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OCTOBER 2009

VIEWS: 11 PAGES: 21

  • pg 1
									                                                                                                                                      OCTOBER 2009
                                                                                                                             Volume 182


Sponsors                                                                                            ScriptDC for ALL Filmmakers
Star                                                                                                   Here’s another resource for amazing filmmakers living in the DC region!
                           The Newsletter of the Washington D.C. Chapter of Women in Film & Video




Interface Media Group                                                                               Anyone who has any role to play in media creation will find at least one
                                                                                                    workshop that will benefit their careers. (We had to call it something and a
Celebrity                                                                                           film without a story doesn’t work well!) A full list of workshops and presenters
Media Central                                                                                       is at www.wifv.org. This is a collaborative effort between WIFV, DC Shorts Film
                                                                                                    Festival, The Actors’ Center, TIVA-DC.
Visionary                                                                                              Screenwriters Megan Holley (Sunshine Cleaning), Jeff Porro and Robert Eisele
DC Film Office
                                                                                                    (The Great Debaters) will be joining other invited local and national industry
Eastman Kodak                                                                                       professionals to ensure that all conference participants gain the skills, knowledge
 Company
                                                                                                    and connections they need to be successful. Conference will open on October 16
Henninger Media                                                                                     with screening of Sunshine Cleaning. Neda Ulaby, NPR Reporter, will lead a Q&A
 Services
                                                                                                    with Megan Holley immediately after the film.
Patron                                                                                                 $200 for WIFV Members or $50 per workshop
MVI Post                                                                                               $300 public or $75/workshop
The Virginia Film Office                                                                               http://wifv.org/files/ScriptDCRegForm09.pdf
                                                                                                       Want to attend the Sunshine Cleaning screening but can’t do the entire
Donor                                                                                               conference? Tickets are $10 - call the office at 202-429-9438.
City Club of Washington
                                                                                                       This event is possible with the generous support of the DC Office of Motion
idea design
                                                                                                    Picture and Television Development, the DC Commission on the Arts and
National Geographic                                                                                 Humanities Julia Barbara, Sapling Pictures, Ann Barbara and Leeza Gibbons.
 Digital Motion

                                                                                                    WIFV Enjoys Being Thirty!
                                                                                                    By Jill Abramson
                                                                                                       On Thursday, September 10, Women in Film & Video hosted a birthday bash to
                                                                                                    celebrate thirty years, and to honor three incredible women of vision, Constance
• Newsletter Design
  Rip Bang Pictures                                                                                 Chatfield-Taylor (Flying Colors Broadcasts),
                                                                                                    Sharon Sloane (WILL Interactive) and                  IN THIS ISSUE
• Newsletter Layout
  Charlotte Rinderknecht                                                                            Sheila Smith (S & S Productions).              Cost Saving Workflows      pg 4
                                                                                                    Festivities took place at the Cosmos Club in Corporate Member Directory pg 5
                                                                                                    Washington, DC.                                Members in the News        pg 6
                                                                                                       More than 300 guests came out to            WIFV Contest               pg 10
                                                                                                    celebrate our honorees. The evening            Holly-ween                 pg 11
                                                                                                    began with a social hour, where the DC         Weiner, Hallet, Durrin     pg 12
                                                                                                    film community and guests networked            Executive Member Event     pg 15
                                                                                                    and enjoyed an open bar. Honoree               Advice to Industry Moms    pg 16

 A member of WIFTI                                                                                  introductions were made by Felicia             Doc Expertise              pg 18
                                                                                                    Barlow, Jeffrey Hall and Amy DeLouise.         ScriptDC Registration Form pg 22
                                                                                                    Tribute films provided a snapshot of Ms.
                                                                                                    Chatfield-Taylor, Ms. Sloane, and Ms.
                                                                                                    Photos and story continued pg 2
Smith’s many achievements. The Women of Vision recipients provided inspiring speeches after accepting
their awards, encouraging women in the industry to persist in their goals. Sheila Smith got the whole
room laughing when she recalled asking her young son if he wanted to be a cameraperson like his mother,
and he responded, “Boys don’t do that.” Each honoree will have her own evening to shine later in this 30th
Anniversary Year.
  The Randy Goldman Scholarship for professional development was presented to Julie Rios-Little, who
has produced a wide range of audiovisual pieces. The scholarship will support her attendance at The
Workshops in Rockport, Maine.
  The evening closed with a 30-year history of WIFV, champagne toast to the women honored that evening,
and a lovely “birthday cake” composed of colorful WIFV cupcakes. Women in Film & Video thanks everyone
for getting our 30th year off to a special start. Congratulations again to the awardees! Keep achieving and
inspiring!
  Events like this are not possible with the support of others. WIFV thanks the many volunteers and donors
who made the first of many anniversary celebrations a success.

Jill Abramson                                                            Amy Johanson
Jane Barbara                                                             Hilarey Kirsner
Alison Bradley                                                           Claude LaVallee
Joe Bridgers                                                             Jennifer Lawson
Aimee Brillhart                                                          Patricia Little
Christine Brim                                                           Liz Lovern
Brown Lloyd James                                                        Carolyn Marie
Sandy Cannon-Brown                                                       Media Central
Capitol Prompting                                                        Denise Moak
Mary L. Chatfield-Taylor                                                 Carola Myers
Genevieve Cocco                                                          Nanny O’Brien’s Irish Pub
Randi Cohen Coblenz                                                      Potomac Wine & Spirits
Carol Dana                                                               Bethany Powell
DC Office of Motion Picture &                                            R & R Lighting Inc.
  Television Development                                                 RHED Pixel
Amy DeLouise Consulting                                                  Charlotte Rinderknecht
Eastman Kodak                                                            Joseph Schreiber
Julie Ehrmann                                                            Emma Shalaway
Flying Colors Broadcasts, Inc.                                           Erika Singletary
Amy Fuhrman                                                              Kimberly Skyrme
Louis Garcia                                                             Sharon Sobel
Matthew Gordon                                                           Abby Sternberg
GVI                                                                      Rachel Torgoff
Alison Hanold                                                            VideoTakes, LLC
Henninger Media Services                                                 Virginia Film Office
Human Factor, LLC                                                        Sydnye White
Trudy Hutcherson                                                         Diane Williams
Hybla Valley Nursery                                                     WILL Interactive
idea design                                                              Catherine Wyler
Interface Media Group




                                                                                                       2
    Celebrating 30 Years!




                      Photo credits:
                        Diane Williams
                        Jill Abramson
                        Genevieve Cocco
3
Journey to Your Doc                                     Emmy® TV Legends Launched
  The October Weds One acknowledges DC’s pre-              Ready for a walk down memory lane? The
eminence in non-fiction film production by bringing     Academy of Television Arts & Sciences Foundation
together documentary filmmakers who will share          has raided the non-profit Archive of American
valuable lessons you need to bring your film to         Television to put together a newly redesigned online
screen. Panelists are Cintia Cabib, Kurt R. Klaus,      interview archive section at EmmyTVLegends.org.
Esq., Carolyn Projansky (Five Star Films) and Marilyn   Browse interviews of legends including Mary Tyler
Weiner (Screenscope). Erica Ginsberg of Docs in         Moore, the late Tim Russert, the incomparable Rita
Progress will moderate. Speaker biographies are         Moreno and former Cagney & Lacey star Sharon
available in the calendar section of www.wifv.org.      Gless, who manages to steal many of the scenes
  $10 WIFV Members/$20 Non-Members                      she graces in USA’s Burn Notice. Browse by name,
                                                        show, profession and topic. The Academy has also
  RSVP to membership@wifv.org
                                                        put together a few embeddable clips of interview
  October 7, 2009                                       excerpts to give users a taste of the over 2,000
  6:30 pm reception; 7:00 presentation                  hours of oral interviews available to license.
  Interface Media Group
  1233 20th Street, NW                                  FMC DC Open Houses
  Dupont Circle South METRO                                This Open House will focus showcase a Quickstart
  The October Weds One is sponsored by Kurt             into the all new Apple Motion 4. Cost is only $10 and
R. Klaus Law Offices and catered by Through the         includes refreshments, raffle and cool swag (while
Kitchen Door International.                             supplies last)!
                                                           Tuesday, November 10th
Cost-saving Workflows for                                  5:30pm-7pm
Producers                                                  Future Media Concepts
By Claude LaVallee                                         1627 K Street NW
   Have you ever had a project where things went           Suite 900
pretty well (or even very well), until at some point       Washington, DC 20006
(post-production anyone?) problems arose that              Email: TomW@fmctraining.com
threatened your deadline, jeopardized your budget          This Open House will focus on Adobe Photoshop
and frayed your nerves? Well, then, have we got a       CS4, showcasing the latest Tips and Tricks. Cost is
seminar for you!                                        only $10 and includes refreshments, raffle and cool
   The speakers at November’s Weds One, Jason           swag (while supplies last)!
Osder and Robbie Carman, wrote the book on                 Thursday, December 3rd
workflows, literally, and they will reveal tips and
tricks, specifically for producers, to help you save       5:30pm-7pm
time and money and, perhaps as importantly,                Future Media Concepts
prevent the aggravation that at times accompanies          1627 K Street NW
our projects, often in post. Through case studies,         Suite 900
they will demonstrate how a few key principles
                                                           Washington, DC 20006
can make, or break, your next project, if not
your business. Jason Osder and Robbie Carman               Email: TomW@fmctraining.com
are the authors of “Final Cut Pro Workflows, The
Independent Studio Handbook” that rates five stars
on Amazon.com. More info is in the calendar section
of www.wifv.org.
   $10 WIFV Members/$20 Non-Members
   RSVP to membership@wifv.org
   November 4, 2009
   6:30 pm reception; 7:00 presentation
   Interface Media Group
   1233 20th Street, NW
   Dupont Circle South METRO


                                                                                                         4
                                     Corporate Members
The Actor’s Center                Future Media Concepts          Rocket Media Group
 www.actorscenter.org              www.fmctraining.com            www.rocketmediagroup.com
 (202) 332-1911                    (202) 429-9700                 (703) 645-8889
American News Project             Henninger Media Services       Sapling Pictures
 americannewsproject.com           www.henninger.com              www.saplingpictures.com
 (202) 955-6460                    (202) 833.3444                 (703) 517-5185
BET                               Hillmann & Carr                Sheffield Institute for the
 www.bet.com                       www.hillmanncarr.com           Recording Arts
 (202) 608-2000                    (202) 342-0001                 www.sheffieldav.com/sira.html
Bexel Broadcast                   HIPTV LLC                       (800) 355-6613
 www.bexel.com                     www.hiptv.com                 Shine Creative LLC
 (703) 437-5559                    (301) 587-2500                 www.wemakeitshine.com
Capitol Prompting                 idea design                     (202) 408-7575
 www.capitolprompting.com           www.ideadesign-dc.com        SILVERDOCS: AFI/Discovery
 (703) 271-4070                    (240) 247-0086                 Channel Doc Festival
Carlyn Davis Casting, Inc.        Inspired Communications         www.silverdocs.com
 www.carlyndavis.com              Interface Media Group           (301) 495-6742
 (703) 532-1900                    www.interfacemedia.com        Sirens Media
Center for Social Media,           (202) 861-0500                 www.sirensmedia.com
 American University              The Johnson Group               (301) 920-9800
 www.centerforsocialmedia.org      thejgroup.com                 Studio Kinate
 (202) 885-3107                    (703) 356-6969                 www.studiokinate.com
City Club of Washington           Last Name Left Productions      (571) 321-2012
 www.clubcorp.com                  www.lastnameleft.com          TEAM
 (202) 347-0818                    (703) 635-2164                 www.teamgroup.tv
DC Office of Motion Picture and   Maryland Film Office            (202) 363-1000
 TV Development                    www.marylandfilm.org           TEAM People
 film.dc.gov                       (410) 767-6340                 www.teampeople.tv
 (202) 727-6608                   The Maslow Media Group          (202) 587-4111
The Documentary Center/GWU         www.maslowmedia.com           Towne Group
 www.gwu.edu/doccenter             (202) 965-1100                 townegroup.com/index.php
 (202) 994-6787                   Media Central                   (202) 253-5996
Dominion Post, Inc.                www.mediacentral.net          The Travel Channel
 www.dominionpost.net              (301) 217-0049                 www.travelchannel.com
 (703) 891-7400                   Mobile Video                    (212) 548-5128
Double R Productions               www.mobilevideo.net           Video/Action
 www.doublerproductions.com        (202) 331-8882                 www.videoaction.org
 (202) 797-7777                   MVI Post                        (202) 338 -1094
Duet Communications LLC            www.mvipost.com               Video Labs
www.duetcommunications.com         (703) 536-7678                 www.videolabs.net
 (301) 913-9071                   O’Keefe Communications, Inc.    (800) 800-8240
Eastman Kodak Company              www.okeefecom.com             VideoTakes, Inc.
 www.kodak.com                     (202) 363-2101                 www.videotakes.com
 (212) 631-3446                   Ott House Audio                 (703) 276-7077
Envision Communications            www.otthouseaudio.com         Virginia Film Office
 www.envisioncommunicationsinc.    (240) 450-1577                 film.virginia.org
 com                              Purple Minibike Media           (804) 545-5530
 (202) 333-6500                    www.pmbmedia.tv               WILL Interactive
Faith2Reality Productions          (202) 701-7415                 www.willinteractive.com
 (757) 286-1523                   Renegade                        (301) 983-6006
Flying Colors Broadcast            www.getrenegade.com           Word Wizards
 www.fc-tv.com                     (410) 667-1400                 www.wordwizardsinc.com
 (202) 293-5300                                                   (301) 986-0808




  5
Members in the News                                     Tien Pasco: Hunting for the Lost
                                                        Symbol...and More!
Edited by Flo Dwek
                                                           Tien Pasco, Creative Director and Owner of
Joy Haynes Raises the Bar in Acting and                 StoryLab Films, has
Producing                                               worked as a producer,
                                                        director, and camera
   When it comes to multi-tasking, Joy Haynes is an     person for documentaries
expert. This accomplished immigration lawyer,           in China and Cambodia.
                          actress, print model and      Recently, she served as
                          producer recently produced field producer for several
                          and starred in two shorts     locations around DC for
                          and a TV pilot. Tryst is an   the upcoming Discovery
                          official selection at both DC special, Hunt for the Lost
                          Shorts and the Baltimore      Symbol. Her other recent
                          Women’s Film Festival.        projects include producing
                          Gwendolyn Dangerous and       the PBS Vote 2008
                          the Great Space Rescue        campaign tying together interviews with key public
                          won Best Film, Best Writing, television journalists, producing educational videos
                          Best Costumes and Best        on Macbeth and Henry IV for the Folger Shakespeare
                          Special Effects in the 48     Library, and directing an AARP video with CBS’ The
                          Hour Film Project and also    NFL Today Host, James Brown. Tien is currently
                          screened at DC Shorts.        working on two feature-length documentaries about
                          Dog, a television pilot, won the current economic crisis and Pope John Paul II’s
                          the top prize at the          historic trip to Poland in 1979. For more information,
Independent Television Festival in Los Angeles: Best    Tien can be reached at TienPasco@mac.com or
New Television Show, and is an official selection at    202-441-1536 or visit her website at
the New York Television Festival. Earlier this          www.storylabfilms.com
summer, Joy played opposite Tate Donovan in a
scene from the independent feature, Below the           Yolanda Arrington Produces for
Beltway, which also stars Noah Wyle and Sarah           WebsEdge
Clarke. You might also keep an eye out for her on          For the past year, Yolanda Arrington has been on
the side of the box of the Hamilton Beach, Melitta      the go, traveling the country as a producer for
brand coffee makers. For more information, contact                                   WebsEdge, creating
Joy at joy@joyhaynes.com or visit her websites at                                    5-minute films and
www.joyhaynes.com or www.dcimmigrationattorney.com.                                  webclips for major
                                                                                     corporations, local
Mary Pickford gets local broadcast                                                   governments and
   Arla Bowers announces that her recently                                           conference organizations.
completed Mary Pickford’s Gift to a New Generation                                   She says the opportunity
will be shown on local cable in October. Ch. 34                                      has given her a chance to
(Comcast); 36 (Verizon); 89 (RCN) Wednesdays and                                     visit new places and
Fridays at 8:30 am, 12:30 pm, 4:30 pm, and 8:30         strengthen her skills as a producer and communicator.
pm. The film has also been submitted to Sundance        But, what most excites Yolanda these days is a new
for exhibition in 2010. Send Arla your good wishes      venture she’s undertaken with four friends. The
at bowers825@aol.com.                                   Witches’ Brew blog (http://lawitchesbrew.blogspot.com/)
                                                        is heady brew of pop culture, advice, health,
                                                        entertainment and news that already has a following.
                                                        Yolanda is hoping this new journey will allow her to
                                                        blend her TV news-writing background with her love
                                                        of entertainment and pop culture. You can email
                                                        Yolanda at yrarring@gmail.com.




                                                                                                          6
Anne Cocklin Wins Cine Award
   Cocklins Video, has won more than nine awards, including a Cine
Golden Eagle for their HD documentary Access to Survival, which was         Advisory Board
shot in four countries in Africa last summer. The doc tells the success     Deborah Redmond, Chair
story of the Academy for Educational                                         President, The SOHO Group
Development’s program to get insecticide-                                   Sheila Brooks
treated mosquito nets into homes of                                          CEO, SRB Productions, Inc.
pregnant women and young children.
                                                                            Michal Carr
Anne’s team arranged travel to Uganda,                                       Hillmann & Carr
Nigeria, Ghana and Senegal, spending a
week in each country. The adventurous                                       Jennifer Cortner
                                                                             President, EFX Media
crew included Steve Cocklin (DP and
Editor), Gareth Harvey (Producer/Writer)                                    Ginny Durrin
and Anne (PA and Audio Recordist). Anne                                      President, Durrin Productions

says they had a number of wonderful                                         Phylis Geller
adventures, but luckily, all went well – they didn’t lose any gear on any    President, Norman Star Media
of their 11 flights through Africa and stayed healthy throughout the        Ricki Green
trip. Since they shot in HD, she notes, the pictures are amazingly           President, EverGreen Productions
beautiful and the story, very compelling. For more information, you
                                                                            Frances Hardin
may contact Anne at 301-259-2468 or via email at anne@                       Consultant
cocklinsvideo.com
                                                                            Shelleé Haynesworth
                                                                             President, Indigo Communications
Matt Alheim Takes Bexel to New Heights
   Matt Alheim is the Manager of Business Development and Strategic         Judith Dwan Hallet
                                                                             Productions President, Judith Dwan Hallet
                         Partnerships for Bexel Broadcast Services, a        Productions, Inc.
                         national leader in broadcast equipment
                         rentals, repairs, sales, design, installation,     Melanie Jones
                                                                             Segment Manager, Television Commercial
                         onsite production and engineering support.          Production, Eastman Kodak Company
                         This past year, Matt provided broadcast
                                                                            Aviva Kempner
                         engineering equipment and support to all the        Executive Director, The Ciesla Foundation
                         major broadcast networks for such events as
                         the Inauguration of President Obama, the           Jennifer Lawson
                                                                             General Manager, WHUT-TV
                         Superbowl, NASCAR, the Oscars® and the
                         Grammy Awards. Currently, Matt is working          Bonnie Nelson Schwartz
                         on providing equipment and support for the          Executive Producer, Cultural Strategies, Inc.

                         upcoming TV show, Real Housewives of DC,           Kathleen Pearce
                         as well as working with a number of                 President, Mediagroup Films
                         broadcast networks and production entities to      Ruth Pollak
provide support for the G20 Summit. For more information you can             CEO, EFC Film & Video
visit www.bexel.com or contact Matt directly at malheim@bexel.com.
                                                                            Rosemary Reed
                                                                             President, Double R Productions
Susanna King Nawrocki Goes Freelance
                                                                            Robin Smith
   Susanna King Nawrocki has recently returned to the freelance world.       President, Video/Action
Having spent two great years as production
manager at Icon Communications, Susanna is                                  Pauline Steinhorn
                                                                             President, Duet Communications, LLC
now looking forward to her next project as
production manager, producer or editor.                                     Catherine Wyler
During the last six years, Susanna has                                       Wyler/Rymland Productions

produced videos for the National Highway
Traffic Safety Administration, edited footage for
America’s Promise Alliance, managed video
projects for the Department of Veterans Affairs,
and assisted producers for National
Geographic. Her prolific work at Icon helped to
hone her Mac skills as well, and she’s able to
troubleshoot and manage media with the best
of them. For more information, contact
Susanna at susanna.joy@mac.com, or check out her demo reel at
http://web.me.com/susanna.joy/DemoReel/SKN.html.
   7
Sternberg and Living Legends                               Pieczenik is Grand Prize Winner!
   Abby Sternberg of Media Masters, Inc., was able to         I’ve just been notified that I am the Grand Prize
combine her video production skills and social work        recipient of Creative Screenwriter’s 2009 AAA
                              background when Nina         Contest, sponsored by
                              Tisara, photographer         Creative Screenwriting
                              and Project Director,        Magazine. Lots of prizes
                              asked for her help in        go with it, from cash to
                              adding a video               software; the best is an
                              component to this year’s     opportunity to “pitch” at
                              Living Legends of            the Screenwriter’s Expo in
                              Alexandria Project           Los Angeles in mid-
                              (LLA). This project of       October. The contest
                              the Rotary Club of           director said that there
                              Alexandria and the           were over 2000 entries!
Alexandria Gazette Packet, identifies, honors and             My story will be a hard
chronicles today’s history makers, people who have         sell; but it’s great! And,
made significant contributions to the quality of life in   of course, has Oscar®
Alexandria, VA. Abby videotaped a series of                written all over it!
interviews and then produced two highlight dvds,
                                                              Now I just have to
with excerpts from all the Legends interviews,
                                                           convince some powers
focusing on “what inspired them”, their role models
                                                           that be that it will also make money for them.
and values.
                                                              It’s a David and Goliath story - our David is the
   The Highlights video was shown at the Opening
                                                           council chairman of a North Dakota native American
Reception of the exhibit of photographs by Nina
                                                           tribe (the tribe that saved Lewis and Clark in
Tisara at the Lyceum and visible throughout the
                                                           1804); the odds he’s fighting against are a greedy
summer on the City of Alexandria website. The
                                                           Congress that wants to take the Indian’s land by
video component brought to life the written
                                                           eminent domain and build a dam on it that will
descriptions of their contributions which part of
                                                           flood out 200,000 acres of the most prosperous
the project. The Highlights video and the full set
                                                           tribe in the US (in the 1940’s) and literally destroy
of archival interviews on DVD will be given to the
                                                           the tribe. It’s a true story, based on an incident in
Alexandria Public Library. You can see them at
                                                           Paul VanDevelder’s book Coyote Warrior. I have the
www.tisaraphoto.com/legends. Abby can be reached
                                                           option on the book and a life rights agreement with
at 703-503-5924 or abbym@rcn.com.
                                                           an important character. Now I only need millions of
Geller’s Doc on Screens                                    dollars! Send your congratulations or investment to
                                                           Roberta at srliterary@aol.com.
  Phylis Geller has just completed her feature
documentary, Coal Country, which reveals the truth         Human Factor Wins Big
about modern coal mining. The story shows a ‘civil
                                                             Blake Althen of Human Factor’s composition “A
war’ between working miners and activists who are
                                                           Beautiful Neighborhood” from the motion picture
battling mountaintop removal mining in Appalachia.
                                                           Copley won first place in the Best Soundtrack
Phylis says, “Most Americans are shocked to learn
                                                           Composition category of the Just Plain Folks
that nearly half of the electricity used in the United
                                                           Music Awards in Nashville. The soundtrack album
States today is produced by coal, the dirtiest fossil
                                                           took fourth place in the Best Soundtrack Album
fuel. The coal industry is spending millions to
                                                           category. To get the breadth of this accomplishment,
promote what it calls ‘clean coal.’ Our movie explores
                                                           here are some statistics about the award program:
the critical question: is such a thing achievable, and
at what cost?” Coal Country has run theatrically in         ∙   More than 42,000 albums were sent in containing
New York and Los Angeles and in numerous festivals.             560,000 songs;
The television premiere is Saturday, November 14,
2009, at 8:00 pm EST on Planet Green, as part of
                                                            ∙   Less than 1/3 of 1% of the songs entered got a
                                                                nomination;
the new series Reel Impact. For more information,
please go to www.coalcountrythemovie.com. Phylis            ∙   Less than 1 out of 7000 songs will win an award;
can be congratulated at pjgeller@comcast.net.               ∙  In addition, less than 1 in 450 albums will end up
                                                               with a trophy.
                                                             To learn more about the talents and music at
                                                           Human Factor, go to www.humanfactor.net


                                                                                                             8
Silberberg Update                                               Honest Truths Released
   A few years ago, Allison Silberberg decided to
                                                                By Alison Hanold
take a break from Film Biz
so that she could focus on a                                       The Center for Social Media is proud to announce
book. Great news, it’s done!                                    the release of our new report Honest Truths:
Visionaries In Our Midst:                                       Documentary Filmmakers on Ethical Challenges in
Ordinary People who are                                         Their Work at http://www.centerforsocialmedia.org/
Changing our World will be                                      ethics. It was showcased on a panel at the Toronto
published on September                                          International Film Festival’s first documentary
16th! The book is about                                         conference on September 13, 2009, and has since
individuals who are making a                                    been highlighted by Realscreen, The New York
difference in our country,                                      Times, NPR’s On the Media, and the Los Angeles
and it is endorsed by Studs                                     Times.
Terkel, Pete Seeger, Helen                                         In the report, dozens of documentarians frankly
Thomas, Marvin Kalb, and                                        discuss workplace challenges to ethical standards,
Paul Loeb. She is thrilled to                                   conflicting ethical values, and most concerning, a lack
announce that the book has                                      of open and shared standards and practices. The report
been # 1 on Amazon’s list of Hot New Releases in                discusses challenges ranging from subject payment to
Philanthropy and Charity! http://www.amazon.com/                re-enactment to misrepresentation of archival material.
gp/new-releases/books/11276 You can congratulate                   Do you face ethical challenges in the workplace?
Allison in person in mid-October at her book signing            Do you think a discussion site that preserves your
at Politics & Prose in Washington, DC on Sunday,                anonymity would help? Read the report at
October 18, at 1 pm. For more info, contact Allison             http://www.centerforsocialmedia.org/ethics and let us
at 703-379-5565 or allisonsilb@aol.com                          know via the comment section.
Westbrook Joins IMG
   Interface Media Group, Inc. (IMG), a DC-based
                                                                TV Content Online Report
production and post-production company, has                        Nearly 25% of US households tune into TV content
acquired Virginia-based Alexandria Productions, Inc.            online, up from 20% a year ago, and Hulu is quickly
Joel Westbrook, Alexandria Productions’ founder                 catching up with YouTube to become the go-to site
and president, is joining IMG as executive producer,            to view TV programs, according to a new survey
overseeing original production, co-production                   from The Conference Board. Consumers are moving
and multi-platform projects. Founded in 1995,                   away from “appointment” TV viewing and being able
Alexandria produced hundreds of hours of nonfiction             to view favorite shows at any time in any place are
programming for NBC, PBS, Discovery, TLC,                       the two major reasons cited by more than half of
National Geographic, TBS and many other domestic                consumers for turning to online TV:
and international broadcasters. Prior to founding
Alexandria Productions, Westbrook was senior VP
                                                                 ∙   Two-thirds of all online TV viewers access their
                                                                     favorite programs through streaming video, while
and executive producer of Time Life Television &
                                                                     41% utilize free downloads;
Video and, prior to that, executive VP of Turner
Productions. Westbrook has earned virtually every                ∙   90% of online viewers enjoy online TV from their
production and production management credit                          own home; only 10% do so at the office;
in the business and is a veteran of hundreds of
hours of programming. His productions have won
                                                                 ∙   More than two-thirds of online TV viewers
                                                                     access television content through the official TV
numerous awards including a Primetime Emmy®.
                                                                     channel’s homepage;
                                                                 ∙Youtube.com still retains second place, accessed
                                                                  by 42% of online TV viewers. Hulu usage has
                                                                  grown from 8% of households in 2008 to 32%
                                                                  today.
                                                                www.conference-board.com




Shirlington Lunch Bunch at their September meeting. The Bunch
meets the second Tuesday of the month at the Bear Rock Cafe.



   9
                                                       The Scoop at i-Tunes
                                                         Listen to the monthly roundup of WIFTI news with
                                                       special attention on issues of intereste to WIFV DC
                                                       MEmbers at http://tinyurl.com/ye8rd5c. Thanks
                                                       to Human Factor, LLC for getting the scoop every
                                                       month!

                                                       30th Anniversary Presents
                                                       By Alison Hanold
                                                          Pearls are the traditional gift for a 30th
    Bloomingdales Chevy Chase                          anniversary, but when has WIFV ever been
Bloomingdale Celebration                               traditional? What would we really like? To
                                                       represent even more of the most successful media
   WIFV was delighted to be featured in all three      professionals in the Mid-Atlantic region.
DC-region Bloomingdales in early September as the
                                                          Numbers matter when we advocate for the
stores celebrated fashion and film. WIFV Members
                                                       film production community. You gain valuable
Claude LaVallee and Amy Fuhrman did a masterful
                                                       information and save time from having the most
collecting artifacts for display and supervising the
                                                       knowledgeable and talented media makers in your
installations.
                                                       network. We all gain from WIFV becoming more
   WIFV would like to thank the following members      sustainable through memberships. How can you
for contributing items to display:                     make our wishes come true?
 Abby Sternberg               Hilarey Kirsner
                                                           From September 30th to November 30th, we’re
 Adele Schmidt                Interface Media Group    asking you to talk to your friends and colleagues
 Amy Fuhrman                  John Z. Wetmore          about WIFV. Not only will they reap the numerous
 Aviva Kempner                Judith Dwan Hallet       benefits of a WIFV membership, but there are some
 Bill Connor                  Kristen Heim             perks in it for you too!
 Carolyn Marie                Kristin Harris              Reach out to those professionals you already
                                                       know, or want to know, and encourage them to join
 Carolyn Projansky            Lisa Schaefer
                                                       the premier film professional organization in the
 Cathy Kades                  Maslow Media Group       region.
 Cid Collins Walker           Melissa Leebaert
                                                          If you bring 1 new member to WIFV, you’ll receive
 Claudia Myers                Patricia Little          free admission to any upcoming Weds One (or
 Denise Moak                  Samantha Cheng           similarly valued event). If you bring 3 new members
 Double R Productions         Sharon Sobel             to WIFV, you’ll receive a free ticket to the Holiday
 Frances A. Hardin            Susan O’Donnell          Party on December 15 at the City Club. If you bring
                                                       5 new members to WIFV, you’ll receive a one hour
 GVI                          W*USA9
                                                       session with the Executive Member of your choice.
 Henninger Media Services Yi Chen
                                                       To participate, have your friends and colleagues
                                                       enter your name in the space after “Who referred
                                                       you to WIFV?”. Make it even easier for them hand
                                                       them an application with your name already entered!
                                                       We’ll track how many referrals come in with your
                                                       name attached and make sure you collect your
                                                       reward. Questions? Call 202-429-9438.




     Bloomingdales White Flint
                                                                                                       10
                                                            Swim Lessons to Baltimore
                                                          Swim Lessons: The Nick Irons Story, will be
                                                       screening at the Baltimore Women’s Film Festival
                                                       on Sunday, October 25. Kendra Gahagan will
                                                       be attending the screening, as will director Alex
                                                       Houston, who is also a DC filmmaker and a
                                                       Baltimore native. They’re both really excited to
                                                       have a premiere in the DC/Baltimore area and the
                                                       opportunity to welcome a local crowd! Ticket info
                                                       at www.bwfilmfestival.com.
                                                          Swim Lessons: The Nick Irons Story chronicles
                                                       Nick Irons’ four-month fundraising swim down the
                                                       entire length of the Mississippi River in 1997 to
                                                       raise money and awareness for multiple sclerosis.
                                                       Nick swam for the sake of his father and all who
Holly-ween Costume Cabaret                             suffer from MS, an unpredictable, painful, and often
                                                       debilitating neuromuscular disease. It is a story
   We promised WIFV members that we would              about determination, family, and having the inner
celebrate our 30th Anniversary on every occasion       strength to achieve your dreams, no matter how
and what an occasion we have here! We’re               impossible they might seem to others.
celebrating Holly-ween and giving you all a chance        Swim Lessons had its world premiere in 2008 at
to test drive your costume for trick or treating. Come the AMPAS-recognized Rhode Island International
dressed as your favorite movie star or character.      Film Festival, where it won First Place Best
Win a prize and the admiration of your peers.          Documentary Short. The film is also an official
 $30 WIFV Members/$45 public                           selection at Louisville’s International Festival of
 WIFV Members may bring one guest at the member        Film.
   price.
 Light refreshments served.
 Children not encouraged to attend.
                                                       WIFV ANNUAL OPEN HOUSE
 Mansion at O Street
 2020 O Street, NW
 Washington, DC
 Dupont Circle Metro

Definitely take the metro or a cab and avoid parking
hassles.


Whistleblowers at Capitol
   Whistleblower Film Festival starts this Thursday and
runs every Thursday in October starting at 6:30 pm
at the Capitol Visitor Center on the Hill. These films
are free and open to the public. Each film is paired
with the real life whistleblower or an author/expert
in that area for a discussion after the film. This first-
ever series is part of a landmark, nine-year legislative
effort to restore credible whistleblower rights for
government employees and contractors. For more
info: http://www.pogo.org/film-series.html
 The films are as follows:
 Thursday, October 1: The Pentagon Wars
 Thursday, October 8: Mr. Smith Goes to Washington
 Thursday, October 15: Silkwood
 Thursday, October 22: The Inside
 Thursday, October 29: The Most Dangerous Man in
   America: Daniel Ellsberg and the Pentagon Papers
  11
Documentary 30 Years Ago                                    goes through everything. The format can change,
                                                            the audience can change, the genres can change,
and Now                                                     the budgets can change, the outlets, everything, but
Interviews by Elizabeth Mendes                              the common denominator is you have to have a good
   On the heels of its 30th Anniversary celebration         story and that means good characters, which means
WIFV thought it would be an opportune time to               tension and a plot and some sort of change. You
reflect on the evolution of documentary filmmaking          start one way and you end up another way.
over the past 30 years. Washington, DC-based                Q. How has funding for documentaries changed
filmmakers and founding WIFV members Ginny                  over the past 25 or 30 years?
Durrin, Judy Hallet, and Marilyn Weiner discuss how
                                                               Weiner: It depends upon the type of projects
they got their start, industry changes, and what’s
                                                            you’re interested in producing. Obviously there’s
next for documentary in an interview with WIFV.
                                                            much more work-for-hire funds available from cable
These three accomplished documentarians have
                                                            outlets than ever before. But if you want to control
30 years of filmmaking experience each and have
                                                            and own your own product the current economic
worked on upwards of 1,000 films combined. The
                                                            crisis makes it extremely difficult to raise funds
following is a condensed and edited version of the
                                                            without a prior commitment for distribution. Also,
original interview
                                                            foundation and corporate grants are definitely harder
Q. What was the biggest challenge documentary               to come by for two reasons: increased competition
filmmakers faced 25 or 30 years ago and what is             and the economic downturn. That said, new
the biggest challenge they face today?                      technologies have lowered the cost of producing
   Weiner: The challenge has never changed --               films, making it possible to raise [enough] money
money, talent, and luck!                                    the old fashioned way -- with the help of friends,
                                                            family and credit cards.
   Hallet: Twenty-five or 30 years ago documentary
filmmaking was not taken seriously. Everyone                   Hallet: Funding has always been difficult. There
wanted to do feature films.                                                        seems to be four ways to fund
You had to pretty much                                                             a documentary and I don’t


                                   “The challenge
finance your own films and                                                         think it has changed that
enter them into the few                                                            much. 1.) You can either fund
festivals around. When                                                             it yourself out of your pocket
I went to graduate film                                                            (So you better have lots of
school at UCLA, I was the          has never changed                               money), 2.) You can raise the
                                                                                   money through foundations
only one in a class of 100
graduate students in motion
pictures who was making
documentaries. I was also
                                   -- money, TalenT,                               and grants, 3.) You can pitch
                                                                                   your idea and be hired as an
                                                                                   independent documentary

                                   and luck!
                                                            ”
only one of three women in                                                         filmmaker by one of the
the class. Thirty years ago,                                                       television networks (Discovery,
a woman had to know how to                                                         National Geographic Television,
do everything from shooting                                                        PBS Arts and Entertainment,
to editing to directing                                                            HBO, History Channel, etc.),
otherwise [she] wouldn’t be taken seriously.                and 4.) You work for one of the documentary units
                                                            in television.
   It also was a lot more expensive thirty years ago
since everything was shot and edited on film. Today            Durrin: It has changed a great deal, but the
you can just pick up a video camera and shoot and           changes in funding are interrelated with changes in
then edit on your computer with Final Cut Pro. The          technology, format, distribution, and genres. All of
documentary scene has changed so much. Now                  those pieces fit together like a puzzle. For example
documentaries are in. It is no longer that hard to          with the proliferation of cable you have a split
make your own personal documentary and now                  audience. For the TV format, because there are now
there are venues where they can be shown either on          so many channels you have a smaller audience for
television or in the movie theaters. There are still        each piece of the pie, which means a smaller budget
few places to show high-end documentaries and it            because a sponsor isn’t going to pay millions of
is difficult to get your film in theatrical distribution.   dollars for a smaller audience. That means that while
You have to play the film festival circuit. There can       there are more channels and greater potential for
be money made so the competition is much fiercer.           making shows, the budget for each show is smaller.
   Durrin: I think the biggest challenge regardless of         Recently, I think theatrical documentary films
the age is telling a good story. That is one line that      went through a golden age and now it all of a
                                                            sudden just went dead. Even Michael Moore has

                                                                                                             12
said that for a while he’s not going to make any      films were based on plays (K2 and Family Business)
more major documentaries. For whatever reasons,       and the other (The Imagemaker) was based on an
probably some the economy, also competition with      obscure newspaper article.
TV and HBO and DVDs, documentaries no longer             Hallet: I think good ideas are always there. It is
bring in the audiences that they did. For example     how you present and execute the idea that makes it
at the Sundance Film Festival this year only one      unique and different. I have always thought there are
documentary (Art and Copy) got picked up a            only a certain amount of basic universal ideas and it
distributor.                                          only depends on the filmmaker’s mind’s eye to make
  Another change is that there is much more of a      it different and exciting. When I started out working
relationship now between advocacy groups and films.   for television in 1972, I got my ideas from word of
                                                      mouth, newspapers and just my own personal passion
Q. How has your approach to documentary
                                                      for certain subjects, mainly social issues, Native
filmmaking changed over the years?
                                                      American issues, and culture of all kinds.
    Weiner: My approach has never changed. I
                                                         Durrin: I believe in trusting your gut and following
choose subjects that I care deeply about and
                                                      your passion. But it is also about opportunity. For
then convince funders that the project is worth
                                                      example, many years ago I was talking to this
their investment. Simply put, I have never met
                                                      psychiatrist who was doing a lecture series at the
a successful filmmaker who was not a great
                                                      Smithsonian on psychic phenomena and I thought
salesperson.
                                                      somewhere there is an interesting film in psychic
    Hallet: I am probably a lot less idealistic and   phenomena. So I was talking to him and he said,
certainly much more willing to compromise on my       “Ginny, I don’t know about psychic phenomena, but I
vision since now I work mainly for the big television have a really interesting house guest that is coming
documentary units who have come to me and asked in a few days. She is a hooker and her name is
me to do a documentary. In the beginning I just       Margo St. James. She’s coming here for the Hooker’s
made documentaries for the pleasure and for very      Convention to lobby Congress on decriminalizing
little money.                                         prostitution.” So I met her and she was utterly
    Durrin: Well, I have gotten off the beaten path   fascinating; so I did it. It ended up being on PBS
a couple times, but it always comes back to your      stations and winning a lot of prizes.
sense of story. For me, my better films are always       Now, with so many outlets and filmmakers and
character based. There is some sort of tension there, the decreasing cost of the technology I guess you
a change, and some sort of social message. My first   could say it’s crowded out there. So a fresh story
independent films were character based and then       and a well told story is always going to get more
I went away from that and now I am coming back        attention, because people probably do get saturated
to it. The reason I went away from it was probably    with topics. So you have to have a new twist or be a
money. I was doing some at-risk films for teenagers, masterful storyteller. Be visual, be heartfelt.
which I distributed, because that allowed me to be
a capitalist and not just a daily worker. So I was    Q. When you started out in documentary what
making a fair amount of money on the distribution     did you primarily shoot your films on? Has the
of these educational films for the school market on   emergence of digital video had an affect on your
health and sexuality. That was work that was more     approach to producing films?
market-driven. Another time I got off the track was      Weiner: We were probably among the last super
when I was doing these big budget things for a PBS    16mm hold-outs before switching to HD. I think that
series, where the driving concept for the shows was   working in film had a very definite advantage -- you
more history driven as opposed to character-driven.   gave a lot more thought to what you were shooting
I think those films, while they can be very good      since the cost was so much higher.
are less compelling. Now, there is no one path for       Hallet: I shot everything on 16mm film with first a
filmmaking, but for me character-driven films are     Bolex, then an Eclair, then an Anton and an Arriflex.
where I think I am good and can make ideas come       We shot everything double system with a Nagra tape
alive through people living those ideas.              recorder. I edited on a Moviola editing machine and
Q. As the Internet and cable television have          later on a Steinbeck. At first I didn’t like shooting in
increased access to media for millions of people,     video and always insisted the DP use filters to give
do you find it is more difficult now to find unique   it a film look. Now that the cameras have gotten so
subjects for your films?                              much better, I have no problem shooting in HD.
    Weiner: I think that the abundance of Internet       Durrin: I started out on 16 mm. You could only
and cable outlets makes finding ideas easier -- it    shoot in film rolls that lasted 10 minutes and you had
seems that anything is fair game. Two of our feature  to stop and load the camera. So that really affected
                                                      your shooting ratio. Also, there was a time lag in
                                                      taking the film to the lab and getting it developed
  13
and making a copy of it called a work print then          back here [D.C.] and started all over again as a
bringing that back and then splicing it. I mean the       production assistant and associate producer and then
whole thing was much more belabored compared              I went into film editing. Then I decided I wanted to
to the digital age today. But we loved it; we loved       produce and not just edit, so I had to spend a lot of
the tactile feeling, the sound of chopping and the        time responding to RFPs and did my share of those
look of film.                                             films and then started producing independently.
    Now it is hard to find the line [with shooting           There are many paths. While some people have
so much more because of digital video]. It is             very successful careers working at a network,
wonderful to have that option, but what it means          others have really interesting career patterns being
is it drags you out like crazy later in the rest of the   independent and entrepreneurial. Some filmmakers
production process because your shooting ratio            take the route of developing projects -- smelling
gets so high and you’re just beholden to time and         out the ideas, obtaining the rights to a book or to
you’re slogging through all this stuff looking for        somebody’s life story, fundraising and trying to put
your gems. I have this system now where I put a           the money together, creating a demo reel or a few
little red marker on “gotcha things” when digitizing      sample sequences of what you’re trying to do and
on the Avid.                                              then pitch it to broadcast outlets or to big funders.
    But now I am going to be shooting on HD and I         Q. Is it easier now than it used to be for women
also have a MiniDV camera. Now I wouldn’t shoot           to work in the documentary film industry?
anything, mostly, except HD.
                                                             Weiner: It’s much easier for women now.
Q. How did people get their start in                      Remember, we started Women in Film because
documentary in the past and what is the best              women needed a support system to find meaningful
approach now?                                             opportunities in the film industry!
    Weiner: Hal and I formed our company                     Hallet: The entire industry has completely
many years ago when we were too young to ever             changed. When I started it was completely a
consider failure -- never once did we doubt that we       man’s world. Today I would say that at least half
would succeed or flinch when we had to invest our         of documentary filmmakers are women. In this
last dollar in a project. If you have doubts, this        industry I think women have come a long way.
may not be the ideal business.                            It is wonderful to see so many women making
    Hallet: When I started, we all simply made            documentaries today.
our own films. I started out making three minute             Durrin: I guess it is, but I feel quite comfortable
little films. My Bolex only could handle a 100            and have for many years being a documentary
foot reel in the camera which was 3 minutes of            filmmaker. I think at the beginning it was probably
film. I did things on a variety of subjects from          a little harder, but certainly for a long time I haven’t
headlights in the streets, to a camel in the zoo to       felt like that was an issue. Sometimes when you are
freight trains in the train yard. My husband and          around an all male crew and you don’t quite know so
I would shoot it one weekend and then I would             much as they do technically it would be nice to know
edit it during the week. We would invite people           a little bit more. But, I think we’re very fortunate and
over for our “Sunday films” and project them on           that doesn’t seem to be such an issue anymore. Now
the wall. From these Sunday showings, I got               when you look at studies you see that the statistics
my first commission to do a small dance film for          still aren’t that great for women overall in terms of
a children’s dance school in Salt Lake City. Then         number of female directors, female camera people,
I got a project for the University of Utah. And it        even producers.
continued like that. We did everything. We shot
                                                          Q. How do you see documentary film evolving
them, edited them, directed them and sometimes
                                                          over the next 10 or 20 years?
even narrated them. It was a great way to really
know everything about filmmaking and certainly               Weiner: Impossible to answer. Ten or fifteen
made me a better director later on in my life. I          years ago who would have thought that reality
still believe the best way to start out in filmmaking     shows would take over prime-time television or that
is to make your own little three minute videos.           Discovery would reach 1.5 billion people world-wide!
People need to show what they can do.                        Hallet: I think it will only get better and better.
    Durrin: I majored in communications and public        It is now an accepted profession. I have been
policy at Berkeley. You can pick up a lot of the          lucky enough to make a living as a documentary
film stuff on your own, in the field, but I think         filmmaker. I think today making a living [in
it is really good to have a strong background in          documentary] is even easier.
literature, sociology, and politics. After college I         Durrin: I hope that there is always going
joined the Peace Corps as an educational television       to be room for the more traditional long-form
producer/director in Colombia, South America.             documentary, where you really get into characters,
That got me started in production and then I came
                                                                                                             14
their times, the culture, the tensions, with historical    DC Film Office Creates One-
footage. I just always feel like that is such a rich
experience.                                                Stop Shop for Filmmakers in
   Marilyn Weiner and her husband Hal are the              the District
owners of the Washington, DC production company
Screenscope. Together they have produced, written             The Office of Motion Picture and Television
and directed more than 224 documentaries, four             Development has unveiled a new virtual “one-stop
public television series, and three feature films. The     shop” for filmmakers wishing to shoot in the District
Weiners have won more than 130 top international           of Columbia. A new streamlined permitting process
awards, including 39 CINE Golden Eagles. For more          makes it easier, faster, and more efficient to film in
information and to contact Marilyn Weiner, please          Washington, DC.
visit www.screenscope.com.                                    Film permits are now generated directly from
   Judy Hallet is an award-winning documentary             the Film Office and can be delivered electronically
filmmaker with more than 35 years of experience            to filmmakers. Additional improvements to the
and is the owner of Judith Dwan Hallet Productions.        film permit processes will be rolled out by the end
Hallet’s work encompasses a wide range of                  of 2009. For more information and to get started,
productions including The National Geographic              please visit our online permit center, www.film.
Television Series “Explorer,” the film “Lords of the       dc.gov/permitapplication
Garden,” and “Witness to Hope,” a two-hour film
biography on the life of Pope John Paul II. Her            Selling/Transferring Your
work has won numerous awards including multiple
Emmys®, a George Foster Peabody, and a Lillian Gish
                                                           Business
Award for best woman director of the year. She is            O’Keefe Communications will host a WIFV
currently the series producer for a six-hour series on     Executive Salon on October 20 to share what they
wisdom among the elders in traditional cultures for        have learned by valuing their successful media
National Geographic and PBS.                               company for eventual sale or transfer. They
   For more information and to contact Judy Hallet,        have assembled their experts and will provide
please email jdhprod@starpower.net.                        refreshments so you can comfortably discuss:
   Ginny Durrin is the president and owner of the           ∙   What’s the time to start considering selling or
30-year-old Washington, DC production company                   transferring your business?
Durrin Productions. Durrin produces social issue
media and has received national and international           ∙   What options are there for transferring/selling
recognition for her distinctive stylistic documentaries,        your business?
including a nomination for an Academy Award for             ∙   How do you determine what the option fits you
“Promises to Keep” about Mitch Snyder and the                   best?
homeless. Her current project, “Bombs in Our
Backyard,” explores the deadly contamination                ∙   What are the taxation issues associated with
of a prominent Washington, DC neighborhood                      sale or transfer?
from buried WWI chemical weapons. For more                  ∙  How do you go about valuing your company for
information and to contact Ginny Durrin, please                sale or transfer?
visit www.durrinproductions.com.                           October 20, 2009
                                                           6:30 pm
                                                           O’Keefe Communications
                                                           4301 Connecticut Avenue, NW
                                                           Suite 200
                                                           Washington, DC 20008
                                                           $15 for Executive Members
                                                           RSVP encouraged to director@wifv.org




  15
Advice to Industry Moms                                    The more flexible you are, the more flexible your
                                                           employer is likely to be. And that goes both ways:
By Brigette Polmar                                         Kids can be incredibly flexible if you make last
   When moms talk, magic happens and the Moms              minute detours for “mommy’s work” an adventure.
Making Media Weds One event at Interface Media             Be prepared for anything and it will be easier to keep
on September 2 was no exception. The fun and               two plates spinning at once!
informative evening featured an impressive panel              Be so good they don’t have to worry. Establish
of industry professionals and working mothers who          yourself as the most reliable, quality, professional
shared their strategies for successfully juggling work     now, so that when you become a mom making
and family in an industry that requires long hours         media, you have a proven track record of excellence.
and travel.                                                Once you are juggling kids and career, demonstrate
   The panel included Discovery Communications             you can still deliver.
executive Tammy Shea, award-winning network                   Work hard at work and you could work from
producer Sandra Thomas, Emmy®-nominated writer             home. Good product is good product, and if you’re
producer Sydnye White, Voiceover artist and teacher        churning it out consistently, on time, and with little
Melissa Leebaert, as well as moderator Michelle            hassle-factor, your employer may be willing to let
Delino of Astoria Park Productions.                        you work from home – a win-win for many moms
                                                           balancing work and family.
Key advice for moms making media
                                                              The new landscape may be lonely. Working
included:                                                  from home can be lonely if you spent your pre-
   Stay connected. Maternity leave doesn’t mean            mom career in a busy studio or in constant creative
leaving your rolodex behind. Call, email, and have         meetings. Talk with other mom professionals to
coffee with colleagues and professional friends to         learn from how they manage their home office and
stay in the loop and “top of mind” when it comes to        professional presence. This may mean setting office
new opportunities and industry news and trends.            hours, having off-limits areas in your home, and
   Surround yourself with a community of                   scheduling regular meetings and conference calls to
support. Moms may be able to do everything,                stay connected and “visible” to your team.
but they don’t do it alone. Work with your spouse,            Know when to say uncle. If “momming” means
family, neighbors, fellow moms, and child care             no more all night shoots or last minute flights for
providers to create a safety net of care for your          breaking news, look for new ways to flex your
child when you need to be away. Have a list of             creative muscle and repurpose your resume. It
Plan B numbers for the unexpected. And use your            may mean a new position, new company, or new
free time to support that caring network, so it will       (smaller) paycheck, but sanity – for you, your
support you when you and your child need it most.          family, and your coworkers – may be worth it. As in
Some moms making media have also worked with               everything, it’s all about choices and you never know
fellow co-worker moms to cover early or late shifts        what amazing undiscovered opportunities are just
to accommodate trips to the pediatrician, preschool        down the road. Work hard now. Worry when you
schedule changes, etc.                                     get there.
   Don’t be apologetic. When you become a mom                 Brigette (Langmade) Polmar is a WIFV Executive
making media, don’t be apologetic about your new           Member and a mom making media. After more than
responsibilities or priorities. Keep it professional and   ten years as a broadcast journalist on Capitol Hill,
if you must have a “hard out,” i.e. “I need to leave       Polmar became a mother in 2007 and is expecting
by 4:00 on Wednesdays,” – work it out with your            her second child later this year. As a mom, she
employer to make up the time beforehand and stick          founded Karr & Company Communications, a broadcast
to your arrangement with confidence. If a kid crisis       writing and consulting firm, and co-founded Multitask
strikes unexpectedly, explain you’ll be late and end       Productions, which produces the popular fitness website
the call. Endless excuses and over-explaining make         www.SqueezeItIn.com. Her first book Washington,
you appear out of control and magnify an issue that        D.C.’s Most Wanted will be published later this year and
may otherwise go unnoticed.                                is available on Amazon.com.
   Don’t play the “mom card” unless it is
completely necessary. Use family commitments
as an excuse or complaint too often and you become
the mom who cried wolf. If “family emergencies”
are the exception, rather than the rule, you’ll save
yourself from being viewed as the weakest link.
   Be willing to bend. If being able to pick your
child up from daycare means coming in early or
bringing work home, be willing to do what it takes.
                                                                                                              16
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   Learn how to quickly solve common problems              life and now he is right in the palm of your hand
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innovative learning application combines the latest        interactive application.
in knowledge and technology to accelerate your
learning. Need it? It’s at iTunes -Tinyurl.com/upapp
                                                           Animate More for Less Tour
 ∙   Includes 17 training videos edited specifically for
                                                              Toon Boom CEO Joan Vogelesang and CTO Francisco
     the iPhone or iPod Touch. Offers easily viewable
     screens, with zooms and close-ups of the action.      Del Cueto will be presenting More for Less on October
                                                           28 at the Hotel Palomar. Come and learn about the
 ∙   Every lesson includes hands-on files that you         current state of the worldwide animation industry and
     download to your computer. There’s no need to         find out directly how you can access the Toon Boom
     merely watch, you can try out every technique         global corporate network. The best animation talent
     on your own.                                          lies right here in North America! Let us examine
 ∙   Test your knowledge with interactive quizzes.         together how we can maximize your potential through
                                                           Animate. This is a great event for 2D & 3D animators,
     Score yourself as well as check your answers
     with video responses.                                 producers, or Flash & Web designers. Learn more
                                                           about creating a global approach in building your
 ∙   Search throughout the application by keyword          company while also seeing the new standards in
     and your own bookmarks.                               digital animation.
 ∙   A quick reference guide is also included to help         Francisco will demonstrate why Animate is quickly
     you build your Photoshop knowledge.                   being recognized as the tool of choice by animators
 ∙   Interact with the trainer with comments and a
                                                           and studios around the world. A preview of Toon Boom
                                                           Storyboard Pro will also be shown. Other reasons to
     Twitter client.
                                                           attend:
   The application contains video tutorials that cover
                                                              Exclusive $399.99 Animate vouchers for attendees
a variety of tips and tricks that will help you get the
                                                           (applicable to new licenses only). Appetizers and
best out of Photoshop. From learning how to
                                                           drinks will be served starting at 7 pm.
manipulate colors in your
images to erasing                                           This event is FREE
unwanted blemishes and                                      Attendance prize: one copy of Toon Boom Animate.
even an entire person                                       Wednesday, October 28, 2009
from your photographs,                                      6:30 PM – 9:30 PM
these tutorials offer it all.
                                                            Hotel Palomar
Whether you’re new to
Photoshop or even an                                        2121 P Street NW
advanced user, you’ll find                                  Washington, DC
useful techniques and                                       http://www.hotelpalomar-dc.com/
powerful shortcuts to get                                   Please RSVP at:
your work done faster.                                      http://toonboom.makeswebsites.com/
   Unlike other video based
training, this application is all about interactivity.
Each lesson includes hands on files so you can work
right along with the instructor. There are interactive
quizzes where you can test your know-how and get
instant feedback. An additional e-book that you
can read and learn even more Photoshop skills. To
make it even easier all of the videos and guides are
searchable for those times when you need a fast
answer. This application teaches you professional
techniques used by Photoshop experts.
   The application was developed with host Richard
Harrington. Richard is a leader in the Photoshop
world. He has written over 20 books on digital
photography and design and a contributor to
Photoshop User and Layers Magazine. Richard is
an Adobe Certified Instructor as well as a member

  17
Doc Roundtable Shares                                       think about (for more info, please visit the following
                                                            link: http://tinyurl.com/ob277y)
Expertise                                                      Videomaker magazine provides advice on
   In late August, the topic was social media; in           approaching social media. They recommend thinking
September they started a two-part discussion of             about it as any film, with pre-production, production,
“The Big and the Small”. Matthew Radcliff shares            and finally, post-production. First, prepare yourself
his notes from both below. The WIFV Documentary             with a “media kit” that contains text descriptions of
Roundtable typically meets the fourth Thursday              your film (logline and synopsis, but also key words
of the month and posts meeting info to the WIFV             and phrases) as well as pictures and video clips. Keep
listserv. Hearty thanks to Interface Media Group            a folder of this on your computer and add to it as you
for providing a venue for these important meetings.         go along. The keywords are useful for “tagging” and
Want to learn more or join the newly-formed                 to help searching. Videomaker also recommended
Documentary listserv? Then email Matthew at                 using a photo-sharing site such as Flickr or Picasa
mrradcliff@verizon.net                                      to organize and make available your press photos.
                                                            TubeMogul is useful for video (see below). Having
Social Media to Promote                                     a consistent theme, across all social media, is also
Documentaries (August)                                      important. For instance, use the same photo or
                                                            icon to represent you, your business, or your film
   Facebook and LinkedIn are the most common social
                                                            (whichever you are promoting).
media sites being used; a few are using Twitter also.
Not many are blogging. It is always a quest to “get            TubeMogul is a service that can feed video clips to
noticed.” On Facebook, a recommendation was to              a number of video sites, provided you have accounts
comment on other people’s posts, and to comment on          at them and TubeMogul has your login information.
your own posts as well; the comments get listed in a        This way you can upload your video once, and let
separate notification area on the Facebook page, and        them distribute it to many places. Avery Gimble has
can draw attention to your posting. Lisa Ann Schaefer       found it to be useful, and says it provides tracking
was using this technique. (Commenting on other              information to on how many people are watching your
people’s blogs is also a prominent strategy for creating    work.
links back to your own blog, which then increases              How many viewers/friends/fans/followers do you
your ranking in search engines.) As you begin your          need? A very hard question, although it’s obvious
Facebook account, you will need to “invite” people          that more is better. One strategy is to aim for a niche
to join – or in the language of the medium, “friend”        audience, who can then act as “brand ambassadors”
you. Additionally, you want to create links from other      on your behalf. Word of mouth – or is that word of
sources to your Facebook account, to allow people           mouse? – is always important. Carolyn Projansky,
to join without your invitation first. Several of the       has been using Twitter for a while to raise awareness
attendees include their Facebook account information        and funding for her documentary Breaking the Rules
in the signature file on emails (not many put it on their   (@carolynbtrmovie). She’s been holding steady at
business cards, though some do put their LinkedIn           around 30 followers (gaining some but losing others)
information on their cards). A common way to drive          and not seeing much success from her efforts, yet.
people to your Facebook account is to put a link on         She also has been blogging about producing the film.
your business website. There are free services to           Isaiah Headen used Twitter while working on his film
do this, such as ShareThis (www.sharethis.com) and          The Blind Photographer (@tbpmovie) and found a
AddThis (www.addthis.com). Elisa Joseph Anders has          number of resources that were incredibly helpful in
used Share This to add links to social media sites for      planning and producing the film. He found it a useful
the trailer to her documentary, From One Village.           way to enter into a community and find new friends
   Getting your business onto Facebook: a business          and friends of friends who could provide valuable
page needs to be a “Fan page,” or at least that’s what      information. I am reminded of advice from Scott
the Facebook rules say. A Fan page is somewhat              Kirsner, author of Fans Friends and Followers (about
similar to a personal account, and distinct from a          creative artists using social media successfully),
“group page.” Groups are more like a real-life club,        that you need to create opportunities for your target
and are limited by size (some features only available       audience to participate and collaborate. However,
for less than 5,000 members). Trevor Henry shared           letting the “unwashed public” into our process is
his story of learning this the hard way. Fan pages          always a challenge for creative types.
are analogous to personal accounts as a corporation            In terms of outside resources, Avery Gimble
is analogous to a person. A major benefit is that Fan       recommends using social networking sites to connect
pages are indexed by Google, like personal pages, but       to other filmmakers. Of course WIFV is the premiere
Groups are not. It was suggested that people might          community for the metropolitan DC community, but
be more inclined to be a fan of something before they       there is also the DC Film Salon, and there are many
would join a group. An interesting bit of psychology to     film groups on Linked In that one can join. The South
                                                                                                               18
East Film Association has started their own social     other, that audiences may find it physically hard to
networking site, MySEFA (www.mysefa.ning.com).         watch an IMAX film for longer than an hour.
   And lastly, keep track of how your efforts are         The budgets for an IMAX film are a lot larger than
going. Elisa Anders mentioned that one can customize   typical documentaries, costing several million dollars.
tracking by adding a code to each link that you send   The size of the camera alone effects many aspects
out. At the end of the URL, append “?ref=code” where   of the production process and budget. You need a
code is customized for each instance. For blogs,       bigger crew. David’s latest film Dinosaurs Alive, had
Wordpress can do some tracking, and Technorati also    a film crew of 15 people to fly to the middle of the
provides some capabilities. These are in addition to   Gobi desert in Mongolia. It takes four people just
general web analytics, such as Google Analytics.       to lift the camera, which weighs about 225 pounds.
                                                       The cranes, jibs, dollies, and track all need to be
The Big and the Small Part I                           heavy-duty to support such a large camera, and so
(September)                                            they are more expensive and cost more to ship.
   This meeting provided an insider’s view of             The IMAX film comes in 1000-foot rolls, and each
making IMAX documentaries provided by David            roll equals 3 minutes of filming. The cost is about
Clark, producer and director of three IMAX films,      $1000.00 per roll, and the IMAX 3D camera needs
Dinosaurs Alive!, Galapagos, and Whales. Both          two rolls of film, one for each eye. That means that
Dinosaurs Alive! and Galapagos were filmed and         it costs $11 per second for the film stock. Processing
screened in IMAX 3D. Over the past 30+ years,          is about the same amount again. David told a story
he has made documentaries for NOVA, National           about filming whales breaching, using a high-speed
Geographic, and the Discovery Channel. He has          IMAX camera (which uses the film faster) – it takes
Emmys®, CINE Golden Eagles, and the National           several seconds for the camera to get up to speed,
Academies Communications Award for excellence in       and then you are hoping the whale jumps at the
communicating science to the public.                   right time. Meanwhile, it feels like $20 bills are
   IMAX was originally created for a World’s Fair      rolling through the camera.
in Canada that became enough of a hit that it             Once they have the 65mm film developed, they do
became a commercial product and brand. The IMAX a “print-down” to 35mm to screen dailies, which are
Corporation makes and owns the cameras, and so         then telecined for editing. The IMAX film is so big
you must rent the cameras through them. They           that an unnoticeable speck in the frame while editing
also typically build the IMAX theaters and rent the    may actually be very visible when projected onto
projection equipment to the theater operators.         the IMAX screen. So dailies are checked in 35mm,
Because the IMAX cameras are so tightly controlled,    and any final cut is screened at 35mm and/or 65mm
there is still a relatively small pool of experienced  sizes. One example David had was a shot of a bear
crewmembers available to hire - many are Canadian, feeding in a stream surrounded by pristine Alaskan
which means a producer will need to obtain visas       wilderness – which had a prominent car in the shot
even to film in the United States.                     when projected to IMAX size!
   There are three types of IMAX theaters, and            The IMAX camera, because it is so large, is very
they each have different configurations. The most      noisy. This makes getting location sound a very
common is traditional IMAX, but there are also         difficult job. Much of the dialogue is re-recorded
IMAX Domes, and IMAX 3D theaters. Each has             later in the studio. There is a sound recordist with
a different “sweet spot” for the audience focus.       the crew, and their recordings are used as a guide
What is common to all is the need for very careful     later. They also capture a lot of wild sound, which
filming: no fast pans, no fast cuts, be careful to     is used in the overall sound design. About three
not have action on the extreme right or left edge.     months are spent on the sound design during the
IMAX 3D, like other 3D films, also adds the issue of   post-production process. The score is usually
convergence (the distance at which the two eyes are recorded with a full orchestra. It may take a month
focused).                                              to mix the audio, and they are definitely done in
   IMAX film is 65mm wide. The possible resolution     surround sound.
is 16x greater than a high-end digital frame scanned      When developing an idea into an IMAX film,
at 4K. A by-product of the size of the film is the     there are a number of elements that are needed.
length and weight of it as it is being projected,      David referred to a “network” of people involved in
which effectively limits the length a full movie can   producing the film. A producer/director will usually
be. Anything longer than 40 minutes or so becomes collaborate with an IMAX theater (for instance, a
unwieldy to arrange on the platter holding the film as museum that has one) and an IMAX distributor. It
it feeds into the projector. (Also, of course, theater is also common to have investors, whose investment
owners want to turnover the audience every hour).      needs to be paid back. Often, films have some
The screen size is so large, from one side to the      funding from grants. Another potential “source” of
                                                       funds is through production tax credits.
  19
   So, a producer with an idea may approach any          Women Writers’ Overall Employment Share
part of this network first, and then connect to the       Remains Largely Flat
other parts later. There are conferences every              Between 2003 and 2007, gains for women writers
year by the Giant Screen Cinema Association,             have not exceeded one percentage point in any
and other industry groups. A lot of networking           of the employment areas. Women, who account
happens at these conferences, and this would be          for slightly more than 50 percent of the U.S.
a likely opportunity for a producer to pitch her         population, remain underrepresented in television
ideas to a distributor or to other producers with        employment by 2 to 1 and in film employment by
more experience – and more connections. At the           nearly 3 to 1.
moment, David said, there are very few women              Earnings Gender Gap in TV
directors of IMAX films. Only recently have women
been on the film crews. But, he added, there is no          Women television writers earned about the same
reason they couldn’t succeed, as technical crew or       in 2007 ($82,604) as they did at the beginning
directors.                                               of the five-year report period in 2003 ($82,000),
                                                         despite spikes in earnings in 2005 and 2006.
   The next Documentary Roundtable meeting will          The television earnings of white male writers, by
be October 22. We will have Part 2 of our series,        contrast, increased by nearly $4,000 over the report
“The Big and the Small,” focusing on documentaries       period (from $84,300 to $87,984), after peaking at
that are short in length and size. Joining us will       $100,000 in 2005 and 2006.
be Vanessa Serrao, who has produced and edited
New Media for Discovery. Her latest venture,              Earnings Gender Gap in Film
NatureBreak.org, was recently featured in the               The gender earnings gap in film for 2007
New York Times. Other panelists will be named            ($41,724) was the largest since at least 2003.
at a later date. The October 22 meeting will also        Film earnings for women were down from the
be graciously hosted by Interface Media Group,           2003 figure of $62,500 in 2005 ($50,000), 2006
1233 20th St NW, Washington DC 20036. RSVP to            ($55,500), and 2007 ($57,151). By contrast, the
mrradcliff@verizon.net                                   earnings of white male writers increased by more
                                                         than $8,000 over the period, from $90,476 in 2003
Hollywood Writers Report                                 to $98,875 in 2007.
                                                            Learn more about Melissa Silverstein at her
2009                                                     website www.womenandhollywood.com and this
By Melissa Silverstein                                   was her blog published August 10, 2009. ScriptDC
                                                         (October 16-18) is an attempt to assist with
  It’s no surprise to know that women writers in
                                                         improving these statistics!
Hollywood have a tough time getting gigs. It’s
always great to have the statistics to back up all the
anecdotes. So, here are the abysmal statistics from
the 2009 Hollywood Writers Report report done
by the Writers Guild of America West. This report
Rewriting an All-Too-Familiar Story? is an update
2007 report. (FYI- The stats only go through the
end of 2007.)
 What do the stats show?
  First, things are pretty sucky for women writers.
Second, it’s just not getting better. Third, women
get paid less across the board and that is actually
getting worse. “The previous Hollywood Writers
Report noted that while women writers had made
considerable strides in television earnings, they
appeared to be going backwards in film earnings.
The current report suggests that these trends
continue to hold for women writers relative to their
white male counterparts.”
 Total Percentage of Women Writers
  2003: Total- 24%; TV- 27%, Film – 18%
  2004: Total- 25%; TV- 27%, Film – 18%
  2005: Total- 25%; TV- 27%, Film – 19%
  2006: Total- 25%; TV- 28%, Film – 18%
  2007: Total- 25%; TV- 28%, Film – 18%
                                                                                                        20
Executive Committee
Denise Moak             Human Genome Sciences, Inc.
 President



                                                      Events
Paula Bellenoit           Human Factor LLC
 Executive Vice President

Cynthia Miller          Miller.Omni.Media, Inc.
 VP/Strategic Marketing

Susan England           idea design
 VP/Commumications
                                                      October 7, 2009, 6:30 pm          October 26, 2009, 6:30 pm
Alison Hanold           Center for Social Media, AU   Weds One: Journey to Your Doc     WIFV Membership Committee
 VP/Membership
                                                      Interface Media Group             Interface Media Group
Hilarey Kirsner         Discovery Studios
                                                      $10 WIFV Members/$20 public       membership@wifv.org
 VP/Programming

Juliet Hutchings        The Travel Channel            October 8, 2009, 6:30 pm          October 28, 2009, 6:30 pm
 Secretary
                                                      WIFV Programming Committee        Animate More for Less Toon
Lynnette Jackson        Video/Action                  Interface Media Group               Boom Tour
 Treasurer
                                                                                        Hotel Palomar
                                                      October 12, 2009
Catherine Wyler         Wyler/Rymland Productions                                       http://toonboom.
Advisory Committee Liaison                            WIFV Office Closed                  makeswebsites.com
Kimberly Skyrme         Kimberly Skyrme Casting!
 WIFTI Liaison                                        October 14, 2009                  October 30, 2009, 7:30 pm
Felicia Barlow          CSU/Crabtown Concierge
                                                      WIFV Board Meeting                Costume Cabaret
 Past President
                                                      October 16, 2009, 6:30 pm         The Mansion at O Street
                                                                                        $30 WIFV Members/$45 public
                                                      Sunshine Cleaning Screening
                                                                                        membership@wifv.org
                                                      Q&A with Megan Holley by NPR
Board of Directors                                      Reporter Neda Ulaby             November 4, 2009, 6:30 pm
Alexandra Balbuena Alleyne                            University of California,         Weds One: Cost-saving
Jane Barbara                                            Washington Center                 Workflows for Producers
 Programming/Screenwriters' Conference
                                                      $10 Admission                     Interface Media Group
Emily Henninger         Henninger Media Services      membership@wifv.org               $10 WIFV Members/$20 public
Rouane Itani            Aflama, LLC
                                                      October 17-18, 2009, all day      membership@wifv.org
Megan Kimball           Double R Productions
 Special Events                                       ScriptDC Writers Weekend          November 18, 2009
Miriam Machado Luces    BET                           University of California,         WIFV Board Meeting
Erika Singletary                                        Washington Center
Paul Willard            Creative Pursuits             Pricing at www.wifv.org           November 19, 2009, 8:00 am
                                                                                        WIFV Executive Breakfast:
                                                      October 17, 2009, 7:00 pm
                                                                                          Legal Issues
                                                      DC Shorts Screenplay              City Club, Columbia Square
Staff                                                   Competition                     $15 Executive Members/$25
Melissa Houghton, Executive Director                  University of California,           guests
Imon, Membership Coordinator                            Washington Center               director@wifv.org
                                                      $10 tickets at www.scriptdc.com
                                                                                        November 30, 2009, 6:30 pm
                                                      October 20, 2009, 6:30 pm
                                                                                        An Evening with Sheila Smith,
                                                      Executive Salon: Valuing Your       2009 WIFV Woman of Vision
                                                        Business for Sale or Transfer   Location TBA
                                                      O’Keefe Communications
                                                      $15 WIFV Members
                                                      director@wifv.org
                                                      October 20, 2009, 6:30 pm
                                                      WIFV Student Roundtable
                                                      Location TBA
                                                      membership@wifv.org
Women in Film & Video
3628 12th Street, NE                                  October 22, 2009, 6:30 pm
202-429-9438                                          WIFV Documentary Roundtable:
202-429-9440 (FAX)                                     The Big and the Small Part II
director@wifv.org                                     mrradcliff@verizon.net
www.wifv.org

								
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