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RUN AWAY PRODUCTIONS

Article #78 4/10

The term “Run-Away Productions” is heard in Hollywood all the time. Certainly, the term is not new to the production industry, since its been used to describe productions shot outside the United States. In recent years the phrase has come to mean any production or defector that shoots outside of this town…Hollywood.

This is one of the most disjointed attitudes I’ve ever heard. Shooting outside of Hollywood has been a practice for decades. The number of productions shot outside Hollywood has been enormous since the beginnings of filmmaking. But to Hollywood, it seems to be another typical ‘buzz’ word getting the attention of many who live in the area.

For years, Hollywood produced films in Mexico, studio’s even purchased property giving them control in the local area. This town is so fad struck that it never takes the time to study the past, but seems to be in a hurry to judge the future. When a producer takes a picture out of Hollywood, there is thought behind those decisions.

Hollywood has no hold on moviemaking…the convenience is obvious, a good amount of talent live here, it’s easy to go down the street and pick up gear and they have 375 (very old) sound stages. So, for those reasons every producer looks first at shooting in tinsel town. Now that 44 other states are offering incentives, Hollywood just becomes another place, a very expensive place to create our work.

New Jersey should be upset, since Edison’s Black Stallion Studios first introduced production as we’ve come to know. I’m not sure the amount of production or even if New Jersey gets any credit for what they introduced to the world. Astoria Studios made more things happen in the ‘silent’ days then Hollywood ever tried. The weather was a factor in the north, with limited lighting issues to enhance stage shoots, many headed to Jacksonville, Florida and set up shop. Cecil B. DeMill and some 30 other major production companies based in the coastal town until they were run out of Jacksonville in the late 20’s early1930’s and came to another area with orange groves to finish production, that place was called Hollywood land .

So for one town to claim run-away productions to another location in the U.S. is ridiculous. As states reel for added income, the film industry is wise choice. We’re a clean industry, we make the towns happy and excited when we bring the ‘circus’ in and historically leave lots of money on the table for the local folks to talk about for years to come along with the massive disruption “that movie company caused”.

I’ve never supported shooting outside the U.S. unless it absolutely necessary for the storyline, but Warner Brothers were directly responsible for building stages in Vancouver, BC and how much Hollywood money has been poured into the UK? So, for state and local leaders to make a comment of ‘run-away’ productions is a little naive.

The State of California sat on their hands with the incentive program and when they introduced it, big studios and their little independent counter-parts gabbled it before the true small business independent studios could have a chance at it. The bottom line is in this costly industry, it’s good reasoning to pursue incentives offered by the other 44 states…we need the help. It doesn’t hurt the unions; most have contracts to fill positions in other states, even the Right-To-Work regions. So, it’s a win-win for all.

The next time you hear a California politician chant “RUN-AWAY” productions, stop and understand what their really saying is “we screwed up by sitting on our hands while letting other states get a jump on what we had and lost!” And that’s the REEL STORY!

3D HERE TO STAY

Article #77 1/10

As we begin a new year, technology pushes us to become more creative with new innovations and technics. The big buzz in 2009 was 3D. Some said it would never happen and others argued it will be the next big format.

Thanks to big budgets allocated and animation designs coming-of-age, 3D is the next big format and I think its here to stay. 3D has been one of those formats classified as gimmicky and never fully utilized until recently. With Fox's introduction of the movie "Avatar", which mixed animation with live action, audiences are viewing 3D as a "being there" experience. The concept can take you 'inside' a picture and fools your mind that you're looking into a scene. Animators like Disney have been successful with it for decades.

Years ago (1954-1965) various low budget independent filmmakers shot in a 3D format to give the audience a thrill at the theater. Although, audiences liked the entertainment value, they complained about the glasses and often film projectors were out of skew and made the audience sick or tired the eyes, exhausting an audience. Since, distributors and theater owners did like negative comments they didn't support the 3D concept. In comes advanced computer and video games, with 3D like effects and the clarity of looking out a clean window. That motivated a new audience to demand better and more.

Today, movie goers are not only given a thrill, but also an exciting experience without a lot of tricks. Filmmakers are careful on the approach they take, not making the audience sick, tired or over whelmed by past mistakes with the introduction of new digital chips. These new technics have only scratched the surface. Those that believe only certain films grace the 3D image may be correct, but once this new generation buys into the full entertaining experience, 2D may someday be like black and white.

Many smaller companies have been aggressively challenging the complexity of 3D and coming up with some great new applications. Some of them have managed to hang-on when they couldn't pitch a 3D concept for all the 'tea in China' to tinsel town executives. But these are the true cinema magicians, they know the tricks through the camera lens. This is their time to shine.

Television manufactures introduced a version of a 3D monitor at this years CES in Vegas. The indication that 3D will emerge upon us in our own living rooms will expand the countless opportunities we filmmakers have to strut-our-stuff! The signal will not come from your local stations, some aren't even broadcasting in HD yet. The competition will be between the carriers. Already, Panasonic and Directv have partnered on signal, Sony is in the race and AT&T U-verse is closing the gap.

I'm excited about the possibilities with 3D and can't wait to shoot it. All of our content will be shot in 3D and offered in 2D as well. There will be a day when you give a gift of personalized 3D glasses to you friends. The entertainment industry is alive and well for those companies that can see through the glasses and bring not just a good story to the screen but present a full entertaining experience to their audience. The surface has only been touched with the magic 3D can offer. Movie goer's will be able to experience movies like a dream come true. And that's the REEL STORY.

'TIS THE SEASON

Article #76 12/09

Dear Santa,

2009 has certainly had its challenges and I don't think anyone in our industry hasn't wondered about the future. As the year comes to a close, we can reflect on some monumental events that have shaped our 'tomorrows'. A new President was elected, the economy was far worst than reported by past administrations, unemployment reached record highs while business was evaporating faster then the water supply. It was a hard year to deal with.

Now we need to look at what can be repaired in the new year. Not saying at the stroke of midnight on December 31st. some magical event occurs, but it would be nice for many of us, Santa. We need to get our industry unemployment numbers way down. Hollywood has hit its worst employment figures in decades, Orlando is slowly coming back to life with theme park entertainment...but production is at a all time low. Since money is a key issue, it too needs to start flowing, please distribute all your coal to those greedy bankers and fill their stocking with what they deserve. Give some confidence to investors who need to do what they do best...invest. Production companies need to tighten the budgets and hire people that will work effectively and know what their doing on the set.

MPC needs to get into production on at least two of the many projects it has slated for production and not look back at the economic horrors of the last year. So, how do I do this? Well Santa, I think I'll start out the new year looking for the right locations to shoot our made for TV movie Leroy's Christmas. Once we agree on the right spot, we'll begin to hire staff and crew getting the ball rolling. In the spring we intend to get ready for a feature film and hire more staff and crew making the first half of the year far more productive then the past two years.

Santa, I want to be so busy, 'they'll be no stopp'in me'! I guess the first element to any good thing is attitude. We'll be positive and keep our sights focused on the tasks at hand. We'll do our part and for those that fall short on their parts...well, I'm not sure, but we'll forge forward. We need to keep productive and produce the very best product we can make.

That's what I'd like for Christmas...I'm sure you don't have it in your magical bag, but if you could sprinkle some magic dust on me Christmas night, I'll see if it works. Thanks for all your support over the many long years we've been friends. I'm grateful to be healthy, still have all my functions, but need a break from this miserable past year. By the way, I'll help as many people in need as I can...that's a promise!

I hope your flight on Christmas Eve is enjoyable and every stop is memorable, best to Mrs. C...Merry Christmas Santa and Thanks!

Oh Santa, one more thing...that's the Reel Story!

As MPC plans 4th quarter shooting schedules, we look at using sound stages. Since we have a little edge on other production companies with our experience in building sound stages and working many long hours on them, we'd like to share some of the success and challenges production companies face.

When anyone walks onto a stage generally it empty. The open space can be deceiving if you don't have a good set plan with you. When I first walk onto a stage I look at the grid. A real production stage should have at least 25 ft from the floor to the grid, more is better. The reason for this is lighting, jib movements and flying sets. If a stage grid is at 15 feet, you risk many challenges once you get the sets in and lights hung. With a grid at shorter heights you can’t fly a jib with freedom, your lighting will be too ‘hot’ and you’ll be spending extra time (money) on cheating a long shot.

Next, take a good look at the floor. Ask yourself if the floor is level, can you dolly a shot or will you need track? Most floors are painted if you want a different color in your shoot area, then you’ll be charged for the painting and to restore it back to the original color. Does the stage have a cyc? A soft cyc or hard cyc is important. Most TV studios have soft cyclorama’s, which means you’ll need to back light to your color preference. With hard cyc (mostly on sound stages), you’ll light from above or from the floor. If you paint the cyc you'll be charged to take the color back to the original when you leave (sometimes if its key green or blue they'll waive the cost). Check out the loading area, the bay doors and other ways to load props and people in and out.

Check out your power, is it 3 phase…do you need twist locks and does the ‘house’ have cables or will you need to add to your lighting order. Look up and find where the air intake is placed or where air conditioning vents are positioned. Your audio person will hear the air blowing if it’s too close to the set. Is the door entrance near where you’re shooting? Craft Services uses doors so make sure there far off stage. You must also check out the area for setting up tables and the area you use for meals. If its outdoors get a tent (very costly). Have extra power for craft services and catering...last I checked a coffee pot needs power.

What’s the dressing room status? Do you have enough bathrooms to accommodate your crew and talent? Does the ‘house’ have showers? It becomes a mess if your crew uses the bathrooms and your talent has no privacy to dress or clean up. Make up and hair areas with mirrors and lighting are very important. If you need a drain on the set make sure you say so early on so plumbing issues don’t slow up the production, drains must be tested and ready for shoot day.

If you need offices on a longer shoot, are they a freebee or do you pay extra? Phone usage is not that big of an issue these days with cell phones, but they could be an issue if your production staff needs them. If you need offices, let the 'house' know how long you'll be using them. Remember the 'house' has their daily business going on. You'll need a staging area for equipment and props away from daily 'house' activity. Keep your insurance policy in your pocket.

Check out parking, in LA parking is a nightmare when you rent a stage. Everyone on the crew thinks they need a space! Actually, you’ll need spaces for production trucks and other top-level vehicles. Crews can park in other areas and walk or pool a ride with a production vehicle. In most cities, they'll ask you pull a temporary permit and may even block off some area on the street. They'll do that in Burbank and Orlando.

In my many years of building and working on stages, I’ve found many obstacles can rear their ugly head during production day if you don’t create a comprehensive check list before you walk into that big empty box, so get a check list built on the computer, have it ready…and that’s the REEL STORY!

As the summer heat makes all of us enjoy the invention of air conditioning, production crews who hustle in it, welcome a nighttime shoot. All of us in the production game know hassles of location shooting, but when ‘heat’ is a factor, it seems to really send us on a major burnout.

As temperatures seem to be rising in every corner of our great country, whether from global warming, cows expelling gas or mother earth going through menopause, its definitely hotter. So, our need to be smart on how we handle ourselves in daylight heat is essential.

There are plenty of shoots in various locations around the country during a hot day. Heat factors don't make it easier. Crews must remember that drinking sodas or pop (whatever you call it depending on where your from in the country) can do a lot of damage to your body in outside heat.

Dehydration is a major problem affecting someone before they know it. I maintain if a production company can't provide enough water on the set, then they don't have much regard for the crew. When anyone sucks down sodas, sugar in drinks compounded by the heat, can mess you up ‘Big Time’! Water is your best friend on location.

Crewmembers need to dress properly, don’t wear black shirts…black absorbs the suns rays. Studies have documented ‘heat’ can increase your body temperature by 2 – 5 degrees, so get out the loose light colored shirts and shorts. I’m guilty for not wearing a hat, but I’m getting better. Loose clothing is the best, when you sweat, shorts and shirts don’t stick to your wet body.

You might be saying, what’s this guy telling us this for…well producers call it liability. Think of it this way…if I hire you, I expect to get what I’m paying for. Since most of you are members of a union, I’m paying strong money for you to work… I don’t want to loose you…or because you didn’t properly prepare for the shoot, you come down with some unknown illness, faint or die on my set.

Another problem is fatigue. One of the many jobs a producer is to maximize production time. Keep in mind their responsible is to bring the project in OTOB [on time and on budget]. They may foolishly keep a shoot going from sun-up to sundown, which equates to a 15-16 hour day. From past experience, if you work a crew more than 12 hours [union members forget about golden time] crews get sloppy and make mistakes. If you’ve been working in extreme heat all day, you’ll be so tired when you leave the set you may not make it home that night. So, if everyone works smart the heat will only be conversation.

I remember a very hot day at the Disney Studios in Orlando. I can’t remember the event or name of the shoot, but a stage was placed in the middle of the main park area or known as the “nose”. Disney had hired so many older celebrity talent it became an exciting experience. It was time for rehearsals. We were faxing our cameras while the stage show producers were working with the acts. I was standing off stage when from behind me Mr. George Burns asked me if he was in the right area for the stage entrance. I turned and politely told him he was fine and his ‘mark’ was front center stage. Then I asked him in a puzzling voice, “Are you going on stage to rehearse?” Mr. Burns turned to me, raised his cigar and said “yeah…my boy…the whole shtick!” Keep in mind the temperature was hitting 100 and there was no scrim, silks or anything over the stage but open sky and hot sunshine.

In the true spirit of Vaudeville this legendary comedic walked on stage to rehearse his ‘shtick’ in front of empty chairs. His ‘finish’ was a “soft shoe sand-dance” as the heat became almost unbearable.

I was dazed with what this frail old entertainer just did. Completing his act, he turned and began to come towards me off stage, I stood speechless with respect, he looked at me and in a raspy voice said “be a good kid…work on the audio, I couldn’t hear it very well”, I said, “yes sir I’m on it…!” The point is at 97 years old he was dressed properly, mentally ready and had a bottle of water with him to do his job.

The memory of his act was stamped in my mind, but the way he handle things while an afternoon Florida sun shined down humbled me. By the way, I don’t do audio…and that’s…THE REEL STORY!

For the first time, I feel the aging process has a positive side! Yeah, that sounds pretty crazy...but seeing the evolution of technology, has been really interesting. When I began my career, film was the format of choice for TV production, news and of course the big screen. Soon, followed 2 inch video tape (quad) for TV. When I had quad dubs made on a high speed flatbed duplicator manufactured by Ampex, wow...I thought, how great. RCA introduced the first portable video camera, it took three engineers to move the beast with a cable the size of a 2 inch pipe. 1 inch tape and one manned cameras began popping up. Ikegami introduced an ENG camera with a battery pack or saddle bag pack allowing a shooter to move freely without house power or tether. 3/4 tape was again touted to be the format of choice for a new industry called cable. Them high speed tape in a 1/2 inch format was pushed by VHS and Beta manufactures. Panasonic's attempt with the 'M' format lost to Sony's Beta. Cameras got smaller, Panavision offered a handheld "PanaFlex" motion picture camera, as technology marched forward. Digital, SD, HD, chips and cards became the format.

These developments were really pointing us for the direction we're at today. Just consider, it took a 50 foot production truck to switch a multi-camera show and at the 2009 NAB, every 'fly pack' will offer a multi-camera monitor and editing on the fly from a box no larger than your office desk. We know when building a show, movie or any production it must conform to the end application. End applications were clearly defined in years past but today, conversion includes phones with a generation 3 format, wireless and IP. The movement of these modern day applications have opened a entirely new market for cutting costs, better imaging, helping the environment and distributing a project with a click of the mouse.

Our 'toys' or tools are pretty cool, they can do more, taking less of a footprint, while making the end results better than we could before. Of course, more demand is placed on the producers, directors and technical crews to create their projects enhancing the abilities of these tools available to us. Everyone must think ahead, work together in order to set a production up correctly before they step into a shoot.

As many of us attend NAB'09, looking at or even buying equipment, keep in mind where we were and where we're headed. There has never been a time in production history when we can work our "magic" so well. Have fun figuring how to pay for those exceptional gadgets we think are a 'must' and thank the dedicated people of the past for following their dreams to make ours come true. And that's the REEL STORY...!

During these times of economic confusion, its more important than ever to budget each project correctly. I'm not just talking about purchasing a software program and figuring what you might need or plugging in numbers, I'm talking about crossing “T’s” and doting “I’s”.

It’s common, producers focus on rates for crews, equipment rentals, insurance, talent, even craft services and other important issues concerning a production. Unfortunately, some end up “low balling” other line item estimates. It seems each element of a shoot has its shortfalls when it comes to budgets. Controlled shoots (in studios or stage) experience down time with equipment failure, lighting repositioning and talent or script modifications. When on location, problems seem to “rear their ugly heads” when you least expect them, but hopefully, you’ve bumped the budget or added a couple of extra days to offset any unexpected overage.

Sure, we know post-production is based on an hourly or flat project rate in the budget, but often seems to go over the original estimate. We’ve all experienced “time” being the biggest villain in post. Then we find out the audio needs a bit more sweetening. Whoops…we just blew that line item? There’s so much to account for, only the experienced should tackle this task.

One line item I often see missing or too low is marketing. What will we do with the project after its complete and ready for air, screen, DVD or broadband? The realization that people will be “banging down our doors” to get a first look of our creation begins to be a little far fetched. Then weeks later we realize the project has to be pitched. If you don’t have a healthy marketing budget or money tucked away, you could find yourself the only audience watching your show.

This element is more common in projects that have no distribution deals attached. If an independent ventures out to produce a show with only passion behind it and not a line item for marketing, the show will have little chance of success or may even die. All the efforts of your creative team will go to waste.

OK, that’s the doom and gloom, but if you take the time and build a line to accommodate marketing you have a good chance for success. Everything takes time, but if you have the money budgeted to get out and sell your product you’ll win. Remember, you don’t want to be the only one who knows about your production. There’s an average of 2500+ programs produced each year, so competition can be stiff.

If your targeting a network, make sure you ask for a submission form. Submission forms are usually handed out by the networks legal department or in some cases production acquisition team. The submission form qualifies you as someone with production knowledge, credentials etc. They’ll check you out then notify you if their interested in your project. Beware…this process may take sometime. If you have marketing dollars you can afford to meet the network or distributor, have lunch, make the process easier and maybe get a sale.

So, the next time you punch in those numbers, think about the results. No one wants a show sitting in a closet because they ran out of the most important part of production…the sale. As an old client preached in a book he wrote, "do it right the first time"...and that’s the REEL STORY!

As 2008 comes to a close, we look back on those 12 months faced with strike recovery, confusion, financial turmoil and down right exhaustion. Those of us in entertainment production seem to keep a positive spin on negative issues. This past year has certainly forced us to pull out all the stops. Much of what happened was no fault of small business, but small business received a major impact.

Last January-February, we dealt with striking writers, March-April we tried to jump start a 106 day dead battery with complete uncertainty, then in May-June the nation was told of deep trouble facing an entire financial system, July-August brought home the cold facts a majority of the stock market companies were bleeding profusely, during September-October the economy failed globally and the U.S. switch their focus to a national election that could bring change. November showed us change just may happen and December holds holidays bright promise for the future.

Oh what a year! How has everyone held on? "Faith", could be a good answer, "hope that tomorrow will be better" was another promoted concept or may be we just didn't think about it. In my years in business or just my many years of being around has taught me that people are actually capable of a strong rigidity factor. Of course, no one wants to be put in that position, but when backed into a corner, people are pretty tough.

When business falls apart around us, we go into survival mode. Business trims wherever it can to survive, problematic issues always relate to a "cash-on-hand" mentality. A few years ago credit was handed out like candy on Halloween, which really created a mess. Now, the term is "adjustment" or "reorganizing", sounds like another cover up for a major blunder. Some vendors are put in column "to be paid", others "pay now" and some, " lets call and figure out a payment plan". In the meantime, people are being effected, once the volume of cash doesn't enter the public, doom and gloom prevail.

There's a new year coming! MPC is determined to complete at least two films in first and second quarter possibly beginning a third in the fall. The company intends to hire people and cultivate a new client base. Growth in our development division is showing promise with the introduction of the Lens Rain Shield protecting camera glass, giving audiences a better shot. Our team understands, the only way to get past this mess business is facing is to stimulate our mission statement, not sit back and hope...but to act. So, join us and "roll the dice", let's look for a brighter tomorrow. And that's the Reel Story.

The investment community traditionally blasts our multi-billion dollar entertainment industry as a "High Risk" investment. As we're aware, investment companies have been exposed for fraudulent practices supporting special interest and contributing to this economic meltdown.

In the TV and film industry the big studios have been known to conduct bookkeeping tactics that would confuse a seasoned auditor. Aspiring filmmakers have also given the industry a "black eye" for less than stellar productions and "hot shots" think developing a project is "a piece of cake", chasing away the investment community. Anyone interested in investing must know homework is essential. Like so many of the "big guys" (Disney, Universal, Sony) their assets are internally diverse, an investor feels guaranteed or at least secured buying into their companies big board companies.

While no investment is 100% , the truth is, investors could be putting themselves at a higher risk with bigger companies. When a project goes "south" in a small production company it becomes obvious, quickly. While at the same time if one or two of the big studios make a bad judgement call, they can "sweep it under the rug". The investor never knows what went bad or why the investments didn't yield the profits.

Many investors don't have the time to "baby sit" their investments, relying on a broker or money manager to do the work. A money manager only looks at the big board investments and sidelines a smaller, valuable production company. A smaller independent studio, has the ability to act faster than the big conglomerates, decisions can be made with lightning speed keeping the investor and quality of the project in mind.

Generally, the mini-studio is owned by a group of passionate people, at the big studios, passion is not a criteria for success. Mini-studios must perform, since they're visibility is more transparent than a major. Minis can't use the "carpet" to hide bad decisions. Of course, majors do farm out projects to minis, but politics, schmoozing and the buddy system play even larger factors in those cases.

The fact that a mini-studio is riskier than a major is not true. The difference always comes down to money. As long as money is properly allocated, the project is marketable and key people behind the project are skilled in what they do, the investor is at less risk and in fact stands to make more money from the investment. I acknowledge, additional variables rear their ugly heads at times. The fact remains, a director is going to be far less apt to abuse a budget coming from a mini-studio, then a big studio, which historically is pretty clear.

If you're contemplating whether you should take a chance and invest with a little guy or the big guys, do your homework before you write the check. Look for the passion which equates to protection, look at who's behind the team and understand when and what the pay out will be. Then, write the check and watch your investment grow...and That's the Reel Story...!

A few years ago, I was assigned to produce a shoot for ABC/ESPN. The format was a "talk back" interview with Tiger Woods. It took place here in LA at a Country Club. The feed was broadcasted worldwide, while sports writers attending a luncheon at Walt Disney World were asking the questions.

Since, much of the feed was for East Coast markets, I notified all crew to check in at 5:30AM. Tiger arrived at 7:00AM and we were "hot" at 8AM PT. The production truck arrived equipped with an uplink dish and a basic internal production package. The crew laid cable, set the camera, lights and "faxed" the signal...all seemed to be a great morning.

Without doubt, Tiger is a great golfer and a very strong interview. Tiger's smile seems a part of his overall marketability. We greeted each other, shook hands and oh, what a grip! Once we were all settled, I was talking back to Orlando via the truck satellite transmission up and down link, everyone was ready and excited to interview the King of Golf.

About 15 minutes into the shoot I discovered Tiger was looking green! I called for the engineer to check what the problem could be. He put his donut and coffee down only to say it looks GREEN! What the @#$% was I paying this genus for? I asked him to check all circuits, patch connections, cables...everything checked out. If the problem wasn't coming from the truck or monitor, then is must be at the camera end!

I asked the engineer to heat up another camera and fire it up so we could switch out the shot. Then, in a soft voice I heard, "what other camera, we don't pack a back up". "OK", I said with concern, "how long would it take to get someone from your shop to bring another camera...?" "About 15 minutes" he I uttered! Well, the camera finally arrived, the operator set it up, Tiger continued to answer questions for the audience and most of the feed was a bust.

A few days after my "swan song" with ESPN the president of the satellite truck company called me to apologize, although a nice gesture, the damage was done. The culprit was a weak board in the camera, when it heated up, failure occurred. An indication of the problem would have shown up if the engineers would have "bench checked" the camera. Instead, they looked at it for any external damage from a recent rental and turned it around putting it on my shoot. I wanted to check out the gear a day earlier, but since the truck was coming back from another production it was available.

I should have followed my own rules and demanded a new camera be swapped out and put on-board the sat truck. Well, lessons learned! Now, it mandatory I see the "bench report" before I rent a piece of gear, regardless the level of the production...and that's THE REEL STORY...!

I never thought much about the challenges of shooting on a ship at sea, until Disney launched "The Magic" and "The Wonder". I've been privileged to be apart of some great gigs, but this one ranks in the top 5! Although, real tough work, being on the these great "maidens of the sea" with good people made it very memorable.

The first ship launched was "The Magic". I prepared a list of the video/film equipment, crews and additional gear, which was attached to the manifest paperwork and presented it to U.S. Customs officers 3 days before any equipment arrived at the port. After U.S. Customs cleared the personnel (yeah...our government checks you out) then the schedule of deliveries were confirmed and everything was brought to the port at least one day in advanced before loading. This routine creates a little hassle from the rental side because you have to figure in additional rental days. Paperwork must accompany every piece of gear inside a case, also, shipping cases must have the paperwork displayed on the outside of the container. Make copies of the manifest and make sure to include additional copies for your binder which becomes essential elements when dealing with Customs. If you go through a broker or agent, they'll provide all documents, but in our case, we had so much gear and full crews, we decided to do it ourselves. Make sure you include additional lists or copies for another port-of-call or in our case the Bahamas.

After settling in and going through the life boat drills, we were ready to begin our shooting adventure on the high seas. I found out our communication radios only worked in certain areas of the ship. Since ships are built with so much steel and in some areas lead, radio signal is limited. One issues we never had to worry about was power, ships are actually massive powerhouses with fancy rooms built around them. On the walkthrough make sure you ask what the power conversion is so you have the correct adapters.

We began our set ups, I blocked shots and locations for ABC's Good Morning America, then prepared the location for the "View" and other top network shows. I contacted our Satellite Team to test the uplink signal on the Geosynchronous dish. These dishes lock in and track the satellite while the ship is moving. Once you get 3 miles out from shore, cell phones are useless, all communications back to the mainland are routed into ships phone system, so this is not a place you can hang a phone from your ear and talk all day.

The following morning we did all the live hits, a glitch with audio on the bridge was the only issues we had, but remedied that in no time. After the main TV shoots were complete, the crew had to set up for a TV special for the Disney Channel. We were "old sea dogs" by that point! As we began filming and taping the on-board concert from the top deck, one more surprise was in store for us. Of course, we all know the film crew is not to interfere with operations of the ship, so when the "Magic" decided to signal another ship...the horn blew and we just about jumped out of our skins.

Well...after some 22 separate trips on the ship and launching the "Wonder" a year later, we officially had our sea legs! Learning how to coupe with ship operations, U.S. and foreign Customs officials, nature and the high seas to get that shot will be a lasting memory in this pirates heart...and THAT'S THE REEL STORY...!

Many productions ago while opening the Disney Studios, Orlando. We had a shoot for the Disney Channel, with the late and very talented (nice guy) Roddy McDowall as the host. The talent (Roddy) walked down one side of the street, turned the corner and started his monologue. This 35mm shoot, laced with a dolly, Steadicam, 22 foot Jib, 180 feet of track, lighting instruments everywhere, distro-boxes, flags, two genies and some very good crew members made up the production. All audio had to be hard wired because of RF interference in the park. The dolly, track, lights, distro-boxes etc. were staged in a grassy area with a short fence around the perimeter. The steadicam in front of Roddy, tracked his walk with the audio boom operator following close. The dolly went into its move as a cover shot and we all held our breath as this long shot seemed flawless.

In a perfect world this would have been the "keeper", but one element somehow was never checked off the list or even put on the list. When setting up the shoot, personnel were given the assignment to make sure all elements for the production were double checked. The Producer was focused on the script, everyone seemed to be doing there jobs. What wasn't thought of, was a common element when shooting on grass...the sprinkler system! Yes, no one told maintenance to shut off the timers and the sprinklers blasted on! When the system came on, it was like a well orchestrated scene from the "Keystone Cops". Lights were blowing, glass shattering, people diving for cover, sparks were flying out of the distro-boxes like fireworks, the camera was soaked, what a mess to say the least.

An issue as simple as this, ended up costing an enormous amount of non-budgeted funds and the poor client assumed the liability. If a comprehensive check list was made available in the beginning this minor disaster could have been avoided. Keep in mind...whatever you do regarding a production, the "bible" MUST have a detailed check list attached. In spite of some "egos" I've met along the way, I still haven't met anyone (including myself) that can remember each detailed element of a production. The production manual (bible) becomes as important as the production (may be even more).

Oh...you're wondering what happened to the gear? Everything had to be replaced, the camera was swapped out for a new one, the wet one had to be stripped down, re-lubed and was out of rental for 3 weeks. All the lighting was trashed and the rest of the gear was wiped down. The production lost critical time, thus, having to re-scheduling another day, because we lost natural day light...just because of a little list. Of course, the other side of this story... you can have a list, but make sure you look at it!

And that's The Reel Story!

Recently, during the "Oscar's", Hollywood weather did not live up to the songs and marketing hype "...it never rains in southern California...". Truth be told, the weather sucked! Wet, cold and damp with no hint of sunshine...that was Hollywood.

This type of weather plays havoc with any event or production, talk about a non-budgeted expense! Weather, can put a real damper on any good production. A scheduled exterior day takes us away from a "controlled" shoot or studio and becomes a budgeting gamble. If you're in an area or during a season that weather can turn from great to gloom, a plan must be pre-designed as though it was another shoot. Weather, will impact almost every phase of your production, so be prepared.

I had the best training ever while working with Disney on their events and productions. It seemed inevitable, if an event was planned, so was rain. We would have pallets of umbrellas...a "soft hold" on yards of tents and Disney ponchos seemed to be everywhere. All cables and connectors had to be waterproofed, spare rain bags to cover cameras and lets not even talk about lights. Locations and "Live Sites" had back up areas, "just in case...". Costumes and characters could all fall victims to the weather.

On film shoots, if the script doesn't call for rain, winds or whatever the element, you have a few choices: 1. Switch the exterior shoot to a stage day 2. Bypass the elements and include it into the script (deal with it) 3. Or cancel and you'll be guaranteed a meeting with the "suits" to explain the loss of thousands of $$$$!

So, a good producer along with the production team plans...plans, then, budgets those plans. The comment that "production can be costly" is an under statement when you go head-to-head with the weather. No matter if the "gods" shine on you or mother nature decides to open the heavens, a production is left with little choice, because the "Show Must Go On"...and that's THE REEL STORY!

When audiences go to the movies these days they expect more screen entertainment than ever and they deserve it. With the cost of a movie ticket on the raise, they need as much as the production industry can deliver without costly budgets.

An interesting article came out from this years Sundance Film Festival, it reported that the first 15 pictures screened either had the main actor getting killed, murdering someone, blown up, depressed on drugs or some obscure genre. The article went on to describe how puzzled film buyers were with such a negative line up. The old saying is that films are a "mirror of society" put a bit of fear in me or are we just in bad shape, if that's the best new filmmakers are coming up with.

From behind the scenes, its less costly to produce a picture when the creator has some limited street scenes, a lot of the shots from one location and stays within the same interior. Other factors play a role, with the level of equipment or tools used and formats. Sure, it helps the wallet, but what about the audiences? The days of Felinni are in the history books. If you scroll the titles on your pay channels you'll find more death, depression, tragedies than wholesome family, comedies and good healthy movies you can come away with a smile or warm and fuzzy feelings.

Audiences complain, but trust me, Hollywood doesn't listen and does what it wants...not what you pay for. I believe in giving the audiences something for their money. Creating moods, thinking like the person sitting in that theater seat. Did you come in to be entertained...to forget reality...to go on a "mine" journey, or for a good story line? I think all of the above.

As I get ready to shoot our first big film independently, I continually read over the script and try to see my audience, from their seats. What is the reaction of my audience, do I need to bring them up and let them down slowly, make them laugh, sing or maybe shed a tear.

I guess the teaching of "old school" has stuck with me in these modern times. So, when we finally appear on the big screen, I intend to have my vision make that ticket worth every dime, because I know without wonderful audiences, good stories and a touch of my magic, its just another filler at the cinema. And that's...the REEL STORY!

On midnight December 31st, most people toast the end of an old year and the beginning of a new journey. As our company implements new plans and directions, 2008 not only looks interesting, but a very profitable year overall.

We'll start the year with finishing touches on the "TAKE MY HAND" theatrical feature film project. As we get ready to [finally] shoot the first frames of an exciting and challenging motion picture, our daily schedule is packed with hours of final preparation. We've built relationships with new thinking progressive investment groups that understand our goals and have designed an aggressive financial support mechanism enabling to grow with our master plan.

In January, I'll be attending CES and NATPE, focusing on production tools while completing our obligations with TV programming. The new year will implement a phasing out of Television Distribution and sales. Negotiations with distribution companies to represent our products are ongoing which makes good business and increase our bottom line. MPC and our divisions will be focusing on what the company is known for "Quality Productions".

February and March gets us to the sound stage, where we plan a 3 month production on a 12 year project. March, April and May are dedicated to the production and completion of principal photography on "TAKE MY HAND". Once TMH is in editing, we begin the production of "LEROY'S CHRISTMAS" the story inspired by a little boys wish to Santa. The creative team will be working on completing the development of three other projects. Our staff will grow as will the projects we're developing.

MPC continues to move forward with a 100 million dollar potential worth of quality family entertainment projects. The road to success will present some bumps, but the companies 23 years of experience and exceptional creative team is ready to handle any challenge that presents itself.

So, as we raise a glass welcoming the new year, our goals are clear to make 2008 a year of creative reality and that's THE REEL STORY. HAPPY NEW YEAR!

During the last few months we've heard the buzzword "GREEN" over TV, in print and of course those politicians that go with whatever the "thing" is for the moment. For those living underground or in Hollywood, that means environmentally safe!

I'm not professing to be a scientist, expert on the ecology or all knowledgeable on facts, but this scares "evil" right out of me. In fact, I stopped watching Discovery HD because it nearly depressed me on what could happen to our children's, children! The information presented to the masses recently has been pretty scary when you think of our earth and what changes are taking place. I don't think its all from humans...although, lets face it we sure have contributed. What really gets under my skin is what people say and do, as the American Indians said in those '50's westerns; "white man speak with fork tongue" and sadly that's true in Hollywood.

They're major production studios and producers just not grasping the bigger picture. One of the issues is high def replacing film. I started out in film and truly believe the pictures are great...hands down on 65 mm. The look can be romantic, warm and marketable. But, the reality sinks in after a movie is shot. When a film goes to processing, the chemicals used to bring each frame to life are harsh on our water systems. There isn't a town in the United States that would issue a new permit to a processing house. The older companies are grand-fathered in, until the format goes away completely or they figure out some other way to process a print without the harsh chemicals and disposing of it, we need to support HD and the new Digital Cinema.

Another issue plaguing our industry for 80 plus years, is with equipment used on a set. Lead is continually used to counter balance jib and crane arms. For anyone who's been around the sets grips handle lead all day long and I always said..."you can't make a grip wear gloves". The lead in weights absorbs into their body and stays, the navy found that out in WWII. I hate to tell you the truth about those old truck cranes everyone loves to roll on a set with its 900-1200 pounds of liquid mercury. Well, I will anyway.

It was brought to my attention while driving in Burbank the other day, traffic was stopped because of an old Apollo truck crane was blocking the street. The amount of liquid mercury and lead in that unit would make any tree huger hang themselves. But, because the family who rents he units are an institution in this town and has a untold reputation of bullying productions to use their gear, Hollywood still rents the "death machines". At one time the technology was the only thing known. But as the world got smarter the company did nothing to change the system, however, they did attempt to sue others that engineered a better "mousetrap".

Now you ask...how do I know that...well, proudly, MPC tried to go "green" in 1995. We paid out over $300,000.00 of our own money developing a mobile motion picture camera crane that met environment specifications and eliminated the use of liquid mercury and the handling of exposed lead. It kept grips safe and protected the environment. Of course, the "family" attempted to stop us with a $125,000.00 frivolous law suit which went away as fast as it was presented. The bottom line goes farther than Hollywood. When I approached Washington, some listened politely, others laugh as though it was no threat. By the way, his was during Al Gores watch.

Well folks, it is a major threat to our soil and to our body. I brought our environmentally safe crane back from the east coast to LA where the only company that would support the system was MPC. The system is better than anything out there in its class, its the road bumps don't seem to vanish.

Long story short. We're bringing the crane back and we're going to use HD for our film projects, not because I'm in love with HD (although, its getting real good) but I want to do a small part for the ground that has supported me all these years. Make sure you're doing something for our "Mother Earth" and thus, for mankind. If we don't the Discovery channel will tell us how bad it really is going to get...and that's the REEL STORY!

As summer moves in and we begin thinking of vacation time, higher electric bills and our weekends by the pool with our preferred drinks, the film and television business jumps into action. As ad agencies complete recommendations on what fall programming to lay their money on and the film industry finalize summer media tours for forth quarter theatrical releases, its obvious things start to heat up.

This year the tone of things are a little different. Although, all the above mentioned will happen, also will union leaders representing scribes meet at the table to talk about money (what else would they be discussing) at the end of July. Yes, our industry could see remnants and the ghosts of 1988 rearing its ugly head. If the writers guild feel a strike is emanate, the entire industry will loose. Now, you may be thinking...Cummings you've spent too much time in Hollywood and your drama is getting the best of you. Well, not true!

I lived the enormous impact the strike of '88 dealt. Since, I have no unions representing me or even caring if I survive as a small business, the last major writers strike put many of my colleagues out of business. Fortunately for MPC, we had Disney as a great and wonderful client that also felt the impact, but did care enough to help their vendors through the crisis. Looking back, I was stock full of gear, based in Orlando (thank god) where it is a right-to-work state and unions, although respected, couldn't hold a "hammer over your head" while producing a project. If we couldn't get union talent or workers, we hired non-union...say what you want, but that save our company.

MPC went 16 weeks without one rental of equipment. As the primary supplier for Chapman cranes and dollies, as well as Fisher and other gear in the southeast region of the world...we could have lost everything. Jim Fisher gave us a break with the leased gear during the strike, Chapman 'shoved us to the wall' and made us pay every dime with no concerns of what was going on, while our other vendors did whatever they could to soften the blow. As Hollywood studios were dying a slow death, we were forced to switched our daily routine and began to produce programming. I contacted every industrial client we had ever had to see if they needed production. It was devastating!

In the body of all our contracts, there's a clause that reads "for all mediums known and unknown". The writers are concerned about the internet, which in 1988 was an unknown. Well, no one knows the future of the internet, everyday we discover new applications and because it sounds right it isn't always true. Major companies are jamming concepts down our throats...but will the public buy into them...that's yet to be seen.

As a word of caution to the new kids on the block or those who have recently entered this wonderful world of Show Biz...as the studios step up production this summer in fear of a strike...if our scribes decide the studios are being greedy...prepare yourself, October could be the start of a very poor forth quarter as the ghosts of 1988 rear their ugly heads before halloween...and that's THE REEL STORY.

Washington DC was buzzing with representatives of the film industry this February. The impressive "Independent Film Small Business Job Creation Act" was the agenda item, which is do to sunset in '08. The IRS tax incentive was created to keep filming and production in our country, America. Reports estimate more than 10 billion dollars is loss annually to other countries.

Speaking for MPC, we need those incentives. There's many advocates on the other side that say, "why should we help fund the movie business?". These days, hi-tech companies have the eye of every investor. What are the hi-tech companies looking to do in the coming years to make billions...downstream movie! What do we do...make movies! So, it only goes to say if they don't want a smaller amount of movies produced, we need some help. Each of the studios only make 5-11 movies per year.

I know first hand, MPC is one of the last "ma & pa" companies that are not owned or funded by any of the big 5 studios. At this point, we would rather skip the bureaucracy of the corporate process and do what independent studios have done for years...make a movie that audiences embrace while the box office gets their dollars and we the owners, reap a decent profit. I'd be the last to debate whether we need investors, because we do. Our manufacturing process, called "filmmaking" is very costly. A typical production crew averages a minimum of 35 to 60 people. Some are paid well, others barely get cost of living. If some are non-union their in a "catch 22". So we need all the incentives possible to be a proactive "good citizen" and profitable corporation. We don't make the 100 million movies (most are flops anyway), we make movies ranging from 7 -15 million, sales worthy and marketable.

We fit perfectly into the spirit of the tax incentive. We have family movies, no sex, language is carefully monitored and our scripts are about good people doing great things. Even our Sic-Fi scripts have a positive message. Oh, did I mention I can sleep at night! We want to have the best people scheduled, working on our productions and we're not afraid to bring in newer talent on our teams and keep our production in the United States. So, we do exactly what the tax incentive was design to do. Now, congress wants it to go away...at least for the moment. No one has mentioned we've been in financially stressed times. Government funds are being sucked up by the over budgeted production going on in the middle east, while we try to convince investors to release funds so we can grow and make our product.

If congress only wants big corporations to control everything, then get rid of the incentives. As most small business knows, you're the "bad guys"...unstable, cash strapped and are aways looking for that big deal. I guess when you look at it, big corporations aren't much different they look for the same things, in addition, they have Wall Street on their side, of course they also have the SEC breathing down their accounts necks and CEO's are responsible for the companies actions. But, they have money on their side, an element to all success.

Wake up congress! Support smaller companies that you claim are the backbone of the economic ladder. We can use all the help offered. If the little guys go away, this land has a seriously problem on its hands. We can put people to work, we can build a solid work force while keeping great records for the IRS. The Congress and States need to keep incentives for our business, we're a environmentally clean business (with a few exceptions), people make good money our sets, that money is pumped back into communities helping everyone. Tax payers have had their hard earned tax dollars subjected to ridiculous programs. At least this one is something everyone would enjoy and each community could realize a positive impact...and That's the REEL STORY!

When the FCC passed a mandate for Broadcasters to include Closed Captioning (CC), mandatory 100% per program, they helped captioning companies finally get some real business and emerge as a viable business. In late 1970, the National Captioning Institute first began, funded as a governmental agency. NCI was pushing captioning of shows for PBS and special interest broadcasters. NCI also sold decoder units that interfaced with cable boxes or directly into a television. Line 21 became the designated signal area which allowed the hearing impaired to finally understand and enjoy programming.

NCI is now on it's own with plenty of competition from new companies popping up as small independent to fairly large groups like Broadcast Captioning Service, Caption Max and Closed Captioning Inc. to name a few. The fact that some 22 million hearing impaired can now watch TV without reading lips and truly understanding a program is a good thing. While I support captioning not from just a broadcasting aspect, but I understand it first hand with family members living in a soundless world. When they visit, I have the opportunity to really watch captioning on my home TV. Captioning is a mess! Most show or scripted programming are behind and slower than usual about 7 seconds. Would the hearing world stand for that? Spelling has gotten better in the last few years. Placement of words over faces, bugs, names continue to be an annoyance. WGBH Closed Captioning division seems to be one of the worst and needs a good training program. Networks trying to save a buck (CBS and Fox) use WGBH plenty and it shows.

It seems that the FCC created a requirement, listened to lobbyist, but never went any farther. Now that content providers and production companies must include one more element to a program, you would think they'd take the time to make sure it's better. This added expense doesn't help the mass, only a few. The CPM is very costly when you break it down. However, it is a good thing, we (networks included) need to do it better.

When it comes to "News" CBS is the worst, ABC and NBC rank pretty good, while local stations (in LA) do well on the "fly". Once again, it seems the FCC did what was "politically correct" and didn't look past their nose spelling out the guidelines. The other area I don't get, is why isn't mandatory for advertisers to add CC? Most of the smarter advertisers do add captioning, but there are a lot that don't. "What is good for the goose should be good for the gander". What was the FCC thinking on that one?

I have always been very sensitive to helping those with disabilities, captioning is just something we have always pushed for. Now that everyone must do it, they must also pay attention to what their vendors are providing. One day voice recognition will be common and captioning will be automatic. But for now, take a moment and activate captioning on your TV, you be the judge, let me know what you think...and that's THE REEL STORY©

Radio Frequency or better know as "RF" has been around since the Brits aired their first broadcast in the mid-1800's. I'm sure science would correct me and say RF has been around since the beginning of mankind. Over the years, RF has played a big roll in many of my productions. When I began producing projects on Disney property, wireless microphones were an absolute No, No! The RF could bleed into the control systems and virtually stop a parade float down Main Street at the Magic Kingdom.

We've all learned that RF from computers and mobile phones could play havoc with controls on an aircraft. Many don't believe their little device could do such a thing...but it can! Test after test have documented the slightest RF bleed over can create an air crafts gauges to show a misread. Of course, newer aircraft will be able to handle the invisible killer with newer shielding methods around cables and gauges.

Many years ago, MPC supplied all the camera gear for the movie "Parenthood". Director, Ron Howard wanted to do a move that could only be achieved by an arm and remote head. In those dark ages, the British remote head "Hot Head" was the only system proven but hard to get. In Burbank, Bob Netman was working on a new system when Mathews bought his company, which allowed him to add some better "bells and whistles" to what would become the "Mathews Cam Remote". When Ron asked if I could get a remote head for the shot, I called Bob to see if his system was ready for the field. He told me he'll send it out and to call him if I had any problems. Since no one in the US made any arms (except for Eddie Barber and his Barber Baby Boom or cabled scissor trap) I called on my friend in England, Dennis Fraser at the Grip House. Dennis sent me an arm made of all magnesium, and told me not to get it near an open flame. That sounded interesting!

After receiving all the goods, we tested everything, which worked great. Ron was ready to shoot the school auditorium scene which needed the arm and remote head. Once set up it was very impressive, however, when "Stand By" was called the lens jumped off mark. We repo'd and once again the lens jumped. Now that we've burned an hour (plus) on that issue, we were ready to make the happen..."Stand By"...the lens jumped again. The Producer, Joe C. turned to me and let me know that if it happened again I can pack the *&%&ing, #*&@ up and get it out. I asked for one more test. I was standing behind the unit with Ron and Joe, Ron said to roll film...as he said that, the PA next to me "keyed" her microphone on the radio...and the lens jumped once more. I told my team to go to the 7-11 and buy all the aluminum foil on the shelf. We wrapped the cable with the foil and shielded the system. Wha-La the system worked perfectly. Of course I called Bob, letting him know the problem.

RF can be very annoying if not properly controlled. What worries me, is the RF emitting from all the new Blue Tooth devices. In Hollywood and most of the country, people walk around looking like Spock or a Star Trek character with the wireless device hanging from their ears, with a blinking red or blue light. Although, we're told the range is only 10 - 20 feet, if they're allowed on a set, what damage and loss of production time could be created. They're convenient during drive time, but recently on the set of REAL TALK, RF showed its ugly head and was captured on the audio with a "tick tick tick" noise. That has costly effects and an unexpected amount dedicated to audio clean up or sweetening. With the advancement of technology, those of us responsible for budgets need to be award of any deadly killer...could Blue Tooth RF be our next problem...trust me it is? We'll be watching it very closely on all our sets...and that's the REEL STORY!

In recent weeks, several articles have surfaced with overtones of how "out of touch" the big 6 Hollywood Studios have become. The box office is flat and DVD sales aren't much better. Hollywood seems to be turning its head the other way, blaming the public and new mediums for the problem. I believe, the big 6 are "buying into" their own PR. In a report published by Standard & Poors on April 7, 2006, it clearly cautions investors about the major issues facing the studios. With disappointing box office declines of 6% and other problems facing our industry. Its time for someone to throw cold water on these studio big guys.

Average to poor movies being released could contribute to the problem (wouldn't you say..?). Hands down, the industry has become so complex these decision makers need to step back and look at the real picture...not the pictures they create. From my own experience, the studios don't look for good storylines, they look at trend setting issues as a vehicle for making "great" films. Obviously, that concept isn't working very well!

When MPC submits a script, it costs a considerable amount of money. We have to make tons of copies of the script, put the investment proposal together, document everything, pay everyone involved, find some "warm blood" that's willing to look at the project, contact the attorney to present the formal submittal, then hope we have a friend in high places that can understand what the concept is all about. Its like creating a new business every time we submit a new story. That's just the process to submit, we haven't even gotten close to a deal. The deal process is a whole other story. Then if we get a deal, we have to come through with our promises (which we always do anyway).

Other concerns are about high mega-budgets. "Bean counters" think this is a great way to entice investors (Hello!). During my decades of experience, I've been on sets and seen some of Hollywood's top Director throw money away by the minute. OK, I know some of the best laid out plans sometime don't work...but the waste of budgets are mind boggling. Fortunately for us, smaller budgeted films, independents and family motion pictures seem to do very well. They can make the investment back, provided its a decent story, good distribution, shot properly and have the right team, all this together, makes for a nice profit overall. I hope investors don't put us in the same "boat" as a studio!

Ronald Grover, entertainment columnist for Business Week wrote a very interesting article on April 4, 2006, "Tinseltowns Tin Ear for Quality" questioning the thinking of recent re-makes and high budgeted flops. I was so impressed with his unorthodox comments, I was compelled to send him my opinion (who would have thought). I've included the note in the following:

Mr. Grover,

You hit the nail on the head. Today, studios don't care about the science of making movies. Directors depend on computer effects to make magic. The old phrase of “we'll fix in post” seems to run wild in this town. Whatever happened to the days of making a film that audiences would “buy” into every scene, make you squirm or stayed in your mind for coming weeks? Now, once the credits roll the movie is really over.

The new geniuses at studios have about 15 minutes of experience in true moviemaking, while dazzled by the talent, the psychology of filmmaking has been replaced by marketability. True audiences (everyone outside of LA) gets it, box office sales have been soft and it not because people are purchasing new formatted TV’s! Our film schools are also at fault. Every University has developed a “film school” as another great source of revenue, pumping out students who don't have a clue how the industry works. Thus, the market is flooded with poor or abstract scripts with mediocre plots and storylines. Unless you're a buddy of a studio executive or aggressive agent, your chance to pitch a project is slim. If the talent or Director is marketable on nightly TV entertainment shows or media tours, then they get the gigs.

Brands are buzz words, not great films. Ongoing, Hollywood management is so dazzled by actors and a “named” director because of some deal they've cooked up with agents or buddies, they've forgotten the moviegoer. Studios who bet on re-makes are scrapping the bottom, unwilling to negotiate new deals with creative filmmakers of tomorrow. Once a studio has the rights to a storyline, they sadly beat it to death...and historically, death is what happens.

As far as budgets go in a studio landscape, each time a script passes someone's desk the budget is increased by 5%. Since, everyone has a TV or goes to movies, that makes them a “director”, giving them some notion to express their “creative” opinion. Lets face it, a camera rental is based on a 3 or 4 day week, costs for grips and other behind the camera crews will always remain what the unions dictate, so the costs aren't that far out. But when directors waste time in the name of “creative judgment”, rent a bunch of “cool” gear they never use, compounded by costly talent, together creates elements that pump up production costs. Studios must to stop playing to stockholders and start playing once again to audiences or stockholders will begin to look in other places, possibly audiences already have.

The industry is becoming very tough. Good projects are out there ready to be made. Maybe its time the big guys remember that they too were little fish. May be it time they start looking outside of friends and family and give a gander to fresh new projects to boost stockholder interest that could bring the audiences back the big screen...and that's the REEL STORY!

As the entire TV industry struggles with the enormous changes taking place in the broadcasting landscape, a few historical facts popped in my thoughts. Recent polls indicate young adults don't watch TV...(OK). Next, younger teens have also tuned out...(that sounds correct). While an 18-49+ demographic uses their phones, computers and other devices to see what TV, combined other information has to offer on the interactive highway or coin "Televisual Age".

I pondered the historic reality television created bringing us to this point. First, my generation watched TV during the week with family, it was a big deal! As my family gathered around a brown box with a small tube screen, watching Uncle Milty, Bob Hope, Mitch Miller, Lawance Welk and other classic live shows. On Saturday mornings, I got the chance to imagine myself in the seat next to Sky King, galloping with Hop Along Cassidy, flying next to Superman or standing up two feet from the screen, while the Lone Ranger got the bad guys. I laughed at the antics of Knuckle Head, taunted by Jerry Mahoney and wondered how I could exist when Buffalo Bob told me this was his last show.

Then came the transistor, we were the "cool kids" with a portable "transistor radio" picking up every AM single in the market. Later, I carried a small portable record player with an AM radio...I put batteries in it and play my 45's with a new sound labeled "Motown"...WOW...! OK...enough with the time capsule.

Now, our audiences are the tech-savvy, multi-tasking, impatient "Millennial Generation". When Apple introduced their version of a modern day transistor radio or record player, we all could see the next thing coming...telephones, the portable "all can do" devices delivering TV shows and everything else.

So, what do we do as content developers or better yet how do we build our shows to accommodate future devices? The answers are simple. We do what we've always have done... build shows with interesting story lines. Whether the programs are sport related, entertainment or information, we make our products marketable and well produced. Sure, there are people putting together programming on a "shoestring", but lets face it, the product is only acceptable for a curtain format, like computers. The key is still to make quality products that are diverse on cross platforms. Kids designing a politically silly video, reaching to a minute or narrow demographic will fade as fast as the arrived. Don't get me wrong, creativity can come from the strangest places and we'll continue our support for up and coming creative artists...we've all started someplace.

But, now its critical to have the knowledge to build our products for multi-platforms. Film, as we know it, is going to vanish, not only because HD has taken the spotlight, but there are other issues, like harsh chemicals in the developing process, that really do pollute our environment, time and turn around or better yet, budget. So, as we squirm and try to find that crystal ball we ordered in the '70's, a "change is a comin" which we need to rapidly conform. The future holds many opportunities with new vehicles for the production community. It now time to get on the "band wagon" or as the industry is phrasing this rapid grow...the next "Big Bang"...and that's the REEL STORY!

Historically, our industry is the first to create new ways of improving techniques to deliver a better product. In the early days of Hollywood, a guy named Cunningham invented a device to mount a camera and camera operator on a long lattice beam to freely move or float the camera...thus we have the camera crane. In the 1930's, a grip got his hands on an bomb loader that would hoist a bomb to the belly of an aircraft, modified it with a camera head and wha-la, we have the camera dolly.

We've moved light years ahead of the old days with analog fading away, film images being re-defined, Hi-Def bringing us a look of the 35mm or 65mm clear resolutions and standards on aspect ratios. Although, cranes are still large and most often awkward, our insurance agents would rather us "fly" cameras than people. In the last twenty years, remote heads, telescoping cranes and cameras on cables have replaced the truck arms. We've gone from tape to file, from biking shows to streaming, TV sets to a hand held devices. Is the cinema the next to fall? Well, I don't think so...but when studios want to introduce a film in a theater and the very same day release it on DVD and broadcast, I stop and wonder.

The FCC has introduced new requirements that broadcast stations and networks must meet this year and through 2009. All this change to an industry in a short amount of time is interesting. Some sources, have reported huge issues over simple things like, closed-captioning recently. It seems stations can't find line 21 and when they do they don't know how to deal with it or each show must be captioned in real time.

Few of us knew where we were going when we started in this "exciting" industry. As for me, I just wanted to make movies and direct great performances. The business of the business has been overwhelming, with 6 companies owning all the major broadcast space and studios, the stock market has now become our new ADI and sloppy production doesn't seem to bother anyone but me. Because of shoddy research from some high paid law firms, we can no longer pick the phone up and pitch a show without it costing a minor fortune.

OK, maybe this is all for the better...I'm not convinced yet, but, we'll deal with it! In the meantime, I'm going back to do what I set out to do, create and capture stunning performances to share with audiences across our tiny globe...we'll see what this new year brings...and that's my REEL STORY!

As the year closes and most production companies try to complete projects before the holidays. I looked back at some of the developments in '05 that laid out a direction for the new year '06.

Finally, talk of the small (real small) screens have surfaced into a tangible hand held device that we can touch, feel and sometimes (if I have my readers on) see! Clients are understanding the difference between High Definition and Digital formats. Files are no longer confined to word documents, but are actually the norm for distribution of programming. Theaters are warming us up to the conversion that will eliminate massive projection systems, making way for a signal and simultaneous showings of movies across the globe. Now, TIVO has created a hand held wireless version of it hard drive device, making it easier to view our favorite shows on our schedule, not the schedule of a program director.

Indeed, great mines have diligently worked on new ways to bring the entertainment world to the masses, when and where they want it. The effects of digital has been overwhelming as a new way to distribute signal. Miniaturizing computer chips have taken devices from room size to pen size. Mini-screens have been out for many years, thanks to Casio and Sony, but the signal was analog not digital. It took transistors to descramble a signal and pass it into a screen. So, now that analog has gone the way of Swanson's TV dinners and into the vaults of Nick-At-Nite, the new age is officially upon us...Welcome to 2006!

As dust settles, congress is holding to the date when we covert to digital and rightly so! With so many new wigits out, being scarfed up by the consumer, it's time to let go. Yes, colleagues, we can truly use the 3/4 cassette machines as boat anchors. As producers, new tasks to build programming must adhere to the large screen, mid-screen and a 2.5 screen. When High-Def was introduced, I heard some talent scheduling dates with their plastic surgeons. Believe me, what difference is it if we go to the small screen?

Distribution as we've known it, is another area where we'll see major changes. As stations become more familiar with downloading a program and not having to "rack tapes", moving more towards streaming shows, will only increase. I predict, a ten fold increase in the new year. Yes, my friends, those of us that learned how to bike programming can add that concept to the museums vaults of golden garbage.

Now, for the next generation of movie theaters...the unions will have to set aside their feeling for the projectionist. Costs to move a print around the country is "old world thinking". Quality and technology in today's world can offer any "look" a filmmaker can create. Putting creative looks aside, the cost factors are mile apart between film and High Definition. Granted, High Def is in the early stages and they have some issues to work through, but those details and setup issues will be gone as technology increases. As for the Cinemas, flicking a switch and having a head-end system download the movie will increase profits and maintain ticket sales. You'll have to agree, a far better approach than charging $7.00 for a candy bar or a dry bag of popcorn!

So, filmmakers, Content Developers, Producers and Stockholders, hang onto your hats...the new year will bring us into new worlds we just conversed about two years ago. The future is exciting, giving everyone a better advantage for creativity, developing, producing and increasing the bottom line! And that's, The REEL STORY.