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Washington State Labor Council Votes for Continued Support of WF

On July 24, the Washington State Labor Council voted unanimously for continued support of Washington Filmworks at the 2014 Convention of the Washington State Labor Council.

Supporters of the resolution included SAG-AFTRA, IATSE Local 488 and Teamsters Local 174. Rik Deskin, who was the SAG-AFTRA delegate to the Labor Council Convention, amended the resolution from the floor right before it was voted up on the last day of the Convention, which ran from July 22-24 at the Wenatchee Convention Center.

According to the WSLC’s website, delegates representing the WSLC’s more than 500 affiliated labor organizations, with some 400,000 rank-and-file members, gathered to hear from distinguished labor, government and community leaders and to set the course for the state’s largest union organization in the coming year. See the 2014 WSLC Resolutions, as approved by convention delegates.

The full text of the resolution to continue support for Washington Filmworks can be seen below.


Continued Support For Washington Filmworks

Resolution #10

Submitted by IATSE 488 (Co-sponsored by SAG-AFTRA Seattle Local)

WHEREAS, Washington State continues to look to grow revenue and create jobs for Washington resident workers; and

WHEREAS, leaders of both the executive and legislative branches have indicated an intention to intensively review all government programs to determine their economic sustainability; and

WHEREAS, past experience has shown a glaring lack of public understanding of the Washington Filmworks program which supports the production of television, commercial and motion picture projects; and

WHEREAS, Washington Filmworks has attracted over 92 projects to the State that have had over $232 million of economic impact statewide; and

WHEREAS, Washington Filmworks’ projects have created thousands of union and family wage jobs that provide health and retirement benefits for the state’s actors, technical support workers, and production support businesses; and

WHEREAS, Washington Filmworks committed all $3.5M in available funds by May, 2014, and no longer has funds available to commit to deserving productions that provide employment of thousands of workers; and

WHEREAS, more than thirty-eight states currently provide similar and even greater financial support for film and video productions; and

WHEREAS, there is a rich body of evidence that proves the effectiveness of production incentives in the creation of non-polluting, well paid, sustainable work; now, therefore, be it

RESOLVED, that the Washington State Labor Council, AFL-CIO, support legislation ensuring that the State commit to funding Washington Filmworks at a level that increases the competitiveness of Washington State’s motion picture industry and ensures job creation and economic development opportunities across the state.

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Why You Should #FilminWA

You may have noticed posts on your social media feeds containing the hashtag #FilminWA over the last couple of months. Wondering where that came from? Or what it’s all about? Well it can be traced back to Douglas Horn, a local filmmaker who wanted to create a visual record and a running conversation about the ongoing projects that are being filmed in Washington State. The simplest way to do so, Horn thought, was by using this hashtag on social media to encourage filmmakers, photographers, set designers, editors, and anyone else on a production to post about their in-state production on social media accounts, and thus, keep a running stream of the volume of work that is ongoing throughout Washington.

Horn was inspired by social media campaigns like #crewtopia and #setlife when he conceived of this social media campaign. We wanted to know more about why this is important to Horn and to the filmmaking community at large and what Horn hopes to see emerge from these efforts. We spoke with Douglas to find out just that. Read our exchange below.


Washington Filmworks: Why did you decide on this particular strategy for engaging the filmmaking community?
Douglas Horn: I talk with a lot of people in the industry, whether in working on my own productions, working as a director-for-hire, or just socializing with friends in the industry, and I recognized that there was a real desire to develop more of an identity amongst ourselves as people who work in this industry here in Washington State. There are some grassroots hashtags that people often use, such as #setlife and #crewtopia to show images from film sets. I wanted to create something as simple and fun but that was Washington-specific and also encompassed more of the filmmaking experience than just what happens on set—since writers, editors, composers, and a lot of other crucial contributors tend to get left out.

Screen Shot 2014-08-07 at 10.50.18 AM

WF: Why did you choose to launch this effort now?
DH: It was the combination of a few different events. Early in the year there was some hubbub in the Seattle film community. I think it became apparent that we hadn’t done a great job at making our industry visible and vocal. We mobilized briefly and gained some recognition. Since then people have been eager to stay more engaged. A few months later, Washington Filmworks announced that it exhausted its annual incentive allotment with just two projects—and had to turn away several other projects that had intended to film here. While it is great to get bigger projects filming in the state, I think that the sudden recognition that our incentive cap could be reached so easily made people in the entire industry here experience that same recognition that the Seattle community had earlier in the year. It’s becoming more apparent that we will need to coalesce as an industry in this state to make our case about what we need to continue to grow, flourish, and expand the economic activity that we bring in. So, while the #FilminWA campaign is very simple, it gives us the chance to start to bond as a statewide industry and show some of our breadth and depth.

WF: What are the primary goals of the engagement plan?
DH: Well this is a pretty simple social media campaign, so I don’t want to overburden it with expectations. If #FilminWA gives people a way to show what they do in this industry, to stay engaged, and to help people making films, commercials, and television shows across the state—whether in Seattle, Spokane, Bellingham, the Tri-Cities or wherever—all feel a little more united as a community and industry, then I would count it as a big success.

WF: Do you anticipate or hope this will inspire anything else?
DH: Down the road, I hope that #FilminWA will yield a sizable number of great photos and tweets that we might use to help persuade and educate legislators and others about what we really do in a way that numbers alone may not. There are some persuasive statistics and studies showing why the WF incentive cap should be increased, for example, but we are a visual industry and we should also be prepared to make our case visually. Some great photos from the #FilminWA campaign could give us another way to make our case.

WF: What else should people know?
DH: This is a very simple campaign. The idea is just to post social media messages and photos using the #FilminWA hashtag. It’s meant to be a fun way to engage with others in the community that takes almost no time or effort. Pictures from film sets are fantastic, but I’d also like to see all the other elements of the industry as well. This summer is a great time to start while productions are busy. If you also follow @FilminWA on Twitter, you can automatically see many of the other great photos and tweets from others using the #FilminWA hashtag.

Screen Shot 2014-08-07 at 10.44.37 AM


About Douglas Horn:
Douglas Horn is a director, writer, and producer for film, television, and commercial projects. He directed and wrote the feature film Entry Level (D.B. Sweeney, Missi Pyle) and the independent series Divergence. He also wrote the original script for Switchmas (originally Ira Finkelstein’s Christmas) which was made in Washington State. He writes about filmmaking and distribution on his blog DouglasHorn.com.

Commercialize Seattle Goes to SIFF

New Latest Work

Congratulations to World Famous, a production company based in Seattle. They are now featured in the Latest Work section of Commercialize Seattle. This business development campaign is designed to drive production and advertising to the region and the Latest Work section of the Commercialize Seattle website showcases some of the very best commercial work coming out of Seattle and Washington State.


World Famous

Agency or Production Company: World Famous

Explain yourself, World Famous: Our passion is creating stories. Using visual media, sound design and narrative voice, we build lasting kinship between brands and fans. Tony Fulgham and Alan Nay have plumbed the depths of Seattle’s vibrant creative community and rounded up a frisky gang of hyper-talented directors, designers, musicians, artists, dreamers and doers. Our staff of 15 is nimble, inventive and tireless, staying up to date on developing trends and technologies while offering the personal service clients expect.

 


Why Should You Submit New Work?

When we’re out selling the region as one of the best places in the world to make commercials, we point people to the Latest Work section on the Commercialize Seattle website to show them what we can do here! The campaign highlights locally made commercials and is a hub where brands and agencies look to find great talent. Local production companies and ad agencies should register and learn more.

We frequently showcase new work, so get registered and submit. Then we can show you off to the world. Remember, advertising is the best thing any of us can do!

 

 

 

 

 

 

Read More…

Ahoy From Grays Harbor Historical Seaport Authority

Washington Filmworks (WF) uses our Location of the Month newsletters to showcase the diversity of unique looks and resources for production in a number of jurisdictions around Washington State. Find previous installments archived on our website and on the WF Blog.

In light of the Seafair season in Seattle, we decided to do something a little different for the August Location of the Month by adopting a maritime theme. This month we highlight the Grays Harbor Historical Seaport Authority and their two stunning sailing vessels, the Lady Washington and Hawaiian Chieftain, which have some impressive credits. We’ll return to the regular format next month, but for now, ahoy!


Grays Harbor Historical Seaport Authority – August 2014

Grays Harbor Historical Seaport Authority (GHHSA) is a public development authority that was chartered by the City of Aberdeen in 1986 to build the tall ship Lady Washington for the 1989 Centennial of Washington State. Since then, the Historical Seaport has grown into a 501(c)3 non-profit with a mission to offer hands-on living history education for K-12 students and the general public. In 2005, GHHSA acquired the tall ship Hawaiian Chieftain and the two ships travel to more than 40 ports a year in Washington, Oregon, California, and British Columbia. In 2013, the Historical Seaport acquired Seaport Landing, a 38-acre former sawmill property in Aberdeen. GHHSA is now working on a master plan to redevelop the property into a multi-use tourism destination facility.

Lady Washington in San Francisco Bay. Photo by Thomas Hyde


Resources for Filmmakers

Seaport Landing. Photo Courtesy Grays Harbor Historical Seaport Authority

 

GHHSA’s Resources for Filmmakers:

  • Lady Washington and Hawaiian Chieftain: These are unique, authentic, fully functional and visually appealing properties available for film and video projects as historical sets, platforms for training videos, advertising campaigns, documentary productions and short films. Availability is dependent on ship location and schedules.
  • Period ship set pieces: GHHSA has set pieces in storage and they can provide specialty set piece construction for film and theater projects in their Spar Shop.
  • Small boats: There are historically accurate small boats and a small, inflatable powerboat available for use as well.
  • Props: Some of the props available for use include long rifles, pistols, and cannons which can be fired upon request.
  • Seaport Landing: Pictured above, Seaport Landing is available as a location as well. The 38-acre site is a former industry property with a number of large wood and metal structures, each with a footprint of several thousand square-feet. Water and power are available to most structures.

 


Projects Filmed with the Maritime Collateral

Hawaiian Chieftain Under Sail. Photo by Ron Arel

Films

  • Star Trek: Generations, Paramount Pictures (1994)
  • Pirates of the Caribbean: Curse of the Black Pearl, Walt Disney Pictures (2003)
  • Pirates of the Caribbean: Dead Man’s Chest, Walt Disney Pictures (2006)
  • Pirates of the Caribbean: At World’s End, Walk Disney Pictures (2007)
  • The West, IMAX, Blackbeard, Stonewerks Productions

Television

  • The Real Story “Pirates of the Caribbean,” Blink Films for the Smithsonian Channel (2011)
  • Once Upon A Time “The Crocodile,” ABC-TV (2012)
  • Smosh “Assassin’s Creed 4 Rock Anthem,” Alloy Digital (2013)
  • Revolution, NBC-TV (2013)

Music Videos

  • “Can’t Hold Us,” Macklemore / Ryan Lewis Productions (2013)

 


Other Programs, Events and Voyages

Lady Washington with Hawaiian Chieftain at Percival Landing in Olympia. Photo Courtesy Grays Harbor Historical Seaport Authority

Programs:

  • One-hour dockside and three-hour dockside sailing programs for K-12 students in over 40 ports per year. These hands-on living history programs help students understand the early exploration of the west coast of North America by Anglo-Europeans, as well as basic navigation and oceanography.
  • Two- and three-hour sailing programs for the general public.
  • Walk-on tours. These give guests a taste of life aboard an 18th Century sailing vessel.
  • Ships are also available for charter to film and television producers.

Public Events:

  • “Sail-a-bration” event on Independence Day includes tours of the ships, activities for families, music, and viewing of Aberdeen’s annual community fireworks show from one of the best viewing locations in the city.

Voyages:

  • Ships make voyages to over 40 ports a year from San Diego to Port Angeles, including many ports in Puget Sound and in the San Francisco Bay area.
  • There are many more requests for visits than the GHHSA can accomodate per year, so the following factors weigh into the decision of whether or not to schedule a voyage:
    • Potential for revenue
    • Proximity to population centers
    • Adequate public access and marina facilities
    • Philosophy to serve young people, no matter the economic circumstance

 


Relevant Contact Information

  • Local Film Liaison - Joe Follansbee, Communications Director for Grays Harbor Historical Seaport Authority, (360) 589-0766, jfollansbee@historicalseaport.org

 


About:

1411 Fourth Ave., Suite 420
Seattle, WA 98101
(206) 264-0667
Washington Filmworks is the non-profit 501(c)(6) organization that manages the state film and production incentive programs. Its mission is to create economic development opportunities by building and enhancing the competitiveness, profile, and sustainability of Washington’s film industry. We do this by creating possibilities for local and national filmmakers, offering comprehensive production support, as well as financial incentives.

State of the WA Film Industry

The results from our Second Annual Jobs Survey & First Annual Vendor Survey are in! Thank you to all who participated this year! Though we were able to capture some very informative data, we hope to have increased participation across a greater number and variety of film industry professionals next year. If you missed the July Town Hall Events in Seattle and Spokane, here are a few of the key results we presented:

Survey Objectives:

  • To better understand the Washington State film industry (not just the incentive work!)
  • To identify and address industry concerns
  • To further define why film is important in Washington State

Key Results From Jobs Survey:

  • Number of respondents: 514
  • Percentage self-reported as union members: 32%
  • Number of positions represented: over 19 unique positions
  • 80% of respondents worked in their preferred positions on a production in 2013
  • 90% responses from Western Washington (55% from Seattle), 10% from Eastern Washington (7% from Spokane)
    • Other concentrations: Tacoma, Bellingham, Everett, Redmond
  • Types of production our community worked on in order of frequency: commercial, industrial/corporate, feature film, short film, TV/episodic series, music videos, web series, student film
  • Percentage of respondents who answered annual income question: 52% (We need greater reporting next year for a more representative sample. Remember, these surveys can be anonymous!)
  • 64% of respondents expected their film /  video income to increase in 2014
  • Other creative industries supported by Washington film industry workers: photography, theater, music, art, video games, fashion, dance
  • Percentage of respondents who also worked out-of-state on film / video projects: 32%
    • Oregon, California, and New York were most common states indicated

Key Results From Vendor Survey:

  • Number of respondents: 96 businesses
  • Distribution: 88 from Western Washington (55% from Seattle), 12% from Eastern Washington (5% form Spokane)
  • Number of jobs: 953
  • Revenue from Film/Video Work: $32 million
  • Percentage of businesses working exclusively with film/video: 38%
    • Of those that didn’t work exclusively with film, 83% of their business operations was film/video related
  • Other industries supported: advertising, events, photography, retail, education
  • 80% expected their film / video revenue to increase inside of WA in 2014

Key Conclusions:

  • The film industry creates great jobs
  • Film / video professionals are valued workers in the greater creative economy
  • The film industry brings significant money into the state
  • There is still room to grow
  • We need greater survey participation next year. Help us tell your story!

Film PAC 101: Washington State’s Film Political Action Committee

Ballots are due today and in light of that, we wanted to draw your attention to some efforts that should be of particular interest to the local filmmaking community.

During our July Town Hall events in Seattle and Spokane, representatives from WA FilmPAC spoke to those in attendance about the re-emergence of this Political Action Committee (PAC). We anticipate you’ll be hearing quite a bit about WA FilmPAC’s ongoing activities so we thought it would be useful to do a quick “Film PAC 101″ to cover the basics of how and why these efforts can impact your career.

WA FilmPAC is Washington State’s Political Action Committee promoting and backing candidates that support the Washington State film workers and community. Generally speaking, PACs are political committees that are registered with the Federal Election Commission and that work to fundraise and otherwise gain support for industries or causes on a governmental level. They may help support specific candidates’ campaigns, they may work to increase the level of attention their cause receives from legislators, or they may do any combination in between. We asked Washington Filmworks’ Board Member Becky Bogard, a government relations specialist, to shed some light on the topic for us.

What role does a PAC play in advocating for an industry and/or a legislative campaign?
Creation and funding of a PAC demonstrate that an industry recognizes it has a relationship with government. Contributions from a PAC help industry supporters get elected. To the extent that a candidate has demonstrated support for the industry by voting on favorable proposals, it helps such supporters get re-elected. For first-time candidates, a PAC is a tool to talk with candidates about industry issues. 

What other efforts can a PAC put forth to support a cause?
Members of the PAC can engage in “grassroots” activities. These include organizing a doorbelling effort for a candidate, phone banking to get out the vote and organizing fundraisers. It may even include sign waving!

How can people participate? Involving donations and other means?
Volunteering for some of the activities listed above is one way to participate in PAC activities. Certainly giving money to the PAC is important and soliciting funds for the PAC from members of the industry is also important. 

What time of year are PACs most active? Or, what timeframe are we likely looking at for community participation in upcoming efforts?
PACs should be most active now, during the election season. The primary election is August 5 and the general election is November 4. While there will be a lull after the primary until Labor Day, this does not mean PAC members should relax. It is a time to raise funds for the PAC and meet with candidates that have survived the primary. Once established, a PAC should be active year-round in raising funds for its activities with candidates. 

What resources should we direct people to so they can get reliable and valuable information on these topics?
For specific technical information about PACs, you can go to the Washington State Public Disclosure Commission’s website. It will provide limits of contributions to both PACs and candidates as well as all the reporting requirements. Another way to get information about PACs is to talk with political consultants and fundraisers as well as people in industries that have PACs. 


Becky Bogard owns a government relations consulting business that specializes in state and local issues. Her clients include tourism and health care interests, broadcasters, and high-tech companies. Before starting her business, she worked for Governor Booth Gardner. She graduated from Duke University and American University School of Law. 

History & Mission Statement of WA FilmPAC:
For updates, visit the WA FilmPAC Facebook Page

Film PAC was first created in 2010 under Ron Leamon, the then Chair of the PAC. It’s now re-emerging under a new name (WA FilmPAC) and with a modified approach. WA FilmPAC operates under the leadership of Ron Leamon, Lacey Leavitt, JoAnne Ort and Krk Nordenstrom. The mission is as follows:
To engage filmmakers, film crew, talent and others associated with filmmaking in Washington State to become active and effective participants in government affairs. To promote a favorable environment for the artistic and economic development of the film community in Washington State through political action. To raise funds and direct funds to legislators and candidates who support the legislative agenda, incentive programs and city film programs inclusive of the Washington FilmPAC.

Decoding the Supreme Court’s Aereo Decision: The Future Looks Hazy for Cloud Computing

On Wednesday, June 25, the Supreme Court’s 6-3 ruling stated that the Internet startup Aereo is illegal in its current form. While the Washington film community may or may not be familiar with Aereo, the ruling has noteworthy implications for the future of distribution. As a champion of groundbreaking digital entertainment platforms, Washington Filmworks is directly engaged with new forms of storytelling and distribution through our Innovation Lab. The Lab invests in the local creative economy and encourages the development of original storytelling that capitalizes on new forms of production and technology. As our local film community considers new forms of distribution, keep Aereo’s distribution model on the back burner.

It’s not everyday that we see the Supreme Court ruling on cases that affect how distribution is carried out.

In a nutshell, Sarah Gray from salon.com summarizes the ruling as follows: the ruling states that Aereo infringes on television broadcasters’ copyrights by using antennas to pick up broadcast network television, storing it in the cloud, and transfering it to subscribers via the Internet. Read more about what Gray has to say about the Supreme Court Justices’ ruling on Aereo’s legality and the somewhat hazy line that separates Aereo from other cloud-based and streaming/sharing services.

Photo Credit: AP/Pablo Martinez Monsivais

Photo Credit: AP/Pablo Martinez Monsivais


Decoding the Supreme Court’s Aereo Decision: The Future Looks Hazy for Cloud Computing

by Sarah Gray
June 25, 2014

In a decisive 6-3 ruling, the Supreme Court stated that Internet startup Aereo is illegal in its current form. The service uses dime-sized antennas to pick up broadcast network television, store it in the cloud and then transfer it to subscribers via the Internet.

Broadcasters, who were not being paid licensing fees by Aereo, were naturally irked by the new company’s business model. Eventually, the dispute made its way to the Supreme Court. Arguments in American Broadcasting Company (ABC) v. Aereo were heard in April.

In layman’s terms, the ruling states that Aereo infringes television broadcasters’ copyrights. (Extensive background on the case can be found here.) The justices found that Aereo looked too similar to cable.

The decision looks pretty cut and dry for Aereo. However, what does this mean for other cloud-based technology? Full article continued here.

Originally published June 25, 2014. Reprinted by permission, salon.com, June 2014. Copyright© 2014, Salon Media Group, Inc.

State-of-the-Art Teaching Technology at CrewSpace

On a recent visit to Walla Walla, Washington, Executive Director Amy Lillard moderated a discussion on the Northwest Creative Economy as part of the 2014 Walla Walla Business Summit. The Summit focused on the growing role that the film, television, and new media industries contribute to the regional economy. During her visit, Lillard discovered a cutting-edge media lab at the Walla Walla Public Library (WWPL) and was so inspired by what she saw that she wanted to spread the word about CrewSpace.

Funded by the Paul G. Allen Family Foundation, CrewSpace is described as a new opportunity for tomorrow’s media creators. A WWPL card is the only requirement to access the free classes that are designed to embody the ideals CrewSpace shares with its funder – to demonstrate creativity, embrace innovation and inspire people to do their best. That card is a golden ticket that gives community members of all ages access to courses at the beginner, intermediate and advanced levels of everything from video production to music to graphic design.

Photo Courtesy CrewSpace

Photo Courtesy CrewSpace

CrewSpace is in its infancy. Just two years ago, the idea of adding a technology lab to WWPL began to take shape for Walla Walla Library Director Beth Hudson. She had a chance to observe some tourists peering in closed shop windows and heard them speculating about the business and the age of the building.  She envisioned QR codes on those businesses’ windows, which would deliver all the information they were seeking through the use of high-quality, 90-second videos.  With public libraries committed to making libraries relevant to everyone, including teens, could this be an opportunity for area teens to gain a new set of skills in a subject like filmmaking that most teens feel passionate about?  Could they become the filmmakers? Her inspiration eventually took form in 2013 as an initiative called StoreFront, but first the WWPL would have to figure out how to add the technology they would need.

Enter Jeffrey Townsend. An Emmy-winning writer and associate producer, Townsend also has decades of experience as a production designer in film and has helmed multimedia projects and developed film education programs. He’s contributed to Washington’s film history as production designer on films like Sleepless in Seattle and The Fabulous Baker Boys and worked with renowned directors Martin Scorsese and Nora Ephron before moving to Walla Walla. The Library found the perfect mix of tech savvy and industry experience in Townsend, making him an ideal director for the lab. Townsend designed the technology lab, CrewSpace, as well as the hands-on style and project-based offerings.

The media lab is finding its way. One lesson learned thus far is that plans must be adjusted to best fit the way patrons are actually using digital media, or how they want to learn to use digital media. Jeffrey Townsend teaches film study and works with film students that want to add to their existing skills, while local middle school teacher Dan Calzaretta, whose students are regular winners at film competitions, will hold a six-week class this summer for those who are brand new to filmmaking. Townsend and Calzaretta aren’t the only instructors in CrewSpace. CrewSpace’s instructors come from diverse professional and creative backgrounds and include musician Chris Jonlick, who has written and recorded with Solange Knowles among others and owns NARL Records.

CrewSpace offers a wide catalog of classes this summer including stop-motion animation, green screen photography, digital filmmaking, and music recording and production. If a library patron has a project in mind or a skill they’d like to develop they can put in a request for it. “We encourage our customers to let us know what they want us to offer,” says Hudson. One such request resulted in the development of a course for nonprofits so that they could create their own public service announcements. Another request was for night photography.

CrewSpace focuses on teens and what they need to pursue their dreams.“By providing them with the technology skills they need in order to pursue careers or higher education (which engages their interest, their creativity and their passion) we are cultivating resilient, problem-solving, lifelong learners who are more likely to pick the right path when faced with choices. At-risk teens who struggle with issues of poverty (which often means a lack of online access and access to any cutting-edge technology) and who face academic difficulties, will discover CrewSpace and find that they can enjoy learning through the creative projects we offer them.  When that happens we’ve made important gains for individuals and for the community,” said Hudson.

Photo courtesy CrewSpace

Photo Courtesy CrewSpace

Inspired by the great work coming out of CrewSpace, Hudson is working on getting more exposure for projects produced in the space. Some projects are currently available online and an overhaul of their website is planned for the future to make it more functional and accessible. The Library is hoping that enough content will be produced at CrewSpace so they can compete in film competitions in the future. They recently hosted a youth-produced music event in the spring.The original StoreFront project went so well that after the original five films were produced, the project caught the eye of a teacher in an adjacent community who contacted Townsend for training. The teacher and his class are now working on the next films with plans to edit them in CrewSpace.

Local parents are requesting classes that teach filmmaking and technology to very small children. Seniors are becoming more proficient with their computers and smart phones, businesses are learning to produce promotional videos and commercials, and youth are finding their confidence through the power of creativity and technology. It’s all good stuff that helps pave the road to the new creative economy that Walla Walla is working to build.

Commercialize Seattle Goes Camping

New Latest Work

Congratulations to Royale, a design company based in Seattle and Los Angeles. They are now featured in the Latest Work section of Commercialize Seattle. This business development campaign is designed to drive production and advertising to the region and the Latest Work section of the Commercialize Seattle website showcases some of the very best commercial work coming out of Seattle and Washington State.


ROYALE

Agency or Production Company: Royale
Company Websitehttp://www.weareroyale.com/

Explain yourself, Royale: Royale is a design company that creates top-notch design, photo-real 3D, animation, and interactive development. We believe that design transcends medium and technology to invent creative solutions using both. Our collective of directors, designers, animators, developers, editors and producers are all led by the single vision of creating engaging experiences that influence the behavior of our audience and make them smile a big mustache-clad smile in the process.

 


WHY SHOULD YOU SUBMIT NEW WORK?

When we’re out selling the region as one of the best places in the world to make commercials, we point people to the Latest Work section on the Commercialize Seattle website to show them what we can do here! The campaign highlights locally made commercials and is a hub where brands and agencies look to find great talent. Local production companies and ad agencies should register and learn more.

We frequently showcase new work, so get registered and submit. Then we can show you off to the world. Remember, advertising is the best thing any of us can do!

 

 

 

 

 

 

Read More…

Mandatory Innovation Lab Application Meetings in Seattle, Spokane, Bellingham

Washington creatives: the Washington Filmworks Innovation Lab is back in action! But if you want to get funded, you’ll need to attend one of our mandatory Innovation Lab Application meetings. See below for information about the upcoming meetings this month, FAQs about the Innovation Lab, and background information.

We look forward to seeing you in Seattle, Spokane and Bellingham!


Innovation Lab Meeting Information:
*To attend: Please RSVP to rsvp@washingtonfilmworks.org and indicate which meeting you will attend*

Innovation Lab Meeting – Seattle
Saturday, July 26, 2014 from 4:00 pm – 5:00 pm
SIFF Film Center on the Seattle Center Campus
305 Harrison Street, Seattle

Innovation Lab Meeting – Spokane
Sunday, July 27, 2014 from 4:30 pm – 5:30 pm
Red Lion Hotel at the Park, Conference Room
303 West North River Drive, Spokane

Innovation Lab Meeting – Bellingham
Tuesday, August 5, 2014 from 5:00 pm – 6:00 pm
Pickford Film Center
1318 Bay Street, Bellingham


FAQs About the Innovation Lab

  • Q: The Guidelines and Criteria state that funding assistance will only be awarded for the physical production of motion picture content. Does this meant that postproduction expenses are not eligible?
    • A: Washington Filmworks considers all preproduction, production, and postproduction for motion picture content eligible costs, as long as they fulfill the definitions of qualified Washington Spend.
  • Q: I have already shot part of my project. Am I still eligible to apply?
    • A: Principal photography may not commence until the project has been approved by WF and a production agreement has been signed. If you are applying for an episodic project and have already shot a pilot, you may only apply for funding assistance towards episodes not yet shot. All qualified expenditures must be incurred after the date of the Filmworks Innovation Lab Funding Letter of Intent.
  • Q: The Guidelines and Criteria state that projects must comply with all State and Federal laws, including labor laws relating to minimum wage and overtime requirements. Can I have my friends and family volunteer on the production?
    • A: Volunteers are not allowed in a “for-profit” business. Any individual, partnership, association, corporation, business trust, or any person or group of persons acting directly or indirectly in the interest of an employer, who permits any individual to work, is subject to the provisions of the Minimum Wage Act. http://lni.wa.gov/WorkplaceRights/files/policies/esa1.pdf This means that for-profit productions must pay cast, crew, and extras at least minimum wage and the associated payroll taxes.
  • Q: What happens if I miss this application window? Can I apply again?
    • A: Washington Filmworks will accept applications for this cycle from August 21 – August 28, 2014. WF plans to accept applications again in February 2015.
  • Q: I have applied in past cycles but was not accepted. Can I re-apply?
    • A: If a project is not approved for funding assistance in the current funding cycle, the applicant may submit the project for reconsideration in a future funding cycle if significant changes have been made to the project.
  • Q: The Guidelines and Criteria refers to a Jury. Who are the jurors?
    • A: The identities of the jurors are not released until after deliberations are complete and funding assistance has been finalized.

Program Introduction
The Filmworks Innovation Lab is designed to invest in our local creative community and to encourage the development of original storytelling that capitalizes on new forms of production and technology. By leveraging our existing film infrastructure and the diversity of our in-state technology resources, Washington is uniquely positioned to incubate a groundbreaking digital entertainment platform that fosters a new Creative Economy for Washington State.

What is Available?
The Filmworks Innovation Lab offers funding assistance as a return on qualified in-state expenditures on the production of motion picture content (including labor and talent who are Washington State residents). Projects must spend between $25,000 – $499,999 in Washington and it is important to note that this is not a grant, rather a reimbursement on a project’s investment in utilizing Washington State workers, vendors and goods. The level of funding assistance is determined per project and varies according to each approved project’s merit and application.

Application Process
Washington Filmworks will accept applications from August 21 – August 28, 2014. For a detailed description of the application process, see the current Filmworks Innovation Lab Guidelines and Criteria (dated 5/28/14).

Have questions?  Please direct them to Lab@WashingtonFilmworks.org or call staff at 206-264-0667.

 

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