin O’Haire (ASO) created the new “Catch the Fever” cam-paign for the Dolphin Tales Exhibit at the Georgia Aquarium. Creative director Mike Bourne crafted the score and is performing the catchy theme song, “Showbiz Fever,” which appears in all broadcast ads.

“The Georgia Aquarium’s new AT&T Dolphin Tales show is very theatrical, with grand lighting, water effects, music and the show’s stars, the amazing dolphins,” says Patrick Scullin, managing partner/creative at Ames Scullin O’Haire. “We wanted the ad campaign to re-flect how contagious that energy is to attendees, showcasing how

everyone who comes to see the dolphins catches the ‘fever.’”The multimedia campaign will be seen from broadcast outlets to

ads and billboards. One :30 television spot shows everyone at the Georgia Aquarium catching the "fever," from the staff to the pen-guins, and will run in Atlanta. On the radio, three new :30 spots will each show ordinary people getting the “fever” in everyday situations. Online banner ads on popular sites and “Catch the Fever” themed billboards will also be featured around town.

MaxMedia’s latest project for Turner Sports and the NBA is the so-cial media app, 2011 NBA Playoffs Pulse. Designed to deliver playoffs-related trending content while drawing in friends and followers, the Pulse offers series and bracket views, and social leaderboards that change as players move through the playoffs. The app utilizes Face-book status updates and comments to elevate the latest and most popular players while the Playoff Pulse leaderboard shows a com-plete list of players participating in the playoffs, ranked by score from highest to lowest.

The Pulse also allows users to share from within the application. For example, users have the ability to vote for Social MVP and the vote is posted to their Facebook wall for friends and family to see and ‘like.’ These sharing and voting actions contribute to a player’s “Social MVP” rank, and ongoing participation will move them up the Social MVP ladder with the ultimate goal to win the MVP title.

The Pulse is expected to stream over 150,000 messages per minute to the client application through WebSockets. MaxMedia is currently developing similar apps for the NFL and NASCAR.

And to keep pace with growth, MaxMedia hired Paul van Winkle as the newest member of the company’s growing senior leadership team. Paul brings more than 20 years of experience developing, producing and implementing strategic visual communications for global brand advertisers. He’s held senior-level management, leader-ship and business development roles for leading digital, integrated advertising and multi-office creative groups including MacQuarium Intelligent Communications, DMB&B and Y&R. His portfolio of high profile projects includes ongoing product support, integrated brand-ing and promotion, and VFX work for Discovery Channel, HASBRO, Blackberry, Bacardi, Turner Broadcasting, UPS, COMCAST, Philips, The Weather Channel, Omnicom, WPP and Lilly.

Paul’s focus is in integrating new ideas, new technologies and bet-ter visual communications for connecting forward-thinking compa-nies with new customers. He has a background working to improve and integrate essential messages, customer experience and revenues.

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CineFilm is working with Fox again for the current production of “The Three Stooges,” the feature from the Farrelly Brothers. “We worked with them last year on Hall Pass, starring Owen Wilson, which was also shot on film” notes Account Manager Joe Huggins. “The same produc-tion and post team returned, so it was great to be back on board.”

The Stooges feature is budgeting for over 600,000 feet of 35mm with Avid HD dailies. Editorial is working locally under editor Sam Seig and first assistant editor Dave Ray-mond. “We had a great experience at CineFilm with Hall Pass,” notes Raymond during the pre-production meet-ing. “Sam and I both were singing the praises of CineFilm to our LA execs and we’re happy to be back in Atlanta.”

The biggest challenge began before production. “We are mastering to HDCam SR stock,” explains GM Jim Og-burn, “and it’s only made in Japan, near the site of the re-cent tragedy. There is a worldwide demand now and we needed over 100 hour-long tapes. Prices went from $130 to over $900 per tape. The Fox post exec called us in a panic a month before shooting, but was relived to know we had stock in advance. He said it was the best news he’d had all day.”

CineFilm completed three other independent features this year, “The Call” shot on the Red, a suspense-thriller “The Collection,” shot on 35mm and “The Trials and Tribulations of a Trailer Trash Housewife,” shot on S16. “Film is not dead,” notes Huggins, “we were able to create a workflow on Housewife that was less costly in film, than the Red Camera, as surprising as that may sound, but we go both ways: film or digital.”

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bRANDwARE DRIVES PORSChE

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Brandware Public Relations was selected as the agency of record for Porsche Cars North Ameri-ca (PCNA), the exclusive importer of Porsche vehicles for the United States. Brandware will support the Porsche public relations team with the full range of external and internal communications needs, including brand, product and lifestyle public relations, media and community relations, media events and social media initiatives. The multi-year contract is effective immediately. Brandware has previously provided special project support to PCNA, including the 2010 Porsche 60-Year Anniversary campaign and select social media initiatives.

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Kevin Thomas, FCP guru and AFX wizard, has joined the Magick Lantern team. Thomas is a mas-ter at creating high-end broadcast graphics and elaborate composites using a full palette of tools includ-ing Photoshop, Final Cut Pro and After Effects. His unique blend of experience and creativity will be enhanced in a newly upgraded edit suite.

Thomas has created award-winning work for such major broadcast clients as CNN, Cartoon Network, TNT and Adult Swim. He has been honored for his creative finesse, winning several Addys and a Promax Gold award over the past few years. Thomas has already started work at Magick, completing projects for JWT, Adult Swim, Cartoon Network Latin America and RedPrairie.

“I am excited to be at Magick,” said Thomas. “There is a fun at-mosphere here and a terrific cre-ative team. I look forward to creat-ing some great work.”

Kilgannon promoted Pamela J. Alvord to executive vice president, managing director of strategy and operations. Alvord previously worked as chief brand strategist at the agency. She will continue to lead strategic planning for agency clients, including: Cleaver-Brooks, Manheim Auctions, NYCM Insur-ance and SouthernLINC Wireless. In addition, she now is respon-sible for agency operations and will oversee workflow processes to maximize overall productivity and efficiency for Kilgannon and its clients.

ALVORD MOVES UP AT kILGANNON

Studio Space Atlanta has expanded their facility. On top of having the usual string of thirty plus music videos this month, corporate clients such as Coca Cola, AT&T and Mitsubishi made use of our three large cyc walls.

The new area, referred to as the “Private Talent Loft” consists of a private lounge area for the talent, that is elevated as an overlooking loft. In addition to the lounge, they built a third wardrobe and make-up room. This additional wardrobe room is in an elevated loft accessable by only the main artist or talent. This new space allows the main talent or artist to be removed from the hustle and bustle of the downstairs production until they are needed.

MORE SPACE FOR STUDIO SPACE

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

bIGELOw SNARES SILVER TELLY

JAYAN wELCOMES NEw DIRECTOR

Kudzu.com and Bigelow Advertising won two Silver Telly Awards, the highest honor of the Silver Telly Council, for their two :30 TV spots for the “Before You Hire” campaign. The campaign launched last Au-gust and was created to build brand awareness of Kudzu.com as the place to choose the best home contractors by reading reviews from neighbors. The campaign also helped support the new partnership with HGTV.com.

“Winning a Silver Telly is quite an achievement,” said agency president and executive creative director, Tom Bigelow, “so you can image we’re thrilled to have received two this year.”

The 32nd Annual Telly Awards received over 13,000 entries from all 50 states and 5 continents.

Jayan Films signed Director, Stacey Fitzgerald, for representation in the commercial, corporate, and direct-to-client markets. Fitzgerald’s work covers a wide range of styles from comedy to dramatic and emotional storytelling.

In addition to strong public service and commercial work, Fitzgerald directed the comedy, “The Delivery Boy Chronicles” starring Grammy award-winner Shawn Mullins, in his first theatrical appearance. The film is being distributed both domestically and internationally.

According to Director of Business Development Bob Judson: “Stacey’s creative skills and glowing personality make her a perfect addition to Jayan’s roster of directors.”

Director Stacey Fitzgerald

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The Atlanta Workshop Players hosted their 30th Anniversary Gala in April, with proceeds benefiting the AWP scholarship fund. Professional Actress, Director, AWP alum and Instructor, Whitney Christo-pher King, expressed gratitude for the event, which helps fund scholarships, higher-education oppor-tunities, and other advanced-training programs for aspiring actors who may not have the resources to pay for programs.

“The Atlanta Workshop Players is vital to the longevity and growth of the performing arts,” said King. “It is a wonderful event that demonstrates the community’s spirit and support of the perform-ing arts.” The 30th Anniversary Gala took place at AWP’s Studio of the Arts and the Masters of Cer-emony included CNN’s Martin Savidge and Comedian Don Stallings.

ATLANTA wORkShOP PLAYERS CELEbRATES 30 YEARS

Joe Gora’s new partner, Tony Reece brought a TriCaster TCXD850 and a 28-foot mobile production trailer to AGORATV. The TriCaster integrates live multi-camera switching, audio mixing, titles (CG), digital clip players, live streaming, two network inputs for connec-tion to an unlimited number of external displays (from Mac or PC), full resolution record-ing and virtual set capabilities. The mobile production trailer can host the TriCaster and can provide live streaming from locations that do not have Inter-net connection with stable and sufficient bandwidth using the 1.2-Meter Mobile Satellite In-ternet System. This system will transmit over carrier-grade ded-icated CIR (committed informa-tion rate) bandwidth, with data rates up to T1 levels. This sat-ellite Internet video looks like regular television signal rather than the usual compressed In-ternet video.

LIVE wITh AGORATV

Krista Berutti joins Street-LevelSound as the Atlanta area rep for its custom music, sound design, and audio post services. Berruti attended The Art Institute of Atlanta and is a native of Destin, FL. Her role focuses on area ad agencies, directors, and multi-media companies.

bERUTTI AT STREETLEVEL

Rainforest Films’ Will Packer and Screen Gems Studios are collaborating to produce a film based on Steve Harvey’s, national best-seller, Act Like A Lady, Think Like A Man? The book provides no-nonsense advice about men and love from the comedian, author and syndicated talk-show host, Steve Harvey. Through Sony Pictures Entertainment’s Face of the Fan® program, users nationwide can participate in this casting call which is open to both men and women. The program allows participants to submit audition materials for one of two roles, one for a male character and one for a female character.

The public will then be invited to be-come part of the casting call process and vote on up to ten men and ten women who took part in the initial online casting call in order to provide filmmakers with broader insight on who the public thinks would be the best choice for both of the roles. Will Packer has previous experience working with Screen Gems hits: “Stomp The Yard,” “This Christmas,” and “Takers.”

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Mountain View Group, Ltd. and its client partners were recognized recently with prestigious awards for superior and notable work in video and digital production.

Commissioned by MSL and Underwriters Laboratories, “That’s Green to Me,” brought environmental safety home. Created with special events and online viewing in mind, this video was honored with Platinum LACP Spotlight and Gold MarCom Awards.

Mountain View Group also garnered accolades for several produc-tions with GE Energy this year, including two company-wide health initiatives. “Culture of Health,” brought home an ABA Stevie, NORI, Telly Awards, a Gold LACP Spotlight Award and a Platinum MarCom Award. “HealthAhead,” which captured the essence of health educa-tion for employees earned a CINE Golden Eagle Award, a MarCom Award and Gold LACP Spotlight Award.

For the documentary created for GE Technology Infrastructure, “Shared Passion for Education,” John Rice and GE were honored by the PAGE Foundation for their commitment to education. The documentary also received ABA Stevie and Telly Awards.

Mountain View Group was also recognized for its notable work in commercial productions. In particular, a series of spots produced for Pringsa promoted its fun and fabulous signature casino brand. The “Casino Life Campaign,” received NORI and LACP Spotlight Awards.

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Superlux and Display Integration Technologies (DIT) teamed up cross-country to showcase the best in each other’s work. DIT specializes in the design and manufacturing of high-definition broadcast-quality LCD Products. Superlux was looking for the world’s coolest monitor to showcase in their current brand campaign and found DIT’s MMR-B170W monitor. Designed for use in remote locations in the field, Superlux borrowed it for their campaign. DIT’s sales manager, Tony Hallett, was so impressed with the ad campaign that he put it in their flyer at NAB to promote the MMR-B170.

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Elevation created a pop-up world for the show graphics on the new Oxygen series, “sTORIbook Weddings.” Art director Dianne Frisbee created a concept in which Tori Spelling and Dean McDermott flip through pages of a pop-up book in order to find couples in need of a wedding makeover. Owner, Stephen Cocks directed a shoot with Spelling and McDermott in a stop motion format to add a light feel to the open. After compositing in After Effects, the Elevation team then worked in Cinema 4D to bring glamour to the pages of the book with everything from flying doves to a cascading marble staircase.

Melt approached Tube to develop the graphic pack-age and creative editorial work for their show, Coke Zero Presents: The Most Memorable Moments of the NCAA’s March Madness.

Melt Producer David Goldstein, Associate Producer Adam Hirsch, and Assistant Motion Designer Eric Au-zenne headed to Tube with interviews of college bas-ketball stars, Grant Hill, Bill Walton, Mateen Cleeves, and Christian Laetner, along with years of archival footage from CBS. After the footage was digitized Tube and the Melt team went straight to work.

Tube senior editor, Greg Partridge, worked on the shows’ series of four :30 bumpers and two of the four features. Tube’s Creative Director and Motion Designer, Chris Downs used his graphic styling to create accents for the features, bumpers, intro tease, graphic transi-tions, segment titles, and the animated shows’ logo. Downs also edited the opening tease video of the show. The program aired on CBS the day of the Final Four.

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John Williams of Shibui Design Inc. collaborated with Chuck Whited of C&M Backdrops, Inc. and art teacher Jo Thacker to create a large art tree sculpture for Holy Innocents Episcopal 50 year celebration. The inspiration for the design came from author, Ashley Bryan’s award winning children’s book “Beautiful Blackbird” and was installed in the HIES library.

Williams, principal designer and consultant, worked closely with Whited, who provided creative direction and project manage-ment to produce the tree sculpture. The massive silver tree dotted with birds of all shapes and colors transforms the space and brings a sense of whimsy and joy to the library. The installation of the perforated tree and some 80+ ceramic birds made by Jo Thacker’s pre-schooler and first graders, was completed in April with funding from the school’s Fine Arts Alliance.

Encyclomedia has expanded with the launch of gallery1526 in their Candler Park studio. gallery1526 features rotating shows of digital art, fine art, cinematography, sculpture, and photography, curated by Melanie B. Pierce. The most recent show, 3ModEffect, was a 3-day event, and showcased art, fashion, and film. The lineup included art by Chad Shore, William Rossoto, Jacqueline Mcarthy and Timothy Michael. There was also a fashion show, featuring new designs by Georgia and New York designers and performances by bands, Kite to the Moon and Flash to Bang Time. Additional enter-tainment included an aerialist, fire performers, and screenings of shorts and features by local filmmakers. The 3ModEffect art will be on display in the studio until June, and the next show, Fleur Folie, will run in July and August.

DESIGNERS RISE TO ThE OCCASION

ENCYCLOMEDIA ExPANDS

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1 6 O Z M A G A Z I N E w w w . o z o n l i n e . t v

By Barbara English

The art department is one of the largest of all the crew departments responsible for bringing a film to life. It is a massive job to create the sets required for a production. One of the most significant players in the story is, quite often, the “where” or the backdrop of the story. Sets support story line, theme, mood and visual impact. While much of this is done with digital enhancements, the physical sets and location take a well-orchestrated legion of talented individuals to create the magic. The process is similar to any design method. It starts with the story. Who are these story characters? How do they live? Where does the story unfold, and what is it about the set that supports the message?

Cheryl Adams

Cameron Beasley - Detroit 1-8-7, rendering


In pre-production the director and the production designer meet to agree on the vision. Depending on the size and scope of the production, there is an art director, art department co-coordinator, set designer, set decorator, construction coordi-nator, buyer, set dresser, lead man, skilled craftsmen, artisans and production assistants that work together to support and execute the concepts visualized by the production design. For years, Georgia has supported this talent, home growing some of the best creative individuals in the industry and attracting them from other related professions.

Cameron Beasley is one local Georgian who is making a name for himself as an assistant art director, having worked on such TV series as “Detroit 1-8-7” and current film productions such as “Footloose,” “ The Odd Life of Timothy Green” and “Ameri-can Reunion.” Beasley is a licensed architect who worked with Thompson, Ventulett & Stainback Design until 2009. He heard the calling of a former passion he developed in gradu-ate school at the Southern California Institute of Architecture. Dabbling there in theatre set design, Beasley has now taken his formal training to a whole new level. With his work, he has been able to attract the attention of Lions Gate Films, Para-mount Pictures and the Walt Disney Company among others. He is excited about developing sets with fantasy themes and the broad range of stretching his talent with the different chal-lenges of film.

Guy Tuttle has experience modeling sets in a 3D CAD combined with an understanding of the differences of theatre design and film production. This gives Tuttle, president and designer at

Special Projects, the working advantage of seamlessly moving from one medium to another. Tuttle has 28 years of experience as a set and production designer as well as fifteen years expe-rience as an event television producer. SketchUp and 3D CAD drawings have become popular because the programs can il-lustrate different vantage points and camera angles. Virtual reality enables the directors to walk through the sets and try different options before committing to a plan. Challenges with shooting can often be corrected in this stage of design. The renderings become the recipe to convey the image to the crew members who must translate it into reality. Budgets, shopping and crew lists are formed based on the illustrated concepts. The process is the same for just about any type of design where tangible elements must be created or found. Many experienced locals have spent much of their time in the state working in theatre production, event production or designing spaces for theme parks or residential interi-ors. John Thigpen with On the Scene Design started his in-terior design career working for Ballard Designs and Beverly Hall. He credits his knowledge of furnishings and furniture construction with the seven years he spent working under interior designers such as Mark Sunderland. During the early eighties he also worked as a freelancer construct-ing theatre sets and has come up through the ranks of the-atre construction and set design to transform those skills into film and television. He’s worked as a scenic painter for such productions as “Footloose” and “Drop Dead Diva” and has worked as a production designer and set decorator.

1 6 O Z M A G A Z I N E w w w . o z o n l i n e . t v

Cheryl Adams

Lance Totten - Teen Wolf

Cameron Beasley - Detroit 1-8-7, rendering


Lance Totten moved up the ranks from production assistant to set dresser to set decorator working on such films as ” Remember the Titans” and “Sweet Home Alabama.” In 2004 when Tyler Perry began production of “Diary of a Mad Black Woman,” Totten was poised to become involved with the pro-lific producer’s team. He has since been responsible for de-signing the sets for both Perry’s television series “Meet the Browns” and “House of Payne” and many of the movies shot in Georgia since Perry set down stakes in Atlanta. He now finds himself in a position of broadening his market as one of the ex-perienced locals who is familiar with the vast resources here.

Totten still spends time designing and constructing sets for live productions throughout the state. He credits his hands on experience moving up through the ranks over the years as he recalls digging ditches in the hot summer sun during the re-creation of battlefields for the film “Andersonville” in the mid-nineties as a set dresser. With the luxury of experience as a set decorator, he delegates resourcing to buyers and the actual assembly of the sets to the set dressers and others who do most of the hands-on work.

Totten laughs when he relates his familiarity with resources in some of the lower rent districts of Atlanta, often stocked by people who scavenge sidewalks before trash is picked up and resell the merchandise to locals strapped for cash. “If you are decorating a crack house, it needs to look authentic, “ he says. Totten has also worked closely with Mary Stacy who is well known in the industry as one of the more savvy local buy-ers. Like Totten, Stacy has gained a lot of experience on major productions with Tyler Perry Studios and has made a name for herself with other production companies flooding the state. As a buyer, the sole function of her job is to find the different elements a set requires and make them available for produc-tion. This is the same process an interior designer or a theatre set designer would require except that the furnishings are of-ten rented and must be cleared for licensing. Film and televi-sion are such a public medium that the legal issues involving what can and cannot be used add an extra layer to the design process.

Cheryl Adams has worked as a set decorator, dresser and buy-er since she got into the industry ten years ago through a con-nection in the music industry. Adams’ background in interior design gives her an opportunity to also branch out into the current market of home staging and residential interior deco-rating. Adams feels like local talent has a leg up on out of town talent because of their familiarity with the Georgia market. Finding furnishings in the short time required by most produc-tions is the advantage that locals have over their counterparts

coming from elsewhere. More and more potential suppliers in the state are revising their rental policies to cater to the film industry in response to the sagging housing market of recent years. Much of this is also being created by the relationships local buyers have with retailers and wholesalers that they have done business with.

People like KP Hendry are excited about the opportunities com-ing back to the state after spending decades working in other industries which take advantage of her skills as a set dresser and buyer. Like many others, KP worked for Turner Broadcast-ing and other production facilities that have been constant in the state. She left the industry and went to work with Captain Planet when Ted Turner sold his interest and Laura Turner Sydel inherited the non-profit. KP joined the local union last year as a move to get back into the business she loves. “It is hard work, “ KP says, but admits that the fun of working on projects such as “The Trials and Tribulations of a Trailer Trash Housewife” is rewarding. Kestrel Films, the production com-pany responsible for the movie slated to be released next year, is owned by the same people who own local restaurant favor-ites Bones and OK Café. KP is most well known for her stint as the event designer for the infamous “Limelight” nightclub dur-ing the seventies and eighties. She was also involved with Six Flags Over Georgia, helping to create the look for the Batman ride, and is the owner of many props from that era which she rents out through All About Props. Resources formerly catering to the interior design industry are awakening to the market by creating policies that are “film friendly.” The challenge for set decorators, buyers and others involved in creating the wide variety of sets needed in Georgia is that the needs run from low end to high end and everything in between. At one time most television and film production in the state was often regionally related in series such as “The Heat of the Night” and “Driving Miss Daisy” where southern themes and locations were common. Today with the addition of production facilities geared to the favored controlled environments, locations and sets have been cre-ated to represent areas that are in other parts of the world.

John Thigpen - theatre set



“There are times when you need to make a set look good and there are times when it just needs to look authentic,” Totten says, adding that he has gained a broader spectrum through

working with Perry who always focuses on homes at the heart of his themes. Totten and Stacey also have assisted Perry with some of his residences, most notably his apartment in New York.

John Thigpen - theatre set



Most of the local professionals working in the film and televi-sion industry still keep their hands involved in other related pursuits during hiatus or when a film wraps. Cameron Beas-ley is also working on an architectural project in Brazil. Cheryl Adams is pursuing commercial set design and looking to open an accessories business to cater to the interior design industry and the residential interiors market. John Thigpen is currently designing and constructing a set for a theatrical production in Columbus, Georgia.

Thigpen admits that the film industry is much more lucrative than theatrical set design, but after years of developing a following with the producers of live productions, he still keeps his hand in these pursuits. “I feel like the experience gives me so much more of a broad range to bring to each set, “ Thig-pen says, acknowledging the importance of understanding the relationships visually with a camera as compared to a live audience.

Totten takes note that the annual Academy Award for art direction is shared by the production designer and set decorator and stresses that partnerships that are essen-tial. Knowing lighting and camera angles, the ability to work well in a collaborative setting and the understanding that each member of the crew has a designated role is impor-

tant in working in the art department. The former president of local IATSE 479 has watched the changes in the industry in Georgia over the years and with the new tax incentives he is seeing more local talent featured in major films.

“Probably the most important thing I have to say to anyone considering going into this industry” Totten says, “is that very little of what we do actually involves working on a set.” Like other professions, the business of the business takes priority. Management of staff and higher ups, budgets, union rules, politics and other non-creative pursuits are a large part of the job. “If we get to spend maybe two hours out of a day dressing a set,” he says, “we consider ourselves lucky.”

In this respect, set design, decorating and all of the others who are in the business of creating spaces have that in common. Many in the local film industry have had extensive formal train-ing and many have worked their way into their positions from years of experience. One of the most important qualities in working on a film, all of those interviewed for this article agree on, is the ability to focus on the task at hand, many times having no idea what the overall vision is, but trusting the direc-tion that comes from the top. Taking direction well, even when the direction changes, is essential. r

Cheryl Adams


While there is no shortage of inspirational events and activities, the local creative community could benefit from more cohe-sion and greater political substance.

Unlike many business driven organiza-tions, the calendars for most local creative organizations tend to favor the inspiration of entertaining speakers, socials, exhibi-tions, and how-to workshops with little emphasis on the kind of collaborative pub-lic service that leads to a collective politi-cal voice. Most tend to focus efforts more toward celebration and exhibition for in-spiration and less on membership empow-erment and development for marketplace growth. All the while, designers and other related creative professionals in our mar-ket move increasingly into silos with little to no voice in policy making.

Whole careers are spent precariously in survival mode at the bottom of the food chain passively allowing the market to dic-tate opportunities and determine futures. While our city leaders worry about a crum-bling infrastructure, high foreclosure rates, and public safety with occasional nods toward the value of creativity, other cities bet their futures more fully on it. Charting a new course in that direction for Atlanta and the state will require a significant shift in energy and collective consciousness as well as an educated and cohesive political voice.

In his 2008 book Who’s Your City, Richard Florida classifies Atlanta within the clus-ter called conventional or dutiful regions based on data from a study by Jason Rent-frow and Sam Gosling. In this study, Atlan-ta and other Southeastern cities measured high on agreeableness, conscientiousness, and extroversion and low on openness to new experiences. (It is also notably and thankfully low on neuroticism!) Following Rentfrow’s initial suggestion, Florida de-scribes these dutiful regions as a good fit for hard working, friendly, trusting, helpful, and compassionate people who prefer to

socialize with a relatively small number of close friends and family.

My own informal poll of recruitment candi-dates for creative positions over many years has confirmed that the most ambitious generally leave for places high on open-ness to new experiences like New York, Los Angeles, and San Francisco. Those arriving are either satisfied with a sense of accom-plishment or battle weary from swimming upstream. Most come or return to have children, care for aging parents, or simply enjoy a better quality of life in a warmer cli-mate close to friends or siblings. Most are willing to accept lower pay in exchange for a less demanding pace. Sadly, it is rare to hear that someone became creatively in-spired to relocate our way and even more rare to find a connection to or awareness around local and state politics.

While there are

exceptions, many

choose or resign

to “work to live.” Even our vital technology startup commu-nity often laments that local entrepreneur-ship hits a ceiling because the measure of success often culminates at two houses and a boat. Unfortunately for Oz readers, this makes Atlanta (and most of the South-east) “a poor fit for those who are artistic and creative and who constantly need to be trying out new and different things” (Florida, p. 199). Yet, many of us invest our livelihood on creativity wishing it weren’t true and hoping it will be different in the future without knowing what to do to influ-ence change.

I challenge all who earn their livelihood from creativity to begin committing time to public service flavored with politics to bet-ter leverage your expertise for economic development. Begin to unapologetically impose upon your friends and family for access to policy makers and the business leaders who influence them. Without wast-ing a bit of energy trying to convince oth-ers to value the creative process, claim its value by applying your unique flavor of it to our most challenging local and regional issues.

Watch and learn locally from the Geor-gia Production Partnership, The Atlanta Film Festival, Technology Association of Georgia, and PIAG’s new Rediscover Print Campaign as they promote the commercial value of industry segments. For city mod-els, pay attention to CreateDenver, Creative Oklahoma, and especially (closer to home) Savannah’s Creative Coast initiatives as well as Chattanooga’s CreateHere project. Additional local projects I’m personally invested in include Atlanta Creativity Ex-change and the SEED Awards. Whatever you do, please collaborate with fellow cre-ative sojourners there.

If small groups are indeed culturally pre-ferred as suggested above, then perhaps collective extroversion and agreeableness get best exercised in clusters of small in-tentional communities like Meetups, fo-rums, or masterminds. They just need to connect to the vision of a larger whole somehow. While inspiration is always valu-able, gathering together to support inten-tional growth and create a powerful unified voice generates opportunities to insert cre-ativity into the marketplace as a core value that also raises its value and the quality of life for those who earn a paycheck with it.

As we recover from this challenging reces-sion, our city and state quite obviously need more creative leaders. If you are cre-ative, that includes you!

Strengthening

the

Political Voice for Creativity

by: Sherra M. Bell



feature

Employ a new strategy to

Rise Above the Noise.

It’s noisy and getting noisier. Every day you wake up to a cascading cacophony of information. Your alarm clock goes off, and you check your phone for texts and email and Facebook posts; you scan a screen over breakfast; you listen to radio programming driving to work; you glance at digital outdoor advertising on buildings and

large screens; you get a warning about local traffic from a navigation device; you search for a decent coffee bar on the detour; your assistant sends a text saying that your first meeting has been delayed so you watch video content on your phone or tablet while you wait. And if you like it, you share it with a friend using Twitter or Facebook.

by: Paul van Winkle

“Your day’s only begun, you haven’t yet seen your desk, and there’s already a multi-platform conversation you’re sucked into.”


Guess what? It’s mostly the same for anyone with whom you want to communicate and do business. We’re all swimming in the same soup. We’re living in a socially networked digital world, and it’s hard to find the center. In the spirit of the I Ching (the ancient Chinese text now consulted by many Westerners), for businesses today, the wealth of infor-mation audiences are interacting with across so many universes and channels is both an opportunity and a challenge. Viewed from the increasing population per-spective, the opportunities are huge. But there needs to be effective organizing systems and filters that connect information in the new world disorder with meaning, timeliness and relevance -- if we want to break through and be heard, as individuals, organizations, and brands.

We live in a Transmedia

WorldWelcome to a Transmedia, globally connected world. We use multiple communications platforms for everything, including and especially social interactions. These are not passive activities. We’re all active users of diverse media technologies all day long. Consequently, today’s audiences and customers have a new psychological perspective. They expect to experience fast, active engagement through interaction, participation, and collaboration. Many want to create their own custom-ized experiences. And if as producers and marketers we’re not able to meet those audience expectations, there’s a good chance people will go elsewhere and have them met. Because: they can. Transmedia storytelling is quickly becoming the new standard for 21st century communications. It uses the tools of effective storytelling - emotion, engage-ment, universal themes, personal connection, and relevance - to create a communication experience instead of a message. It moves the brand from slogan to interaction between content, company and customer. It unites businesses, executives, producers and co-workers with focused goals and a common purpose. And it engages people in new ways that serves new interests and opens new pathways.

The reason:

Storytelling speaks to all levels

of the brainTraditional marketing approaches no longer work. Audiences and consumers increasingly reject and ignore them. In a multi-dimensional relational world, the old methods appear flat and irrelevant, because despite its relative infancy, the social web has already created a new brain, and with the new pathways, a new psychology with new expectations. Audiences and consumers expect you to earn their attention with communications that are responsive, interactive, and personal. And with an increased transparency cultivated through the web, you better be honest. To be woven into this fabric and not against it, corporations must communicate in new ways that treat audiences with respect, focusing on understandable benefits they can use. Wherever and however audiences interact with the brand. Stories are the brain’s tried-and-true way of organizing information. We rise above the noise of unrelated facts, junk and opinions by co-creating inter-esting, sensory, colorful, mapped, dynamic impressions for the brain to adhere to. In a confusing world, stories package essential information (like, who and what can I trust?) for rapid access and comprehension, engag-ing brains at multiple levels. For best results, engaging intuitive, emotional, rational, and somatic aspects of the brain assures audiences understand, feel, get and remember the message. It’s not about selling, it’s about engaging. Engaging individuals moves audiences who’ve never heard of you or your product to advocates and fans. Transmedia stories can communicate a context, can share emotional intelligence, can engage and inspire people at higher levels with ideas, passion, purpose, and commitment towards a certain experience.



Transmedia Storytelling is the Future of

CommunicationCommunication - and Transmedia storytelling - is about connecting people, and connecting people with ideas. If done with planning and thought, those ideas have enough impact to change behavior and activate people across multiple touch points. Transmedia seeks and applies behavioral understandings (narrative, cognitive, positive, and social psychologies) in an increasingly frag-mented, diverse media environment. Many people have been hyper-sensitized to condescension and manipulation, so traditional market-ing approaches are prone to failure. Transmedia sto-rytelling is about inviting and engaging in shared and valued experiences that create the possibility of genuine bonds. Transmedia storytelling, therefore, has broad social and commercial implications precisely because it builds relationships and addresses the psychological needs of a socially connected, participatory, and media-savvy audience. In a multi-platform world, Transmedia storytell-ing is an organic outgrowth of divergent new media technologies and the shifting psychologies evolving around them. So a deeper understanding of Transmedia storytelling is a must for advocacy organizations, social entrepreneurs, corporations of all kinds, and entertain-ment groups to effectively communicate under the new rules and realities of this environment. By harnessing the openness and power of effec-tive storytelling across the interactivity of many rich media and mobilized environments (now connected to validation and digital community via expanding social networks), a story unfolds in elements, parts and pieces across multiple media, adding context to otherwise flat information. If effective, a coherent multi-dimension-al story, accessible and compelling through multiple points of entry, becomes 360-degree storytelling for advanced technical economies. It’s brand evolution with the speed of exponential connectivity.

1. Transmedia storytelling is a process where integral elements of a fiction get dispersed systematically across multiple delivery channels to create a unified and coor-dinated entertainment experience. Ideally, each medium makes it own unique contribution to the unfolding of the story. Key bits of information are conveyed through events, live action or animated short films and videos, comic book stories, games and apps. There’s no one single source or uber-text where one can turn to gain all of the information needed to comprehend the unfolding universe.

2. Transmedia storytelling reflects the economics of media consolidation or what industry observers call “synergy.” Modern media companies are horizontally integrated – that is, they hold interests across a range of what were once distinct media industries. A media conglomerate has an incentive to spread its brand or expand its franchises across as many different media platforms as possible. The current configuration of the entertainment industry makes Transmedia expansion an economic imperative, as audiences are accustomed to more expansive and interactive experiences than would have been possible previously.

What Is It, Then?A hypothetical Transmedia version of the Three Little Pigs, for instance, does not simply repurpose the same story we all know across different platforms – as an animated video, a website, a mobile app and a printed book. It’s instead the creation of a holistic narrative that unfolds in different and distinct manners across differ-ent media interaction points, interlinked and allowing for a dialogue between creator and participants -- an expanding dialogue. Developers could decide if partici-pant interaction, such as solving the sustainable building materials problem of the pigs’ houses, finding the wolf through clues and maps, or creating entirely new charac-ters for the base story, could expand the story in valuable new directions beyond the original version. Participants might urge the first little piggy to trust his instincts about the dark figure, or create a hunter who ramps up the stakes for the wolf and alters the time dimension of the wolf’s schemes. Henry Jenkins, former head of the Comparative Media Studies program at MIT and founding member of the Convergence Culture Consortium, has shared an excellent list of 10 key concepts in the theory and prac-tice of Transmedia storytelling:

feature


3. Most often, Transmedia stories are based not on individual characters or specific plots but rather unfold-ing universes and worlds that can sustain multiple inter-related characters, plots, elements and stories. This pro-cess of world building encourages information-dense and process-oriented impulses in readers, markets and producers. We’re all drawn to master what can be known about a world that expands just beyond our grasp. This is a very different pleasure than we associate with the closure found in most classically constructed storylines and narratives, where we expect to know everything required to finish a particular story.

4. Extensions may serve a variety of different func-tions. For example, using radio dramas or mobile-app-teases to maintain audience interest in content during periods when no new content is produced. The exten-sion may provide insights into the characters or plots and their motivations. Using fragments, imaginary cor-respondence or journals of fictional characters may flesh out aspects of the fictional world, or build bridges between the elements and events depicted. The exten-sions may add a greater sense of realism to the fiction as a whole.

5. Transmedia storytelling practices may expand the potential market for a property by creating differ-ent points of entry for different audience segments. Similarly, the strategy may work to draw viewers who are comfortable in a particular medium to experiment with alternative media platforms. An example: the develop-ment of a Desperate Housewives game designed to attract older female consumers into gaming.

6. Ideally, each individual episode must be accessible on its own terms even as it makes a unique contribution to the narrative system as a whole. Each new component can add a new piece of information which forces us to revise our understanding of the fiction – or company - as a whole. It’s a balance between creating stories that make sense to first time viewers and building in unique elements that enhance the experience of people inter-acting across new media.

7. Because Transmedia storytelling requires a high degree of coordination across the different media sec-tors, it works best where strong collaboration and co-cre-ation is encouraged across the different divisions of the same company. Most media and marketing today aren’t envisioned in co-creation terms – this demands conceiv-ing the property in Transmedia terms from the outset, and not just licensing the story for one uber-media.

8. Transmedia storytelling is the ideal form for an era of collective intelligence. Pierre Levy coined the term, collective intelligence, to refer to new social structures that enable the production and circulation of knowledge within a networked society. Participants pool informa-tion and tap expertise as they work together to solve problems. Levy argues that art, in an age of collective intelligence, functions as a cultural attractor, drawing together like-minded individuals to form new knowl-edge communities. Transmedia narratives also function as textual activators – setting into motion the produc-tion, assessment, and archiving of information. The ABC television drama, Lost, for example, flashed a dense map in the midst of one second season episode: fans digitized a freeze-frame of the image and put it on the web where together they extrapolated about what it might reveal regarding the Hanso Corporation and its activities on the island. Transmedia storytelling expands what can be known about a particular fictional world while dispersing that information, ensuring that no one consumer knows everything and that they must talk about the series with others.

Transmedia storytelling is about inviting and engaging in shared and valued experiences that create the possibility of genuine bonds.

2 6 w w w . o z o n l i n e . t v O Z M A G A Z I N E

9. A Transmedia text does not simply disperse information: it provides a set of varied roles and goals which readers can assume as they enact aspects of the story through their everyday life. We see this aspect at play with the release of action figures that encourage children to construct their own stories about the fictional characters.

10. The encyclopedic ambitions of Transmedia texts often result in what might be seen as gaps or excesses in the unfolding of the story: they introduce potential plots that can’t be fully told, or extra details which hint at more than can be revealed. Readers then have a strong incen-tive to continue to elaborate on these story elements, working them over through their speculations, until they take on a life of their own. Fan fiction can be seen as an unauthorized expansion of these media franchises into new directions which reflect the reader’s desire to “fill in the gaps” they have discovered in the commercially produced material.

The challenge for communicators is to think in systems. Overcome the urge to stick with older, intrusive, one-to-many, linear media models. Don’t think audiences are still passive receivers. They’re not. We’re all activated and interacting, and part of an audience that wants more. Effective communicators must consider the new model – many-to-many, multi-dimensional thinking, and multi-authored. Such a model invites, and expands organi-cally. Doing so provides audiences the dimension and vitality their new brains already have been trained to crave. And by re-considering branding and promotion using Transmedia methods, the ability to reach new individuals and new groups on unprecedented levels is not only achievable but repeatable.

this is part 1

of a 2-part article.

read part 2 in our

aug/sept issue,

the annual

creative index!

feature

INDUSTRY RECOMMENDED

ILLUSTRATORS

graham anthony - Creative DireCtor, august house, inC.

tom wrenn, iLLustrator www.tomwrenn.Com

tom is talented, versatile and responsive. his illustration style is as loose or precise as needed and his Flash animation experience is deep. Best of all, tom is easy and fun to work with.

Jay marsh, iLLustrator www.Jay-marsh.Com

steve Casper - Creative DireCtor, toniC Design group

i’ve worked with Jay professionally for many years. Jay is one of those artists who, as a technician, has total command over the medium. he is a master of his craft. his eye for color is extraordinary and his paintings are alive with vitality.

CharLie mitCheLL - prinCipLe Designer, KiDs ii, inC.

Dave CLegg, iLLustrator www.CLeggo.Com

Dave and i have know each other for 25 years. we both started our illustration career around the same time. i moved into the toy Design world 10 years ago and am in charge of character and theme development for our company we all love to use Dave as an outside resource because he is fun to work with, understands character and is always on time within budget. when i have Dave on a project i know that it is going to be done right and the quality will be the best. he is always happy and has a great outlook on life. i wish there were more like him!

http://www.cleggo.com

Christina wiLLs - art DireCtor, oz puBLishing, inC.

soLongo monKhooroi, iLLustrator www.msoLongo.Com

solongo’s work invokes a sense of delicate beauty intertwined with powerful elements that would help any art director shape a story.

M . S O L O N G O

I L L U S T R A T I O N

marK FaLLs - prinCipaL / Creative DireCtor, superLux

marK anDresen, iLLustrator www.marKanDreseniLLustration.Com

not only is mark a real-deal artist who would as soon sketch as breathe, he’s been delivering on deadline, in numerous styles, for decades. having been an art director, he always offers multiple choices. the work is not only gorgeous, it’s insightful. working with mark andresen is a joy.

http://www.markandresenillustration.com

aLex morgan - art DireCtor

teD murphy, iLLustrator spooKytoons @ etsy/twitter/FaCeBooK . Com

“ted’s art comes to you in a dream while your sleeping. Like Freddie, but cuddlier. Less burnt. more lolz.”

http://www.facebook.com/spookytoons

http://www.etsy.com/shop/spookytoons

http://www.stickerlol.com

riCK anwyL - CommuniCations ConsuLtant

BiLL mayer, iLLustrator www.theBiLLmayer.Com

Bill is an intellectual Clydesdale with paranormal creative abilities and frequent fugitive from reality. he is generous, kind, obscenely humble and the single most visually talented human being on the face of the earth!

http://www.thebillmayer.com

miles is a true artist. his creative energy and passion flows into everything he does, including client projects and commission work. he approaches his craft with professionalism and drive that is hard to find, and the versatility of his talent is awe-inspiring.

merissa CorBet - Creative DireCtor

miLes Davis, iLLustrator www.massiveBurnstuDios.Com

samantha ahL - msL stuDios

John nelson’s illustrations continually delight us and our clients. with his creative skills, he easily brings our ideas to life and ultimately improves them! he’s a pleasure to work with and a wonderful partner.

John neLson, iLLustrator www.JohnneLson.Com

SUMMER FESTIVALS

JUNEMA10 Design Is Human FestivalAn Atlanta based forum aim is to embrace and connect a wide spectrum of practices including architecture and design, retail and trade, industry and academia, the arts, and NPO foundations.June 6-12, 2011Locations around Atlantamodern-atlanta.org

Virginia-Highland Summerfest 2011 Summerfest - Celebrating 28 Years of Art, Food & FunJune 4-5, 2011Virginia Avenue and John Howell Park - Atlanta, GAwww.vahi.org/summerfest.html

Coca-Cola Summer Film Festival at the Fox TheaterPresented on the biggest screen in Atlanta! Come early for Wine Tastings and a magical pre-show experience that includes a sing-along with Mighty Mo organ and a vintage cartoon!June 9-July 12, 2011660 Peachtree Street NE, Atlanta, Georgia 30308www.foxtheatre.org/ccff2011

Georgia Shakespeare Festival Featuring William Shakespeare’s “The Tempest”June 8-July 23, 2011 www.gashakespeare.org/home

Sci Fi Summer ConSci-Fi - fantasy - horror - comix - indie films - dealers - arcade - gaming - contests - fun!!! June 10-12, 2011Crowne Plaza Atlanta NW Perimeter - Atlanta, GAsfscon.tripod.com

Atlanta Summer Beer Fest 2011This year, the festival will be much bigger, with more beer, more bands and tons of fun attractions. June 25, 2011: 5:00pm-10:00pmMasquerade Music Park www.atlantabeerfestivals.com

Flicks on 5thOutdoor Summer Film SeriesJune 15 - July 27, 2011Technology Square - Georgia Techwww.studentcenter.gatech.edu/flickson5th

Grand Opening of Historic Fourth Ward ParkMayor Kasim Reed will officiate the Grand Opening Ceremony, followed by games and events for all ages.June 18, 2011: 10:00am-1:00pm680 Dallas Street, Atlanta, Georgia 30308www.plancast.com/p/5fks/historic-fourth-ward-park-grand-opening

The Red Stripe Midsummer Music & Food FestivalAn art and music festival sponsored by 790 The ZoneJune 18, 2011: Noon-11:00pmCandler Park 400 McLendon Ave. NE, Atlanta.www.midsummermusicfestival.com

JULYFlicks on 5thOutdoor Summer Film SeriesJune 15 - July 27, 2011Technology Square - Georgia Techwww.studentcenter.gatech.edu/flickson5th

National Black Arts Festival & International MarketplaceOne of the nation’s pre-eminent presenters of the arts and culture of the African DiasporaJuly 14-17, 2011Centennial Olympic Parknbaf.org/programs/international-marketplace

Folk Art FestivalArtist's Market featuring fine arts and handmade crafts, a Children's Park, local food and beverage concessions and live acoustic entertainment.July 23, 2011: 10:00am-7:00pm & July 24, 2011: 11:00am-6:00pmOlmsted linear Parks along Ponce de Leon Avenuewww.festivalonponce.com

18th Annual Asian Cultural ExperienceEnjoy two days of music, dancing, delicious food, fine art, fashion shows and native crafts by Atlanta’s many different Asian communities. This event draws thousands of visitors each year. July 23, 2011: 10:00am-8:00pm & July 24, 2011: 11:00am-7:00pmGwinnett Center on Sugarloaf Parkwaywww.AsianCulturalExperienceinGa.com

AUGUSTPeachtree Village International Film FestivalAugust 18-21, 2011Various Locations: Midtown Atlanta-Woodruff Arts Centerpviff.squarespace.com

Piedmont Park Summer Arts and Craft FestivalThis inaugural event will feature painters, photographers, sculptors, leather and metalwork, jewelers and crafters, artist demonstrations, live acoustic music, a Street Market, and children's play area. Free admission. August 20 - 21, 2011: 10:00am-7:00pm Piedmont Parkwww.piedmontparkartsfestival.com

Roots Music & Arts FestivalThis two-day festival features music, art, storytellers, a fun zone, African Drummers and the ffood and vendors market displaying art, textiles, handmade jewelry items, and many exotic foods. Sponsored by Jaworld Trading Company. Entry admission is free.August 20-21, 2011: 11:00am-9:00pm College Parkwww.rootsmusicfest.com

8th Annual German BierfestThis year, the Bierfest will celebrate the greatness of German beer with food, music and fun in a family-friendly environment.August 27: 2:00pm-7:oopmWoodruff Park in Downtown Atlantawww.germanbierfest.com

Grant Park Summer Shade FestivalThe festival features a not-to-be-missed artist market, food, children's area, live entertainment, 5K Run and Corks & Forks - A Fine Food and Wine EventAugust 27-28, 2011 Grant Park Conservatorygpconservatory.org/mode/138

Atlanta is one of the most enjoyable cities in the world for a mixture of good old southern charm, upscale and contemporary living and cultural events. Every summer Atlanta offers its residents and visitors many entertaining festivals.

Here are a few to choose from...

bring your camera

http://nbaf.org/programs/international-marketplace

pviff.squarespace.com

http://gpconservatory.org/mode/138

http://sfscon.tripod.com

http://modern-atlanta.org

photography by Christina Wills

CAbbAGETOwN &

O LD FO URT h wA R D


Holly Hadesty, Wardrobe StylistMy favorite place in Cabbagetown is Carroll Street Cafe. At the end of a commercial shoot I try to skip the standard second meal of pizza and head over to Carroll Street for a glass of wine (or more) and a Nicoise salad. It’s one of those places that you can go by yourself and just hang at the bar.

Doug grimmett, Creative Director, Primal Screen

A great bar is Noni’s on Edgewood. It’s a friendly casual atmosphere and they just happen to have fantastic food. There are a lot of excellent restaurants around here to take clients like Parish, 4th and Swift, and the ever reliable Rathbuns. For breakfast, Highland Bakery is awesome.

A B

OZ PUBLISHING, INC.per diem

guy tuttle, Owner/Designer - Special Projects, Inc.

“One of my favorite spots is P’cheen. It is considered “true” Old Fourth Ward. Their chef is a real cook. I go there for the food as much as the drink.

C

c a b b a g e t o w n & t h e o l d

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(4) 4th & Swift621 North Avenue NEAtlanta, GA 30308www.4thandswift.com

(c) 97 Estoria(404) 522-0966727 Wylie StreetAtlanta, GA 30316http://www.97estoria.com

(4) Across The Street(404) 781-0931668 Highland Ave Ne Atlanta, GA 30312 www.across-the-street.com

(c) Agave (404) 588-0006 Cabbagetown 242 Boulevard SEAtlanta, GA 30312www.agaverestaurant.com

(c) Black Tie Barbecue (404) 254-5125 Cabbagetown 486 Decatur StAtlanta, GA 30312www.black-tie-barbecue.com

(4) Cafe Circa (404) 477-0008 464 Edgewood AveAtlanta, GA 30312 www.cafecircaatl.com

(4) Candi’s For Breakfast(678) 705-7277660 Irwin St NE Atlanta, GA 30312www.irwinstreetmarket.com

(c) Carroll Street Café (404) 577-2700 Cabbagetown 208 Carroll St SEAtlanta, GA 30312www.apresdiem.com/carroll_street

(4) Condesa Coffee (404) 631-6525 480 John Wesley Dobbs Ave NE Unit 100 (Freedom Pkwy & Boulevard) Atlanta, GA 30312 www.condesacoffee.com

Dark Horse Tavern(404) 873-3607 Virginia-Highland 816 N Highland Ave NEAtlanta, GA 30306www.darkhorseatlanta.com

(4) Edgewood Corner Tavern(404) 577-2310464 Edgewood Ave SEAtlanta, GA 30312www.thecornertavern.com/edgewood

Fritti(404) 880-9559 Inman Park 309 N Highland Ave NEAtlanta, GA 30307www.urestaurants.net

(4) Funky Monkey Coffee Shop(678) 705-7277 660 Irwin St NE Atlanta, GA 30312www.irwinstreetmarket.com

(4) Highland Bakery (404) 586-0772 655 Highland Ave NE Atlanta, GA 30312 33.7612 -84.366 www.highlandbakery.com

(4) Jack’s Pizza & Wings (404) 525-4444 676 Highland Ave NEAtlanta, GA 30312www.jackspizzaandwings.com

photography by Christina Wills

Cain St NE

Hogue St NE

Wylie St SE

Wylie St SE

Dekalb Ave SE

Dekalb Ave SEEdgewood Ave NE

Euclid Ave

Wylie St SE

Boulevard Dr SE

Memorial Dr SEMemorial Dr SEMemorial Dr SE

McDonald St SE

Woodward Ave SE

Bryan St SE

Memorial Dr SE

Wylie St SE

Kirkwood Ave SE

Manigault St SE

Kirkwood Ave SE Kirkwood Ave SE

Fulton Terrace SESasseen St SE Mauldin St SE

Harold Ave SE

Gaskill St SE

Field St SE

Marcus St SE

Chester Ave SE

Gibson St SE

Cleveland St SE

Walthall St SE

Estenl St SE

Stovall St SE

Wilbur Ave SE

Chester Ave SE

Selman St SE

Kenyon St SE

Holtzclaw Ave SE

Short St SE

Tye St SE

Boulevard SE

Berean Ave SE

Chastain St SE

Iswald St SE

Estoria St SE

Krog St SEKrog St SE

Waddell St SE

Tye St SE

Pickett St SE

Flat Shoals Ave SE

Flat Shoals Ave SEOakland

Cemetery

Esther Peachey Lefevre Park

CabbagetownPark

Lang-CarsonPark

Inman Park

Edgewood Ave SEEdgewood Ave SEEdgewood Ave SE

Jackson Pl NE

Old Wheat St NE

Chester Ave SE

Old Flat Shoals Rd SE

Memorial Dr SE

Trolley Line Trail

Carroll St SEBoulevard SE

Decatur St SE

Berean Ave SE

Spruce St SE

Delta Pl NE

Spruce St SE

Powell St SE

Bill Kennedy Way SE

Moreland Ave SE

Moreland Ave SE

Moreland Ave SE

I-20

Pearl St SEPearl St SE

Pearl St SE

Auburn Ave Auburn Ave

Todd St

Ezzard St SE

Lake Ave NE

Virgil St NE

Gartrell St SE

Lucy St SE

Auburn Ave

Auburn Ave

Boulevard SEBoulevard SE

Old Wheat St NE

Hillard St NE

Howell St SE

Howell St SE

Randolph St NERandolph St NE

Glen Iris Drive

Bradley St NE

Hale St NE

Bradley St SE

Irwin St NE Irwin St NE

Fort St NE

Jackson St SE

Daniel St SE

Ashland Ave NE

Dixie Ave NE

McGruder St NE

John Wesley Dobbs Ave NE

Ralph McGill Blvd NE

Highland Ave NE

North Highland Ave NE

Jackson St SE

Irwin Pl

Freedom Parkway

Sampson St NE

Lake Ave NE

Moreland Ave SE

CAbbAGETOwN &

O LD FO URT h wA R D


Holly Hadesty, Wardrobe Stylist

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(4) = Old Fourth Ward (c) = Cabbagetown

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c a b b a g e t o w n & t h e o l d

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(4) Jake’s Ice Cream (678) 705-7277 660 Irwin St NE Atlanta, GA 30312www.irwinstreetmarket.com

(4) Kevin Rathbun Steak(404) 524-5600154 Krog St Suite 200Atlanta, GA 30307www.kevinrathbun.com (4) Krog Bar(404) 524-1618112 Krog St Suite 200Atlanta, GA 30307www.kevinrathbun.com

(4) Lottafrutta (404) 588-0857 590 Auburn Ave NE Atlanta, GA 30312 www.lottafrutta.com

(c) Milltown Arms Tavern (404) 827-0434 Cabbagetown 180 Carroll St SEAtlanta, GA 30312www.facebook.com/MilltownTavern

(4) Miso Izakaya (678) 701-0128 619 Edgewood Ave (Krog Street) Atlanta, GA 30312

(4) Noni’s (866) 959-6846 357 Edgewood Ave Se (Hilliard St) Atlanta, GA 30312 www.nonisdeli.com

(4) Old Fourth Ward Edgewood Pizza (404) 522-5512 478 Edgewood Ave SE Atlanta, GA 30312

Parish(404) 681-4434Inman Park/O4W240 N. Highland AveAtlanta, Ga 30307www.parishatl.com

(4) Pcheen (404) 529-8800701-5 Highland AveAtlanta, GA 30312www.pcheen.com

(4) Picnic(678) 705-7945660 Irwin St NE Atlanta, GA 30312www.picnicatlanta.com

PURE Taqueria(404) 522-7873Inman Park/O4W300 N. Highland Ave Atlanta, GA 30307www.puretaqueria.com

(4) Rathbun’s (404) 524-8280 112 Krog St NE Atlanta, GA 30307 www.rathbunrestaurant.com

(4) Serpas True Food (404) 688-0040 659 Auburn Ave #501 Atlanta, GA 30307www.serpasrestaurant.com

(4) Sister Louisa’s Church of the Living Room & Ping Pong Emporium (404) 380-1393 466 Edgewood Ave SE Atlanta, GA 30312 www.sisterlouisa.com

(4) Six Feet Under(404) 523-6664437 Memorial Drive SEAtlanta, GA 30312sixfeetunderatlanta.com

Sotto Sotto(404) 523-6678 Inman Park 313 N Highland Ave NEAtlanta, GA 30307www.urestaurants.net

(4) The Sound Table (404) 835-2534 483 Edgewood Ave SE (Boulevard) Atlanta, GA 30312 www.thesoundtable.com

(4) The Warren City Club (404) 537-2817 818 N Highland Avenue 3rd Floor (Greenwood Avenue NE) Atlanta, GA 30306 33.776772 www.thewarrencityclub.com

(c) Thumbs Up Diner (404) 223-0690 Cabbagetown 573 Edgewood Ave SEAtlanta, GA 30312www.thumbsupdiner.com

(c) Village Pizza (404) 586-0040 Cabbagetown 186 Carroll St SEAtlanta, GA 30312www.apresdiem/villagepizza.com

(4) Wisteria (404) 631-6536 471 N. Highland Ave Atlanta, GA 30307 www.wisteria-atlanta.com

(4) Zuma Sushi (404) 381-1180 701 Highland Ave (Samson Street NE) Atlanta, GA 30312 33.7613 www.zumasushibar.com

Brandy Misorek, Freelance Production Coordinator One of the best perks of living and working in the Old Fourth Ward is being able to walk to so many great places. My favorite way to start the day is with breakfast at an outdoor table at the Highland Bakery… be sure to try their sweet potato biscuits! After dark, head to Sister Louisa’s Church (yes, it’s a bar) for the housemade Sangria or a tallboy of PBR. If their kitschy, mildly-offensive décor isn’t reason enough, there’s also a ping-pong table upstairs.

D

house of current branding. design. interactive. marketing

Last fall, we moved our office from the West Side to the Old Fourth World/Inman Park and we absolutely love it. For lunch, it’s hard to beat Pure Taqueria, El Myr and Fox Brothers BBQ. Lottafrutta and King Of Pops have the best cool snacks for summer. When it’s time to really wine and dine clients, we’re lucky to be in the same building as Kevin Rathbun Steak. The whole area just has fantastic vibe.

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


http://www.littlesfoodstore.com

Mike ClarkFilm CritiC

How did you get into tHe business?i moved from Maryland to atlanta in ’94 with the intent on becoming a professional writer. wide-eyed and slightly delusional, i sent samples of my stuff to every local publication and national glossy. i was quite sure Playboy, time, rolling stone, Vanity Fair and esquire would soon be beating down my door in search of my unique perspective. i made the stupid mistake of starting at the top instead of working my way up.

all of the glossies passed, but i was lucky enough to get a call from a publisher at oz who offered me a gig. it was for an article about a creative discipline of which i had no knowledge whatsoever, but i didn’t care. it was work.

to my befuddled astonishment, they actually liked what i wrote and not only did they cut me a check, i got 10 or so more assignments over the next 18 months. it didn’t go how i had planned, but i was on my way.

the work i did for oz also provided me with an invaluable lesson. if you know how to write well, you can do so on any subject with authority and people will not only pay attention, they will pay you for it.

during this same period i wrote for practically every en-tertainment/lifestyle publication in atlanta, a couple of those glossies which initially snubbed me and for a series of globally-distributed film compendiums.

in ‘96, i was hired by the gwinnett daily Post as their first and to this day – their only film critic. i see movies before they come out, get to say exactly what i think about them while doing so on a sun-lit deck and get compensated for this wholly unique privilege. i can’t think of a better job.

HOW I GOT INTO THE BUSINESS


kodaC HarrisonVoiCe oVer talentwww.kodacharrison.com How did you get into tHe business?as a singer/songwriter people were always talking about the uniqueness of my voice. Quite often people would say you should do voice-overs. i would often host events and do work as an emcee. at the same time, i was more interested in my songwriting, in my art. because critics had often labeled me as a poet, i started reciting lyrics without music. i realized my voice could stand on its own and i started working as a spoken word artist. in 1999, i produced a commercial for Mellow Mushroom, where i did everything, that is writing, recording, voice-over, and music. wHat would be a ProjeCt you would like to work on?My voice is unique, so i am not suited for every job, but i would love to do a character in a cartoon. tell us about a Funny exPerienCe you went tHrougH on a ProjeCt:i was doing a voice-over for turner. they had dug up some new footage of elvis live in concert. My job was to introduce the footage and record several promotional spots of different lengths. the spots had to be done that day and i was called in. i was told that my work was excellent and arrangements were made to pay me, which they did. not long after that, i went to a movie. i arrived early before the previews. i was sitting there, when the 15 second promo came up. it was just as i had remembered, except the voice wasn’t mine. i went through an array of emotions. after the movie when i got home, i made a phone call. it seems they had wanted to get Henry rollins to do the voice-over and when they couldn’t find him, they called me in. as it turned out, he got in touch with them in la and had gone in and done the voice-over. My chance to introduce elvis had disappeared in a matter of minutes. i guess it is kind of funny in retrospect, but at the time i didn’t think it was funny at all.

GET LISTEDin the

2012 Georgia Film, Video

& Digital Entertainment Sourcebook

10% Early Bird Discount: June 30, 2011

Final Listing Deadline:

Oct.14, 2011

VISIT www.ozonline.tv or call 404.633.1779

to GET LISTED!

Craig gilMorestoryboard artist

How did you get into tHe business?i started drawing comic books for Marvel and dC Comics doing either drawing and/or inking on books such as “Morbius, the living vampire,” “justice league interna-tional,” “aquaman” and “star trek” for years. then i had an opportunity to get into 2d cell animation and worked on Cartoon network/turner projects for a few years. the video game industry came next, doing animation/storyboards and concept art for various video game companies i.e. sony, ubisoft, tHQ games. i soon got calls from the adver-tising industry for commercial storyboard work, which i still do on occasion. From there i moved into Features and television work, which is the culmination of 22 years of honing my skills. it is my 1st love and i am blessed to have the opportunity to do it in addition to the other industries. My career has spanned the globe of entertainment.

is tHe Hand drawn storyboarding a dying breed?: there will always be a need for hand drawn art. sitting with the director and drawing in front of them and clarifying the storytelling is the quickest way of communication. Having said that, technology and digital drawing does play a part in my work process, but at a later stage. i usually deliver my final art digitally, however i work all over the world both from my home studio and on location traditionally and digitally.

wHat are tHe Most exCiting ProjeCts you HaVe worked on?: My original comics work with Marvel and dC. Feature films such as “the strangers,” “the secret life of bees,” tv shows “the Vampire diaries,” and “one tree Hill.” i also loved working on the video games “Cars: race-o-rama” and the “ghost recon: advanced warfighter “ series.

Melissa libbyrestaurant pr Consultant

How did you get into tHe business?i wish i could tell you that i brilliantly studied the business landscape back in 1992, saw that atlanta would one day become a restaurant city, and strategically set up a Pr firm to service those restaurants and chefs. but that would not be true. like many people in today’s economy, i was laid off of my job and started a business to pay the bills. the fact that i focused on restaurants was based on my hotel Pr background and some early success with Canoe restaurant and Fratelli di napoli, as well as some well-timed words of encouragement from george Mckerrow jr., one of my first clients. HaVe you eVer Had a Client tHat you took on, tHat tHe Food was Horrible, and iF so, How did you Handle tHe ProjeCt?i’m not sure i’ve ever had a client with “horrible” food but sometimes you do have to look for the positive. it’s like having a lot of children – one will be the tallest, one the shortest, one the most athletic, etc. every restaurant has something interesting to focus on and it’s my job to find it. tiMes are tougH For restaurants rigHt now. wHat would be one good tiP you Can giVe tHeM?don’t discount too much!

PHil bekkerphotographerwww.bekker.com

How did you get into tHe business ? born in rhodesia, i was in the first batch of students in south africa ( and probably the whole of africa ) to study commercial Photography. graduating after 3 years, i was encouraged to do a post graduate course in london by sam Haskins. i then assisted for a well known english fashion photographer, unable to reside in the uk legally, i returned and opened a studio in south africa. i moved to the usa 5 years later. wHat was your FaVourite ProjeCt to date ? Pierre Cardin saw an exhibition of mine in johannesburg and a meeting with him and his director resulted in my getting an entire brochure to shoot with complete artistic and conceptual control. wHat in you oPinion Contributes towards a suCCessFul iMage ? well-considered lighting, along with an unusual and unique point of view, simplicity, design and of course, a narrative. wHo would be tHe one Person you would loVe to PHotograPH ? Probably keith richards. Few faces have such character and few people have such a story to tell. almost like photographing a Francis bacon painting. tHree FaVourite Personal ProjeCts i HaVe worked on 1) Photographing victims of severe combat injuries in england and members of their families and presenting the images with their hand-written responses to their situations. 2) Photographing exterior locations from multiple positions (as many as one hundred or more ) and reconstructing then as an abstract entity of the original.

3) Having holocaust survivors write their thoughts directly on prints of nazi military personnel as part of a study of imagery and text for my MFa studies.

tHree interesting CoMMerCial ProjeCtssouthern sun Hotels, Motorola, orkin


scene

PANAVISION TO ThE ATL!PANAVISION hOSTED ATLANTA PRODUCTION

PROFESSIONALS AT ThEIR RIbbON CUTTING

AND OPEN hOUSE.

Ann DeGuire, friend, Stacii Jae Johnson, Kathleen Bertrand

Ian Ruppieko, Vatrice Gibbs, Terence Schiffer, Helen-Pilgram-Noble, Matthew Berning, Mindy Bee, Ann DeGuire, John Schrimpf, Panavision Atlanta

Happy guests!


Mark Simon with Panavision Camera

John Suh (COO) Panavision; Chris Konash, Panavision with a 3-D Rig

Vatrice Gibbs, Panavision

Ribbon Cutting - John Schrimpf, John Suh, Margit Elo, Stacii Jae Johnson (with the Mayor’s office), Ann DeGuire

Helen Pilgram-Noble, Panavision and guests

Mindy Bee, Panavision; Bill Wages

Jon Hayden AFTRA; Martha Knighton, Elizabeth Whitfield

Billy Sherrill, Tia and Milo Powell

photography courtesy of www.seanrandallphotography.com


Vatrice Gibbs, Panavision

Helen Pilgram-Noble, Panavision and guests

Mindy Bee, Panavision; Bill Wages

Billy Sherrill, Tia and Milo Powell

ADVERTISING & COMMUNICATIONS

Ad Agencies

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PHOTOGRAPHY

Equipment and Supplies

Foam Fabrication

Hair Stylists

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Photographers

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Prop Builders

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Stylists (food and product)

Stylists – Wardrobe

ART & DESIGN

Art Directors

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Design - Graphic/Web

Illustrators

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ALLIED SUPPORT

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Creative Index 2011!

Categories

August/September 2011

The go-to source for the creative visual media industry in Georgia

Don’t be the best kept secret in the creative world! Atlanta is a creative powerhouse. Show the world

that you are a power in Atlanta.

Advertising Reservation Deadline: June 17, 2011

Art & Listing Deadline: June 24, 2011

¶

Call Gary Powell at: 404.633.1779 for additional information.

www.ozonline.tv • www.ozmagazine.com

¶ ¶ To get listed, go to www.ozonline.tv


scene

2011 ATLANTAFILM FESTIVALAND AFTER PARTY AT GUILLOTINE POST

starting at the Finish line: the Coach buehler story l to r: - Coach al buehler, Former executive Vice President and general Manger of tCM and turner south tom karsch, executive Producer grant Hill, atlFF Festival director Carol ann lafferty

start of dreams world Premiere l to r: kenny leon (featured in start of dreams), da brat, Mayor kasim reed atlFF Programmer and technical director tom davia, Connor Milam, atlFF board Member and owner guillotine Post Michael koepenick

start of dreams world Premiere l to r: tyson Horne and friend, sydney Peterson, byron Horne, ryan Horne


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Coming up roses world Premiere left to right: - director lisa r. albright, actor rachel e. brosnahan, Co-writer Christina lazaridi , Producer jonathan Mason

start of dreams world Premiere: Co-director byron Horne and jasmine guy “starting at the Finish line” Coach al buehler, director amy e. unell

Cinematographer Michael Champan and screenwriter amy Holden jones

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unconventional art

AUG/SEPT UNCONVENTIONAL ART THEME: BEFORE & AFTER MAKEUP ART! Email your art to [email protected] with the subject line “unconventional art” by July 1, 2011 for consideration!

RECYCLEDART

“Skateraid” Tom Wrennwww.tomwrenn.com

“Make Way for Ducklings” Jan Jennings Crofford

“Heaven and Hell Car” Chris Hubbardwww.heavenandhellcar.com

“Robot” Chris Hamerwww.urbnpop.com

“Guns” Tom Johnson

“Rebar Piano” Lori Sturgesswww.RecenteredPieces.com

Charlie Hensonwww.junkyarddogart.com

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oz magazine june/july 2011

Documents

n e s ta f fpublishers

gary powell

quality printing

c o v e r

t u r e scover story

tia powell group publisher

n sozcetera

production support services