Interview with Mark Crowner

Mark Crowner works in Louisville, Kentucky, where he owns Mark Crowner Productions. He has a lot of experience in field audio and broadcast outlets.

1. How did you get started in the business?

-He said he was an undergrad in Broadcast Journalism and he worked at a local station during school. He took to the audio aspect as well as creating longform pieces.

2. What is it like working for International clients?

-He said he has done a lot of documentary work overseas while on mission trips with his Church. He would do longform documentary work while staying in countries for extended periods of time. He enjoyed getting to travel and seeing different places around the world.

3. Do you have any advice to give a student who might be interested in the business?

- He said he had two pieces of advice. The first is that success is based on relationships. You need to have good communication skills and good people skills, and you need to get them if you don't have them already. He said he still gets business from people he made relationships with back in college. Also patience is necessary when working with people because you will always be working on group projects, where people skills are necessary. Second, he said you should never quit learning. Things in the industry change all the time and very quickly. Always continue to seek out what's new and adapt to these changes to keep up with the rest of the industry.

-Interviewed by Rebecca Farmer

Interview with Dennis Goodman

Dennis Goodman is part of RiverRun Moving Pictures, based in Louisville, Kentucky, where he is a director for clients.

1. How did you get started?

-He said he started out in 1983 as a partner for producing a corporate video. Then he later did work as a director of photography. He had always had an interest in film, even though it wasn't as developed in the 1980's as it is now.

2. What kind of production does your company do?

-He said he mostly directs commercials as well as corporate spots. Even films for corporations. His company has a 35mm camera package and work on Avid to create spots for their clients.

3. What is your favorite job you have ever worked on in the business?

-He said his company once did a longform piece for a woodcutting company, which he enjoyed because they got to do shots in the outdoors rather than on a set, and the woodcutting provided for good footage.

4. Any tips you would give to a student who is interested in the business?

-He said if you care about money, it is difficult to prosper in the smaller markets. If money is important to you then go to the West Coast and California, because there is a lot of work out there.

Interviewed by Rebecca Farmer

Brandy Ludlam-Graphic Designer/Web designer

1. Can you briefly define your job to me?

I own a website design company where I develop custom-made websites and many of the graphics included. I also produce videos for various clients as needed.

2. How did you get started in the business?

I actually got started because I was bored :). I began teaching myself how to write HTML code over a break in high school. I discovered that I actually liked it and things went from there. I began to dabble in graphic design as well as flash and video editing to enhance my web designs. I began editing and producing video my freshman year in college.

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?

This may sound conceded, but I can't remember a time where I've had to tell someone I can't accomplish a task. It seems like every time I run into something that doesn't "work" the way that it should or I am not getting the outcome desired, I always seem to find a work-around that satisfies my standard of excellence and the one I am working for.

4. Do you have any advice for a media student starting out?

Take your tasks seriously but don't take yourself too seriously. Have fun with what you're doing. Don't ever forget

Interview with Michelle Gold

Where do you work?

Currently, I work in features. I just finished working in editorial on a movie called Unstoppable, but when I worked in trailers I worked at a company called Creative Asylum.

Can you briefly define your job/job title to me?

I was a producer/editor for trailers. We would meet with marketing divisions for studios and pitch concepts, usually starting with scripts and storyboards and offer multiple concepts for the marketing contact at the studio to review and choose from. Upon concept approval we'd usually go through a multi-round process where we'd edit and the submit for review in stages. Theatrical trailers also go through an audience testing focus group process so we'd be up against other trailer houses and whichever trailers the focus group would respond to would make it to the next round until there would be specific trailers chosen for theatres/tv.

How did you get started in the business?

I started out working in special features for DVDs (like behind the scenes pieces) and began working in trailers/promos a little bit later.

What trailers have you personally worked on?

I have worked on smaller ones mostly - The Ruins, Starship Troopers 3, this Val Kilmer movie Felon, a movie called Ping Pong Playa, Nobel Son, a lot of specialty division and indie films.

What kinds of computer programs do you use?

Final Cut Pro, Adobe After Effects, most of the Adobe Creative Suite and Cinema 4D.
What is your favorite thing about your job?

What do you find most difficult about your job?

The reason I ultimately left trailers was because I felt that often marketing departments were so concerned about doing the wrong thing that they'd settle on a middle of the road approach which was an overall mediocre campaign because they would worry about doing something risky. It was frustrating from a creative standpoint and it wouldn't make the trailer feel like it was anything special. Trailers like The Social Network are great because it had such a different approach and grabs people, the same with Christopher Nolan's earlier Inception trailers.

How do you tell someone over you (i.e your boss) that you can't
accomplish an assigned task?

You make sure you've exhausted every possibility first. If you really can't accomplish it, rather than bring it to your boss in those terms, figure out multiple possible alternative solutions and start the conversation by suggesting those. It shows that you are actively trying to positively resolve the issue rather than just saying "I can't." Bosses don't like hearing that.

Do you have any advice for a media/journalism student like me starting
out?

Look for work in the field you really want to work in. Since you're just starting out, don't worry about the salary so much as long as it's enough to live on or you have an alternative (like interning during the day and waiting tables/cocktailing at night). It's important though to do what you love so try to get a job in that field from the start because if you do, you'll move forward quickly because that enthusiasm shows in your work and creativity. For example, if you want to edit, edit. Sometimes it's better to take a job like PA or reception that will allow you to explore the various areas at a shop if you aren't certain yet without having to
commit to one path early on. Also, keep developing your skills on your own. If you have friends that like to direct and you want to edit for instance take on those projects for free and work just hard on them on your own time and that way you build up a body of work to show the people you work with and they see you can do that and you're serious about it. Also spend time asking questions when it's not busy. It's always good to get into a mentor type of relationship if the opportunity presents itself.

Is there anything else you can tell me about the trailer production
business?

Right now, it's a business where the budgets are shrinking. Due to
this, the platform is changing a bit for it with the advance of so much
online and broadband. It used to be that theatrical and tv were the
only way to sell films coming out, but now there are so much more
platforms that it is in some ways an uncertain business at the moment
with the technology advancements happening.

Interviewed by: Amanda Smith

Interview with David A. Taylor

David Taylor is a screenwriter in the Washington D.C. Area. Look for his Documentary, Soul of A People

1. Can you briefly define your job to me?

I'm mainly a writer of documentary film scripts, books and articles. Usually I do preliminary research for a story that seems interesting to test whether it really is strong enough for a magazine, book or tv program. If it is, I propose it to an editor or production company, and take it through the scriptwriting phase, sometimes as co-producer: identifying interview sources, shaping the narrative for dramatic scenes and turns, and writing the script to get the story across clearly and compellingly. That can include post-production, working in the edit suite with the film editor and director to make sure characters' stories are built with the right pacing and context. So part of my time is spent marketing my ideas, and most of my time (usually) is spent developing them for the right format.

2. How did you get started in the business?

I started first by writing for magazines, sending query letters proposing story ideas to editors and wading through many rejections before receiving a 'yes'. My published magazine articles helped me to find a literary agent for my book proposals, and also to get into the documentary production scene in Washington, DC.

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?

I haven't been in that situation in a long time, but what I'd do is tell them what I'm focusing on and ask what priorities need to shift (or what extra skills I'd need) to do the assigned task.

4. Do you have any advice for a media student starting out?

Learn the technical side but also develop the creative side of storytelling, practicing in different formats that can help you get your work in front of producers: youtube videos, webcasts, published work, and screenplays.

Jason Porter-Broadcast and Motion Graphics Designer

1. Can you briefly define your job to me?
Jason Porter is a motion graphics/animator for Mad Monkey, a boutique media production firm in Columbia, S.C. that specializes in commerical and interactive media. Right now he finished working on a commercial starring Lebron James. Since he works for a small agency he considers himself as a generalist--In the advertising world these are people who are multi-talented almost like the "Renaissance Man." In smaller boutiques they may have a title as motion graphics designer but they do multiple things such as video editing or art direction for a film project.
2. How did you get started in the business?
Porter watched animations and cartoons growing up,specifically Disney movies. He considers the Golden of Disney Animation(Little Mermaid, Beauty and the Beast, Lion King etc..) inspired him to pursue a career in Animation. Porter pursued a Bachelor in Science and Arts in Animation at the Art Institute at California-San Francisco. Afterwards, he entered into the entertainment industry as a video game animator. Then once his wife entered into the University of South Carolina Medical School, he took his present job at Mad Monkey as a motion graphic designer. He said that working in a large corporation, people assigned to do one thing and that only, now that he is living in Columbia, he works for a smaller company where his title encompasses multiple skills.
3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?
Porter said that sometimes you need to be good with everyone because you never when you are going to need help with something. For accomplishing a task porter said that it's okay to ask for help and to understand that everything is a learning experience.
4. Do you have any advice for a media student starting out?
Go to a school with a strong program that you are specifically interested in because some programs might have job connections for when you graduate. Be good to everyone because some of them might end up being your co-workers or your interviewers. As an animator he said he always tried to keep his personality in all his projects even if it was the director's vision. He said to have certain personality in all of your worker even if its for another person's vision. Also Porter said to a have a thick skin--know that your work is going to be critiqued. He also said that if a person wants to really get there foot into the film and media arts industry that they might have to go to a place that where the industry exists and is still growing, specifically--Get out of South Carolina.

Simon Tarr-media arts professor

1. Can you briefly define your job to me?
I make independent experimental/animation films and artworks, and I sell them/perform them all over the world.
2. How did you get started in the business?
I am not in "the business." I am a business. That's why I'm an independent artist. My job is to translate my visions in a way that compels people. That's art. I left the industry of being a cog in someone else's machine long ago, but when I entered it, I did so by starting to work for free. Then people realized that they could not get their work done without me, so they started to pay me.
3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?This does not happen. I am the boss. I only turn down a gig or a commission if I a.) am too busy with other gigs, b.) wouldn't get paid enough, or c.) don't like the parameters of the commission.
4. Do you have any advice for a media student starting out?
Don't fall into the trap of thinking that there is this Big Media Industry, and one prescribed best way to be successful.

Ryan Bailey Interview with Ryan Bailey

http://www.youtube.com/watch?v=bpMueYSgD8c

Scott Fowler interview - John Reynolds - Gaffer

1. The gaffer is the chief lighting technician on a TV, FIlm or commercial set. His tasks range from master electrician to lighting director. He works with the director of photography to achieve a lighting look and desired F-Stop.

2. I got started in the business by going to Trident Technical College for a certificate in film production. I struggled to find work and ended up at the College of Charleston where I got a Poli Sci Degree. I decided to give film a 18 month chance with my sites on law school if it did not work out. I never made it to law school. What I always tell students is be patient usually right when you are ready to give up thing start happening for you.

3. Most tasks in lighting are accomplish able, however they may not be the best approach to the desired effect. Ideally on a film set you have a cooperative relationship with a DP. If he presents me with something that I don't feel will give him the required result I tell him my concerns and work with him to find the appropriate solution.

4. Be diligent, work hard. Try to impress with your desire to do a good job and your a dedication to the craft. Use actions and not words. Often after college we have learned a lot and we are anxious to demonstrate the knowledge we have. But as in all aspects of filmmaking it is better to show then to tell. Don't be afraid to ask questions. Work hard, go the extra mile. Filmmaking is one of the few remaining labor related industries where people want to work. As a potential empower I am bless with a number of newbies who are ambitious and want to get it. Showing that you are punctual, reliable and focused will go a long way.

Scott Fowler interview - Dustin Cassels - Gaffer

1. I freelance between as many clients as possible, so as to keep myself busy. I never say no when ask to perform any needed role on set. Such as Gaffer, Grip, AC, PA, etc. The trick is learning as many roles as possible so you can say, "yes I can do that". A lot of times you can become some what of a hero to your client if you can pull through for them, especially if its crunch time. With all of this takes a good bit of experience.

2. I took an apprenticeship with a local film maker in Asheville, NC. We produced marketing videos for high-end private golfing communities. I began my experience through him by simply moving gear and watching his every move. It was a small team. Usually no more than three, so it gave me a chance to learn all aspects of film making but on a smaller scale of course. Through him I met more filmmakers and the networking began. I started on the bottom with no schooling, just a eagerness to learn.

3. You have to be careful when agreeing to work on a set. Basically, don’t sign up for more than you can handle. Be honest with your client and often they will be willing to teach you. That way you can avoid the awkwardness of telling your client that you can’t. On the other hand there have been a lot of times when I found my self in that situation. I have been asked to get certain things that I really didn’t know what it was. So I said yes, knowing that I could probably figure it out or someone on the crew that’s not the boss, could show me. There is a sense of comradely on a film crew.

4. I feel like a major part of the answer for this question lies in the answers before hand. I wish I have had the chance to go to film school. It’s a great place to start your networking and experience. Tell more people you’re in school and show them you’re eager learn. Work for free or a low rate or even just food. I’ve worked for everything and anything just to gain experience. Then you can begin saying, “yes I can do that”. Ill sum it up. Make it to where the people you are working for cant live without you.

Ryan Bailey - Stock Footage

http://www.youtube.com/watch?v=CReX2ejg-qk

Interview with Stuntman Matthew Staley

This interview with Matthew Staley was particularly interesting. I feel that in a way, stunt work is largely overlooked, but it is in fact a big deal in major films. Also, the experience of a stuntman is unlike anyone else on a movie set, so they offer an interesting perspective on the movie business. Matthew has done stunt work in Gods and Generals, The Sopranos, Medium, The Other Guys, and The Next Three Days, to name a few titles. He currently resides in Northern Virginia.

1.) A stunt performer or stunt double typically performs on behalf of an actor in any scenes where action or implied violence happens to that actor's character in a film or television show. Stunt performers are generally highly trained, highly skilled athletes who use their physicality to help tell a story while often putting themselves in harm's way so that actors don't risk injury themselves. Stunt professionals train hard and make calculated risks that enable them to repeatedly perform dangerous actions safely opposed to daredevils who also perform dangerous stunts but purely for the sake of the stunt itself and often only once.

2.) My background is in gymnastics and most stunt professionals either began there or in martial arts, racecar driving, equestrian, etc. Having been a gymnast my whole life and simultaneously been in school plays and such, it seemed a natural progression to me to continue working in a profession that enabled me to utilize both schools. My first professional stunt job was working in a Wild West stunt show at a themepark. For two years, I performed the same Western stunts five times a day and really learned my craft. That lead to performing stunts in a Civil War tv series for The History Channel and from there, I got my Union cards and have been working in major Film and Television ever since.

3.) With stunts, honesty is key and such a conversation should only happen when a prospective boss calls you about a prospective stunt. The professional thing to do when asked if you can perform a certain gag is to be honest and answer yes or no. Black and white. Too many lives have been lost and careers have been ruined by budding stunt performers lying about their abilities only to find out the hard way. Ours is a profession where lives are on the line and trust is at stake so we have no room or toleration for harmless, little white lies like other professions. If you found yourself already on a set and the director came up with a last-minute stunt in mind that you were not capable of performing, the right thing to do would be to discuss alternatives with your coordinator or recommending someone who can do it in your place.

Casey Cox's Interview from Maryland

1. Can you briefly define your job to me?

I was hired to scout and present locations for potential feature film projects that had an interest in Maryland. We were always competing with other states. As a former feature film and tv location scout and location manager, it was challenging to be “in on the project,” at the ground floor. Recently I was asked to work on film and also take on many additional responsibilities within the Division of Tourism, Film and the Arts

2. How did you get started in the business?

I worked as a copywriter for commercials and produced the work that clients selected. I worked at a commercial production company. I did a stint managing a Grip and Electric Company. Then I went freelance and found myself being hired on TV series and feature films…at first as Assistant Location Manager and then as Location Manager. In between movies, I production managed and/or location managed tv commercials, particularly the larger projects from companies in LA who needed a strong Maryland based production person.

3. How do you tell someone over you that you couldn't accomplish an assigned task?

Actually, you need to tell them early when they can jump in to help you or put more resources to getting the task done. For example, I was tasked with finding a cemetery location for a feature film. It had to look historic, be quiet and in a rural setting, and allow the filming of a horror movie. This is a very difficult “ask,” and I probably contacted over 40 churches and got turned down. When I started to see how this was going I went to the producer and production manager and said, “listen, I’m scouting for this location (and there were probably 50 distinct locations on the movie) but it is looking grim. I wanted to alert you as I think we need a backup idea. I should be able to find a hillside where we can place tombstones that the art department creates…with the correct set dressing.”

They appreciated my honestly. At the same time I was working with a gifted but stubborn production designer who did not want to go to plan B…so I persisted and found a small Church that had a sense of humor and needed the money. It was very difficult but in the end, it was win-win. I called the producer from the vicar’s home office and we made the financial arrangements.

You often have to deliver bad or disappointing news during a production. It is really important to bring it up…not to the director…but to your production boss, whoever that is. They will appreciate it even if they are initially upset. I think it is your job to deliver the truth…and any options you can provide. In production especially, time is money and wasted time is wasted money.


4. Do you have any advice for a media student who is just starting out?

Don’t expect to make much money. Keep in touch with the local film office and pay attention to the states that have big incentive programs because that is where much of the production is going to go. Take notes; don’t expect to remember everything because you think you can (an amateur mistake for sure).

Always be early. Be flexible. Be quiet. But do get to know the other PA’s…often they will recommend you (and do repay the favor) for jobs they are on. Don’t complain about the hours. Don’t make personal plans when you are working. Your supervisor does not know when you’ll go home so don’t ask.
Keep all your receipts in one place and keep them dry and neat (ziplock bag); be up to date on computer skills. You’ll be amazed how having additional skills can make you a favorite in production. If you are a PA, you can possibly rotate through various departments and determine what you like the most. Be open-minded. The Payroll Accountants (union) are really in demand.

Help everyone. Keep gas in your car at all times. Be gracious and thoughtful and courteous. Courtesy is a lost art so if you display courtesy, again, you may rise above others.

Final project: Interview with Shannen

Interview With Allen Abel

1. Can you briefly define your job to me? Most of my TV work now is as a documentary writer or "doc doctor" -- I get called in by producers, networks, and directors when they have a script that needs re-jigging, or writing from pictures, or re-writing following the screening of a rough cut. I've done more than five hundred docs of various lengths and used to be an on-camera reporter, foreign correspondent and host, mostly when I was based in Toronto. Currently, I'm doing more print than TV as I write a syndicated "Postcard From Washington" column every week for a chain of major Canadian papers.

2. How did you get started in the business? I was a small-town sportswriter at first, moved from Albany NY to Toronto when the Blue Jays were founded in 1977, covered sports up there and then was a correspondent in China. A network TV producer liked my writing and asked me to join his show ("The Journal" on CBC) as an on-camera reporter. There were a lot of former print journalists on the program so I fit in. I had no previous TV experience of any kind. I was at CBC for 20 years and since then many of my writing jobs have come from former colleagues. Virtually everything I've done has been through personal connections. That's probably true of most people in this business.

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task? One of my rules has always been "If you don't get the story, for God's sake get something." As a columnist, it's easier to make something out of nothing; it's harder in TV. Good planning, research and pre-production greatly minimizes the number of times you come back empty-handed. I could tell you a long story about lighting our own forest fire in the Brazilian Amazon after 4 weeks in the field not finding any fires, but I wont. ;-)

4. Do you have any advice for a media student starting out? Find the smallest possible outlet that lets you do the most possible jobs and maybe you'll turn out to be good at one of them. Media are very different from when I started; today, everyone with a cellphone camera is a "documentary journalist." I always say that writing is easy; it's writing for money that's hard. I never had any interest in doing this as a hobby. It was always a serious job, even when I was covering high school football. So I'd say be serious about it, pound on doors and prove how good you are.

Interview with Philip R. Daccord

Can you briefly define your job to me?
I’m the Vice President and Senior Editor of Giaronomo Productions, Inc. I produce materials for motion pictures including trailers and tv spots.

How did you get started in the business?
I got a BFA in Film and Television from NYU and interned in the company during my last semester as an undergraduate.

What movies have you personally worked on?
I have worked on the Matrix Trilogy, Spiderman, Sherlock Holmes, Public Enemies, Shutter Island and Devil.

What kinds of computer programs do you use?
I use Avid Media Composer.

What is your favorite thing about your job?
My favorite thing about my job is getting the chance to work on a lot of films in various states of completion and getting to do my own storytelling within every job I’m given.

What do you find most difficult about your job?
The music part is the hardest because often when we get it, it isn’t scored. It’s increasingly difficult to come up with music and soundtracks that haven’t been used before. It’s also very hard because deadlines come so quickly.

How do you tell someone over you (your boss) that you can't accomplish an assigned task?
We never tell anyone that. We have to deliver what client asked for. It’s very rare that we have to tell a client that we can’t do something. The only time we can’t complete something is if we have a short time limit, but it never has anything to do with our creative ability.

Do you have any advice for a media or journalism student like me starting out?
Keep up-to-date with computer technology. I’ve been doing this for 17 years, and when I started out things were completely different. It’s not enough to be creative sometimes. You have to be knowledgeable about the industry. What I do and also photography and graphic design are ever-changing businesses.

Is there anything else you want to tell me?
This is a fun and exciting business, but it’s very competitive and challenging. Sometimes it’s really hard to work with producers and directors because there’s too much politics. That’s difficult when you just want to be left alone to do your creative work.

By: Amanda Smith

Interview with professor Davis

This morning I interviewed USC professor Northrop Davis.

I spoke with him about screenwriting, how one gets into the field, and some different things one can do once they get into writing scripts professionally.

First, Mr. Davis said that he was always writing. He told me he wrote science fiction as a young kid and illustrated his writings too. One of his teachers told him that he could be a writer and he said he was struck by that.

He ended up going to Duke University and wrote films there and then got his masters at the California institute for the arts.

He said that he knew that the industry wasn't really in need of directors, but that they were always looking for a good screenplay so he stuck with writing them.

Davis told me there were two different ways that a writer can get his work picked up by a feature. First the people making the feature can hire the writer to work on a concept that they already have, and second the writer can write his own screen play and attempt to sell it, partner with a producer, or direct it himself.

Davis told me when I'm writing scripts that I need to think of ideas that are very striking to people and develop my characters. He really stressed character development, and made the point that if you write your story and use your characters like puppets in it that the script will feel empty. He said characters need to a have a conflict and a goal, and brought up Rocky as an example. Rocky, who people think is just big and dumb wants to be respected, and by the end of the movie the audience is rooting for him because we can identify with him and we want him to succeed and earn that respect.

Davis also explained the differences between writing for feature films and writing to TV. He said that TV writers have much more control over their work and that the parameters set by commercial breaks and so forth really help keep writers from wondering off in to many directions.

I enjoyed talking with professor Davis. He is highly knowledgable in the field of screenwriting and I'm looking forward to having him as a teacher.

Final Exam: Interview with Rachel Milas

Disney Employee Interview from Stephanie Reeves on Vimeo.

Stephanie Reeves
Amanda Smith

Interview with Jonathan Bouknight

Jonathan Bouknight graduated from the University of South Carolina's Media Arts program in 2008. Since then, he has worked with local musicians filming and editing music videos. He was also the Art Department Production Assistant on the movie Nailed. Most recently, Jonathan produced a documentary "The Making of Spiral Shadow," which showed the process of the band, Kylessa, making their new album Spiral Shadow. It was released along with the album October 2010. In the midst of all of these projects, Jonathan and friend Josh Bishop started a production company called Sunrise Studios (http://www.watchsunrise.com/)


1. Can you briefly define your job to me?

I own a small production company called Sunrise Studios. I shoot and edit video for my clients.

2. How did you get started in the business?

I shot a music video for my friend's band which won an award from the SC Arts Commission. I was a music major with emphasis in classical guitar at the time, but switched over to media arts after that. I then took out a loan to buy the equipment I needed, and would go film bands and music videos for almost no money to build up my portfolio.


3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?

I never tell a client I can't do something, unless it is something that is absolutely not possible to accomplish with the deadline, budget, or resources. Some advice that was given to me when I started that I've held onto is always tell your client you can produce what they want, and if you can't do it, then find someone who can.

4. Do you have any advice for a media student starting out?

Go out and make films and videos outside of the classroom. As a media artist your portfolio is way more valuable than your degree.

written by: Stephanie Reeves

Extra Stock Footage from Yirone

Interview with Kevin Wu, Taiwan iFilm

1.Can you briefly talk your name, work title to me?
My name is Kevin Wu, I am marketing manager in ifilm movie company.
ifilm facebook:www.facebook.com/ifilm.tw
ifilm blog:http://ifilm.pixnet.net/blog

2.Can you define about your job?
I think movie marketing just like the classic movie《Forrest Gump》(阿甘正傳) says:My momma always said, "Life was like a box of chocolates. You never know what you're gonna get."

I would say that "movie box office always like a box of magic Lotto. You never know what you're gonna get the biggest price."

About my work in movie marketing for this 5 years. I am good at more all of movie marketing skills, including promotion event plan, Public relationship and alliance with other corporations and P&A marketing budget ,TV CF cue evaluation.; designed film gala premiere, special film preview events, and coordinated and supervised on-site events. Invited celebrities including popular actors or politicians to attract media and audience attention.

3.How did you get started in the business?
Just my friend pass this job for me by chance long time ago, and I got this offer by accident.

4.How do you tell someone over you (your boss)that you can't accomplish an assigned tast?
As I know we won't say we can't accomplish the tast, but we will try our best to do ,and we will get any chance to promote our movies.

5.Do you have any advice for a media student starting out?
1.passion is everything
2.creativity is the indispensable.
3.carring out your idea is the most important thing.
If you could get these 3 points, you may have a good start.

-Interviewed by Yirone Huang

Graduation - 463 Final

Jemimah Ekeh and Megan Weeks

Nature Stock Footage

extra credit

Scott Fowler

2010 Homecoming Step Show

extra credit

a man and his sunglasses

Interview

Interview with Chris Hawpe

Chris Hawpe is the creator of Chris Hawpe Production Services in Louisville, Kentucky and specializes in audio for film and broadcast companies.

1. How did you get started in the business?

-He said he was first a photo journalism major, then switched and graduated with a History degree. In the 1980s he was also in a band and moved to LA where they got a recording contract and put out three records. Afterwards he started working in recording studio where he started out with basic jobs then was given more responsibility. The recording studio worked with a lot of R&B music, and he was a mixing assistant for a few well-known artists' albums. After that job, he started focusing more on field audio and was a freelance audio mixer for CNN.

2. What do clients ask for him to do as an audio mixer?

-He said mostly field audio and recording sound and mixing audio straight into the camera. He is responsible for the audio portion of whatever is being produced. Jobs can range from following one person around with a boom mic or, like with reality t.v. shows, listening and working with eight to ten wireless mics.

3. What are your favorite aspects of the business?

-He said making friendships and working with others to produce good audio and film. He said when you are putting a mic on someone, whether an actor or reality tv star or anyone, it is very important for them to trust you or perceive you as someone they can trust, because they know you will be listening to their every word and you don't want them to try and mentally censor what they say. Also, he enjoys the fast pace of the industry.

-Interviewed by Rebecca Farmer

Interview with Archie Borders

Archie Borders is part owner of BWK Media Group based in Louisville, Kentucky. BWK is a full service production company, but Mr. Borders has a lot of experience with directing and considers it to be his favorite field in the business.

1. How did you get started in the business?

-He went to film school and started working on feature films after graduation. He raised money to shoot his own film which he was able to sell to Sundance. Later he helped create BWK Media Group which does a lot of production coordination, web content, and providing crews for producers who are out of state.

2. What are your favorite aspects of the business?

-He said directing, because when you are working on a high-budget film, you are able to focus solely on the creative aspect of the film. If you're working with a talented crew and cast then directing allows you to concentrate on the creation of your vision for the film. But, directing something with a high budget can take years, so inbetween major jobs he and his company do commercial work to keep their skills intact.

3. From your point of view, what are the major distinctions between producing and directing?

-He said it depends really on the film's budget. If the film has a low budget, the producer and director might be the same person. Then the director not only has to focus on the creative aspect, but also the business side of the film's production as well. Producers make the business plans, "keep the train on the tracks," and keep the film on budget. If the film has a high budget, then the director has a responsibility to the producer to keep to the producing schedule and budget, but sometimes this doesn't always work out.

-Interviewed by Rebecca Farmer

Interview with Aaron Johnson

1. Can you briefly define your job to me?

My jobs are:

-President and founder of a video production company, Pretty Penny Productions, which involves running, planning and managing the business as well as producing and editing videos for my clients. Projects range widely from 30 second commercials to event videos to web videos. We are transitioning into a full service ad agency so I also have several clients who I generate entire ad campaigns, supervise media buys, etc. for.

-President and founder of a web development and graphic design company, Penelope Design. I mostly just supervise and manage this business and work with clients, I have a fantastic team who does the actual coding and design work.

-Owner of the F-Stop Camera Shop, which sells camera gear and provides services, specializing in film. I mostly just manage the books and marketing for this company, my business partner runs the store on a day to day basis and does all the processing, developing, etc.

-President and Founder of Hops / Scotch Entertainment which develops independent comedy videos, podcasts and other media for the web. Currently we produce two web shows and a podcast.

2. How did you get started in the business?

I started freelancing when I was a freshman in college and made a lot of little shorts and even a couple of features and two seasons of a comedy "public access" series in college. I felt like, through this work, I had a pretty good handle on the process and saw that my work was at least as good as many of the local producers in town so as soon as I graduated I started my own company. Since then it's been kind of a roller coaster but we've managed to grow every year so I guess things ain't that bad... knock on wood.

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?

My bosses, here, would be the clients. The most important thing is to make sure they are as involved as possible from the very beginning. When you make your client a part of the team they understand the problems and they root for you. Some clients want to give you 100% control and just don't want to worry about the process. This is great, from a creative standpoint, but when things go wrong it means they don't have a filter of experience to run the situation through. All they know is that something was supposed to happen and it didn't. The only solution in these situations is complete honestly and devotion to the client. If I mess something up I always make sure I put it to rights. There have been situations where the client has messed something up, usually by failing to communicate. These are messy situations because you can't just tell a good client that he or she is wrong. Often it requires taking a hit, doing some free work and hopefully learning a lesson to communicate the point very clearly with the next project that comes around and try to avoid it happening again.

4. Do you have any advice for a media student starting out?

Just do stuff! I don't understand students who go to classes, do their projects and that's it. You aren't getting an education at all if you don't experiment and try things on your own. I've made so many horrible movies, scripts and other projects - and I continue to make them - because the process of trial and error is what hones your craft. If you're just doing the bare minimum then that's where you're going to end up in the food chain. The guys and gals I went to college with who were working hard in college and doing side projects, freelancing, etc. are all working in the industry now. The folks who did the bare minimum - I hate to say it, but they're working not working in film and video. Which is probably okay, because this isn't a business you should be in if you don't absolutely love eating, breathing and sleeping in it all the way up to your neck. (I certainly wouldn't advise anyone to get into it for the money!)

Interview with Anthony Santoro

My last interview was with Anthony Santoro who works at Curious Pictures. We got a little off track with the questions and ran out of time. Below is what I asked him.

1. Can you briefly define your job?
Anthony works as the lead compositor/effects supervisor. He is involved with the shoots and in post production. Lately, he and Curious have gotten more involved in Motion/Title graphics.

2. How did you get started in the business?
Anthony said it just happened.

3. What goes into Motion Graphics?
There is a team of 6-7 people who work together on an opening sequence and it can take anywhere between 3-6 months.

4. Do you have any advice for a media student starting out?
Anthony said how you get started in the business is different for everyone. He told me to start as a PA and if you are talented and don't give up, eventually a break will come. He told me that the entertainment industry is never monotonous, everyday is creative and fun and you frequently start from scratch on new projects.

Ryan Bailey - Interview with Jacob Cook - Graphics/Visual Effects for film and commercials

1. Can you briefly define your job to me?
I am the creative director of a company named Digital Domain owned by Disney. He is a 3d artist, texture model, animator, scripter and programmer. I also deal with film, commercials, video game production, postproduction for film, and sound production/audio engineering. As a creative producer I works with anywhere from 100 to 150. My recent projects include working on the movie Tron, which we just recently completed in September.

2. How did you get started in the business?
I started at an early age of 14 playing around with programs from the Adobe Suite such as Photoshop, Illustrator, Flash and InDesign. I used these from early high school all the way through my undergrad at Arizona State University majoring in multimedia/design. From there I received my masters in animation and film from the Academy of Art in San Francisco, California. There he used programs such as Zbrush, Unity, Blender, 3d max and Maya.

3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?
If you cant accomplish an assigned task because you don’t know how to do it. If he can’t do a task there has to be a reason rather than an excuse. Maybe it is something such as, “I don’t know how to go about it this program and utilize my program so could you show me how you would do it?” I would ask questions because that is the only way to get better. Sometime you have to swallow your pride and ask questions to better yourself and better the team that you work with. My boss stresses that I won’t get fired, but he just asks to be honest and reasonable with him no matter the situation that is brought up.

4. Do you have any advice for a media student starting out?

Make a time sheet pipeline/production pipeline. It is basically setting goals for the year and what has passed over the course of that year. For instance, I set 12 productions, 1 film, 2 commercials and an Iphone game as part of my time sheet pipeline. You also have to have extracurricular projects rather than just your school projects to show people. You have to market yourself and show people that you want to work with what your interests are. Give the people you network with a reason they should work with you so everyone involved can make a really interesting project. Also, when you don’t know something with a certain program just jump on a forum and constantly ask questions to better yourself. As a part of networking, attend conventions that are fun and business at the same time. You get to see great upcoming work and in turn exchange e-mails with people who have similar interests as you.

Interview with Corey Weisz

My 2nd interview was with Corey Weisz. He has worked on some big projects like NASCAR commercials, Nurse Jackie opening and the Bride Wars opening, just to name a few. Corey was short on time so he asked if the interview could be done via email. Below are his answers.


1. Can you briefly define your job?

As a video editor at a design/production company, my main responsibility is editing spots that our in-house director shoots (recently that includes a bunch of spots for Cooking Channel and Dancing with the Stars) and also create spots from pre-existing footage (like our Nascar on Speed series of spots). In addition, my job often includes color correction, pieces for pitches, generating ideas for pitches, sound design, and preparing spots and elements for delivery (ie. checking video levels for legality, final quality check).

2. How did you get started in the business?

I started at a company called Imaginary Forces as an office production assistant, answering phones, running errands, assisting producers, and whatever else was needed. Then, I got an opportunity to assistant edit there and ultimately edit.

3. How do you tell someone over you, like your boss, that you can't accomplish an assigned task?

There's normally a discussion with producers when a schedule is set to make sure it is doable in that time frame with the resources involved. If any issues arise during the project, I will generally talk to the project's producer to make sure that everything is covered. Normally, if there's an issue, whether it's time-related or skill-related, it's best to address it as early as possible.

4. Do you have any advice for a media student starting out like myself?

My main advice would be to figure out what you want to do and focus on getting into a company that does what you want to do in any capacity possible, even if it's just a lowly PA position or intern. Just getting that foot in the door can give you an opportunity to show how hard you are willing to work and also to gain skills. However, it's also good to keep an open mind and get to know people in different roles to see if that's something you would be interested in.

Interview with Chris Billig

I interviewed Chris Billig, who is the executive producer at TCG Studio. The director and founder of TCG is Thomas Cobb (hints the name: TCG = Thomas Cobb Group). TCG is responsible for the opening credits of Lost, Lie to Me (which was Emmy nominated), Grey's Anatomy, NCIS, 90210, 24, Friday Night Lights and the list goes on and on. Visit their website (the link is above) to check out everything they've done. It is really impressive.

Here's the interview:

1. Can you briefly define your job?
Chris explained to me that he is the executive producer. His job is to find clients, meet with them, talk to them about what they want and develop creative briefs. There are a lot of things to consider, including budget, time, scheduling, overages, etc. After he's hooked the client, the creative director and Chris get together with the client to understand what they are looking for. Chris oversees the job and gives his creative input. He makes sure the client is taken care of.

2. How did you get started in the business?
Chris told me that he majored in history and government in college and moved to LA to go to law school, when he stumbled upon Hollywood. His grandparents wanted him to pursue a trade, like becoming a lawyer or doctor, but he went against that and went into the film/television business. His first job in LA was working as a Production Assistant on Cold Case.

3. Have you ever had to tell someone over you (like your boss) that you can't accomplish an assigned task? How did you do that?
Chris said that if this question is concerning competence - the answer is no. But, if the question is have you had to tell a client no because of the restraints they've put on him, then yes. He gave me an example concerning budget. If a commercial is going to cost $500,000 to make, but the client only wants to spend $50,000 because they could go to India and get a commercial produced for that amount, then he would tell them no, he couldn't do it for $50,000 and to go to India.

4. Do you have any advice for a media student starting?
Chris told me to stay single (he said "I'm joking....kinda") because establishing yourself is a very selfish thing. You have to put in long hours and work harder and longer than anyone else. You won't have time for anyone else. He told me to define and strategize my life/goals, to be realistic but don't compromise and if I have a vision, to go for it. Chris also told me to ask people for help, because no one is going to give me anything. He seemed impressed that I emailed a "dummy" (generic) email address at TCG and contacted me back because he wanted to help. He also told me that you have to find mentors and to stay hungry. If I don't know something, it's okay to say I don't know but I will find out.

Chris was super nice and incredibly helpful. I know I've made a great contact and he will be willing to help me in the future.

My Dance Floor

The Hunt for Boombox Guy

The Hunt for Boombox Guy

No Escape from Stephanie Reeves on Vimeo.

Group 2:

Sam Barker

Stephanie Reeves

Amanda Smith

Bryan Wendland

Untitled - a JJYM Production

Stock Footage- Volleyball- Yirone

Welcome!

Welcome to Videography 463. We will post some of our projects here for review.

Extra Credit Opportunity

Work on a shoot this coming MONDAY, August 30th. Starts early, should be done by 4pm. You will receive 3 points added to your final grade for working all day on this shoot. Or, you can exchange working on this shoot for the full day, required class shoot.

Or

Work Tuesday, August 31st. Leaving Columbia at 9:30am, returning by 4:30pm. This smaller shoot would count as 2 points on your final grade.

Email me for details. Or call me. You must let me know by this Friday if you plan to work.

Welcome!

Welcome to the class blog for Videography 463. Here you will find assignments, extra credit opportunities and a chance to post your own work. When you receive your invite to become a blog author, follow the instructions to sign up. Then, you may begin posting. Also, I suggest you follow this blog so updates come to your email account.