SXSW Cancels, NAB Remains Optimistic

As the city of Austin declared a local disaster on Friday amid the coronavirus outbreak, SXSW has been canceled for the first time in the event’s 34-year history. Prominently showcasing the latest and greatest in film, tech, media and music, it’s become a premier international destination for creatives, as well as a trusted barometer on industry trends. Hoping for a warm and fast Spring won’t be enough as the uncertainty in global markets continues to spread faster than the virus itself.

With other major industry conventions also cancelling or postponing worldwide, organizers of CinemaCon and NAB remain optimistic. Working closely with local and state authorities in Nevada, both events are still set to take place as planned with enhanced health and sanitation measures on the ground.  However, several exhibitors will not be attending due to travel restrictions from China and a host of other countries, so attendees should expect a diminished turnout.  

(CinemaCon: March 30th - April 2nd  /  NAB: April 18th - April 22nd)

Even the silver screen has been impacted with the postponement of release dates and production schedules. Daniel Craig’s final James Bond film, “No Time to Die” has been pushed from this April to release in November over fears of diminished revenue.  Additionally, the seventh “Mission: Impossible” project with Tom Cruise has halted production on location in Italy.  And for good reason, Italy is currently experiencing the largest outbreak in Europe.

Our community’s health is tremendously important, so maintaining a clean studio with plenty of hand soap and sanitizer has been our top priority. We urgently recommend that everybody reads through the CDC’s detailed list of preventative actions.  Please encourage your friends and family to do the same. (List link here): https://www.cdc.gov/coronavirus/2019-ncov/about/prevention-treatment.html

Top 5 Steps Producers Can Take for Smoother Productions

Therese Gietler, founder and lead producer at Ask A Producer: https://theaskaproducer.com/ (Photo: Fletcher Wold)

We recently had the opportunity of working with Therese Gietler at Cine Rent West.  As the lead producer and co-owner at Andy Batt Studio, she was kind enough to share her experience in an interview. In discussing the many challenges of our industry, Therese walked us through some of the common mistakes that producers can encounter on the job.  So, without further ado, she generously broke it all down with this handy-dandy top 5 list: 

1. THE TIMELY DISSEMINATION OF INFORMATION

Isn’t this pretty much the only job a producer has? And yet, every single department had the same story. ‘I showed up on set and I had no idea what I was being asked to do. I’m going in blind.’ For example…

“People wonder why I have such a huge makeup kit? It’s because I never know what I’m going to be asked to do until I arrive on set. It would be really nice to know ahead of time how many people I need to put through the chair, who they are, what looks I need to create. High fashion? Sporty lifestyle? Blood and gore special FX with scars?”

“Half the time, I get wardrobe sizes of talent 4 hours into my first day of shopping. I end up working until the stores close as a result. I’m rushed, and end up purchasing double what I need in order to cover my ass”

What is the solution? I like to send out the production book to all crew in email with the first call sheet. This saves me having to print extra copies, and the crew arrives having an overview of the production. More often than not, the production book isn’t done, but I can at least send out the current version. This is not the time for perfectionism.

2. BE REALISTIC ABOUT HOW LONG THE SHOOT WILL TAKE

Let’s be honest. There is no such thing as a half-day shoot. Stop it. Stop saying it, stop expecting it. No one can book the other half of that day. And production begins when the first bit of equipment goes into a bag. Prepping and packing and driving to the location is all a part of the shoot day. And in the reverse, returning to home base and unloading and downloading and backing up. That is a full day.

Be reasonable about how long the shoot day(s) will be. It always takes longer than you expect. Just last week, I was on an editorial shoot where I was told we would only have 2 hours with the talent. They had me hire a MUA at an abysmal rate because it was only a 2-hour shoot. Well, my main crew worked a 12 hour day, and the MUA worked 6 hours. We’ve all experienced this.

3. CONSULT WITH YOUR DEPARTMENT LEADS WHEN CREATING THE ESTIMATE

I’ve heard time and again stories about producers cutting corners based on budget. Yes, the project can be done with half the number of sandbags originally requested, but when lights fall over and potentially hit someone on the head, or crash into the prototype product, was it worth saving that $50? 

The solution takes a little bit of extra time up-front. I always touch base with a few of the department leads to run my numbers past them. This helps everyone in the long run. It’s a small investment with a huge return. 

“Bidding a big job without input from the art dept always causes problems. They have us back into a number, and then they start reducing manpower, trucks, etc. And everyone ends up running around looking like clowns.”

4. LISTEN TO YOUR LOCATION

Bring your sound mixer on the tech scout. Or even better, consult with them during location scouting. They are the only ones that will hear the location. While your director is falling in love with that post-apocalyptic warehouse, your sound person is dying a little bit inside as they see the flight path of planes overhead, the active train tracks, and the Amazon shipping depot across the street. The director can still have their location, and your sound person will have suggestions on how to work with it. 

And while I’m on the subject of sound, don’t ignore the mixer when they say ‘the sound was crap’. Allow the team to do another take. 

5. SUPPORT YOUR CREATORS AND CREW

Of course, you have to take care of your client. Absolutely! But not at the expense of your creatives and crew. Treat everyone with an equal amount of respect and gratitude, and they’ll return that consideration in spades. Producers that only exhibit a loyalty to the client will have a harder time booking crew over time.

In closing, trust the professionals that you’ve hired to do their job, and allow them the space to do it well. You take care of them, and they’ll take care of you. Oh, and don’t get drunk at the wrap party. You may say things that you can’t take back. Happy shooting!
 

Follow Therese: @theaskaproducer 
For more information on producing and consulting, visit Therese at: https://theaskaproducer.com/ 

PHOTO BY: FLETCHER WOLD 

Grinding Hard into 2020

To kick this year off right, we grinded down layer upon layer of 2019’s paint on our studio floor.  Memories of past productions rose to the surface with a coat of chromakey green here and a coat of digicomp blue there.

If you’ve ever worked at a film studio with a cyc wall, you probably understand just how much paint is needed to keep scenes fresh and clean on camera.  Normally, we use a flat, non-glossy white, but if the creative calls for color, it takes multiple coats to make it look right on the monitor.  Letting those layers build-up over time can affect the transitions where the floor meets the cyc. Eventually, they start to lose their seamlessness, hence the annual grinding.

When it was all said and done, we responsibly disposed of 500 pounds of dried paint powder with our local recycling program. Van Gogh became a painter because he didn’t have an ear for music, but at Cine Rent West, we paint to make your project come to life!

Success with OPIF

Over the last several years, the Oregon Film office has raised money for the Oregon Production Investment Fund (OPIF) by auctioning state tax credits. This provides our industry with incentives for film, tv, animation and video game production within the state.

This year’s auction ran from September 30th – October 4th and nearly sold out!  Of the 28,000 total credit increments, there were 27,189 increments auctioned off for a total credit amount of nearly $13.6M. Those successful bids amounted to approximately $12.3M being collected in funding for the OPIF, iOPIF and rOPIF programs.

What kind of incentives does the fund provide you say? Well, the state issues cash rebates for goods and services paid to Oregon registered vendors, as well as rebates for Oregon-based payroll.  For specifics on percentages and what types of projects qualify, go visit the Oregon Film website at: https://oregonfilm.org/incentives/

The Oregon Film office is planning to hold a second auction in early 2020 to auction off the remaining credits. Go follow @oregonfilm on Instagram for updates.

Being Green on Set is Easier Than You Think

The temporary nature of most production work can make it seem inherently unsustainable. Set walls and props are often used once before being discarded, while cases of plastic water bottles and disposable utensils quickly fill the dumpsters.  As new reports on climate change continue to look more bleak, there has never been a better time to push for greener productions. So, before Oregon becomes as warm as California, let's look at some simple methods that can quickly mitigate production waste.

The easiest and perhaps the most obvious method is to focus on how food and beverages are consumed on set. Every little piece of garbage adds up fast when there are 60+ people working in one place. Over the course of a 3-week shoot last month, we were very impressed by the overall lack of garbage. Catering and craft services implemented reusable tableware and the crew brought their own water bottles to fill each day with our bottleless water system. They put a reminder on the call sheet each day and this kept our dumpsters surprisingly spacious, especially for a production of this scale.

Before we start having to call Vanilla Ice, Vanilla Water, (We can all agree that “Water, water baby” just doesn’t have the same ring), try to limit the amount of printed paper on set by going digital whenever possible. E-signature platforms are becoming more streamlined, while cloud storage is simple and often more efficient to sort than endless stacks of paper files. You can also make it really obvious where the recycling, garbage and compost should be sorted.  If they’re unlabeled, we can guarantee that some people will throw stuff in the wrong place. If hiring a waste monitor is out of the budget, ask that PA twiddling their thumbs in the corner to supervise the garbage area for a while. 

These are by no means the only ways to make your production more green, but they are some of the easiest.  If you're looking for more ideas on how to be sustainable on set, check out this website from the Producers Guild of America https://www.greenproductionguide.com/  

Will Portland’s TV Scene Keep Growing?

There’s a New Detective in Town

Broadcast TV has us watching so many crime dramas, that most people feel qualified to investigate their neighbors or dust the fridge for prints.  “Who ate the last slice of cake? We all have motive, but you’re the only one without an alibi, Steve!”.

Whether you enjoy being an amateur detective or not, Portland was happy about the success and longevity of NBC’s “Grimm”.  Over half a decade of steady production work came to an end in 2017 when the show called it quits. Later this month on ABC, we’ll find out if their new detective procedural, “Stumptown”, will be strong enough to run for more than just one season.

Based on the series of graphic novels with the same name, “Stumptown” stars Cobie Smulders, who plays a former army veteran turned PI with a gambling debt and a brother to take care of.  Only time will tell if the show can differentiate itself from an already saturated market. “Grimm” was able to stand out with it’s fantasy twist, averaging about 6.4 million U.S. viewers during its first season. It even got a couple of Emmy nominations for outstanding stunt coordination.  We’ll find out soon enough if Portland’s new detective can go the distance.

A Post-Portlandia Portland

A year after “Grimm” wrapped, “Portlandia” threw in the towel and aired it's final season.  However, the production team at Lorne Micheals’ Broadway Video knew they found something special with their seasoned crew in Portland. So, within the year, the studio moved forward on producing Hulu’s TV Comedy “Shrill”, set right here in Portland, OR.

Staring SNL’s Aidy Bryant, the show takes a laugh out loud look at a struggling journalist with bad boyfriends, sick parents and a perfectionist boss.  Meanwhile, the world around her deems her not good enough because of her weight. With a plethora of positive reviews, the show has been approved for a second season, which is set to air in 2020. 

Although TNT’s “The Librarians” also cancelled in 2018, Netflix has helped keep Portland’s production industry busy with the teen TV drama “Trinkets”.  The show follows a group of friends that form a deep bond after finding out that they all have a shoplifting habit. Based on the novel of the same name, it’s also been approved for a second season with plenty of material to draw from.

It could be safe to say that the TV production scene in Portland will continue to grow.  Perhaps at the same rate as the traffic and new construction. Travel Oregon now has a list of their favorite “Filmed in Oregon” locations, check it out right here: https://traveloregon.com/things-to-do/culture-history/filmed-in-oregon/

That’s a Wrap!

Cine Rent West Celebrates 1 Year in New Facility

Over the last year, we transformed a once quiet warehouse on the corner of 31st and Nicolai, into a premier soundstage facility in NW Portland. Coincidentally, we also just finished watching the demolition of our old studio.  Although that building is now gone, we’ll always have the many decades of Portland production history that were created there, all of which have been documented on our “Wall of Shame” (Complete with 90’s mullets and baggy jeans). We’d be lying if we said it was an easy transition, but we’re beyond grateful for the support we’ve received from our entire community in making it all happen!

Mesmerized by the wrecking ball, the nostalgia got us thinking about how much fun we had on Upshur Street. The building was originally an autobody garage until it was purchased by a local music conservatory group in the 1970’s. Then, about a decade later, local animator Will Vinton purchased the building and converted it into a studio where he could produce his signature Claymation. (Vinton won numerous Clio Awards, several Emmys, and an Oscar for his work).

In 1994, filmmaker Gregg Snazelle and original owner of Cine Rent West, bought the building and closed his San Francisco facilities. He and his son Craig built-out the soundstage and established a staple studio location for regional producers. Gregg was formerly in the navy, so naturally, he painted the building battleship grey. In 2001, current-owner, Chris Crever, purchased the studio and continued to develop Snazelle’s vision with improvements to the building, and upgrades to the available equipment.

If we’ve learned one thing in the last 18 years, it’s that the latest technology is great, but it can never replace skilled creatives or adequate planning. It’s all of our jobs to help educate clients on this. As we dove into the construction of the new facility at 2330 NW 31st, we designed with space with input from our production community. This helped us create a comfortable and efficient environment for projects large, small, and everything in between. Please feel free to reach out and schedule a tour of the new facility today! — Give us a call: 503-228-2048

Studio B

We’re excited to announce the addition of Studio B, a new insert stage at Cine Rent West! It's perfect for small photo shoots or tabletop product shots.

Here is what's included:
-(1) Double-sided flat that measures 8’ X 12’
*Side1: chroma key green screen, Side2: reclaimed barnwood
-(6) C Stands
-(4) Full Apple Boxes
-Free use of seamless inventory in a plethora of colors/sizes.
-Lounge Area and Desk

RENTAL RATES:
Studio B:
-$200/day (8hrs.)
-$35/hour (4hr. minimum)

Studio B House Lights:
-$100/day (8hrs.)
-$75/half day (4hrs.)

Studio B House Light Specs:
[(2) LED Bi-Color Flex Lights (3000k - 5600k) w/(2) Soft boxes]
*Outside lights are ok to use, but they must be LED.

How do I book Studio B?
For now, just give us a call at 503.228.2048 – Eventually, we’ll have an automated booking system available on our website at: http://www.cinerentwest.com/studiob

SOUNDING OFF

Providing a quiet and comfortable environment are essential components of a properly functioning soundstage. However, noise pollution will always be unavoidable in a bustling city. The last thing anyone wants is unusable audio, which is exactly why we’ve implemented several soundproofing techniques into the design of our new facility.

As much as we’d like to slash the tires of every loud truck that honks and revs their engine outside, we thought it would be more rational to research the science of sound. It turns out, sound travels in two ways; airborne noise, (such as a human voice) and vibrational noise (think of a footstep on a floorboard). In addition, soundproofing is a lot like waterproofing, one hole can sink the entire boat.

During the initial construction of our studio, we made sure to fill the soundstage walls with Rockwool, which absorbs more vibrational sound than most insulation materials. Then, for additional absorption, we covered the ceiling and walls with sound blankets, repurposed from the old Upshur location.
This was a great start, but the work was far from over. To improve the external seal, we recently installed a fully insulated barn door on the exterior of our rolling load-in door. In comparing past recordings of ambient noise, we’ve already noticed a substantial difference.

Cine Gear 2019

HOLLYWOOD, CA -- Over the weekend, we blasted down South on an early morning flight to attend the Cine Gear Expo at Paramount Studios. With over 300 exhibitors showing off their latest and greatest innovations, there was A LOT of gear to play with.
 
As a premier soundstage facility, we provide our clients with state-of-the-art lighting and grip equipment. To do that well, we keep our eyes peeled for current trends on new technology. Over the last couple of years, there’s been a huge demand for lighting with RGBW capabilities. To no surprise, there was an abundance of new LED products at the expo that could do could do just that.
 
We see a lot of high-speed camera work, so we were amazed by the lack of hot lighting. In talking with some of the exhibitors, we discovered that ARRI was celebrating their 10th anniversary of the M18, while Mole Richardson is still selling plenty of tungsten fixtures.  That being said, the only tungsten bulb we saw in LA was in a food court heat lamp, warming some chili dogs. More and more cameras are coming out with high-speed capabilities, so we’ll be expecting a warm and comparable LED alternative in coming years. -- Here are some of the new lights we’re excited about:
 
 
-LiteMat Spectrum - LiteGear 
https://spectrum.litegear.com/
RGBW capabilities, wide-range Kelvin temperature adjustment, +/- Green correction, full spectrum de-saturation of color, REC-709 color-space compliance, and large-format pixel control.
 
-Brute Force 6 - AC Lighting
https://chroma-q.com/products/brute_force_6
Significantly reduced energy consumption - draws just 15 amps @ 240V, no downtime due to lamp failures, produces tunable whites and pastel saturated colours (2,800K - 6,500K / 2,000K - 10,000K extended CCT), pixel mapping to generate 'effects' - e.g. fire & lightning, and full creative control from a lighting desk or media server
 
-24” 20K LED - Mole Richardson
https://www.mole.com/copy-of-14-vari-tener-led
High output, single source LED, (2) 15 Amp house circuits, single-channel DMX, LumenRadio, RDM, 2.8” LCD touch-screen and twist & push selector, Bluetooth connectivity via Mole-Richardson iOS App, firmware upgradeable and user presets
 
-The Hammer - Quasar Science
(OUR FAVORITE) Link Available this Summer
800 watt output, 2000K-6000K crossfade white light with RGB color mixing, 4 cells of control, manual interface with OLED screen, universal AC power 100v-240v, DC option 20v-26v, RDM enabled, DMX over CAT5, wireless by LumenRadio.
 
At the end of the day, we felt right at home as we bumped into some of the usual suspects from Portland.  They weren’t hard to find, we just had to check the nearest beer garden!

“Uneekly” Built and Keen on Comfort

We recently had the pleasure of hosting Keen’s Uneekbot at Cine Rent West.  Known as the world’s smallest shoe factory, this robotic cobbler can crank out a pair of shoes in less than 9 minutes.  Using only glue-less cord and rubber, the automated arm movements were mesmerizing to watch as it weaved through shoe after shoe.

Moving the half-a-million-dollar robot into the studio wasn’t scary at all. The forklift operator gracefully placed it on our loading dock, and we rolled it right on to the stage.  After a day of pre-light, the whole crew had a lot fun capturing a series of forced perspective shots.

Bridging the gap between sandal and shoe, the whole Uneek collection at Keen was designed for casual adventure.  It’s also helped Keen rethink their supply chain process to reduce their environmental impact.  These are concepts that come easy to your average Portander, which helps explain their popularity. 

If you’re as intrigued as we are, go buy yourself a pair! Here is a link to Keen’s online store: https://www.keenfootwear.com/uneek-collection/

OMPA Masterclass at Cine Rent West

The future of film is exciting, which is why we recently hosted the OMPA’s Masterclass on “Demystifying New Technology” with @filmbot, Jim Geduldick.

It turns out, robots aren’t just changing the manufacturing industries across the planet, they’re also pushing the limits of what can be filmed.  Through continuous, repetitive and accurate movements, robotic arms and drones are changing the game. They can also shoulder a lot more weight than your average DP, while spending zero time at the craft services table.

This clip titled, “Box” is already a few years old, but it’s a great example of the types of things we learned about.  Check out what these bots can do with a bit of projection mapping. https://www.youtube.com/watch?v=lX6JcybgDFo

Most of us are probably aware of what robots and drones can do, but Jim did a great job of explaining how they do it. The good news is that robots haven’t completely stole all the jobs, they’re actually creating new ones. Innovative software is being developed by people every day that is making the world of visual effects more accessible and easier to use.

Make sure to signup and follow the OMPA for more information on their Masterclass workshop series: https://ompa.org/